THE CONTEMPORARY NOVEL
his club for lunch; or he has been playing golf; or he has been waiting about and voting in the House; or he has been fishing; or he has been disputing a point of law; or writing a sermon; or doing one of a thousand other of the grave important things which constitute the substance of a prosperous man's life. Now at last comes the little precious interval of leisure, and the Weary Giant takes up a book. Perhaps he is vexed: he may have been bunkered, his line may have been entangled in the trees, his favourite investment may have slumped, or the judge have had indigestion and been extremely rude to him. He wants to forget the troublesome realities of life. He wants to be taken out of himself, to be cheered, consoled, amused—above all, amused. He doesn't want ideas, he doesn't want facts; above all, he doesn't want—Problems. He wants to dream of the bright, thin, gay excitements of a phantom world—in which he can be hero—of horses ridden and lace worn and princesses rescued and won. He wants pictures of funny slums, and entertaining paupers, and laughable longshoremen, and kindly impulses making life sweet. He wants romance without its defiance, and humour without its sting; and the business of the novelist, he holds, is to supply this cooling refreshment. That is the Weary Giant theory of the novel. It ruled British criticism up to the period of the Boer War—and then something happened to quite a lot of us, and it has never completely recovered its old predominance. Perhaps it will; perhaps something else may happen to prevent its ever doing so.
Both fiction and criticism to-day are in revolt
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