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Excerpt ​

Excerpt from A Psychological Counter-Current in Recent Fiction, by William Dean Howells

II.

I am sure I do not merely fancy the auroral light in a group of stories
by another poet. "The Ruling Passion," Dr. Henry Van Dyke calls his
book, which relates itself by a double tie to Mr. Parker's novel
through kinship of Canadian landscape and character, and through the
prevalence of psychologism over determinism in it. In the situations
and incidents studied with sentiment that saves itself from
sentimentality sometimes with greater and sometimes with less ease, but
saves itself, the appeal is from the soul in the character to the soul
in the reader, and not from brute event to his sensation. I believe
that I like best among these charming things the two sketches--they are
hardly stories--"A Year of Nobility" and "The Keeper of the Dight,"
though if I were asked to say why, I should be puzzled. Perhaps it is
because I find in the two pieces named a greater detachment than I find
in some others of Dr. Van Dyke's delightful volume, and greater
evidence that he has himself so thoroughly and finally mastered his
material that he is no longer in danger of being unduly affected by it.
That is a danger which in his very quality of lyrical poet he is most
liable to, for he is above all a lyrical poet, and such drama as the
chorus usually comments is the drama next his heart. The pieces, in
fact, are so many idyls, and their realism is an effect which he has
felt rather than reasoned his way to. It is implicational rather than
intentional. It is none the worse but all the better on that account,
and I cannot say that the psychologism is the worse for being frankly,
however uninsistently, moralized. A humor, delicate and genuine as the
poetry of the stories, plays through them, and the milde macht of
sympathy with everything human transfers to the pleasant pages the
foresters and fishermen from their native woods and waters. Canada
seems the home of primitive character; the seventeenth century survives
there among the habitants, with their steadfast faith, their
picturesque superstitions, their old world traditions and their new
world customs. It is the land not only of the habitant, but of his
oversoul, the good cure, and his overlord the seigneur, now faded
economically, but still lingering socially in the scene of his large
possessions. Their personality imparts a charm to the many books about
them which at present there seems to be no end to the making of; and
such a fine touch as Dr. Van Dyke's gives us a likeness of them, which
if it is idealized is idealized by reservation, not by attribution.

III.

Explanation ​

William Dean Howells’ excerpt from A Psychological Counter-Current in Recent Fiction (1902) is a critical essay reflecting on the literary trends of his time, particularly the shift from deterministic realism (where characters are shaped by external forces like environment or fate) to psychological realism (where inner life, emotion, and moral choice take precedence). The passage focuses on Henry Van Dyke’s The Ruling Passion (1901), a collection of stories set in Canada, praising its lyrical psychologism—a blend of poetic sensitivity and deep character study. Below is a detailed breakdown of the text, its themes, devices, and significance, with emphasis on the excerpt itself.

1. Context of the Source ​

  • William Dean Howells (1837–1920): A leading American realist writer and critic, Howells championed psychological depth in fiction over the deterministic or naturalistic approaches of writers like Émile Zola or Frank Norris. He admired works that explored human consciousness and moral complexity rather than reducing characters to products of their environment.
  • Henry Van Dyke (1852–1933): A Presbyterian minister, poet, and essayist, Van Dyke’s The Ruling Passion is a collection of Canadian-set stories that blend romanticism, realism, and moral reflection. His work was part of a broader late-19th-century movement toward introspective, character-driven fiction.
  • Literary Movement: The essay reflects the transition from realism to modernism, where inner life (psychologism) gained prominence over external plot (determinism). Howells contrasts Van Dyke’s approach with the brute realism of earlier naturalists, who emphasized sensation over soul.

2. Themes in the Excerpt ​

A. Psychologism vs. Determinism ​

  • Howells praises Van Dyke for prioritizing the "soul in the character" over "brute event"—meaning the stories focus on internal struggles, emotions, and moral choices rather than external forces (e.g., poverty, fate).
    • "the appeal is from the soul in the character to the soul in the reader": The stories invite empathetic engagement with characters’ inner lives, not just their actions.
    • Contrast with determinism: Earlier realists (e.g., Zola) depicted characters as victims of circumstance; Van Dyke’s characters transcend their environment through will and spirit.

B. Lyrical Realism & the "Idyllic" Quality ​

  • Howells describes Van Dyke’s stories as "idyls"—short, poetic vignettes that capture a moment of beauty or moral truth rather than a full narrative arc.
    • "Their realism is an effect which he has felt rather than reasoned his way to": Van Dyke’s realism is intuitive, emotional, not analytical (unlike naturalists who dissected society scientifically).
    • "implicational rather than intentional": The realism emerges organically from the mood and character, not from a deliberate attempt to mimic life.

C. Moral & Spiritual Depth ​

  • The stories are "moralized" but not preachy—they explore ethical dilemmas and human goodness without heavy-handed didacticism.
    • "the milde macht of sympathy": A German phrase ("sanfte Macht") meaning "gentle power"—Van Dyke’s sympathy for his characters elevates them, making even simple people (foresters, fishermen) noble in their humanity.
    • "idealized by reservation, not by attribution": The characters are not exaggerated into saints but are selectively portrayed to highlight their dignity and faith.

D. Canadian Primitivism & Cultural Nostalgia ​

  • Canada is depicted as a land of "primitive character", where 17th-century values (faith, tradition) persist amid modernity.
    • "the seventeenth century survives there": The habitants (French-Canadian settlers), cures (priests), and seigneurs (landed gentry) represent a vanishing world of moral simplicity.
    • "the good cure, and his overlord the seigneur": These figures symbolize spiritual and social order, contrasting with the industrialized, fragmented modern world.

3. Literary Devices & Stylistic Features ​

A. Metaphor & Imagery ​

  • "auroral light": Suggests dawn, renewal, and hope—Howells sees Van Dyke’s work as a new direction in fiction, moving away from dark determinism.
  • "the milde macht of sympathy": The gentle, transformative power of Van Dyke’s empathy, which lifts ordinary people into art.
  • "the oversoul": A Transcendentalist term (from Emerson) for the divine spirit connecting all humans—here, it elevates the habitants and cure to symbols of universal humanity.

B. Contrast & Juxtaposition ​

  • Psychologism vs. Determinism:
    • "appeal is from the soul... not from brute event" → Inner life vs. external force.
  • Realism vs. Idealism:
    • "if it is idealized, it is idealized by reservation" → The stories selectively focus on beauty without distorting reality.
  • Modernity vs. Primitivism:
    • "the seventeenth century survives there" → Canada as a refuge for old-world values in a modernizing world.

C. Tone & Diction ​

  • Elevated, almost poetic prose: Howells’ language mirrors Van Dyke’s lyrical style—e.g., "charming things," "delightful volume," "fine touch."
  • Critical but affectionate: He analyzes flaws (e.g., Van Dyke’s risk of sentimentality) but ultimately celebrates the work’s beauty and depth.

4. Significance of the Passage ​

A. Literary Criticism & the Evolution of Realism ​

  • Howells advocates for psychological realism as the future of fiction, rejecting the mechanistic determinism of naturalism.
  • His praise for Van Dyke reflects a broader shift toward modernist introspection (later seen in Woolf, Joyce, Faulkner).

B. Cultural & Moral Reflection ​

  • The essay laments the loss of traditional values (faith, community) in modernity, seeing Canada as a preserver of an older, purer world.
  • The "primitive character" of the habitants is romanticized but also respected—Howells suggests that simplicity and faith offer moral clarity absent in industrial society.

C. The Role of the Artist ​

  • Howells admires Van Dyke’s mastery of material—the ability to feel deeply without succumbing to sentimentality.
  • The detachment in "A Year of Nobility" and "The Keeper of the Dight" shows artistic control, where the writer transcends personal emotion to create universal art.

5. Close Reading of Key Lines ​

"A Year of Nobility" & "The Keeper of the Dight" ​

  • Howells singles out these two stories for their "greater detachment"—meaning Van Dyke doesn’t over-identify with his subjects but observes them with clarity.
  • "he has himself so thoroughly mastered his material" → The stories feel effortless, natural, not forced or melodramatic.

"the drama next his heart" ​

  • Van Dyke, as a lyrical poet, is drawn to chorus-like commentary (reflective, philosophical moments) rather than plot-driven drama.
  • His stories are more like songs or meditations than traditional narratives.

"Canada seems the home of primitive character" ​

  • The habitants (French-Canadian farmers) embody steadfastness, faith, and simplicity—qualities Howells sees as antidotes to modern alienation.
  • The cure (priest) and seigneur (lord) represent spiritual and social hierarchy, but in a benevolent, nostalgic way (not oppressive).

6. Why This Matters Today ​

  • Psychological Depth in Fiction: Howells’ argument for character-driven storytelling remains relevant in an era where stream-of-consciousness and introspective narratives dominate.
  • Nostalgia & Cultural Preservation: The romanticization of Canada as a pre-modern Eden resonates with contemporary eco-nostalgia and critiques of hyper-modernity.
  • The Balance Between Realism & Idealism: Van Dyke’s selective realism (showing beauty without ignoring truth) is a model for ethical storytelling—neither cynical nor naïve.

Conclusion ​

Howells’ excerpt is a manifestation of a literary turning point—where fiction begins to prioritize the mind and soul over external reality. Van Dyke’s The Ruling Passion exemplifies this shift through its lyrical psychologism, moral warmth, and nostalgic realism. The passage is not just a review but a defense of a new kind of storytelling—one that elevates the human spirit without denying the complexities of life.

Would you like a deeper dive into any specific aspect, such as the Transcendentalist influences or comparisons to other psychological realists like Henry James?