s see the idea that resides in it. Let not the
novelists, then, endeavor to add anything to reality, to turn it and
twist it, to restrict it. Since nature has endowed them with this
precious gift of discovering ideas in things, their work will be
beautiful if they paint these as they appear. But if the reality does
not impress them, in vain will they strive to make their work impress
others."

XV.

Which brings us again, after this long way about, to Jane Austen and her
novels, and that troublesome question about them. She was great and they
were beautiful, because she and they were honest, and dealt with nature
nearly a hundred years ago as realism deals with it to-day. Realism is
nothing more and nothing less than the truthful treatment of material,
and Jane Austen was the first and the last of the English novelists to
treat material with entire truthfulness. Because she did this, she
remains the most artistic of the English novelists, and alone worthy to
be matched with the great Scandinavian and Slavic and Latin artists. It
is not a question of intellect, or not wholly that. The English have
mind enough; but they have not taste enough; or, rather, their taste has
been perverted by their false criticism, which is based upon personal
preference, and not upon, principle; which instructs a man to think that
what he likes is good, instead of teaching him first to distinguish what
is good before he likes it. The art of fiction, as Jane Austen knew it,
declined from her through Scott, and Bulwer, and Dickens, and Charlotte
Bronte, and Thackeray, and even George Eliot, because the mania of
romanticism had seized upon all Europe, and these great writers could not
escape the taint of their time; but it has shown few signs of recovery in
England, because English criticism, in the presence of the Continental
masterpieces, has continued provincial and special and personal, and has
expressed a love and a hate which had to do with the quality of the
artist rather than the character of his work. It was inevitable that in
their time the English romanticists should treat, as Senor Valdes says,
"the barbarous customs of the Middle Ages, softening and distorting them,
as Walter Scott and his kind did;" that they should "devote themselves to
falsifying nature, refining and subtilizing sentiment, and modifying
psychology after their own fancy," like Bulwer and Dickens, as well as
like Rousseau and Madame de Stael, not to mention B