The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1892-04-06
The Poe of England" on Fic-
ton and Criticism.
REALISM is IN THE AIR.
His Opinion Of the Great Writers OF
Today-Is the Vogue of the
Novel on the wane?

home on the moor or the river, than q
dweller in cities and wielder Of the pen
OF so ready writer as he has proved him.
self to be. Nor, indeed. is such an i'm
preston very far from correct, for he told
me, after few minutes, that he detested
London and always longed to be back in
his native Cornwall.
We plunged into discussion on the art
of criticism
ITO speak the truth" said Mr.. Couch,
81 don't profess to be critic; infinitely
prefer fiction. But as a critic, and as a
writer of fiction. too, must throw in nv
lot with w. D. Howells, and frankly say
that | dislike anonymous criticism ex-
ceeddingly. Howeis perhaps goes too far
In saying that English criticism is ILL
natured. In the bulk it is fair
You see, a critic feels he can say
things he would not say if his articles
Awere signed. This perhaps tends to undue
license on the part of certain men,"
"But how do you justify the existence
Of the critic at all, Mr.. Cou n ~ asked.
WELL" he replied. with a emile, "the
only justification for his existence is that
criticism is a branch CT the art of enjoy
ment lie tells the people what they are
to enjoy. But it is not therefore necessary
to blackguard man. No, / don't think
it is possible to train critics; we cannot
establish critical college or hold 'criti-
cal examinations for professional critics
The question is not, does he find enjoy
ment in his work, so much as, do other
people enjoy it. The proof of the pud-
ding is in the eating Howells starts
with a priori notions about truth be-
ing the first necessity for art,
and then in this notion he condemns
writers. Now, | maintain that you can't
stick to the dead level of truth. The
artist sees simply or mechanically,
according as he has simplicity or melo-
drama in the back of his eye. Jane Austen
is true and Charles Reade is true. and yet
Prejudice and The Cloister and the
Hearth. There is room for all. The test
of an artists truth is his strength
with these decided views, Mr.. Couch,
should much like to know what you
think is the general trend of English
fiction today?"
WELL" was the reply, I'VE are begin
mig to see the truth of realism. There is
more representation of life and less pr,-
sentation. All this involves an attitude of
humility towards nature and the great
facts of life. Take Hardy, for instance.
See how true he is. In one of his books
he tells us he knows what kind OF tree it
sis he is walking under at night merely by
the sound the wind makes rustling
through the leaves. There Is an
indication of humble study of ma
ture. Look at that picture of
Alfred Parsons" continued Mr.. Couch,
for | may mention that at the moment we
were seated in Mr.. Parsons studio, ''look
at that picture of ParsonC. and see how
true it is to nature. Look at those trees,
the sunlight on that upland, the nassing
of those clouds on the horizon. That is
Hardy and Parsons wonder
fully alike in that respect. But still,
whilst you must represent, you can't get
rid of presentation, as Howells urges
must be done. A writer cannot get away
from himself. believe myself in no gem
eral statement. Each man bring forth
his own work, and the critics must find
this out"
"Realism undoubtedly is in the air, Mr..
Couch; but now in whom do you think
the spirit of the age is most developed
who most readily respond to it, men or
women2"
''Ohi" he at once replied, ''men; they
are far more in touch with the age and its
requirements. Take Meredith, for in
\ stance. No man, or woman either, has
Amade US so thoroughly understand woman
as he has done. and that is the great test
4 of q novelist. Tolstops War and Peace"
lis the biggest novel ever written as yet.
But Meredith is the greatest among the
English writers. He is so far ahead in his
ideas of woman and what they want"
frankly confessed my barbarity, and
told Mr.. Couch | could not understand
Meredith sufficiently to appreciate him as
he deserved. My host complimented me
on my outspokennesS.
well" he said, las matter of fact, l
think only one or two artists can really
understand him. These advanced views
of his have really retarded him more than
the difficulties of his style. Hardy and
Meredith understand women better than
any one else, though both Henry James
and Howells are very careful students OF
women also"
And now for few moments chat about
your own charming books, Mr.. CUTLER
Couch"
\ "Ah! what shall / say? Well, 70 begin
with l consider 'Noughts and Crosses the
only one TO which | attach any real value.
My next important work will be, hope, q
continuation of the work | began there.
The idea in that book is that of general
charity towards all. Especially Is that the
case in the little sketch | call These and
That in which the man forglves his I'M
faithful wife. This, the critics say, is
weak-no heroism. 1t is true 10 life,
though. Most OF these sketches" said
Mr.. Couch, as took the book down, ARE
from life. and are founded on some
thing saw in Cornwall. |
have studied these poor people well.
Yes, thoroughly agree with Hardy that
that class OF society Is innnltelN tfSSDSr,
more human, ana more romantic than the
little pedding grocer brought up IN the
Fdmily Hcra d. The lower middle classes
are in a transition state of culture. We
can do nothing with them. In the 'Spien-
did Spur | depict this world rs great till
ing ground. in which | endeavor TO teach
sfi-relianCe TO ALL But ! am not much
Interested in the story of adventure.
much prefer the serious novel.
- And what do YOU think, Mr.. Couch, OF
the remarkable advent of the young man
in recent production of tictionf"
Il don't know that the young man is
altogether responsible for the best work OF
late years. or might almost say, months.
Last year alone was remarkable
for the tremendous squirt in fiction.
How can people say that the vogue
Of the novel IS on the wanef
Look at Our Conquerors, The Scape-
goat Tess. The Little Minister 1t
is wonderful. And quite as remarkable 1t
Is 10 notice the manner IN which We are
getting out of the old conventional groove.
= To transplant bad French convention
: and 20 defy Nude, as year or TWO ago
people We're inclined 10 do. is not good arr,
nor is il realism. But TO produce splendid
originality and clean, healthy realism Is
10 promuigate a new gospel. The outlook
is very bright"
And Vet, ~ replied. 1.-The Hanson Cab
has not vet driven away from US.
Well no." said Mr.. Couch, with quiz
zical shake Of the head. THE Hanson
Cab tradition will be always with us. be-
cause the great big public is always with
US. Nobody can elevate taste, only art
. hal sftsr