THE CONTEMPORARY NOVEL
we shall never struggle very far beyond the confused discomforts and uneasiness of to-day, and the changes and complications of human life will remain as they are now, very like the crumplings and separations and complications of an immense avalanche that is sliding down a hill. And in this tremendous work of human reconciliation and elucidation, it seems to me it is the novel that must attempt most and achieve most.
You may feel disposed to say to all this: we grant the major premises, but why look to the work of prose fiction as the main instrument in this necessary process of, so to speak, sympathising humanity together? Cannot this be done far more effectively through biography and autobiography, for example? Isn't there the lyric; and, above all, isn't there the play? Well, so far as the stage goes, I think it is a very charming and exciting form of human activity, a display of actions and surprises of the most moving and impressive sort; but beyond the opportunity it affords for saying startling and thought-provoking things—opportunities Mr. Shaw, for example, has worked to the utmost limit—I do not see that the drama does much to enlarge our sympathies and add to our stock of motive ideas. And regarded as a medium for startling and thought-provoking things, the stage seems to me an extremely clumsy and costly affair. One might just as well go about with a pencil writing up the thought-provoking phrase, whatever it is, on walls. The drama excites our sympathies intensely, but it seems to me it is far too objective a medium to widen them appreciably, and it is that widening, that
376
