They
develop an alleged sense of technique, which is too often no more than
the attempt to exact a laboriousness of method, or to insist upon
peculiarities of method which impress the professional critic not so
much as being merits as being meritorious. This sort of thing has gone
very far with the critical discussion both of the novel and the play.
You have all heard that impressive dictum that some particular
theatrical display, although moving, interesting, and continually
entertaining from start to finish, was for occult technical reasons "not
a play," and in the same way you are continually having your
appreciation of fiction dashed by the mysterious parallel condemnation,
that the story you like "isn't a novel." The novel has been treated as
though its form was as well-defined as the sonnet. Some year or so ago,
for example, there was a quite serious discussion, which began, I
believe, in a weekly paper devoted to the interests of various
nonconformist religious organisations, about the proper length for a
novel. The critic was to begin his painful duties with a yard measure.
The matter was taken up with profound gravity by the _Westminster
Gazette_, and a considerable number of literary men and women were
circularised and asked to state, in the face of "Tom Jones," "The Vicar
of Wakefield," "The Shabby-Genteel Story," and "Bleak House," just
exactly how long the novel ought to be.
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