Heroines Of Fiction. William Dean HowellsЧитать онлайн книгу.
its absolute excellence. There have been authors enough who have written one extraordinary book; but all Jane Austen's books are extraordinary, and " Persuasion," " Northanger Abbey," "Emma," "Mansfield Park," and " Sense and Sensibility," are each a masterpiece, inferior only to " Pride and Prejudice," which was written first. After the young girl of twenty had written it, she kept it half as many years longer before she printed it. In mere order of chronology it belongs to the eighteenth century, but in spirit it is distinctly of the nineteenth century, as we feel that cycle to have been when we feel proudest of it. In manners as much as in methods it is such a vast advance upon the work of her sister novelists that you wonder whether some change had not already taken place in English society which she notes, and which they fail to note.
The topics of the best fiction of any time will probably be those which decent men and women talk of together in the best company; and such topics vary greatly from time to time. There is no reason to think that Frances Burney and Maria Edgeworth were less pure- minded than Jane Austen, but they dealt with phases of human experience which she did not deal with, because their friends and acquaintances did so, without being essentially worse than hers. A tendency towards a more scrupulous tone seems to have been the effect of the general revival in religion at the close of the last century, which persisted down to that time in our own century when the rise of scientific agnosticism loosed the bonds of expression. Now again of late years men and women in the best company talk together of things which would not have been discussed during the second and third quarters of the century. One must hedge one's position on such a point with many perhapses; nothing can be affirmed with certainty; the most that can be said is that the tone if not the temper, the manners if not the morals, which have lately been called fin de siècle, are noticeably more akin to what was fin de siècle a hundred years ago, than they are to what was thought fit in polite society fifty years ago. Possibly another revival of religion will bring another change, such as the purity of Jane Austen's fiction may have forecast rather than reported. But we do not know this, and possibly again her books are what they are in matter and manner because the little world of county society which she observed was wholesomer and decenter than the great world of London society which Miss Burney and Miss Edgeworth studied.
An author is as great for what he leaves out as for what he puts in; and Jane Austen shows her mastery in nothing more than in her avoidance of moving accidents for her most moving effects. She seems to have known intuitively that character resides in habit, and that for the novelist to seek its expression in violent events would be as stupid as for the painter to expect an alarm of fire or burglary to startle his sitter into a valuable revelation of his qualities. She puts from her, therefore, all the tremendous contrivances of her predecessors, and takes her place quietly on the ground to which they were, the best of them, falteringly and uncertainly feeling their way. After Defoe and Goldsmith she was the first to write a thoroughly artistic novel in English, and she surpassed Goldsmith as far in method as she refined upon Defoe in material. Among her contemporaries she was as easily first as Shakespeare among the Elizabethan dramatists; and in the high excellencies of symmetrical form, force of characterization, clearness of conception, simplicity and temperance of means, she is still supreme: that girl who began at twenty with such a masterpiece as "Pride and Prejudice," and ended with such a masterpiece as "Persuasion ' at forty-two!
II
The story of " Pride and Prejudice " has of late years become known to a constantly, almost rapidly, increasing cult, as it must be called, for the readers of Jane Austen are hardly ever less than her adorers: she is a passion and a creed, if not quite a religion A beautiful, clever, and cultivated girl is already piqued and interested if not in love with a handsome, high-principled, excessively proud man, when she becomes bitterly prejudiced against him by the slanders of a worthless beneficiary of his family. The girl is Elizabeth Bennet, the young man is Fitzwilliam Darcy, and they first meet at a ball, where he behaves with ungracious indifference to her, and afterwards at the dinners and parties of a small country neighborhood where persons theoretically beyond the pale of gentility are admitted at least on sufferance; the stately manners of the day are relaxed by youth and high spirits; and no doubt the academic elevation of the language lapses oftener on the lips of the pretty girls and the lively young men than an author still in her nonage, and zealous for the dignity of her style, will allow to appear in the conversation of her hero and heroine.
From the beginning it seems to Darcy that Elizabeth shines in talk beyond all the other women, though sometimes she shines to his cost. But banter from a pretty girl goes farther than flattery with a generous man; and from the first Darcy is attracted by Elizabeth Bennet's wit, as much as he is repelled by her family. In fact, he cannot get on with her family, for though the Bennets have a sufficiently good standing, in virtue of the father's quality as a gentleman, it is in spite the mother's folly and vulgarity, and the folly and vulgarity of all her sisters but one. Mrs. Bennet is probably the most entire and perfect simpleton ever drawn in fiction, and her husband renders' life with her supportable by amusing himself with her absurdities. He buries himself in his books and leaves her the management of his daughters in society, getting what comfort he can out of the humor and intellectual sympathy of Elizabeth and the charming goodness of her elder sister Jane. The rest of his family are almost as impossible to him as they are to Darcy, to whom Mr. Bennet himself is rather impossible, and who resolves not only to crush out his own passion for Elizabeth, but to break off his friend Bingley's love for her sister Jane. His success in doing the one is not so great, but he duly comes to offer himself to Elizabeth, and he owns in the humiliation of rejection that he believes he has failed in the other.
From this point the affair, already so daringly imagined, is one of the most daring in fiction; and less courage, less art, less truth than the author brings to its management would not have availed. It is a great stroke of originality to have Darcy write the letter he does after his rejection, not only confessing, but defending his course; and it is from the subtle but perfectly honest sense of character in her heroine that the author has Elizabeth do justice to him in what she so bitterly resents. When she has once acknowledged the reason of much that he says of her family (and she has to acknowledge that even about her adored father he is measurably right), it is a question merely of friendly chances as to the event. These are overwhelmingly supplied, to Elizabeth's confusion, by Darcy's behavior in helping save her sister Lydia from the shame and ruin of her elopement with the worthless Wickham. Lydia, who is only less entirely and delightfully a fool than Mrs. Bennet herself, is thus the means of Elizabeth's coming to such a good mind in regard to Darcy that her only misgiving is lest it may be too late. But Darcy has been enlightened as well as she: he does everything a man can to repair his wrongs and blunders, and with a very little leading from Elizabeth, he is brought to offer himself again, and is accepted with what maybe called demure transport, and certainly with alacrity.
There is nothing more deliciously lover-like than the talks in which they go over all the past events when they are sure of each other; and Elizabeth, who is apt to seem at other times a little too sarcastic, a little too ironical, is here sweetly and dearly and wisely herself. The latest of these talks was that in which she " wanted Mr. Darcy to account for his ever having fallen in love with her. 'How could you begin? I can comprehend your going on charmingly, when you had once made a beginning; but what could have set you off in the first place?' ' I cannot fix on the hour, or the spot, or the look which first laid the foundation. ... I was in the middle of it before I knew I had begun.' 'My beauty you had early withstood, and as to my manners —my behavior to you was at least always bordering on the uncivil, and I never spoke to you without rather wishing to give you pain than not. Now, be sincere; did you admire me for my impertinence?' 'For the liveliness of your mind, I did.' 'You may as well call it impertinence at once. It was very little less. The fact is, you were sick of civility, of deference, of officious attention. You were disgusted with the women who were always speaking, and looking, and thinking for your approbation alone. I roused and interested you because I was so unlike them. Had you not been really amiable you would have hated me for it, but in spite of the pains you took to disguise yourself, your feelings were always noble and just. . . . There, I have saved you the trouble of accounting for it, and, all things considered, I begin to think it perfectly reasonable. To be sure, you knew no actual good of me, but nobody thinks of that when they fall in love. . . . What made you so shy of me when you first called,