To-day, however, we have reversed this principle. We do despise vulgar
compositions, and we do not ignore them. We are in some danger of
becoming petty in our study of pettiness; there is a terrible Circean
law in the background that if the soul stoops too ostentatiously to
examine anything it never gets up again. There is no class of vulgar
publications about which there is, to my mind, more utterly ridiculous
exaggeration and misconception than the current boys' literature of the
lowest stratum. This class of composition has presumably always existed,
and must exist. It has no more claim to be good literature than the
daily conversation of its readers to be fine oratory, or the
lodging-houses and tenements they inhabit to be sublime architecture.
But people must have conversation, they must have houses, and they must
have stories. The simple need for some kind of ideal world in which
fictitious persons play an unhampered part is infinitely deeper and
older than the rules of good art, and much more important. Every one of
us in childhood has constructed such an invisible _dramatis personae_,
but it never occurred to our nurses to correct the composition by
careful comparison with Balzac.
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