A Critic in Pall Mall Part 15

It is only mediocrities and old maids who consider it a grievance to be misunderstood.

As truly religious people are resigned to everything, even to mediocre poetry, there is no reason at all why Madame Guyon's verses should not be popular with a large section of the community.

A simile committing suicide is always a depressing spectacle.

Such novels as _Scamp_ are possibly more easy to write than they are to read.

We have no doubt that when Bailey wrote to Lord Houghton that common-sense and gentleness were Keats's two special characteristics the worthy Archdeacon meant extremely well, but we prefer the real Keats, with his pa.s.sionate wilfulness, his fantastic moods and his fine inconsistence. Part of Keats's charm as a man is his fascinating incompleteness.

The Apostolic dictum, that women should not be suffered to teach, is no longer applicable to a society such as ours, with its solidarity of interests, its recognition of natural rights, and its universal education, however suitable it may have been to the Greek cities under Roman rule. Nothing in the United States struck me more than the fact that the remarkable intellectual progress of that country is very largely due to the efforts of American women, who edit many of the most powerful magazines and newspapers, take part in the discussion of every question of public interest, and exercise an important influence upon the growth and tendencies of literature and art. Indeed, the women of America are the one cla.s.s in the community that enjoys that leisure which is so necessary for culture. The men are, as a rule, so absorbed in business, that the task of bringing some element of form into the chaos of daily life is left almost entirely to the opposite s.e.x, and an eminent Bostonian once a.s.sured me that in the twentieth century the whole culture of his country would be in petticoats. By that time, however, it is probable that the dress of the two s.e.xes will be a.s.similated, as similarity of costume always follows similarity of pursuits.

The aim of social comedy, in Menander no less than in Sheridan, is to mirror the manners, not to reform the morals, of its day, and the censure of the Puritan, whether real or affected, is always out of place in literary criticism, and shows a want of recognition of the essential distinction between art and life. After all, it is only the Philistine who thinks of blaming Jack Absolute for his deception, Bob Acres for his cowardice, and Charles Surface for his extravagance, and there is very little use in airing one's moral sense at the expense of one's artistic appreciation.

The _aeneid_ bears almost the same relation to the _Iliad_ that the _Idylls of the King_ do to the old Celtic romances of Arthur. Like them it is full of felicitous modernisms, of exquisite literary echoes and of delicate and delightful pictures; as Lord Tennyson loves England so did Virgil love Rome; the pageants of history and the purple of empire are equally dear to both poets; but neither of them has the grand simplicity or the large humanity of the early singers, and, as a hero, aeneas is no less a failure than Arthur.

There is always a certain amount of danger in any attempt to cultivate impossible virtues.

As far as the serious presentation of life is concerned, what we require is more imaginative treatment, greater freedom from theatric language and theatric convention. It may be questioned, also, whether the consistent reward of virtue and punishment of wickedness be really the healthiest ideal for an art that claims to mirror nature.

True originality is to be found rather in the use made of a model than in the rejection of all models and masters. _Dans l'art comme dans la nature on est toujours fils de quelqu'un_, and we should not quarrel with the reed if it whispers to us the music of the lyre. A little child once asked me if it was the nightingale who taught the linnets how to sing.

In France they have had one great genius, Balzac, who invented the modern method of looking at life; and one great artist, Flaubert, who is the impeccable master of style; and to the influence of these two men we may trace almost all contemporary French fiction. But in England we have had no schools worth speaking of. The fiery torch lit by the Brontes has not been pa.s.sed on to other hands; d.i.c.kens has influenced only journalism; Thackeray's delightful superficial philosophy, superb narrative power, and clever social satire have found no echoes; nor has Trollope left any direct successors behind him-a fact which is not much to be regretted, however, as, admirable though Trollope undoubtedly is for rainy afternoons and tedious railway journeys, from the point of view of literature he is merely the perpetual curate of Pudlington Parva.

George Meredith's style is chaos illumined by brilliant flashes of lightning. As a writer he has mastered everything, except language; as a novelist he can do everything, except tell a story; as an artist he is everything, except articulate. Too strange to be popular, too individual to have imitators, the author of _Richard Feverel_ stands absolutely alone. It is easy to disarm criticism, but he has disarmed the disciple.

He gives us his philosophy through the medium of wit, and is never so pathetic as when he is humorous. To turn truth into a paradox is not difficult, but George Meredith makes all his paradoxes truths, and no Theseus can thread his labyrinth, no dipus solve his secret.

The most perfect and the most poisonous of all modern French poets once remarked that a man can live for three days without bread, but that no one can live for three days without poetry. This, however, can hardly be said to be a popular view, or one that commends itself to that curiously uncommon quality which is called common-sense. I fancy that most people, if they do not actually prefer a salmis to a sonnet, certainly like their culture to repose on a basis of good cookery.

A cynical critic once remarked that no great poet is intelligible and no little poet worth understanding, but that otherwise poetry is an admirable thing. This, however, seems to us a somewhat harsh view of the subject. Little poets are an extremely interesting study. The best of them have often some new beauty to show us, and though the worst of them may bore yet they rarely brutalize.

It is a curious thing that when minor poets write choruses to a play they should always consider it necessary to adopt the style and language of a bad translator. We fear that Mr. Bohn has much to answer for.

In one sonnet he makes a distinct attempt to be original and the result is extremely depressing.

Earth wears her grandest robe, by autumn spun, _Like some stout matron who of youth has run_ _The course_, . . .

is the most dreadful simile we have ever come across even in poetry. Mr.

Griffiths should beware of originality. Like beauty, it is a fatal gift.

There is a wide difference between the beautiful Tuscan city and the sea-city of the Adriatic. Florence is a city full of memories of the great figures of the past. The traveller cannot pa.s.s along her streets without treading in the very traces of Dante, without stepping on soil made memorable by footprints never to be effaced. The greatness of the surroundings, the palaces, churches, and frowning mediaeval castles in the midst of the city, are all thrown into the background by the greatness, the individuality, the living power and vigour of the men who are their originators, and at the same time their inspiring soul. But when we turn to Venice the effect is very different. We do not think of the makers of that marvellous city, but rather of what they made. The idealized image of Venice herself meets us everywhere. The mother is not overshadowed by the too great glory of any of her sons. In her records the city is everything-the republic, the wors.h.i.+pped ideal of a community in which every man for the common glory seems to have been willing to sink his own. We know that Dante stood within the red walls of the a.r.s.enal, and saw the galleys making and mending, and the pitch flaming up to heaven; Petrarch came to visit the great Mistress of the Sea, taking refuge there, 'in this city, true home of the human race,' from trouble, war and pestilence outside; and Byron, with his facile enthusiasms and fervent eloquence, made his home for a time in one of the stately, decaying palaces; but with these exceptions no great poet has ever a.s.sociated himself with the life of Venice. She had architects, sculptors and painters, but no singer of her own.

To realize the popularity of the great poets one should turn to the minor poets and see whom they follow, what master they select, whose music they echo.

Ordinary theology has long since converted its gold into lead, and words and phrases that once touched the heart of the world have become wearisome and meaningless through repet.i.tion. If Theology desires to move us, she must re-write her formulas.

It takes a great artist to be thoroughly modern. Nature is always a little behind the age.

Mr. Nash, who styles himself 'a humble soldier in the army of Faith,'

expresses a hope that his book may 'invigorate devotional feeling, especially among the young, to whom verse is perhaps more attractive than to their elders,' but we should be sorry to think that people of any age could admire such a paraphrase as the following:

Foxes have holes in which to slink for rest, The birds of air find shelter in the nest; But He, the Son of Man and Lord of all, Has no abiding place His own to call.

It is a curious fact that the worst work is always done with the best intentions, and that people are never so trivial as when they take themselves very seriously.

Mr. Foster is an American poet who has read Hawthorne, which is wise of him, and imitated Longfellow, which is not quite so commendable.

_Andiatorocte_ is the t.i.tle of a volume of poems by the Rev. Clarence Walworth, of Albany, N.Y. It is a word borrowed from the Indians, and should, we think, be returned to them as soon as possible. The most curious poem of the book is called _Scenes at the Holy Home_:

Jesus and Joseph at work! Hurra!

Sight never to see again, A prentice Deity plies the saw, While the Master ploughs with the plane.

Poems of this kind were popular in the Middle Ages when the cathedrals of every Christian country served as its theatres. They are anachronisms now, and it is odd that they should come to us from the United States.

In matters of this kind we should have some protection.

As for the triolets, and the rondels, and the careful study of metrical subtleties, these things are merely the signs of a desire for perfection in small things and of the recognition of poetry as an art. They have had certainly one good result-they have made our minor poets readable, and have not left us entirely at the mercy of geniuses.

Poetry has many modes of music; she does not blow through one pipe alone.

Directness of utterance is good, but so is the subtle recasting of thought into a new and delightful form. Simplicity is good, but complexity, mystery, strangeness, symbolism, obscurity even, these have their value. Indeed, properly speaking, there is no such thing as Style; there are merely styles, that is all.

Writers of poetical prose are rarely good poets.

Poetry may be said to need far more self-restraint than prose. Its conditions are more exquisite. It produces its effects by more subtle means. It must not be allowed to degenerate into mere rhetoric or mere eloquence. It is, in one sense, the most self-conscious of all the arts, as it is never a means to an end but always an end in itself.

It may be difficult for a poet to find English synonyms for Asiatic expressions, but even if it were impossible it is none the less a poet's duty to find them. As it is, Sir Edwin Arnold has translated Sa'di and some one must translate Sir Edwin Arnold.

Lounging in the open air is not a bad school for poets, but it largely depends on the lounger.

People are so fond of giving away what they do not want themselves, that charity is largely on the increase. But with this kind of charity I have not much sympathy. If one gives away a book, it should be a charming book-so charming, that one regrets having given it.

Mr. Whistler, for some reason or other, always adopted the phraseology of the minor prophets. Possibly it was in order to emphasize his well-known claims to verbal inspiration, or perhaps he thought with Voltaire that _Habakkuk etait capable de tout_, and wished to shelter himself under the s.h.i.+eld of a definitely irresponsible writer none of whose prophecies, according to the French philosopher, has ever been fulfilled. The idea was clever enough at the beginning, but ultimately the manner became monotonous. The spirit of the Hebrews is excellent but their mode of writing is not to be imitated, and no amount of American jokes will give it that modernity which is essential to a good literary style. Admirable as are Mr. Whistler's fireworks on canvas, his fireworks in prose are abrupt, violent and exaggerated.

'The decisive events of the world,' as has been well said, 'take place in the intellect,' and as for Board-schools, academic ceremonies, hospital wards and the like, they may be well left to the artists of the ill.u.s.trated papers, who do them admirably and quite as well as they need be done. Indeed, the pictures of contemporary events, Royal marriages, naval reviews and things of this kind that appear in the Academy every year, are always extremely bad; while the very same subjects treated in black and white in the _Graphic_ or the _London News_ are excellent.

Besides, if we want to understand the history of a nation through the medium of art, it is to the imaginative and ideal arts that we have to go and not to the arts that are definitely imitative. The visible aspect of life no longer contains for us the secret of life's spirit.

The difficulty under which the novelists of our day labour seems to me to be this: if they do not go into society, their books are unreadable; and if they do go into society, they have no time left for writing.

I must confess that most modern mysticism seems to me to be simply a method of imparting useless knowledge in a form that no one can understand. Allegory, parable, and vision have their high artistic uses, but their philosophical and scientific uses are very small.

The object of most modern fiction is not to give pleasure to the artistic instinct, but rather to portray life vividly for us, to draw attention to social anomalies, and social forms of injustice. Many of our novelists are really pamphleteers, reformers masquerading as story-tellers, earnest sociologists seeking to mend as well as to mirror life.

The book is certainly characteristic of an age so practical and so literary as ours, an age in which all social reforms have been preceded and have been largely influenced by fiction.

Mr. Stopford Brooke said some time ago that Socialism and the socialistic spirit would give our poets n.o.bler and loftier themes for song, would widen their sympathies and enlarge the horizon of their vision, and would touch, with the fire and fervour of a new faith, lips that had else been silent, hearts that but for this fresh gospel had been cold. What Art gains from contemporary events is always a fascinating problem and a problem that is not easy to solve. It is, however, certain that Socialism starts well equipped. She has her poets and her painters, her art lecturers and her cunning designers, her powerful orators and her clever writers. If she fails it will not be for lack of expression. If she succeeds her triumph will not be a triumph of mere brute force.

Socialism is not going to allow herself to be trammelled by any hard and fast creed or to be stereotyped into an iron formula. She welcomes many and multiform natures. She rejects none and has room for all. She has the attraction of a wonderful personality and touches the heart of one and the brain of another, and draws this man by his hatred and injustice, and his neighbour by his faith in the future, and a third, it may be, by his love of art or by his wild wors.h.i.+p of a lost and buried past. And all of this is well. For, to make men Socialists is nothing, but to make Socialism human is a great thing.

The Reformation gained much from the use of popular hymn-tunes, and the Socialists seem determined to gain by similar means a similar hold upon the people. However, they must not be too sanguine about the result.

The walls of Thebes rose up to the sound of music, and Thebes was a very dull city indeed.