Part 7

“scooting obliquely high and low.”

It is still less satisfactory to have the universe addressed in this convivial and burlesque fashion:—

“Earth, you seem to look for something at my hands; Say, old Topknot, what do you want?”

There is a kind of humorousness which a true sense of humor would render impossible; there is a species of originality from which the artist shrinks aghast; and worse than mere vulgarity is the constant employment of words indecorous in themselves, and irreverent in their application,—the smirching of clean and noble things with adjectives grossly unfitted for such use, and repellent to all the canons of good taste. This is not the “gentle pressure” which Sophocles put upon common words to wring from them a fresh significance; it is a deliberate abuse of terms, and betrays a lack of that fine quality of self-repression which embraces the power of selection, and is the best characteristic of literary morality. “Oh, for the style of honest men!” sighs Sainte-Beuve, sick of such unreserved disclosures; “of men who have revered everything worthy of respect, whose innate feelings have ever been governed by the principles of good taste. Oh, for the polished, pure, and moderate writers!”

There is a pitiless French maxim, less popular with English and Americans than with our Gallic neighbors,—“Le secret d’ennuyer est de tout dire.” Mr. Pater indeed expresses the same thought in ampler English fashion (which but emphasizes the superiority of the French) when he says, “For in truth all art does but consist in the removal of surplusage, from the last finish of the gem-engraver blowing away the last particle of invisible dust, back to the earliest divination of the finished work to be, lying somewhere, according to Michelangelo’s fancy, in the rough-hewn block of stone.” That the literary artist tests his skill by a masterly omission of all that is better left unsaid is a truth widely admitted and scantily utilized. Authors who have not taken the trouble _de faire leur toilette_ admit us with painful frankness into their dressing-rooms, and suffer us to gaze more intimately than is agreeable to us upon the dubious mysteries of their deshabille. Authors who have the gift of continuity disregard with insistent generosity the limits of time and patience. What a noble poem was lost to myriads of readers when “The Ring and the Book” reached its twenty thousandth line! How inexorable is the tyranny of a great and powerful poet who will spare his readers nothing! Authors who are indifferent to the beauties of reserve charge down upon us with a dreadful impetuosity from which there is no escape. The strength that lies in delicacy, the chasteness of style which does not abandon itself to every impulse, are qualities ill-understood by men who subordinate taste to fervor, and whose words, coarse, rank, or unctuous, betray the undisciplined intellect that mistakes passion for power. “The language of poets,” says Shelley, “has always effected a certain uniform and harmonious recurrence of sound, without which it were not poetry;” and it is the sustained effort to secure this balanced harmony, this magnificent work within limits, which constitutes the achievement of the poet, and gives beauty and dignity to his art. “Where is the man who can flatter himself that he knows the language of prose, if he has not assiduously practiced the language of poetry?” asks M. Francisque Sarcey, whose requirements are needlessly exacting, but whose views would have been cordially indorsed by at least one great master of English. Dryden always maintained that the admirable quality of his prose was due to his long training in a somewhat mechanical verse. A more modern and diverting approximation of M. Sarcey’s views may be found in the robust statement of Benjamin Franklin: “I approved, for my part, the amusing one’s self now and then with poetry, so far as to improve one’s language, but no farther.” It is a pity that people cannot always be born in the right generation! What a delicious picture is presented to our fancy of a nineteenth-century Franklin amusing himself and improving his language by an occasional study of “Sordello”!

The absolute mastery of words, which is the prerogative of genius, can never be acquired by painstaking, or revealed to criticism. Mr. Lowell, pondering deeply on the subject, has devoted whole pages to a scholarly analysis of the causes which assisted Shakespeare to his unapproached and unapproachable vocabulary. The English language was then, Mr. Lowell reminds us, a living thing, “hot from the hearts and brains of a people; not hardened yet, but moltenly ductile to new shapes of sharp and clear relief in the moulds of new thought. Shakespeare found words ready to his use, original and untarnished, types of thought whose edges were unworn by repeated impressions.... No arbitrary line had been drawn between high words and low; vulgar then meant simply what was common; poetry had not been aliened from the people by the establishment of an Upper House of vocables. The conception of the poet had no time to cool while he was debating the comparative respectability of this phrase or that; but he snatched what word his instinct prompted, and saw no indiscretion in making a king speak as his country nurse might have taught him.”

It is a curious thing, however, that the more we try to account for the miracles of genius, the more miraculous they grow. We can never hope to understand the secret of Homer’s style. It is best to agree simply with Mr. Pater: “Homer was always saying things in this manner.” We can never know how Keats came to write,

“With beaded bubbles winking at the brim,”

or those other lines, perhaps the most beautiful in our language,

“Magic casements, opening on the foam Of perilous seas, in faery lands forlorn.”

It is all a mystery, hidden from the uninspired, and Mr. Lowell’s clean-built scaffolding, while it helps us to a comprehensive enjoyment of Shakespeare, leaves us dumb and amazed as ever before the concentrated splendor of a single line,—

“In cradle of the rude, imperious surge.”

There is only one way to fathom its conception. The great waves reared their foamy heads, and whispered him the words.

The richness of Elizabethan English, the freedom and delight with which men sounded and explored the charming intricacies of a tongue that was expanding daily into fresh majesty and beauty, must have given to literature some of the allurements of navigation. Mariners sailed away upon stormy seas, on strange, half-hinted errands; haunted by the shadow of glory, dazzled by the lustre of wealth. Scholars ventured far upon the unknown ocean of letters; haunted by the seductions of prose, dazzled by the fairness of verse. They brought back curious spoils, gaudy, subtle, sumptuous, according to the taste or potency of the discoverer. Their words have often a mingled weight and sweetness, whether conveying briefly a single thought, like Burton’s “touched with the loadstone of love,” or adding strength and lustre to the ample delineations of Ben Jonson. “Give me that wit whom praise excites, glory puts on, or disgrace grieves; he is to be nourished with ambition, pricked forward with honors, checked with reprehension, and never to be suspected of sloth.” Bacon’s admirable conciseness, in which nothing is disregarded, but where every word carries its proper value and expresses its exact significance, is equaled only by Cardinal Newman. “Reading maketh a full man, conference a ready man, and study an exact man,” says Bacon; and this simple accuracy of definition reminds us inevitably of the lucid terseness with which every sentence of the “Apologia” reveals the thought it holds. “The truest expedience is to answer right out when you are asked; the wisest economy is to have no management; the best prudence is not to be a coward.” As for the _naïveté_ and the picturesqueness which lend such inexpressible charm to the earlier writers and atone for so many of their misdeeds, what can be more agreeable than to hear Sir Walter Raleigh remark with cheerful ingenuousness, “Some of our captaines garoused of wine till they were reasonable pleasant”!—a most engaging way of narrating a not altogether uncommon occurrence. And what can be more winning to the ear than the simple grace with which Roger Ascham writes of familiar things: “In the whole year, Springtime, Summer, Fall of the Leaf, and Winter; and in one day, Morning, Noontime, Afternoon, and Eventide, altereth the course of the weather, the pith of the bow, the strength of the man”! It seems an easy thing to say “fall of the leaf” for fall, and “eventide” for evening, but in such easy things lies the subtle beauty of language; in the rejection of such nice distinctions lies the barrenness of common speech. We can hardly spare the time, in these hurried days, to speak of the fall of the leaf, to use four words where one would suffice, merely because the four words have a graceful significance, and the one word has none; and so, even in composition, this finely colored phrase, with its hint of russet, wind-swept woods, is lost to us forever. Yet compare with it the line which Lord Tennyson, that great master of beautiful words, puts into Marian’s song:—

“‘Have you still any honey, my dear?’ She said, ‘It’s the fall of the year; But come, come!’”

How tame and gray is the idiom which conveys a fact, which defines a season, but suggests nothing to our imaginations, by the side of the idiom which brings swiftly before our eyes the brilliant desolation of autumn!

The narrow vocabulary, which is the conversational freehold of people whose education should have provided them a broader field, admits of little that is picturesque or forcible, and of less that is finely graded or delicately conceived. Ordinary conversation appears to consist mainly of “ands,” “buts,” and “thes,” with an occasional “well” to give a flavor of nationality, a “yes” or “no” to stand for individual sentiment, and a few widely exaggerated terms to destroy value and perspective.

Is this, one wonders, the “treasure of dexterous felicities” which Mr. Bagehot contemplated with such delight, and which a critical society is destined to preserve flawless and uncontaminated? Is this the “heroic utterance,” the great “mother tongue,” possessing which we all become—or so Mr. Sydney Dobell assures us—

“Lords of an empire wide as Shakespeare’s soul, Sublime as Milton’s immemorial theme, And rich as Chaucer’s speech and fair as Spenser’s dream”?

Is this the element whose beauty excites Mr. Oscar Wilde to such rapturous and finely worded praise,—praise which awakens in us a noble emulation to prove what we can accomplish with a medium at once so sumptuous and so flexible? “For the material that painter or sculptor uses is meagre in comparison with language,” says Mr. Wilde. “Words have not merely music as sweet as that of viol and lute, color as rich and vivid as any that makes lovely for us the canvas of the Venetian or the Spaniard, and plastic form no less sure and certain than that which reveals itself in marble or in bronze; but thought and passion and spirituality are theirs also, are theirs indeed alone. If the Greeks had criticised nothing but language, they would still have been the great art critics of the world. To know the principles of the highest art is to know the principles of all the arts.”

This is not claiming too much, for in truth Mr. Wilde is sufficiently well equipped to illustrate his claim. If his sentences are sometimes overloaded with ornament, the decorations are gold, not tinsel; if his vocabulary is gorgeous, it is never glaring; if his allusions are fanciful, they are controlled and subdued into moderation. Even the inevitable and swiftly uttered reproach of “fine writing” cannot altogether blind us to the fact that his are beautiful words,—pearls and amethysts M. Gautier would call them,—aptly chosen, and fitted into place with the careful skill of a goldsmith. They are free, moreover, from that vice of unexpectedness which is part of fine writing, and which Mr. Saintsbury finds so prevalent among the literary workers of to-day; the desire to surprise us by some new and profoundly irrelevant application of a familiar word. The “veracity” of a bar of music, the finely executed “passage” of a marble chimney-piece, the “andante” of a sonnet, and the curious statement, commonly applied to Mr. Gladstone, that he is “part of the conscience of a nation,”—these are the vagaries which to Mr. Saintsbury, and to every other student of words, appear so manifestly discouraging. Mr. James Payn tells a pleasant story of an æsthetic sideboard which was described to him as having a Chippendale feeling about it, before which touching conceit the ever famous “fringes of the north star” pale into insignificance. A recent editor of Shelley’s letters and essays says with seeming seriousness in his preface that the “Witch of Atlas” is a “characteristic outcome,” an “exquisite mouse of fancy brought forth by what mountain of Shelleyan imagination.” Now, when a careful student and an appreciative reader can bring himself to speak of a poem as a “mouse of fancy,” merely for the sake of forcing a conceit, and confronting us with the perils of the unexpected, it is time we turned soberly back to first principles and to our dictionaries; it is time we listened anew to M. Gautier’s advice, and studied the value of words.

ENNUI.

“Tous les genres sont permis, hors le genre ennuyeux.”

“WANT and ennui,” says Schopenhauer, “are the two poles of human life.” The further we escape from one evil, the nearer we inevitably draw to the other. As soon as the first rude pressure of necessity is relieved, and man has leisure to think of something beyond his unsatisfied craving for food and shelter, then ennui steps in and claims him for her own. It is the price he pays, not merely for luxury, but for comfort. Time, the inexorable taskmaster of poor humanity, drives us hard with whip and spur when we are struggling under the heavy burden of work; but stays his hand, and prolongs the creeping hours, when we are delivered over to that weariness of spirit which weights each moment with lead. Time is, in fact, either our open oppressor or our false friend. He is that agent by which, at every instant, “all things in our hands become as nothing, and lose any real value they possess.”

Here is a doctrine distinctly discouraging, and stated with that relentless candor which compels our reluctant consideration. There can be no doubt that to Schopenhauer’s mind ennui was an evil every whit as palpable as want. He hated and feared them both with the painful susceptibility of a self-centred man; and he strove resolutely from his youth to protect himself against these twin disasters of life. The determined fashion in which he guarded his patrimony from loss resembled the determined fashion in which he strove—with less success—to guard himself from boredom. The vapid talk, the little wearisome iterations, which most of us bear resignedly enough because custom has taught us patience, were to him intolerable afflictions. He retaliated by an ungracious dismissal of society as something pitiably and uniformly contemptible. His advice has not the grave and simple wisdom of Sir Thomas Browne, “Be able to be alone,” but is founded rather on Voltaire’s disdainful maxim, “The world is full of people who are not worth speaking to,” and implies an almost savage rejection of one’s fellow-beings. “Every fool is pathetically social,” says Schopenhauer, and the advantage of solitude consists less in the possession of ourselves than in the escape from others. With whimsical eagerness he built barrier after barrier between himself and the dreaded enemy, ennui, only to see his citadel repeatedly stormed, and to find himself at the mercy of his foe. There is but one method, after all, by which the invader can be even partially disarmed, and this method was foreign to Schopenhauer’s nature. It was practiced habitually by Sir Walter Scott, who, in addition to his sustained and splendid work, threw himself with such unselfish, unswerving ardor into the interests of his brother men that he never gave them a thorough chance to bore him. They did their part stoutly enough, and were doubtless as tiresome as they knew how to be; but his invincible sweet temper triumphed over their malignity, and enabled him to say, in the evening of his life, that he had suffered little at their hands, and had seldom found any one from whom he could not extract either amusement or edification.

Perhaps his journal tells a different tale, a tale of heavy moments stretching into hours, and borne with cheerful patience out of simple consideration for others. Men and women, friends and strangers, took forcible possession of his golden leisure, and he yielded it to them without a murmur. That which was well-nigh maddening to Carlyle’s irritable nerves and selfish petulance, and which strained even Charles Lamb’s forbearance to the snapping-point, Sir Walter endured smilingly, as if it were the most reasonable thing in the world. Mr. Lang is right when he says Scott did not preach socialism, he practiced it; that is, he never permitted himself to assign to his own comfort or convenience a very important place in existence; he never supposed his own satisfaction to be the predestined purpose of the universe. But his love for genial life, his keen enjoyment of social pleasures, made him singularly sensitive to ennui. He was able, indeed, like Sir Thomas Browne, to be alone,—when the charity of his fellow-creatures suffered it,—and he delighted in diverting companionship, whether of peers or hinds; but the weariness of daily intercourse with stupid people told as heavily upon him as upon less patient victims. Little notes scattered throughout his journal reveal his misery, and awaken sympathetic echoes in every long-tried soul. “Of all bores,” he writes, “the greatest is to hear a dull and bashful man sing a facetious song.” And again, with humorous intensity: “Miss Ayton’s father is a bore, after the fashion of all fathers, mothers, aunts, and other chaperons of pretty actresses.” And again, this time in a hasty scrawl to Ballantyne:—

“Oh, James! oh, James! two Irish dames Oppress me very sore: I groaning send one sheet I’ve penned, For, hang them! there’s no more.”

That Sir Walter forgot his sufferings as soon as they were over is proof, not of callousness, but of magnanimity. He forgave his tormentors the instant they ceased to torment him, and then found time to deplore his previous irritation. “I might at least have asked him to dinner,” he was heard murmuring self-reproachfully, when an unscrupulous intruder had at last departed from Abbotsford; and on another occasion, when some impatient lads refused to emulate his forbearance, he recalled them with prompt insistence to their forgotten sense of propriety. “Come, come, young gentlemen,” he expostulated. “It requires no small ability, I assure you, to be a decided bore. You must endeavor to show a little more respect.”

The self-inflicted pangs of ennui are less salutary and infinitely more onerous than those we suffer at the hands of others. It is natural that our just resentment when people weary us should result in a temporary taste for solitude, a temporary exaltation of our own society. Like most sentiments erected on an airy trestle-work of vanity, this is an agreeable delusion while it lasts; but it seldom does last after we are bold enough to put it to the test. The inevitable and rational discontent which lies at the bottom of our hearts is not a thing to be banished by noise, or lulled to sleep by silence. We are not sufficient for ourselves, and companionship is not sufficient for us. “Venez, monsieur,” said Louis XIII. to a listless courtier; “allons nous ennuyer ensemble.” We fancy it is the detail of life, its small grievances, its apparent monotony, its fretful cares, its hours alternately lagging and feverish, that wear out the joy of existence. This is not so. Were each day differently filled, the result would be much the same. Young Maurice de Guérin, struggling with a depression he too clearly understands, strikes at the very root of the matter in one dejected sentence: “Mon Dieu, que je souffre de la vie! Non dans ses accidents, un peu de philosophie y suffit; mais dans elle-même, dans sa substance, à part tout phénomène.” To which the steadfast optimist opposes an admirable retort: “It is a pity that M. de Guérin should have permitted himself this relentless analysis of a misery which is never bettered by contemplation.” Happiness may not be, as we are sometimes told, the legacy of the barbarian, but neither is it a final outcome of civilization. Men can weary, and do weary, of every stage that represents a step in the world’s progress, and the ennui of mental starvation is equaled only by the ennui of mental satiety.

It is curious how much of this temper is reflected in the somewhat dispiriting literature which attains popularity to-day. Mr. Hamlin Garland, whose leaden-hued sketches called—I think unfairly—“Main-Travelled Roads” have deprived most of us of some cheerful hours, paints with an unfaltering hand a life in which ennui sits enthroned. It is not the poverty of his Western farmers that oppresses us. Real biting poverty, which withers lesser evils with its deadly breath, is not known to these people at all. They have roofs, fire, food, and clothing. It is not the ceaseless labor, the rough fare, the gray skies, the muddy barnyards, which stand for the trouble in their lives. It is the dreadful weariness of living. It is the burden of a dull existence, clogged at every pore, and the hopeless melancholy of which they have sufficient intelligence to understand. Theirs is the ennui of emptiness, and the implied reproach on every page is that a portion, and only a portion, of mankind is doomed to walk along these shaded paths; while happier mortals who abide in New York, or perhaps in Paris, spend their days in a pleasant tumult of intellectual and artistic excitation. The clearest denial of this fallacy may be found in that matchless and desolate sketch of Mr. Pater’s called “Sebastian van Storck,” where we have painted for us with penetrating distinctness man’s deliberate rejection of those crowded accessories which, to the empty-handed, represent the joys of life. Never has the undying essence of ennui been revealed to our unwilling gaze as in this merciless picture. Never has it been so portrayed in its awful nakedness, amid a plenty which it cannot be persuaded to share. We see the rich, warm, highly colored surroundings, the vehement intensity of work and pastime, the artistic completeness of every detail, the solicitations of love, the delicate and alluring touches which give to every day its separate delight, its individual value; and, amid all these things, the impatient soul striving vainly to adjust itself to a life which seems so worth the living. Here, indeed, is one of “Fortune’s favorites,” whom she decks with garlands like a sacrificial heifer, and at whom, unseen, she points her mocking finger. Encompassed from childhood by the “thriving genius” of the Dutch, by the restless activity which made dry land and populous towns where nature had willed the sea, and by the admirable art which added each year to the heaped-up treasures of Holland, Sebastian van Storck has but one vital impulse which shapes itself to an end,—escape; escape from an existence made unendurable by its stifling fullness, its vivid and marvelous accomplishment.