simply, that he should not refrain from using foreign material, when it
happens to suit his exigencies, merely because it is foreign. Objective
writing may be quite as good reading as subjective writing, in its proper
place and function. In fiction, no more than elsewhere, may a writer
pretend to be what he is not, or to know what he knows not. When he finds
himself abroad, he must frankly admit his situation; and more will not
then be required of him than he is fairly competent to afford. It will
seldom happen, as Hawthorne intimates, that he can successfully reproduce
the inner workings and philosophy of European social and political customs
and peculiarities; but he can give a picture of the scenery as vivid as
can the aborigine, or more so; he can make an accurate study of personal
native character; and, finally, and most important of all, he can make use
of the conditions of European civilization in events, incidents, and
situations which would be impossible on this side of the water. The
restrictions, the traditions, the law, and the license of those old
countries are full of suggestions to the student of character and
circumstances, and supply him with colors and effects that he would else
search for in vain. For the truth may as well be admitted; we are at a
distinct disadvantage, in America, in respect of the materials of romance.
Not that vigorous, pathetic, striking stories may not be constructed here;
and there is humor enough, the humor of dialect, of incongruity of
character; but, so far as the story depends for its effect, not upon
psychical and personal, but upon physical and general events and
situations, we soon feel the limit of our resources. An analysis of the
human soul, such as may be found in the "House of the Seven Gables," for
instance, is absolute in its interest, apart from outward conditions. But
such an analysis cannot be carried on, so to say, _in vacuo_. You must
have solid ground to stand on; you must have fitting circumstances,
background, and perspective. The ruin of a soul, the tragedy of a heart,
demand, as a necessity of harmony and picturesque effect, a corresponding