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Updated: May 9, 2025
Is there a valid distinction between romance and romanticism? Is the short-story a definite form, differing from the novel in purpose as well as in length? What is the best way to tell a story, in the third person, as in the epic, in the first person, as in an autobiography, or in letters? Which is of most importance, character or incident or atmosphere? Is the novel-with-a-purpose legitimate?
The didactic drama and the novel-with-a-purpose are necessarily unartistic and unavoidably unsatisfactory. This is what the greater artists have always felt; this is what they have often expressed unhesitatingly.
Is there a valid distinction between romance and romanticism? Is the short-story a definite form, differing from the novel in purpose as well as in length? What is the best way to tell a story in the third person, as in the epic in the first person, as in an autobiography or in letters? Which is of most importance, character or incident or atmosphere? Is the novel-with-a-purpose legitimate?
The didactic drama and the novel-with-a-purpose are necessarily unartistic and unavoidably unsatisfactory. This is what the greater artists have always felt; this is what they have often expressed unhesitatingly.
The English Novel started out with a flourish of trumpets as to its moral purpose; latter-day criticism may take sides for or against the novel-with-a-purpose, but that Richardson justified his fiction writing upon moral grounds and upon those alone is shown in the descriptive title-page of the tale, too prolix to be often recalled and a good sample in its long-windedness of the past compared with the terse brevity of the present in this matter: "Published in order to cultivate the principles of virtue and religion in the mind of youth of both sexes"; the author of "Sanford and Merton" has here his literary progenitor.
The 'Scarlet Letter, for example, has not a little of the lofty largeness and of the stately movement of true tragedy; 'Paul and Virginia, again, abounds in a passionate self-revelation which is essentially lyric; and many a novel-with-a-purpose, needless to name here, displays its author's readiness to avail himself of all the devices of the orator.
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