worth the consideration of those to whom it may prove worth considering.
as the last chapter was begun with a reminder looking forwards, so the present must consist of one glancing backwards.
to some, it may raise a degree of surprise that one so full of confidence, as the merchant has throughout shown himself, up to the moment of his late sudden impulsiveness, should, in that instance, have betrayed such a depth of discontent. he may be thought inconsistent, and even so he is. but for this, is the author to be blamed? true, it may be urged that there is nothing a writer of fiction should more carefully see to, as there is nothing a sensible reader will more carefully look for, than that, in the depiction of any character, its consistency should be preserved. but this, though at first blush, seeming reasonable enough, may, upon a closer view, prove not so much so. for how does it couple with another requirement—equally insisted upon, perhaps—that, while to all fiction is allowed some play of invention, yet, fiction based on fact should never be contradictory to it; and is it not a fact, that, in real life, a consistent [104] character is a rara avis? which being so, the distaste of readers to the contrary sort in books, can hardly arise from any sense of their untrueness. it may rather be from perplexity as to understanding them. but if the acutest sage be often at his wits' ends to understand living character, shall those who are not sages expect to run and read character in those mere phantoms which flit along a page, like shadows along a wall? that fiction, where every character can, by reason of its consistency, be comprehended at a glance, either exhibits but sections of character, making them appear for wholes, or else is very untrue to reality; while, on the other hand, that author who draws a character, even though to common view incongruous in its parts, as the flying-squirrel, and, at different periods, as much at variance with itself as the butterfly is with the caterpillar into which it changes, may yet, in so doing, be not false but faithful to facts.
if reason be judge, no writer has produced such inconsistent characters as nature herself has. it must call for no small sagacity in a reader unerringly to discriminate in a novel between the inconsistencies of conception and those of life as elsewhere. experience is the only guide here; but as no one man can be coextensive with what is, it may be unwise in every ease to rest upon it. when the duck-billed beaver of australia was first brought stuffed to england, the naturalists, appealing to their classifications, maintained that there was, in reality, no such creature; the bill in the specimen must needs be, in some way, artificially stuck on. [105]
but let nature, to the perplexity of the naturalists, produce her duck-billed beavers as she may, lesser authors some may hold, have no business to be perplexing readers with duck-billed characters. always, they should represent human nature not in obscurity, but transparency, which, indeed, is the practice with most novelists, and is, perhaps, in certain cases, someway felt to be a kind of honor rendered by them to their kind. but, whether it involve honor or otherwise might be mooted, considering that, if these waters of human nature can be so readily seen through, it may be either that they are very pure or very shallow. upon the whole, it might rather be thought, that he, who, in view of its inconsistencies, says of human nature the same that, in view of its contrasts, is said of the divine nature, that it is past finding out, thereby evinces a better appreciation of it than he who, by always representing it in a clear light, leaves it to be inferred that he clearly knows all about it.
but though there is a prejudice against inconsistent characters in books, yet the prejudice bears the other way, when what seemed at first their inconsistency, afterwards, by the skill of the writer, turns out to be their good keeping. the great masters excel in nothing so much as in this very particular. they challenge astonishment at the tangled web of some character, and then raise admiration still greater at their satisfactory unraveling of it; in this way throwing open, sometimes to the understanding even of school misses, the last complications of that spirit which is affirmed [106] by its creator to be fearfully and wonderfully made.
at least, something like this is claimed for certain psychological novelists; nor will the claim be here disputed. yet, as touching this point, it may prove suggestive, that all those sallies of ingenuity, having for their end the revelation of human nature on fixed principles, have, by the best judges, been excluded with contempt from the ranks of the sciences—palmistry, physiognomy, phrenology, psychology. likewise, the fact, that in all ages such conflicting views have, by the most eminent minds, been taken of mankind, would, as with other topics, seem some presumption of a pretty general and pretty thorough ignorance of it. which may appear the less improbable if it be considered that, after poring over the best novels professing to portray human nature, the studious youth will still run risk of being too often at fault upon actually entering the world; whereas, had he been furnished with a true delineation, it ought to fare with him something as with a stranger entering, map in hand, boston town; the streets may be very crooked, he may often pause; but, thanks to his true map, he does not hopelessly lose his way. nor, to this comparison, can it be an adequate objection, that the twistings of the town are always the same, and those of human nature subject to variation. the grand points of human nature are the same to-day they were a thousand years ago. the only variability in them is in expression, not in feature.
but as, in spite of seeming discouragement, some [107] mathematicians are yet in hopes of hitting upon an exact method of determining the longitude, the more earnest psychologists may, in the face of previous failures, still cherish expectations with regard to some mode of infallibly discovering the heart of man.
but enough has been said by way of apology for whatever may have seemed amiss or obscure in the character of the merchant; so nothing remains but to turn to our comedy, or, rather, to pass from the comedy of thought to that of action.
