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October 4, xxxx
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and poetry to get a good romance or even novel. The consciences of the ancients revolted from this mixture of kinds; but there was no such revolt in the earlier moderns, and least of all in our own mediaeval forefathers. So few people are really acquainted with the whole range of Romance (even in English), or with any large part of it, that one may without undue presumption set down in part, if not in whole, to ignorance, a doctrine and position which we must now attack. This is that romance and novel are widely separated from each other; and that the historian of the novel is really straying out of his ground if he meddles with Romance. These are they who would make our proper subject begin with Marivaux and Richardson, or at earliest with Madame de La Fayette, who exclude Bunyan altogether, and sometimes go so far as to question the right of entry to Defoe. But the counter-arguments are numerous: and any one of them would almost suffice by itself. In the first place the idea of the novel arising so late is unnatural and unhistorical:
these Melchisedecs without father or mother are not known in literature. In the second a pedantic insistence on the exclusive definition of the novel involves one practical inconvenience which no one, even among those who believe in it, has yet dared to face. You must carry your wall of partition along the road as well as across it: and write separate histories of Novel and Romance for the last two centuries. The present writer can only say that, though he has dared some tough adventures in literary history, he would altogether decline this. Without the help of the ants that succoured Psyche against Venus that heap would indeed be ill to sort. But there is a third argument, less practical in appearance but bolder and deeper, which is really decisive of the matter, though few seem to have seen it or at least taken it up. The separation of romance and novel--of the story of incident and the story of character and motive--is a mistake logically and psychologically. It is a very old mistake, and it has deceived some of the elect:
and possibility of romance in every novel that deserves the name. In the Tristram story and the Lancelot cycle there are most of the things that the romancer of incident and the novelist of character and motive can want or can use, till the end of the world; and Malory (that "mere compiler" as some pleasantly call him) has put the possibilities of the latter and greater creation so that no one who has eyes can miss them. Nor in the beginning does it much or at all matter whether the vehicle was prose or verse. In fact they mostly wrote in verse because prose was not ready. In the minor romances and tales (taking English versions only) from Havelok to Beryn there is a whole universe of situation, scenario, opportunity for "business." That they have the dress and the scene-backing of one particular period can matter to no one who has eyes for anything beyond dress and scene-backing. And when we are told that they are apt to run too much into grooves and families, it is sufficient to answer that it really does not lie in the mouth of an