respect, and as for autobiography--a man may show his soul in a thousand
half-conscious ways, but to turn upon oneself and explain oneself is
given to no one. It is the natural liars and braggarts, your Cellinis
and Casanovas, men with a habit of regarding themselves with a kind of
objective admiration, who do best in autobiography. And, on the other
hand, the novel has neither the intense self-consciousness of
autobiography nor the paralysing responsibilities of the biographer. It
is by comparison irresponsible and free. Because its characters are
figments and phantoms, they can be made entirely transparent. Because
they are fictions, and you know they are fictions, so that they cannot
hold you for an instant so soon as they cease to be true, they have a
power of veracity quite beyond that of actual records. Every novel
carries its own justification and its own condemnation in its success or
failure to convince you that _the thing was so_. Now history, biography,
blue-book and so forth, can hardly ever get beyond the statement that
the superficial fact was so.

You see now the scope of the claim I am making for the novel; it is to
be the social mediator, the vehicle of understanding, the instrument of
self-examination, the parade of morals and the exchange of manners, the
factory of customs, the criticism of laws and institutions and of social
dogmas and ideas. It is to be the home confessional, the initiator of
knowledge, the seed of fruitful self-questioning. Let me be very clear
here. I do not mean for a moment that the novelist is going to set up as
a teacher, as a sort of priest with a pen, who will make men and women
believe and do this and that. The novel is not a new sort of pulpit;
humanity is passing out of the phase when men _sit under_ preachers and
dogmatic influences. But the novelist is going to be the most potent of
artists, because he is going to present conduct, devise beautiful
conduct, discuss conduct analyse conduct, suggest conduct, illuminate it