Books and Persons; Being Comments on a Past Epoch, 1908-1911 Part 6

I do not think that any novelist ever more audaciously tried, or failed with more honour, to render in the limits of one book the enormous and confusing complexity of a nation's racial existence. The measure of success attained is marvellous. Complete success was, of course, impossible. But, in the terrific rout, Ponderevo never touches a problem save to grip it firmly. He leaves nothing alone, and everything is handled--handled! His fine detachment, and his sublime common sense, never desert him in the hour when he judges. Naturally his chief weapon in the collision is just common sense; it is at the impact of mere common sense that the current system crumbles. It is simply unanswerable common sense which will infuriate those who do not like the book. When common sense rises to the lyric, as it does in the latter half of the tale, you have something formidable. Here Wells has united the daily verifiable actualism of novels like "Love and Mr. Lewisham" and "Kipps," with the large manner of the paramount synthetic scenes in (what general usage compels me to term) his "scientific romances." In the scientific romance he achieved, by means of parables (I employ the word roughly) a criticism of tendencies and inst.i.tutions which is on the plane of epic poetry. For example, the criticism of specialization in "The First Men in the Moon," the mighty ridicule of the inst.i.tution of sovereignty in "When the Sleeper Wakes,"

and the exquisite blighting of human narrow-mindedness in "The Country of the Blind"--this last one of the radiant gems of contemporary literature, and printed in the _Strand Magazine_! In "Tono-Bungay" he has achieved the same feat, magnified by ten--or a hundred, without the aid of symbolic artifice. I have used the word "epic," and I insist on it. There are pa.s.sages toward the close of the book which may fitly be compared with the lyrical freedoms of no matter what epic, and which display an unsurpa.s.sable dexterity of hand. Such is the scene in which George deflects his flying-machine so as to avoid Beatrice and her horse by sweeping over them. A new thrill, there, in the s.e.xual vibrations! One thinks of it afterwards. And yet such flashes are lost when one contemplates the steady shining of the whole. "Tono-Bungay," to my mind, marks the junction of the two paths which the variety of Wells's gift has enabled him to follow simultaneously, and, at the same time, it is his most distinguished and most powerful book.

I have spoken of the angry and the infuriated. Fury can be hot or cold. Of the cold variety is Claudius Clear's in the _British Weekly_. "Extremely clever," says Claudius Clear. "There is, however, no sign of any new power." But, by way of further praise: "The episodes are carefully selected and put together with skill, and there are few really dull pa.s.sages." This about the man of whom Maeterlinck has written that he has "the most complete and the most logical imagination of the age." (I think Claudius Clear may have been under the impression that he was reviewing a two-hundred-and-fifty-guinea prize novel, selected by Messrs. Lang and Shorter.) Further, "He writes always from the point of a B.Sc." But the most humorous part of the criticism is this. After stating that Ponderevo acknowledges himself to be a liar, a swindler, a thief, an adulterer, and a murderer, Claudius Clear then proceeds: "He is not in the least ashamed of these things. He explains them away with the utmost facility, and we find him at the age of forty-five, _not unhappy, and successfully engaged in problems of aerial navigation_" (my italics). Oh! candid simplicity of soul! Wells, why did you not bring down the wrath of G.o.d, or at least make the adulterer fail in the problems of flight? In quoting a description of the Frapps, Claudius Clear says: "I must earnestly apologize for extracting the following pa.s.sage." Why? As Claudius Clear gets into his third column his fury turns from cold to hot: "It is impossible for me in these columns to reproduce or to describe the amorous episodes in 'Tono-Bungay.' I cannot copy and I cannot summarize the loathsome tale of George Ponderevo's engagement and marriage and divorce. Nor can I speak of his intrigue with a typist, and of the orgy of l.u.s.t described at the close of the book...." Now, there is not a line in the book that could not be printed in the _British Weekly_. There is not a line which fails in that sober decency which is indispensable to the dignity of a masterpiece. As for George's engagement and marriage, it is precisely typical of legions such in England and Scotland. As for the intrigue with a typist, has Claudius Clear never heard of an intrigue with a typist before? In faithfully and decently describing an intrigue with a typist, has one necessarily written a "Justine"? And why "orgy of l.u.s.t"? Orgy of fiddlestick--if I am not being irreverent! The most correct honeymoon is an orgy of l.u.s.t; and if it isn't, it ought to be. But some temperaments find a strange joy in using the word "l.u.s.t." See the infuriating disquisition on "Mrs. Grundy" in "Tono-Bungay." The odd thing is, having regard to the thunders of Claudius Clear, that George Ponderevo is decidedly more chaste than nine men out of ten, and than ninety-nine married men out of every hundred. And the book emanates an austerity and a self-control which are quite conspicuous at the present stage of fiction, and which one would in vain search for amid the veiled concupiscence of at least one author whom Claudius Clear has praised, and, I think, never blamed--at least on that score. I leave him to guess the author.

TCHEHKOFF

[Sidenote:_18 Mar. '09_]

One of the most noteworthy of recent publications in the way of fiction is Anton Tchehkoff's "The Kiss and Other Stories," translated by Mr. R.E.C.

Long and published by Duckworth (6s.). A similar volume, "The Black Monk"

(same translator and publisher), was issued some years ago. Tchehkoff lived and made a tremendous name in Russia, and died, and England recked not. He has been translated into French, and I believe that there exists a complete edition of his works in German; but these two volumes are all that we have in English. The thanks of the lettered are due to Mr. Long and to his publisher. Tchehkoff's stories are really remarkable. If any one of authority stated that they rank him with the fixed stars of Russian fiction--Dostoievsky, Tourgeniev, Gogol, and Tolstoy--I should not be ready to contradict. To read them, after even the finest stories of de Maupa.s.sant or Murray Gilchrist, is like having a bath after a ball. Their effect is extraordinarily one of ingenuousness. Of course they are not in the least ingenuous, as a fact, but self-conscious and elaborate to the highest degree. The progress of every art is an apparent progress from conventionality to realism. The basis of convention remains, but as the art develops it finds more and more subtle methods fitting life to the convention or the convention to life--whichever you please. Tchehkoff's tales mark a definite new conquest in this long struggle. As you read him you fancy that he must always have been saying to himself: "Life is good enough for me. I won't alter it. I will set it down as it is." Such is the tribute to his success which he forces from you.

He seems to have achieved absolute realism. (But there is no absolute, and one day somebody--probably a Russian--will carry realism further.) His climaxes are never strained; nothing is ever idealized, sentimentalized, etherealized; no part of the truth is left out, no part is exaggerated.

There is no cleverness, no startling feat of virtuosity. All appears simple, candid, almost childlike. I could imagine the editor of a popular magazine returning a story of Tchehkoff's with the friendly criticism that it showed promise, and that when he had acquired more skill in hitting the reader exactly between the eyes a deal might be possible. Tchehkoff never hits you between the eyes. But he will, nevertheless, leave you on the flat of your back. Beneath the outward simplicity of his work is concealed the most wondrous artifice, the artifice that is embedded deep in nearly all great art. All we English novelists ought to study "The Kiss" and "The Black Monk." They will delight every person of fine taste, but to the artist they are a profound lesson. We have no writer, and we have never had one, nor has France, who could mould the material of life, without distorting it, into such complex forms to such an end of beauty. Read these books, and you will genuinely know something about Russia; you will be drenched in the vast melancholy, savage and wistful, of Russian life; and you will have seen beauty. No tale in "The Kiss" is quite as marvellous as either the first or the last tale in "The Black Monk,"

perhaps; but both volumes are indispensable to one's full education. I do not exaggerate. I must add that on a reader whose taste is neither highly developed nor capable of high development, the effect of the stories will be similar to their effect on the magazine editor.

THE SURREY LABOURER

[_1 Apr. '09_]

It is a great pleasure to see that Mr. George Bourne's "Memoirs of a Surrey Labourer" (Duckworth) has, after two years, reached the distinction of a cheap edition at half a crown. I shall be surprised if this book does not continue to sell for about a hundred years. And yet, also, I am surprised that a cheap edition should have come so soon. The "Memoirs"

were very well received on their original publication in 1907; some of the reviews were indeed remarkable in the frankness with which they accepted the work as a masterpiece of portraiture and of sociological observation.

But the book had no boom such as Mr. John Lane recently contrived for another very good and not dissimilar book, Mr. Stephen Reynolds's "A Poor Man's House." Mr. Stephen Reynolds was more chattered about by literary London in two months than Mr. George Bourne has been in the eight years which have pa.s.sed since he published his first book about Frederick Bettesworth, the Surrey labourer in question. Mr. Bourne will owe his popularity in 2009 to the intrinsic excellence of his work, but he owes his popularity in 1909 to the dogged and talkative enthusiasm of a few experts in the press and in the world, and of his publishers. There have been a handful of persons who were determined to make this exceedingly fine book sell, or perish themselves in the attempt; and it has sold. But not with the help of mandarins. It is not in the least the kind of book to catch the roving eye of a mandarin. It is too proud, too austere, too true, and too tonically cruel to appeal to mandarins. It abounds not at all in quotable pa.s.sages. Its subt.i.tle is: "A Record of the Last Year of Frederick Bettesworth." The mandarins who happened to see it no doubt turned to seek the death scene at the close, with thoughts of how quotably Ian Maclaren would have described the death of the old labourer, worn out by honest and ill-paid toil, surrounded by his beloved fields, and so forth and so forth. And Mr. George Bourne's description of his hero's death would no doubt put them right off. I give it in full: "July 25 (Thursday).--Bettesworth died this evening at six o'clock." Oh, Colonel Newcome, sugared tears, golden gates, glimmering panes, pa.s.sings, pilots, harbour bars--had Mr. George Bourne never heard of you?

[_1 Apr '09_]

I should like to a.s.sume that all enlightened and curious readers have already perused this book and its forerunner, "The Bettesworth Book"

(Lamley and Co.), of which a cheap edition is soon to be had. But my irritating mania for stopping facts in the street and gazing at them makes it impossible for me to a.s.sume any such thing. I am perfectly certain that to about 70 per cent. of you the name of George Bourne means naught. I therefore need not apologize for offering the information that these books are books. They set forth the psychology and the everything else of the backbone, foundation, and original stock of the English race. They deal with England. Naturally, the sacred name of England will call up in your mind visions of the Carlton Club, Blenheim, Regent Street, Tubes, Selfridge's, theatre stalls, the crowd at Lord's, and the brilliant writers of the _New Age_. And these phenomena are a part of England; but I tell you that they are all only the froth on the surface of Bettesworth the labourer. If you regard this as a cryptic saying, read the two books, and you will see light.

SWINBURNE

[Sidenote:_22 Apr. '09_]

On Good Friday night I was out in the High Street, at the cross-roads, where the warp and the woof of the traffic a.s.sault each other under a great glare of lamps. The shops were closed and black, except where a tobacconist kept the tobacconist's bright and everlasting vigil; but above the shops occasional rare windows were illuminated, giving hints--dressing-tables, pictures, gas-globes--of intimate private lives. I don't know why such hints should always seem to me pathetic, saddening; but they do. And beneath them, through the dark defile of shutters, motor-omnibuses roared and swayed and curved, too big for the street, and dwarfing it. And automobiles threaded between them, and bicycles dared the s.p.a.ces that were left. From afar off there came a flying light, like a shot out of a gun, and it grew into a man perched on a shuddering contrivance that might have been invented by H.G. Wells, and swept perilously into the contending currents, and by miracles emerged untouched, and was gone, driven by the desire of the immortal soul within the man. This strange thing happened again and again. The pavements were crowded with hurrying or loitering souls, and the omnibuses and autos were full of them: hundreds pa.s.sed before the vision every moment. And they were all preoccupied; they nearly all bore the weary, egotistic melancholy that spreads like an infection at the close of a fete day in London; the lights of a motor-omnibus would show the rapt faces of sixteen souls at once in their gla.s.s cage, driving the vehicle on by their desires. The policeman and the loafers in the ring of fire made by the public-houses at the cross-roads--even these were grave with the universal affliction of life, and grim with the relentless universal egotism. Lovers walked as though there were no heaven and no earth, but only themselves in s.p.a.ce.

n.o.body but me seemed to guess that the road to Delhi could be as naught to this road, with its dark, fleeing shapes, its shifting beams, its black brick precipices, and its thousand pale, flitting faces of a gloomy and decadent race. As says the Indian proverb, I met ten thousand men on the Putney High Street, and they were all my brothers. But I alone was aware of it. As I stood watching autobus after autobus swing round in a fearful semi-circle to begin a new journey, I gazed myself into a mystic comprehension of the significance of what I saw. A few yards beyond where the autobuses turned was a certain house with lighted upper windows, and in that house the greatest lyric versifier that England ever had, and one of the great poets of the whole world and of all the ages, was dying: a name immortal. But n.o.body looked; n.o.body seemed to care; I doubt if any one thought of it. This enormous negligence appeared to me to be fine, to be magnificently human.

The next day all the shops were open, and hundreds of fatigued a.s.sistants were pouring out their exhaustless patience on thousands of urgent and bright women; and flags waved on high, and the gutters were banked with yellow and white flowers, and the air was brisk and the roadways were clean. The very vital spirit of energy seemed to have scattered the breath of life generously, so that all were intoxicated by it in the gay sunshine. He was dead then. The waving posters said it. When Tennyson died I felt less hurt; for I had serious charges to bring against Tennyson, which impaired my affection for him. But I was more shocked. When Tennyson died, everybody knew it, and imaginatively realized it. Everybody was touched. I was saddened then as much by the contagion of a general grief as by a sorrow of my own. But there was no general grief on Sat.u.r.day.

Swinburne had written for fifty years, and never once moved the nation, save inimically, when "Poems and Ballads" came near to being burnt publicly by the hangman. (By "the nation," I mean newspaper readers. The real nation, busy with the problem of eating, dying, and being born all in one room, has never heard of either Tennyson or Swinburne or George R.

Sims.) There are poems of Tennyson, of Wordsworth, even of the speciously recondite Browning, that have entered into the general consciousness. But nothing of Swinburne's! Swinburne had no moral ideas to impart. Swinburne never publicly yearned to meet his Pilot face to face. He never galloped on one of Lord George Sanger's horses from Aix to Ghent. He was interested only in ideal manifestations of beauty and force. Except when he grieved the judicious by the expression of political crudities, he never connected art with any form of morals that the British public could understand. He sang. He sang supremely. And it wasn't enough for the British public. The consequence was that his fame spread out as far as under-graduates, and the tiny mob of under-graduates was the largest mob that ever worried itself about Swinburne. Their shouts showed the high-water mark of his popularity. When one of them wrote in a facetious ecstasy over "Dolores,"

_But you came, O you procuratores_ _And ran us all in!_

that moment was the crown of Swinburne's career as a popular author. With its incomparable finger on the public pulse the _Daily Mail_, on the day when it announced Swinburne's death, devoted one of its placards to the performances of a lady and a dog on a wrecked liner, and another to the antics of a lunatic with a revolver. The _Daily Mail_ knew what it was about. Do not imagine that I am trying to be sardonic about the English race and its organs. Not at all. The English race is all right, though ageing now. The English race has committed no crime in demanding from its poets something that Swinburne could not give. I am merely trying to make clear the exceeding strangeness of the apparition of a poet like Swinburne in a place like England.

Last year I was walking down Putney Hill, and I saw Swinburne for the first and last time. I could see nothing but his face and head. I did not notice those ridiculously short trousers that Putney people invariably mention when mentioning Swinburne. Never have I seen a man's life more clearly written in his eyes and mouth and forehead. The face of a man who had lived with fine, austere, pa.s.sionate thoughts of his own! By the heavens, it was a n.o.ble sight. I have not seen a n.o.bler. Now, I knew by hearsay every crease in his trousers, but n.o.body had told me that his face was a vision that would never fade from my memory. And n.o.body, I found afterwards by inquiry, had "noticed anything particular" about his face. I don't mind, either for Swinburne or for Putney. I reflect that if Putney ignored Swinburne, he ignored Putney. And I reflect that there is great stuff in Putney for a poet, and marvel that Swinburne never perceived it and used it. He must have been born English, and in the nineteenth century, by accident. He was misprized while living. That is nothing. What does annoy me is that critics who know better are pandering to the national hypocrisy after his death. In a dozen columns he has been sped into the unknown as "a great Victorian"! Miserable dishonesty! n.o.body was ever less Victorian than Swinburne. And then when these critics have to skate over the "Poems and Ballads" episode--thin, cracking ice!--how they repeat delicately the word "sensuous," "sensuous." Out with it, tailorish and craven minds, and say "sensual"! For sensual the book is. It is fine in sensuality, and no talking will ever get you away from that. Villiers de l'Isle-Adam once wrote an essay on "Le Sadisme anglais," and supported it with a translation of a large part of "Anactoria." And even Paris was startled. A rare trick for a supreme genius to play on the country of his birth, enshrining in the topmost heights of its literature a lovely poem that cannot be discussed!... Well, Swinburne has got the better of us there. He has simply knocked to pieces the theory that great art is inseparable from the Ten Commandments. His greatest poem was written in honour of a poet whom any English Vigilance Society would have crucified.

"Sane" critics will naturally observe, in their quiet manner, that "Anactoria" and similar feats were "so unnecessary." Would it were true!

THE SEVENPENNIES

[_29 Apr. '09_]

Some time ago a meeting (henceforward historic) took place between Mr.

Longman, Mr. Macmillan, Mr. Reginald Smith, Mr. Methuen, and Mr.

Hutchinson [All baronets or knights now, except Reginald Smith, who is dead] of the one part, and Mr. Bernard Shaw, Mr. Maurice Hewlett, and Mr.

Anthony Hope of the other part. Mr. Longman was the host, and the encounter must have been touching. I would have given a complete set of the works of Mrs. Humphry Ward to have been invisibly present. The publishers had invited the authors (who represented the Authors' Society), with the object of dissuading them from allowing their books to be reprinted at the price of sevenpence. Naturally, the publishers, as always, were actuated by a pure desire for the welfare of authors. Messrs Shaw, Hewlett, and Hope have written an official account of their impressions of the great sevenpenny question, and it appears in the current number of the _Author_. It is amusing. The most amusing aspect of the whole affair is the mere fact that one solitary Scotch firm, Nelsons, have forced the mandarins, nay, the arch-mandarins, of the trade to cry out that the shoe is pinching. For the supreme convention of life on the mandarinic plane is that the shoe never pinches. The publishers made one very true statement to the authors, namely, that sevenpenny editions give the public the impression that 6s. is an excessive price for a novel.

Well, it is. But is that a reason for abolishing the sevenpenny? The other statements of the publishers were chiefly absurd. For instance, this: "Any author allowing a novel to be sold at sevenpence will find the sales of his next book at 6s. suffering a considerable decrease." Well, it is notorious that if the sevenpenny publishers are publishing one particular book just now, that book is "Kipps." It is equally notorious that the sales of "Tono-Bungay" are, and continue to be, extremely satisfactory.

On the other hand, the remarks of the sevenpenny publishers themselves are not undiverting. I have heard from dozens of people in the trade that Messrs. Nelson could not possibly make the sevenpenny reprint pay. I have never believed the statement. But the Shaw and Co. report makes Messrs.

Nelson give as one reason for not abandoning the sevenpenny enterprise the fact that "the machinery already in existence is too costly to be abandoned." Which involves the novel maxim that a loss may be too big to be cut! Were their amazing factory ten times as large as it actually is, Messrs. Nelson would have to put it to other uses in face of a regular loss on their sevenpennies. However, there is no doubt in my mind that the enterprise is, and will be, remunerative. The Shaw and Co. report is of the same view. Did the mandarins imagine that they were going to stop the sevenpenny, that anything could stop it? I suppose they did! More agreeably comic than the att.i.tude and arguments of the publishers are the att.i.tude and arguments of the booksellers. But the largest firms, Smith and Son and Wymans, "do not find that the sevenpenny has interfered with the 6s. novel." Be it noted that Smith and Son are now the largest buyers of 6s. novels in England.

In the Shaw and Co. report, in the arguments of publishers, in the arguments booksellers, not a word about the interests of the consumer! Yet the consumer will settle the affair ultimately. That the price of new novels will come down is absolutely certain. It will come down because it is ridiculous, and no mandarinic efforts can keep it up. In the process of readjustment many people will temporarily suffer, and a few people will be annihilated. But things are what they are, and the consequences of them will be what they will be. Why, therefore, should we deceive ourselves? I quite expect to suffer myself. I shall not, however, complain of the cosmic movement. The auctorial report (which, by the way, is full of common sense) envisages immense changes in the book market. I agree. And I am sure that these changes will come about in the teeth of violent opposition from both publishers and booksellers. The book market is growing steadily. It is enormous compared to what used to be. And yet it is only in its infancy. The inhabitants of this country have scarcely even begun to buy books. Wait a few years and you will see!

MEREDITH

[_27 May '09_]

The death of George Meredith removes, not the last of the Victorian novelists, but the first of the modern school. He was almost the first English novelist whose work reflected an intelligent interest in the art which he practised; and he was certainly the first since Scott who was really a literary man. Even Scott was more of an antiquary than a man of letters--apart from his work. Can one think of d.i.c.kens as a man of letters, as one who cared for books, as one whose notions on literature were worth twopence? And Thackeray's opinions on contemporary and preceding writers condemn him past hope of forgiveness. Thackeray was in Paris during the most productive years of French fiction, the sublime decade of Balzac, Stendhal, and Victor Hugo. And his "Paris Sketch-Book"

proves that his att.i.tude towards the marvels by which he was surrounded was the att.i.tude of a clubman. These men wrote; they got through their writing as quickly as they could; and during the rest of the day they were clubmen, or hosts, or guests. Trollope, who dashed off his literary work with a watch in front of him before 8.30 of a morning, who hunted three days a week, dined out enormously, and gave his best hours to fighting Rowland Hill in the Post Office--Trollope merely carried to its logical conclusion the principle of his mightier rivals. What was the matter with all of them, after a holy fear of their publics, was simple ignorance.

George Eliot was not ignorant. Her mind was more distinguished than the minds of the great three. But she was too preoccupied by moral questions to be a first-cla.s.s creative artist. And she was a woman. A woman, at that epoch, dared not write an entirely honest novel! Nor a man either! Between Fielding and Meredith no entirely honest novel was written by anybody in England. The fear of the public, the l.u.s.t of popularity, feminine prudery, sentimentalism, Victorian niceness--one or other of these things prevented honesty.