and events pass before our eyes. In their opinion, psychology should be concealed in the book, as it is in reality, under the facts of existence.
The novel as conceived of on these lines gains in interest; there is more movement in the narrative, more colour, more of the stir of life.
Hence, instead of giving long explanations of the state of mind of an actor in the tale, the objective writer tries to discover the action or gesture which that state of mind must inevitably lead to in that personage, under certain given circumstances. And he makes him so demean himself from one end of the volume to the other, that all his actions, all his movements shall be the expression of his inmost nature, of all his thoughts, and all his impulses or hesitancies. Thus they conceal psychology instead of flaunting it; they use it as the skeleton of the work, just as the invisible bony frame-work is the skeleton of the human body. The artist who paints our portrait does not display our bones.
To me it seems that the novel executed on this principle gains also in sincerity. It is, in the first place, more probable, for the persons we see moving about us do not divulge to us the motives from which they act.
We must also take into account the fact that,
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