Which brings us again, after this long way about, to Jane Austen and her novels, and that troublesome question about them. She was great and they were beautiful, because she and they were honest, and dealt with nature nearly a hundred years ago as realism deals with it to-day. Realism is nothing more and nothing less than the truthful treatment of material, and Jane Austen was the first and the last of the English novelists to treat material with entire truthfulness. Because she did this, she remains the most artistic of the English novelists, and alone worthy to be matched with the great Scandinavian and Slavic and Latin artists. It is not a question of intellect, or not wholly that. The English have mind enough; but they have not taste enough; or, rather, their taste has been perverted by their false criticism, which is based upon personal preference, and not upon, principle; which instructs a man to think that what he likes is good, instead of teaching him first to distinguish what is good before he likes it. The art of fiction, as Jane Austen knew it, declined from her through Scott, and Bulwer, and Dickens, and Charlotte Bronte, and Thackeray, and even George Eliot, because the mania of romanticism had seized upon all Europe, and these great writers could not escape the taint of their time; but it has shown few signs of recovery in England, because English criticism, in the presence of the Continental masterpieces, has continued provincial and special and personal, and has expressed a love and a hate which had to do with the quality of the artist rather than the character of his work. It was inevitable that in their time the English romanticists should treat, as Senor Valdes says, “the barbarous customs of the Middle Ages, softening and distorting them, as Walter Scott and his kind did;” that they should “devote themselves to falsifying nature, refining and subtilizing sentiment, and modifying psychology after their own fancy,” like Bulwer and Dickens, as well as like Rousseau and Madame de Stael, not to mention Balzac, the worst of all that sort at his worst. This was the natural course of the disease; but it really seems as if it were their criticism that was to blame for the rest: not, indeed, for the performance of this writer or that, for criticism can never affect the actual doing of a thing; but for the esteem in which this writer or that is held through the perpetuation of false ideals. The only observer of English middle-class life since Jane Austen worthy to be named with her was not George Eliot, who was first ethical and then artistic, who transcended her in everything but the form and method most essential to art, and there fell hopelessly below her. It was Anthony Trollope who was most like her in simple honesty and instinctive truth, as unphilosophized as the light of common day; but he was so warped from a wholesome ideal as to wish at times to be like Thackeray, and to stand about in his scene, talking it over with his hands in his pockets, interrupting the action, and spoiling the illusion in which alone the truth of art resides. Mainly, his instinct was too much for his ideal, and with a low view of life in its civic relations and a thoroughly bourgeois soul, he yet produced works whose beauty is surpassed only by the effect of a more poetic writer in the novels of Thomas Hardy. Yet if a vote of English criticism even at this late day, when all Continental Europe has the light of aesthetic truth, could be taken, the majority against these artists would be overwhelmingly in favor of a writer who had so little artistic sensibility, that he never hesitated on any occasion, great or small, to make a foray among his characters, and catch them up to show them to the reader and tell him how beautiful or ugly they were; and cry out over their amazing properties.

“How few materials,” says Emerson, “are yet used by our arts! The mass of creatures and of qualities are still hid and expectant,” and to break new ground is still one of the uncommonest and most heroic of the virtues. The artists are not alone to blame for the timidity that keeps them in the old furrows of the worn-out fields; most of those whom they live to please, or live by pleasing, prefer to have them remain there; it wants rare virtue to appreciate what is new, as well as to invent it; and the “easy things to understand” are the conventional things. This is why the ordinary English novel, with its hackneyed plot, scenes, and figures, is more comfortable to the ordinary American than an American novel, which deals, at its worst, with comparatively new interests and motives. To adjust one’s self to the enjoyment of these costs an intellectual effort, and an intellectual effort is what no ordinary person likes to make. It is only the extraordinary person who can say, with Emerson: “I ask not for the great, the remote, the romantic . . . . I embrace the common; I sit at the feet of the familiar and the low . . . . Man is surprised to find that things near are not less beautiful and wondrous than things remote . . . . The perception of the worth of the vulgar is fruitful in discoveries . . . . The foolish man wonders at the unusual, but the wise man at the usual . . . . To-day always looks mean to the thoughtless; but to-day is a king in disguise . . . . Banks and tariffs, the newspaper and caucus, Methodism and Unitarianism, are flat and dull to dull people, but rest on the same foundations of wonder as the town of Troy and the temple of Delphos.”

Perhaps we ought not to deny their town of Troy and their temple of Delphos to the dull people; but if we ought, and if we did, they would still insist upon having them. An English novel, full of titles and rank, is apparently essential to the happiness of such people; their weak and childish imagination is at home in its familiar environment; they know what they are reading; the fact that it is hash many times warmed over reassures them; whereas a story of our own life, honestly studied and faithfully represented, troubles them with varied misgiving. They are not sure that it is literature; they do not feel that it is good society; its characters, so like their own, strike them as commonplace; they say they do not wish to know such people.

Everything in England is appreciable to the literary sense, while the sense of the literary worth of things in America is still faint and weak with most people, with the vast majority who “ask for the great, the remote, the romantic,” who cannot “embrace the common,” cannot “sit at the feet of the familiar and the low,” in the good company of Emerson. We are all, or nearly all, struggling to be distinguished from the mass, and to be set apart in select circles and upper classes like the fine people we have read about. We are really a mixture of the plebeian ingredients of the whole world; but that is not bad; our vulgarity consists in trying to ignore “the worth of the vulgar,” in believing that the superfine is better.