[13]Modern English Essays, edited by Ernest Rhys, 5 vols. (Dent).
[13]Modern English Essays, edited by Ernest Rhys, 5 vols. (Dent).
Suddenly, without giving us time to arrange our thoughts or prepare our phrases, our guest has left us; and his withdrawal without farewell or ceremony is in keeping with his mysterious arrival, long years ago, to take up his lodging in this country. For there was always an air of mystery about him. It was partly his Polish birth, partly his memorable appearance, partly his preference for living in the depths of the country, out of ear-shot of gossips, beyond reach of hostesses, so that for news of him one had to depend upon the evidence of simple visitors with a habit of ringing door-bells who reported of their unknown host that he had the most perfect manners, the brightest eyes, and spoke English with a strong foreign accent.
Still, though it is the habit of death to quicken and focus our memories, there clings to the genius of Conrad something essentially, and not accidentally, difficult of approach. His reputation of later years was, with one obvious exception, undoubtedly the highest in England; yet he was not popular. He was read with passionate delight by some; others he left cold and lustreless. Among his readers were people of the most opposite ages and sympathies. Schoolboys of fourteen, driving their way through Marryat, Scott, Henty, and Dickens, swallowed him down with the rest; while the seasoned and the fastidious, who in process of time have eaten their way to the heart of literature and there turn over and over a few precious crumbs, set Conrad scrupulously upon their banqueting table. One source of difficulty and disagreement is, of course, to be found, where men have at all times found it, in his beauty. One opens his pages and feels as Helen must have felt when she looked in her glass and realised that, do what she would, she could never in any circumstances pass for a plain woman. So Conrad had been gifted, so he had schooled himself, and such was his obligation to a strange language wooed characteristically for its Latin qualities rather than its Saxon that it seemed impossible for him to make an ugly or insignificant movement of the pen. His mistress, his style, is a little somnolent sometimes in repose. But let somebody speak to her, and then how magnificently she bears down upon us, with what colour, triumph, and majesty! Yet it is arguable that Conrad would have gained both in credit and in popularity if he had written what he had to write without this incessant care for appearances. They block and impede and distract, his critics say, pointing to those famous passages which it is becoming the habit to lift from their context and exhibit among other cut flowers of English prose. He was self-conscious and stiff and ornate, they complain, and the sound of his own voice was dearer to him than the voice of humanity in its anguish. The criticism is familiar, and as difficult to refute as the remarks of deaf people whenFigarois played. They see the orchestra; far off they hear a dismal scrape of sound; their own remarks are interrupted, and, very naturally, they conclude that the ends of life would be better served if instead of scraping Mozart those fifty fiddlers broke stones upon the road. That beauty teaches, that beauty is a disciplinarian, how are we to convince them, since her teaching is inseparable from the sound of her voice and to that they are deaf? But read Conrad, not in birthday books but in the bulk, and he must be lost indeed to the meaning of words who does not hear in that rather stiff and sombre music, with its reserve, its pride, its vast and implacable integrity, how it is better to be good than bad, how loyalty is good and honesty and courage, though ostensibly Conrad is concerned merely to show us the beauty of a night at sea. But it is ill work dragging such intimations from their element. Dried in our little saucers, without the magic and mystery of language, they lose their power to excite and goad; they lose the drastic power which is a constant quality of Conrad's prose.
For it was by virtue of something drastic in him, the qualities of a leader and captain, that Conrad kept his hold over boys and young people. UntilNostromowas written his characters, as the young were quick to perceive, were fundamentally simple and heroic, however subtle the mind and indirect the method of their creator. They were seafarers, used to solitude and silence. They were in conflict with Nature, but at peace with man. Nature was their antagonist; she it was who drew forth honour, magnanimity, loyalty, the qualities proper to man; she who in sheltered bays reared to womanhood beautiful girls unfathomable and austere. Above all, it was Nature who turned out such gnarled and tested characters as Captain Whalley and old Singleton, obscure but glorious in their obscurity, who were to Conrad the pick of our race, the men whose praises he was never tired of celebrating:
They had been strong as those are strong who know neither doubts nor hopes. They had been impatient and enduring, turbulent and devoted, unruly and faithful. Well-meaning people had tried to represent these men as whining over every mouthful of their food, as going about their work in fear of their lives. But in truth they had been men who knew toil, privation, violence, debauchery—but knew not fear, and had no desire of spite in their hearts. Men hard to manage, but easy to inspire; voiceless men—but men enough to scorn in their hearts the sentimental voices that bewailed the hardness of their fate. It was a fate unique and their own; the capacity to bear it appeared to them the privilege of the chosen! Their generation lived inarticulate and indispensable, without knowing the sweetness of affections or the refuge of a home—and died free from the dark menace of a narrow grave. They were the everlasting children of the mysterious sea.
They had been strong as those are strong who know neither doubts nor hopes. They had been impatient and enduring, turbulent and devoted, unruly and faithful. Well-meaning people had tried to represent these men as whining over every mouthful of their food, as going about their work in fear of their lives. But in truth they had been men who knew toil, privation, violence, debauchery—but knew not fear, and had no desire of spite in their hearts. Men hard to manage, but easy to inspire; voiceless men—but men enough to scorn in their hearts the sentimental voices that bewailed the hardness of their fate. It was a fate unique and their own; the capacity to bear it appeared to them the privilege of the chosen! Their generation lived inarticulate and indispensable, without knowing the sweetness of affections or the refuge of a home—and died free from the dark menace of a narrow grave. They were the everlasting children of the mysterious sea.
Such were the characters of the early books—Lord Jim, Typhoon, The Nigger of the "Narcissus", Youth; and these books, in spite of the changes and fashions, are surely secure of their place among our classics. But they reach this height by means of qualities which the simple story of adventure, as Marryat told it, or Fenimore Cooper, has no claim to possess. For it is clear that to admire and celebrate such men and such deeds, romantically, wholeheartedly and with the fervour of a lover, one must be possessed of the double vision; one must be at once inside and out. To praise their silence one must possess a voice. To appreciate their endurance one must be sensitive to fatigue. One must be able to live on equal terms with the Whalleys and the Singletons and yet hide from their suspicious eyes the very qualities which enable one to understand them. Conrad alone was able to live that double life, for Conrad was compound of two men; together with the sea captain dwelt that subtle, refined, and fastidious analyst whom he called Marlow. "A most discreet, understanding man", he said of Marlow.
Marlow was one of those born observers who are happiest in retirement. Marlow liked nothing better than to sit on deck, in some obscure creek of the Thames, smoking and recollecting; smoking and speculating; sending after his smoke beautiful rings of words until all the summer's night became a little clouded with tobacco smoke. Marlow, too, had a profound respect for the men with whom he had sailed; but he saw the humour of them. He nosed out and described in masterly fashion those livid creatures who prey successfully upon the clumsy veterans. He had a flair for human deformity; his humour was sardonic. Nor did Marlow live entirely wreathed in the smoke of his own cigars. He had a habit of opening his eyes suddenly and looking—at a rubbish heap, at a port, at a shop counter—and then complete in its burning ring of light that thing is flashed bright upon the mysterious background. Introspective and analytical, Marlow was aware of this peculiarity. He said the power came to him suddenly. He might, for instance, overhear a French officer murmur "Mon Dieu, how the time passes!"
Nothing [he comments] could have been more commonplace than this remark; but its utterance coincided for me with a moment of vision. It's extraordinary how we go through life with eyes half shut, with dull ears, with dormant thoughts. . . . Nevertheless, there can be but few of us who had never known one of these rare moments of awakening, when we see, hear, understand, ever so much—everything—in a flash, before we fall back again into our agreeable somnolence. I raised my eyes when he spoke, and I saw him as though I had never seen him before.
Nothing [he comments] could have been more commonplace than this remark; but its utterance coincided for me with a moment of vision. It's extraordinary how we go through life with eyes half shut, with dull ears, with dormant thoughts. . . . Nevertheless, there can be but few of us who had never known one of these rare moments of awakening, when we see, hear, understand, ever so much—everything—in a flash, before we fall back again into our agreeable somnolence. I raised my eyes when he spoke, and I saw him as though I had never seen him before.
Picture after picture he painted thus upon that dark background; ships first and foremost, ships at anchor, ships flying before the storm, ships in harbour; he painted sunsets and dawns; he painted the night; he painted the sea in every aspect; he painted the gaudy brilliancy of Eastern ports, and men and women, their houses and their attitudes. He was an accurate and unflinching observer, schooled to that "absolute loyalty towards his feelings and sensations", which, Conrad wrote, "an author should keep hold of in his most exalted moments of creation". And very quietly and compassionately Marlow sometimes lets fall a few words of epitaph which remind us, with all that beauty and brilliancy before our eyes, of the darkness of the background.
Thus a rough-and-ready distinction would make us say that it is Marlow who comments, Conrad who creates. It would lead us, aware that we are on dangerous ground, to account for that change which, Conrad tells us, took place when he had finished the last story in theTyphoonvolume—"a subtle change in the nature of the inspiration"—by some alteration in the relationship of the two old friends. ". . . it seemed somehow that there was nothing more in the world to write about." It was Conrad, let us suppose, Conrad the creator, who said that, looking back with sorrowful satisfaction upon the stories he had told; feeling as he well might that he could never better the storm inThe Nigger of the "Narcissus", or render more faithful tribute to the qualities of British seamen than he had done already inYouthandLord Jim. It was then that Marlow, the commentator, reminded him how, in the course of nature, one must grow old, sit smoking on deck, and give up sea-faring. But, he reminded him, those strenuous years had deposited their memories; and he even went so far perhaps as to hint that, though the last word might have been said about Captain Whalley and his relation to the universe, there remained on shore a number of men and women whose relationships, though of a more personal kind, might be worth looking into. If we further suppose that there was a volume of Henry James on board and that Marlow gave his friend the book to take to bed with him, we may seek support in the fact that it was in 1905 that Conrad wrote a very fine essay upon that master.
For some years, then, it was Marlow who was the dominant partner.Nostromo, Chance, The Arrow of Goldrepresent that stage of the alliance which some will continue to find the richest of all. The human heart is more intricate than the forest, they will say; it has its storms; it has its creatures of the night; and if as novelist you wish to test man in all his relationships, the proper antagonist is man; his ordeal is in society, not solitude. For them there will always be a peculiar fascination in the books where the light of those brilliant eyes falls not only upon the waste of waters but upon the heart in its perplexity. But it must be admitted that, if Marlow thus advised Conrad to shift his angle of vision, the advice was bold. For the vision of a novelist is both complex and specialised; complex, because behind his characters and apart from them must stand something stable to which he relates them; specialised because since he is a single person with one sensibility the aspects of life in which he can believe with conviction are strictly limited. So delicate a balance is easily disturbed. After the middle period Conrad never again was able to bring his figures into perfect relation with their background. He never believed in his later and more highly sophisticated characters as he had believed in his early seamen. When he had to indicate their relation to that other unseen world of novelists, the world of values and convictions, he was far less sure what those values were. Then, over and over again, a single phrase, "He steered with care", coming at the end of a storm, carried in it a whole morality. But in this more crowded and complicated world such terse phrases became less and less appropriate. Complex men and women of many interests and relations would not submit to so summary a judgement; or, if they did, much that was important in them escaped the verdict. And yet it was very necessary to Conrad's genius, with its luxuriant and romantic power, to have some law by which its creations could be tried. Essentially—such remained his creed—this world of civilised and self-conscious people is based upon "a few very simple ideas"; but where, in the world of thoughts and personal relations, are we to find them? There are no masts in drawing-rooms; the typhoon does not test the worth of politicians and business men. Seeking and not finding such supports, the world of Conrad's later period has about it an involuntary obscurity, an inconclusiveness, almost a disillusionment which baffles and fatigues. We lay hold in the dusk only of the old nobilities and sonorities: fidelity, compassion, honour, service—beautiful always, but now a little wearily reiterated, as if times had changed. Perhaps it was Marlow who was at fault. His habit of mind was a trifle sedentary. He had sat upon deck too long; splendid in soliloquy, he was less apt in the give and take of conversation; and those "moments of vision" flashing and fading, do not serve as well as steady lamplight to illumine the ripple of life and its long, gradual years. Above all, perhaps, he did not take into account how, if Conrad was to create, it was essential first that he should believe.
Therefore, though we shall make expeditions into the later books and bring back wonderful trophies, large tracts of them will remain by most of us untrodden. It is the earlier books—Youth, Lord Jim, Typhoon, The Nigger of the "Narcissus"—that we shall read in their entirety. For when the question is asked, what of Conrad will survive and where in the ranks of novelists we are to place him, these books, with their air of telling us something very old and perfectly true, which had lain hidden but is now revealed, will come to mind and make such questions and comparisons seem a little futile. Complete and still, very chaste and very beautiful, they rise in the memory as, on these hot summer nights, in their slow and stately way first one star comes out and then another.
[14]August, 1924.
[14]August, 1924.
In the first place a contemporary can scarcely fail to be struck by the fact that two critics at the same table at the same moment will pronounce completely different opinions about the same book. Here, on the right, it is declared a masterpiece of English prose; on the left, simultaneously, a mere mass of waste-paper which, if the fire could survive it, should be thrown upon the flames. Yet both critics are in agreement about Milton and about Keats. They display an exquisite sensibility and have undoubtedly a genuine enthusiasm. It is only when they discuss the work of contemporary writers that they inevitably come to blows. The book in question, which is at once a lasting contribution to English literature and a mere farrago of pretentious mediocrity, was published about two months ago. That is the explanation; that is why they differ.
The explanation is a strange one. It is equally disconcerting to the reader who wishes to take his bearings in the chaos of contemporary literature and to the writer who has a natural desire to know whether his own work, produced with infinite pains and in almost utter darkness, is likely to burn for ever among the fixed luminaries of English letters or, on the contrary, to put out the fire. But if we identify ourselves with the reader and explore his dilemma first, our bewilderment is short-lived enough. The same thing has happened so often before. We have heard the doctors disagreeing about the new and agreeing about the old twice a year on the average, in spring and autumn, ever since Robert Elsmere, or was it Stephen Phillips, somehow pervaded the atmosphere, and there was the same disagreement among grown-up people about them. It would be much more marvellous, and indeed much more upsetting, if, for a wonder, both gentlemen agreed, pronounced Blank's book an undoubted masterpiece, and thus faced us with the necessity of deciding whether we should back their judgement to the extent of ten and sixpence. Both are critics of reputation; the opinions tumbled out so spontaneously here will be starched and stiffened into columns of sober prose which will uphold the dignity of letters in England and America.
It must be some innate cynicism, then, some ungenerous distrust of contemporary genius, which determines us automatically as the talk goes on that, were they to agree—which they show no signs of doing—half a guinea is altogether too large a sum to squander upon contemporary enthusiasms, and the case will be met quite adequately by a card to the library. Still the question remains, and let us put it boldly to the critics themselves. Is there no guidance nowadays for a reader who yields to none in reverence for the dead, but is tormented by the suspicion that reverence for the dead is vitally connected with understanding of the living? After a rapid survey both critics are agreed that there is unfortunately no such person. For what is their own judgement worth where new books are concerned? Certainly not ten and sixpence. And from the stores of their experience they proceed to bring forth terrible examples of past blunders; crimes of criticism which, if they had been committed against the dead and not against the living, would have lost them their jobs and imperilled their reputations. The only advice they can offer is to respect one's own instincts, to follow them fearlessly and, rather than submit them to the control of any critic or reviewer alive, to check them by reading and reading again the masterpieces of the past.
Thanking them humbly, we cannot help reflecting that it was not always so. Once upon a time, we must believe, there was a rule, a discipline, which controlled the great republic of readers in a way which is now unknown. That is not to say that the great critic—the Dryden, the Johnson, the Coleridge, the Arnold—was an impeccable judge of contemporary work, whose verdicts stamped the book indelibly and saved the reader the trouble of reckoning the value for himself. The mistakes of these great men about their own contemporaries are too notorious to be worth recording. But the mere fact of their existence had a centralising influence. That alone, it is not fantastic to suppose, would have controlled the disagreements of the dinner-table and given to random chatter about some book just out an authority now entirely to seek. The diverse schools would have debated as hotly as ever, but at the back of every reader's mind would have been the consciousness that there was at least one man who kept the main principles of literature closely in view; who, if you had taken to him some eccentricity of the moment, would have brought it into touch with permanence and tethered it by his own authority in the contrary blasts of praise and blame.[15]But when it comes to the making of a critic, nature must be generous and society ripe. The scattered dinner-tables of the modern world, the chase and eddy of the various currents which compose the society of our time, could only be dominated by a giant of fabulous dimensions. And where is even the very tall man whom we have the right to expect? Reviewers we have but no critic; a million competent and incorruptible policemen but no judge. Men of taste and learning and ability are for ever lecturing the young and celebrating the dead. But the too frequent result of their able and industrious pens is a desiccation of the living tissues of literature into a network of little bones. Nowhere shall we find the downright vigour of a Dryden, or Keats with his fine and natural bearing, his profound insight and sanity, or Flaubert and the tremendous power of his fanaticism, or Coleridge, above all, brewing in his head the whole of poetry and letting issue now and then one of those profound general statements which are caught up by the mind when hot with the friction of reading as if they were of the soul of the book itself.
And to all this, too, the critics generously agree. A great critic, they say, is the rarest of beings. But should one miraculously appear, how should we maintain him, on what should we feed him? Great critics, if they are not themselves great poets, are bred from the profusion of the age. There is some great man to be vindicated, some school to be founded or destroyed. But our age is meagre to the verge of destitution. There is no name which dominates the rest. There is no master in whose workshop the young are proud to serve apprenticeship. Mr. Hardy has long since withdrawn from the arena, and there is something exotic about the genius of Mr. Conrad which makes him not so much an influence as an idol, honoured and admired, but aloof and apart. As for the rest, though they are many and vigorous and in the full flood of creative activity, there is none whose influence can seriously affect his contemporaries, or penetrate beyond our day to that not very distant future which it pleases us to call immortality. If we make a century our test, and ask how much of the work produced in these days in England will be in existence then, we shall have to answer not merely that we cannot agree upon the same book, but that we are more than doubtful whether such a book there is. It is an age of fragments. A few stanzas, a few pages, a chapter here and there, the beginning of this novel, the end of that, are equal to the best of any age or author. But can we go to posterity with a sheaf of loose pages, or ask the readers of those days, with the whole of literature before them, to sift our enormous rubbish heaps for our tiny pearls? Such are the questions which the critics might lawfully put to their companions at table, the novelists and poets.
At first the weight of pessimism seems sufficient to bear down all opposition. Yes, it is a lean age, we repeat, with much to justify its poverty; but, frankly, if we pit one century against another the comparison seems overwhelmingly against us.Waverley, The Excursion, Kubla Khan, Don Juan, Hazlitt's Essays, Pride and Prejudice, Hyperion, andPrometheus Unboundwere all published between 1800 and 1821. Our century has not lacked industry; but if we ask for masterpieces it appears on the face of it that the pessimists are right. It seems as if an age of genius must be succeeded by an age of endeavour; riot and extravagance by cleanliness and hard work. All honour, of course, to those who have sacrificed their immortality to set the house in order. But if we ask for masterpieces, where are we to look? A little poetry, we may feel sure, will survive; a few poems by Mr. Yeats, by Mr. Davies, by Mr. De la Mare. Mr. Lawrence, of course, has moments of greatness, but hours of something very different. Mr. Beerbohm, in his way, is perfect, but it is not a big way. Passages inFar Away and Long Agowill undoubtedly go to posterity entire.Ulysseswas a memorable catastrophe—immense in daring, terrific in disaster. And so, picking and choosing, we select now this, now that, hold it up for display, hear it defended or derided, and finally have to meet the objection that even so we are only agreeing with the critics that it is an age incapable of sustained effort, littered with fragments, and not seriously to be compared with the age that went before.
But it is just when opinions universally prevail and we have added lip service to their authority that we become sometimes most keenly conscious that we do not believe a word that we are saying. It is a barren and exhausted age, we repeat; we must look back with envy to the past. Meanwhile it is one of the first fine days of spring. Life is not altogether lacking in colour. The telephone, which interrupts the most serious conversations and cuts short the most weighty observations, has a romance of its own. And the random talk of people who have no chance of immortality and thus can speak their minds out has a setting, often, of lights, streets, houses, human beings, beautiful or grotesque, which will weave itself into the moment for ever. But this is life; the talk is about literature. We must try to disentangle the two, and justify the rash revolt of optimism against the superior plausibility, the finer distinction, of pessimism.
Our optimism, then, is largely instinctive. It springs from the fine day and the wine and the talk; it springs from the fact that when life throws up such treasures daily, daily suggests more than the most voluble can express, much though we admire the dead, we prefer life as it is. There is something about the present which we would not exchange, though we were offered a choice of all past ages to live in. And modern literature, with all its imperfections, has the same hold on us and the same fascination. It is like a relation whom we snub and scarify daily, but, after all, cannot do without. It has the same endearing quality of being that which we are, that which we have made, that in which we live, instead of being something, however august, alien to ourselves and beheld from the outside. Nor has any generation more need than ours to cherish its contemporaries. We are sharply cut off from our predecessors. A shift in the scale—the war, the sudden slip of masses held in position for ages—has shaken the fabric from top to bottom, alienated us from the past and made us perhaps too vividly conscious of the present. Every day we find ourselves doing, saying, or thinking things that would have been impossible to our fathers. And we feel the differences which have not been noted far more keenly than the resemblances which have been very perfectly expressed. New books lure us to read them partly in the hope that they will reflect this rearrangement of our attitude—these scenes, thoughts, and apparently fortuitous groupings of incongruous things which impinge upon us with so keen a sense of novelty—and, as literature does, give it back into our keeping, whole and comprehended. Here indeed there is every reason for optimism. No age can have been more rich than ours in writers determined to give expression to the differences which separate them from the past and not to the resemblances which connect them with it. It would be invidious to mention names, but the most casual reader dipping into poetry, into fiction, into biography can hardly fail to be impressed by the courage, the sincerity, in a word, by the widespread originality of our time. But our exhilaration is strangely curtailed. Book after book leaves us with the same sense of promise unachieved, of intellectual poverty, of brilliance which has been snatched from life but not transmuted into literature. Much of what is best in contemporary work has the appearance of being noted under pressure, taken down in a bleak shorthand which preserves with astonishing brilliance the movements and expressions of the figures as they pass across the screen. But the flash is soon over, and there remains with us a profound dissatisfaction. The irritation is as acute as the pleasure was intense.
After all, then, we are back at the beginning, vacillating from extreme to extreme, at one moment enthusiastic, at the next pessimistic, unable to come to any conclusion about our contemporaries. We have asked the critics to help us, but they have deprecated the task. Now, then, is the time to accept their advice and correct these extremes by consulting the masterpieces of the past. We feel ourselves indeed driven to them, impelled not by calm judgement but by some imperious need to anchor our instability upon their security. But, honestly, the shock of the comparison between past and present is at first disconcerting. Undoubtedly there is a dullness in great books. There is an unabashed tranquillity in page after page of Wordsworth and Scott and Miss Austen which is sedative to the verge of somnolence. Opportunities occur and they neglect them. Shades and subtleties accumulate and they ignore them. They seem deliberately to refuse to gratify those senses which are stimulated so briskly by the moderns; the senses of sight, of sound, of touch—above all, the sense of the human being, his depth and the variety of his perceptions, his complexity, his confusion, his self, in short. There is little of all this in the works of Wordsworth and Scott and Jane Austen. From what, then, arises that sense of security which gradually, delightfully, and completely overcomes us? It is the power of their belief—their conviction, that imposes itself upon us. In Wordsworth, the philosophic poet, this is obvious enough. But it is equally true of the careless Scott, who scribbled masterpieces to build castles before breakfast, and of the modest maiden lady who wrote furtively and quietly simply to give pleasure. In both there is the same natural conviction that life is of a certain quality. They have their judgement of conduct. They know the relations of human beings towards each other and towards the universe. Neither of them probably has a word to say about the matter outright, but everything depends on it. Only believe, we find ourselves saying, and all the rest will come of itself. Only believe, to take a very simple instance which the recent publication ofThe Watsonsbrings to mind, that a nice girl will instinctively try to soothe the feelings of a boy who has been snubbed at a dance, and then, if you believe it implicitly and unquestioningly, you will not only make people a hundred years later feel the same thing, but you will make them feel it as literature. For certainty of that kind is the condition which makes it possible to write. To believe that your impressions hold good for others is to be released from the cramp and confinement of personality. It is to be free, as Scott was free, to explore with a vigour which still holds us spell-bound the whole world of adventure and romance. It is also the first step in that mysterious process in which Jane Austen was so great an adept. The little grain of experience once selected, believed in, and set outside herself, could be put precisely in its place, and she was then free to make of it, by a process which never yields its secrets to the analyst, into that complete statement which is literature.
So then our contemporaries afflict us because they have ceased to believe. The most sincere of them will only tell us what it is that happens to himself. They cannot make a world, because they are not free of other human beings. They cannot tell stories because they do not believe the stories are true. They cannot generalise. They depend on their senses and emotions, whose testimony is trustworthy, rather than on their intellects whose message is obscure. And they have perforce to deny themselves the use of some of the most powerful and some of the most exquisite of the weapons of their craft. With the whole wealth of the English language at the back of them, they timidly pass about from hand to hand and book to book only the meanest copper coins. Set down at a fresh angle of the eternal prospect they can only whip out their notebooks and record with agonised intensity the flying gleams, which light on what? and the transitory splendours, which may, perhaps, compose nothing whatever. But here the critics interpose, and with some show of justice.
If this description holds good, they say, and is not, as it may well be, entirely dependent upon our position at the table and certain purely personal relationships to mustard pots and flower vases, then the risks of judging contemporary work are greater than ever before. There is every excuse for them if they are wide of the mark; and no doubt it would be better to retreat, as Matthew Arnold advised, from the burning ground of the present to the safe tranquillity of the past. "We enter on burning ground," wrote Matthew Arnold, "as we approach the poetry of times so near to us, poetry like that of Byron, Shelley, and Wordsworth, of which the estimates are so often not only personal, but personal with passion," and this, they remind us, was written in the year 1880. Beware, they say, of putting under the microscope one inch of a ribbon which runs many miles; things sort themselves out if you wait; moderation and a study of the classics are to be recommended. Moreover, life is short; the Byron centenary is at hand; and the burning question of the moment is, did he, or did he not, marry his sister? To sum up, then—if indeed any conclusion is possible when everybody is talking at once and it is time to be going—it seems that it would be wise for the writers of the present to renounce for themselves the hope of creating masterpieces. Their poems, plays, biographies, novels are not books but notebooks, and Time, like a good schoolmaster, will take them in his hands, point to their blots and erasions, and tear them across; but he will not throw them into the waste-paper basket. He will keep them because other students will find them very useful. It is from notebooks of the present that the masterpieces of the future are made. Literature, as the critics were saying just now, has lasted long, has undergone many changes, and it is only a short sight and a parochial mind that will exaggerate the importance of these squalls, however they may agitate the little boats now tossing out at sea. The storm and the drenching are on the surface; and continuity and calm are in the depths.
As for the critics whose task it is to pass judgement upon the books of the moment, whose work, let us admit, is difficult, dangerous, and often distasteful, let us ask them to be generous of encouragement, but sparing of those wreaths and coronets which are so apt to get awry, and fade, and make the wearers, in six months time, look a little ridiculous. Let them take a wider, a less personal view of modern literature, and look indeed upon the writers as if they were engaged upon some vast building, which being built by common effort, the separate workmen may well remain anonymous. Let them slam the door upon the cosy company where sugar is cheap and butter plentiful, give over, for a time at least, the discussion of that fascinating topic—whether Byron married his sister—and, withdrawing, perhaps, a handsbreadth from the table where we sit chattering, say something interesting about literature. Let us buttonhole them as they leave, and recall to their memory that gaunt aristocrat, Lady Hester Stanhope, who kept a milk-white horse in her stable in readiness for the Messiah and was for ever scanning the mountain tops, impatiently but with confidence, for signs of his approach, and ask them to follow her example; scan the horizon; see the past in relation to the future; and so prepare the way for masterpieces to come.
[15]How violent these are two quotations will show. "It [Told byan Idiot] should be read as theTempestshould be read, and asGulliver's Travelsshould be read, for if Miss Macaulay's poetic gift happens to be less sublime than those of the author of theTempest, and if her irony happens to be less tremendous than that of the author ofGulliver's Travels, her justice and wisdom are no less noble than theirs."—The Daily News.The next day we read: "For the rest one can only say that if Mr. Eliot had been pleased to write in demotic EnglishThe Waste Landmight not have been, as it just is to all but anthropologists, and literati, so much waste-paper."—The Manchester Guardian.
[15]How violent these are two quotations will show. "It [Told byan Idiot] should be read as theTempestshould be read, and asGulliver's Travelsshould be read, for if Miss Macaulay's poetic gift happens to be less sublime than those of the author of theTempest, and if her irony happens to be less tremendous than that of the author ofGulliver's Travels, her justice and wisdom are no less noble than theirs."—The Daily News.
The next day we read: "For the rest one can only say that if Mr. Eliot had been pleased to write in demotic EnglishThe Waste Landmight not have been, as it just is to all but anthropologists, and literati, so much waste-paper."—The Manchester Guardian.