The historical novel : $b An essayButterfield, Herbert
History
The historical novel : $b An essay
Butterfield, Herbert
Historical fiction -- History and criticism
History often gives the novelist the hint for story, since the
conditions and circumstances of an age are full of implied story,
and are enough to set anybody tale-telling. In a larger and more
direct way, as will be shown, it may further provide a theme for a
novelist; in the lives of people like Mary Queen of Scots, or Richard
I, and in affairs like the Gunpowder Plot or the Jacobite risings, it
may give not exactly a story to the novelist, but a fit subject for
novel-study, something to work upon, a problem to develop and solve;
for not only on their public side, but still more on their personal
side these things invite story; and history itself supplies a number of
incidents about them and a general outline of broad events which set
the key for a novel and fix the lines within which the novelist will
work. But beyond all these there is a mass of human experience, and a
wide circle of life, a whole World of People--and all these, just the
things that the novelist must most trouble himself about--concerning
which history, as has been shown, can tell only an inadequate story.
The novelist who deals with kings perhaps, but more often with ordinary
fighters and citizens--with courts and parliaments sometimes, but more
often with hearts and homes, looks to history for “things that really
happened,” regarding history as a storehouse of narrative, and finds
there only episodes. Things only come out of the darkness on brief
occasions, and many things are only hinted at, and many threads of
story are carried a short way and then broken and dropped; History
bursts out here and there in a few fine flashes of story; but very
rarely is there a consecutive flow of narrative such as would make a
true, but coherent and continuous story for a novel--a long connected
strand of story-issues only waiting to be re-told in fiction. This
history that is narrative comes in fragments, in mere snatches, to be
incorporated in fiction. The novelist who seeks to tell “things that
really happened” must clutch at episodes. It remains to be seen what
use he can make of them.
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