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Updated: June 27, 2025
Every true realist instinctively knows this, and it is perhaps the reason why he is careful of every fact, and feels himself bound to express or to indicate its meaning at the risk of overmoralizing. In life he finds nothing insignificant; all tells for destiny and character; nothing that God has made is contemptible.
He will not subvert the actual unless there is no other equally effective means of conveying the truth he has to tell. Many times a close adherence to actuality is as advisable for the deductive author as it is for the inductive; many times the romantic writer gains as much as the realist by confining his fiction to his own environment of time and place.
Realist he is clearly, in the philosophic sense of one who is willing to view things as they are without prejudice. I seek a term for a mild spirit who sees clearly that the sufferer is more intelligible than his fate, and so is pitiful even when most ruthless in the depiction of misfortune. Pity for the individual, not despair of the race, is his motive.
Keene might have expressed with pungency his sense of certain things as being artificial and outrageous, but as long as his feelings towards them remained like that he could not express himself about them in any other way, certainly not in du Maurier's way that is, with du Maurier's skill. To the extent to which there is a glamour and a beauty in fashion du Maurier is a realist.
What trivialities are permitted, yea even praised, because unfortunately they are actual nature! It is a part of Schiller's theory that the true realist and the sane idealist must finally come together on common ground. The Great Duumvirate
The modern realist contemplates the inanimate things which surround us with peculiar complaisance, and it is right that he should as these things exert upon us a constant and secret influence.
In character drawing no one can, on occasion, be a more uncompromising realist than George Sand. André, Horace, Laurent in Elle et Lui, Pauline, Corilla, Alida in Valvèdre, might be cited as examples. But her theory was unquestionably not the theory which guides the modern school of novel writers. She wrote, she states explicitly, for those "who desire to find in a novel a sort of ideal life."
She always looked upon the incident as her worst moment of tactlessness. "Bully, bully!" exclaimed the Lawyer, "Take off your laurels, Critic, and crown the Doctor!" "For that little tale," shouted the Critic. "Never! That has not a bit of literary merit. It has not one rounded period." "The Lawyer is a realist," said the Sculptor. "Of course that appeals to him."
These facts cannot be explained merely as man's share in the cosmic movement towards a yet unrealized perfection; such as the unachieved and self-evolving Divinity of some realist philosophers.
My theory is also on the matters which divide novelists into realists and idealists that the highest form of art is produced by the artist who is so far an idealist that he wants to say something and so far a realist that he copies nature as closely as he can in saying it." His methods of work are particular to himself. It is difficult for a visitor in Hall Caine's house to find pens or ink.
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