Graham's Magazine, Vol. XVIII, No. 4, April 1841Various
General
Graham's Magazine, Vol. XVIII, No. 4, April 1841
Various
Literature -- Periodicals; Literature, Modern -- 19th century -- Periodicals
Very little reflection might have sufficed to convince Mr. Bulwer that
narratives, even one fourth so long as the one now lying upon our table,
are _essentially_ inadapted to that nice and complex adjustment of
incident at which he has made this desperate attempt. In the wire-drawn
romances which have been so long fashionable, (God only knows how or
why) the pleasure we derive (if any) is a composite one, and made up of
the respective sums of the various pleasurable sentiments experienced in
perusal. Without excessive and fatiguing exertion, inconsistent with
legitimate interest, the mind cannot comprehend at one time, and in one
survey, the numerous individual items which go to establish the whole.
Thus the high ideal sense of the _unique_ is sure to be wanting:—for,
however absolute in itself be the unity of the novel, it must inevitably
fail of appreciation. We speak now of that species of unity which is
alone worth the attention of the critic—the unity or totality _of
effect_.
But we could never bring ourselves to attach any idea of merit to mere
_length_ in the abstract. A long story does not appear to us necessarily
twice as good as one only half so long. The ordinary talk about
“continuous and sustained effort” is pure twaddle and nothing more.
Perseverance is one thing and genius is another—whatever Buffon or
Hogarth may assert to the contrary—and notwithstanding that, in many
passages of the dogmatical literature of old Rome, such phrases as
“_diligentia maxima_,” “_diligentia mirabilis_,” can be construed only
as “great talent” or “wonderful ability.” Now if the author of “Ernest
Maltravers,” implicitly following authority like _les moutons de
Panurge, will_ persist in writing long romances because long romances
have been written before—if, in short, he cannot be satisfied with the
brief tale (a species of composition which admits of the highest
development of artistical power in alliance with the wildest vigor of
imagination)—he must then content himself, perforce, with a more simply
and more rigidly narrative form.
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