第15章 V. MASCULINE LITERATURE.(2)

Literature is the most powerful and necessary of the arts, and fiction is its broadest form. If art "holds the mirror up to nature" this art's mirror is the largest of all, the most used. Since our very life depends on some communication; and our progress is in proportion to our fullness and ******* of communication; since real communication requires mutual understanding; so in the growth of the social consciousness, we note from the beginning a passionate interest in other people's lives.

The art which gives humanity consciousness is the most vital art. Our greatest dramatists are lauded for their breadth of knowledge of "human nature," their range of emotion and understanding; our greatest poets are those who most deeply and widely experience and reveal the feelings of the human heart; and the power of fiction is that it can reach and express this great field of human life with no limits but those of the author.

When fiction began it was the legitimate child of oral tradition; a product of natural brain activity; the legend constructed instead of remembered. (This stage is with us yet as seen in the constant changes in repetition of popular jokes and stories.)

Fiction to-day has a much wider range; yet it is still restricted, heavily and most mischievously restricted.

What is the preferred subject matter of fiction?

There are two main branches found everywhere, from the Romaunt of the Rose to the Purplish Magazine;--the Story of Adventure, and the Love Story.

The Story-of-Adventure branch is not so thick as the other by any means, but it is a sturdy bough for all that. Stevenson and Kipling have proved its immense popularity, with the whole brood of detective stories and the tales of successful rascality we call "picaresque" Our most popular weekly shows the broad appeal of this class of fiction.

All these tales of adventure, of struggle and difficulty; of hunting and fishing and fighting; of robbing and murdering, catching and punishing, are distinctly and essentially masculine. They do not touch on human processes, social processes, but on the special field of predatory excitement so long the sole province of men.

It is to be noted here that even in the overwhelming rise of industrial interests to-day, these, when used as the basis for a story, are forced into line with one, or both, of these two main branches of fiction;--conflict or love. Unless the story has one of these "interests" in it, there is no story--so holds the editor; the dictum being, put plainly, "life has no interests except conflict and love!"

It is surely something more than a coincidence that these are the two essential features of masculinity--Desire and Combat--Love and War.

As a matter of fact the major interests of life are in line with its major processes; and these--in our stage of human development--are more varied than our fiction would have us believe. Half the world consists of women, we should remember, who are types of human life as well as men, and their major processes are not those of conflict and adventure, their love means more than mating. Even on so poor a line of distinction as the "woman's column" offers, if women are to be kept to their four Ks, there should be a "men's column" also; and all the "sporting news" and fish stories be put in that; they are not world interests; they are male interests.

Now for the main branch--the Love Story. Ninety per cent. of fiction is In this line; this is preeminently the major interest of life--given in fiction. What is the love-story, as rendered by this art?

It is the story of the pre-marital struggle. It is the Adventures of Him in Pursuit of Her--and it stops when he gets her! Story after story, age after age, over and over and over, this ceaseless repetition of the Preliminaries.

Here is Human Life. In its large sense, its real sense, it is a matter of inter-relation between individuals and groups, covering all emotions, all processes, all experiences. Out of this vast field of human life fiction arbitrarily selects one emotion, one process, one experience, as its necessary base.

"Ah! but we are persons most of all!" protests the reader. "This is personal experience--it has the universal appeal!"

Take human life personally then. Here is a Human Being, a life, covering some seventy years; involving the changing growth of many faculties; the ever new marvels of youth, the long working time of middle life, the slow ripening of age. Here is the human soul, in the human body, Living. Out of this field of personal life, with all of its emotions, processes, and experiences, fiction arbitrarily selects one emotion, one process, one experience, mainly of one ***.

The "love" of our stories is man's love of woman. If any dare dispute this, and say it treats equally of woman's love for man, I answer, "Then why do the stories stop at marriage?"

There is a current jest, revealing much, to this effect:

The young wife complains that the husband does not wait upon and woo her as he did before marriage; to which he replies, "Why should I run after the street-car when I've caught it?"

Woman's love for man, as currently treated in fiction is largely a reflex; it is the way he wants her to feel, expects her to feel; not a fair representation of how she does feel. If "love" is to be selected as the most important thing in life to write about, then the mother's love should be the principal subject: This is the main stream. This is the general underlying, world-lifting force. The "life-force," now so glibly chattered about, finds its fullest expression in motherhood; not in the emotions of an assistant in the preliminary stages.