Undoubtedly there is danger to-day of such artifice, but I maintain that the great reforms of the past century owed much to writers whose purpose was perfectly innocent. Cardinal Newman has told us of the literary influence of Sir Walter Scott, who turned men’s minds in the direction of the Middle Ages.
“The general need,” he said, “of something deeper and more attractive than what had offered itself elsewhere, may be said to have led to his popularity; and by means of his popularity he reacted on his readers, stimulating their mental thirst, feeding their hopes, setting before them visions, which when once seen are not easily forgotten, and silently indoctrinating them with nobler ideas, which might afterwards be appealed to as first principles.”
If Cardinal Newman could thus maintain the value of Fiction in the great ecclesiastical movement which has regenerated the Church of England, I may claim without apology that the reform in Poor Law Administration gained the attention of the public when Dickens made “Bumbledom” ridiculous, and that the Court of Chancery was swept cleaner by the breezes which were blowing from Bleak House. Let any man run over in his mind the undoubted improvements in social matters during the last fifty years, and it will be seen how Fiction has assisted in their promotion. Did Charles Reade’s Hard Cash do nothing to arouse the attention of the public to the condition of the insane? Did Sir Walter Besant’s novels turn no light on the sins of the sweater, or Charles Kingsley’s Alton Locke show no reason for legalizing the Trade Union and the reform of the Law of Conspiracy? Mrs. Harriet Beecher Stowe may to-day be forgotten, but the southern states of North America would not dispute the influence of Fiction upon the public mind.
The fact is that men, who generally read nothing else but newspapers, will read a good novel, and if the book brings before them principles which they have hitherto neglected, they will very often consider those principles again. It is necessary, however, that the novel shall appeal to them as being a fair record of the present or the past. They may as they read it be unable to pronounce on the thesis which is at the back of the book, but they will be led to consider and discuss it if the story, as a story, holds them. And it is here that the story which has a genuine religious motive often fails. Most of the great artists in fiction, when they have taken in hand a subject which is of religious interest, have written in a spirit of detachment. George Eliot’s Romola is an example, and the result is that men are more interested in Tito Melema than in Savonarola. Novels in which religion is necessarily much in evidence have been written either by literary artists who have studiously endeavoured to lay aside their own personal convictions, or if the books have been written with a distinctly religious purpose the hero and heroine have been unconvincing, the people in the story have not been alive.
When Cardinal Newman had abandoned prematurely his hope of maintaining the Catholic character of the Church of England, he did not disdain to employ his pen in the production of a novel with a religious purpose; but we are amazed to find that the exquisite grace of style which is one of the charms of the Apologia could not render Charles Riding interesting, or the novel Loss and Gain, of which he is the hero, readable.
It is perhaps dangerous to give another example from contemporary fiction, but those who justly admire Mrs. Humphry Ward’s subtle discernment of character and great and increasing mastery of form and style, will not be inclined to dispute the opinion that when, in Robert Elsmere, she undertook the defence of the modern Unitarian position, her hero was hardly a “Man’s man.”
The reason is not far to seek. The average man knows too much of the darker side of life; and the necessary effort made by the author of religious novels to depict that of which they, fortunately for their own souls, have had no experience, is not successful. Charles Kingsley’s undergraduate days were perhaps not without knowledge of the shadows, but he is happier in the Schools of Alexandria, or in the spacious days of Great Elizabeth, than in a tale of modern life such as Two Years Ago. His Broad Church Catholic teaching does not always find its way to the man in the street, and Henry Kingsley, whose life was so different from that of his illustrious clerical brother, has more of human interest in his stories.
The novel with a purpose, and especially with a religious purpose, fails only, when it does fail, because the author’s knowledge of the average man in his sins and his temptations to sin, is altogether incommensurate with his familiarity with the great religious and social problems of which his story would suggest a solution.
It is often supposed that the men do not care to find the subject of religion introduced in fiction, that they resent religion in a novel, as children resent the administration of a medicinal powder in a spoonful of jam; but the expert witness of publishers demolishes this opinion. After all, the religious claim is insistent, and life is untruly depicted when men and women are described in a story as uninfluenced by it. There is something unreal in a book which has no Sundays in it. Critical opinion as expressed in the notices of books in the daily papers, and in more weighty reviews, is very misleading, simply because the reviewers are generally very young men or women who know more or less of literature but very little of life. The wrath of the young man fresh from the University at the success of those books which do not ignore the spiritual needs of men and women amuses the experienced author.
“Faugh!” cries Mr. Jones of Balliol; “another batch of sin and sentiment!” “The Christian creed and the conjugal copula! Religion and Patchouli!” Yet the critic forgets that those who would reach the minds and hearts of men must deal with the problems of creed and character which men have to solve, each one for himself.
Our censors, dilettante, delicate-handed, with their canons of criticism might do worse than reckon up the number of English novels which have lived on into the twentieth century. They will be surprised to find that they are nearly all novels with a purpose and a religious purpose for their “motif.” Charles Reade when he wrote Never too late to mend, not only helped forward the humane and intelligent treatment of criminals, he showed how the Divine Image was stamped indelibly on human nature, and where it seemed to be obliterated could be restored. But Charles Reade drew real men and women. His characters are not puppets of the play-house but are alive. And Thackeray—Clarum et venerabile nomen—making hypocrites his quarry, and raining his quiver full of satiric shafts upon the hateful crew, never scoffed for a moment at reverent things, but with bowed head and hushed footsteps passed by the sanctuary. Therefore, these men are still living forces. Men will read other novels of the past as women look at old-fashion plates, and amuse themselves with the differences and contrasts of succeeding generations, but the novels which men buy in their hundreds of thousands, the novels which are reprinted again and again, the novels for which the publishers wait as their copyright is expiring, like heirs expecting a rich man’s death, that each may endeavour to be first in the field with an edition which pays no royalty to the author; these novels are those which truly represented life as it seemed in other days, life seeking ever to be reassured that One has come who offers to those who walk in darkness the light of life.
It is exasperating to some minds to discover that the man of the world is not altogether worldly, and that he finds in books which recognize religion as a considerable part of man’s life, something which gives to them reality and truth. Immature minds and inexperienced penmen are not impressed by the things which really matter, and in the interval between the University and man’s settlement in life much nonsense is written and spoken.
I speak from personal experience; and when I look