Without Prejudice Part 2

Should ladies smoke? Is there a Ghetto in England? Anti-Semitism. Why should London wait? or German waiters? Mr. Stead's revival of pilgrimages. Is Grimm's Law universal? The abuses of the Civil Service; of the Pension List. Dr. Barnardo. Grievances of match-girls; of elementary teachers. Are our police reliable? Is Stevenson's Scotch accurate? Is our lifeboat service efficient? The Eastern Question. What is an English fairy-tale? What are the spots on the sun? Have they anything to do with commercial crises? Should we spoil the Court if we spared the Black Rod? or the City if we spared the Lord Mayor? Is chloroforming dangerous? Should armorial bearings be taxed? or a tradesman's holiday use of his cart? Should cla.s.sical texts be Bowdlerised for school-boys? Is the confessional of value? Is red the best colour for a soldier's uniform or for a target? Will it rain to-morrow? Ought any one to carry firearms? Do we permit the cancan on the English stage? or aerial flights without nets? Where are the lost Tales of Miletus? Should lawyers wear their own hair? Was the Silent System so bad? Should a novel have a purpose? Was the _Victoria_ Fund rightly distributed? What is the origin of Egyptian civilisation? Is it allowable to say, "It's me"?

Every other doubtful point of grammar and--worse still--of p.r.o.nunciation; also of etymology. May we say "Give an ovation"? Is the German Emperor a genius, or a fool? Should bachelors be taxed?

Will the family be abolished? Ensilage. Why was Ovid banished from Rome? Is the soul immortal? Is our art-pottery bad? Is the Revised Version of the Bible superior to the Old? Who stole Gainsborough's picture? Which are the rarest coins and stamps? Is there any sugar in the blood? Blondes or brunettes? Do monkeys talk? What should you lead at whist? Should directors of insolvent companies be prosecuted?

Or cla.s.sics be annotated? Was Boswell a fool? Do I exist? Does anybody else exist? Is England declining? Shall the costers stand in Farringdon Street? Do green wall-papers contain a.r.s.enic? Shall we adopt phonetic spelling? Is life worth living?

The last question at least I thought I could answer, as I bore to bed with me that headache which you have doubtless acquired if you have been foolish enough to read the list. If only one were a journalist, one would have definite opinions on all these points.

And to these questions every day brings a fresh quota. You are expected to have read the latest paragraph in the latest paper, and the newest novel, and not to have missed such and such an article in such and such a quarterly. And all the while you are fulfilling the duties of, and solving the problems of, son, brother, cousin, husband, father, friend, paris.h.i.+oner, citizen, patriot, all complicated by specific religious and social relations, and earning your living by some business that has its own hosts of special problems, and you are answering letters from everybody about everything, and deciding as to the genuineness of begging appeals, and wrestling with some form or forms of disease, pain, and sorrow.

"Truly, we are imperfect instruments for determining truth," I said to the Poet. "The sane person acts from impulse, and only pretends to give a reason. Reason is only called in to justify the verdict of prejudice.

Sometimes the impulse is sentiment--which is prejudice touched with emotion. We cannot judge anything on pure, abstract grounds, because the balance is bia.s.sed. A human being is born a bundle of prejudices, a group of instincts and intuitions and emotions that precede judgment.

Patriotism is prejudice touched with pride, and politics is prejudice touched with spite. Philosophy is prejudice put into propositions, and art is prejudice put into paint or sound, and religion is a pious opinion. Every man is born a Platonist or an Aristotelian, a Romanticist, or a Realist, or an Impressionist, and usually erects his own limitations into a creed. Every country, town, district, family, individual, has a special set of prejudices along the lines of which it moves, and which it mistakes for exclusive truths or reasoned conclusions. Touch human society anywhere, it is rotten, it crumbles into a myriad notes of interrogation; the acid of a.n.a.lysis dissolves every ideal. Humanity only keeps alive and sound by going on in faith and hope,--_solvitur ambulando_,--if it sat down to ask questions, it would freeze like the traveller in the Polar regions. The world is saved by bad logic."

"And by good feeling," added my friend the Poet.

"And in the face of all these questions," I cried, surveying the list ruefully again, "we go on acc.u.mulating researches and multiplying books without end, vituperating the benefactors who destroyed the library of Alexandria, and exhuming the civilisations that the earthquakes of Time have swallowed under. The Hamlet of centuries, 'sicklied o'er with the pale cast of thought,' the nineteenth of that ilk mouches along, soliloquising about more things in heaven and earth than were dreamt of in any of its predecessors' philosophies. Ah me! a.n.a.lysis is paralysis and introspection is vivisection and culture drives one mad. What will be the end of it all?"

"The end will be," answered the Poet, "that the overstrung nerves of the century will give way, and that we shall fall into the simple old faith of Omar Khayyam:

"A Book of Verses underneath the Bough, A Jug of Wine, a Loaf of Bread, and Thou Beside me singing in the Wilderness-- O Wilderness were Paradise enow."

"Yes," said I, "the only wisdom is to live. Action is substance and thought shadow." And so--paradoxically enough--I began to think out

A WORKING PHILOSOPHY

The solar system turns without thine aid.

Live, die! The universe is not afraid.

What is is right! If aught seems wrong below, Then wrong it is--of thee to leave it so.

Then wrong it first becomes for human thought, Which else would die of dieting on naught.

Tied down by race and s.e.x and creed and station, Go, learn to find thy strength in limitation, To do the little good that comes to hand, Content to love and not to understand; Faithful to friends and country, work and dreams, Knowing the Real is the thing that seems.

While reverencing every n.o.bleness, In whatsoever tongue or shape or dress, Speak out the word that to _thy_ soul seems right, Strike out thy path by individual light: 'Tis contradictory rays that give the White.

"The ideas are good. But what a pity you are not a poet!" said my friend the Poet.

But, though I recognise that prejudice in the deepest sense supplies the matter of judgment, while logic is only regulative of the form, yet in the more work-a-day sense of the word in which prejudice is taken to mean an opinion formed without reasoning and maintained in despite of it, I claim to write absolutely without prejudice. The syllogism is my lord and king. A kind-hearted lady said I had a cruel face. It is true. I am absolutely remorseless in tracking down a _non sequitur_, pitiless in forcing data to yield up their implicit conclusions. "Logic! Logic!"

snorted my friend the Poet. "Life is not logical. We cannot be logical."

"Of course not," said I; "I should not dream of asking men to live logically: all I ask is that they should argue logically."

But to be unprejudiced does not mean to have no convictions. The superficial confuse definiteness with prejudice, forgetting that definite opinions may be the result of careful judgment. Post-judiced I trust I am. But prejudiced? Heaven forfend! Why, 'tis because I do not wish to bind myself to anything that I may say in them that I mark these personal communications "Without Prejudice"! For I do not at all mind contradicting myself. If it were some one of reverend years or superior talents I might hesitate, but between equals----! Contradiction is the privilege of _camaraderie_ and the essence of _causerie_. We agree to differ--I and myself. I am none of your dogmatic fellows with pigeon-holes for minds, and whatever I say I do not stick to. And I will tell you why. There is hardly a pretty woman of my acquaintance who has not asked for my hand. Owing to this pa.s.sion for palmistry in polite circles, I have discovered that I possess as many characters as there are palmists. Do you wonder, therefore, if, with such a posse of personalities to pick from, I am never alike two days running? With so varied a psychological wardrobe at command, it would be mere self-denial to be faithful to one's self. I leave that to the one-I'd who can see only one side of a question. Said Tennyson to a friend (who printed it): "'In Memoriam' is more optimistic than I am"; and there is more of the real man in that little remark than in all the biographies. The published prophet has to live up to his public halo. So have I seen an actress on tour slip from a third-cla.s.s railway carriage into a brougham. Tennyson was not mealy-mouthed, but then he did not bargain for an audience of phonographs. Nowadays it is difficult to distinguish your friends from your biographers. The worst of it is that the land is thick with fools who think nothing of a great man the moment they discover he was a man.

Tennyson was all the greater for his honest doubt. The c.o.c.ksure centuries are pa.s.sed for ever. In these hard times we have to work for our opinions; we cannot rely on inheriting them from our fathers.

I write with a capital I at the risk of being accused of egotism.

Apparently it is more modest to be conceited in the third person, like the child who says "Tommy is a good boy," or in the first person plural, like the leader-writer of "The Times," who bids the Continent tremble at his frown. By a singular fallacy, which ought scarcely to deceive children, it is forgotten that everything that has ever been written since the world began has been written by some one person, by an "I,"

though that "I" might have been omitted from the composition or replaced by the journalistic "we." To some extent the journalist does sink his personality in that imaginary personality of his paper, a personality built up, like the human personality, by its past; and the result is a pompous, colourless, lifeless simulacrum. But in every other department of letters the trail of the "I" is over every page and every sentence.

The most impersonal essays and poems are all in a sense egoistic.

Everything should really be between inverted commas with an introductory _Thus say I_. But as these are omitted, as being understood, they come at last to be _mis_understood.

In the days ere writing was invented, this elementary error was not possible. The words were heard issuing from the lips of a single man; every opinion, every law of conduct, must have been at first formulated through the lips of some one man. And to this day, in spite of the wilderness of tradition and authority by which we are overgrown, the voice of the one man is still our only living source of inspiration and help. Every new thought must pa.s.s through the brain, every moral ideal through the conscience, of an individual. Voices, voices, we want--not echoes. Better the mistaken voice of honest individuality than the soulless bleat of the flock. There are too many of Kipling's Tomlinsons in the world, whose consciences are wholly compact of _on dits_, on whom the devil himself, sinned they never so sadly, would refuse to waste his good pit-coal. "Bad taste"--that opprobrious phrase which, worse than the accusation of a crime, cannot be refuted, for it is the king of the question-beggars,--"bad taste" is responsible for half the reticence that marks current writing, for the failure to p.r.i.c.k the bladders of every species that bloat themselves all around us. "Good taste" is the staunchest ally of hypocrisy, and corruption is the obverse side of civilisation. I do not believe in these general truths that rule the market. What is "true for all" is false for each. It is the business of every man to speak out, to be himself, to contribute his own thought to the world's thinking--to be egoistic. To be egoistic is not to be egotistic. Egoism should be distinguished from egotism. The egoist thinks for himself, the egotist about himself. Mr. Meredith's Sir Willoughby should not have been styled the _Egoist_. The egoist offers his thought to his fellow-men, the egotist thinks it is the only thought worth their acceptance. These papers of mine joyously plead guilty to egoism, but not to egotism. If they, for instance, pretend to appraise the powers of my contemporaries, they do not pretend to be more than an individual appraisal. Whoever wants another opinion can go somewhere else. There is no lack of pract.i.tioners in criticism, more or less skilful. There must be a struggle for existence among opinions, as among all other things, and the egoist is content to send the children of his thought into the thick of the fray, confident that the fittest will survive. Only he is not so childish as to make-believe that an impersonal dignified something-not-himself that makes for the ink-pot is speaking--and not he himself, he "with his little I." The affectation of modesty is perhaps the most ludicrous of all human shams. I am reminded of the two Jews who quarrelled in synagogue, during the procession of palm-branches, because each wanted to be last, as befitted the humblest man in Israel, which each claimed to be. This is indeed "the pride that apes humility." There is a good deal of this sort of pride in the careful and conscientious suppression of the egoistic in books and speeches. I have nothing of this modesty to be proud of. I know that I am cleverer than the man in the street, though I take no credit to myself for it, as it is a mere accident of birth, and on the whole a regrettable one. It was this absence of modesty from my composition that recently enabled me to propose the toast of literature coupled with the name of Mr. Zangwill. I said that I could wish that some one more competent and distinguished than myself had been chosen to do justice to such a toast and to such a distinguished man of letters, but I did my best to pay him the tribute he deserved ere I sat down amid universal applause. When I rose amid renewed cheers to reply, I began by saying that I could wish that some one more competent and distinguished than myself had been chosen to respond to so important a toast--the last speaker had considerably overrated my humble achievements in the fields of literature. So that you see I could easily master the modest manner, if I took any pains or set any store by it. But in my articles of faith the "I" is just what I would accentuate most, the "I" through which for each of us the universe flows, by which any truth must be perceived in order to be true, and which is not to be replaced by that false abstraction, the communal mind. Here are a laughing philosopher's definitions of some cardinal things:

Philosophy--All my I.

Art--All my Eye.

Religion--All my Ay.

Also at the outset let it be distinctly understood that I write without any prejudice in favour of grammar. The fear of the critics is the beginning of pedantry. I detest your scholiast whose footnotes would take Thackeray to task for his "and whiches," and your professor who disdains the voice of the people, which is the voice of the G.o.d of grammar. I know all the scholiast has to say (surely he is the silly [Greek: scholastikos] of Greek anecdote), and indeed I owe all my own notions of diction to a work on "Style" written by him. It was from the style of this work that I learnt what to avoid. The book reminded me of my old schoolmaster, who grew very angry with me for using the word "ain't," and vociferated "Ain't! How often am I to tell you ain't ain't a word?" I suppose one may take it for granted that the greater the writer the worse the grammar. "Fools follow rules. Wise men precede them." (Query: this being a quotation from myself, was I bound to put the inverted commas?) Shakespeare has violated every rule of the schoolroom, and the more self-conscious stylist of our own day--Stevenson--would be caned for composition. I find him writing "They are not us," which is almost as blasphemous as "It's me." His reputation has closed the critics' eyes to such sentences as these in his essay on "Some Portraits by Raeburn": "Each of his portraits are not only a piece of history ..."; "Neither of the portraits of Sir Walter Scott were very agreeable to look upon."

Stevenson is a master, but not a schoolmaster, of English. Of course bad grammar does not make a genius, any more than bad morals. (Note how much this sentence would lose in crispness if I made it grammatical by tacking on "do.") My friend the musician complained to me that when he studied harmony and form he was told he must not do this, that and the other; whereas, when he came to look into the works of the great composers he found they made a practice of all the three. "Am I a genius?" he queried pathetically. "If so, I could do as I please. I wish I knew." Every author who can read and write is in the same predicament: on the one hand his own instinct for a phrase or a sentence, on the other the contempt of every honest critic. The guardians of the laws of English have a stock of taboos; but unlike the guardians of the laws of England they credit every disregard of them to ignorance. They cannot conceive of malice aforethought. We are forbidden, for example, to use the word "phenomenal"

in the sense of "extraordinary." But, with Mr. Crummles's Infant Phenomenon in everybody's mind, can we expect the adjective to shake off the old a.s.sociations of its parent noun?

Last year I culled an amusing sentence from a "Standard" criticism of a tale of adventure: "The story is a well-told, and in spite of the word 'unreliable,' a well-written one." Now just as many foolish persons object to "a ... one" as to "unreliable." As for the first phrase, I am sure so great a writer as Tom Hood would have p.r.o.nounced it A1, while "unreliable" is defended with unusual warmth by Webster's Dictionary. The contention that "reliable" should be "reli-on-able," is ridiculous, and Webster's argument is "laughable," which should obviously be "laugh-at-able." These remarks are made quite without prejudice, for personally I have little to complain of. (By the way, this sentence is as open to blame as that of the professor who told his pupils "You must not use a preposition to end a sentence with.") Though I have sat under an army of critics, I have but once been accused of inelegant English, and then it was only by a lady who wrote that my slipshod style "aggravated"

her.

Finally it will be remarked that by dispensing with ill.u.s.trations I preserve intact my egoism and the dignity of a rival art. Nothing can be more absurd than the conventional ill.u.s.tration which merely attempts to picture over again what the writer has already pictured in words. Not only is the effort superfluous, a waste of force, but the artist's picture is too often in flat contradiction of the text. Whom are you to believe, the author or the artist? the man who tells you that the heroine is ethereal, or the man who plainly demonstrates that she is podgy? How often, too, do the people dress differently in the words and in the picture, not to speak of the s.h.i.+fting backgrounds! d.i.c.kens had so much difficulty with his ill.u.s.trations because he saw his characters so much more clearly than any other novelist; the sight of his inner eye was so good. And one can understand, too, how Cruikshank came to fancy he had created Oliver Twist, much as an actor imagines he "creates" a character.

The true collaboration between author and artist requires that the work should be divided between them, not reduplicated. Those parts of the story which need the intervention of words should be allotted to the writer, while to the artist should be entrusted the parts better told by pencil. Neither need trench on the other's province. Description--which so many readers skip already--would be abolished. Even incidents--such as murder--could be caught by the artist in the act. And after the artist had killed a character, the author could preach over his corpse. Thus there would be an agreeable reversion to picture-language, the earliest way of writing, and the latest. The ends of the ages would meet in a romance written on these lines:--

"Sick at heart we watched till the grey dawn stole in through the diamond-paned cas.e.m.e.nts of the Grange, and then, at last, when we had given up all hope, we saw coming up the gravel pathway----"

[_Ill.u.s.tration._[*]]

After which the author proceeds: "Fascinated by the blood that dripped from the edges of the eight umbrellas, we stood silent; then, throwing off our coats, we----

[_Ill.u.s.tration._[*]]

"So that was how I won the sweetest little bride I ever wedded. But if I live to wed a hundred, I shall never forget that terrible night in Grewsome Grange.

"THE END."

[* Transcriber's note: So in original. These are _not_ placeholders for actual ill.u.s.trations in the book.]

My friend the artist once collaborated with me in an experiment of this sort, but we did not pursue it, discovering how feeble an advance ours would be after all; for there were points at which both of us felt we ought to give way to the tone-poet. When the emotions became too intangible for intellectual expression I asked my friend the musician to insert paragraphs in a minor key. The love-scenes I was particularly anxious to have written in musical phrases. But he shrank from so unconventional a form, not being sure he was a genius. I was also disheartened by the disappointing behaviour of the diverse scents with which I had expressed myself on certain blank pages. They would not remain in their places.

II

TUNING UP

They were "tuning up" in a wooden hall, stupidly built on the pier to shut off the sea and the night (a penny to pay for the privation), and in that strange cacophony of desolate violin strings, tuneless trombones, and doleful double ba.s.ses, in that homeless wail of forlorn bra.s.s and lost catgut, I found a music sweeter than a Beethoven symphony; for memory's tricksy finger touched of a sudden the source of tears, and flashed before the inner eye a rainbow-lit panorama of the early joys of the theatre--the joys that are no more. Was it even at a theatre--was it even more than an interlude in a diorama?--that divine singing of "The Last Rose of Summer" by a lady in evening dress, whose bust is, perhaps for me alone in all the world, still youthful? Was it from this hall of the siren, or was it from some later enchantment, that I, an infant Ulysses, struggled home by night along a sea road, athwart a gale that well-nigh blew me out to sea? How fierce that salt wind blew, a-yearn to drive me to the sh.o.r.e's edge and whirl me over! How fresh and tameless it beats against me yet, blowing the cobwebs from my brain as that real breeze outside the pier could never do! When my monitory friends gabble of change of air I inhale that wind and am strong. For the child is of the elements, elemental, and the man of the complexities, complex. And so that good salt wind blows across my childhood still, though it cannot sweep away the mist that hovers thereover.

For who shall say whether 't was I or my sister who was borne shrieking with fear from the theatre when the black man, "Oth.e.l.lo," appeared on the boards! The first clear memory of things dramatic is of an amateur performance--alas! I have seen few others. 'T was a farce--when was an amateur performance other? There was much play of snuff-boxes pa.s.sed punctiliously 'twixt irascible old gentlemen with coloured handkerchiefs.

Also there was dinner beforehand--my first experience of chicken and champagne. And then there is a great break till the real theatre rises stately and splendid, like Britannia ruling the waves--nay, Britannia herself, or, as they call it lovingly down Sh.o.r.editch way, "the Brit."

When to my fas.h.i.+onable friends I have held forth on the glories and the humours of "the Brit.," they have taken it for granted, and I have lacked the courage or the energy to undeceive them, that my visits to this temple of the people were expeditions of Haroun Al Raschid in the back streets of Bagdad or adventures of Prince Florizel in Rupert Street; but of a truth I have climbed the gallery stairs in sober boyish earnestness, elbowed of the G.o.ds, and elbowing, and if I did not yield to the seductions of "ginger-beer and Banbury" that filled up clamantly the entr'actes, 't was that I had not the coppers. "Guy Fawkes" was my first piece, in the days when the drama's "fireworks" were not epigrams, and so the smell of the sulphur still purifies the air. All the long series of "London successes," with their array of genius and furniture, have faded like insubstantial pageants, but the rude vault piled with flour-barrels for the desperado's torch is fixed as by chemic process. Consider the preparation of the brain for that memory. What! I should actually go to a play--that far-off wonder! "The Miller and his Men" cut in cardboard should no longer stave off my longing for the living pa.s.sion of the theatre. 'T was a very elongated young man who took me, a young cigar-maker fond of reciting, spouting Shakespeare from a sixpenny edition, playing Hamlet mentally as he rolled the tobacco-leaf. There was a halo about his head, for he was on speaking terms with the low comedian of the "Brit.," and, I understood, was permitted upon occasion to pay for a pint of half-and-half. Alas! all this did not avail to save him from an early tomb. Poor wors.h.i.+pper of the green room, perchance thy ghost still walks there. Or is there room in some other world for thy baffled aspirations?

In such clouds of glory did the drama first come to me, sulphurously splendid. In the "Brit." I made my first acquaintance with the limelit humanity that, magnificent in its crimes and in its virtues, sins or suffers in false eyebrows or white muslin to the sound of soft music.

Here I met that strange creation, the villain--a being as mythic, meseems, as the centaur, and, like it, more beast than man. The "Brit."

was a hot place for villains, the gallery accepting none but the highest principles of speech and conduct, and ginger-beer were not too weighty a form of expressing detestation of the more comprehensive breaches of the decalogue. Hisses the villain never escaped, and I was puzzled to know how the poor actor could discriminate betwixt the hiss ethical and the hiss aesthetic. But perhaps no player ever received the latter; the house was very loyal to its favourites, all of whom had their well-defined roles in every play, which spared the playwrights the task of indicating character. Before the heroine had come on we knew that she was young and virtuous--had she not been so for the last five and twenty years?--the comic man had not to open his mouth for us to begin to laugh; a latent sibilance foreran the villain. Least mutable of all, the hero swaggered on, virtuous without mawkishness, pugnacious without brutality. How sublime a destiny, to stand for morals and muscle to the generations of Hoxton, to incarnate the copy-book crossed with the "Sporting Times!"

Were they bearable in private life, these monsters of virtue?

J. B. Howe was long this paragon of men--affectionately curtailed to Jabey. Once, when the villain was about to club him, "Look out, Jabey!"