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"a writer who had so little artistic sensibility, that he never hesitated on any occasion, great or small, to make a foray among his characters, and catch them up to show them to the reader and tell him how beautiful or ugly they were; and cry out over their amazing properties." This sweeping condemnation of the narrative attitude of one of the best-beloved of the great masters sounds just a little bigoted. It is true, of course, that the strictest artists in fiction, like Guy de Maupassant, prefer to tell their tales impersonally: they leave their characters rigidly alone, and allow the reader to see them without looking through the author's personality. But there is a type of literature wherein the chief charm for the reader lies in the fact that he is permitted to see things through the author's mind. When we read Charles Lamb's essay on "The South Sea House," we read it not so much to look at the deserted and memorable building as to look at Elia looking at it. Similarly many readers return again and again to "The Newcomes" not so much for the pleasure of seeing London high society as for the pleasure of seeing Thackeray see it. The merit, or the defect, of the method in any case is a question not of rules and regulations but of the tone and quality of the author's mind. Whether or not he may safely obtrude himself into his fictions depends entirely on who he is. This is a matter more of personality than of art: and what might be insufferable with one author may stand as the main merit of another. For instance, the greatest charm of Mr. J. M. Barrie's novels emanates from the author's habit of emphasizing the personal relation between himself and his characters. The author's many-mooded attitude toward Sentimental Tommy is a matter of human interest just as much as anything that Tommy feels himself. Let us admit, then, in spite of Mr. Howells, that the author of fiction has a right to assert himself as the narrator, provided that he be a person of interest and charm. It remains for us to consider the various moods in which, in such a case, the writer may look upon his story. The self-obliterating author endeavors to hide his own opinion of the characters, in order not to interfere with the reader's independence of judgment concerning them; but the author who writes personally does not hesitate to reveal, nor even to express directly, his admiration of a character's merits or his deprecation of a character's defect
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