An art which, pretending to mirror life, instinctively shuts out a large province of life—an art which boasts that it alone can display human personality in all its varieties and yet becomes dumb before the highest manifestations of personality—has no right to rank among the truly universal arts—painting and sculpture, the Elizabethan drama and biography.
All the myriad novelists writing in English since 1850 have not created one character comparable to Abraham Lincoln or to Cavour, nor have the romances imagined any hero to match Garibaldi. Or, to take contemporary examples, what novelist would venture to depict, even if his imagination could have conceived, a Theodore Roosevelt or a J. P. Morgan? For myself, if it were necessary, in a shipwreck, to choose between saving the Georgian novelists and Boswell's "Life of Johnson," I would unhesitatingly take Boswell.
THE ART OF BIOGRAPHY
Before concluding, let me recur to biography as an art. You cannot read far in this field without being struck by the great differences in the ability of biographers. One makes a brilliant subject dull, or a juicy subject dry; while a biographer of other quality holds you spellbound over the life story of some relatively unimportant person. Gradually you come to study the laws of the art; to determine how much depends upon the biographer and how much on the biographee; above all, to define just what portion of a given subject's life should be described. Remember that not a hundredth part of any life can be recorded. The biographer must select. But what? The significant, the individual, the revealing. How shall those be settled? By the judgment of the biographer. Selection and perspective are the sun and moon of all art, and unless they shine for him, his portrait will be out of drawing. When, for instance, the writer on Havelock devotes almost as much space to his piety as to his military achievement, you recognize the faulty selection; or when another describes General Grant's later misfortune as the dupe of a financial sharper as amply as his Vicksburg campaign, you have a fine example of bungled perspective. With practice, you will learn how to recover some of the true features of the victims of such distortions.
