The Upton Letters Part 12

Of course, that is all very silly! But I believe; only I want my unbelief helped! If you can tell me what services are rendered by erudition to national life, you will relieve my doubts. Do not merely say that it enlarges the bounds of knowledge, unless you are also prepared to prove that knowledge is, per se, a desirable thing. I am not sure that it is not a hideous idol, a Mumbo Jumbo, a Moloch in whose honour children have still to pa.s.s through the fire in the recesses of dark academic groves.--Ever yours,

T. B.

UPTON, Nov. 1, 1904.

MY DEAR HERBERT,--I have read, after a fashion, in the course of the last month, the Autobiography of Herbert Spencer. I know nothing of his philosophy--I doubt if I have read half-a-dozen pages of his writings; and the man, as revealed in his own transparent confessions, is almost wholly dest.i.tute of attractiveness. All the same it is an intensely interesting book, because it is the attempt of a profound egotist to give a perfectly sincere picture of his life. Of course, I should have read it with greater appreciation if I had studied or cared for his books; but I take for granted that he was a great man, and accomplished a great work, and I like to see how he achieved it.

The book is the strongest argument I have ever yet read against a rational education. I who despair of the public-school cla.s.sical system, am reluctantly forced to confess that it can sow the seeds of fairer flowers than ever blossomed in the soul of Herbert Spencer. He was by no means devoid of aesthetic perception. He says that the sight of a mountain, and music heard in a cathedral were two of the things that moved him most. He describes a particular sunset which he saw in Scotland, and describes the experience as the climax of his emotional sensations. He was devoted to music, and had a somewhat contemptuous enjoyment of pictures. But the arrogance and impenetrability of the man rise up on every page. He cannot say frankly that he does not understand art and literature; he dogmatises about them, and gives the reader to understand that there is really nothing in them. He criticises the cla.s.sics from the standpoint of a fourth form boy. He sits like a dry old spider, spinning his philosophical web, with a dozen avenues of the soul closed to him, and denying that such avenues exist. As a statistical and sociological expert he ought to have taken into account the large number of people who are affected by what we may call the beautiful, and to have allowed for its existence even if he could not feel it. But no, he is perfectly self-satisfied, perfectly decided. And this is the more surprising because the man was in reality a hedonist. He protests finely in more than one place against those who make life subsidiary to work. He is quite clear on the point that work is only a part of life, and that to live is the object of man. Again, he states that the pursuit of innocent pleasure is a thing to which it is justifiable to devote some energy, and yet this does not make him tolerant. The truth is that he was so supremely egotistical, so entirely wrapped up in himself and his own life, that what other people did and cared for was a matter of entire indifference to him. His social tastes, and they were considerable, were all devoted to one and the same purpose. He liked staying at agreeable country houses, because it was a pleasant distraction to him and improved his health. He liked dining out, because it stimulated his digestion. All human relationships are made subservient to the same end. It never seems to him to be a duty to minister to the pleasure of others. He takes what he can get at the banquet of life, and, having secured his share, goes away to digest it. When, at the end of his life, social entertainments tried his nerves, he gave them up. When people came to see him, and he found himself getting tired or excited by conversation, if it was not convenient to him to leave the room, he put stoppers in his ears to blur the sense of the talk. What better parable of the elaborate framework of egotism on which his life was constructed could there be than the following legend, not derived from the book? One evening, the story goes, the philosopher had invited, at his club, a youthful stranger to join him in a game of billiards. The young man, who was a proficient, ran out in two breaks, leaving his rival a hopeless distance behind. When he had finished, Spencer, with a severe air, said to him: "To play billiards in an ordinary manner is an agreeable adjunct to life; to play as you have been playing is evidence of a misspent youth." A man who was not an egotist and a philosopher, however much he disliked the outcome of the game, would have attempted some phrases of commendation. But Spencer's view was, that anything which rendered a player of billiards less useful to himself, by giving him fewer opportunities in the course of a game for what he would have called healthful and pleasurable recreation, was not only not to be tolerated, but was to be morally reprobated.

As to his health, a subject which occupies the larger part of the volumes, it is evident that, though his nervous system was deranged, he was a complete hypochondriac. There is very little repining about the invalid conditions under which he lived; and it gradually dawned upon me that this was not because he had resolved to bear it in a stoical and courageous manner, but because his ill-health, seen through the rosy spectacles of the egotist, was a matter of pleasurable excitement to him; he complains a good deal of the peculiar sensations he experienced, and his broken nights, but with a solemn satisfaction in the whole experience. He never had to bear physical pain, and the worst evil from which he suffered was the boredom resulting from the way in which he had to try, or conceived that he had to try, to kill time without reading or working.

Of course one cannot help admiring the tenacious way in which he carried out his great work under unfavourable conditions. Yet there is something ridiculous in the picture of his rowing about in a boat on the Regent's Park Lake, with an amanuensis in the stern, dictating under the lee of an island until his sensations returned, and then rowing until they subsided again. As a hedonist, he distinctly calculated that his work gave the spice to his life, and that he would not have been so happy had he relinquished it. But there is nothing generous or n.o.ble about his standpoint; he liked writing and philosophising, and he preferred to do it even though it entailed a certain amount of invalidism, in the same spirit in which a man prefers to drink champagne with the prospect of suffering from the gout, rather than to renounce champagne and gout alike.

The man's face is in itself a parable. He has the high, domed forehead of the philosopher, and a certain geniality of eye; but the hard, thin-lipped mouth, with the deep lines from the nose, give him the air of an elderly chimpanzee. He has a hand like a bird's claw; and the antique shirt-front and small bow-tie denote the man who has fixed his opinions on the cut of his clothes at an early date and does not intend to modify them. Quite apart from the intense seriousness with which the sage took himself, down to the smallest details, the style of the book, dry as it is, is in itself grotesquely attractive.

There is something in the use of solemn scientific terminology, when dealing with the most trivial matters, which makes many pa.s.sages irresistibly ludicrous. I wish that I could think that the writer of the following lines wrote them with any consciousness of how humorous a pa.s.sage he was constructing--

"With me any tendency towards facetiousness is the result of temporary elation, either . . . caused by pleasurable health-giving change, or more commonly by meeting old friends. Habitually I observed that on seeing the Lotts after a long interval, I was apt to give vent to some witticisms during the first hour or two, and then they became rare."

I can't say that the life is a sad one, because, on the whole, it is a contented one; but it is so one-sided and so self-absorbed that one feels dried-up and depressed by it. One feels that great ability, great perseverance, may yet leave a man very cold and hard; that a man may penetrate the secrets of philosophy and yet never become wise; and one ends by feeling that simplicity, tenderness, a love of beautiful and gracious things are worth far more than great mental achievement. Or rather, I suppose, that one has to pay a price for everything, and that the price that this dyspeptic philosopher paid for his great work was to move through the world in a kind of frigid blindness, missing life after all, and bartering reality for self-satisfaction.

Curiously enough, I have at the same time been reading the life of another self-absorbed and high-minded personality--the late Dean Farrar. This is a book the piety of which is more admirable than the literary skill; but probably the tender partiality with which it is written makes it a more valuable doc.u.ment from the point of view of revealing personality than if it had been more critically treated.

Farrar was probably the exact opposite of Herbert Spencer in almost every respect. He was a litterateur, a rhetorician, an idealist, where Spencer was a philosopher, a scientific man, and a rationalist. Farrar admired high literature with all his heart; though unfortunately it did not clarify his own taste, but only gave him a rich vocabulary of high-sounding words, which he bound into a flaunting bouquet. He was like the bower-bird, which takes delight in collecting bright objects of any kind, bits of broken china, fragments of metal, which it disposes with distressing prominence about its domicile, and runs to and fro admiring the fantastic pattern. The fabric of Farrar's writing is essentially thin; his thoughts rarely rose above the commonplace, and to these thoughts he gave luscious expression, sticking the flowers of rhetoric, of which his marvellous memory gave him the command, so as to ornament without adorning.

Every one must have been struck in Farrar's works of fiction by the affected tone of speech adopted by his saintly and high-minded heroes.

It was not affectation in Farrar to speak and write in this way; it was the form in which his thoughts naturally arranged themselves. But in one sense it was affected, because Farrar seems to have been naturally a kind of dramatist. I imagine that his self-consciousness was great, and I expect that he habitually lived with the feeling of being the central figure in a kind of romantic scene. The pathos of the situation is that he was naturally a n.o.ble-minded man. He had a high conception of beauty, both artistic and moral beauty. He did live in the regions to which he directed others. But this is vitiated by a desire for recognition, a definite, almost a confessed, ambition. The letter, for instance, in which he announces that he has accepted a Canonry at Westminster is a painful one. If he felt the inexpressible distress, of which he speaks, at the idea of leaving Marlborough, there was really no reason why he should not have stayed; and, later on, his failure to attain to high ecclesiastical office seems to have resulted in a sense of compa.s.sion for the inadequacy of those who failed to discern real merit, and a certain bitterness of spirit which, considering his services to religion and morality, was not wholly unnatural. But he does not seem to have tried to interpret the disappointment that he felt, or to have asked himself whether the reason of his failure did not rather lie in his own temperament.

The kindness of the man, his laboriousness, his fierce indignation against moral evil, to say nothing of his extraordinary mental powers, seem to have been clogged all through life by this sad self-consciousness. The pity and the mystery of it is that a man should have been so moulded to help his generation, and then that this grievous defect of temperament should have been allowed to take its place as the tyrant of the whole nature. And what makes the whole situation even more tragic is that it was through a certain transparency of nature that this egotism became apparent to others. He was a man who seemed bound to speak of all that was in his mind; that was a part of his rhetorical temperament. But if he could have held his tongue, if he could have kept his own weakness of spirit concealed, he might have achieved the very successes which he desired, and, indeed, deserved. The result is that a richly endowed character achieves no conspicuous greatness, either as a teacher, a speaker, a writer, or even as a man.

The moral of these two books is this: How can any one whose character is deeply tinged by this sort of egotism--and it is the shadow of all eager and sensitive temperaments--best fight against it? Can it be subdued, can it be concealed, can it be cured? I hardly dare to think so. But I think that a man may deliberately resolve not to make recognition an object; and next I believe he may most successfully fight against egotism in ordinary life by regarding it mainly as a question of manners. If a man can only, in early life, get into his head that it is essentially bad manners to thrust himself forward, and determine rather to encourage others to speak out what is in their minds, a habit can be acquired; and probably, upon acquaintance, an interest in the point of view of others will grow. That is not a very lofty solution, but I believe it to be a practical one; and certainly for a man of egotistic nature it is a severe and fruitful lesson to read the lives of two such self-absorbed characters as Spencer and Farrar, and to see, in the one case, how ugly and distorting a fault, in the other, how hampering a burden it may become.

Egotism is really a failure of sympathy, a failure of justice, a failure of proportion, and to recognise this is the first step towards establishing a desire to be loving, just, and well-balanced.

But still the mystery remains: and I think that perhaps the most wholesome att.i.tude is to be grateful for what in the way of work, of precept, of example these men achieved, and to leave the mystery of their faults to their Maker, in the n.o.ble spirit of Gray's Elegy:--

"No farther seek his merits to disclose, Or draw his frailties from their dread abode (There they alike in trembling hope repose), The bosom of his Father and his G.o.d."

--Ever yours,

T. B.

MONK'S ORCHARD, UPTON, Nov. 8, 1904.

DEAR HERBERT,--I have been trying to read the letters of T. E. Brown.

Do you know anything about him? He was a Manxman by birth, a fellow of Oriel, a Clifton Master for many years, and at the end of his life a Manxman again--he held a living there. He wrote some spirited tales in verse, in the Manx vernacular, and he was certainly a poet at heart. He was fond of music, and a true lover of nature. He had a genius for friendship, and evidently had the gift of inspiring other people; high-minded and intelligent men speak of him, in the little memoir that precedes the letters, with a pathetic reverence and a profound belief in the man's originality, and even genius. I was so sure that I should enjoy the book that I ordered it before it was published, and, when it appeared, it was a very profound disappointment. I don't mean to say that there are not beautiful things in it; it shows one a wholesome nature and a grateful, kindly heart; but, in the first place, he writes a terrible style, the kind of style that imposes on simple people because it is allusive, and what is called unconventional; to me it is simply spasmodic and affected. The man seems, as a rule, utterly unable to say anything in a simple and delicate way; his one object appears to be not to use the obvious word. He has a sort of jargon of his own--a dreadful jargon. He must write "crittur" or "craythur," when he means "creature"; he says "Yiss, ma'am, I'd be glad to jine the Book Club"; he uses the word "galore"; he talks of "the resipiscential process"

when he means growing wiser--at least I think that is what he means.

The following, taken quite at random, are specimens of the sort of pa.s.sages that abound:--

"Rain, too, is one of my joys. I want to wash myself, soak myself in it; hang myself over a meridian to dry; dissolve (still better) into rags of soppy disintegration, blotting paper, mash and splash and hash of inarticulate protoplasm."

I suppose that both he and his friends thought that picturesque; to me it is neither beautiful nor amusing--simply ugly and aggravating.

Here again:--

"On the Quantocks I feel fairies all round me, the good folk, meet companions for young poets. How Coleridge, more especially, fits in to such surroundings! 'Fairies?' say you. Well, there's odds of fairies, and of the sort I mean Coleridge was the absolute Puck. 'Puck?' says you. 'For shame!' says you. No, d--n it! I'll stick to that. There's odds o' fairies, and often enough I think the world is nothing else; troops, societies, hierarchies--S.T.C., a supreme hierarch; look at his face; think of meeting him at moonlight between Stowey and Alfoxden, like a great white owl, soft and plumy, with eyes of flame!"

I confess that such pa.s.sages simply make me blush, leave me with a kind of mental nausea. What makes it worse is that there is something in what he says, if he would only say it better. It makes me feel as I should feel if I saw an elderly, heavily-built clergyman amusing himself in a public place with a skipping-rope, to show what a child of nature he was.

I cannot help feeling that the man was a poseur, and that his affectations were the result of living in a small and admiring coterie.

If, when one begins to write and talk in that jesting way, there is some one at your elbow to say, "How refreshing, how original, how rugged!" I suppose that one begins to think that one had better indulge oneself in such absurdities. But readers outside the circle turn away in disgust.

The pity of it is that Brown had something of the Celtic spirit--the melancholy, the mystery of that sensitive and delicate temperament; but it is vitiated by what I can only call a schoolmaster's humour--cheap and silly, such as imposes on immature minds. When he was quite serious and simple, he wrote beautiful, quiet, wise letters, dealing with deep things in a dignified way; but, as a rule, he thought it necessary to cut ugly capers, and to do what can only be described as playing the fool. I wish with all my heart that these letters had not been published; they deform and disfigure a beautiful spirit and a quick imagination.

Pose, affectation--what a snare they are to the better kind of minds. I declare that I value every day more and more the signs of simplicity, the people who say what they mean, and as they mean it; who don't think what they think is expected of them, but what they really feel; who don't pretend to enjoy what they don't enjoy, or to understand what they don't understand.

I may be all wrong about Brown, of course, for the victory always remains with the people who admire, rather than with the people who criticise; people cannot be all on the same plane, and it is of no use to quench enthusiasm by saying, "When you are older and wiser you will think differently." The result of that kind of snub is only to make people hold their tongues, and think one an old-fashioned pedant. I sometimes wonder whether there is an absolute standard of beauty at all, whether taste is not a sort of epidemic contagion, and whether the accredited man of taste is not, as some one says, the man who has the good fortune to agree most emphatically with the opinion of the majority.

I am sure, however, you would not like the book; though I don't say that you might not extract, as I do to my shame, a kind of bitter pleasure in thinking how unconsciously absurd it is--the pleasure one gets from watching the movements and gestures, and listening to the remarks of a profoundly affected and complacent person. But that is not an elevated kind of pleasure, when all is said and done!

"We get no good, By being ungenerous, even to a book!"

as Mrs. Browning says. . . .--Ever yours.

T. B.

UPTON, Nov. 15, 1904.

MY DEAR HERBERT,--A controversy, a contest! How they poison all one's thoughts! I am at present wading, as Ruskin says, in a sad marsh or pool of thought. Let me indicate to you without excessive detail the kind of thing that is going on.

We have been discussing the introduction here of certain important educational reforms, in the direction of modernising and simplifying our curriculum.