NATURALISM is a word with as many phases of meaning as pacifism or patriotism, and about it rages nearly as fierce a conflict. When Zola issued his wellknown pronunciamento that Naturalistic art was Nature seen through a temperament, he stressed the word "Nature." Nature and Nature only must be the subject of art: to face Nature frankly and openly, to present her dulnesses and stupidities and shames with scrupulous impartiality must be -the aim of the artist. Now modern English criticism has preferred to call such full-length and unflattering portraiture of Dame Nature, even the emphasis upon her wry neck, bow legs, and squint eyes, by the name of Realism. Accordingly, when the critic nowadays quotes Zola's definition of Naturalism, he stresses the word "temperament." Naturalistic art is Nature seen through a certain temperament, or through a certain formula created by that temperament. Naturalism, we are told, is not simply a reproduction of the homely and repulsive side of Nature's physiognomy, but an attempt to read in it a certain character. With Zola's profession faithfully to portray Nature the critics have now no quarrel, but with his practice of giving a certain interpretation of her character they and a great body of readers beg leave, more or less politely, to differ. Realism, though not admitted to so high a seat as idealizing poetry and romance, has been received into the company of the immortals, and Howells and Bennett are permitted to sit down to dinner with self-respecting critics. But Naturalism, Zola's interpretation of Nature, the high priests of criticism hold up to mocking and execration. Flaubert, Ibsen, Hardy, Moore, Brieux, and Masters were all at first denounced in the reputable journals as devils from the pit: and they are still ostracized by good society as if a sulphurous vapor hung around them.
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Jan 1, 1930
R Rutherford 
Open Access
