The Note-Books of Samuel Butler Part 30

He who would know more of genius must turn to what he can find in the poets, or to whatever other sources he may discover, for I can help him no further.

ii

The destruction of great works of literature and art is as necessary for the continued development of either one or the other as death is for that of organic life. We fight against it as long as we can, and often stave it off successfully both for ourselves and others, but there is nothing so great--not Homer, Shakespeare, Handel, Rembrandt, Giovanni Bellini, De Hooghe, Velasquez and the goodly company of other great men for whose lives we would gladly give our own--but it has got to go sooner or later and leave no visible traces, though the invisible ones endure from everlasting to everlasting. It is idle to regret this for ourselves or others, our effort should tend towards enjoying and being enjoyed as highly and for as long time as we can, and then chancing the rest.

iii

Inspiration is never genuine if it is known as inspiration at the time. True inspiration always steals on a person; its importance not being fully recognised for some time. So men of genius always escape their own immediate belongings, and indeed generally their own age.

iv

Dullness is so much stronger than genius because there is so much more of it, and it is better organised and more naturally cohesive inter se. So the arctic volcano can do no thing against arctic ice.

v

America will have her geniuses, as every other country has, in fact she has already had one in Walt Whitman, but I do not think America is a good place in which to be a genius. A genius can never expect to have a good time anywhere, if he is a genuine article, but America is about the last place in which life will be endurable at all for an inspired writer of any kind.

Great Things

All men can do great things, if they know what great things are. So hard is this last that even where it exists the knowledge is as much unknown as known to them that have it and is more a leaning upon the Lord than a willing of one that willeth. And yet all the leaning on the Lord in Christendom fails if there be not a will of him that willeth to back it up. G.o.d and the man are powerless without one another.

Genius and Providence

Among all the evidences for the existence of an overruling Providence that I can discover, I see none more convincing than the elaborate and for the most part effectual provision that has been made for the suppression of genius. The more I see of the world, the more necessary I see it to be that by far the greater part of what is written or done should be of so fleeting a character as to take itself away quickly. That is the advantage in the fact that so much of our literature is journalism.

Schools and colleges are not intended to foster genius and to bring it out. Genius is a nuisance, and it is the duty of schools and colleges to abate it by setting genius-traps in its way. They are as the artificial obstructions in a hurdle race--tests of skill and endurance, but in themselves useless. Still, so necessary is it that genius and originality should be abated that, did not academies exist, we should have had to invent them.

The Art of Covery

This is as important and interesting as Dis-covery. Surely the glory of finally getting rid of and burying a long and troublesome matter should be as great as that of making an important discovery. The trouble is that the coverer is like Samson who perished in the wreck of what he had destroyed; if he gets rid of a thing effectually he gets rid of himself too.

Wanted

We want a Society for the Suppression of Erudite Research and the Decent Burial of the Past. The ghosts of the dead past want quite as much laying as raising.

Ephemeral and Permanent Success

The supposition that the world is ever in league to put a man down is childish. Hardly less childish is it for an author to lay the blame on reviewers. A good st.u.r.dy author is a match for a hundred reviewers. He, I grant, knows nothing of either literature or science who does not know that a mot d'ordre given by a few wire- pullers can, for a time, make or mar any man's success. People neither know what it is they like nor do they want to find out, all they care about is the being supposed to derive their likings from the best West-end magazines, so they look to the shop with the largest plate-gla.s.s windows and take what the shop-man gives them.

But no amount of plate-gla.s.s can carry off more than a certain amount of false pretences, and there is no mot d'ordre that can keep a man permanently down if he is as intent on winning lasting good name as I have been. If I had played for immediate popularity I think I could have won it. Having played for lasting credit I doubt not that it will in the end be given me. A man should not be held to be ill-used for not getting what he has not played for. I am not saying that it is better or more honourable to play for lasting than for immediate success. I know which I myself find pleasanter, but that has nothing to do with it.

It is a nice question whether the light or the heavy armed soldier of literature and art is the more useful. I joined the plodders and have aimed at permanent good name rather than brilliancy. I have no doubt I did this because instinct told me (for I never thought about it) that this would be the easier and less th.o.r.n.y path. I have more of perseverance than of those, perhaps, even more valuable gifts-- facility and readiness of resource. I hate being hurried. Moreover I am too fond of independence to get on with the leaders of literature and science. Independence is essential for permanent but fatal to immediate success. Besides, luck enters much more into ephemeral than into permanent success and I have always distrusted luck. Those who play a waiting game have matters more in their own hands, time gives them double chances; whereas if success does not come at once to the ephemerid he misses it altogether.

I know that the ordinary reviewer who either snarls at my work or misrepresents it or ignores it or, again, who pats it sub- contemptuously on the back is as honourably and usefully employed as I am. In the kingdom of literature (as I have just been saying in the Universal Review about Science) there are many mansions and what is intolerable in one is common form in another. It is a case of the division of labour and a man will gravitate towards one cla.s.s of workers or another according as he is built. There is neither higher nor lower about it.

I should like to put it on record that I understand it and am not inclined to regret the arrangements that have made me possible.

My Birthright

I had to steal my own birthright. I stole it and was bitterly punished. But I saved my soul alive.

XII--THE ENFANT TERRIBLE OF LITERATURE

Myself

I am the enfant terrible of literature and science. If I cannot, and I know I cannot, get the literary and scientific big-wigs to give me a shilling, I can, and I know I can, heave bricks into the middle of them.

Blake, Dante, Virgil and Tennyson

Talking it over, we agreed that Blake was no good because he learnt Italian at 60 in order to study Dante, and we knew Dante was no good because he was so fond of Virgil, and Virgil was no good because Tennyson ran him, and as for Tennyson--well, Tennyson goes without saying.

My Father and Shakespeare

My father is one of the few men I know who say they do not like Shakespeare. I could forgive my father for not liking Shakespeare if it was only because Shakespeare wrote poetry; but this is not the reason. He dislikes Shakespeare because he finds him so very coa.r.s.e.

He also says he likes Tennyson and this seriously aggravates his offence.

Tennyson

We were saying what a delightful dispensation of providence it was that prosperous people will write their memoirs. We hoped Tennyson was writing his. [1890.]

P.S.--We think his son has done nearly as well. [1898.]

Walter Pater and Matthew Arnold