Herbert Wells - An Englishman Looks at the World

It is no new discovery that the novel, like the drama, is a powerful instrument of moral suggestion. This has been understood in England ever since there has been such a thing as a novel in England. This has been recognised equally by novelists, novel-readers, and the people who wouldn't read novels under any condition whatever. Richardson wrote deliberately for edification, and "Tom Jones" is a powerful and effective appeal for a charitable, and even indulgent, attitude towards loose-living men. But excepting Fielding and one or two other of those partial exceptions that always occur in the case of critical generalisations, there is a definable difference between the novel of the past and what I may call the modern novel. It is a difference that is reflected upon the novel from a difference in the general way of thinking. It lies in the fact that formerly there was a feeling of certitude about moral values and standards of conduct that is altogether absent to-day. It wasn't so much that men were agreed upon these things—about these things there have always been enormous divergences of opinion—as that men were emphatic, cocksure, and unteachable about whatever they did happen to believe to a degree that no longer obtains. This is the Balfourian age, and even religion seeks to establish itself on doubt. There were, perhaps, just as many differences in the past as there are now, but the outlines were harder—they were, indeed, so hard as to be almost, to our sense, savage. You might be a Roman Catholic, and in that case you did not want to hear about Protestants, Turks, Infidels, except in tones of horror and hatred. You knew exactly what was good and what was evil. Your priest informed you upon these points, and all you needed in any novel you read was a confirmation, implicit or explicit, of these vivid, rather than charming, prejudices. If you were a Protestant you were equally clear and unshakable. Your sect, whichever sect you belonged to, knew the whole of truth and included all the nice people. It had nothing to learn in the world, and it wanted to learn nothing outside its sectarian convictions. The unbelievers you know, were just as bad, and said their creeds with an equal fury—merely interpolating nots . People of every sort—Catholic, Protestant, Infidel, or what not—were equally clear that good was good and bad was bad, that the world was made up of good characters whom you had to love, help and admire, and of bad characters to whom one might, in the interests of goodness, even lie, and whom one had to foil, defeat and triumph over shamelessly at every opportunity. That was the quality of the times. The novel reflected this quality of assurance, and its utmost charity was to unmask an apparent villain and show that he or she was really profoundly and correctly good, or to unmask an apparent saint and show the hypocrite. There was no such penetrating and pervading element of doubt and curiosity—and charity, about the rightfulness and beauty of conduct, such as one meets on every hand to-day.

The novel-reader of the past, therefore, like the novel-reader of the more provincial parts of England to-day, judged a novel by the convictions that had been built up in him by his training and his priest or his pastor. If it agreed with these convictions he approved; if it did not agree he disapproved—often with great energy. The novel, where it was not unconditionally banned altogether as a thing disturbing and unnecessary, was regarded as a thing subordinated to the teaching of the priest or pastor, or whatever director and dogma was followed. Its modest moral confirmations began when authority had completed its direction. The novel was good—if it seemed to harmonise with the graver exercises conducted by Mr. Chadband—and it was bad and outcast if Mr. Chadband said so. And it is over the bodies of discredited and disgruntled Chadbands that the novel escapes from its servitude and inferiority.

Now the conflict of authority against criticism is one of the eternal conflicts of humanity. It is the conflict of organisation against initiative, of discipline against freedom. It was the conflict of the priest against the prophet in ancient Judaea, of the Pharisee against the Nazarene, of the Realist against the Nominalist, of the Church against the Franciscan and the Lollard, of the Respectable Person against the Artist, of the hedge-clippers of mankind against the shooting buds. And to-day, while we live in a period of tightening and extending social organisation, we live also in a period of adventurous and insurgent thought, in an intellectual spring unprecedented in the world's history. There is an enormous criticism going on of the faiths upon which men's lives and associations are based, and of every standard and rule of conduct. And it is inevitable that the novel, just in the measure of its sincerity and ability, should reflect and co-operate in the atmosphere and uncertainties and changing variety of this seething and creative time.

And I do not mean merely that the novel is unavoidably charged with the representation of this wide and wonderful conflict. It is a necessary part of the conflict. The essential characteristic of this great intellectual revolution amidst which we are living to-day, that revolution of which the revival and restatement of nominalism under the name of pragmatism is the philosophical aspect, consists in the reassertion of the importance of the individual instance as against the generalisation. All our social, political, moral problems are being approached in a new spirit, in an inquiring and experimental spirit, which has small respect for abstract principles and deductive rules. We perceive more and more clearly, for example, that the study of social organisation is an empty and unprofitable study until we approach it as a study of the association and inter-reaction of individualised human beings inspired by diversified motives, ruled by traditions, and swayed by the suggestions of a complex intellectual atmosphere. And all our conceptions of the relationships between man and man, and of justice and rightfulness and social desirableness, remain something misfitting and inappropriate, something uncomfortable and potentially injurious, as if we were trying to wear sharp-edged clothes made for a giant out of tin, until we bring them to the test and measure of realised individualities.

And this is where the value and opportunity of the modern novel comes in. So far as I can see, it is the only medium through which we can discuss the great majority of the problems which are being raised in such bristling multitude by our contemporary social development Nearly every one of those problems has at its core a psychological problem, and not merely a psychological problem, but one in which the idea of individuality is an essential factor. Dealing with most of these questions by a rule or a generalisation is like putting a cordon round a jungle full of the most diversified sort of game. The hunting only begins when you leave the cordon behind you and push into the thickets.

Take, for example, the immense cluster of difficulties that arises out of the increasing complexity of our state. On every hand we are creating officials, and compared with only a few years ago the private life in a dozen fresh directions comes into contact with officialdom. But we still do practically nothing to work out the interesting changes that occur in this sort of man and that, when you withdraw him as it were from the common crowd of humanity, put his mind if not his body into uniform and endow him with powers and functions and rules. It is manifestly a study of the profoundest public and personal importance. It is manifestly a study of increasing importance. The process of social and political organisation that has been going on for the last quarter of a century is pretty clearly going on now if anything with increasing vigour—and for the most part the entire dependence of the consequences of the whole problem upon the reaction between the office on the one hand and the weak, uncertain, various human beings who take office on the other, doesn't seem even to be suspected by the energetic, virtuous and more or less amiable people whose activities in politics and upon the backstairs of politics bring about these developments. They assume that the sort of official they need, a combination of god-like virtue and intelligence with unfailing mechanical obedience, can be made out of just any young nephew. And I know of no means of persuading people that this is a rather unjustifiable assumption, and of creating an intelligent controlling criticism of officials and of assisting conscientious officials to an effective self-examination, and generally of keeping the atmosphere of official life sweet and healthy, except the novel. Yet so far the novel has scarcely begun its attack upon this particular field of human life, and all the attractive varied play of motive it contains.