We are now in a position to explain what we mean, when we say that Homer is a writer who tells the Whole Truth. We mean that the experiences he records correspond fairly closely with our own actual or potential experiences—and correspond with our experiences not on a single limited sector, but all along the line of our physical and spiritual being. And we also mean that Homer records these experiences with a penetrative artistic force that makes them seem peculiarly acceptable and convincing.

So much, then, for truth in literature. Homer’s, I repeat, is the Whole Truth. Consider how almost any other of the great poets would have concluded the story of Scylla’s attack on the passing ship. Six men, remember, have been taken and devoured before the eyes of their friends. In any other poem but the Odyssey, what would the survivors have done? They would, of course, have wept, even as Homer made them weep. But would they previously have cooked their supper, and cooked it, what’s more, in a masterly fashion? Would they previously have drunken and eaten to satiety? And after weeping, or actually while weeping, would they have dropped quietly off to sleep? No, they most certainly would not have done any of these things. They would simply have wept, lamenting their own misfortune and the horrible fate of their companions, and the Canto would have ended tragically on their tears.

Homer, however, preferred to tell the Whole Truth. He knew that even the most cruelly bereaved must eat; that hunger is stronger than sorrow and that its satisfaction takes precedence even of tears. He knew that experts continue to act expertly and to find satisfaction in their accomplishment, even when friends have just been eaten, even when the accomplishment is only cooking the supper. He knew that, when the belly is full (and only when the belly is full), men can afford to grieve, and that sorrow after supper is almost a luxury. And finally he knew that, even as hunger takes precedence of grief, so fatigue, supervening, cuts short its career and drowns it in a sleep all the sweeter for bringing forgetfulness of bereavement. In a word, Homer refused to treat the theme tragically. He preferred to tell the Whole Truth.

Another author who preferred to tell the Whole Truth was Fielding. Tom Jones is one of the very Odyssean books written in Europe between the time of Aeschylus and the present age; Odyssean, because never tragical; never—even when painful and disastrous, even when pathetic and beautiful things are happening. For they do happen; Fielding, like Homer, admits all the facts, shirks nothing. Indeed, it is precisely because these authors shirk nothing that their books are not tragical. For among the things they don’t shirk are the irrelevancies which, in actual life, always temper the situations and characters that writers of tragedy insist on keeping chemically pure. Consider, for example, the case of Sophy Western, that most charming, most nearly perfect of young women. Fielding, it is obvious, adored her (she is said to have been created in the image of his first, much-loved wife). But in spite of his adoration, he refused to turn her into one of those chemically pure and, as it were, focused beings who do not suffer in the world of tragedy. That innkeeper who lifted the weary Sophia from her horse—what need had he to fall? In no tragedy would he (nay, could he) have collapsed beneath her weight. For, to begin with, in the tragical context weight is an irrelevance; heroines should be above the law of gravitation. But that is not all; let the reader now remember what were the results of his fall. Tumbling flat on his back, he pulled Sophia down on top of him—his belly was a cushion, so that happily she came to no bodily harm—pulled her down head first. But head first is necessarily legs last; there was a momentary display of the most ravishing charms; the bumpkins at the inn door grinned and guffawed; poor Sophia, when they picked her up, was blushing in an agony of embarrassment and wounded modesty. There is nothing intrinsically improbable about this incident, which is stamped, indeed, with all the marks of literary truth. But however true, it is an incident which could never, never have happened to a heroine of tragedy. It would never have been allowed to happen. But Fielding refused to impose the tragedian’s veto; he shirked nothing—neither the intrusion of irrelevant absurdities into the midst of romance or disaster, nor any of life’s no less irrelevantly painful interruptions of the course of happiness. He did not want to be a tragedian. And, sure enough, that brief and pearly gleam of Sophia’s charming posterior was sufficient to scare the Muse of Tragedy out of Tom Jones just as, more than five and twenty centuries before, the sight of stricken men first eating, then remembering to weep, then forgetting their tears in slumber had scared her out of the Odyssey.

In his Principles of Literary Criticism Mr. I. A. Richards affirms that good tragedy is proof against irony and irrelevance—that it can absorb anything into itself and still remain tragedy. Indeed, he seems to make of this capacity to absorb the untragical and the anti-tragical a touchstone of tragic merit. Thus tried, practically all Greek, all French and most Elizabethan tragedies are found wanting. Only the best of Shakespeare can stand the test. So, at least, says Mr. Richards. Is he right? I have often had my doubts. The tragedies of Shakespeare are veined, it is true, with irony and an often terrifying cynicism; but the cynicism is always heroic idealism turned neatly inside out, the irony is a kind of photographic negative of heroic romance. Turn Troilus’s white into black and all his blacks into white and you have Thersites. Reversed, Othello and Desdemona become Iago. White Ophelia’s negative is the irony of Hamlet, is the ingenuous bawdry of her own mad songs; just as the cynicism of mad King Lear is the black shadow-replica of Cordelia. Now, the shadow, the photographic negative of a thing is in no sense irrelevant to it. Shakespeare’s ironies and cynicisms serve to deepen his tragic world, but not to widen it. If they had widened it, as the Homeric irrelevancies widened out the universe of the Odyssey—why, then, the world of Shakespearean tragedy would automatically have ceased to exist. For example, a scene showing the bereaved Macduff eating his supper, growing melancholy, over the whisky, with thoughts of his murdered wife and children, and then, with lashes still wet, dropping off to sleep, would be true enough to life; but it would not be true to tragic art. The introduction of such a scene would change the whole quality of the play; treated in this Odyssean style, Macbeth would cease to be a tragedy. Or take the case of Desdemona. Iago’s bestially cynical remarks about her character are in no sense, as we have seen, irrelevant to the tragedy. They present us with negative images of her real nature and of the feelings she has for Othello. These negative images are always hers, are always recognizably the property of the heroine-victim of a tragedy. Whereas, if, springing ashore at Cyprus, she had tumbled, as the no less exquisite Sophia was to tumble, and revealed the inadequacies of sixteenth-century underclothing, the play would no longer be the Othello we know. Iago might breed a family of little cynics and the existing dose of bitterness and savage negation be doubled and trebled; Othello would still remain fundamentally Othello. But a few Fieldingesque irrelevancies would destroy it—destroy it, that is to say, as a tragedy; for there would be nothing to prevent it from becoming a magnificent drama of some other kind. For the fact is that tragedy and what I have called the Whole Truth are not compatible; where one is, the other is not. There are certain things which even the best, even Shakespearean tragedy, cannot absorb into itself.