to The American (1907)
. . The real represents to my perception the things we cannot possibly
not know, sooner or later, in one way or another; it being but one of
the accidents of our hampered state, and one of the incidents of their
quantity and number, that particular instances have not yet come our
way. The romantic stands, on the other hand, for the things that, with
all the facilities in the world, all the wealth and all the courage
and all the wit and all the adventure, we never can directly know; the
things that can reach us only through the beautiful circuit and subterfuge
of our thought and our desire.) There have been, I gather, many definitions
of romance, as a matter indispensably of boats, or of caravans, or of
tigers, or of "historical characters," or of ghosts, or of
forgers, or of detectives, or of beautiful wicked women, or of pistols
and knives, but they appear for the most part reducible to the idea
of the facing of danger, the acceptance of great risks for the fascination,
the very love, of their uncertainty, the Joy of success if possible
and of battle in any case. This would be a fine formula if it bore examination;
but it strikes me as weak and inadequate, as by no means covering the
true ground and yet as landing us in strange confusions.
The panting pursuit of danger is the pursuit of life itself, in which danger awaits us possibly at every step and faces us at every turn; so that the dream of an intenser experience easily becomes rather some vision of a sublime security like that enjoyed on the flowery plains of heaven, where we may conceive ourselves proceeding in ecstasy from one prodigious phase and form of it to another. And if it be insisted that the measure of the type is then in the appreciation of danger-the sign of our projection of the real being the smallness of its dangers, and that of our projection of the romantic the hugeness, the mark of the distinction being in short, as they say of collars and gloves and shoes, the size and "number" of the danger-this discrimination again surely fails, since it makes our difference not a difference of kind, which is what we want, but a difference only of degree, and subject by that condition to the indignity of a sliding scale and a shifting measure. There are immense and flagrant dangers that are but sordid and squalid ones, as we feel, tainting with their quality the very defiances they provoke; while there are common and covert ones, that "look like nothing" and that can be but inwardly and occultly dealt with, which involve the sharpest hazards to life and honour and the highest instant decisions and intrepidities of action. It is an arbitrary stamp that keeps these latter prosaic and makes the former heroic; and yet I should still less subscribe to a mere "subjective" division-I mean one that would place the difference wholly in the temper of the imperilled agent. It would be impossible to have a more romantic temper than Flaubert's Madame Bovary, and yet nothing less resembles a romance than the record of her adventures. To classify it by that aspect-the definition of the spirit that happens to animate her-is like settling the question (as I have seen it witlessly settled) by the presence or absence of "costume." Where again then does costume begin or end?-save with the "run" of one or another sort of play? We must reserve vague labels for artless mixtures.
The only general attribute of projected romance that I can see, the only one that fits all its cases, is the fact of the kind of experience with which it deals-experience liberated, so to speak; experience disengaged, disembroiled, disencumbered, exempt from the conditions that we usually know to attach to it and, if we wish so to put the matter, drag upon it, and operating in a medium which relieves it, in a particular interest, of the inconvenience of a related, a measurable state, a state subject to all our vulgar communities. The greatest intensity may so be arrived at evidently-when the sacrifice of community, of the "related" sides of situations, has not been too rash. It must to this end not flagrantly betray itself; we must even be kept if possible, for our illusion, from suspecting any sacrifice at all. The balloon of experience is in fact of course tied to the earth, and under that necessity we swing, thanks to a rope of remarkable length, in the more or less commodious car of the imagination; but it is by the rope we know where we are, and from the moment that cable is cut we are at large and unrelated: we only swing apart from the globe-though remaining as exhilarated, naturally, as we like, especially when all goes well. The art of the romancer is, "for the fun of it," insidiously to cut the cable, to cut it without our detecting him.