Aspects of the novelForster, E. M. (Edward Morgan)
History
Aspects of the novel
Forster, E. M. (Edward Morgan)
English fiction -- History and criticism; Fiction -- Technique
It debars us in the first place from considering whether the human mind
alters from generation to generation; whether, for instance, Thomas
Deloney, who wrote humorously about shops and pubs in the reign of Queen
Elizabeth, differs fundamentally from his modern representative--who
would be some one of the calibre of Neil Lyons or Pett Ridge. As a
matter of fact Deloney did not differ; differed as an individual, but
not fundamentally, not because he lived four hundred years ago. Four
thousand, fourteen thousand years might give us pause, but four hundred
years is nothing in the life of our race, and does not allow room for
any measurable change. So our slogan here is no practical hindrance. We
can chant it without shame.
It is more serious when we turn to the development of tradition and see
what we lose through being debarred from examining that. Apart from
schools and influences and fashions, there has been a technique in
English fiction, and this does alter from generation to generation. The
technique of laughing at characters for instance: to smoke and to rag
are not identical; the Elizabethan humorist picks up his victim in a
different way from the modern, raises his laugh by other tricks. Or the
technique of fantasy: Virginia Woolf, though her aim and general effect
both resemble Sterne's, differs from him in execution; she belongs to
the same tradition but to a later phase of it. Or the technique of
conversation: in my pairs of examples I could not include a couple of
dialogues, though I wanted to, for the reason that the use of the "he
said" and "she said" varies so much through the centuries that it
colours its surroundings, and though the speakers may be similarly
conceived they will not seem so in an extract. Well, we cannot examine
questions like these, and must admit we are the poorer, though we can
abandon the development of subject matter and the development of the
human race without regret. Literary tradition is the borderland lying
between literature and history, and the well-equipped critic will spend
much time there and enrich his judgment accordingly. We cannot go there
because we have not read enough. We must pretend it belongs to history
and cut it off accordingly. We must refuse to have anything to do with
chronology.
Public-domain text, read in full here on John Shaqi.
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