is droll to find Balzac, who suffered from their sort such bitter scorn
and hate for his realism while he was alive, now become a fetich in his
turn, to be shaken in the faces of those who will not blindly worship
him. But it is no new thing in the history of literature: whatever is
established is sacred with those who do not think. At the beginning of
the century, when romance was making the same fight against effete
classicism which realism is making to-day against effete romanticism, the
Italian poet Monti declared that "the romantic was the cold grave of the
Beautiful," just as the realistic is now supposed to be. The romantic of
that day and the real of this are in certain degree the same.
Romanticism then sought, as realism seeks now, to widen the bounds of
sympathy, to level every barrier against aesthetic freedom, to escape
from the paralysis of tradition. It exhausted itself in this impulse;
and it remained for realism to assert that fidelity to experience and
probability of motive are essential conditions of a great imaginative
literature. It is not a new theory, but it has never before universally
characterized literary endeavor. When realism becomes false to itself,
when it heaps up facts merely, and maps life instead of picturing it,
realism will perish too. Every true realist instinctively knows this,
and it is perhaps the reason why he is careful of every fact, and feels
himself bound to express or to indicate its meaning at the risk of
overmoralizing. In life he finds nothing insignificant; all tells for
destiny and character; nothing that God has made is contemptible. He
cannot look upon human life and declare this thing or that thing unworthy
of notice, any more than the scientist can declare a fact of the material
world beneath the dignity of his inquiry. He feels in every nerve the
equality of things and the unity of men; his soul is exalted, not by vain
shows and shadows and ideals, but by realities, in which alone the truth
lives. In criticism it is his business to break the images of false gods
and misshapen heroes, to take away the poor silly, toys that many grown