The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1864-12-21
THE ROMANCE -wRITER AND THE
ROET


pRENcHMAN's VIEWS.
The following analysis Of the romance-writer
and an estimate of the poet as classes rather than
individuals, we translate from that powerful
work, Taines History OF English Literature -
THE NOVELIST.
what is a novels.i In my judgment he is
psychologist, one who naturally and nvOuuarily
n presents psychology In action lie Is nothing
more and nothing less. lie loves 90 picture TO
binstl' sentiments, TO touch their secret SPRING,
and trace their precgduuts aud consequences, ana
thus csutrivc pleasure for himself. 70 him son.
timeuts are forces Of diverse tendencies, and OF
greater or less degree OF grandeur Li'tlc does
he concern himself with the justice or injustice OF
their manifestations. lie assemblies them 20.
gCthtr In his pcrsonigcs, and, conceiyinS DON'T
want quality, watches its elect on oluer qualities,
noting the CunCordaut or discOrdant influences OF
& tWpUramCnt, education, and oncIplLOn, l8vpr-
ing 10 expose an unseen world tt inclination and
outward action 70 this his work reduces itsc'f
whatever may be his own prcdilect Uus, nc is ig-
different 20 them true painter regards with
sHti, faction a well-sCt arm and vigorous muscles
even It employed In knocking man down; a
true novelist delights ln contemplating tue gran
deur Of an evil sentiment or the unfolding Of q
pcruiciOus character.
Ills talent consists OF sympathy, for this is the
only faculty which copies nature with fidelity :
shstinR the emotions of his characters, his whole
thought Is bent on registering their conflict ana
marking their species and power. He represents
them 10 Just as they arc in their entirety, win
pgryert thCm; he transports them intact iuJO our
breasts leaving us the privilege Of prOnDuucing
Judgment What DC strives 90 do is tu render
fb,m visible; il is his aim 10 disongIgo types
which the accidents and imperteclOns OF real life
obscure and distOrt, TO bring the deeper passions
OF humanity into relief, 20 De moved with the
grandeur OF the beings he has himself animated,
to make us forget ourselves through the potency
of his creative ability. In This expression Of his
power we recognize art, Indifferent and universal
like nature, but more free and more powerful,
for, i'm taking up the skctchy, dishgured work of
her rival art cOrrccts natures defects and renders
her conceptions effective.
THE POET.
It is the pecuarity of the Poet to be ever
Young 20 he ever eXuberant. With us Of the
common herd things are worn out ; sixty centuries
Of civilization have tarnishCd their original tresh-
ness; we no longer distinguish them except
through mist of sereoiypcd phrases, which we
constantly use without cOmprehending them In
stead Of splendid flowers they are fine vegetables
the luxurious primeval forests for US only WE'LL
arranged and too familiar kitchen garden. The
Pot, on the contrary, coufronts the world like
the first on the tirst day. All our catalogues
and judgments, all the pnraphernalia Ofassociation
and prejudice vanish from his mind instantly
Things TO him seem new. He is astOnished
ravished. Sensations pour ia on him aud oppress
him; Il is the all-pOwerful lfeblOOd of human
invention which, stagnant in us, in him resumes
its flow. Fools pronounce the poet insane. The
truth Is he is clear sighted. In vain do we rest
inert, for nature is ceasel9ssly active The sun
which rises grandly to-day rises as it did at the
first dawn; the flowing streams, these plants
which abound these passions that agitate us, the
forces which plunge beings in o this tumultuOus
vortex are now aspiring and embattling with the
same energy as on the day Of their beginning; the
immolt tai heart of nature still plptates, still
| expaut its rude yestiture, thrObbug and obtain
| ing echoes from the poets heart when ours is no
! longer responsive.