The National tribune., 1897-05-20
EDITORS CHAT.
Realism and Romance-Their Uses and
GU,

In literature, as IN ART, tnere mas pecn q Sfea'
reaction these later years from the romantic
to the real. Imaginative writing, like trans
cendental imagery on canvas, has been more
and more relegsted to library shelves and
studio corners and both authors pen and
painters brush have busted themselves with
recording the scenes and objects all around
them.
To ssch an extent has this materialistic an
alysis been carried that one does not wonder
that reaction has already set in and that
protest is set up for glimpses now and then OF
life in its higher moods and exceptional as
poets. Just as We want to leave the hum-drum
of everyday existence and occasionally get into
the uplands where nature wears her most in
spring aspect SO does the average reader cry
for the atmosphere Of romance to enable him
to get out of the ruts and set his footsteps to
brighter measures.
The advocates Of the realistic school would
Danish Walter Scott from the library and set
up instead the stories of Zola, Ba!zac and Toll.
sto. Hugo would no longer have place,
neither Irving nor Blackmore. Vice in all its
hideonsness, instead of virtue in its most en-
dearing form, would more frequently enchain
our thoughts.
Things as they are. and not as we would have
them. is the plea of the realist. He would hold
up FOR us the mirror OF nature IN Its least in-
wiling form. We must be shown all the boys
and pitfalls, whether they lie in our path or
not not that may know how to avoid them,
but simply because they exist and are there
fore legitimate subjects of attention.
The realistic writer spends much time IN
Analysing human motives; in working up mi
mute details of person or personal character
istics; In efforts TO show up the commonplace
lie looks at his subject fran every possible
point of view. lie pRils character 10 pieces, as
a botanist wonid flower, examining 1t stamen
by stamcn and petal by petal. lie notes its size
and color; its texture ana odor; its medicinal
properties or its poisonous qualities.
The romantic writer, on tho contrary, secures
his effects by swift contrasts, taking IL for
granted that his readers will know lily from
a skunk cabbage on sight. without any attempts
at elaboration. and that ii is possible for that
lily TO grow MP ia the most uninyIting sur
rouniings and be lily still.
There is 10 doubt that romanticism ran to
inexcusablc extremes in ignoring the practical
phases of life and carrying readers into I'M
possible realms of fancy; this has made bald
realism marketable 10y the inevitable law OF re-
action The happy mien is blending OF both
into the literature of broader sweep and more
COMPREHENSIVE VISION.
HOW SOME HOME WORKERS VIEW 1T.
Realism in literature is truth, and whatc-cr
is true to life is good art That is what we are
trying to find in every branch of science and
every vocation--ihe truth.
The old romantic novels give us false idea
of life. and make Us dissatisfied with things as
they actually exist. We keep ing for
heroes and heroines, and cannot find
them in real life we undervslue the prosaic,
domestic ordinary qualities of our friends.
] like to read iiowells because he tells US
about things as they actually are. ! have
shocked people by liking 10 read Bazac. too
but TO me the very wdckedness which he de.
pic;s n others makes me want to be good. and
/ think that book which ar0uses our best as
pira;ioDs is good book 10 read.
The fairy tales ] read when little girl did
me great deal of harm. got wrong ideas of
lie. aud expected fairies and genii to make ne
beautiful Princess. ] think that II there
were more realism in our childish books it
would he better for us.
want to know the truth abont everything,
and judge for myself about good aud evil
do not believe tina. ignorance is innocence.
What VIC want cultivated is not orr imagin
tinn. but our reason. Realistic literature will
DO this for US. Rebecca Duncan.
BY idea Is that there are two kinds of novels
worthy our atiention-the realistic and the
romantic. Realism paints life as it is, and
romauticism pictures il as il should he.
Realism depicts life in ali its petty details.
in ali Of ats hardness and hideousBess, aud in
order to derive any benefit from it you must
know life aud the world, and be able TO draw
your own deductions. You are also enabled
through realism to good it is, as well as
bad. and to learn your lesson from it.
1t seems TO me that the so called realism as
I'D H. I'll, e
cicn importation. are calculated to do harm to
the inexperienced reader. l think i would
rather have something left for my magma
tion, aud have only vague idea OF the wick
edress of the world, than to wade through
crime and vice with the realistic novel.
like the romantic novel best, with the hero
fine and true and fearless, and The heroine
beautiful, sweet. and lofty-mindei. 1t may
not be true 10 life, but it certainly elevates
you and makes you want to make the world
better and its ideas higher.
The trivial details of realistic novel are so
| tiresoine to me. do not care for pg-drawn-
out conversations. tedious explanations. and
the endless miDutia of analysis and descrip-
ton. ] want action, life. and vital things, and
the heart as the great motive power.
Those who love realism may take their Bal.
FAC and Zola and Guy DeMaupasanf, their
Howells. and James; but give me Scott, Dick
ems Anthony Hope. Rudyard kipling, and
others of the same virile school.
Arthur Lampson.
There is realism which is wholesome and
healthy and gives the reader wider views OF
life. Through it he learns that life is not mere
dull existence, filled with q round of dreary
/ tasks. but that 10 live and toll is noble. This
is the realism that William Deane liowels
teaches. His is pure and simple realism.
| dis work rs true TO nature, and is therefore
art IN the highest sense since the distinguish
| ing feature of all works of art is truth
Under his hand ordinary events acquire a
new interest. The finer sentiments and higher
nature are appealed 10. This is realism in lis
| best sense-that qnickens the belief in the good
aud beautiful aud shows the kinship of man
| to man.
But there is the school of morbid re.lism
! for which there is neither occasion nor exeuse
| in which the writer strives to enchain the
senses by any novel phantasmagoria that may
pass through his own distorted mind Each
writer OF this school seems possessed with de-
sire TO Guido the last by putting into Language
! images more feyerish than those con iured ar
| by his predecessors This is the realism OF thu
mud-throwers-a picture whose lurd splotches
| stand out wildly against the murky back
ground Of q diseased imagination.
Let us have realism, but let it be that which
elevates and strengthens; let il be from the
| pure springs of life and thought-not the filthy
drainage Of loathsome cess pools.
Ola Belle Hotham.
SYMPOSIUM ON PATRIOTISM.