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
Her penitence is sincere, and only a superficial judge will condemn her
as a hypocrite. A nature such as hers cannot for long distinguish
between doing wrong and getting caught--for a sentence or two she
disentangles them but they insist on blending, and that is why her
outlook is so cockneyfied and natural, with "sich is life" for a
philosophy and Newgate in the place of Hell. If we were to press her or
her creator Defoe and say, "Come, be serious. Do you believe in
Infinity?" they would say (in the parlance of their modern descendants),
"Of course I believe in Infinity--what do you take me for?"--a
confession of faith that slams the door on Infinity more completely than
could any denial.
_Moll Flanders_ then shall stand as our example of a novel, in which a
character is everything and is given freest play. Defoe makes a slight
attempt at a plot with the brother-husband as a centre, but he is quite
perfunctory, and her legal husband (the one who took her on the jaunt to
Oxford) just disappears and is heard of no more. Nothing matters but the
heroine; she stands in an open space like a tree, and having said that
she seems absolutely real from every point of view, we must ask
ourselves whether we should recognize her if we met her in daily life.
For that is the point we are still considering: the difference between
people in life and people in books. And the odd thing is, that even
though we take a character as natural and untheoretical as Moll who
would coincide with daily life in every detail, we should not find her
there as a whole. Suppose I suddenly altered my voice from a lecturing
voice into an ordinary one and said to you, "Look out--I can see Moll in
the audience--look out, Mr."--naming one of you by name--"she as near as
could be got your watch"--well, you would know at once that I was wrong,
that I was sinning not only against probabilities, which does not
signify, but against daily life and books and the gulf that divides
them. If I said, "Look out, there's some one like Moll in the audience,"
you might not believe me but you would not be annoyed by my imbecile
lack of taste: I should only be sinning against probability. To suggest
that Moll is in Cambridge this afternoon or anywhere in England, or has
been anywhere in England is idiotic. Why?
Public-domain text, read in full here on John Shaqi.
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