III

Et tunc magna mei sub terris ibit imago.

A small square stone marked his grave in Trinity College, but the Fellows refused to record upon it the fact that he had been their Master.

But the strangest sentence in this strange story has yet to be written, and Bishop Monk writes it as if it were a commonplace requiring no comment. "For a person who was neither a poet, nor possessed of poetical taste to venture upon such a task was no common presumption." The task was to detect every slip of language inParadise Lost, and all instances of bad taste and incorrect imagery. The result was notoriously lamentable. Yet in what, we may ask, did it differ from those in which Bentley was held to have acquitted himself magnificently? And if Bentley was incapable of appreciating the poetry of Milton, how can we accept his verdict upon Horace and Homer? And if we cannot trust implicitly to scholars, and if the study of Greek is supposed to refine the manners and purify the soul—but enough. Our scholar has returned from Hall; his lamp is lit; his studies are resumed; and it is time that our profane speculations should have an end. Besides, all this happened many, many years ago.

She had stayed, in a humble capacity, for a week in the ducal household. She had seen the troops of highly decorated human beings descending in couples to eat, and ascending in couples to bed. She had, surreptitiously, from a gallery, observed the Duke himself dusting the miniatures in the glass cases, while the Duchess let her crochet fall from her hands as if in utter disbelief that the world had need of crochet. From an upper window she had seen, as far as eye could reach, gravel paths swerving round isles of greenery and losing themselves in little woods designed to shed the shade without the severity of forests; she had watched the ducal carriage bowling in and out of the prospect, and returning a different way from the way it went. And what was her verdict? "A lunatic asylum."

It is true that she was a lady's-maid, and that Lady Dorothy Nevill, had she encountered her on the stairs, would have made an opportunity to point out that that is a very different thing from being a lady.

My mother never failed to point out the folly of work-women, shop-girls, and the like calling each other "Ladies". All this sort of thing seemed to her to be mere vulgar humbug, and she did not fail to say so.

What can we point out to Lady Dorothy Nevill? that with all her advantages she had never learned to spell? that she could not write a grammatical sentence? that she lived for eighty-seven years and did nothing but put food into her mouth and slip gold through her fingers? But delightful though it is to indulge in righteous indignation, it is misplaced if we agree with the lady's-maid that high birth is a form of congenital insanity, that the sufferer merely inherits the diseases of his ancestors, and endures them, for the most part very stoically, in one of those comfortably padded lunatic asylums which are known, euphemistically, as the stately homes of England.

Moreover, the Walpoles are not ducal. Horace Walpole's mother was a Miss Shorter; there is no mention of Lady Dorothy's mother in the present volume, but her great-grandmother was Mrs. Oldfield the actress, and, to her credit, Lady Dorothy was "exceedingly proud" of the fact. Thus she was not an extreme case of aristocracy; she was confined rather to a bird-cage than to an asylum; through the bars she saw people walking at large, and once or twice she made a surprising little flight into the open air. A gayer, brighter, more vivacious specimen of the caged tribe can seldom have existed; so that one is forced at times to ask whether what we call living in a cage is not the fate that wise people, condemned to a single sojourn upon earth, would choose. To be at large is, after all, to be shut out; to waste most of life in accumulating the money to buy and the time to enjoy what the Lady Dorothys find clustering and glowing about their cradles when their eyes first open—as hers opened in the year 1826 at number eleven Berkeley Square. Horace Walpole had lived there. Her father, Lord Orford, gambled it away in one night's play the year after she was born. But Wolterton Hall, in Norfolk, was full of carving and mantelpieces, and there were rare trees in the garden, and a large and famous lawn. No novelist could wish a more charming and even romantic environment in which to set the story of two little girls, growing up, wild yet secluded, reading Bossuet with their governess, and riding out on their ponies at the head of the tenantry on polling day. Nor can one deny that to have had the author of the following letter among one's ancestors would have been a source of inordinate pride. It is addressed to the Norwich Bible Society, which had invited Lord Orford to become its president:

I have long been addicted to the Gaming Table. I have lately taken to the Turf. I fear I frequently blaspheme. But I have never distributed religious tracts. All this was known to you and your Society. Notwithstanding which you think me a fit person to be your president. God forgive your hypocrisy.

It was not Lord Orford who was in the cage on that occasion. But, alas! Lord Orford owned another country house, Ilsington Hall, in Dorsetshire, and there Lady Dorothy came in contact first with the mulberry tree, and later with Mr. Thomas Hardy; and we get our first glimpse of the bars. We do not pretend to the ghost of an enthusiasm for Sailors' Homes in general; no doubt mulberry trees are much nicer to look at; but when it comes to calling people "vandals" who cut them down to build houses, and to having footstools made from the wood, and to carving upon those footstools inscriptions which testify that "often and often has King George III. taken his tea" under this very footstool, then we want to protest—"Surely you must mean Shakespeare?" But as her subsequent remarks upon Mr. Hardy tend to prove, Lady Dorothy does not mean Shakespeare. She "warmly appreciated" the works of Mr. Hardy, and used to complain "that the county families were too stupid to appreciate his genius at its proper worth". George the Third drinking his tea; the county families failing to appreciate Mr. Hardy: Lady Dorothy is undoubtedly behind the bars.

Yet no story more aptly illustrates the barrier which we perceive hereafter between Lady Dorothy and the outer world than the story of Charles Darwin and the blankets. Among her recreations Lady Dorothy made a hobby of growing orchids, and thus got into touch with "the great naturalist". Mrs. Darwin, inviting her to stay with them, remarked with apparent simplicity that she had heard that people who moved much in London society were fond of being tossed in blankets. "I am afraid," her letter ended, "we should hardly be able to offer you anything of that sort." Whether in fact the necessity of tossing Lady Dorothy in a blanket had been seriously debated at Down, or whether Mrs. Darwin obscurely hinted her sense of some incongruity between her husband and the lady of the orchids, we do not know. But we have a sense of two worlds in collision; and it is not the Darwin world that emerges in fragments. More and more do we see Lady Dorothy hopping from perch to perch, picking at groundsel here, and at hempseed there, indulging in exquisite trills and roulades, and sharpening her beak against a lump of sugar in a large, airy, magnificently equipped bird-cage. The cage was full of charming diversions. Now she illuminated leaves which had been macerated to skeletons; now she interested herself in improving the breed of donkeys; next she took up the cause of silkworms, almost threatened Australia with a plague of them, and "actually succeeded in obtaining enough silk to make a dress"; again she was the first to discover that wood, gone green with decay, can be made, at some expense, into little boxes; she went into the question of funguses and established the virtues of the neglected English truffle; she imported rare fish; spent a great deal of energy in vainly trying to induce storks and Cornish choughs to breed in Sussex; painted on china; emblazoned heraldic arms, and, attaching whistles to the tails of pigeons, produced wonderful effects "as of an aerial orchestra" when they flew through the air. To the Duchess of Somerset belongs the credit of investigating the proper way of cooking guinea-pigs; but Lady Dorothy was one of the first to serve up a dish of these little creatures at luncheon in Charles Street.

But all the time the door of the cage was ajar. Raids were made into what Mr. Nevill calls "Upper Bohemia"; from which Lady Dorothy returned with "authors, journalists, actors, actresses, or other agreeable and amusing people". Lady Dorothy's judgement is proved by the fact that they seldom misbehaved, and some indeed became quite domesticated, and wrote her "very gracefully turned letters". But once or twice she made a flight beyond the cage herself. "These horrors", she said, alluding to the middle class, "are so clever and we are so stupid; but then look how well they are educated, while our children learn nothing but how to spend their parents' money!" She brooded over the fact. Something was going wrong. She was too shrewd and too honest not to lay the blame partly at least upon her own class. "I suppose she can just about read?" she said of one lady calling herself cultured; and of another, "She is indeed curious and well adapted to open bazaars." But to our thinking her most remarkable flight took place a year or two before her death, in the Victoria and Albert Museum:

I do so agree with you, she wrote—though I ought not to say so—that the upper class are very—I don't know what to say—but they seem to take no interest in anything—but golfing, etc. One day I was at the Victoria and Albert Museum, just a few sprinkles of legs, for I am sure they looked too frivolous to have bodies and souls attached to them—but what softened the sight to my eyes were 2 little Japs poring over each article with a handbook . . . our bodies, of course, giggling and looking at nothing. Still worse, not one soul of the higher class visible: in fact I never heard of any one of them knowing of the place, and for this we are spending millions—it is all too painful.

It was all too painful, and the guillotine, she felt, loomed ahead. That catastrophe she was spared, for who could wish to cut off the head of a pigeon with a whistle attached to its tail? But if the whole bird-cage had been overturned and the aerial orchestra sent screaming and fluttering through the air, we can be sure, as Mr. Joseph Chamberlain told her, that her conduct would have been "a credit to the British aristocracy".

The origin of Archbishop Thomson was obscure. His great-uncle "may reasonably be supposed" to have been "an ornament to the middle classes". His aunt married a gentleman who was present at the murder of Gustavus III. of Sweden; and his father met his death at the age of eighty-seven by treading on a cat in the early hours of the morning. The physical vigour which this anecdote implies was combined in the Archbishop with powers of intellect which promised success in whatever profession he adopted. At Oxford it seemed likely that he would devote himself to philosophy or science. While reading for his degree he found time to write theOutlines of the Laws of Thought, which "immediately became a recognised text-book for Oxford classes". But though poetry, philosophy, medicine, and the law held out their temptations he put such thoughts aside, or never entertained them, having made up his mind from the first to dedicate himself to Divine service. The measure of his success in the more exalted sphere is attested by the following facts: Ordained deacon in 1842 at the age of twenty-three, he became Dean and Bursar of Queen's College, Oxford, in 1845; Provost in 1855, Bishop of Gloucester and Bristol in 1861, and Archbishop of York in 1862. Thus at the early age of forty-three he stood next in rank to the Archbishop of Canterbury himself; and it was commonly though erroneously expected that he would in the end attain to that dignity also.

It is a matter of temperament and belief whether you read this list with respect or with boredom; whether you look upon an archbishop's hat as a crown or as an extinguisher. If, like the present reviewer, you are ready to hold the simple faith that the outer order corresponds to the inner—that a vicar is a good man, a canon a better man, and an archbishop the best man of all—you will find the study of the Archbishop's life one of extreme fascination. He has turned aside from poetry and philosophy and law, and specialised in virtue. He has dedicated himself to the service of the Divine. His spiritual proficiency has been such that he has developed from deacon to dean, from dean to bishop, and from bishop to archbishop in the short space of twenty years. As there are only two archbishops in the whole of England the inference seems to be that he is the second best man in England; his hat is the proof of it. Even in a material sense his hat was one of the largest; it was larger than Mr. Gladstone's; larger than Thackeray's; larger than Dickens'; it was in fact, so his hatter told him and we are inclined to agree, an "eight full". Yet he began much as other men begin. He struck an undergraduate in a fit of temper and was rusticated; he wrote a text-book of logic and rowed a very good oar. But after he was ordained his diary shows that the specialising process had begun. He thought a great deal about the state of his soul; about "the monstrous tumour of Simony"; about Church reform; and about the meaning of Christianity. "Self-renunciation," he came to the conclusion, "is the foundation of Christian Religion and Christian Morals. . . . The highest wisdom is that which can enforce and cultivate this self-renunciation. Hence (against Cousin) I hold that religion is higher far than philosophy." There is one mention of chemists and capillarity, but science and philosophy were, even at this early stage, in danger of being crowded out. Soon the diary takes a different tone. "He seems," says his biographer, "to have had no time for committing his thoughts to paper"; he records his engagements only, and he dines out almost every night. Sir Henry Taylor, whom he met at one of these parties, described him as "simple, solid, good, capable, and pleasing". Perhaps it was his solidity combined with his "eminently scientific" turn of mind, his blandness as well as his bulk, that impressed some of these great people with the confidence that in him the Church had found a very necessary champion. His "brawny logic" and massive frame seemed to fit him to grapple with a task that taxed the strongest—how, that is, to reconcile the scientific discoveries of the age with religion, and even prove them "some of its strongest witnesses for the truth". If any one could do this Thomson could; his practical ability, unhampered by any mystical or dreaming tendency, had already proved itself in the conduct of the business affairs of his College. From Bishop he became almost instantly Archbishop; and in becoming Archbishop he became Primate of England, Governor of the Charterhouse and King's College, London, patron of one hundred and twenty livings, with the Archdeaconries of York, Cleveland, and the East Riding in his gift, and the Canonries and Prebends in York Minster. Bishopthorpe itself was an enormous palace; he was immediately faced by the "knotty question" of whether to buy all the furniture—"much of it only poor stuff"—or to furnish the house anew, which would cost a fortune. Moreover there were seven cows in the park; but these, perhaps, were counterbalanced by nine children in the nursery. Then the Prince and Princess of Wales came to stay, and the Archbishop took upon himself the task of furnishing the Princess's apartments. He went up to London and bought eight Moderator lamps, two Spanish figures holding candles, and reminded himself of the necessity of buying "soap for Princess". But meanwhile far more serious matters claimed every ounce of his strength. Already he had been exhorted to "wield the sure lance of your brawny logic against the sophistries" of the authors ofEssays and Reviews, and had responded in a work calledAids to Faith. Near at hand the town of Sheffield, with its large population of imperfectly educated working men, was a breeding ground of scepticism and discontent. The Archbishop made it his special charge. He was fond of watching the rolling of armour plate, and constantly addressed meetings of working men. "Now what are these Nihilisms, and Socialisms, and Communisms, and Fenianisms, and Secret Societies—what do they all mean?" he asked. "Selfishness," he replied, and "assertion of one class against the rest is at the bottom of them all." There was a law of nature, he said, by which wages went up and wages went down. "You must accept the declivity as well as the ascent. . . . If we could only get people to learn that, then things would go on a great deal better and smoother." And the working men of Sheffield responded by giving him five hundred pieces of cutlery mounted in sterling silver. But presumably there were a certain number of knives among the spoons and the forks.

Bishop Colenso, however, was far more troublesome than the working men of Sheffield; and the Ritualists vexed him so persistently that even his vast strength felt the strain. The questions which were referred to him for decision were peculiarly fitted to tease and annoy even a man of his bulk and his blandness. Shall a drunkard found dead in a ditch, or a burglar who has fallen through a skylight, be given the benefit of the Burial Service? he was asked. The question of lighted candles was "most difficult"; the wearing of coloured stoles and the administration of the mixed chalice taxed him considerably; and finally there was the Rev. John Purchas, who, dressed in cope, alb, biretta and stole "cross-wise", lit candles and extinguished them "for no special reason"; filled a vessel with black powder and rubbed it into the foreheads of his congregation; and hung over the Holy Table "a figure, image, or stuffed skin of a dove, in a flying attitude". The Archbishop's temper, usually so positive and imperturbable, was gravely ruffled. "Will there ever come a time when it will be thought a crime to have striven to keep the Church of England as representing the common sense of the Nation?" he asked. "I suppose it may, but I shall not see it. I have gone through a good deal, but I do not repent of having done my best." If, for a moment, the Archbishop himself could ask such a question, we must confess to a state of complete bewilderment. What has become of our superlatively good man? He is harassed and cumbered; spends his time settling questions about stuffed pigeons and coloured petticoats; writes over eighty letters before breakfast sometimes; scarcely has time to run over to Paris and buy his daughter a bonnet; and in the end has to ask himself whether one of these days his conduct will not be considered a crime.

Was it a crime? And if so, was it his fault? Did he not start out in the belief that Christianity had something to do with renunciation and was not entirely a matter of common sense? If honours and obligations, pomps and possessions, accumulated and encrusted him, how, being an Archbishop, could he refuse to accept them? Princesses must have their soap; palaces must have their furniture; children must have their cows. And, pathetic though it seems, he never completely lost his interest in science. He wore a pedometer; he was one of the first to use a camera; he believed in the future of the typewriter; and in his last years he tried to mend a broken clock. He was a delightful father too; he wrote witty, terse, sensible letters; his good stories were much to the point; and he died in harness. Certainly he was a very able man, but if we insist upon goodness—is it easy, is it possible, for a good man to be an Archbishop?

Young men and women beginning to write are generally given the plausible but utterly impracticable advice to write what they have to write as shortly as possible, as clearly as possible, and without other thought in their minds except to say exactly what is in them. Nobody ever adds on these occasions the one thing needful: "And be sure you choose your patron wisely", though that is the gist of the whole matter. For a book is always written for somebody to read, and, since the patron is not merely the paymaster, but also in a very subtle and insidious way the instigator and inspirer of what is written, it is of the utmost importance that he should be a desirable man.

But who, then, is the desirable man—the patron who will cajole the best out of the writer's brain and bring to birth the most varied and vigorous progeny of which he is capable? Different ages have answered the question differently. The Elizabethans, to speak roughly, chose the aristocracy to write for and the playhouse public. The eighteenth-century patron was a combination of coffee-house wit and Grub Street bookseller. In the nineteenth-century the great writers wrote for the half-crown magazines and the leisured classes. And looking back and applauding the splendid results of these different alliances, it all seems enviably simple, and plain as a pikestaff compared with our own predicament—for whom should we write? For the present supply of patrons is of unexampled and bewildering variety. There is the daily Press, the weekly Press, the monthly Press; the English public and the American public; the best-seller public and the worst-seller public; the high-brow public and the red-blood public; all now organised self-conscious entities capable through their various mouthpieces of making their needs known and their approval or displeasure felt. Thus the writer who has been moved by the sight of the first crocus in Kensington Gardens has, before he sets pen to paper, to choose from a crowd of competitors the particular patron who suits him best. It is futile to say, "Dismiss them all; think only of your crocus", because writing is a method of communication; and the crocus is an imperfect crocus until it has been shared. The first man or the last may write for himself alone, but he is an exception and an unenviable one at that, and the gulls are welcome to his works if the gulls can read them.

Granted, then, that every writer has some public or other at the end of his pen, the high-minded will say that it should be a submissive public, accepting obediently whatever he likes to give it. Plausible as the theory sounds, great risks are attached to it. For in that case the writer remains conscious of his public, yet is superior to it—an uncomfortable and unfortunate combination, as the works of Samuel Butler, George Meredith, and Henry James may be taken to prove. Each despised the public; each desired a public; each failed to attain a public; and each wreaked his failure upon the public by a succession, gradually increasing in intensity, of angularities, obscurities, and affectations which no writer whose patron was his equal and friend would have thought it necessary to inflict. Their crocuses in consequence are tortured plants, beautiful and bright, but with something wry-necked about them, malformed, shrivelled on the one side, overblown on the other. A touch of the sun would have done them a world of good. Shall we then rush to the opposite extreme and accept (if in fancy alone) the flattering proposals which the editors of theTimesand theDaily Newsmay be supposed to make us—"Twenty pounds down for your crocus in precisely fifteen hundred words, which shall blossom upon every breakfast table from John o' Groats to the Land's End before nine o'clock to-morrow morning with the writer's name attached"?

But will one crocus be enough, and must it not be a very brilliant yellow to shine so far, to cost so much, and to have one's name attached to it? The Press is undoubtedly a great multiplier of crocuses. But if we look at some of these plants, we shall find that they are only very distantly related to the original little yellow or purple flower which pokes up through the grass in Kensington Gardens about this time of year. The newspaper crocus is amazing but still a very different plant. It fills precisely the space allotted to it. It radiates a golden glow. It is genial, affable, warm-hearted. It is beautifully finished, too, for let nobody think that the art of "our dramatic critic" of theTimesor of Mr. Lynd of theDaily Newsis an easy one. It is no despicable feat to start a million brains running at nine o'clock in the morning, to give two million eyes something bright and brisk and amusing to look at. But the night comes and these flowers fade. So little bits of glass lose their lustre if you take them out of the sea; great prima donnas howl like hyenas if you shut them up in telephone boxes; and the most brilliant of articles when removed from its element is dust and sand and the husks of straw. Journalism embalmed in a book is unreadable.

The patron we want, then, is one who will help us to preserve our flowers from decay. But as his qualities change from age to age, and it needs considerable integrity and conviction not to be dazzled by the pretensions or bamboozled by the persuasions of the competing crowd, this business of patron-finding is one of the tests and trials of authorship. To know whom to write for is to know how to write. Some of the modern patron's qualities are, however, fairly plain. The writer will require at this moment, it is obvious, a patron with the book-reading habit rather than the play-going habit. Nowadays, too, he must be instructed in the literature of other times and races. But there are other qualities which our special weaknesses and tendencies demand in him. There is the question of indecency, for instance, which plagues us and puzzles us much more than it did the Elizabethans. The twentieth-century patron must be immune from shock. He must distinguish infallibly between the little clod of manure which sticks to the crocus of necessity, and that which is plastered to it out of bravado. He must be a judge, too, of those social influences which inevitably play so large a part in modern literature, and able to say which matures and fortifies, which inhibits and makes sterile. Further, there is emotion for him to pronounce on, and in no department can he do more useful work than in bracing a writer against sentimentality on the one hand and a craven fear of expressing his feeling on the other. It is worse, he will say, and perhaps more common, to be afraid of feeling than to feel too much. He will add, perhaps, something about language, and point out how many words Shakespeare used and how much grammar Shakespeare violated, while we, though we keep our fingers so demurely to the black notes on the piano, have not appreciably improved uponAntony and Cleopatra. And if you can forget your sex altogether, he will say, so much the better; a writer has none. But all this is by the way—elementary and disputable. The patron's prime quality is something different, only to be expressed perhaps by the use of that convenient word which cloaks so much—atmosphere. It is necessary that the patron should shed and envelop the crocus in an atmosphere which makes it appear a plant of the very highest importance, so that to misrepresent it is the one outrage not to be forgiven this side of the grave. He must make us feel that a single crocus, if it be a real crocus, is enough for him; that he does not want to be lectured, elevated, instructed, or improved; that he is sorry that he bullied Carlyle into vociferation, Tennyson into idyllics, and Ruskin into insanity; that he is now ready to efface himself or assert himself as his writers require; that he is bound to them by a more than maternal tie; that they are twins indeed, one dying if the other dies, one flourishing if the other flourishes; that the fate of literature depends upon their happy alliance—all of which proves, as we began by saying, that the choice of a patron is of the highest importance. But how to choose rightly? How to write well? Those are the questions.

As Mr. Rhys truly says, it is unnecessary to go profoundly into the history and origin of the essay—whether it derives from Socrates or Siranney the Persian—since, like all living things, its present is more important than its past. Moreover, the family is widely spread; and while some of its representatives have risen in the world and wear their coronets with the best, others pick up a precarious living in the gutter near Fleet Street. The form, too, admits variety. The essay can be short or long, serious or trifling, about God and Spinoza, or about turtles and Cheapside. But as we turn over the pages of these five little volumes,[13]containing essays written between 1870 and 1920, certain principles appear to control the chaos, and we detect in the short period under review something like the progress of history.

Of all forms of literature, however, the essay is the one which least calls for the use of long words. The principle which controls it is simply that it should give pleasure; the desire which impels us when we take it from the shelf is simply to receive pleasure. Everything in an essay must be subdued to that end. It should lay us under a spell with its first word, and we should only wake, refreshed, with its last. In the interval we may pass through the most various experiences of amusement, surprise, interest, indignation; we may soar to the heights of fantasy with Lamb or plunge to the depths of wisdom with Bacon, but we must never be roused. The essay must lap us about and draw its curtain across the world.

So great a feat is seldom accomplished, though the fault may well be as much on the reader's side as on the writer's. Habit and lethargy have dulled his palate. A novel has a story, a poem rhyme; but what art can the essayist use in these short lengths of prose to sting us wide awake and fix us in a trance which is not sleep but rather an intensification of life—a basking, with every faculty alert, in the sun of pleasure? He must know—that is the first essential—how to write. His learning may be as profound as Mark Pattison's, but in an essay it must be so fused by the magic of writing that not a fact juts out, not a dogma tears the surface of the texture. Macaulay in one way, Froude in another, did this superbly over and over again. They have blown more knowledge into us in the course of one essay than the innumerable chapters of a hundred text-books. But when Mark Pattison has to tell us, in the space of thirty-five little pages, about Montaigne, we feel that he had not previously assimilated M. Grün. M. Grün was a gentleman who once wrote a bad book. M. Grün and his book should have been embalmed for our perpetual delight in amber. But the process is fatiguing; it requires more time and perhaps more temper than Pattison had at his command. He served M. Grün up raw, and he remains a crude berry among the cook meats, upon which our teeth must grate for ever. Something of the sort applies to Matthew Arnold and a certain translator of Spinoza. Literal truth-telling and finding fault with a culprit for his good are out of place in an essay, where everything should be for our good and rather for eternity than for the March number of theFortnightly Review. But if the voice of the scold should never be heard in this narrow plot, there is another voice which is as a plague of locusts—the voice of a man stumbling drowsily among loose words, clutching aimlessly at vague ideas, the voice, for example, of Mr. Hutton in the following passage:

Add to this that his married life was very brief, only seven years and a half, being unexpectedly cut short, and that his passionate reverence for his wife's memory and genius—in his own words, "a religion"—was one which, as he must have been perfectly sensible, he could not make to appear otherwise than extravagant, not to say an hallucination, in the eyes of the rest of mankind, and yet that he was possessed by an irresistible yearning to attempt to embody it in all the tender and enthusiastic hyperbole of which it is so pathetic to find a man who gained his fame by his "dry-light" a master, and it is impossible not to feel that the human incidents in Mr. Mill's career are very sad.

A book could take that blow, but it sinks an essay. A biography in two volumes is indeed the proper depositary; for there, where the licence is so much wider, and hints and glimpses of outside things make part of the feast (we refer to the old type of Victorian volume), these yawns and stretches hardly matter, and have indeed some positive value of their own. But that value, which is contributed by the reader, perhaps illicitly, in his desire to get as much into the book from all possible sources as he can, must be ruled out here.

There is no room for the impurities of literature in an essay. Somehow or other, by dint of labour or bounty of nature, or both combined, the essay must be pure—pure like water or pure like wine, but pure from dullness, deadness, and deposits of extraneous matter. Of all writers in the first volume, Walter Pater best achieves this arduous task, because before setting out to write his essay ("Notes on Leonardo da Vinci") he has somehow contrived to get his material fused. He is a learned man, but it is not knowledge of Leonardo that remains with us, but a vision, such as we get in a good novel where everything contributes to bring the writer's conception as a whole before us. Only here, in the essay, where the bounds are so strict and facts have to be used in their nakedness, the true writer like Walter Pater makes these limitations yield their own quality. Truth will give it authority; from its narrow limits he will get shape and intensity; and then there is no more fitting place for some of those ornaments which the old writers loved and we, by calling them ornaments, presumably despise. Nowadays nobody would have the courage to embark on the once famous description of Leonardo's lady who has

learned the secrets of the grave; and has been a diver in deep seas and keeps their fallen day about her; and trafficked for strange webs with Eastern merchants; and, as Leda, was the mother of Helen of Troy, and, as Saint Anne, the mother of Mary . . .

The passage is too thumb-marked to slip naturally into the context. But when we come unexpectedly upon "the smiling of women and the motion of great waters", or upon "full of the refinement of the dead, in sad, earth-coloured raiment, set with pale stones", we suddenly remember that we have ears and we have eyes, and that the English language fills a long array of stout volumes with innumerable words, many of which are of more than one syllable. The only living Englishman who ever looks into these volumes is, of course, a gentleman of Polish extraction. But doubtless our abstention saves us much gush, much rhetoric, much high-stepping and cloud-prancing, and for the sake of the prevailing sobriety and hard-headedness we should be willing to barter the splendour of Sir Thomas Browne and the vigour of Swift.

Yet, if the essay admits more properly than biography or fiction of sudden boldness and metaphor, and can be polished till every atom of its surface shines, there are dangers in that too. We are soon in sight of ornament. Soon the current, which is the life-blood of literature, runs slow; and instead of sparkling and flashing or moving with a quieter impulse which has a deeper excitement, words coagulate together in frozen sprays which, like the grapes on a Christmas-tree, glitter for a single night, but are dusty and garish the day after. The temptation to decorate is great where the theme may be of the slightest. What is there to interest another in the fact that one has enjoyed a walking tour, or has amused oneself by rambling down Cheapside and looking at the turtles in Mr. Sweeting's shop window? Stevenson and Samuel Butler chose very different methods of exciting our interest in these domestic themes. Stevenson, of course, trimmed and polished and set out his matter in the traditional eighteenth-century form. It is admirably done, but we cannot help feeling anxious, as the essay proceeds, lest the material may give out under the craftsman's fingers. The ingot is so small, the manipulation so incessant. And perhaps that is why the peroration—

To sit still and contemplate—to remember the faces of women without desire, to be pleased by the great deeds of men without envy, to be everything and everywhere in sympathy and yet content to remain where and what you are—

has the sort of insubstantiality which suggests that by the time he got to the end he had left himself nothing solid to work with. Butler adopted the very opposite method. Think your own thoughts, he seems to say, and speak them as plainly as you can. These turtles in the shop window which appear to leak out of their shells through heads and feet suggest a fatal faithfulness to a fixed idea. And so, striding unconcernedly from one idea to the next, we traverse a large stretch of ground; observe that a wound in the solicitor is a very serious thing; that Mary Queen of Scots wears surgical boots and is subject to fits near the Horse Shoe in Tottenham Court Road; take it for granted that no one really cares about Æschylus; and so, with many amusing anecdotes and some profound reflections, reach the peroration, which is that, as he had been told not to see more in Cheapside than he could get into twelve pages of theUniversal Review, he had better stop. And yet obviously Butler is at least as careful of our pleasure as Stevenson; and to write like oneself and call it not writing is a much harder exercise in style than to write like Addison and call it writing well.

But, however much they differ individually, the Victorian essayists yet had something in common. They wrote at greater length than is now usual, and they wrote for a public which had not only time to sit down to its magazine seriously, but a high, if peculiarly Victorian, standard of culture by which to judge it. It was worth while to speak out upon serious matters in an essay; and there was nothing absurd in writing as well as one possibly could when, in a month or two, the same public which had welcomed the essay in a magazine would carefully read it once more in a book. But a change came from a small audience of cultivated people to a larger audience of people who were not quite so cultivated. The change was not altogether for the worse. In volume III. we find Mr. Birrell and Mr. Beerbohm. It might even be said that there was a reversion to the classic type, and that the essay by losing its size and something of its sonority was approaching more nearly the essay of Addison and Lamb. At any rate, there is a great gulf between Mr. Birrell on Carlyle and the essay which one may suppose that Carlyle would have written upon Mr. Birrell. There is little similarity betweenA Cloud of Pinafores, by Max Beerbohm, andA Cynic's Apology, by Leslie Stephen. But the essay is alive; there is no reason to despair. As the conditions change so the essayist, most sensitive of all plants to public opinion, adapts himself, and if he is good makes the best of the change, and if he is bad the worst. Mr. Birrell is certainly good; and so we find that, though he has dropped a considerable amount of weight, his attack is much more direct and his movement more supple. But what did Mr. Beerbohm give to the essay and what did he take from it? That is a much more complicated question, for here we have an essayist who has concentrated on the work and is without doubt the prince of his profession.

What Mr. Beerbohm gave was, of course, himself. This presence, which has haunted the essay fitfully from the time of Montaigne, had been in exile since the death of Charles Lamb. Matthew Arnold was never to his readers Matt, nor Walter Pater affectionately abbreviated in a thousand homes to Wat. They gave us much, but that they did not give. Thus, some time in the nineties, it must have surprised readers accustomed to exhortation, information, and denunciation to find themselves familiarly addressed by a voice which seemed to belong to a man no larger than themselves. He was affected by private joys and sorrows, and had no gospel to preach and no learning to impart. He was himself, simply and directly, and himself he has remained. Once again we have an essayist capable of using the essayist's most proper but most dangerous and delicate tool. He has brought personality into literature, not unconsciously and impurely, but so consciously and purely that we do not know whether there is any relation between Max the essayist and Mr. Beerbohm the man. We only know that the spirit of personality permeates every word that he writes. The triumph is the triumph of style. For it is only by knowing how to write that you can make use in literature of your self; that self which, while it is essential to literature, is also its most dangerous antagonist. Never to be yourself and yet always—that is the problem. Some of the essayists in Mr. Rhys' collection, to be frank, have not altogether succeeded in solving it. We are nauseated by the sight of trivial personalities decomposing in the eternity of print. As talk, no doubt, it was charming, and certainly the writer is a good fellow to meet over a bottle of beer. But literature is stern; it is no use being charming, virtuous, or even learned and brilliant into the bargain, unless, she seems to reiterate, you fulfil her first condition—to know how to write.

This art is possessed to perfection by Mr. Beerbohm. But he has not searched the dictionary for polysyllables. He has not moulded firm periods or seduced our ears with intricate cadences and strange melodies. Some of his companions—Henley and Stevenson, for example—are momentarily more impressive. ButA Cloud of Pinaforeshad in it that indescribable inequality, stir, and final expressiveness which belong to life and to life alone. You have not finished with it because you have read it, any more than friendship is ended because it is time to part. Life wells up and alters and adds. Even things in a book-case change if they are alive; we find ourselves wanting to meet them again; we find them altered. So we look back upon essay after essay by Mr. Beerbohm, knowing that, come September or May, we shall sit down with them and talk. Yet it is true that the essayist is the most sensitive of all writers to public opinion. The drawing-room is the place where a great deal of reading is done nowadays, and the essays of Mr. Beerbohm lie, with an exquisite appreciation of all that the position exacts, upon the drawing-room table. There is no gin about; no strong tobacco; no puns, drunkenness, or insanity. Ladies and gentlemen talk together, and some things, of course, are not said.

But if it would be foolish to attempt to confine Mr. Beerbohm to one room, it would be still more foolish, unhappily, to make him, the artist, the man who gives us only his best, the representative of our age. There are no essays by Mr. Beerbohm in the fourth or fifth volumes of the present collection. His age seems already a little distant, and the drawing-room table, as it recedes, begins to look rather like an altar where, once upon a time, people deposited offerings—fruit from their own orchards, gifts carved with their own hands. Now once more the conditions have changed. The public needs essays as much as ever, and perhaps even more. The demand for the light middle not exceeding fifteen hundred words, or in special cases seventeen hundred and fifty, much exceeds the supply. Where Lamb wrote one essay and Max perhaps writes two, Mr. Belloc at a rough computation produces three hundred and sixty-five. They are very short, it is true. Yet with what dexterity the practised essayist will utilise his space—beginning as close to the top of the sheet as possible, judging precisely how far to go, when to turn, and how, without sacrificing a hair's-breadth of paper, to wheel about and alight accurately upon the last word his editor allows! As a feat of skill it is well worth watching. But the personality upon which Mr. Belloc, like Mr. Beerbohm, depends suffers in the process. It comes to us not with the natural richness of the speaking voice, but strained and thin and full of mannerisms and affectations, like the voice of a man shouting through a megaphone to a crowd on a windy day. "Little friends, my readers," he says in the essay called "An Unknown Country", and he goes on to tell us how—

There was a shepherd the other day at Findon Fair who had come from the east by Lewes with sheep, and who had in his eyes that reminiscence of horizons which makes the eyes of shepherds and of mountaineers different from the eyes of other men. . . . I went with him to hear what he had to say, for shepherds talk quite differently from other men.

Happily this shepherd had little to say, even under the stimulus of the inevitable mug of beer, about the Unknown Country, for the only remark that he did make proves him either a minor poet, unfit for the care of sheep, or Mr. Belloc himself masquerading with a fountain pen. That is the penalty which the habitual essayist must now be prepared to face. He must masquerade. He cannot afford the time either to be himself or to be other people. He must skim the surface of thought and dilute the strength of personality. He must give us a worn weekly halfpenny instead of a solid sovereign once a year.

But it is not Mr. Belloc only who has suffered from the prevailing conditions. The essays which bring the collection to the year 1920 may not be the best of their authors' work, but, if we except writers like Mr. Conrad and Mr. Hudson, who have strayed into essay writing accidentally, and concentrate upon those who write essays habitually, we shall find them a good deal affected by the change in their circumstances. To write weekly, to write daily, to write shortly, to write for busy people catching trains in the morning or for tired people coming home in the evening, is a heart-breaking task for men who know good writing from bad. They do it, but instinctively draw out of harm's way anything precious that might be damaged by contact with the public, or anything sharp that might irritate its skin. And so, if one reads Mr. Lucas, Mr. Lynd, or Mr. Squire in the bulk, one feels that a common greyness silvers everything. They are as far removed from the extravagant beauty of Walter Pater as they are from the intemperate candour of Leslie Stephen. Beauty and courage are dangerous spirits to battle in a column and a half; and thought, like a brown paper parcel in a waistcoat pocket, has a way of spoiling the symmetry of an article. It is a kind, tired, apathetic world for which they write, and the marvel is that they never cease to attempt, at least, to write well.

But there is no need to pity Mr. Clutton Brock for this change in the essayist's conditions. He has clearly made the best of his circumstances and not the worst. One hesitates even to say that he has had to make any conscious effort in the matter, so naturally has he effected the transition from the private essayist to the public, from the drawing-room to the Albert Hall. Paradoxically enough, the shrinkage in size has brought about a corresponding expansion of individuality. We have no longer the "I" of Max and of Lamb, but the "we" of public bodies and other sublime personages. It is "we" who go to hear theMagic Flute; "we" who ought to profit by it; "we", in some mysterious way, who, in our corporate capacity, once upon a time actually wrote it. For music and literature and art must submit to the same generalisation or they will not carry to the farthest recesses of the Albert Hall. That the voice of Mr. Clutton Brock, so sincere and so disinterested, carries such a distance and reaches so many without pandering to the weakness of the mass or its passions must be a matter of legitimate satisfaction to us all. But while "we" are gratified, "I", that unruly partner in the human fellowship, is reduced to despair. "I" must always think things for himself, and feel things for himself. To share them in a diluted form with the majority of well-educated and well-intentioned men and women is for him sheer agony; and while the rest of us listen intently and profit profoundly, "I" slips off to the woods and the fields and rejoices in a single blade of grass or a solitary potato.

In the fifth volume of modern essays, it seems, we have got some way from pleasure and the art of writing. But in justice to the essayists of 1920 we must be sure that we are not praising the famous because they have been praised already and the dead because we shall never meet them wearing spats in Piccadilly. We must know what we mean when we say that they can write and give us pleasure. We must compare them; we must bring out the quality. We must point to this and say it is good because it is exact, truthful, and imaginative:

Nay, retire men cannot when they would; neither will they, when it were Reason; but are impatient of Privateness, even in age and sickness, which require the shadow: like old Townsmen: that will still be sitting at their street door, though thereby they offer Age to Scorn . . .

and to this, and say it is bad because it is loose, plausible, and commonplace:

With courteous and precise cynicism on his lips, he thought of quiet virginal chambers, of waters singing under the moon, of terraces where taintless music sobbed into the open night, of pure maternal mistresses with protecting arms and vigilant eyes, of fields slumbering in the sunlight, of leagues of ocean heaving under warm tremulous heavens, of hot ports, gorgeous and perfumed. . . .

It goes on, but already we are bemused with sound and neither feel nor hear. The comparison makes us suspect that the art of writing has for backbone some fierce attachment to an idea. It is on the back of an idea, something believed in with conviction or seen with precision and thus compelling words to its shape, that the diverse company which included Lamb and Bacon, and Mr. Beerbohm and Hudson, and Vernon Lee and Mr. Conrad, and Leslie Stephen and Butler and Walter Pater reaches the farther shore. Very various talents have helped or hindered the passage of the idea into words. Some scrape through painfully; others fly with every wind favouring. But Mr. Belloc and Mr. Lucas and Mr. Lynd and Mr. Squire are not fiercely attached to anything in itself. They share the contemporary dilemma—that lack of an obstinate conviction which lifts ephemeral sounds through the misty sphere of anybody's language to the land where there is a perpetual marriage, a perpetual union. Vague as all definitions are, a good essay must have this permanent quality about it; it must draw its curtain round us, but it must be a curtain that shuts us in, not out.

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