Modern English Books of Power Part 1

Modern English Books of Power.

by George Hamlin Fitch.

_Introduction_

_My aim in this little book has been to give short sketches and estimates of the greatest modern English writers from Macaulay to Stevenson and Kipling. Omissions there are, but my effort has been to give the most characteristic writers a place and to try to stimulate the reader's interest in the man behind the book as well as in the best works of each author. Too much s.p.a.ce is devoted in most literary criticism to the bare facts of biography and the details of essays or novels or histories written by authors. My plan has been to arouse interest both in the men and their books so that any reader of this volume may be stimulated to extend his knowledge of the modern English cla.s.sics._

_These chapters include the greatest English writers during the last one hundred and fifty years and they have been prepared mainly for those who have no thorough knowledge of modern English books or authors. They are of limited scope so that few quotations have been possible. But they have been written with an eager desire to help those who care to know the best works of modern English authors. In the same spirit the most appropriate ill.u.s.trations have been secured and a helpful bibliography has been added. If this book helps readers to secure one lasting friend among these authors it will have done good missionary work; for to make the books of one man or woman of genius a part of our mental possessions is to be set on the broad highway to literary culture._

_The Vital Quality in Literature_

_To Get the Spiritual Essence of a Great Book One Must Study the Man Who Wrote It--The Man Is the Best Epitome His Message._

_In this volume as in its predecessor, "Comfort Found in Good Old Books," my aim has been to enforce the theory that behind every great book is a man, greater than the best book that he ever wrote. This strong spiritual quality which every one of the great authors puts into his best books is what we should strive to secure when we read these great cla.s.sics. Unless we get this spiritual part we miss the essence of the book._

_Hence it has been my aim in this volume to make clear what manner of men wrote these books which serve as the landmarks of modern English literature._

_The scope of this book is limited, but from Macaulay to Kipling the effort has been to include those representative modern English authors who both in prose and verse best reflect the spiritual tendencies of their age. Whether essayists, historians, novelists or poets each of these writers has furnished something distinctive; each has caught some salient feature of his age and fixed it for all time in the amber of his thought._

_And what a bead-roll is this of great English worthies: Macaulay, the most brilliant and learned of all English essayists; Scott, the finest story-teller of his own or any other age; Carlyle, the inspirer of ambitious youth; De Quincey, the greatest artist in style, whose words are as music to the sensitive ear; d.i.c.kens, the master painter of sorrows and joys of the common people; Thackeray, the best interpreter of human life and character; Charlotte Bronte, the brooding Celtic genius who laid bare the hearts of women; George Eliot, the greatest artist of her s.e.x in mastery of human emotion; Ruskin, the first to teach the common people appreciation of art and architecture; Tennyson, the melodious singer who voiced the highest aspiration of his time; Browning, the greatest dramatic poet since Shakespeare; Charles Lamb, one of the tenderest of essayists; George Meredith, the most brilliant and suggestive novelist of the Victorian age; Stevenson, the best beloved and most artistic story-teller of his day; Hardy, the master painter of tragedies of rural life; and Kipling, the interpreter of Anglo-Indian life, the singer of the new age of science and discovery, the laureate of the gospel of blood and iron._

_The work of each of these men and women who make up the splendid roll of English immortals varies in quality, in style, in capacity to touch the heart and inspire the thought of the reader of to-day. But great as are their differences, all meet on the common ground of a warm-hearted, sympathetic humanity that knows no distinctions of race or creed, no limitations of time or place. The splendid sermons on the gospel of work that Carlyle preached after long wrestlings of the spirit are as full of inspiration to the youth of to-day as they were when they came out from the mind of the man who actually lived the laborious life that he commended; the little lay discourses that may be found scattered through Thackeray's novels and essays are born of agony of spirit, and it is their spiritual power which keeps them fresh and full of inspiration in this age of doubt and materialism._

_And so we might go down through the whole list. Each of these great writers had his Gethsemane, from which he emerged with the power of moving the hearts of men. So when we read that most beautiful essay of Lamb's on "Dream Children," our hearts ache for the lonely man who sacrificed the best things in life for the sake of the sister whom he loved better than his own happiness. And when we read Thackeray's eloquent words on family love we know that he wrote in his heart's blood, for the dearest woman in the world to him was lost forever in this world, when the light of her reason was clouded._

_And so I have tried in these essays to show how bitter waters of sorrow have strengthened the spirit of all these masters of English thought and style, until they have poured out their hearts in eloquent words that can never die. Far across the gulf of years their sonorous voices reach our ears. Pregnant are they with the pa.s.sionate earnestness of these men and women of genius, these bearers of the torch of spiritual inspiration pa.s.sed from hand to hand down the centuries._

_When our souls are moved by some great bereavement then the words of these inspired writers soothe our griefs. When we are beaten down in the dust of conflict they come with the refreshment of water from springs in the everlasting hills. When we are bitter over great losses or sore over hope deferred or stricken because friends have proved faithless, then they soften our hearts and give us courage to take up once more the battle of life._

MODERN ENGLISH BOOKS OF POWER

MACAULAY'S ESSAYS IN EUROPEAN HISTORY

THE FOREMOST ESSAYIST IN ENGLISH LITERATURE--HIS STYLE AND LEARNING HAVE MADE MACAULAY A FAVORITE FOR OVER A HALF CENTURY.

Macaulay belonged to the nineteenth century, as he was born in 1800, but in his cast of mind, in his literary tastes and in his intense partisanship he belonged to the century that includes Swift, Johnson and Goldsmith. He stands alone among famous English authors by reason of his prodigious memory, his wide reading, his oratorical style and his singular ascendancy over the minds of young students. The only writers of modern times who can be cla.s.sed with him as great personal forces in the development of young minds are Carlyle and Emerson, and of the three Macaulay must be given first place because of a certain dynamic quality in the man and his style which forces conviction on the mind of the immature reader. The same thing to a less extent is true of Carlyle, who suffers in his influence as one grows older.

Emerson is in a cla.s.s by himself. His appeal is that of pure reason and of high enthusiasm--an appeal that never loses its force with those who love the intellectual life.

Many famous men have testified to the mental stimulus which they received from Macaulay's essays. Upon these essays, contributed to the EDINBURGH REVIEW in its prime, Macaulay lavished all the resources of his vast scholarship, his discursive reading in the ancient and modern cla.s.sics, his immense enthusiasm and his strong desire to prove his case. He was a great advocate before he was a great writer, and he never loses sight of the jury of his readers. He blackens the shadows and heightens the lights in order to make heroes out of Clive and Warren Hastings; he hammers Boswell and Boswell's editor, Croker, over the sacred head of old Dr. Johnson; he lampoons every eminent Tory, as he idealizes every prominent Whig in English political history.

Macaulay's style is declamatory; he wrote as though he were to deliver his essays from the rostrum; he abounds in ant.i.thesis; he works up your interest in the course of a long paragraph until he reaches his smashing climax, in which he fixes indelibly in your mind the impression which he desires to create. It is all like a great piece of legerdemain; your eyes cannot follow the processes, but your mind is amazed and then convinced by the triumphant proof of the conjuror's skill.

Macaulay had one of the most successful of lives. His early advantages were ample. He had a memory which made everything he read his own, ready to be drawn upon at a moment's notice. He was famous as an author at the early age of twenty-five; he was already a distinguished Parliamentary orator at thirty; at thirty-three he had gained a place in the East Indian Council. He never married, but he had an ideal domestic life in the home of his sister, and one of his nephews, George Otto Trevelyan, wrote his biography, one of the best in the language, which reveals the sweetness of nature that lay under the hard surface of Macaulay's character. He made a fortune out of his books, and in ten years' service in India he gained another fortune, with the leisure for wide reading, which he utilized in writing his history of England. He died at the height of his fame, before his great mental powers had shown any sign of decay. Take it all in all, his was a happy life, brimful of work and enjoyment.

Thomas Babington Macaulay was born October 25, 1800, the son of a wealthy merchant who was active in securing the abolition of the slave trade. His precocity is almost beyond belief. He read at three years of age, gave signs of his marvelous memory at four, and when only eight years old wrote a theological discourse. He entered Trinity College, Cambridge, at eighteen, but his aversion to mathematics cost him college honors. He showed at Cambridge great fondness for Latin declamation and for poetry. At twenty-four he became a fellow of Trinity. He studied law, but did not practice. Literature and politics absorbed his attention. At twenty-five he made his first hit with his essay on Milton in the EDINBURGH REVIEW.

This was followed in rapid succession by the series of essays on which his fame mainly rests. In 1830 he was elected to Parliament, and in the following year he established his reputation as an orator by a great speech on the reform bill. But financial reverses came when he lost the lucrative post of Commissioner in Bankruptcy and his fellowship at Trinity lapsed. To gain an income he accepted the position of secretary of the Board of Control of Indian Affairs, and soon after was offered a seat in the Supreme Council of India at Calcutta at $50,000 a year. He lived in India four years, and it was mainly in these years that he did the reading which afterward bore fruit in his _History of England_.

[Ill.u.s.tration: THOMAS BABINGTON MACAULAY AT THE AGE OF FORTY-NINE--AFTER AN ENGRAVING BY W. HOLL, FROM A DRAWING BY GEORGE RICHMOND, A.R.A.]

At thirty-nine Macaulay began his _History of England_, which continued to absorb most of his time for the next twenty years. While he was working on his history he published _Lays of Ancient Rome_, that had a success scarcely inferior to that of Scott's _Lady of the Lake_ or Byron's _Childe Harold_. He also published his essays, which had a remarkable sale. His history, the first two volumes of which appeared in 1848, scored a success that astounded all the critics.

When the third volume appeared in 1855, no less than twenty-six thousand, five hundred copies were sold in ten weeks, which broke all records of that day. Macaulay received royalties of over $150,000 on history, a sum which would have been trebled had he secured payment on editions issued in the United States, where his works were more popular than in his own country. His last years were crowded with honors. He accepted a peerage two years before his death. When the end came he was given a public funeral and a place in Westminster Abbey.

With Carlyle, Macaulay shares the honor of being the greatest of English essayists. While he cannot compare with Carlyle in insight into character and in splendor of imagination, he appeals to the wider audience because of his attractive style, his wealth of ornament and ill.u.s.tration and his great clearness. Carlyle's appeal is mainly to students, but Macaulay appeals to all cla.s.ses of readers.

Macaulay's style has been imitated by many hands, but no one has ever worked such miracles as he wrought with apparent ease. In the first place, his learning was so much a part of his mind that he drew on its stores without effort. Scarcely a paragraph can be found in all his essays which is not packed with allusions, yet all seem to ill.u.s.trate his subject so naturally that one never looks upon them as used to display his remarkable knowledge.

Macaulay is a master of all the literary arts. Especially does he love to use ant.i.thesis and to make his effects by violent contrasts. Add to this the art of skilful climax, clever alliteration, happy ill.u.s.tration and great narrative power and you have the chief features of Macaulay's style. The reader is carried along on this flood of oratorical style, and so great is the author's descriptive power that one actually beholds the scenes and the personages which he depicts.

Of all his essays Macaulay shows his great powers most conspicuously in those on Milton, Clive, Warren Hastings and Croker's edition of Boswell's Johnson. In these he is always the advocate laboring to convince his hearers; always the orator filled with that pa.s.sion of enthusiasm which makes one accept his words for the time, just as one's mind is unconsciously swayed by the voice of an eloquent speaker. It is this intense earnestness, this fierce desire to convince, joined to this prodigal display of learning, which stamps Macaulay's words on the brain of the receptive reader. Only when in cold blood we a.n.a.lyze his essays do we escape from this literary hypnotism which he exerts upon every reader.

The essays of Macaulay are full of meat and all are worth reading, but, of course, every reader will differ in his estimate of them according to his own tastes and sympathies. It is fine practice to take one of these essays and look up the literary and historical allusions. No more attractive work than this can be set before a reading club. It will give rich returns in knowledge as well as in methods of literary study. Macaulay's _History_ is not read to-day as it was twenty years ago, mainly because historical writing in these days has suffered a great change, due to the growth of religious and political toleration. Macaulay is a partisan and a bigot, but if one can discount much of his bias and bitterness it will be found profitable to read portions of this history. Macaulay's verse is not of a high order, but his _Lays_ are full of poetic fire, and they appeal to a wider audience than more finished verse.

Of all the English writers of the last century Macaulay has preserved the strongest hold on the reading public, and whatever changes time may make in literary fashions, one may rest a.s.sured that Macaulay will always retain his grip on readers of English blood.

SCOTT AND HIS WAVERLEY NOVELS

THE GREATEST NOVELIST THE WORLD HAS KNOWN--HE MADE HISTORY REAL AND CREATED CHARACTERS THAT WILL NEVER DIE.

It is as difficult to sum up in a brief article the work and the influence of Sir Walter Scott as it is to make an estimate of Shakespeare, for Scott holds the same position in English prose fiction that Shakespeare holds in English poetry. In neither department is there any rival. In sheer creative force Scott stands head and shoulders above every other English novelist, and he has no superior among the novelists of any other nation. He has made Scotland and the Scotch people known to the world as Cervantes made Spain and the Spaniards a reality for all times.

But he did more than Cervantes, for his creative mind reached over the border into England and across the channel to France and Germany, and even to the Holy Land, and found there historical types which he made as real and as immortal as his own highland clansmen. His was the great creative brain of the nineteenth century, and his work has made the world his debtor. His work stimulated the best story teller of France and gave the world _Monte Cristo_ and _The Three Guardsmen_. It fired the imaginations of a score of English historical novelists; it was the progenitor of Weyman's _A Soldier of France_ and Conan Doyle's _Micah Clarke_ and _The White Company_.

Scott's mind was Shakespearean in its capacity for creating characters of real flesh and blood; for making great historical personages as real and vital as our next-door neighbors, and for bursts of sustained story telling that carry the reader on for scores of pages without an instant's drop in interest. Only the supreme masters in creative art can accomplish these things. And the wonder of it is that Scott did all these things without effort and without any self-consciousness. We can not imagine Scott bragging about any of his books or his characters, as Balzac did about Eugenie Grandet and others of his French types. He was too big a man for any small vanities. But he was as human as Shakespeare in his love of money, his desire to gather his friends about him and his hearty enjoyment of good food and drink.

[Ill.u.s.tration: SIR WALTER SCOTT THIS PORTRAIT IS TAKEN FROM CHANTREY'S BUST NOW AT ABBOTSFORD, WHICH, ACCORDING TO LOCKHART, "ALONE PRESERVES FOR POSTERITY THE EXPRESSION MOST FONDLY REMEMBERED BY ALL WHO EVER MINGLED IN HIS DOMESTIC CIRCLE"]

It has become the fashion among some of our hair-splitting critics to decry Scott because of his carelessness in literary style, his tendency to long introductions, and his fondness for description.

These critics will tell you that Turgeneff and Tolstoi are greater literary artists than Scott, just as they tell you that Thackeray and d.i.c.kens do not deserve a place among the foremost of English novelists. This petty, finical criticism, which would measure everything by its own rigid rule of literary art, loses sight of the great primal fact that Scott created more real characters and told more good stories than any other novelist, and that his work will outlive that of all his detractors. It ignores the fact that Thackeray's wit, pathos, tenderness and knowledge of human nature make him immortal in spite of many defects. It forgets that d.i.c.kens' humor, joy of living and keen desire to help his fellow man will bring him thousands of readers after all the apostles of realism are buried under the dust of oblivion.

Scott had the ideal training for a great historical novelist. Yet his literary successes in verse and prose were the result of accident. It is needless here to review his life. The son of a mediocre Scotch lawyer, he inherited from his father his capacity for work and his pa.s.sion for system and order. From his mother he drew his love of reading and his fondness for old tales of the Scotch border. Like so many famous writers, his early education was desultory, but he had the free run of a fine library, and when he was a mere schoolboy his reading of the best English cla.s.sics had been wider and more thorough than that of his teachers.

Forced by boyish illness to live in the country, he early developed a great love for the Scotch ballads and the tales of the romantic past of his native land. These he gathered mainly by word of mouth. Later he was a diligent student and collector of all the old ballads. In this way his mind was steeped in historical lore, while by many walking tours through the highlands he came to know the common people as very few have ever known them.