Part 4

Every man must, of course, whether he will or not, feel the spirit of the age in which he lives and thinks and does his work; and the mere contact will direct and form him more or less. But to wish to serve the spirit of the age at any sacrifice of individual naturalness or conviction, however small, is to harbor the germ of a destroying disease. Every man who writes ought to write for immortality, even though he be of the multitude that die at their graves; and the standards of immortality are of no single age. There are many qualities and causes that give permanency to a book, but universal vogue during the author’s lifetime is not one of them. Many authors now immortal have enjoyed the applause of their own generations; many authors now universally admired will, let us hope, pass on to an easy immortality. The praise of your own day is no absolute disqualification; but it may be if it be given for qualities which your friends are the first to admire, for ’tis likely they will also be the last. There is a greater thing than the spirit of the age, and that is the spirit of the ages. It is present in your own day; it is even dominant then, with a sort of accumulated power and mastery. If you can strike it, you will strike, as it were, into the upper air of your own time, where the forces are which run from age to age. Lower down, where you breathe, is the more inconstant air of opinion, inhaled, exhaled, from day to day,--the variant currents, the forces that will carry you, not forward, but hither and thither.

We write nowadays a great deal with our eyes circumspectly upon the tastes of our neighbors, but very little with our attention bent upon our own natural, self-speaking thoughts and the very truth of the matter whereof we are discoursing. Now and again, it is true, we are startled to find how the age relishes still an old-fashioned romance, if written with a new-fashioned vigor and directness; how quaint and simple and lovely things, as well as what is altogether modern and analytic and painful, bring our most judicious friends crowding, purses in hand, to the book-stalls; and for a while we are puzzled to see worn-out styles and past modes revived. But we do not let these things seriously disturb our study of prevailing fashions. These books of adventure are not at all, we assure ourselves, in the true spirit of the age, with its realistic knowledge of what men really do think and purpose, and the taste for them must be only for the moment or in jest. We need not let our surprise at occasional flurries and variations in the literary market cloud or discredit our analysis of the real taste of the day, or suffer ourselves to be betrayed into writing romances, however much we might rejoice to be delivered from the drudgery of sociological study, and made free to go afield with our imaginations upon a joyous search for hidden treasure or knightly adventure.

And yet it is quite likely, after all, that the present age is transient. Past ages have been. It is probable that the objects and interests now so near us, looming dominant in all the foreground of our day, will sometime be shifted and lose their place in the perspective. That has happened with the near objects and exaggerated interests of other days, so violently sometimes as to submerge and thrust out of sight whole libraries of books. It will not do to reckon upon the persistence of new things. ’Twere best to give them time to make trial of the seasons. The old things of art and taste and thought are the permanent things. We know that they are because they have lasted long enough to grow old; and we deem it safe to assess the spirit of the age by the same test. No age adds a great deal to what it received from the age that went before it; no time gets an air all its own. The same atmosphere holds from age to age; it is only the little movements of the air that are new. In the intervals when the trades do not blow, fleeting cross-winds venture abroad, the which if a man wait for he may lose his voyage.

No man who has anything to say need stop and bethink himself whom he may please or displease in the saying of it. He has but one day to write in, and that is his own. He need not fear that he will too much ignore it. He will address the men he knows when he writes, whether he be conscious of it or not; he may dismiss all fear on that score and use his liberty to the utmost. There are some things that can have no antiquity and must ever be without date, and genuineness and spirit are of their number. A man who has these must ever be “timely,” and at the same time fit to last, if he can get his qualities into what he writes. He may freely read, too, what he will that is congenial, and form himself by companionships that are chosen simply because they are to his taste; that is, if he be genuine and in very truth a man of independent spirit. Lamb would have written “for antiquity” with a vengeance had his taste for the quaint writers of an elder day been an affectation, or the authors he liked men themselves affected and ephemeral. No age this side antiquity would ever have vouchsafed him a glance or a thought. But it was not an affectation, and the men he preferred were as genuine and as spirited as he was. He was simply obeying an affinity and taking cheer after his own kind. A man born into the real patriciate of letters may take his pleasure in what company he will without taint or loss of caste; may go confidently abroad in the free world of books and choose his comradeships without fear of offense.

More than that, there is no other way in which he can form himself, if he would have his power transcend a single age. He belittles himself who takes from the world no more than he can get from the speech of his own generation. The only advantage of books over speech is that they may hold from generation to generation, and reach, not a small group merely, but a multitude of men; and a man who writes without being a man of letters is curtailed of his heritage. It is in this world of old and new that he must form himself if he would in the end belong to it and increase its bulk of treasure. If he has conned the new theories of society, but knows nothing of Burke; the new notions about fiction, and has not read his Scott and his Richardson; the new criminology, and wots nothing of the old human nature; the new religions, and has never felt the power and sanctity of the old, it is much the same as if he had read Ibsen and Maeterlinck, and had never opened Shakespeare. How is he to know wholesome air from foul, good company from bad, visions from nightmares? He has framed himself for the great art and handicraft of letters only when he has taken all the human parts of literature as if they were without date, and schooled himself in a catholic sanity of taste and judgment.

Then he may very safely choose what company his own work shall be done in,--in what manner, and under what masters. He cannot choose amiss for himself or for his generation if he choose like a man, without light whim or weak affectation; not like one who chooses a costume, but like one who chooses a character. What is it, let him ask himself, that renders a bit of writing a “piece of literature”? It is reality. A “wood-note wild,” sung unpremeditated and out of the heart; a description written as if with an undimmed and seeing eye upon the very object described; an exposition that lays bare the very soul of the matter; a motive truly revealed; anger that is righteous and justly spoken; mirth that has its sources pure; phrases to find the heart of a thing, and a heart seen in things for the phrases to find; an unaffected meaning set out in language that is its own,--such are the realities of literature. Nothing else is of the kin. Phrases used for their own sake; borrowed meanings which the borrower does not truly care for; an affected manner; an acquired style; a hollow reason; words that are not fit; things which do not live when spoken,--these are its falsities, which die in the handling.

The very top breed of what is unreal is begotten by imitation. Imitators succeed sometimes, and flourish, even while a breath may last; but “imitate and be damned” is the inexorable threat and prophecy of fate with regard to the permanent fortunes of literature. That has been notorious this long time past. It is more worth noting, lest some should not have observed it, that there are other and subtler ways of producing what is unreal. There are the mixed kinds of writing, for example. Argument is real if it come vital from the mind; narrative is real if the thing told have life and the narrator unaffectedly see it while he speaks; but to narrate and argue in the same breath is naught. Take, for instance, the familiar example of the early history of Rome. Make up your mind what was the truth of the matter, and then, out of the facts as you have disentangled them, construct a firmly touched narrative, and the thing you create is real, has the confidence and consistency of life. But mix the narrative with critical comment upon other writers and their variant versions of the tale, show by a nice elaboration of argument the whole conjectural basis of the story, set your reader the double task of doubting and accepting, rejecting and constructing, and at once you have touched the whole matter with unreality. The narrative by itself might have had an objective validity; the argument by itself an intellectual firmness, sagacity, vigor, that would have sufficed to make and keep it potent; but together they confound each other, destroy each other’s atmosphere, make a double miscarriage. The story is rendered unlikely, and the argument obscure. This is the taint which has touched all our recent historical writing. The critical discussion and assessment of the sources of information, which used to be a thing for the private mind of the writer, now so encroach upon the open text that the story, for the sake of which we would believe the whole thing was undertaken, is oftentimes fain to sink away into the foot-notes. The process has ceased to be either pure exegesis or straightforward narrative, and history has ceased to be literature.

Nor is this our only sort of mixed writing. Our novels have become sociological studies, our poems vehicles of criticism, our sermons political manifestos. We have confounded all processes in a common use, and do not know what we would be at. We can find no better use for Pegasus than to carry our vulgar burdens, no higher key for song than questionings and complainings. Fancy pulls in harness with intellectual doubt; enthusiasm walks apologetically alongside science. We try to make our very dreams engines of social reform. It is a parlous state of things for literature, and it is high time authors should take heed what company they keep. The trouble is, they all want to be “in society,” overwhelmed with invitations from the publishers, well known and talked about at the clubs, named every day in the newspapers, photographed for the news-stalls; and it is so hard to distinguish between fashion and form, costume and substance, convention and truth, the things that show well and the things that last well; so hard to draw away from the writers that are new and talked about and note those who are old and walk apart, to distinguish the tones which are merely loud from the tones that are genuine, to get far enough away from the press and the hubbub to see and judge the movements of the crowd!

Some will do it. Choice spirits will arise and make conquest of us, not “in society,” but with what will seem a sort of outlawry. The great growths of literature spring up in the open, where the air is free and they can be a law unto themselves. The law of life, here as elsewhere, is the law of nourishment: with what was the earth laden, and the atmosphere? Literatures are renewed, as they are originated, by uncontrived impulses of nature, as if the sap moved unbidden in the mind. Once conceive the matter so, and Lamb’s quaint saying assumes a sort of gentle majesty. A man should “write for antiquity” as a tree grows into the ancient air,--this old air that has moved upon the face of the world ever since the day of creation, which has set the law of life to all things, which has nurtured the forests and won the flowers to their perfection, which has fed men’s lungs with life, sped their craft upon the seas, borne abroad their songs and their cries, blown their forges to flame, and buoyed up whatever they have contrived. ’Tis a common medium, though a various life; and the figure may serve the author for instruction.

The breeding of authors is no doubt a very occult thing, and no man can set the rules of it; but at least the sort of “ampler ether” in which they are best brought to maturity is known. Writers have liked to speak of the Republic of Letters, as if to mark their freedom and equality; but there is a better phrase, namely, the Community of Letters; for that means intercourse and comradeship and a life in common. Some take up their abode in it as if they had made no search for a place to dwell in, but had come into the freedom of it by blood and birthright. Others buy the freedom with a great price, and seek out all the sights and privileges of the place with an eager thoroughness and curiosity. Still others win their way into it with a certain grace and aptitude, next best to the ease and dignity of being born to the right. But for all it is a bonny place to be. Its comradeships are a liberal education. Some, indeed, even there, live apart; but most run always in the market-place to know what all the rest have said. Some keep special company, while others keep none at all. But all feel the atmosphere and life of the place in their several degrees.

No doubt there are national groups, and Shakespeare is king among the English, as Homer is among the Greeks, and sober Dante among his gay countrymen. But their thoughts all have in common, though speech divide them; and sovereignty does not exclude comradeship or embarrass freedom. No doubt there is many a willful, ungoverned fellow endured there without question, and many a churlish cynic, because he possesses that patent of genuineness or of a wit which strikes for the heart of things, which, without further test, secures citizenship in that free company. What a gift of tongues is there, and of prophecy! What strains of good talk, what counsel of good judgment, what cheer of good tales, what sanctity of silent thought! The sight-seers who pass through from day to day, the press of voluble men at the gates, the affectation of citizenship by mere sojourners, the folly of those who bring new styles or affect old ones, the procession of the generations, disturb the calm of that serene community not a whit. They will entertain a man a whole decade, if he happen to stay so long, though they know all the while he can have no permanent place among them.

’T would be a vast gain to have the laws of that community better known than they are. Even the first principles of its constitution are singularly unfamiliar. It is not a community of writers, but a community of letters. One gets admission, not because he writes,--write he never so cleverly, like a gentleman and a man of wit,--but because he is literate, a true initiate into the secret craft and mystery of letters. What that secret is a man may know, even though he cannot practice or appropriate it. If a man can see the permanent element in things,--the true sources of laughter, the real fountains of tears, the motives that strike along the main lines of conduct, the acts which display the veritable characters of men, the trifles that are significant, the details that make the mass,--if he know these things, and can also choose words with a like knowledge of their power to illuminate and reveal, give color to the eye and passion to the thought, the secret is his, and an entrance to that immortal communion.

It may be that some learn the mystery of that insight without tutors; but most must put themselves under governors and earn their initiation. While a man lives, at any rate, he can keep the company of the masters whose words contain the mystery and open it to those who can see, almost with every accent; and in such company it may at last be revealed to him,--so plainly that he may, if he will, still linger in such comradeship when he is dead.

It would seem that there are two tests which admit to that company, and that they are conclusive. The one is, Are you individual? the other, Are you conversable? “I beg pardon,” said a grave wag, coming face to face with a small person of most consequential air, and putting glass to eye in calm scrutiny--“I beg pardon; but are you anybody in particular?” Such is very much the form of initiation into the permanent communion of the realm of letters. Tell them, No, but that you have done much better--you have caught the tone of a great age, studied taste, divined opportunity, courted and won a vast public, been most timely and most famous; and you shall be pained to find them laughing in your face. Tell them you are earnest, sincere, consecrate to a cause, an apostle and reformer, and they will still ask you, “But are you anybody in particular?” They will mean, “Were you your own man in what you thought, and not a puppet? Did you speak with an individual note and distinction that marked you able to think as well as to speak,--to be yourself in thoughts and in words also?” “Very well, then; you are welcome enough.”

“That is, if you be also conversable.” It is plain enough what they mean by that, too. They mean, if you have spoken in such speech and spirit as can be understood from age to age, and not in the pet terms and separate spirit of a single day and generation. Can the old authors understand you, that you would associate with them? Will men be able to take your meaning in the differing days to come? Or is it perishable matter of the day that you deal in--little controversies that carry no lasting principle at their heart; experimental theories of life and science, put forth for their novelty and with no test of their worth; pictures in which fashion looms very large, but human nature shows very small; things that please everybody, but instruct no one; mere fancies that are an end in themselves? Be you never so clever an artist in words and in ideas, if they be not the words that wear and mean the same thing, and that a thing intelligible, from age to age, the ideas that shall hold valid and luminous in whatever day or company, you may clamor at the gate till your lungs fail and get never an answer.

For that to what you seek admission is a veritable “community.” In it you must be able to be, and to remain, conversable. How are you to test your preparation meanwhile, unless you look to your comradeships now while yet it is time to learn? Frequent the company in which you may learn the speech and the manner which are fit to last. Take to heart the admirable example you shall see set you there of using speech and manner to speak your real thought and be genuinely and simply yourself.

IV.

A LITERARY POLITICIAN.

“Literary politician” is not a label much in vogue, and may need first of all a justification, lest even the man of whom I am about to speak should decline it from his very urn. I do not mean a politician who affects literature; who seems to appreciate the solemn moral purpose of Wordsworth’s Happy Warrior, and yet is opposed to ballot reform. Neither do I mean a literary man who affects politics; who earns his victories through the publishers, and his defeats at the hands of the men who control the primaries. I mean the man who has the genius to see deep into affairs, and the discretion to keep out of them,--the man to whom, by reason of knowledge and imagination and sympathetic insight, governments and policies are as open books, but who, instead of trying to put haphazard characters of his own into those books, wisely prefers to read their pages aloud to others. A man this who knows polities, and yet does not handle policies.

There is, no doubt, a very widespread skepticism as to the existence of such a man. Many people would ask you to prove him as well as define him; and that, as they assume, upon a very obvious principle. It is a rule of universal acceptance in theatrical circles that no one can write a good play who has no practical acquaintance with the stage. A knowledge of greenroom possibilities and of stage machinery, it is held, must go before all successful attempts to put either passion or humor into action on the boards, if pit and gallery are to get a sense of reality from the performance. No wonder that Sheridan’s plays were effective, for Sheridan was both author and actor; but abundant wonder that simple Goldsmith succeeded with his exquisite “She Stoops to Conquer,”--unless we are to suppose that an Irishman of the last century, like the Irishman of this, had some sixth sense which enabled him to understand other people’s business better than his own; for poor Goldsmith could not act (even off the stage), and his only connection with the theatre seems to have been his acquaintance with Garrick. Lytton, we know, had Macready constantly at his elbow, to give and enforce suggestions calculated to render plays playable. And in our own day, the authors of what we indulgently call “dramatic literature” find themselves constantly obliged to turn tragedies into comedies, comedies into farces, to satisfy the managers; for managers know the stage, and pretend to know all possible audiences also. The writer for the stage must be playwright first, author second.

Similar principles of criticism are not a little affected by those who play the parts, great and small, on the stage of politics. There is on that stage, too, it is said, a complex machinery of action and scene-shifting, a greenroom tradition and practice as to costume and make-up, as to entry and exit, necessities of concession to footlights and of appeal to the pit, quite as rigorous and quite as proper for study as are the concomitants of that other art which we frankly call acting. This is an idea, indeed, accepted in some quarters outside the political playhouse as well as within it. Mr. Sydney Colvin, for example, declares very rightly that:--

“Men of letters and of thought are habitually too much given to declaiming at their ease against the delinquencies of men of action and affairs. The inevitable friction of practical politics,” he argues, “generates heat enough already, and the office of the thinker and critic should be to supply not heat, but light. The difficulties which attend his own unmolested task--the task of seeking after and proclaiming salutary truths--should teach him to make allowance for the far more urgent difficulties which beset the politician; the man obliged, amidst the clash of interests and temptations, to practice from hand to mouth, and at his peril, the most uncertain and at the same time the most indispensable of the experimental arts.”