Essays in Little Part 14

Are we better or worse for no longer believing as Bunyan believed, no longer seeing that Abyss of Pascal's open beside our armchairs? The question is only a form of that wide riddle, Does any theological or philosophical opinion make us better or worse? The vast majority of men and women are little affected by schemes and theories of this life and the next. They who even ask for a reply to the riddle are the few: most of us take the easy-going morality of our world for a guide, as we take Bradshaw for a railway journey. It is the few who must find out an answer: on that answer their lives depend, and the lives of others are insensibly raised towards their level. Bunyan would not have been a worse man if he had shared the faith of Izaak Walton. Izaak had his reply to all questions in the Church Catechism and the Articles. Bunyan found his in the theology of his sect, appealing more strongly than orthodoxy to a nature more bellicose than Izaak's. Men like him, with his indomitable courage, will never lack a solution of the puzzle of the earth. At worst they will live by law, whether they dare to speak of it as G.o.d's law, or dare not. They will always be our leaders, our Captain Greathearts, in the pilgrimage to the city where, led or unled, we must all at last arrive. They will not fail us, while loyalty and valour are human qualities. The day may conceivably come when we have no Christian to march before us, but we shall never lack the company of Greatheart.

TO A YOUNG JOURNALIST

Dear Smith,--

You inform me that you desire to be a journalist, and you are kind enough to ask my advice. Well, be a journalist, by all means, in any honest and honourable branch of the profession. But do not be an eavesdropper and a spy. You may fly into a pa.s.sion when you receive this very plainly worded advice. I hope you will; but, for several reasons, which I now go on to state, I fear that you won't. I fear that, either by natural gift or by acquired habit, you already possess the imperturbable temper which will be so useful to you if you do join the army of spies and eavesdroppers. If I am right, you have made up your mind to refuse to take offence, as long as by not taking offence you can wriggle yourself forward in the band of journalistic reptiles. You will be revenged on me, in that case, some day; you will lie in wait for me with a dirty bludgeon, and steal on me out of a sewer. If you do, permit me to a.s.sure you that I don't care. But if you are already in a rage, if you are about tearing up this epistle, and are starting to a.s.sault me personally, or at least to answer me furiously, then there is every hope for you and for your future. I therefore venture to state my reasons for supposing that you are inclined to begin a course which your father, if he were alive, would deplore, as all honourable men in their hearts must deplore it. When you were at the University (let me congratulate you on your degree) you edited, or helped to edit, _The Bull-dog_. It was not a very brilliant nor a very witty, but it was an extremely "racy" periodical. It spoke of all men and dons by their nicknames. It was full of second-hand slang. It contained many personal anecdotes, to the detriment of many people. It printed garbled and spiteful versions of private conversations on private affairs. It did not even spare to make comments on ladies, and on the details of domestic life in the town and in the University. The copies which you sent me I glanced at with extreme disgust.

In my time, more than a score of years ago, a similar periodical, but a much more clever periodical, was put forth by members of the University.

It contained a novel which, even now, would be worth several ill-gotten guineas to the makers of the _chronique scandaleuse_. But n.o.body bought it, and it died an early death. Times have altered, I am a fogey; but the ideas of honour and decency which fogies hold now were held by young men in the sixties of our century. I know very well that these ideas are obsolete. I am not preaching to the world, nor hoping to convert society, but to _you_, and purely in your own private, spiritual interest. If you enter on this path of tattle, mendacity, and malice, and if, with your cleverness and light hand, you are successful, society will not turn its back on you. You will be feared in many quarters, and welcomed in others. Of your paragraphs people will say that "it is a shame, of course, but it is very amusing." There are so many shames in the world, shames not at all amusing, that you may see no harm in adding to the number. "If I don't do it," you may argue, "some one else will."

Undoubtedly; but _why should you do it_?

You are not a starving scribbler; if you determine to write, you can write well, though not so easily, on many topics. You have not that last sad excuse of hunger, which drives poor women to the streets, and makes unhappy men act as public blabs and spies. If _you_ take to this _metier_, it must be because you like it, which means that you enjoy being a listener to and reporter of talk that was never meant for any ears except those in which it was uttered. It means that the hospitable board is not sacred for _you_; it means that, with you, friends.h.i.+p, honour, all that makes human life better than a low smoking-room, are only valuable for what their betrayal will bring. It means that not even the welfare of your country will prevent you from running to the Press with any secret which you may have been entrusted with, or which you may have surprised. It means, this peculiar kind of profession, that all things open and excellent, and conspicuous to all men, are with you of no account. Art, literature, politics, are to cease to interest you. You are to scheme to surprise gossip about the private lives, dress, and talk of artists, men of letters, politicians. Your professional work will sink below the level of servants' gossip in a public-house parlour. If you happen to meet a man of known name, you will watch him, will listen to him, will try to sneak into his confidence, and you will blab, for money, about him, and your blab will inevitably be mendacious. In short, like the most pitiable outcasts of womankind, and, without their excuse, you will live by selling your honour. You will not suffer much, nor suffer long. Your conscience will very speedily be seared with a red-hot iron. You will be on the road which leads from mere dishonour to crime; and you may find yourself actually practising _chantage_, and extorting money as the price of your silence. This is the lowest deep: the vast majority, even of social _mouchards_, do not sink so low as this.

The profession of the critic, even in honourable and open criticism, is beset with dangers. It is often hard to avoid saying an unkind thing, a cruel thing, which is smart, and which may even be deserved. Who can say that he has escaped this temptation, and what man of heart can think of his own fall without a sense of shame? There are, I admit, authors so antipathetic to me, that I cannot trust myself to review them. Would that I had never reviewed them! They cannot be so bad as they seem to me: they must have qualities which escape my observation. Then there is the temptation to hit back. Some one writes, unjustly or unkindly as you think, of you or of your friends. You wait till your enemy has written a book, and then you have your innings. It is not in nature that your review should be fair: you must inevitably be more on the look-out for faults than merits. The _ereintage_, the "smas.h.i.+ng" of a literary foe is very delightful at the moment, but it does not look well in the light of reflection. But these deeds are mere peccadilloes compared with the confirmed habit of regarding all men and women as fair game for personal tattle and the sating of private spite. n.o.body, perhaps, begins with this intention. Most men and women can find ready sophistries. If a report about any one reaches their ears, they say that they are doing him a service by publis.h.i.+ng it and enabling him to contradict it. As if any mortal ever listened to a contradiction! And there are charges--that of plagiarism, for example--which can never be disproved, even if contradictions were listened to by the public. The accusation goes everywhere, is copied into every printed rag; the contradiction dies with the daily death of a single newspaper. You may reply that a man of sense will be indifferent to false accusations. He may, or may not be,--that is not the question for you; the question for you is whether you will circulate news that is false, probably, and spiteful, certainly.

In short, the whole affair regards yourself more than it regards the world. Plenty of poison is sold: is it well for you to be one of the merchants? Is it the business of an educated gentleman to live by the trade of an eavesdropper and a blab? In the Memoirs of M. Blowitz he tells you how he began his ill.u.s.trious career by procuring the publication of remarks which M. Thiers had made to him. He then "went to see M. Thiers, not without some apprehension." Is that the kind of emotion which you wish to be habitual in your experience? Do you think it agreeable to become shame-faced when you meet people who have conversed with you frankly? Do you enjoy being a sneak, and feeling like a sneak? Do you find blus.h.i.+ng pleasant? Of course you will soon lose the power of blus.h.i.+ng; but is that an agreeable prospect? Depend on it, there are discomforts in the progress to the brazen, in the journey to the shameless. You may, if your tattle is political, become serviceable to men engaged in great affairs. They may even ask you to their houses, if that is your ambition. You may urge that they condone your deeds, and are even art and part in them. But you must also be aware that they call you, and think you, a reptile. You are not one of those who will do the devil's work without the devil's wages; but do you seriously think that the wages are worth the degradation?

Many men think so, and are not in other respects bad men. They may even be kindly and genial. Gentlemen they cannot be, nor men of delicacy, nor men of honour. They have sold themselves and their self-respect, some with ease (they are the least blamable), some with a struggle. They have seen better things, and perhaps vainly long to return to them. These are "St. Satan's Penitents," and their remorse is vain:

_Virtutem videant_, _intabescantque relicta_.

If you don't wish to be of this dismal company, there is only one course open to you. Never write for publication one line of personal tattle.

Let all men's persons and private lives be as sacred to you as your father's,--though there are tattlers who would sell paragraphs about their own mothers if there were a market for the ware. There is no half- way house on this road. Once begin to print private conversation, and you are lost--lost, that is, to delicacy and gradually, to many other things excellent and of good report. The whole question for you is, Do you mind incurring this d.a.m.nation? If there is nothing in it which appals and revolts you, if your conscience is satisfied with a few ready sophisms, or if you don't care a pin for your conscience, fall to!

_Vous irez loin_! You will prattle in print about men's private lives their hidden motives, their waistcoats, their wives, their boots, their businesses, their incomes. Most of your prattle will inevitably be lies.

But go on! n.o.body will kick you, I deeply regret to say. You will earn money. You will be welcomed in society. You will live and die content, and without remorse. I do not suppose that any particular _inferno_ will await you in the future life. Whoever watches this world "with larger other eyes than ours" will doubtless make allowance for you, as for us all. I am not pretending to be a whit better than you; probably I am worse in many ways, but not in your way. Putting it merely as a matter of taste, I don't like the way. It makes me sick--that is all. It is a sin which I can comfortably d.a.m.n, as I am not inclined to it. You may put it in that light; and I have no way of converting you, nor, if I have not dissuaded you, of dissuading you, from continuing, on a larger scale, your practices in _The Bull-dog_.

MR. KIPLING'S STORIES

The wind bloweth where it listeth. But the wind of literary inspiration has rarely shaken the bungalows of India, as, in the tales of the old Jesuit missionaries, the magical air shook the frail "medicine tents,"

where Huron conjurors practised their mysteries. With a world of romance and of character at their doors, Englishmen in India have seen as if they saw it not. They have been busy in governing, in making war, making peace, building bridges, laying down roads, and writing official reports.

Our literature from that continent of our conquest has been spa.r.s.e indeed, except in the way of biographies, of histories, and of rather local and unintelligible _facetiae_. Except the novels by the author of "Tara," and Sir Henry Cunningham's brilliant sketches, such as "Dustypore," and Sir Alfred Lyall's poems, we might almost say that India has contributed nothing to our finer literature. That old haunt of history, the wealth of character brought out in that confusion of races, of religions, and the old and new, has been wealth untouched, a treasure- house sealed: those paG.o.da trees have never been shaken. At last there comes an Englishman with eyes, with a pen extraordinarily deft, an observation marvellously rapid and keen; and, by good luck, this Englishman has no official duties: he is neither a soldier, nor a judge; he is merely a man of letters. He has leisure to look around him, he has the power of making us see what he sees; and, when we have lost India, when some new power is ruling where we ruled, when our empire has followed that of the Moguls, future generations will learn from Mr.

Kipling's works what India was under English sway.

It is one of the surprises of literature that these tiny masterpieces in prose and verse were poured, "as rich men give that care not for their gifts," into the columns of Anglo-Indian journals. There they were thought clever and ephemeral--part of the chatter of the week. The subjects, no doubt, seemed so familiar, that the strength of the handling, the brilliance of the colour, were scarcely recognised. But Mr. Kipling's volumes no sooner reached England than the people into whose hands they fell were certain that here were the beginnings of a new literary force. The books had the strangeness, the colour, the variety, the perfume of the East. Thus it is no wonder that Mr. Kipling's repute grew up as rapidly as the mysterious mango tree of the conjurors. There were critics, of course, ready to say that the thing was merely a trick, and had nothing of the supernatural. That opinion is not likely to hold its ground. Perhaps the most severe of the critics has been a young Scotch gentleman, writing French, and writing it wonderfully well, in a Parisian review. He chose to regard Mr. Kipling as little but an imitator of Bret Harte, deriving his popularity mainly from the novel and exotic character of his subjects. No doubt, if Mr. Kipling has a literary progenitor, it is Mr. Bret Harte. Among his earlier verses a few are what an imitator of the American might have written in India. But it is a wild judgment which traces Mr. Kipling's success to his use, for example, of Anglo-Indian phrases and sc.r.a.ps of native dialects. The presence of these elements is among the causes which have made Englishmen think Anglo-Indian literature tediously provincial, and India a bore. Mr.

Kipling, on the other hand, makes us regard the continent which was a bore an enchanted land, full of marvels and magic which are real. There has, indeed, arisen a taste for exotic literature: people have become alive to the strangeness and fascination of the world beyond the bounds of Europe and the United States. But that is only because men of imagination and literary skill have been the new conquerors--the Corteses and Balboas of India, Africa, Australia, j.a.pan, and the isles of the southern seas. All such conquerors, whether they write with the polish of M. Pierre Loti, or with the carelessness of Mr. Boldrewood, have, at least, seen new worlds for themselves; have gone out of the streets of the over-populated lands into the open air; have sailed and ridden, walked and hunted; have escaped from the fog and smoke of towns. New strength has come from fresher air into their brains and blood; hence the novelty and buoyancy of the stories which they tell. Hence, too, they are rather to be counted among romanticists than realists, however real is the essential truth of their books. They have found so much to see and to record, that they are not tempted to use the microscope, and pore for ever on the minute in character. A great deal of realism, especially in France, attracts because it is novel, because M. Zola and others have also found new worlds to conquer. But certain provinces in those worlds were not unknown to, but were voluntarily neglected by, earlier explorers. They were the "Bad Lands" of life and character: surely it is wiser to seek quite new realms than to build mud huts and dunghills on the "Bad Lands."

Mr. Kipling's work, like all good work, is both real and romantic. It is real because he sees and feels very swiftly and keenly; it is romantic, again, because he has a sharp eye for the reality of romance, for the attraction and possibility of adventure, and because he is young. If a reader wants to see petty characters displayed in all their meannesses, if this be realism, surely certain of Mr. Kipling's painted and frisky matrons are realistic enough. The seamy side of Anglo-Indian life: the intrigues, amorous or semi-political--the slang of people who describe dining as "mangling garbage" the "games of tennis with the seventh commandment"--he has not neglected any of these. Probably the sketches are true enough, and pity 'tis true: for example, the sketches in "Under the Deodars" and in "The Gadsbys." That worthy pair, with their friends, are to myself as unsympathetic, almost, as the characters in "La Conquete de Pla.s.sans." But Mr. Kipling is too much a true realist to make their selfishness and pettiness unbroken, unceasing. We know that "Gaddy" is a brave, modest, and hard-working soldier; and, when his little silly bride (who prefers being kissed by a man with waxed moustaches) lies near to death, certainly I am nearer to tears than when I am obliged to attend the bed of Little Dombey or of Little Nell. Probably there is a great deal of slangy and unrefined Anglo-Indian society; and, no doubt, to sketch it in its true colours is not beyond the province of art. At worst it is redeemed, in part, by its constancy in the presence of various perils--from disease, and from "the bullet flying down the pa.s.s."

Mr. Kipling may not be, and very probably is not, a reader of "Gyp"; but "The Gadsbys," especially, reads like the work of an Anglo-Indian disciple, trammelled by certain English conventions. The more Pharisaic realists--those of the strictest sect--would probably welcome Mr. Kipling as a younger brother, so far as "Under the Deodars" and "The Gadsbys" are concerned, if he were not occasionally witty and even flippant, as well as realistic. But, very fortunately, he has not confined his observation to the leisures and pleasures of Simla; he has looked out also on war and on sport, on the life of all native tribes and castes; and has even glanced across the borders of "The Undiscovered Country."

Among Mr. Kipling's discoveries of new kinds of characters, probably the most popular is his invention of the British soldier in India. He avers that he "loves that very strong man, Thomas Atkins"; but his affection has not blinded him to the faults of the beloved. Mr. Atkins drinks too much, is too careless a gallant in love, has been educated either too much or too little, and has other faults, partly due, apparently, to recent military organisation, partly to the feverish and unsettled state of the civilised world. But he is still brave, when he is well led; still loyal, above all, to his "trusty chum." Every Englishman must hope that, if Terence Mulvaney did not take the city of Lungtung Pen as described, yet he is ready, and willing so to take it. Mr. Mulvaney is as humorous as Micky Free, but more melancholy and more truculent. He has, perhaps, "won his way to the mythical" already, and is not so much a soldier, as an incarnation, not of Krishna, but of many soldierly qualities. On the other hand, Private Ortheris, especially in his frenzy, seems to shew all the truth, and much more than the life of, a photograph. Such, we presume, is the soldier, and such are his experiences and temptations and repentance. But n.o.body ever dreamed of telling us all this, till Mr. Kipling came. As for the soldier in action, the "Taking of Lungtung Pen," and the "Drums of the Fore and Aft," and that other tale of the battle with the Pathans in the gorge, are among the good fights of fiction. They stir the spirit, and they should be distributed (in addition, of course, to the "Soldier's Pocket Book") in the ranks of the British army. Mr. Kipling is as well informed about the soldier's women-kind as about the soldier: about Dinah Shadd as about Terence Mulvaney. Lever never instructed us on these matters: Micky Free, if he loves, rides away; but Terence Mulvaney is true to his old woman. Gallant, loyal, reckless, vain, swaggering, and tender-hearted, Terence Mulvaney, if there were enough of him, "would take St. Petersburg in his drawers." Can we be too grateful to an author who has extended, as Mr. Kipling in his military sketches has extended, the frontiers of our knowledge and sympathy?

It is a mere question of individual taste; but, for my own part, had I to make a small selection from Mr. Kipling's tales, I would include more of his studies in Black than in White, and many of his excursions beyond the probable and natural. It is difficult to have one special favourite in this kind; but perhaps the story of the two English adventurers among the freemasons of unknown Kafiristan (in the "Phantom Rickshaw") would take a very high place. The gas-heated air of the Indian newspaper office is so real, and into it comes a wanderer who has seen new faces of death, and who carries with him a head that has worn a royal crown. The contrasts are of brutal force; the legend is among the best of such strange fancies. Then there is, in the same volume, "The Strange Ride of Morrowbie Jukes," the most dreadful nightmare of the most awful Bunker in the realms of fancy. This is a very early work; if nothing else of Mr.

Kipling's existed, his memory might live by it, as does the memory of the American Irishman by the "Diamond Lens." The sham magic of "In the House of Suddhu" is as terrible as true necromancy could be, and I have a _faiblesse_ for the "Bisara of Pooree." "The Gate of the Hundred Sorrows" is a realistic version of "The English Opium Eater," and more powerful by dint of less rhetoric. As for the sketches of native life--for example, "On the City Wall"--to English readers they are no less than revelations. They testify, more even than the military stories, to the author's swift and certain vision, his certainty in his effects. In brief, Mr. Kipling has conquered worlds, of which, as it were, we knew not the existence.

His faults are so conspicuous, so much on the surface, that they hardly need to be named. They are curiously visible to some readers who are blind to his merits. There is a false air of hardness (quite in contradiction to the sentiment in his tales of childish life); there is a knowing air; there are mannerisms, such as "But that is another story"; there is a display of slang; there is the too obtrusive knocking of the nail on the head. Everybody can mark these errors; a few cannot overcome their antipathy, and so lose a great deal of pleasure.

It is impossible to guess how Mr. Kipling will fare if he ventures on one of the usual novels, of the orthodox length. Few men have succeeded both in the _conte_ and the novel. Mr. Bret Harte is limited to the _conte_; M. Guy de Maupa.s.sant is probably at his best in it. Scott wrote but three or four short tales, and only one of these is a masterpiece. Poe never attempted a novel. Hawthorne is almost alone in his command of both kinds. We can live only in the hope that Mr. Kipling, so skilled in so many species of the _conte_, so vigorous in so many kinds of verse, will also be triumphant in the novel: though it seems unlikely that its scene can be in England, and though it is certain that a writer who so cuts to the quick will not be happy with the novel's almost inevitable "padding." Mr. Kipling's longest effort, "The Light which Failed," can, perhaps, hardly be considered a test or touchstone of his powers as a novelist. The central interest is not powerful enough; the characters are not so sympathetic, as are the interest and the characters of his short pieces. Many of these persons we have met so often that they are not mere pa.s.sing acquaintances, but already find in us the loyalty due to old friends.

FOOTNOTES:

{70} The subject has been much more gravely treated in Mr. Robert Bridges's "Achilles in Scyros."

{91} Conjecture may cease, as Mr. Morris has translated the Odyssey.

{109} For Helen Pendennis, see the "Letters," p. 97.

{128} Mr. Henley has lately, as a loyal d.i.c.kensite, been defending the plots of d.i.c.kens, and his tragedy. _Pro captu lectoris_; if the reader likes them, then they are good for the reader: "good absolute, not for me though," perhaps. The plot of "Martin Chuzzlewit" may be good, but the conduct of old Martin would strike me as improbable if I met it in the "Arabian Nights." That the creator of Pecksniff should have taken his misdeeds seriously, as if Mr. Pecksniff had been a Tartuffe, not a delight, seems curious.