Characteristics of the Genius and Writings of L. E. L./Uses of Fiction
USES OF FICTION.
If it be true, that "Example is better than precept," it must be wise to avail ourselves of its utility whenever we desire most beneficially to influence our fellow-creatures. The truth of this adage, like most others that have passed into axioms, grows out from among the very roots of human nature, and arises from the present connexion of mind with matter, which connexion renders us more apt to receive impressions from what is presented in some actual and tangible form, than from mere intellectual abstractions. Composed, as we are, of body and spirit, we seem to have an instinctive liking for objects which appeal to both the component parts of our being. We almost require an outward representation of inward thoughts and feelings. This is a natural propensity, and an universal taste.
In the childhood of society—the civilized state of man—this propensity displays itself in allegorical language and symbolical representations. In actual childhood it is discoverable in the eager delight with which children will leave their play to listen to a story; in the illusions with which they frequently amuse themselves by "pretending," as they call this sort of pleasure; and in the facility with which instruction will be received through the media of sensible signs. With scarcely less delight do those of maturer years resign themselves to the spell of the enchanter, who raises around them his creations animated with life, and actuated by like passions with themselves.
If these facts be true, what is the part of wisdom? To endeavour to crush this taste? No;—has not every disposition been implanted by our Creator for some wise and good purpose?
Let wisdom and virtue rather continue to mould this propensity into a cause of beneficial influence. In doing this, other agencies must necessarily be brought to subserve the grand end of practical utility. Hereby may be demonstrated the power and consequent importance of Fiction, when employed as a moral agent in upholding virtue and denouncing vice, in exposing the follies and condemning the wickedness of mankind.
Let us go back to our own early impressions: who cannot retrace a long-growing dislike and fear of some particular fault, or a still-strengthening approval of an opposite virtue to the vivid effect produced by a well-written tale? Both virtue and fault perhaps had been set before us a hundred times, but it was not till we saw the one exemplified in the conduct of a good girl, or the consequences of the other pictured in the misery of a naughty boy, that either wrought upon us any degree of that influential impression which has since grown with our growth and strengthened with our strength.
If we could carry out the suggestion of Foster, in one of his admirable essays—"Were it possible for a man to live back again to his infancy, through all the scenes of his life, and to give back from his mind and character at each time and circumstance as he repassed it, exactly that which he took from it when he was there before, it would be curious to see the fragments and exuviae of the moral man lying here and there along the retrograde path, and to find what he was in the beginning of this train of modifications and acquisitions,"—if this process could be realized, it would be, interesting to observe how we should take back to our very nursery, and its oft-told tales, some of our strongest impressions of right and wrong. Might we not thus retrace, through all its gradual accumulation from after circumstances, our indignation against oppression, and our contempt and dislike for avarice to "the greedy guardian uncle fierce," in our pet story of "The Babes in the Wood"? or somewhat of our conviction of the benefits of humility and punctuality to Cinderella? Should we find none of our feeling of rightful independence, and self-exertion owing to boyhood's hero, Robinson Crusoe? or just sentiments of action to such books as "Sandford and Merton," and Miss Edgeworth's and Mrs. Sherwood's delightful narratives? Should we not thus, moreover, find ourselves indebted for our first lessons on the advantages of patience, industry, and all sorts of virtues, to many a delicious faëry tale, read while nestling under the sunny trees of our childhood's garden, or in a snug corner by the winter-hearth of our early days?
We have heard it rumoured, again and again, that Philosophy intends to extirpate these so-called frivolous fictions from the domain of childhood, after they have been led as captives to grace the triumphal march of intellect. Our own private conviction is, that Philosophy is far too wise to attempt such an egregious folly. No, no; Philosophy is too conversant with the features of her sister, Wisdom, not to recognize her, and acknowledge her influences, even under the simplest disguises she may sometimes see fit to assume—ay, in the very disguises, too, from which the ignorant and superficial have disdainfully turned; although, had they received her, veiled as she was, they might unawares have entertained an angel of truth.* [1]
We cannot leave this part of the argument for the usefulness of fiction without offering, in the name of all young people who have come under their influences, a most grateful acknowledgment for Miss Edgeworth's and Mrs. Sherwood's admirable tales; so full of principle exemplified in character,—so fraught with precept enforced by example.
Look on now to maturer years; does fiction then lose its influence? Have we not often found the moral truth, or the moral quality, which, in its abstract nature, has scarcely been apprehended by us, startling us into attention, fixing itself with powerful grasp on all our faculties, when clothed in its developed attributes,—when embodied in a real character?
As the agreeableness of fiction to our taste originates in the natural propensity previously considered, so likewise does the usefulness of fiction depend much on its agreeableness. If "a verse may sometimes win him who a sermon flies," so may a well-conceived and well-executed fiction win over at least to the approval of excellence many who would shrink from studying precepts in the abstract, or duty in detail.
By the term "Fiction" is simply meant the illustration, by example and graphic description, of the truths or qualities, feelings, sentiments or circumstances which the author intends to represent. Fiction is generally considered as opposed to truth, whereas it may become one of the best media for the communication of truth.
Dr. Johnson, in his beautiful allegory of "Truth, Falsehood and Fiction," represents Truth as so repeatedly foiled in her contests with Falsehood, every intellect being so precluded by prejudice, and every heart so pre-occupied by passion, that, in the anger of disappointment, she petitions Jupiter to be called back to her native skies, and leave mankind to the disorder and misery which they deserved, by submitting willingly to the usurpation of her antagonist. Jupiter, compassionating mankind too much to grant her request, yet willing to ease her labours, recommends her to consult the Muses by what methods she might obtain an easier reception, and reign without the toil of incessant war. It was then discovered that she obstructed her own purposes by the severity of her aspect and the solemnity of her dictates, and that men would never willingly admit her till they ceased to fear her. Then the Muses wove in the loom of Pallas a loose and changeable robe, like that in which Falsehood captivated her admirers; with this they invested Truth, and named her Fiction. She now went out again to conquer with more success; for, when she demanded entrance of the Passions, they often mistook her for Falsehood, and delivered up their charge; but when she had once taken possession, she was soon disrobed by Reason, and shone out in her original form, with native effulgence and resistless dignity.* [2] Thus advantageously, often, is
"Truth severe
"In fairy fiction dressed."
"The fictions of genius," as another eloquent writer remarks, "are frequently the vehicles of the sublimest verities, and its flashes often open new regions of thought, and throw new light on the mysteries of our being; even when the letter is falsehood, the spirit is often profoundest wisdom."† [3]
Yet the very word "novel" is often used as a synonyme for the incarnations of folly, or something worse. While to one class of persons it conveys merely the idea of amusement, to another class it as exclusively implies something morally wrong to be avoided. If, however, what has been stated be true, neither of these opinions is correct. It is indeed to be regretted that, like most other agencies which are at all under man's control, fiction has been perverted to base and ignoble purposes, Vices, which in them selves are very fiends of darkness, decked in fiction’s robes, have walked the world as angels of light. Fiction hereby has been made a minister to evil passions, and her works have been constructed as a vestibule leading through deception to wickedness. Still, to repeat the trite maxim, the abuse of any thing is no argument against its right use. The greater the power and the more extensive the capabilities of an instrument, the more cogent are the reasons for rescuing it from the service of evil, and employing it as an agent of good. Is it not, therefore, important, that so efficient an auxiliary as fiction should not be contentedly left for a moment as a priestess to folly and vice, but should be sedulously won over, appropriated and consecrated by wisdom and virtue to their high and noble services, in the vast temple sacred to the improvement of human society?
In many instances, which cannot now be specified, this has been admirably accomplished, and we trust in many more will yet be fulfilled; since it is no unworthy task for the wise and the virtuous to follow the precept of Horace, and "join both profit and delight in one."
"It is half curious, half ludicrous," says L. E. L., "to hear persons, ay, and critics too, talk of a novel as a pleasant hour's amusement, and gravely exhort an author to turn his talents to higher account; unconscious of the fact, that the novel is now one of the highest efforts, the popular vehicle of thought, feeling and observation." Such was Miss Landon's high estimate of the novel; an estimate which she fully realized herself when she admitted Prose to share with Poetry the throne of her intellectual dominion.
- ↑ * "Never tell me but that a child must be the better for reading anecdotes of generosity, kindliness and self-devotion. I am convinced that one of Miss Edgeworth's stories for children is worth all the questions and answers that ever made history easy, or geography light."
"Do you remember a little story called the ‘Rival Crusoes?' I cannot describe the effect it took on Frank, as I was reading it to him; but it seems to me that it gave him a more touching lesson against overbearing temper and of affectionate forgiveness than all the advice in the world could have done."—Romance and Reality, vol. 2. How many similar instances might every one observant of children supply!
- ↑ * Rambler, No. 96.
- ↑ † Dr. Channing.