As an example of mistaken triumph, I think of a slip—it is no more than a slip—which Charlotte Brontë makes in Villette . She allows Lucy Snowe to conceal from the reader her discovery that Dr. John is the same as her old playmate Graham. When it comes out, we do get a good plot thrill, but too much at the expense of Lucy’s character. She has seemed, up to then, the spirit of integrity, and has, as it were, laid herself under a moral obligation to narrate all that she knows. That she stoops to suppress is a little distressing, though the incident is too trivial to do her any permanent harm.
Sometimes a plot triumphs too completely. The characters have to suspend their natures at every turn, or else are so swept away by the course of Fate that our sense of their reality is weakened. We shall find instances of this in a writer who is far greater than Meredith, and yet less successful as a novelist—Thomas Hardy. Hardy seems to me essentially a poet, who conceives of his novels from an enormous height. They are to be tragedies or tragicomedies, they are to give out the sound of hammer-strokes as they proceed; in other words Hardy arranges events with emphasis on causality, the ground plan is a plot, and the characters are ordered to acquiesce in its requirements. Except in the person of Tess (who conveys the feeling that she is greater than destiny) this aspect of his work is unsatisfactory. His characters are involved in various snares, they are finally bound hand and foot, there is ceaseless emphasis on fate, and yet, for all the sacrifices made to it, we never see the action as a living thing as we see it in Antigone or Berenice or The Cherry Orchard . The fate above us, not the fate working through us—that is what is eminent and memorable in the Wessex novels. Egdon Heath before Eustada Vye has set foot upon it. The woods without the Woodlanders. The downs above Budmouth Regis with the royal princesses, still asleep, driving across them through the dawn. Hardy’s success in The Dynasts (where he uses another medium) is complete, there the hammer-strokes are heard, cause and effect enchain the characters despite their struggles, complete contact between the actors and the plot is established. But in