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England’s leadership in narrative fiction, the superiority of the English novel, especially the humorous novel, which was tacitly acknowledged by these successive periods of imitation, when not actually declared by the acclaim of the critic and the preference of the reading public, has been attributed quite generally to the freedom of life in England and the comparative thraldom in Germany. Gervinus enlarges upon this point, the possibility in Britain of individual development in character and in action as compared with the constraint obtaining in Germany, where originality, banished from life, was permissible only in opinion. His ideas are substantially identical with those expressed many years before in an article in the Neue Bibliothek der schönen Wissenschaften entitled “Ueber die Laune.” Lichtenberg in his brief essay, “Ueber den deutschen Roman,” is undoubtedly more than half serious in his arraignment of the German novel and his acknowledgment of the English novelist’s advantage: the trend of this satirical skit coincides with the opinion above outlined, the points he makes being characteristic of his own humorous bent. That the English sleep in separate apartments, with big chimneys in their bedchambers, that they have comfortable post-chaises with seats facing one another, where all sorts of things may happen, and merry inns for the accommodation of the traveler, these features of British life are represented as affording a grateful material to the novelist, compared with which German life offers no corresponding opportunity. Humor, as a characteristic element of the English novel, has been felt to be peculiarly dependent upon the fashion of life in Britain. Blankenburg, another eighteenth-century student of German literary conditions, in his treatise on the novel , has similar theories concerning the sterility of German life as compared with English, especially in the production of humorous characters . He asserts theoretically that humor (Laune) should never be employed in a novel of German life, because “Germany’s political institutions and laws, and our nice Frenchified customs would not permit this humor.” “On the one side,” he goes on to say, “is Gothic formality; on the other, frivolity.” Later in the volume (p.
That the quest of a scientific, or supposed scientific, basis for a novelist’s imaginative structure is fatal to true art is seen not only in George Eliot and the accomplished author of ‘Elsie Venner,’ but also in writers of another kind—writers whose hands cannot possibly have been stiffened by their knowledge of science.
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