by novelty and
invention in plot . . . they seek it in character. For this end they
begin by deliberately falsifying human feelings, giving them a
paradoxical appearance completely inadmissible . . . . Love that
disguises itself as hate, incomparable energy under the cloak of
weakness, virginal innocence under the aspect of malice and impudence,
wit masquerading as folly, etc., etc. By this means they hope to make an
effect of which they are incapable through the direct, frank, and
conscientious study of character." He mentions Octave Feuillet as the
greatest offender in this sort among the French, and Bulwer among the
English; but Dickens is full of it (Boffin in 'Our Mutual Friend' will
suffice for all example), and most drama is witness of the result of this
effectism when allowed full play.

But what, then, if he is not pleased with Dumas, or with the effectists
who delight genteel people at all the theatres, and in most of the
romances, what, I ask, will satisfy this extremely difficult Spanish
gentleman? He would pretend, very little. Give him simple, lifelike
character; that is all he wants. "For me, the only condition of
character is that it be human, and that is enough. If I wished to know
what was human, I should study humanity."

But, Senor Valdes, Senor Valdes! Do not you know that this small
condition of yours implies in its fulfilment hardly less than the gift of
the whole earth? You merely ask that the character portrayed in fiction
be human; and you suggest that the novelist should study humanity if he
would know whether his personages are human. This appears to me the
cruelest irony, the most sarcastic affectation of humility. If you had
asked that character in fiction be superhuman, or subterhuman, or
preterhuman, or intrahuman, and had bidden the novelist go, not to
humanity, but the humanities, for the proof of his excellence, it would
have been all very easy. The books are full of those "creations," of
every pattern, of all ages, of both sexes; and it is so much handier to
get at books than to get at Men; and when you have portrayed "passion"
instead of feeling, and used "power" instead of common-sense, and shown
yourself a "genius" instead of an artist, the applause is so prompt and
the glory so cheap, that really anything else seems wickedly wasteful of
one's time. One may not make one's reader enjoy or suffer nobly, but one
may give him the kind of pleasure that arises from conjuring, or from a