THE CONTEMPORARY NOVEL
first-personal interventions, but that he does so with a curious touch of dishonesty. I agree with the late Mrs. Craigie that there was something profoundly vulgar about Thackeray. It was a sham thoughtful, sham man-of-the-world pose he assumed; it is an aggressive, conscious, challenging person astride before a fire, and a little distended by dinner and a sense of social and literary precedences, who uses the first person in Thackeray's novels. It isn't the real Thackeray; it isn't a frank man who looks you in the eyes and bares his soul and demands your sympathy. That is a criticism of Thackeray, but it isn't a condemnation of intervention.
I admit that for a novelist to come in person in this way before his readers involves grave risks; but when it is done without affectations, starkly as a man comes in out of the darkness to tell of perplexing things without—as, for instance, Mr. Joseph Conrad does for all practical purposes in his "Lord Jim"—then it gives a sort of depth, a sort of subjective reality, that no such cold, almost affectedly ironical detachment as that which distinguishes the work of Mr. John Galsworthy, for example, can ever attain. And in some cases the whole art and delight of a novel may lie in the author's personal interventions; let such novels as "Elizabeth and her German Garden," and the same writer's "Elizabeth in Rügen," bear witness.
Now all this time I have been hacking away at certain hampering and limiting beliefs about the novel, letting it loose, as it were, in form and purpose; I have still to say just what I think the novel is, and
366
