Novels, but it is in them chiefly that we shall find the revolutionary tradition of Scott carried further; that we shall find Scott himself, in so far as regards his conception of prose fiction and its purposes, surpassed in his own spirit, instead of tamely followed. We have here, as I said before, a line of literary tendency produced, and by this production definitely separated from others. When we come to Hugo, we see that the deviation, which seemed slight enough and not very serious between Scott and Fielding, is indeed such a great gulf in thought and sentiment as only successive generations can pass over: and it is but natural that one of the chief advances that Hugo has made upon Scott is an advance in self-consciousness. Both men follow the same road; but where the one went blindly and carelessly, the other advances with all deliberation and forethought. There never was artist much more unconscious than Scott; and there have been not many more conscious than Hugo. The passage at the head of these pages shows how organically he had understood the nature of his own changes. He has, underlying each of the five great romances (which alone I purpose here to examine), two deliberate designs: one artistic, the other consciously ethical and intellectual. This is a man living in a different world from Scott, who professes sturdily (in one of his introductions) that he does not believe in novels having any moral influence at all; but still Hugo is too much of an artist to let himself be hampered by his dogmas; 26 and the truth is that the artistic result seems, in at least one great instance, to have very little connection with the other, or directly ethical result.

25

26

The artistic result of a romance, what is left upon the memory by any really powerful and artistic novel, is something so complicated and refined that it is difficult to put a name upon it; and yet something as simple as nature. These two propositions may seem mutually destructive, but they are so only in appearance. The fact is, that art is working far ahead of language as well as of science, realising for us, by all manner of suggestions and exaggerations, effects for which as yet we have no direct name; nay, for which we may never perhaps have a direct name, for the reason that these effects do not enter very largely into the necessities of life. Hence alone is that suspicion of vagueness that often hangs about the purpose of a romance: it is clear enough to us in thought; but we are not used to consider anything clear until we are able to formulate it in words, and analytical language has not been sufficiently shaped to that end. We 

 Prev. P 18/240 next