4. Contents of the Phrase.—Here is a great deal of talk about rhythm—and naturally; for in our canorous language rhythm is always at the door. But it must not be forgotten that in some languages this element is almost, if not quite, extinct, and that in our own it is probably decaying. The even speech of many educated Americans sounds the note of danger. I should see it go with something as bitter as despair, but I should not be desperate. As in verse no element, not even rhythm, is necessary; so, in prose also, other sorts of beauty will arise and take the place and play the part of those that we outlive. The beauty of the expected beat in verse, the beauty in prose of its larger and more lawless melody, patent as they are to English hearing, are already silent in the ears of our next neighbours; for in France the oratorical accent and the pattern of the web have almost or altogether succeeded to their places; and the French prose writer would be astounded at the labours of his brother across the Channel, and how a good quarter of his toil, above all invita Minerva, is to avoid writing verse. So wonderfully far apart have races wandered in spirit, and so hard it is to understand the literature next door!

Yet French prose is distinctly better than English; and French verse, above all while Hugo lives, it will not do to place upon one side. What is more to our purpose, a phrase or a verse in French is easily distinguishable as comely or uncomely. There is then another element of comeliness hitherto overlooked in this analysis: the contents of the phrase. Each phrase in literature is built of sounds, as each phrase in music consists of notes. One sound suggests, echoes, demands, and harmonises with another; and the art of rightly using these concordances is the final art in literature. It used to be a piece of good advice to all young writers to avoid alliteration; and the advice was sound, in so far as it prevented daubing. None the less for that, was it abominable nonsense, and the mere raving of those blindest of the blind who will not see? The beauty of the contents of a phrase, or of a sentence, depends implicitly upon alliteration and upon assonance. The vowel demands to be repeated; the consonant demands to be repeated; and both cry aloud to be perpetually varied. You may follow the adventures of a letter through any passage that has particularly pleased you; find it, perhaps, denied a while, to tantalise the ear; find it fired again at you in a whole broadside; or find it pass into congenerous sounds, one liquid or labial melting away into another. And you will find another and much stranger circumstance. Literature is written by and for two senses: a sort of internal ear, quick to perceive "unheard melodies"; and the eye, which directs the pen and deciphers the printed phrase. Well, even as there are rhymes for the eye, so you will find that there are assonances and alliterations; that where an author is running the open A, deceived by the eye and our strange English spelling, he will often show a tenderness for the flat A; and that where he is running a particular consonant, he will not improbably rejoice to write it down even when it is mute or bears a different value.

Here, then, we have a fresh pattern—a pattern, to speak grossly, of letters—which makes the fourth preoccupation of the prose writer, and the fifth of the versifier. At times it is very delicate and hard to perceive, and then perhaps most excellent and winning (I say perhaps); but at times again the elements of this literal melody stand more boldly forward and usurp the ear. It becomes, therefore, somewhat a matter of conscience to select examples; and as I cannot very well ask the reader to help me, I shall do the next best by giving him the reason or the history of each selection. The two first, one in prose, one in verse, I chose without previous analysis, simply as engaging passages that had long re-echoed in my ear.

"I cannot praise a fugitive and cloistered virtue, unexercised and unbreathed, that never sallies out and sees her adversary, but slinks out of the race where that immortal garland is to be run for, not without dust and heat."[20] Down to "virtue," the current S and R are both announced and repeated unobtrusively, and by way of a grace-note that almost inseparable group PVF is given entire.[21] The next phrase is a period of repose, almost ugly in itself, both S and R still audible, and B given as the last fulfilment of PVF. In the next four phrases, from "that never" down to "run for," the mask is thrown off, and, but for a slight repetition of the F and V, the whole matter turns, almost too obtrusively, on S and R; first S coming to the front, and then R. In the concluding phrase all these favourite letters, and even the flat A, a timid preference for which is just perceptible, are discarded at a blow and in a bundle; and to make the break more obvious, every word ends with a dental, and all but one with T, for which we have been cautiously prepared since the beginning. The singular dignity of the first clause, and this hammer-stroke of the last, go far to make the charm of this exquisite sentence. But it is fair to own that S and R are used a little coarsely.

"In Xanadu did Kubla Khan (KANDL) A stately pleasure dome decree, (KDLSR) Where Alph the sacred river ran, (KANDLSR) Through caverns measureless to man, (KANLSR) Down to a sunless sea."[22] (NDLS)

Here I have put the analysis of the main group alongside the lines; and the more it is looked at, the more interesting it will seem. But there are further niceties. In lines two and four, the current S is most delicately varied with Z. In line three, the current flat A is twice varied with the open A, already suggested in line two, and both times ("where" and "sacred") in conjunction with the current R. In the same line F and V (a harmony in themselves, even when shorn of their comrade P) are admirably contrasted. And in line four there is a marked subsidiary M, which again was announced in line two. I stop from weariness, for more might yet be said.

My next example was recently quoted from Shakespeare as an example of the poet's colour sense. Now, I do not think literature has anything to do with colour, or poets anyway the better of such a sense; and I instantly attacked this passage, since "purple" was the word that had so pleased the writer of the article, to see if there might not be some literary reason for its use. It will be seen that I succeeded amply; and I am bound to say I think the passage exceptional in Shakespeare—exceptional, indeed, in literature; but it was not I who chose it.

"The BaRge she sat iN, like a BURNished throNe BURNt ON the water: the POOP was BeateN gold, PURPle the sails and so PUR*Fumed that *per The wiNds were lovesick with them."[23]

It may be asked why I have put the F of perfumed in capitals; and I reply, because this change from P to F is the completion of that from B to P, already so adroitly carried out. Indeed, the whole passage is a monument of curious ingenuity; and it seems scarce worth while to indicate the subsidiary S, L and W. In the same article, a second passage from Shakespeare was quoted, once again as an example of his colour sense:

"A mole cinque-spotted like the crimson drops I' the bottom of a cowslip."[24]

It is very curious, very artificial, and not worth while to analyse at length: I leave it to the reader. But before I turn my back on Shakespeare, I should like to quote a passage, for my own pleasure, and for a very model of every technical art:—

"But in the wind and tempest of her frown, W. P. V. F. (st) (OW)[25] Distinction with a loud and powerful fan, W. P. F. (st) (OW) L Puffing at all, winnowes the light away; W. P. F. L And what hath mass and matter by itself W. F. L. M. A. Lies rich in virtue and unmingled."[26] V. L. M.

From these delicate and choice writers I turned with some curiosity to a player of the big drum—Macaulay. I had in hand the two-volume edition, and I opened at the beginning of the second volume. Here was what I read:—

"The violence of revolutions is generally proportioned to the degree of the maladministration which has produced them. It is therefore not strange that the government of Scotland, having been during many years greatly more corrupt than the government of England, should have fallen with a far heavier ruin. The movement against the last king of the house of Stuart was in England conservative, in Scotland destructive. The English complained not of the law, but of the violation of the law."

This was plain-sailing enough; it was our old friend PVF, floated by the liquids in a body; but as I read on, and turned the page, and still found PVF with his attendant liquids, I confess my mind misgave me utterly. This could be no trick of Macaulay's; it must be the nature of the English tongue. In a kind of despair, I turned half-way through the volume; and coming upon his lordship dealing with General Cannon, and fresh from Claverhouse and Killiekrankie, here, with elucidative spelling, was my reward:—

"Meanwhile the disorders of Kannon's Kamp went on inKreasing. He Kalled a KOUNCIL of war to Konsider what Kourse it would be advisable to taKe. But as soon as the Kouncil had met a preliminary Kuestion was raised. The army was almost eKsKlusively a Highland army. The recent viKtory had been won eKsKlusively by Highland warriors. Great chiefs who had brought siKs or seven hundred fighting men into the field, did not think it fair that they should be outvoted by gentlemen from Ireland and from the Low Kountries, who bore indeed King James's Kommission, and were Kalled Kolonels and Kaptains, but who were Kolonels without regiments and Kaptains without Kompanies."

A moment of FV in all this world of K's! It was not the English language, then, that was an instrument of one string, but Macaulay that was an incomparable dauber.

It was probably from this barbaric love of repeating the same sound, rather than from any design of clearness, that he acquired his irritating habit of repeating words; I say the one rather than the other, because such a trick of the ear is deeper seated and more original in man than any logical consideration. Few writers, indeed, are probably conscious of the length to which they push this melody of letters. One, writing very diligently, and only concerned about the meaning of his words and the rhythm of his phrases, was struck into amazement by the eager triumph with which he cancelled one expression to substitute another. Neither changed the sense; both being mono-syllables, neither could affect the scansion; and it was only by looking back on what he had already written that the mystery was solved: the second word contained an open A, and for nearly half a page he had been riding that vowel to the death.

In practice, I should add, the ear is not always so exacting; and ordinary writers, in ordinary moments, content themselves with avoiding what is harsh, and here and there, upon a rare occasion, buttressing a phrase, or linking two together, with a patch of assonance or a momentary jingle of alliteration. To understand how constant is this preoccupation of good writers, even where its results are least obtrusive, it is only necessary to turn to the bad. There, indeed, you will find cacophony supreme, the rattle of incongruous consonants only relieved by the jaw-breaking hiatus, and whole phrases not to be articulated by the powers of man.

Conclusion.—We may now briefly enumerate the elements of style. We have, peculiar to the prose writer, the task of keeping his phrases large, rhythmical and pleasing to the ear, without ever allowing them to fall into the strictly metrical: peculiar to the versifier, the task of combining and contrasting his double, treble, and quadruple pattern, feet and groups, logic and metre—harmonious in diversity: common to both, the task of artfully combining the prime elements of language into phrases that shall be musical in the mouth; the task of weaving their argument into a texture of committed phrases and of rounded periods—but this particularly binding in the case of prose: and, again common to both, the task of choosing apt, explicit, and communicative words. We begin to see now what an intricate affair is any perfect passage; how many faculties, whether of taste or pure reason, must be held upon the stretch to make it; and why, when it is made, it should afford us so complete a pleasure. From the arrangement of according letters, which is altogether arabesque and sensual, up to the architecture of the elegant and pregnant sentence, which is a vigorous act of the pure intellect, there is scarce a faculty in man but has been exercised. We need not wonder, then, if perfect sentences are rare, and perfect pages rarer.

FOOTNOTES:

[18] Milton.

[19] Milton.

[20] Milton.

[21] As PVF will continue to haunt us through our English examples, take, by way of comparison, this Latin verse, of which it forms a chief adornment, and do not hold me answerable for the all too Roman freedom of the sense: "Hanc volo, quae facilis, quae palliolata vagatur."

[22] Coleridge.

[23] Antony and Cleopatra.

[24] Cymbeline.

[25] The V is in "of."

[26] Troilus and Cressida.



IV

THE MORALITY OF THE PROFESSION OF LETTERS

The profession of letters has been lately debated in the public prints; and it has been debated, to put the matter mildly, from a point of view that was calculated to surprise high-minded men, and bring a general contempt on books and reading. Some time ago, in particular, a lively, pleasant, popular writer[27] devoted an essay, lively and pleasant like himself, to a very encouraging view of the profession. We may be glad that his experience is so cheering, and we may hope that all others, who deserve it, shall be as handsomely rewarded; but I do not think we need be at all glad to have this question, so important to the public and ourselves, debated solely on the ground of money. The salary in any business under heaven is not the only, nor indeed the first, question. That you should continue to exist is a matter for your own consideration; but that your business should be first honest, and second useful, are points in which honour and morality are concerned. If the writer to whom I refer succeeds in persuading a number of young persons to adopt this way of life with an eye set singly on the livelihood, we must expect them in their works to follow profit only, and we must expect in consequence, if he will pardon me the epithets, a slovenly, base, untrue, and empty literature. Of that writer himself I am not speaking: he is diligent, clean, and pleasing; we all owe him periods of entertainment, and he has achieved an amiable popularity which he has adequately deserved. But the truth is, he does not, or did not when he first embraced it, regard his profession from this purely mercenary side. He went into it, I shall venture to say, if not with any noble design, at least in the ardour of a first love; and he enjoyed its practice long before he paused to calculate the wage. The other day an author was complimented on a piece of work, good in itself and exceptionally good for him, and replied in terms unworthy of a commercial traveller, that as the book was not briskly selling he did not give a copper farthing for its merit. It must not be supposed that the person to whom this answer was addressed received it as a profession of faith; he knew, on the other hand, that it was only a whiff of irritation; just as we know, when a respectable writer talks of literature as a way of life, like shoemaking, but not so useful, that he is only debating one aspect of a question, and is still clearly conscious of a dozen others more important in themselves and more central to the matter in hand. But while those who treat literature in this penny-wise and virtue-foolish spirit are themselves truly in possession of a better light, it does not follow that the treatment is decent or improving, whether for themselves or others. To treat all subjects in the highest, the most honourable, and the pluckiest spirit, consistent with the fact, is the first duty of a writer. If he be well paid, as I am glad to hear he is, this duty becomes the more urgent, the neglect of it the more disgraceful. And perhaps there is no subject on which a man should speak so gravely as that industry, whatever it may be, which is the occupation or delight of his life; which is his tool to earn or serve with; and which, if it be unworthy, stamps himself as a mere incubus of dumb and greedy bowels on the shoulders of labouring humanity. On that subject alone even to force the note might lean to virtue's side. It is to be hoped that a numerous and enterprising generation of writers will follow and surpass the present one; but it would be better if the stream were stayed, and the roll of our old, honest English books were closed, than that esurient bookmakers should continue and debase a brave tradition, and lower, in their own eyes, a famous race. Better that our serene temples were deserted than filled with trafficking and juggling priests.

There are two just reasons for the choice of any way of life: the first is inbred taste in the chooser; the second some high utility in the industry selected. Literature, like any other art, is singularly interesting to the artist; and, in a degree peculiar to itself among the arts, it is useful to mankind. These are the sufficient justifications for any young man or woman who adopts it as the business of his life. I shall not say much about the wages. A writer can live by his writing. If not so luxuriously as by other trades, then less luxuriously. The nature of the work he does all day will more affect his happiness than the quality of his dinner at night. Whatever be your calling, and however much it brings you in the year, you could still, you know, get more by cheating. We all suffer ourselves to be too much concerned about a little poverty; but such considerations should not move us in the choice of that which is to be the business and justification of so great a portion of our lives; and like the missionary, the patriot, or the philosopher, we should all choose that poor and brave career in which we can do the most and best for mankind. Now Nature, faithfully followed, proves herself a careful mother. A lad, for some liking to the jingle of words, betakes himself to letters for his life; by-and-by, when he learns more gravity, he finds that he has chosen better than he knew; that if he earns little, he is earning it amply; that if he receives a small wage, he is in a position to do considerable services; that it is in his power, in some small measure, to protect the oppressed and to defend the truth. So kindly is the world arranged, such great profit may arise from a small degree of human reliance on oneself, and such, in particular, is the happy star of this trade of writing, that it should combine pleasure and profit to both parties, and be at once agreeable, like fiddling, and useful, like good preaching.

This is to speak of literature at its highest; and with the four great elders who are still spared to our respect and admiration, with Carlyle, Ruskin, Browning, and Tennyson before us, it would be cowardly to consider it at first in any lesser aspect. But while we cannot follow these athletes, while we may none of us, perhaps, be very vigorous, very original, or very wise, I still contend that, in the humblest sort of literary work, we have it in our power either to do great harm or great good. We may seek merely to please; we may seek, having no higher gift, merely to gratify the idle nine-days' curiosity of our contemporaries; or we may essay, however feebly, to instruct. In each of these we shall have to deal with that remarkable art of words which, because it is the dialect of life, comes home so easily and powerfully to the minds of men; and since that is so, we contribute, in each of these branches, to build up the sum of sentiments and appreciations which goes by the name of Public Opinion or Public Feeling. The total of a nation's reading, in these days of daily papers, greatly modifies the total of the nation's speech; and the speech and reading, taken together, form the efficient educational medium of youth. A good man or woman may keep a youth some little while in clearer air; but the contemporary atmosphere is all-powerful in the end on the average of mediocre characters. The copious Corinthian baseness of the American reporter or the Parisian chroniqueur, both so lightly readable, must exercise an incalculable influence for ill; they touch upon all subjects, and on all with the same ungenerous hand; they begin the consideration of all, in young and unprepared minds, in an unworthy spirit; on all, they supply some pungency for dull people to quote. The mere body of this ugly matter overwhelms the rarer utterances of good men; the sneering, the selfish, and the cowardly are scattered in broad sheets on every table, while the antidote, in small volumes, lies unread upon the shelf. I have spoken of the American and the French, not because they are so much baser, but so much more readable, than the English; their evil is done more effectively, in America for the masses, in French for the few that care to read; but with us as with them, the duties of literature are daily neglected, truth daily perverted and suppressed, and grave subjects daily degraded in the treatment. The journalist is not reckoned an important officer; yet judge of the good he might do, the harm he does; judge of it by one instance only: that when we find two journals on the reverse sides of politics each, on the same day, openly garbling a piece of news for the interest of its own party, we smile at the discovery (no discovery now!) as over a good joke and pardonable stratagem. Lying so open is scarce lying, it is true; but one of the things that we profess to teach our young is a respect for truth; and I cannot think this piece of education will be crowned with any great success, so long as some of us practise and the rest openly approve of public falsehood.

There are two duties incumbent upon any man who enters on the business of writing: truth to the fact and a good spirit in the treatment. In every department of literature, though so low as hardly to deserve the name, truth to the fact is of importance to the education and comfort of mankind, and so hard to preserve, that the faithful trying to do so will lend some dignity to the man who tries it. Our judgments are based upon two things, first, upon the original preferences of our soul; but, second, upon the mass of testimony to the nature of God, man, and the universe which reaches us, in divers manners, from without. For the most part these divers manners are reducible to one, all that we learn of past times and much that we learn of our own reaching us through the medium of books or papers, and even he who cannot read learning from the same source at second-hand and by the report of him who can. Thus the sum of the contemporary knowledge or ignorance of good and evil is, in large measure, the handiwork of those who write. Those who write have to see that each man's knowledge is, as near as they can make it, answerable to the facts of life; that he shall not suppose himself an angel or a monster; nor take this world for a hell; nor be suffered to imagine that all rights are concentred in his own caste or country, or all veracities in his own parochial creed. Each man should learn what is within him, that he may strive to mend; he must be taught what is without him, that he may be kind to others. It can never be wrong to tell him the truth; for, in his disputable state, weaving as he goes his theory of life, steering himself, cheering or reproving others, all facts are of the first importance to his conduct; and even if a fact shall discourage or corrupt him, it is still best that he should know it; for it is in this world as it is, and not in a world made easy by educational suppressions, that he must win his way to shame or glory. In one word, it must always be foul to tell what is false; and it can never be safe to suppress what is true. The very fact that you omit may be the fact which somebody was wanting, for one man's meat is another man's poison, and I have known a person who was cheered by the perusal of "Candide." Every fact is a part of that great puzzle we must set together; and none that comes directly in a writer's path but has some nice relations, unperceivable by him, to the totality and bearing of the subject under hand. Yet there are certain classes of fact eternally more necessary than others, and it is with these that literature must first bestir itself. They are not hard to distinguish, nature once more easily leading us; for the necessary, because the efficacious, facts are those which are most interesting to the natural mind of man. Those which are coloured, picturesque, human, and rooted in morality, and those, on the other hand, which are clear, indisputable, and a part of science, are alone vital in importance, seizing by their interest, or useful to communicate. So far as the writer merely narrates, he should principally tell of these. He should tell of the kind and wholesome and beautiful elements of our life; he should tell unsparingly of the evil and sorrow of the present, to move us with instances; he should tell of wise and good people in the past, to excite us by example; and of these he should tell soberly and truthfully, not glossing faults, that we may neither grow discouraged with ourselves nor exacting to our neighbours. So the body of contemporary literature, ephemeral and feeble in itself, touches in the minds of men the springs of thought and kindness, and supports them (for those who will go at all are easily supported) on their way to what is true and right. And if, in any degree, it does so now, how much more might it do so if the writers chose! There is not a life in all the records of the past but, properly studied, might lend a hint and a help to some contemporary. There is not a juncture in to-day's affairs but some useful word may yet be said of it. Even the reporter has an office, and, with clear eyes and honest language, may unveil injustices and point the way to progress. And for a last word: in all narration there is only one way to be clever, and that is to be exact. To be vivid is a secondary quality which must presuppose the first; for vividly to convey a wrong impression is only to make failure conspicuous.

But a fact may be viewed on many sides; it may be chronicled with rage, tears, laughter, indifference, or admiration, and by each of these the story will be transformed to something else. The newspapers that told of the return of our representatives from Berlin, even if they had not differed as to the facts, would have sufficiently differed by their spirit; so that the one description would have been a second ovation, and the other a prolonged insult. The subject makes but a trifling part of any piece of literature, and the view of the writer is itself a fact more important because less disputable than the others. Now this spirit in which a subject is regarded, important in all kinds of literary work, becomes all-important in works of fiction, meditation, or rhapsody; for there it not only colours but itself chooses the facts; not only modifies but shapes the work. And hence, over the far larger proportion of the field of literature, the health or disease of the writer's mind or momentary humour forms not only the leading feature of his work, but is, at bottom, the only thing he can communicate to others. In all works of art, widely speaking, it is first of all the author's attitude that is narrated, though in the attitude there be implied a whole experience and a theory of life. An author who has begged the question and reposes in some narrow faith cannot, if he would, express the whole or even many of the sides of this various existence; for, his own life being maim, some of them are not admitted in his theory, and were only dimly and unwillingly recognised in his experience. Hence the smallness, the triteness, and the inhumanity in works of merely sectarian religion; and hence we find equal although unsimilar limitations in works inspired by the spirit of the flesh or the despicable taste for high society. So that the first duty of any man who is to write is intellectual. Designedly or not, he has so far set himself up for a leader of the minds of men; and he must see that his own mind is kept supple, charitable, and bright. Everything but prejudice should find a voice through him; he should see the good in all things; where he has even a fear that he does not wholly understand, there he should be wholly silent; and he should recognise from the first that he has only one tool in his workshop and that tool is sympathy.[28]

The second duty, far harder to define, is moral. There are a thousand different humours in the mind, and about each of them, when it is uppermost, some literature tends to be deposited. Is this to be allowed? Not certainly in every case, and yet perhaps in more than rigorists would fancy. It were to be desired that all literary work, and chiefly works of art, issued from sound, human, healthy, and potent impulses, whether grave or laughing, humorous, romantic, or religious. Yet it cannot be denied that some valuable books are partially insane; some, mostly religious, partially inhuman; and very many tainted with morbidity and impotence. We do not loathe a masterpiece although we gird against its blemishes. We are not, above all, to look for faults but merits. There is no book perfect, even in design; but there are many that will delight, improve, or encourage the reader. On the one hand, the Hebrew Psalms are the only religious poetry on earth; yet they contain sallies that savour rankly of the man of blood. On the other hand, Alfred de Musset had a poisoned and a contorted nature; I am only quoting that generous and frivolous giant, old Dumas, when I accuse him of a bad heart; yet, when the impulse under which he wrote was purely creative, he could give us works like "Carmosine" or "Fantasio," in which the last note of the romantic comedy seems to have been found again to touch and please us. When Flaubert wrote "Madame Bovary," I believe he thought chiefly of a somewhat morbid realism; and behold! the book turned in his hands into a masterpiece of appalling morality. But the truth is, when books are conceived under a great stress, with a soul of nine-fold power nine times heated and electrified by effort, the conditions of our being are seized with such an ample grasp, that, even should the main design be trivial or base, some truth and beauty cannot fail to be expressed. Out of the strong comes forth sweetness; but an ill thing poorly done is an ill thing top and bottom. And so this can be no encouragement to knock-knee'd, feeble-wristed scribes, who must take their business conscientiously or be ashamed to practise it.

Man is imperfect; yet, in his literature, he must express himself and his own views and preferences; for to do anything else is to do a far more perilous thing than to risk being immoral: it is to be sure of being untrue. To ape a sentiment, even a good one, is to travesty a sentiment; that will not be helpful. To conceal a sentiment, if you are sure you hold it, is to take a liberty with truth. There is probably no point of view possible to a sane man but contains some truth and, in the true connection, might be profitable to the race. I am not afraid of the truth, if any one could tell it me, but I am afraid of parts of it impertinently uttered. There is a time to dance and a time to mourn; to be harsh as well as to be sentimental; to be ascetic as well as to glorify the appetites; and if a man were to combine all these extremes into his work, each in its place and proportion, that work would be the world's masterpiece of morality as well as of art. Partiality is immorality; for any book is wrong that gives a misleading picture of the world and life. The trouble is that the weakling must be partial; the work of one proving dank and depressing; of another, cheap and vulgar; of a third, epileptically sensual; of a fourth, sourly ascetic. In literature as in conduct, you can never hope to do exactly right. All you can do is to make as sure as possible; and for that there is but one rule. Nothing should be done in a hurry that can be done slowly. It is no use to write a book and put it by for nine or even ninety years; for in the writing you will have partly convinced yourself; the delay must precede any beginning; and if you meditate a work of art, you should first long roll the subject under the tongue to make sure you like the flavour, before you brew a volume that shall taste of it from end to end; or if you propose to enter on the field of controversy, you should first have thought upon the question under all conditions, in health as well as in sickness, in sorrow as well as in joy. It is this nearness of examination necessary for any true and kind writing, that makes the practice of the art a prolonged and noble education for the writer.

There is plenty to do, plenty to say, or to say over again, in the meantime. Any literary work which conveys faithful facts or pleasing impressions is a service to the public. It is even a service to be thankfully proud of having rendered. The slightest novels are a blessing to those in distress, not chloroform itself a greater. Our fine old sea-captain's life was justified when Carlyle soothed his mind with "The King's Own" or "Newton Forster." To please is to serve; and so far from its being difficult to instruct while you amuse, it is difficult to do the one thoroughly without the other. Some part of the writer or his life will crop out in even a vapid book; and to read a novel that was conceived with any force is to multiply experience and to exercise the sympathies. Every article, every piece of verse, every essay, every entrefilet, is destined to pass, however swiftly, through the minds of some portion of the public, and to colour, however transiently, their thoughts. When any subject falls to be discussed, some scribbler on a paper has the invaluable opportunity of beginning its discussion in a dignified and human spirit; and if there were enough who did so in our public press neither the public nor the parliament would find it in their minds to drop to meaner thoughts. The writer has the chance to stumble, by the way, on something pleasing, something interesting, something encouraging, were it only to a single reader. He will be unfortunate, indeed, if he suit no one. He has the chance, besides, to stumble on something that a dull person shall be able to comprehend; and for a dull person to have read anything and, for that once, comprehended it, makes a marking epoch in his education.

Here then is work worth doing and worth trying to do well. And so, if I were minded to welcome any great accession to our trade, it should not be from any reason of a higher wage, but because it was a trade which was useful in a very great and in a very high degree; which every honest tradesman could make more serviceable to mankind in his single strength; which was difficult to do well and possible to do better every year; which called for scrupulous thought on the part of all who practised it, and hence became a perpetual education to their nobler natures; and which, pay it as you please, in the large majority of the best cases will still be underpaid. For surely, at this time of day in the nineteenth century, there is nothing that an honest man should fear more timorously than getting and spending more than he deserves.

FOOTNOTES:

[27] Mr. James Payn.

[28] A footnote, at least, is due to the admirable example set before all young writers in the width of literary sympathy displayed by Mr. Swinburne. He runs forth to welcome merit, whether in Dickens or Trollope, whether in Villon, Milton, or Pope. This is, in criticism, the attitude we should all seek to preserve, not only in that, but in every branch of literary work.



V

BOOKS WHICH HAVE INFLUENCED ME

The Editor[29] has somewhat insidiously laid a trap for his correspondents, the question put appearing at first so innocent, truly cutting so deep. It is not, indeed, until after some reconnaissance and review that the writer awakes to find himself engaged upon something in the nature of autobiography, or, perhaps worse, upon a chapter in the life of that little, beautiful brother whom we once all had, and whom we have all lost and mourned, the man we ought to have been, the man we hoped to be. But when word has been passed (even to an editor), it should, if possible, be kept; and if sometimes I am wise and say too little, and sometimes weak and say too much, the blame must lie at the door of the person who entrapped me.

The most influential books, and the truest in their influence, are works of fiction. They do not pin the reader to a dogma, which he must afterwards discover to be inexact; they do not teach him a lesson, which he must afterwards unlearn. They repeat, they rearrange, they clarify the lessons of life; they disengage us from ourselves, they constrain us to the acquaintance of others; and they show us the web of experience, not as we can see it for ourselves, but with a singular change—that monstrous, consuming ego of ours being, for the nonce, struck out. To be so, they must be reasonably true to the human comedy; and any work that is so serves the turn of instruction. But the course of our education is answered best by those poems and romances where we breathe a magnanimous atmosphere of thought and meet generous and pious characters. Shakespeare has served me best. Few living friends have had upon me an influence so strong for good as Hamlet or Rosalind. The last character, already well beloved in the reading, I had the good fortune to see, I must think, in an impressionable hour, played by Mrs. Scott Siddons. Nothing has ever more moved, more delighted, more refreshed me; nor has the influence quite passed away. Kent's brief speech over the dying Lear had a great effect upon my mind, and was the burthen of my reflections for long, so profoundly, so touchingly generous did it appear in sense, so overpowering in expression. Perhaps my dearest and best friend outside of Shakespeare is D'Artagnan—the elderly D'Artagnan of the "Vicomte de Bragelonne." I know not a more human soul, nor, in his way, a finer; I shall be very sorry for the man who is so much of a pedant in morals that he cannot learn from the Captain of Musketeers. Lastly, I must name the "Pilgrim's Progress," a book that breathes of every beautiful and valuable emotion.

But of works of art little can be said; their influence is profound and silent, like the influence of nature; they mould by contact; we drink them up like water, and are bettered, yet know not how. It is in books more specifically didactic that we can follow out the effect, and distinguish and weigh and compare. A book which has been very influential upon me fell early into my hands, and so may stand first, though I think its influence was only sensible later on, and perhaps still keeps growing, for it is a book not easily outlived: the "Essais" of Montaigne. That temperate and genial picture of life is a great gift to place in the hands of persons of to-day; they will find in these smiling pages a magazine of heroism and wisdom, all of an antique strain; they will have their "linen decencies" and excited orthodoxies fluttered, and will (if they have any gift of reading) perceive that these have not been fluttered without some excuse and ground of reason; and (again if they have any gift of reading) they will end by seeing that this old gentleman was in a dozen ways a finer fellow, and held in a dozen ways a nobler view of life, than they or their contemporaries.

The next book, in order of time, to influence me was the New Testament, and in particular the Gospel according to St. Matthew. I believe it would startle and move any one if they could make a certain effort of imagination and read it freshly like a book, not droningly and dully like a portion of the Bible. Any one would then be able to see in it those truths which we are all courteously supposed to know and all modestly refrain from applying. But upon this subject it is perhaps better to be silent.

I come next to Whitman's "Leaves of Grass," a book of singular service, a book which tumbled the world upside down for me, blew into space a thousand cobwebs of genteel and ethical illusion, and, having thus shaken my tabernacle of lies, set me back again upon a strong foundation of all the original and manly virtues. But it is, once more, only a book for those who have the gift of reading. I will be very frank—I believe it is so with all good books, except, perhaps, fiction. The average man lives, and must live, so wholly in convention, that gunpowder charges of the truth are more apt to discompose than to invigorate his creed. Either he cries out upon blasphemy and indecency, and crouches the closer round that little idol of part-truths and part-conveniences which is the contemporary deity, or he is convinced by what is new, forgets what is old, and becomes truly blasphemous and indecent himself. New truth is only useful to supplement the old; rough truth is only wanted to expand, not to destroy, our civil and often elegant conventions. He who cannot judge had better stick to fiction and the daily papers. There he will get little harm, and, in the first at least, some good.

Close upon the back of my discovery of Whitman, I came under the influence of Herbert Spencer. No more persuasive rabbi exists, and few better. How much of his vast structure will bear the touch of time, how much is clay and how much brass, it were too curious to inquire. But his words, if dry, are always manly and honest; there dwells in his pages a spirit of highly abstract joy, plucked naked like an algebraic symbol, but still joyful; and the reader will find there a caput-mortuum of piety, with little indeed of its loveliness, but with most of its essentials; and these two qualities make him a wholesome, as his intellectual vigour makes him a bracing, writer. I should be much of a hound if I lost my gratitude to Herbert Spencer.

"Goethe's Life," by Lewes, had a great importance for me when it first fell into my hands—a strange instance of the partiality of man's good and man's evil. I know no one whom I less admire than Goethe; he seems a very epitome of the sins of genius, breaking open the doors of private life, and wantonly wounding friends, in that crowning offence of "Werther," and in his own character a mere pen-and-ink Napoleon, conscious of the rights and duties of superior talents as a Spanish inquisitor was conscious of the rights and duties of his office. And yet in his fine devotion to his art, in his honest and serviceable friendship for Schiller, what lessons are contained! Biography, usually so false to its office, does here for once perform for us some of the work of fiction, reminding us, that is, of the truly mingled tissue of man's nature, and how huge faults and shining virtues cohabit and persevere in the same character. History serves us well to this effect, but in the originals, not in the pages of the popular epitomiser, who is bound, by the very nature of his task, to make us feel the difference of epochs instead of the essential identity of man, and even in the originals only to those who can recognise their own human virtues and defects in strange forms, often inverted and under strange names, often interchanged. Martial is a poet of no good repute, and it gives a man new thoughts to read his works dispassionately, and find in this unseemly jester's serious passages the image of a kind, wise, and self-respecting gentleman. It is customary, I suppose, in reading Martial, to leave out these pleasant verses; I never heard of them, at least, until I found them for myself; and this partiality is one among a thousand things that help to build up our distorted and hysterical conception of the great Roman empire.

This brings us by a natural transition to a very noble book—the "Meditations" of Marcus Aurelius. The dispassionate gravity, the noble forgetfulness of self, the tenderness of others, that are there expressed and were practised on so great a scale in the life of its writer, make this book a book quite by itself. No one can read it and not be moved. Yet it scarcely or rarely appeals to the feelings—those very mobile, those not very trusty parts of man. Its address lies further back: its lesson comes more deeply home; when you have read, you carry away with you a memory of the man himself; it is as though you had touched a loyal hand, looked into brave eyes, and made a noble friend; there is another bond on you thenceforward, binding you to life and to the love of virtue.

Wordsworth should perhaps come next. Every one has been influenced by Wordsworth, and it is hard to tell precisely how. A certain innocence, a rugged austerity of joy, a sight of the stars, "the silence that is in the lonely hills," something of the cold thrill of dawn, cling to his work and give it a particular address to what is best in us. I do not know that you learn a lesson; you need not—Mill did not—agree with any one of his beliefs; and yet the spell is cast. Such are the best teachers; a dogma learned is only a new error—the old one was perhaps as good; but a spirit communicated is a perpetual possession. These best teachers climb beyond teaching to the plane of art; it is themselves, and what is best in themselves, that they communicate.

I should never forgive myself if I forgot "The Egoist." It is art, if you like, but it belongs purely to didactic art, and from all the novels I have read (and I have read thousands) stands in a place by itself. Here is a Nathan for the modern David; here is a book to send the blood into men's faces. Satire, the angry picture of human faults, is not great art; we can all be angry with our neighbour; what we want is to be shown, not his defects, of which we are too conscious, but his merits, to which we are too blind. And "The Egoist" is a satire; so much must be allowed; but it is a satire of a singular quality, which tells you nothing of that obvious mote, which is engaged from first to last with that invisible beam. It is yourself that is hunted down; these are your own faults that are dragged into the day and numbered, with lingering relish, with cruel cunning and precision. A young friend of Mr. Meredith's (as I have the story) came to him in an agony. "This is too bad of you," he cried. "Willoughby is me!" "No, my dear fellow," said the author, "he is all of us." I have read "The Egoist" five or six times myself, and I mean to read it again; for I am like the young friend of the anecdote—I think Willoughby an unmanly but a very serviceable exposure of myself.

I suppose, when I am done, I shall find that I have forgotten much that was most influential, as I see already I have forgotten Thoreau, and Hazlitt, whose paper "On the Spirit of Obligations" was a turning-point in my life, and Penn, whose little book of aphorisms had a brief but strong effect on me, and Mitford's "Tales of Old Japan," wherein I learned for the first time the proper attitude of any rational man to his country's laws—a secret found, and kept, in the Asiatic islands. That I should commemorate all is more than I can hope or the editor could ask. It will be more to the point, after having said so much upon improving books, to say a word or two about the improvable reader. The gift of reading, as I have called it, is not very common, nor very generally understood. It consists, first of all, in a vast intellectual endowment—a free grace, I find I must call it—by which a man rises to understand that he is not punctually right, nor those from whom he differs absolutely wrong. He may hold dogmas; he may hold them passionately; and he may know that others hold them but coldly, or hold them differently, or hold them not at all. Well, if he has the gift of reading, these others will be full of meat for him. They will see the other side of propositions and the other side of virtues. He need not change his dogma for that, but he may change his reading of that dogma, and he must supplement and correct his deductions from it. A human truth, which is always very much a lie, hides as much of life as it displays. It is men who hold another truth, or, as it seems to us, perhaps, a dangerous lie, who can extend our restricted field of knowledge, and rouse our drowsy consciences. Something that seems quite new, or that seems insolently false or very dangerous, is the test of a reader. If he tries to see what it means, what truth excuses it, he has the gift, and let him read. If he is merely hurt, or offended, or exclaims upon his author's folly, he had better take to the daily papers; he will never be a reader.

And here, with the aptest illustrative force, after I have laid down my part-truth, I must step in with its opposite. For, after all, we are vessels of a very limited content. Not all men can read all books; it is only in a chosen few that any man will find his appointed food; and the fittest lessons are the most palatable, and make themselves welcome to the mind. A writer learns this early, and it is his chief support; he goes on unafraid, laying down the law; and he is sure at heart that most of what he says is demonstrably false, and much of a mingled strain, and some hurtful, and very little good for service; but he is sure besides that when his words fall into the hands of any genuine reader, they will be weighed and winnowed, and only that which suits will be assimilated; and when they fall into the hands of one who cannot intelligently read, they come there quite silent and inarticulate, falling upon deaf ears, and his secret is kept as if he had not written.

FOOTNOTE:

[29] Of The British Weekly.



VI

THE DAY AFTER TO-MORROW

History is much decried; it is a tissue of errors, we are told, no doubt correctly; and rival historians expose each other's blunders with gratification. Yet the worst historian has a clearer view of the period he studies than the best of us can hope to form of that in which we live. The obscurest epoch is to-day; and that for a thousand reasons of inchoate tendency, conflicting report, and sheer mass and multiplicity of experience; but chiefly, perhaps, by reason of an insidious shifting of landmarks. Parties and ideas continually move, but not by measurable marches on a stable course; the political soil itself steals forth by imperceptible degrees, like a travelling glacier, carrying on its bosom not only political parties but their flag-posts and cantonments; so that what appears to be an eternal city founded on hills is but a flying island of Laputa. It is for this reason in particular that we are all becoming Socialists without knowing it; by which I would not in the least refer to the acute case of Mr. Hyndman and his horn-blowing supporters, sounding their trumps of a Sunday within the walls of our individualist Jericho—but to the stealthy change that has come over the spirit of Englishmen and English legislation. A little while ago, and we were still for liberty; "crowd a few more thousands on the bench of Government," we seemed to cry; "keep her head direct on liberty, and we cannot help but come to port." This is over; laisser faire declines in favour; our legislation grows authoritative, grows philanthropical, bristles with new duties and new penalties, and casts a spawn of inspectors, who now begin, note-book in hand, to darken the face of England. It may be right or wrong, we are not trying that; but one thing it is beyond doubt: it is Socialism in action, and the strange thing is that we scarcely know it.

Liberty has served us a long while, and it may be time to seek new altars. Like all other principles, she has been proved to be self-exclusive in the long run. She has taken wages besides (like all other virtues) and dutifully served Mammon; so that many things we were accustomed to admire as the benefits of freedom and common to all were truly benefits of wealth, and took their value from our neighbours' poverty. A few shocks of logic, a few disclosures (in the journalistic phrase) of what the freedom of manufacturers, landlords, or shipowners may imply for operatives, tenants or seamen, and we not unnaturally begin to turn to that other pole of hope, beneficent tyranny. Freedom, to be desirable, involves kindness, wisdom, and all the virtues of the free; but the free man as we have seen him in action has been, as of yore, only the master of many helots; and the slaves are still ill-fed, ill-clad, ill-taught, ill-housed, insolently treated, and driven to their mines and workshops by the lash of famine. So much, in other men's affairs, we have begun to see clearly; we have begun to despair of virtue in these other men, and from our seat in Parliament begin to discharge upon them, thick as arrows, the host of our inspectors. The landlord has long shaken his head over the manufacturer; those who do business on land have lost all trust in the virtues of the shipowner; the professions look askance upon the retail traders and have even started their co-operative stores to ruin them; and from out the smoke-wreaths of Birmingham a finger has begun to write upon the wall the condemnation of the landlord. Thus, piece by piece, do we condemn each other, and yet not perceive the conclusion, that our whole estate is somewhat damnable. Thus, piece by piece, each acting against his neighbour, each sawing away the branch on which some other interest is seated, do we apply in detail our Socialistic remedies, and yet not perceive that we are all labouring together to bring in Socialism at large. A tendency so stupid and so selfish is like to prove invincible; and if Socialism be at all a practicable rule of life, there is every chance that our grandchildren will see the day and taste the pleasures of existence in something far liker an ant-heap than any previous human polity. And this not in the least because of the voice of Mr. Hyndman or the horns of his followers; but by the mere glacier movement of the political soil, bearing forward on its bosom, apparently undisturbed, the proud camps of Whig and Tory. If Mr. Hyndman were a man of keen humour, which is far from my conception of his character, he might rest from his troubling and look on: the walls of Jericho begin already to crumble and dissolve. That great servile war, the Armageddon of money and numbers, to which we looked forward when young, becomes more and more unlikely; and we may rather look to see a peaceable and blindfold evolution, the work of dull men immersed in political tactics and dead to political results.

The principal scene of this comedy lies, of course, in the House of Commons; it is there, besides, that the details of this new evolution (if it proceed) will fall to be decided; so that the state of Parliament is not only diagnostic of the present but fatefully prophetic of the future. Well, we all know what Parliament is, and we are all ashamed of it. We may pardon it some faults, indeed, on the ground of Irish obstruction—a bitter trial, which it supports with notable good humour. But the excuse is merely local; it cannot apply to similar bodies in America and France; and what are we to say of these? President Cleveland's letter may serve as a picture of the one; a glance at almost any paper will convince us of the weakness of the other. Decay appears to have seized on the organ of popular government in every land; and this just at the moment when we begin to bring to it, as to an oracle of justice, the whole skein of our private affairs to be unravelled, and ask it, like a new Messiah, to take upon itself our frailties and play for us the part that should be played by our own virtues. For that, in few words, is the case. We cannot trust ourselves to behave with decency; we cannot trust our consciences; and the remedy proposed is to elect a round number of our neighbours, pretty much at random, and say to these: "Be ye our conscience; make laws so wise, and continue from year to year to administer them so wisely, that they shall save us from ourselves and make us righteous and happy, world without end. Amen." And who can look twice at the British Parliament and then seriously bring it such a task? I am not advancing this as an argument against Socialism; once again, nothing is further from my mind. There are great truths in Socialism, or no one, not even Mr. Hyndman, would be found to hold it; and if it came, and did one-tenth part of what it offers, I for one should make it welcome. But if it is to come, we may as well have some notion of what it will be like; and the first thing to grasp is that our new polity will be designed and administered (to put it courteously) with something short of inspiration. It will be made, or will grow, in a human parliament; and the one thing that will not very hugely change is human nature. The Anarchists think otherwise, from which it is only plain that they have not carried to the study of history the lamp of human sympathy.

Given, then, our new polity, with its new waggon-load of laws, what headmarks must we look for in the life? We chafe a good deal at that excellent thing, the income-tax, because it brings into our affairs the prying fingers, and exposes us to the tart words, of the official. The official, in all degrees, is already something of a terror to many of us. I would not willingly have to do with even a police-constable in any other spirit than that of kindness. I still remember in my dreams the eye-glass of a certain attache at a certain embassy—an eye-glass that was a standing indignity to all on whom it looked; and my next most disagreeable remembrance is of a bracing, Republican postman in the city of San Francisco. I lived in that city among working folk, and what my neighbours accepted at the postman's hands—nay, what I took from him myself—it is still distasteful to recall. The bourgeois, residing in the upper parts of society, has but few opportunities of tasting this peculiar bowl; but about the income-tax, as I have said, or perhaps about a patent, or in the halls of an embassy at the hands of my friend of the eye-glass, he occasionally sets his lips to it; and he may thus imagine (if he has that faculty of imagination, without which most faculties are void) how it tastes to his poorer neighbours who must drain it to the dregs. In every contact with authority, with their employer, with the police, with the School Board officer, in the hospital, or in the workhouse, they have equally the occasion to appreciate the light-hearted civility of the man in office; and as an experimentalist in several out-of-the-way provinces of life, I may say it has but to be felt to be appreciated. Well, this golden age of which we are speaking will be the golden age of officials. In all our concerns it will be their beloved duty to meddle, with what tact, with what obliging words, analogy will aid us to imagine. It is likely these gentlemen will be periodically elected; they will therefore have their turn of being underneath, which does not always sweeten men's conditions. The laws they will have to administer will be no clearer than those we know to-day, and the body which is to regulate their administration no wiser than the British Parliament. So that upon all hands we may look for a form of servitude most galling to the blood—servitude to many and changing masters, and for all the slights that accompany the rule of jack-in-office. And if the Socialistic programme be carried out with the least fulness, we shall have lost a thing, in most respects not much to be regretted, but as a moderator of oppression, a thing nearly invaluable—the newspaper. For the independent journal is a creature of capital and competition; it stands and falls with millionaires and railway bonds and all the abuses and glories of to-day; and as soon as the State has fairly taken its bent to authority and philanthropy, and laid the least touch on private property, the days of the independent journal are numbered. State railways may be good things and so may State bakeries; but a State newspaper will never be a very trenchant critic of the State officials.

But again, these officials would have no sinecure. Crime would perhaps be less, for some of the motives of crime we may suppose would pass away. But if Socialism were carried out with any fulness, there would be more contraventions. We see already new sins springing up like mustard—School Board sins, factory sins, Merchant Shipping Act sins—none of which I would be thought to except against in particular, but all of which, taken together, show us that Socialism can be a hard master even in the beginning. If it go on to such heights as we hear proposed and lauded, if it come actually to its ideal of the ant-heap, ruled with iron justice, the number of new contraventions will be out of all proportion multiplied. Take the case of work alone. Man is an idle animal. He is at least as intelligent as the ant; but generations of advisers have in vain recommended him the ant's example. Of those who are found truly indefatigable in business, some are misers; some are the practisers of delightful industries, like gardening; some are students, artists, inventors, or discoverers, men lured forward by successive hopes; and the rest are those who live by games of skill or hazard—financiers, billiard-players, gamblers, and the like. But in unloved toils, even under the prick of necessity, no man is continually sedulous. Once eliminate the fear of starvation, once eliminate or bound the hope of riches, and we shall see plenty of skulking and malingering. Society will then be something not wholly unlike a cotton plantation in the old days; with cheerful, careless, demoralised slaves, with elected overseers, and, instead of the planter, a chaotic popular assembly. If the blood be purposeful and the soil strong, such a plantation may succeed, and be, indeed, a busy ant-heap, with full granaries and long hours of leisure. But even then I think the whip will be in the overseer's hands, and not in vain. For, when it comes to be a question of each man doing his own share or the rest doing more, prettiness of sentiment will be forgotten. To dock the skulker's food is not enough; many will rather eat haws and starve on petty pilferings than put their shoulder to the wheel for one hour daily. For such as these, then, the whip will be in the overseer's hand; and his own sense of justice and the superintendence of a chaotic popular assembly will be the only checks on its employment. Now, you may be an industrious man and a good citizen, and yet not love, nor yet be loved by, Dr. Fell the inspector. It is admitted by private soldiers that the disfavour of a sergeant is an evil not to be combated; offend the sergeant, they say, and in a brief while you will either be disgraced or have deserted. And the sergeant can no longer appeal to the lash. But if these things go on, we shall see, or our sons shall see, what it is to have offended an inspector.

This for the unfortunate. But with the fortunate also, even those whom the inspector loves, it may not be altogether well. It is concluded that in such a state of society, supposing it to be financially sound, the level of comfort will be high. It does not follow: there are strange depths of idleness in man, a too-easily-got sufficiency, as in the case of the sago-eaters, often quenching the desire for all besides; and it is possible that the men of the richest ant-heaps may sink even into squalor. But suppose they do not; suppose our tricksy instrument of human nature, when we play upon it this new tune, should respond kindly; suppose no one to be damped and none exasperated by the new conditions, the whole enterprise to be financially sound—a vaulting supposition—and all the inhabitants to dwell together in a golden mean of comfort: we have yet to ask ourselves if this be what man desire, or if it be what man will even deign to accept for a continuance. It is certain that man loves to eat, it is not certain that he loves that only or that best. He is supposed to love comfort; it is not a love, at least, that he is faithful to. He is supposed to love happiness; it is my contention that he rather loves excitement. Danger, enterprise, hope, the novel, the aleatory, are dearer to man than regular meals. He does not think so when he is hungry, but he thinks so again as soon as he is fed; and on the hypothesis of a successful ant-heap, he would never go hungry. It would be always after dinner in that society, as, in the land of the Lotos-eaters, it was always afternoon; and food, which, when we have it not, seems all-important, drops in our esteem, as soon as we have it, to a mere pre-requisite of living.

That for which man lives is not the same thing for all individuals nor in all ages; yet it has a common base; what he seeks and what he must have is that which will seize and hold his attention. Regular meals and weather-proof lodgings will not do this long. Play in its wide sense, as the artificial induction of sensation, including all games and all arts, will, indeed, go far to keep him conscious of himself; but in the end he wearies for realities. Study or experiment, to some rare natures, is the unbroken pastime of a life. These are enviable natures; people shut in the house by sickness often bitterly envy them; but the commoner man cannot continue to exist upon such altitudes: his feet itch for physical adventure; his blood boils for physical dangers, pleasures, and triumphs; his fancy, the looker after new things, cannot continue to look for them in books and crucibles, but must seek them on the breathing stage of life. Pinches, buffets, the glow of hope, the shock of disappointment, furious contention with obstacles: these are the true elixir for all vital spirits, these are what they seek alike in their romantic enterprises and their unromantic dissipations. When they are taken in some pinch closer than the common, they cry, "Catch me here again!" and sure enough you catch them there again—perhaps before the week is out. It is as old as "Robinson Crusoe"; as old as man. Our race has not been strained for all these ages through that sieve of dangers that we call Natural Selection, to sit down with patience in the tedium of safety; the voices of its fathers call it forth. Already in our society as it exists, the bourgeois is too much cottoned about for any zest in living; he sits in his parlour out of reach of any danger, often out of reach of any vicissitude but one of health; and there he yawns. If the people in the next villa took pot-shots at him, he might be killed indeed, but so long as he escaped he would find his blood oxygenated and his views of the world brighter. If Mr. Mallock, on his way to the publishers, should have his skirts pinned to a wall by a javelin, it would not occur to him—at least for several hours—to ask if life were worth living; and if such peril were a daily matter, he would ask it never more; he would have other things to think about, he would be living indeed—not lying in a box with cotton, safe, but immeasurably dull. The aleatory, whether it touch life, or fortune, or renown—whether we explore Africa or only toss for halfpence—that is what I conceive men to love best, and that is what we are seeking to exclude from men's existences. Of all forms of the aleatory, that which most commonly attends our working men—the danger of misery from want of work—is the least inspiriting: it does not whip the blood, it does not evoke the glory of contest; it is tragic, but it is passive; and yet, in so far as it is aleatory, and a peril sensibly touching them, it does truly season the men's lives. Of those who fail, I do not speak—despair should be sacred; but to those who even modestly succeed, the changes of their life bring interest: a job found, a shilling saved, a dainty earned, all these are wells of pleasure springing afresh for the successful poor; and it is not from these but from the villa-dweller that we hear complaints of the unworthiness of life. Much, then, as the average of the proletariat would gain in this new state of life, they would also lose a certain something, which would not be missed in the beginning, but would be missed progressively and progressively lamented. Soon there would be a looking back: there would be tales of the old world humming in young men's ears, tales of the tramp and the pedlar, and the hopeful emigrant. And in the stall-fed life of the successful ant-heap—with its regular meals, regular duties, regular pleasures, an even course of life, and fear excluded—the vicissitudes, delights, and havens of to-day will seem of epic breadth. This may seem a shallow observation; but the springs by which men are moved lie much on the surface. Bread, I believe, has always been considered first, but the circus comes close upon its heels. Bread we suppose to be given amply; the cry for circuses will be the louder, and if the life of our descendants be such as we have conceived, there are two beloved pleasures on which they will be likely to fall back: the pleasures of intrigue and of sedition.

In all this I have supposed the ant-heap to be financially sound. I am no economist, only a writer of fiction; but even as such, I know one thing that bears on the economic question—I know the imperfection of man's faculty for business. The Anarchists, who count some rugged elements of common-sense among what seem to me their tragic errors, have said upon this matter all that I could wish to say, and condemned beforehand great economical polities. So far it is obvious that they are right; they may be right also in predicting a period of communal independence, and they may even be right in thinking that desirable. But the rise of communes is none the less the end of economic equality, just when we were told it was beginning. Communes will not be all equal in extent, nor in quality of soil, nor in growth of population; nor will the surplus produce of all be equally marketable. It will be the old story of competing interests, only with a new unit; and, as it appears to me, a new, inevitable danger. For the merchant and the manufacturer, in this new world, will be a sovereign commune; it is a sovereign power that will see its crops undersold, and its manufactures worsted in the market. And all the more dangerous that the sovereign power should be small. Great powers are slow to stir; national affronts, even with the aid of newspapers, filter slowly into popular consciousness; national losses are so unequally shared, that one part of the population will be counting its gains while another sits by a cold hearth. But in the sovereign commune all will be centralised and sensitive. When jealousy springs up, when (let us say) the commune of Poole has overreached the commune of Dorchester, irritation will run like quicksilver throughout the body politic; each man in Dorchester will have to suffer directly in his diet and his dress; even the secretary, who drafts the official correspondence, will sit down to his task embittered, as a man who has dined ill and may expect to dine worse; and thus a business difference between communes will take on much the same colour as a dispute between diggers in the lawless West, and will lead as directly to the arbitrament of blows. So that the establishment of the communal system will not only reintroduce all the injustices and heart-burnings of economic inequality, but will, in all human likelihood, inaugurate a world of hedgerow warfare. Dorchester will march on Poole, Sherborne on Dorchester, Wimborne on both; the waggons will be fired on as they follow the highway, the trains wrecked on the lines, the ploughman will go armed into the field of tillage; and if we have not a return of ballad literature, the local press at least will celebrate in a high vein the victory of Cerne Abbas or the reverse of Toller Porcorum. At least this will not be dull; when I was younger, I could have welcomed such a world with relief; but it is the New-Old with a vengeance, and irresistibly suggests the growth of military powers and the foundation of new empires.



VII

LETTER TO A YOUNG GENTLEMAN WHO PROPOSES TO EMBRACE THE CAREER OF ART

With the agreeable frankness of youth, you address me on a point of some practical importance to yourself and (it is even conceivable) of some gravity to the world: Should you or should you not become an artist? It is one which you must decide entirely for yourself; all that I can do is to bring under your notice some of the materials of that decision; and I will begin, as I shall probably conclude also, by assuring you that all depends on the vocation.

To know what you like is the beginning of wisdom and of old age. Youth is wholly experimental. The essence and charm of that unquiet and delightful epoch is ignorance of self as well as ignorance of life. These two unknowns the young man brings together again and again, now in the airiest touch, now with a bitter hug; now with exquisite pleasure, now with cutting pain; but never with indifference, to which he is a total stranger, and never with that near kinsman of indifference, contentment. If he be a youth of dainty senses or a brain easily heated, the interest of this series of experiments grows upon him out of all proportion to the pleasure he receives. It is not beauty that he loves, nor pleasure that he seeks, though he may think so; his design and his sufficient reward is to verify his own existence and taste the variety of human fate. To him, before the razor-edge of curiosity is dulled, all that is not actual living and the hot chase of experience wears a face of a disgusting dryness difficult to recall in later days; or if there be any exception—and here destiny steps in—it is in those moments when, wearied or surfeited of the primary activity of the senses, he calls up before memory the image of transacted pains and pleasures. Thus it is that such an one shies from all cut-and-dry professions, and inclines insensibly toward that career of art which consists only in the tasting and recording of experience.

This, which is not so much a vocation for art as an impatience of all other honest trades, frequently exists alone; and, so existing, it will pass gently away in the course of years. Emphatically, it is not to be regarded; it is not a vocation, but a temptation; and when your father the other day so fiercely and (in my view) so properly discouraged your ambition, he was recalling not improbably some similar passage in his own experience. For the temptation is perhaps nearly as common as the vocation is rare. But again we have vocations which are imperfect; we have men whose minds are bound up, not so much in any art, as in the general ars artium and common base of all creative work; who will now dip into painting, and now study counterpoint, and anon will be inditing a sonnet: all these with equal interest, all often with genuine knowledge. And of this temper, when it stands alone, I find it difficult to speak; but I should counsel such an one to take to letters, for in literature (which drags with so wide a net) all his information may be found some day useful, and if he should go on as he has begun, and turn at last into the critic, he will have learned to use the necessary tools. Lastly we come to those vocations which are at once decisive and precise; to the men who are born with the love of pigments, the passion of drawing, the gift of music, or the impulse to create with words, just as other and perhaps the same men are born with the love of hunting, or the sea, or horses, or the turning-lathe. These are predestined; if a man love the labour of any trade, apart from any question of success or fame, the gods have called him. He may have the general vocation too: he may have a taste for all the arts, and I think he often has; but the mark of his calling is this laborious partiality for one, this inextinguishable zest in its technical successes, and (perhaps above all) a certain candour of mind, to take his very trifling enterprise with a gravity that would befit the cares of empire, and to think the smallest improvement worth accomplishing at any expense of time and industry. The book, the statue, the sonata, must be gone upon with the unreasoning good faith and the unflagging spirit of children at their play. Is it worth doing?—when it shall have occurred to any artist to ask himself that question, it is implicitly answered in the negative. It does not occur to the child as he plays at being a pirate on the dining-room sofa, nor to the hunter as he pursues his quarry; and the candour of the one and the ardour of the other should be united in the bosom of the artist.

If you recognise in yourself some such decisive taste, there is no room for hesitation: follow your bent. And observe (lest I should too much discourage you) that the disposition does not usually burn so brightly at the first, or rather not so constantly. Habit and practice sharpen gifts; the necessity of toil grows less disgusting, grows even welcome, in the course of years; a small taste (if it be only genuine) waxes with indulgence into an exclusive passion. Enough, just now, if you can look back over a fair interval, and see that your chosen art has a little more than held its own among the thronging interests of youth. Time will do the rest, if devotion help it; and soon your every thought will be engrossed in that beloved occupation.

But even with devotion, you may remind me, even with unfaltering and delighted industry, many thousand artists spend their lives, if the result be regarded, utterly in vain: a thousand artists, and never one work of art. But the vast mass of mankind are incapable of doing anything reasonably well, art among the rest. The worthless artist would not improbably have been a quite incompetent baker. And the artist, even if he does not amuse the public, amuses himself; so that there will always be one man the happier for his vigils. This is the practical side of art: its inexpugnable fortress for the true practitioner. The direct returns—the wages of the trade—are small, but the indirect—the wages of the life—are incalculably great. No other business offers a man his daily bread upon such joyful terms. The soldier and the explorer have moments of a worthier excitement, but they are purchased by cruel hardships and periods of tedium that beggar language. In the life of the artist there need be no hour without its pleasure. I take the author, with whose career I am best acquainted; and it is true he works in a rebellious material, and that the act of writing is cramped and trying both to the eyes and the temper; but remark him in his study when matter crowds upon him and words are not wanting—in what a continual series of small successes time flows by; with what a sense of power, as of one moving mountains, he marshals his petty characters; with what pleasures, both of the ear and eye, he sees his airy structure growing on the page; and how he labours in a craft to which the whole material of his life is tributary, and which opens a door to all his tastes, his loves, his hatreds, and his convictions, so that what he writes is only what he longed to utter. He may have enjoyed many things in this big, tragic playground of the world; but what shall he have enjoyed more fully than a morning of successful work? Suppose it ill-paid: the wonder is it should be paid at all. Other men pay, and pay dearly, for pleasures less desirable.

Nor will the practice of art afford you pleasure only; it affords besides an admirable training. For the artist works entirely upon honour. The public knows little or nothing of those merits in the quest of which you are condemned to spend the bulk of your endeavours. Merits of design, the merit of first-hand energy, the merit of a certain cheap accomplishment which a man of the artistic temper easily acquires—these they can recognise, and these they value. But to those more exquisite refinements of proficiency and finish, which the artist so ardently desires and so keenly feels, for which (in the vigorous words of Balzac) he must toil "like a miner buried in a landslip," for which, day after day, he recasts and revises and rejects—the gross mass of the public must be ever blind. To those lost pains, suppose you attain the highest pitch of merit, posterity may possibly do justice; suppose, as is so probable, you fail by even a hair's breadth of the highest, rest certain they shall never be observed. Under the shadow of this cold thought, alone in his studio, the artist must preserve from day to day his constancy to the ideal. It is this which makes his life noble; it is by this that the practice of his craft strengthens and matures his character; it is for this that even the serious countenance of the great emperor was turned approvingly (if only for a moment) on the followers of Apollo, and that sternly gentle voice bade the artist cherish his art.

And here there fall two warnings to be made. First, if you are to continue to be a law to yourself, you must beware of the first signs of laziness. This idealism in honesty can only be supported by perpetual effort; the standard is easily lowered, the artist who says "It will do," is on the downward path; three or four pot-boilers are enough at times (above all at wrong times) to falsify a talent, and by the practice of journalism a man runs the risk of becoming wedded to cheap finish. This is the danger on the one side; there is not less upon the other. The consciousness of how much the artist is (and must be) a law to himself debauches the small heads. Perceiving recondite merits very hard to attain, making or swallowing artistic formulae, or perhaps falling in love with some particular proficiency of his own, many artists forget the end of all art: to please. It is doubtless tempting to exclaim against the ignorant bourgeois; yet it should not be forgotten, it is he who is to pay us, and that (surely on the face of it) for services that he shall desire to have performed. Here also, if properly considered, there is a question of transcendental honesty. To give the public what they do not want, and yet expect to be supported: we have there a strange pretension, and yet not uncommon, above all with painters. The first duty in this world is for a man to pay his way; when that is quite accomplished, he may plunge into what eccentricity he likes; but emphatically not till then. Till then, he must pay assiduous court to the bourgeois who carries the purse. And if in the course of these capitulations he shall falsify his talent, it can never have been a strong one, and he will have preserved a better thing than talent—character. Or if he be of a mind so independent that he cannot stoop to this necessity, one course is yet open: he can desist from art, and follow some more manly way of life.

I speak of a more manly way of life; it is a point on which I must be frank. To live by a pleasure is not a high calling; it involves patronage, however veiled; it numbers the artist, however ambitious, along with dancing girls and billiard-markers. The French have a romantic evasion for one employment, and call its practitioners the Daughters of Joy. The artist is of the same family, he is of the Sons of Joy, chose his trade to please himself, gains his livelihood by pleasing others, and has parted with something of the sterner dignity of man. Journals but a little while ago declaimed against the Tennyson peerage; and this Son of Joy was blamed for condescension when he followed the example of Lord Lawrence and Lord Cairns and Lord Clyde. The poet was more happily inspired; with a better modesty he accepted the honour; and anonymous journalists have not yet (if I am to believe them) recovered the vicarious disgrace to their profession. When it comes to their turn, these gentlemen can do themselves more justice; and I shall be glad to think of it; for to my barbarian eyesight, even Lord Tennyson looks somewhat out of place in that assembly. There should be no honours for the artist; he has already, in the practice of his art, more than his share of the rewards of life; the honours are pre-empted for other trades, less agreeable and perhaps more useful.

But the devil in these trades of pleasing is to fail to please. In ordinary occupations, a man offers to do a certain thing or to produce a certain article with a merely conventional accomplishment, a design in which (we may almost say) it is difficult to fail. But the artist steps forth out of the crowd and proposes to delight: an impudent design, in which it is impossible to fail without odious circumstances. The poor Daughter of Joy, carrying her smiles and finery quite unregarded through the crowd, makes a figure which it is impossible to recall without a wounding pity. She is the type of the unsuccessful artist. The actor, the dancer, and the singer must appear like her in person, and drain publicly the cup of failure. But though the rest of us escape this crowning bitterness of the pillory, we all court in essence the same humiliation. We all profess to be able to delight. And how few of us are! We all pledge ourselves to be able to continue to delight. And the day will come to each, and even to the most admired, when the ardour shall have declined and the cunning shall be lost, and he shall sit by his deserted booth ashamed. Then shall he see himself condemned to do work for which he blushes to take payment. Then (as if his lot were not already cruel) he must lie exposed to the gibes of the wreckers of the press, who earn a little bitter bread by the condemnation of trash which they have not read, and the praise of excellence which they cannot understand.

And observe that this seems almost the necessary end at least of writers. "Les Blancs et les Bleus" (for instance) is of an order of merit very different from "Le Vicomte de Bragelonne"; and if any gentleman can bear to spy upon the nakedness of "Castle Dangerous," his name I think is Ham: let it be enough for the rest of us to read of it (not without tears) in the pages of Lockhart. Thus in old age, when occupation and comfort are most needful, the writer must lay aside at once his pastime and his breadwinner. The painter indeed, if he succeed at all in engaging the attention of the public, gains great sums and can stand to his easel until a great age without dishonourable failure. The writer has the double misfortune to be ill-paid while he can work, and to be incapable of working when he is old. It is thus a way of life which conducts directly to a false position.

For the writer (in spite of notorious examples to the contrary) must look to be ill-paid. Tennyson and Montepin make handsome livelihoods; but we cannot all hope to be Tennyson, and we do not all perhaps desire to be Montepin. If you adopt an art to be your trade, weed your mind at the outset of all desire of money. What you may decently expect, if you have some talent and much industry, is such an income as a clerk will earn with a tenth or perhaps a twentieth of your nervous output. Nor have you the right to look for more; in the wages of the life, not in the wages of the trade, lies your reward; the work is here the wages. It will be seen I have little sympathy with the common lamentations of the artist class. Perhaps they do not remember the hire of the field labourer; or do they think no parallel will lie? Perhaps they have never observed what is the retiring allowance of a field officer; or do they suppose their contributions to the arts of pleasing more important than the services of a colonel? Perhaps they forget on how little Millet was content to live; or do they think, because they have less genius, they stand excused from the display of equal virtues? But upon one point there should be no dubiety: if a man be not frugal, he has no business in the arts. If he be not frugal, he steers directly for that last tragic scene of le vieux saltimbanque; if he be not frugal, he will find it hard to continue to be honest. Some day, when the butcher is knocking at the door, he may be tempted, he may be obliged, to turn out and sell a slovenly piece of work. If the obligation shall have arisen through no wantonness of his own, he is even to be commended; for words cannot describe how far more necessary it is that a man should support his family, than that he should attain to—or preserve—distinction in the arts. But if the pressure comes through his own fault, he has stolen, and stolen under trust, and stolen (which is the worst of all) in such a way that no law can reach him.

And now you may perhaps ask me whether—if the debutant artist is to have no thought of money, and if (as is implied) he is to expect no honours from the State—he may not at least look forward to the delights of popularity? Praise, you will tell me, is a savoury dish. And in so far as you may mean the countenance of other artists, you would put your finger on one of the most essential and enduring pleasures of the career of art. But in so far as you should have an eye to the commendations of the public or the notice of the newspapers, be sure you would but be cherishing a dream. It is true that in certain esoteric journals the author (for instance) is duly criticised, and that he is often praised a great deal more than he deserves, sometimes for qualities which he prided himself on eschewing, and sometimes by ladies and gentlemen who have denied themselves the privilege of reading his work. But if a man be sensitive to this wild praise, we must suppose him equally alive to that which often accompanies and always follows it—wild ridicule. A man may have done well for years, and then he may fail; he will hear of his failure. Or he may have done well for years, and still do well, but the critics may have tired of praising him, or there may have sprung up some new idol of the instant, some "dust a little gilt," to whom they now prefer to offer sacrifice. Here is the obverse and the reverse of that empty and ugly thing called popularity. Will any man suppose it worth the gaining?



VIII

PULVIS ET UMBRA

We look for some reward of our endeavours and are disappointed; not success, not happiness, not even peace of conscience, crowns our ineffectual efforts to do well. Our frailties are invincible, our virtues barren; the battle goes sore against us to the going down of the sun. The canting moralist tells us of right and wrong; and we look abroad, even on the face of our small earth, and find them change with every climate, and no country where some action is not honoured for a virtue and none where it is not branded for a vice; and we look in our experience, and find no vital congruity in the wisest rules, but at the best a municipal fitness. It is not strange if we are tempted to despair of good. We ask too much. Our religions and moralities have been trimmed to flatter us, till they are all emasculate and sentimentalised, and only please and weaken. Truth is of a rougher strain. In the harsh face of life, faith can read a bracing gospel. The human race is a thing more ancient than the ten commandments; and the bones and revolutions of the Kosmos, in whose joints we are but moss and fungus, more ancient still.

I

Of the Kosmos in the last resort, science reports many doubtful things, and all of them appalling. There seems no substance to this solid globe on which we stamp: nothing but symbols and ratios. Symbols and ratios carry us and bring us forth and beat us down; gravity, that swings the incommensurable suns and worlds through space, is but a figment varying inversely as the squares of distances; and the suns and worlds themselves, imponderable figures of abstraction, NH{3} and H{2}O. Consideration dares not dwell upon this view; that way madness lies; science carries us into zones of speculation, where there is no habitable city for the mind of man.