That is the human makeup—or part of it. Made up like this himself, the novelist takes his pen in his hand, gets into the abnormal state which it is convenient to call “inspiration,” and tries to create characters. Perhaps the characters have to fall in with something else in his novel: this often happens (the books of Henry James are an extreme case), and then the characters have, of course, to modify the makeup accordingly. However, we are considering now the more simple case of the novelist whose main passion is human beings and who will sacrifice a great deal to their convenience—story, plot, form, incidental beauty.
Well, in what senses do the nations of fiction differ from those of the earth? One cannot generalize about them, because they have nothing in common in the scientific sense; they need not have glands, for example, whereas all human beings have glands. Nevertheless, though incapable of strict definition, they tend to behave along the same lines.
In the first place, they come into the world more like parcels than human beings. When a baby arrives in a novel it usually has the air of having been posted. It is delivered “off”; one of the elder characters goes and picks it up and shows it to the reader, after which it is usually laid in cold storage until it can talk or otherwise assist in the action. There is both a good and a bad reason for this and for all other deviations from earthly practice; these we will note in a minute, but do just observe in what a very perfunctory way the population of noveldom is recruited. Between Sterne and James Joyce, scarcely any writer has tried either to use the facts of birth or to invent a new set of facts, and no one, except in a sort of auntish wistful way, has tried to work back towards the psychology of the baby’s mind and to utilize the literary wealth that must lie there. Perhaps it cannot be done. We shall decide in a moment.
Death. The treatment of death, on the other hand, is nourished much more on observation, and has a variety about it which suggests that the novelist finds it congenial. He does, for the reason that death ends a book neatly, and for the less obvious reason that working as he does in time he finds it easier to work from the known towards the darkness rather than from the darkness of birth towards the known. By the time his characters die, he understands them, he can be both appropriate and imaginative about them—strongest of combinations. Take a little death—the death of Mrs. Proudie in the Last Chronicle of Barset. All is in keeping, yet the effect is terrifying, because Trollope has ambled Mrs. Proudie down many a diocesan bypath, showing her paces, making her snap, accustoming us, even to boredom, to her character and tricks, to her “Bishop, consider the souls of the people,” and then she has a heart attack by the edge of her bed, she has ambled far enough—end of Mrs. Proudie. There is scarcely anything that the novelist cannot borrow from “daily death”; scarcely anything he may not profitably invent. The doors of that darkness lie open to him and he can even follow his characters through it, provided he is shod with imagination and does not try to bring us back scraps of séance information about the “life beyond.”
What of food, the third fact upon our list? Food in fiction is mainly social. It draws characters together, but they seldom require it physiologically, seldom enjoy it, and never digest it unless specially asked to do so. They hunger for each other, as we do in life, but our equally
