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 the culmination of its absurdity in our dramatic inquisition. The dramatist may deal with sex-passion as pruriently and provokingly as he likes, provided he leaves enough to the spectator’s facile imagination; but he must not attempt to raise love as an intellectual issue. Our people may feel love: they must not think about it as a serious problem.

The other, and more needed observation, regards the novel. There are novels of fine artistic value, like those of Phillpotts: novels of great intellectual use, like those of Wells: and novels of a general and more subtle educational value, like those of Meredith. There are novels which, like the melodrama, counteract education by their low standard of art and intelligence, and there are novels—the great majority—which entertain without prejudice. Since we have as much right to be entertained as to be instructed, novel-reading is a normal part of a normal life. Seeing, however, that a very large proportion of the community read nothing but novels, it has been felt that the novel might be used as a vehicle of instruction, and the didactic or historical novel has become an institution. Many believe that they are being educated when they read this literature.

Against this comforting assumption it is necessary to protest. Even the greatest historical novelists, Dumas and Scott, have taken remarkable liberties with the known facts, and added to the picture of the time a mass of imaginative detail. Many