The Craft of Fiction by Percy Lubbock (lightest ebook reader .txt) 📖

the test. "Five years went by," says Balzac; but before he says it we already see them opening and closing upon the girl, bearing down upon her solitude, exhausting her freshness but not the dumb resignation in which she sits and waits. The endlessness, the sameness, the silence, which another writer would have to tackle somehow after disposing of the brief episode of Charles's visit, Balzac has it all in hand, he can finish off his book without long delay. His deliberate approach to the action, through the picture of the house and its inmates, has achieved its purpose; it has given him the effect which the action most demands and could least acquire by itself, the effect of time.

And there is no doubt that the story immensely gains by being treated in Balzac's way, rather than as the life of a disappointed girl, studied from within. In that case the subject of the book might easily seem to be wearing thin, for the fact is that Eugénie has not the stuff of character to give much interest to her story, supposing it were seen through her eyes. She is good and true and devoted, but she lacks the poetry, the inner resonance, that might make a living drama of her simple emotions. Balzac was always too prosaic for the creation of virtue; his innocent people—unless they may be grotesque as well as innocent, like Pons or Goriot—live in a world that is not worth the trouble of investigation. The interest of Eugénie would infallibly be lowered, not heightened, by closer participation in her romance; it is much better to look at it from outside, as Balzac does for the most part, and to note the incidents that befell her, always provided that the image of lagging time can be fashioned and preserved. As for that, Balzac has no cause to be anxious; it is as certain that he can do what he will with the subject of a story, handle it aright and compel it to make its impression, as that he will fail to understand the sensibility of a good-natured girl.

I cannot imagine that the value of the novelist's picture, as preparation for his drama, could be proved more strikingly than it is proved in this book, where so much is expected of it. Eugénie Grandet is typical of a natural bent on the part of any prudent writer of fiction, the instinct to relieve the climax of the story by taxing it as little as possible when it is reached. The climax ought to complete, to add the touch that makes the book whole and organic; that is its task, and that only. It should be free to do what it must without any unnecessary distraction, and nothing need distract it that can be dealt with and despatched at an earlier stage. The climax in Grandet is not a dramatic point, not a single incident; it lies in the slow chill that very gradually descends upon Eugénie's hope. Balzac carefully refrains from making the book hinge on anything so commonplace as a sudden discovery of the young man's want of faith. The worst kind of disappointment does not happen like that, falling as a stroke; it steals into a life and spreads imperceptibly. Charles's final act of disloyalty is only a kind of coda to a drama that is practically complete without it. Here, then, is a climax that is essentially pictorial, an impression of change and decay, needing time in plenty above all; and Balzac leads into it so cunningly that a short summary of a few plain facts is all that is required, when it comes to the point. He saves his climax, in other words, from the burden of deliberate expatiation, which at first sight it would seem bound to incur; he leaves nothing for it to accomplish but just the necessary touch, the movement that declares and fulfils the intention of the book.

There is the same power at work upon material even more baffling, apparently, in La Recherche de l'Absolu. The subject of that perfect tale is of course the growth of a fixed idea, and Balzac was faced with the task of showing the slow aggravation of a man's ruin through a series of outbreaks, differing in no way one from another, save in their increasing violence. Claes, the excellent and prosperous young burgher of Douai, pillar of the old civic stateliness of Flanders, is dragged and dragged into his calamitous experiments by the bare failure (as he is persuaded) of each one in turn; each time his researches are on the verge of yielding him the "absolute," the philosopher's stone, and each time the prospect is more shining than before; success, wealth enough to restore his deepening losses a thousand times over, is assured by one more attempt, the money to make it must be found. And so all other interest in life is forgotten, his pride and repute are sacrificed, the splendid house is gradually stripped of its treasures, his family are thrust into poverty; and he himself dies degraded, insane, with success—surely, surely success, this time—actually in his grasp. That is all, and on that straight, sustained movement the book must remain throughout, reiterating one effect with growing intensity—always at the pitch of high hope and sharp disappointment, always prepared to heighten and sharpen it a little further. There can be no development through any variety of incident; it is the same suspense and the same shock, again and again, constantly more disastrous than before.

Here, too, Balzac amasses in his opening picture the reserve of effect that he needs. He recognizes the ample resource of the dignity, the opulence, the worth, the tradition inherited by families like that of Claes—merchant-princes of honourable line, rulers of rich cities, patrons of great art. The house of Claes, with its fine architecture, its portraits, its dark furniture and gleaming silver, its garden of rare tulips—Balzac's imagination is poured into the scene, it is exactly the kind of opportunity that he welcomes. He knows the place by heart; his description of it is in his most methodical style. Steadily it all comes out, a Holbein-picture with every orderly detail duly arranged, the expression of good manners, sound taste and a solid position. On such a world, created as he knows how to create it, he may draw without hesitation for the repeated demands of the story; the protracted havoc wrought by the man's infatuation is represented, step by step, as the visible scene is denuded and destroyed. His spirit is worn away and his sanity breaks down, and the successive strokes that fall on it, instead of losing force (for the onlooker) by repetition, are renewed and increased by the sight of the spreading devastation around him, as his precious things are cast into the devouring expense of his researches. Their disappearance is the outward sign of his own personal surrender to his idea, and each time that he is thrown back upon disappointment the ravage of the scene in which he was placed at the beginning of the book is more evident than before. It spreads through his pictures and treasures to his family, and still further into his relations with the respectable circle about him. His position is shaken, his situation in that beautiful Holbein-world is undermined; it is slowly shattered as his madness extends. And having built and furnished that world so firmly and richly, Balzac can linger upon its overthrow as long as is necessary for the rising effect of his story. He has created so much that there is plenty to destroy; only at last, with the man's dying cry of triumph, is the wreck complete.

Thus the climax of the story, as in Grandet, is laid up betimes in the descriptive picture. It is needless, I suppose, to insist on the esthetic value of economy of this kind. Everybody feels the greater force of the climax that assumes its right place without an effort, when the time comes, compared with that in which a strain and an exaggerated stress are perceptible. The process of writing a novel seems to be one of continual forestalling and anticipating; far more important than the immediate page is the page to come, still in the distance, on behalf of which this one is secretly working. The writer makes a point and reserves it at the same time, creates an effect and holds it back, till in due course it is appropriated and used by the page for which it is intended. It must be a pleasure to the writer, it is certainly a great pleasure to the critic, when the stroke is cleanly brought off. It is the same pleasure indeed; the novelist makes the stroke, but the critic makes it again by perceiving it, and is legitimately satisfied by the sense of having perceived it with good artistry. It is spoilt, of course, if the stroke is handled tactlessly and obtrusively; the art of preparation is no art if it betrays itself at the outset, calling attention to its purpose. By definition it is unrecognizable until it attains its end; it is the art of rendering an impression that is found to have been made, later on, but that evades detection at the moment. The particular variety I have been considering is one of which Balzac is a great master; and perhaps his mastery will appear still more clearly if I look at a book in which his example is not followed in this respect. It is a finer book, for all that, than most of Balzac's.

XVI

It is Anna Karenina; and I turn to it now, not for its beauty and harmony, not because it is one of the most exquisitely toned, shaded, gradated pieces of portraiture in fiction, but because it happens to show very clearly how an effect may be lost for want of timely precaution. Tolstoy undoubtedly damaged a magnificent book by his refusal to linger over any kind of pictorial introduction. There is none in this story, the reader will remember. The whole of the book, very nearly, is scenic, from the opening page to the last; it is a chain of particular occasions, acted out, talked out, by the crowd of people concerned. Each of these scenes is outspread before the spectator, who watches the characters and listens to their dialogue; there is next to no generalization of the story at any point. On every page, I think, certainly on all but a very few of the many hundred pages, the hour and the place are exactly defined. Something is happening there, or something is being discussed; at any rate it is an episode singled out for direct vision.

The plan of the book, in fact, is strictly dramatic; it allows no such freedom as Balzac uses, freedom of exposition and retrospect. Tolstoy never draws back from the immediate scene, to picture the manner of life that his people led or to give a foreshortened impression of their history. He unrolls it all as it occurs, illustrating everything in action. It is an extraordinary feat, considering the amount of experience he undertakes to display, with an interweaving of so many lives and fortunes. And it is still more extraordinary, considering the nature of the story, which is not really dramatic at all, but a pictorial contrast, Anna and her affair on one side of it, Levin and his on the other. The contrast is gradually extended and deepened through the book; but it leads to no clash between the two, no opposition, no drama. It is an effect of slow and inevitable change, drawn out in minute detail through two lives, with all the others that cluster round each—exactly the kind of matter that nobody but Tolstoy, with his huge hand,