New Grub Street [70]
draw from his large experience in this sphere.
Then as to his authorship.--But shortly after the discussion of Greek metres he fell upon the subject of his literary projects, and, by no means for the first time, developed the theory on which he worked.
'I have thought of a new way of putting it. What I really aim at is an absolute realism in the sphere of the ignobly decent. The field, as I understand it, is a new one; I don't know any writer who has treated ordinary vulgar life with fidelity and seriousness. Zola writes deliberate tragedies; his vilest figures become heroic from the place they fill in a strongly imagined drama. I want to deal with the essentially unheroic, with the day-to-day life of that vast majority of people who are at the mercy of paltry circumstance. Dickens understood the possibility of such work, but his tendency to melodrama on the one hand, and his humour on the other, prevented him from thinking of it. An instance, now. As I came along by Regent's Park half an hour ago a man and a girl were walking close in front of me, love-making; I passed them slowly and heard a good deal of their talk--it was part of the situation that they should pay no heed to a stranger's proximity. Now, such a love-scene as that has absolutely never been written down; it was entirely decent, yet vulgar to the nth power. Dickens would have made it ludicrous--a gross injustice. Other men who deal with low-class life would perhaps have preferred idealising it--an absurdity. For my own part, I am going to reproduce it verbatim, without one single impertinent suggestion of any point of view save that of honest reporting. The result will be something unutterably tedious. Precisely. That is the stamp of the ignobly decent life. If it were anything but tedious it would be untrue. I speak, of course, of its effect upon the ordinary reader.'
'I couldn't do it,' said Reardon.
'Certainly you couldn't. You--well, you are a psychological realist in the sphere of culture. You are impatient of vulgar circumstances.'
'In a great measure because my life has been martyred by them.'
'And for that very same reason I delight in them,' cried Biffen. 'You are repelled by what has injured you; I am attracted by it. This divergence is very interesting; but for that, we should have resembled each other so closely. You know that by temper we are rabid idealists, both of us.'
'I suppose so.'
'But let me go on. I want, among other things, to insist upon the fateful power of trivial incidents. No one has yet dared to do this seriously. It has often been done in farce, and that's why farcical writing so often makes one melancholy. You know my stock instances of the kind of thing I mean. There was poor Allen, who lost the most valuable opportunity of his life because he hadn't a clean shirt to put on; and Williamson, who would probably have married that rich girl but for the grain of dust that got into his eye, and made him unable to say or do anything at the critical moment.'
Reardon burst into a roar of laughter.
'There you are!' cried Biffen, with friendly annoyance. 'You take the conventional view. If you wrote of these things you would represent them as laughable.'
'They are laughable,' asserted the other, 'however serious to the persons concerned. The mere fact of grave issues in life depending on such paltry things is monstrously ludicrous. Life is a huge farce, and the advantage of possessing a sense of humour is that it enables one to defy fate with mocking laughter.'
'That's all very well, but it isn't an original view. I am not lacking in sense of humour, but I prefer to treat these aspects of life from an impartial standpoint. The man who laughs takes the side of a cruel omnipotence, if one can imagine such a thing.
I want to take no side at all; simply to say, Look, this is the kind of thing that happens.'
'I admire your honesty, Biffen,' said Reardon, sighing. 'You will never sell work of this kind, yet you have the courage to go on with it because you believe in it.'
'I don't know; I may perhaps
Then as to his authorship.--But shortly after the discussion of Greek metres he fell upon the subject of his literary projects, and, by no means for the first time, developed the theory on which he worked.
'I have thought of a new way of putting it. What I really aim at is an absolute realism in the sphere of the ignobly decent. The field, as I understand it, is a new one; I don't know any writer who has treated ordinary vulgar life with fidelity and seriousness. Zola writes deliberate tragedies; his vilest figures become heroic from the place they fill in a strongly imagined drama. I want to deal with the essentially unheroic, with the day-to-day life of that vast majority of people who are at the mercy of paltry circumstance. Dickens understood the possibility of such work, but his tendency to melodrama on the one hand, and his humour on the other, prevented him from thinking of it. An instance, now. As I came along by Regent's Park half an hour ago a man and a girl were walking close in front of me, love-making; I passed them slowly and heard a good deal of their talk--it was part of the situation that they should pay no heed to a stranger's proximity. Now, such a love-scene as that has absolutely never been written down; it was entirely decent, yet vulgar to the nth power. Dickens would have made it ludicrous--a gross injustice. Other men who deal with low-class life would perhaps have preferred idealising it--an absurdity. For my own part, I am going to reproduce it verbatim, without one single impertinent suggestion of any point of view save that of honest reporting. The result will be something unutterably tedious. Precisely. That is the stamp of the ignobly decent life. If it were anything but tedious it would be untrue. I speak, of course, of its effect upon the ordinary reader.'
'I couldn't do it,' said Reardon.
'Certainly you couldn't. You--well, you are a psychological realist in the sphere of culture. You are impatient of vulgar circumstances.'
'In a great measure because my life has been martyred by them.'
'And for that very same reason I delight in them,' cried Biffen. 'You are repelled by what has injured you; I am attracted by it. This divergence is very interesting; but for that, we should have resembled each other so closely. You know that by temper we are rabid idealists, both of us.'
'I suppose so.'
'But let me go on. I want, among other things, to insist upon the fateful power of trivial incidents. No one has yet dared to do this seriously. It has often been done in farce, and that's why farcical writing so often makes one melancholy. You know my stock instances of the kind of thing I mean. There was poor Allen, who lost the most valuable opportunity of his life because he hadn't a clean shirt to put on; and Williamson, who would probably have married that rich girl but for the grain of dust that got into his eye, and made him unable to say or do anything at the critical moment.'
Reardon burst into a roar of laughter.
'There you are!' cried Biffen, with friendly annoyance. 'You take the conventional view. If you wrote of these things you would represent them as laughable.'
'They are laughable,' asserted the other, 'however serious to the persons concerned. The mere fact of grave issues in life depending on such paltry things is monstrously ludicrous. Life is a huge farce, and the advantage of possessing a sense of humour is that it enables one to defy fate with mocking laughter.'
'That's all very well, but it isn't an original view. I am not lacking in sense of humour, but I prefer to treat these aspects of life from an impartial standpoint. The man who laughs takes the side of a cruel omnipotence, if one can imagine such a thing.
I want to take no side at all; simply to say, Look, this is the kind of thing that happens.'
'I admire your honesty, Biffen,' said Reardon, sighing. 'You will never sell work of this kind, yet you have the courage to go on with it because you believe in it.'
'I don't know; I may perhaps