Why we should read Part 3

V

WILLIAM HAZLITT

"I think W. H. to be, in his natural and healthy state, one of the wisest and finest spirits breathing.... I think I shall go to my grave without finding, or expecting to find, such another companion," writes Charles Lamb to Robert Southey, but "I wish he would not quarrel with the world at the rate he does."

We read Lamb and Johnson and Pepys for their lovableness; we read Hazlitt for his intensity of pa.s.sion, his vigorous hate, his sense of glorious enjoyment, his unstudied ease of manner, his healthy att.i.tude to literature, his enduring freshness and his stimulating criticism.

There is little in his life history to endear him to us; he was unfortunate in his relations with the three women who came into his life: "I have wanted one thing only to make me completely happy, but lacking that I lack all"; he was an impossible friend; he even managed to quarrel with Lamb, and though he was an acute and brilliant lecturer, there was little sympathy between him and his audience. The early part of the nineteenth century was the worst possible time for a shy, over-sensitive and easily irritated writer to work in; the obscenities of the _Blackwood's Magazine_ clique have left an ineradicable stain--but when they speak of Hazlitt "as rather an ulcer than a man,"

even after this lapse of time our gorge rises; one ceases to wonder at the vitriolic bitterness which he wastes on his enemies.

We read and admire Hazlitt because they never brought him to his knees; he was a born fighter, a true adventurer; he neither asked nor gave quarter.

Most of us have wondered why a nation so sports-mad as we are should have been content for so long with such inept accounts of mighty conflicts by field and river as we get in our newspapers. Bernard Shaw did his best to portray a boxing contest, but Hazlitt alone among writers has succeeded in expounding the philosophy of sport and making us live through every moment of a bygone fight as if we had actually witnessed it:

"Neate just then made a tremendous lunge at him, and hit him full in the face. It was doubtful whether he would fall backwards or forwards; he hung suspended for a second or two, and then fell back, throwing his hands in the air, and with his face lifted up to the sky. I never saw anything more terrific than his aspect just before he fell. All traces of life, of natural expression, were gone from him. His face was like a human skull, a death's head spouting blood. The eyes were filled with blood, the nose streamed with blood, the mouth gaped blood. He was not like an actual man, but like a preternatural, spectral appearance, or like one of the figures in Dante's _Inferno_."

It is worthy of notice that he dedicates this description to the ladies: "nor let it seem out of character for the fair to notice the exploits of the brave."

Hazlitt is pre-eminently a fresh-air man. His essay _On Going a Journey_, as R. L. Stevenson said, "is so good that there should be a tax levied on all who have not read it." "Give me the clear blue sky over my head" (what joy it gives one merely to transcribe the well-known words), "and the green turf beneath my feet, a winding road before me, and a three hours' march to dinner--and then to thinking! It is hard if I cannot start some game on these lone heaths. I laugh, I run, I leap, I sing for joy." He brings just this nave, fresh-air, healthy enthusiasm into all his critical work, and it is this quality that calls forth that n.o.ble panegyric of Professor Saintsbury which shows once and for all the reason for reading Hazlitt:

"To anyone who has made a little progress in criticism himself, to anyone who has either read for himself or is capable of reading for himself, of being guided by what is helpful and of neglecting what is not, there is no greater critic than Hazlitt in any language ... he is the critics' critic as Spenser is the poets' poet."

That this is a bare statement of truth can be seen in the opening lecture on the English poets:

"Poetry is the language of the imagination and the pa.s.sions. It relates to whatever gives immediate pleasure or pain to the human mind. It comes home to the bosoms and businesses of men; for nothing but what so comes home to them in the most general and intelligible shape can be a subject for poetry. Poetry is the universal language which the heart holds with nature and itself. He who has a contempt for poetry cannot have much respect for himself or for anything else ... it is not a branch of authorship: it is 'the stuff of which our life is made.'"

These are brave words and, as we should expect from so alert a pugilist, straight from the shoulder.

His _Characters of Shakespeare's Plays_ is studded with gems of criticism. "It is the peculiar excellence of Shakespeare's heroines that they seem to exist only in their attachment to others. They are pure abstractions of the affections." He is the least derivative of all critics and quotes from one authority alone, himself: hence his conclusions are not those of the academic professors, and it delights our hearts to listen to him trouncing Henry V., that false idol of the mob, and extolling Falstaff at his royal master's expense: "Falstaff is the better man of the two."

And so you again ask me in one sentence why we should read Hazlitt and the answer is, in the words of George Sampson: "A fondness for Hazlitt is a fondness for health in literature" ... and there is room for health in the literature of to-day.

"Though we are mighty fine fellows nowadays, we cannot write like Hazlitt."

If you want to prove this, turn again to _The Ignorance of the Learned_.

If only we could write like that!

VI

SAMUEL PEPYS

All girls in their teens and most boys keep what they call a diary, just as most undergraduates and all young unmarried women write what they imagine to be a novel: the value of each of these forms of expression would be considerably enhanced if the writers of either took any pains to learn the technique of their art. Of the ideal diarist two things are pre-eminently required: an all-round interest in life and a complete self-candour which is poles removed from the anaemic sickness of self-love and an effective antidote against it. No one should dare to keep a diary before reading Pepys from end to end, and few people will dare to do so after reading him.

The question is not why we should read Pepys, but why we cannot help reading Pepys. The answer is simple: No novelist would have the audacity to ask us to believe in a hero who was at the same time Secretary to the Admiralty, regenerator of the navy, Master of the Trinity House, master of a city company, Member of Parliament, President of the Royal Society, the friend and counsellor of kings and princes, and yet spent his spare time "picking up" girls in church or behind the counter, making love to his own maids and actresses, hiding his gold in the garden and digging it up again, expressing "mighty content" at the spectacle of men being hanged, drawn and quartered, alternately sulking with his wife and soothing her suspicions about his amours, continually making oaths not to get drunk and breaking them, gloating over his clothes like a peac.o.c.k, lamenting every expense in the way of entertainment like a miser, frightened to death by fear of ghosts, burglars and the plague, chronicling the details of every delectable dinner that he ate, and every delectable wench that he saw or kissed--in short, expressing all the undignified weaknesses our flesh is heir to.

"No man," says the philosopher, "was ever written down but by himself."

Certainly no man ever wrote himself "down" more honestly than Pepys.

Arnold Bennett was only speaking the bare truth when he said that none of us would ever have the pluck to lock ourselves in a room and commit to paper exactly what we have said or done or felt during the whole of one day, even if we knew that no eyes but our own should ever scan the page and that the ma.n.u.script should be burnt as soon as it was written.

Compromise is an essential concomitant of civilisation: perfect sincerity even with ourselves is impossible. This explains at once the irresistible fascination of Pepys: here is a man who has actually achieved the impossible. Nine-tenths of our staple food in conversation is gossip, not only in suburban drawing-rooms and London clubs, but in every department of life. Scandal-mongering is as much a part and parcel of our life as it was in Lady Sneerwell's day.

These peeps behind the scenes in a man's private life make us much more lenient in our judgment of our own peccadilloes: thousands of men have, we feel, acted as he did and we have done, but only Pepys has had the temerity to confess: there is no entertainment so diverting as that of watching a man give himself away. Pepys does it on every page with an unconscious humour which adds a thousandfold to our enjoyment:

"To the Strand, to my booksellers, and there bought an idle, rogueish French book, which I have bought in plain binding, avoiding the buying of it better bound, because I resolve, as soon as I have read it, to burn it, that it may not stand in the list of books, nor among them, to disgrace them if it should be found." ... "This day, not for want, but for good husbandry, I sent my father, by his desire, six pair of my old shoes, which fit him, and are good."

"To St Dunstan's church where ... I stood by a pretty, modest maid, whom I did labour to take by the hand; but she would not, but got further and further from me; and at last, I could perceive her to take pins out of her pocket to p.r.i.c.k me if I should touch her again--which, seeing, I did forbear, and was glad I did spy her design. And then I fell to gaze upon another pretty maid, in a pew close to me, and she on me; and I did go about to take her by the hand, which she suffered a little, and then withdrew."

Pretty good, this, for the Secretary to the Admiralty! We feel ourselves mighty superior fellows when we read confessions like this, don't we?

"My wife being dressed this day in fair hair, did make me so mad, that I spoke not one word to her, though I was ready to burst with anger ... in my way home discovered my trouble to my wife, swearing several times, which I pray G.o.d forgive me for, and bending my fist, that I would not endure it. She, poor wretch, was surprised with it, and made me no answer all the way home; but there we parted, and I to the office late, and then home, and without supper to bed, vexed ... up (next day) and by-and-by down comes my wife ... she promising to wear white locks no more in my sight, which I, like a severe fool, thinking not enough, begun to except against, and made her fly out to very high terms and cry, and in her heat, told me of (my) keeping company with Mrs Knipp (the actress), saying, that if I would never see her more--of whom she hath more reason to suspect than I had heretofore of Pembleton--she would never wear white locks more. This vexed me ... but to think never to see this woman--at least, to have her here more; and so all very good friends as ever."

"'And so to bed,' writes Mr Secretary Pepys a hundred times in his diary, and we may be sure that each time he joined Mrs Pepys beneath the coverlet he felt that the moment which marked the end of his wonderful day was one deserving careful record." So writes "W. N. P. Barbellion,"

the only modern diarist possessed in any degree of Pepys' complete self-candour, and, it is worthy of notice, the pa.s.sage occurs in a book called _Enjoying Life_.

VII

WALTER SAVAGE LANDOR

Because he always wrote prose like an artist Walter Savage Landor is worthy to be read at all times and in all moods.

"And through the trumpet of a child of Rome Rang the pure music of the flutes of Greece."

We all know what Swinburne thought about him: the trouble has been that so few people have taken any pains to go further and rediscover this great, imaginative artist for themselves. He is one of those unfortunates whose work we agree to take as read. If we only had a half his feeling for the value and weight of words the English tongue would be ten times richer than it is to-day, richer in harmony, richer in preciseness, richer in simplicity. He had a very definite sense of a writer's duty: "I hate false words, and seek with care, difficulty and moroseness those that fit the thing." Surely when we find a man with so wide a range of thought, so filled with imagination, so much in love with heroism, beauty and freedom, with a prose style that is, of its kind, unrivalled, it is inc.u.mbent upon us to sink our prejudice against the cla.s.sical and do the little extra work which is essential to a true appreciation of that salutary, clear-cut, highly disciplined art. His appeal is to the few who can enjoy the best literature for itself, but there is no reason why this circle should not be far wider than it is.

In his determination not to say anything superfluous he did at times fall into obscurity, but we forgive that in Browning: it is certainly not an all-obtrusive fault in Landor, especially in that later work of his, the _Imaginary Conversations_, on which his reputation now rests.

Whether in those short and stirring scenes of emotion and action, or in the long and quiet ones of discussion and reflection, he shows an admirable insight into character, a fine dignity and urbanity, a mastery over delicate aphorisms on human nature, and a range of interest running from the earliest times to his own era. Take a few of the t.i.tles at random if you wish to gauge his range: "Peleus and Thetis," "Leofric and G.o.diva," "Mahomet and Sergius," "Filippo Lippi and Pope Eugenius IV.," "Henry VIII. and Anne Boleyn," "Peter the Great and Alexis," "The Dream of Boccaccio," "The Dream of Petrarca."

Who is there among the narrators of old-time legends capable of charming us so much as the man who makes the slave-girl Rhodope begin her life story thus:

"Never shall I forget the morning when my father, sitting in the coolest part of the house, exchanged his last measure of grain for a chlamys of scarlet cloth fringed with silver. He watched the merchant out of the door, and then looked wistfully into the corn-chest. I, who thought there was something worth seeing, looked in also, and, finding it empty, expressed my disappointment, not thinking, however, about the corn. A faint and transient smile came over his countenance at the sight of mine. He unfolded the chlamys, stretched it out with both hands before me, and then cast it over my shoulders. I looked down on the glittering fringe and screamed with joy. He then went out; I know not what flowers he gathered, but he gathered many; and some he placed in my bosom, and some in my hair...."

G.o.diva's one poignant cry to herself, "I hope they will not crowd about me so to-morrow," strikes a more effective note than the whole of Tennyson's poem on the same subject. Filippo Lippi's peerless description of his adventures in Barbary in the service of the corsair Abdul, where he met Almeida of the hazel eyes, Almeida, "cool, smooth and firm as a nectarine gathered before sunrise," is too well known to be quoted here, but is one of the first to be read by those who would see Landor in his natural element of beauty. "The clematis overtopped the lemon and orange trees ... white pigeons, and others in colour like the dawn of day ..."--this pa.s.sage in particular is a masterpiece of descriptive writing. Not easily does one forget the pathetic figure of the discarded Anne Boleyn confronted in prison by her drunken husband.

"Love your Elizabeth, my honoured Lord, and G.o.d bless you! She will soon forget to call me; do not chide her; think how young she is. Could I, could I kiss her, but once again! It would comfort my heart--or break it."

His sense of the dramatic is nowhere better shown than in that dialogue, though Spenser's announcement of his terrible loss to Ess.e.x goes near to equal it in pathos as does the appearance of Fiammetta to Boccaccio in his dream.