Page:The Harvard Classics Vol. 51; Lectures.djvu/219

This page has been validated.
PROSE FICTION
209

olence controlling the external forces which overwhelm him. Yet these writers display profound psychological insight, and make distinguished contributions to the progress of the art of fiction in its advance toward a more and more complete and penetrating portrayal of the whole of human life.

Less somber in tone, but no less brilliant in workmanship, are the novels of George Meredith. Hampered in regard to the greater public by a style at once dazzling and obscure, Meredith has been acclaimed by his fellow craftsmen as a great master. Beginning partly under the influence of Dickens, Meredith gained for himself at length a peculiar and distinguished position as perhaps the most intellectual of the English novelists, or, at least, the novelist who concerns himself most with the intellectual processes of his character. Yet he is far from impoverished on the emotional side, and there are few scenes in fiction more poignant in their tragedy than that which closes "The Ordeal of Richard Feverel."

Besides the influence of modern science, English fiction has latterly been much affected by foreign models, especially French and Russian. The tracing of these streams, however, would bring us to the consideration of men still writing, and involve us in a mass of production which cannot be characterized here, and on which we cannot hope to have as yet a proper perspective. The great amount of distinguished writing in the field of the English novel which has been revealed even in this rapid survey of its history will have suggested to the reader why it was found hopeless to try to represent it in The Harvard Classics. But these writers are easy of access, and this is the side of literature which the modern reader is least apt to ignore. Yet it is also the side which is most likely to be read carelessly, without consideration of purpose or method; so that it may now be worth while to try to come to some understanding as to its aim and the conditions of its excellence.


II

THE PURPOSE OF FICTION

In considering the purpose which works of fiction may be supposed to fulfill, it will be of interest and value to note what some