New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-05-24
LITERARY NOTES.

Mr. Henry James and his "school"-if he have
one-might be substantially benefited by
thourhtful consideration of a statement made
bv Mr. Arthur Symons in THE Fortnigntiy.
HE cannot help feeling assured he says. that
the latest novelistss without a story, whatever
other merits they certainly have, are lacking in
the power to create characters. TO express
philosophy in action; and that the form which
thew have found however valuable it may be, Is
the result OF this failure. and not either great
refusal or a new vision" Mr. Symons reflects
upon the question whether in the novel, per-
feet form is a good. or even a possible thing II
the novel is to be what Balzac made 1t. history
added to poetry.
novelist with style will not look at life with
an entirely naked vision He sees through col
ored glasses. Human life and human manners
are too various. too moving, to be brought INTO
the axity Of a quite formal order There VIII
come a moment constantly, when style must
suffer or the closeness and clearness OF nara
ton must be sacrificed. some minute exception
OF action or psychology must lose lts ha'uiat
MAC. or it's full emphasis Balzac. with his
rapid and accommodating mind. without the pa
thence Of selection. and without the oesi' "
select where selection means leaving OUT SOME
thing good in itself. IL not good IN lts piaSe'
never hesitates and his parenthesis comes IN
And often 1t is into these parentheses that ne
puts the profoundest part of his thought
Yet ready Balzac is to neglect the storS
for the philosophy whenever II seems TO MIN
necessary TO do so. he would never nave au-
mitted that form of the novel Is posslpie III
which the story shall be no more than an excuse
Tor the philosophy That was because he was
a great creator, and not merely a philosophical
thinker.
That q. a curious story which Verestchagin
tells In The Contemporary Review" IN iiiustra-
ton Of the extreme conscentiousness with which
says the labor and expense the Frencnman DC
slowed on the preparations for It.
remember for instance his painting horse
man in a dress Of the last century, passing
along deserted road in strong vino. Inc
cloak was flowing and the head or the riueI
with his cap over his ears was DOWNS peno
the storm which bringing on heavy ciouos
and flashing the grass apd trees. Both the morse
and the rider were first beautifully mode!eo IN
wax The former model had a bride ana SAD
die elegantly worked out in every detail from
the real materials. The riders cloak. hat, ana
spurred boots were also miniature masterpieces.
executed after drawings OF the period. In oroer
to get the folds Of the twisting cloak. II was
dipped into thin glue. so that II stinened In its
proper pose. In short. everything was ingeni-
ously fitted up so as to insure the greates. pos,
sible perfection of the picture. and showed, at
any rate very uncommon demands upon the
but how did you paint the snowy road in
your picture Of Napoleon in 1S14'7' I asked
In reply, he picked out from under the table q
low platform. about metre and half square.
and said:
ION this I prepared all that required:
snow mud and ruts I kneaded the clay, and
pushed across 1t this piece Of cannon several
times UP and down. with a shod hoof then
pressed the marks Of the horses feet; strewed
-four over It, pushed the cannon across again
and continued to do until I obtained the
semblance of a real road. Then sailed IT, and
the road was ready"
What did you salt II for!
ITO get the briiiancy Of the snow. Why DC
you smile7 How else could you do II 90
fails mes compliments. But. II had been you
/ should have gone to Russia, where nearly
every road II dug up In the way you represent
ure."
.'Yesl But nous autres Parisiens do not NOV
about so easily"