Mla ciatation: Ker, W. P. On

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Ker, W.P. "On Beowulf." In "Beowulf" Epic and Romance: Essays on Medieval Literature, 158–75. London: Macmillan, 1908. Quoted as "On Beowulf" in Bloom, Harold, ed. The Hero's Journey, Bloom's Literary Themes. New York: Chelsea House Publishing, 2009. Bloom's Literature. Facts On File, Inc. Web. 16 Oct. 2014


In Epic and Romance: Essays on Medieval Literature (1897), Scottish critic W.P. Ker traces the romance tale to the "Teutonic Epic" journey described in theBeowulf poem. Arguing for Beowulf's aesthetic unity while pointing out what he sees as its shortcomings, Ker cites the Odyssey and the Iliad as epic journeys that symbolize the human experience. Similarly, Ker finds that Beowulf is indeed an epic hero and the Beowulf poem a testimony to the values—both pre- and post-Christian—found in later literary versions of the hero's journey. Thus, Beowulf's journey reflects the moral concerns of a war-waging age and looks forward to the way the romance literature that follows this age builds upon them.

The poem of Beowulf has been sorely tried; critics have long been at work on the body of it, to discover how it is made. It gives many openings for theories of agglutination and adulteration. Many things in it are plainly incongruous. The pedigree of Grendel is not authentic; the Christian sentiments and morals are not in keeping with the heroic or the mythical substance of the poem; the conduct of the narrative is not always clear or easy to follow. These difficulties and contradictions have to be explained; the composition of the poem has to be analysed; what is old has to be separated from what is new and adventitious; and the various senses and degrees of "old" and "new" have to be determined, in the criticism of the poem. With all this, however, the poem continues to possess at least an apparent and external unity. It is an extant book, whatever the history of its composition may have been; the book of the adventures of Beowulf, written out fair by two scribes in the tenth century; an epic poem, with a prologue at the beginning, and a judgment pronounced on the life of the hero at the end; a single book, considered as such by its transcribers, and making a claim to be so considered.

Before any process of disintegration is begun, this claim should be taken into account; the poem deserves to be appreciated as it stands. Whatever may be the secrets of its authorship, it exists as a single continuous narrative poem; and whatever its faults may be, it holds a position by itself, and a place of some honour, as the one extant poem of considerable length in the group to which it belongs. It has a meaning and value apart from the questions of its origin and its mode of production. Its present value as a poem is not affected by proofs or arguments regarding the way in which it may have been patched or edited. The patchwork theory has no power to make new faults in the poem; it can only point out what faults exist, and draw inferences from them. It does not take away from any dignity the book may possess in its present form, that it has been subjected to the same kind of examination as the Iliad. The poem may be reviewed as it stands, in order to find out what sort of thing passed for heroic poetry with the English at the time the present copy of the poem was written. However the result was obtained, Beowulf is, at any rate, the specimen by which the Teutonic epic poetry must be judged. It is the largest monument extant. There is nothing beyond it, in that kind, in respect of size and completeness. If the old Teutonic epic is judged to have failed, it must be because Beowulf is a failure.

Taking the most cursory view of the story of Beowulf, it is easy to recognise that the unity of the plot is not like the unity of the Iliad or the Odyssey. One is inclined at first to reckon Beowulf along with those epics of which Aristotle speaks, the Heracleids and Theseids, the authors of which "imagined that because Heracles was one person the story of his life could not fail to have unity."1

It is impossible to reduce the poem of Beowulf to the scale of Aristotle's Odysseywithout revealing the faults of structure in the English poem:—

A man in want of work goes abroad to the house of a certain king troubled by Harpies, and having accomplished the purification of the house returns home with honour. Long afterwards, having become king in his own country, he kills a dragon, but is at the same time choked by the venom of it. His people lament for him and build his tomb.

Aristotle made a summary of the Homeric poem, because he wished to show how simple its construction really was, apart from the episodes. It is impossible, by any process of reduction and simplification, to get rid of the duality in Beowulf. It has many episodes, quite consistent with a general unity of action, but there is something more than episodes, there is a sequel. It is as if to the Odyssey there had been added some later books telling in full of the old age of Odysseus, far from the sea, and his death at the hands of his son Telegonus. The adventure with the dragon is separate from the earlier adventures. It is only connected with them because the same person is involved in both.

It is plain from Aristotle's words that the Iliad and the Odyssey were in this, as in all respects, above and beyond the other Greek epics known to Aristotle. Homer had not to wait for Beowulf to serve as a foil to his excellence. That was provided in the other epic poems of Greece, in the cycle of Troy, in the epic stories of Theseus and Heracles. It seems probable that the poem of Beowulf may be at least as well knit as the Little Iliad, the Greek cyclic poem of which Aristotle names the principal incidents, contrasting its variety with the simplicity of theIliad and Odyssey.

Indeed it is clear that the plan of Beowulf might easily have been much worse, that is, more lax and diffuse, than it is. This meagre amount of praise will be allowed by the most grudging critics, if they will only think of the masses of French epic, and imagine the extent to which a French company of poets might have prolonged the narrative of the hero's life—the Enfances, the Chevalerie—before reaching the Death of Beowulf.

At line 2200 in Beowulf comes the long interval of time, the fifty years between the adventure at Heorot and the fight between Beowulf and the dragon. Two thousand lines are given to the first story, a thousand to the Death of Beowulf. Two thousand lines are occupied with the narrative of Beowulf's expedition, his voyage to Denmark, his fight with Grendel and Grendel's mother, his return to the land of the Gauts and his report of the whole matter to King Hygelac. In this part of the poem, taken by itself, there is no defect of unity. The action is one, with different parts all easily and naturally included between the first voyage and the return. It is amplified and complicated with details, but none of these introduce any new main interests. Beowulf is not like the Heracleids andTheseids. It transgresses the limits of the Homeric unity, by adding a sequel; but for all that it is not a mere string of adventures, like the bad epic in Horace's Art of Poetry, or the innocent plays described by Sir Philip Sidney and Cervantes. A third of the whole poem is detached, a separate adventure. The first two-thirds taken by themselves form a complete poem, with a single action; while, in the orthodox epic manner, various allusions and explanations are introduced regarding the past history of the personages involved, and the history of other people famous in tradition. The adventure at Heorot, taken by itself, would pass the scrutiny of Aristotle or Horace, as far as concerns the lines of its composition.

There is variety in it, but the variety is kept in order and not allowed to interfere or compete with the main story. The past history is disclosed, and the subordinate novels are interpolated, as in the Odyssey, in the course of an evening's conversation in hall, or in some other interval in the action. In the introduction of accessory matter, standing in different degrees of relevance to the main plot, the practice of Beowulf is not essentially different from that of classical epic.

In the Iliad we are allowed to catch something of the story of the old time before Agamemnon,—the war of Thebes, Lycurgus, Jason, Heracles,—and even of things less widely notable, less of a concern to the world than the voyage of Argo, such as, for instance, the business of Nestor in his youth. In Beowulf, in a similar way, the inexhaustible world outside the story is partly represented by means of allusions and digressions. The tragedy of Finnesburh is sung by the harper, and his song is reported at some length, not merely referred to in passing. The stories of Thrytho, of Heremod, of Sigemund the Waelsing and Fitela his son (Sigmund and Sinfiotli), are introduced like the stories of Lycurgus or of Jason in Homer. They are illustrations of the action, taken from other cycles. The fortunes of the Danish and Gautish kings, the fall of Hygelac, the feuds with Sweden, these matters come into closer relation with the story. They are not so much illustrations taken in from without, as points of attachment between the history of Beowulf and the untold history all round it, the history of the persons concerned, along with Beowulf himself, in the vicissitudes of the Danish and Gautish kingdoms.

In the fragments of Waldere, also, there are allusions to other stories. In Walderethere has been lost a poem much longer and fuller than the Lay of Hildebrand, or any of the poems of the "Elder Edda"—a poem more like Beowulf than any of those now extant. The references to Weland, to Widia Weland's son, to Hama and Theodoric, are of the same sort as the references in Beowulf to the story of Froda and Ingeld, or the references in the Iliad to the adventures of Tydeus.

In the episodic passages of Beowulf there are, curiously, the same degrees of relevance as in the Iliad and Odyssey.

Some of them are necessary to the proper fulness of the story, though not essential parts of the plot. Such are the references to Beowulf's swimming-match; and such, in the Odyssey, is the tale told to Alcinous.

The allusions to the wars of Hygelac have the same value as the references in the Iliad and the Odyssey to such portions of the tale of Troy, and of the return of the Greek lords, as are not immediately connected with the anger of Achilles, or the return of Odysseus. The tale of Finnesburh in Beowulf is purely an interlude, as much as the ballad of Ares and Aphrodite in the Odyssey.

Many of the references to other legends in the Iliad are illustrative and comparative, like the passages about Heremod or Thrytho in Beowulf. "Ares suffered when Otus and Ephialtes kept him in a brazen vat, Hera suffered and Hades suffered, and were shot with the arrows of the son of Amphitryon" (Il. v. 385). The long parenthetical story of Heracles in a speech of Agamemnon (Il. xx. 98) has the same irrelevance of association, and has incurred the same critical suspicions, as the contrast of Hygd and Thrytho, a fairly long passage out of a wholly different story, introduced in Beowulf on the very slightest of suggestions.

Thus in Beowulf and in the Homeric poems there are episodes that are strictly relevant and consistent, filling up the epic plan, opening out the perspective of the story; also episodes that without being strictly relevant are rightly proportioned and subordinated, like the interlude of Finnesburh, decoration added to the structure, but not overloading it, nor interfering with the design; and, thirdly, episodes that seem to be irrelevant, and may possibly be interpolations. All these kinds have the effect of increasing the mass as well as the variety of the work, and they give to Beowulf the character of a poem which, in dealing with one action out of an heroic cycle, is able, by the way, to hint at and partially represent a great number of other stories.

It is not in the episodes alone that Beowulf has an advantage over the shorter and more summary poems. The frequent episodes are only part of the general liberality of the narrative.

The narrative is far more cramped than in Homer; but when compared with the short method of the Northern poems, not to speak of the ballads, it comes out as itself Homeric by contrast. It succeeds in representing pretty fully and continuously, not by mere allusions and implications, certain portions of heroic life and action. The principal actions in Beowulf are curiously trivial, taken by themselves. All around them are the rumours of great heroic and tragic events, and the scene and the personages are heroic and magnificent. But the plot in itself has no very great poetical value; as compared with the tragic themes of the Niblung legend, with the tale of Finnesburh, or even with the historical seriousness of the Maldon poem, it lacks weight. The largest of the extant poems of this school has the least important subject-matter; while things essentially and in the abstract more important, like the tragedy of Froda and Ingeld, are thrust away into the corners of the poem.

In the killing of a monster like Grendel, or in the killing of a dragon, there is nothing particularly interesting; no complication to make a fit subject for epic.Beowulf is defective from the first in respect of plot.

The story of Grendel and his mother is one that has been told in myriads of ways; there is nothing commoner, except dragons. The killing of dragons and other monsters is the regular occupation of the heroes of old wives' tales; and it is difficult to give individuality or epic dignity to commonplaces of this sort. This, however, is accomplished in the poem of Beowulf. Nothing can make the story of Grendel dramatic like the story of Waldere or of Finnesburh. But the poet has, at any rate, in connexion with this simple theme, given a rendering, consistent, adequate, and well-proportioned, of certain aspects of life and certain representative characters in an heroic age.

The characters in Beowulf are not much more than types; not much more clearly individual than the persons of a comedy of Terence. In the shorter Northern poems there are the characters of Brynhild and Gudrun; there is nothing inBeowulf to compare with them, although in Beowulf the personages are consistent with themselves, and intelligible.

Hrothgar is the generous king whose qualities were in Northern history transferred to his nephew Hrothulf (Hrolf Kraki), the type of peaceful strength, a man of war living quietly in the intervals of war.

Beowulf is like him in magnanimity, but his character is less uniform. He is not one of the more cruel adventurers, like Starkad in the myth, or some of the men of the Icelandic Sagas. But he is an adventurer with something strange and not altogether safe in his disposition. His youth was like that of the lubberly younger sons in the fairy stories. "They said that he was slack." Though he does not swagger like a Berserk, nor "gab" like the Paladins of Charlemagne, he is ready on provocation to boast of what he has done. The pathetic sentiment of his farewell to Hrothgar is possibly to be ascribed, in the details of its rhetoric, to the common affection of Anglo-Saxon poetry for the elegiac mood; but the softer passages are not out of keeping with the wilder moments of Beowulf, and they add greatly to the interest of his character. He is more variable, more dramatic, than the king and queen of the Danes, or any of the secondary personages.

Wealhtheo, the queen, represents the poetical idea of a noble lady. There is nothing complex or strongly dramatic in her character.

Hunferth, the envious man, brought in as a foil to Beowulf, is not caricatured or exaggerated. His sourness is that of a critic and a politician, disinclined to accept newcomers on their own valuation. He is not a figure of envy in a moral allegory.

In the latter part of the poem it is impossible to find in the character of Wiglaf more than the general and abstract qualities of the "loyal servitor."

Yet all those abstract and typical characters are introduced in such a way as to complete and fill up the picture. The general impression is one of variety and complexity, though the elements of it are simple enough.

With a plot like that of Beowulf it might seem that there was danger of a lapse from the more serious kind of heroic composition into a more trivial kind. Certainly there is nothing in the plain story to give much help to the author; nothing in Grendel to fascinate or tempt a poet with a story made to his hand.

The plot of Beowulf is not more serious than that of a thousand easy-going romances of chivalry, and of fairy tales beyond all number.

The strength of what may be called an epic tradition is shown in the superiority of Beowulf to the temptations of cheap romantic commonplace. Beowulf, the hero, is, after all, something different from the giant-killer of popular stories, the dragonslayer of the romantic schools. It is the virtue and the triumph of the poet of Beowulf that when all is done the characters of the poem remain distinct in the memory, that the thoughts and sentiments of the poem are remembered as significant, in a way that is not the way of the common romance. Although the incidents that take up the principal part of the scene of Beowulf are among the commonest in popular stories, it is impossible to mistake the poem for one of the ordinary tales of terror and wonder. The essential part of the poem is the drama of characters; though the plot happens to be such that the characters are never made to undergo a tragic ordeal like that of so many of the other Teutonic stories. It is not incorrect to say of the poem of Beowulf that the main story is really less important to the imagination than the accessories by which the characters are defined and distinguished. It is the defect of the poem this should be so. There is a constitutional weakness in it.

Although the two stories of Beowulf are both commonplace, there is a difference between the story of Grendel and the story of the dragon.

The story of the dragon is more of a commonplace than the other. Almost every one of any distinction, and many quite ordinary people in certain periods of history have killed dragons; from Hercules and Bellerophon to Gawain, who, on different occasions, narrowly escaped the fate of Beowulf; from Harald Hardrada (who killed two at least) to More of More Hall who killed the dragon of Wantley.

The latter part of Beowulf is a tissue of commonplaces of every kind: the dragon and its treasure; the devastation of the land; the hero against the dragon; the defection of his companions; the loyalty of one of them; the fight with the dragon; the dragon killed, and the hero dying from the flame and the venom of it; these are commonplaces of the story, and in addition to these there are commonplaces of sentiment, the old theme of this transitory life that "fareth as a fantasy," the lament for the glory passed away; and the equally common theme of loyalty and treason in contrast. Everything is commonplace, while everything is also magnificent in its way, and set forth in the right epic style, with elegiac passages here and there. Everything is commonplace except the allusions to matters of historical tradition, such as the death of Ongentheow, the death of Hygelac. With these exceptions, there is nothing in the latter part of Beowulf that might not have been taken at almost any time from the common stock of fables and appropriate sentiments, familiar to every maker or hearer of poetry from the days of the English conquest of Britain, and long before that. It is not to be denied that the commonplaces here are handled with some discretion; though commonplace, they are not mean or dull.2

The story of Grendel and his mother is also common, but not as common as the dragon. The function of this story is considerably different from the other, and the class to which it belongs is differently distributed in literature. Both are stories of the killing of monsters, both belong naturally to legends of heroes like Theseus or Hercules. But for literature there is this difference between them, that dragons belong more appropriately to the more fantastic kinds of narrative, while stories of the deliverance of a house from a pestilent goblin are much more capable of sober treatment and verisimilitude. Dragons are more easily distinguished and set aside as fabulous monsters than is the family of Grendel. Thus the story of Grendel is much better fitted than the dragon story for a composition like Beowulf, which includes a considerable amount of the detail of common experience and ordinary life. Dragons are easily scared from the neighbourhood of sober experience; they have to be looked for in the mountains and caverns of romance or fable. Whereas Grendel remains a possibility in the middle of common life, long after the last dragon has been disposed of.

The people who tell fairy stories like the Well of the World's End, the Knight of the Red Shield, the Castle East o' the Sun and West o' the Moon, have no belief, have neither belief nor disbelief, in the adventures of them. But the same people have other stories of which they take a different view, stories of wonderful things more near to their own experience. Many a man to whom the Well of the World's End is an idea, a fancy, has in his mind a story like that of Grendel which he believes, which makes him afraid. The bogle that comes to a house at night and throttles the goodman is a creature more hardy than the dragon, and more persevering. Stories like that of Beowulf and Grendel are to be found along with other popular stories in collections; but they are to be distinguished from them. There are popular heroes of tradition to this day who are called to do for lonely houses the service done by Beowulf for the house of Hrothgar.

Peer Gynt (not Ibsen's Peer Gynt, who is sophisticated, but the original Peter) is a lonely deer-stalker on the fells, who is asked by his neighbour to come and keep his house for him, which is infested with trolls. Peer Gynt clears them out,3and goes back to his deer-stalking. The story is plainly one that touches the facts of life more nearly than stories of Shortshanks or the Blue Belt. The trolls are a possibility.

The story of Uistean Mor mac Ghille Phadrig is another of the same sort.4 It is not, like the Battle of the Birds or Conal Gulban, a thing of pure fantasy. It is a story that may pass for true when the others have lost everything but their pure imaginative value as stories. Here, again, in the West Highlands, the champion is called upon like Beowulf and Peer Gynt to save his neighbours from a warlock. And it is matter of history that Bishop Gudmund Arason of Holar in Iceland had to suppress a creature with a seal's head, Selkolla, that played the game of Grendel.5

There are people, no doubt, for whom Peer Gynt and the trolls, Uistean Mor and the warlock, even Selkolla that Bishop Gudmund killed, are as impossible as the dragon in the end of the poem of Beowulf. But it is certain that stories like those of Grendel are commonly believed in many places where dragons are extinct. The story of Beowulf and Grendel is not wildly fantastic or improbable; it agrees with the conditions of real life, as they have been commonly understood at all times except those of peculiar enlightenment and rationalism. It is not to be compared with the Phaeacian stories of the adventures of Odysseus. Those stories in theOdyssey are plainly and intentionally in a different order of imagination from the story of the killing of the suitors. They are pure romance, and if any hearer of theOdyssey in ancient times was led to go in search of the island of Calypso, he might come back with the same confession as the seeker for the wonders of Broceliande,—fol i alai. But there are other wonderful things in the Iliad and theOdyssey which are equally improbable to the modern rationalist and sceptic; yet by no means of the same kind of wonder as Calypso or the Sirens. Probably few of the earliest hearers of the Odyssey thought of the Sirens or of Calypso as anywhere near them, while many of them must have had their grandmothers' testimony for things like the portents before the death of the suitors. Grendel in the poem of Beowulf is in the same order of existence as these portents. If they are superstitions, they are among the most persistent; and they are superstitions, rather than creatures of romance. The fight with Grendel is not of the same kind of adventure as Sigurd at the hedge of flame, or Svipdag at the enchanted castle. And the episode of Grendel's mother is further from matter of fact than the story of Grendel himself. The description of the desolate water is justly recognised as one of the masterpieces of the old English poetry; it deserves all that has been said of it as a passage of romance in the middle of epic. Beowulf's descent under the water, his fight with the warlock's mother, the darkness of that "sea dingle," the light of the mysterious sword, all this, if less admirably worked out than the first description of the dolorous mere, is quite as far from Heorot and the report of the table-talk of Hrothgar, Beowulf, and Hunferth. It is also a different sort of thing from the fight with Grendel. There is more of supernatural incident, more romantic ornament, less of that concentration in the struggle which makes the fight with Grendel almost as good in its way as its Icelandic counterpart, the wrestling of Grettir and Glam.

The story of Beowulf, which in the fight with Grendel has analogies with the plainer kind of goblin story, rather alters its tone in the fight with Grendel's mother. There are parallels in Grettis Saga, and elsewhere, to encounters like this, with a hag or ogress under water; stories of this sort have been found no less credible than stories of haunting warlocks like Grendel. But this second story is not told in the same way as the first. It has more of the fashion and temper of mythical fable or romance, and less of matter of fact. More particularly, the old sword, the sword of light, in the possession of Grendel's dam in her house under the water, makes one think of other legends of mysterious swords, like that of Helgi, and the "glaives of light" that are in the keeping of divers "gyre carlines" in the West Highland Tales. Further, the whole scheme is a common one in popular stories, especially in Celtic stories of giants; after the giant is killed his mother comes to avenge him.

Nevertheless, the controlling power in the story of Beowulf is not that of any kind of romance or fantastic invention; neither the original fantasy of popular stories nor the literary embellishments of romantic schools of poetry. There are things inBeowulf that may be compared to things in the fairy tales; and, again, there are passages of high value for their use of the motive of pure awe and mystery. But the poem is made what it is by the power with which the characters are kept in right relation to their circumstances. The hero is not lost or carried away in his adventures. The introduction, the arrival in Heorot, and the conclusion, the return of Beowulf to his own country, are quite unlike the manner of pure romance; and these are the parts of the work by which it is most accurately to be judged.

The adventure of Grendel is put in its right proportion when it is related by Beowulf to Hygelac. The repetition of the story, in a shorter form, and in the mouth of the hero himself, gives strength and body to a theme that was in danger of appearing trivial and fantastic. The popular story-teller has done his work when he has told the adventures of the giant-killer; the epic poet has failed, if he has done no more than this.

The character and personage of Beowulf must be brought out and impressed on the audience; it is the poet's hero that they are bound to admire. He appeals to them, not directly, but with unmistakable force and emphasis, to say that they have beheld ("as may unworthiness define") the nature of the hero, and to give him their praises.

The beauty and the strength of the poem of Beowulf, as of all true epic, depend mainly upon its comprehensive power, its inclusion of various aspects, its faculty of changing the mood of the story. The fight with Grendel is an adventure of one sort, grim, unrelieved, touching close upon the springs of mortal terror, the recollection or the apprehension of real adversaries possibly to be met with in the darkness. The fight with Grendel's mother touches on other motives; the terror is further away from human habitations, and it is accompanied with a charm and a beauty, the beauty of the Gorgon, such as is absent from the first adventure. It would have loosened the tension and broken the unity of the scene, if any such irrelevances had been admitted into the story of the fight with Grendel. The fight with Grendel's mother is fought under other conditions; the stress is not the same; the hero goes out to conquer, he is beset by no such apprehension as in the case of the night attack. The poet is at this point free to make use of a new set of motives, and here it is rather the scene than the action that is made vivid to the mind. But after this excursion the story comes back to its heroic beginning; and the conversation of Beowulf with his hosts in Denmark, and the report that he gives to his kin in Gautland, are enough to reduce to its right episodic dimensions the fantasy of the adventure under the sea. In the latter part of the poem there is still another distribution of interest. The conversation of the personages is still to be found occasionally carried on in the steady tones of people who have lives of their own, and belong to a world where the tunes are not all in one key. At the same time, it cannot be denied that the story of theDeath of Beowulf is inclined to monotony. The epic variety and independence are obliterated by the too obviously pathetic intention. The character of this part of the poem is that of a late school of heroic poetry attempting, and with some success, to extract the spirit of an older kind of poetry, and to represent in one scene an heroic ideal or example, with emphasis and with concentration of all the available matter. But while the end of the poem may lose in some things by comparison with the stronger earlier parts, it is not so wholly lost in the charms of pathetic meditation as to forget the martial tone and the more resolute air altogether. There was a danger that Beowulf should be transformed into a sort of Amadis, a mirror of the earlier chivalry; with a loyal servitor attending upon his death, and uttering the rhetorical panegyric of an abstract ideal. But this danger is avoided, at least in part. Beowulf is still, in his death, a sharer in the fortunes of the Northern houses; he keeps his history. The fight with the dragon is shot through with reminiscences of the Gautish wars: Wiglaf speaks his sorrow for the champion of the Gauts; the virtues of Beowulf are not those of a fictitious paragon king, but of a man who would be missed in the day when the enemies of the Gauts should come upon them.

The epic keeps its hold upon what went before, and on what is to come. Its construction is solid, not flat. It is exposed to the attractions of all kinds of subordinate and partial literature,—the fairy story, the conventional romance, the pathetic legend,—and it escapes them all by taking them all up as moments, as episodes and points of view, governed by the conception, or the comprehension, of some of the possibilities of human character in a certain form of society. It does not impose any one view on the reader; it gives what it is the proper task of the higher kind of fiction to give—the play of life in different moods and under different aspects.

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