which draw from us little cries of approval and disapproval. When they have past, the roughness is forgotten, they become as smooth as the moon.
Prophetic fiction, then, seems to have definite characteristics. It demands humility and the absence of the sense of humour. It reaches back—though we must not conclude from the example of Dostoevsky that it always reaches back to pity and love. It is spasmodically realistic. And it gives us the sensation of a song or of sound. It is unlike fantasy because its face is towards unity, whereas fantasy glances about. Its confusion is incidental, whereas fantasy’s is fundamental— Tristram Shandy ought to be a muddle, Zuleika Dobson ought to keep changing mythologies. Also the prophet—one imagines—has gone “off” more completely than the fantasist, he is in a remoter emotional state while he composes. Not many novelists have this aspect. Poe is too incidental. Hawthorne potters too anxiously round the problem of individual salvation to get free. Hardy, a philosopher and a great poet, might seem to have claims, but Hardy’s novels are surveys, they do not give out sounds. The writer sits back, it is true, but the characters do not reach back. He shows them to us as they let their arms rise and fall in the air; they may parallel our sufferings but can never extend them—never, I mean, could Jude step forward like Mitya and release floods of our emotion by saying “Gentlemen, I’ve had a bad dream.” Conrad is in a rather similar position. The voice, the voice of Marlow, is too full of experiences to sing, it is dulled by many reminiscences of error and beauty, its owner has seen too much to see beyond cause and effect. To have a philosophy—even a poetic and emotional philosophy like Hardy’s and Conrad’s—leads to reflections on life and things. A prophet does not reflect. And he does not hammer away. That is why we exclude Joyce. Joyce has many qualities akin to prophecy and he has shown (especially in the Portrait of the Artist ) an imaginative grasp of evil. But he undermines the universe in too workmanlike a manner, looking round for this tool or that: in spite of all his internal looseness he is too tight, he is never vague except after due deliberation; it is talk, talk, never song.