Chapter 13

But what does he want this genius of his to do? Nothing less, I believe, than what the French genius did at its supreme moment, in the seventeenth century, what the Greek did in the fifth. My notion is that he wants to create art which shall be perfectly uncompromising and at the same time human, and he would like it none the worse, I dare say, were it to turn out popular as well. After all, Racine did this, and Molière and La Bruyère and Watteau and Chardin and Renoir. It is in the French tradition to believe that there is a beauty common to life and art. The Greeks had it, so runs the argument, and the Italians of the high renaissance, but the English poets tended to sacrifice art to beauty, and the moderns--so Derain may think--sacrifice beauty and grandeur to discretion. The motto "Safety first" did, I will confess, just float across my eyes as I walked through the last _salon d'automne_. And, then, Derain may feel that there is in him something besides his power of creation and sense of form, something which philosophers would call, I dare say, a sense of absolute beauty in things, of external harmony. However we may call it, what I mean is the one thing at all worth having which the Greeks had and the Byzantines had not, which Raphael possesses more abundantly than Giotto. In Derain this sense is alive and insistent; it is urging him always to capture something that is outside him; the question is, can he, without for one moment compromising the purity of his art, obey it? I do not know. But if he cannot, then there is no man alive to give this age what Phidias, Giorgione, and Watteau gave theirs.

The French are not unwilling to believe that they are the heirs of Greece and Rome. So, if I am right, the extraordinary influence of Derain may be accounted for partly, at any rate, by the fact that he, above all living Frenchmen, has the art to mould, in the materials of his age, a vessel that might contain the grand classical tradition. What is more, it is he, if anyone, who has the strength to fill it. No one who ever met him but was impressed by the prodigious force of his character and his capacity for standing alone. At moments he reminds one oddly of Johnson. He, too, is a dictator, at once humorous and tragic like the mirific doctor, but, unlike him, infinitely subtle. He, too, is troubled, and not by any sense of isolation nor yet by the gnawings of vanity and small ambition. It is the problem that tortures him. Can he do what Raphael and Racine did? Can he create something that shall be uncompromising as art and at the same time humane?

Face to face with that problem Derain stands for what is to-day most vital and valid in France--a passionate love of the great tradition, a longing for order and the will to win it, and that mysterious thing which the Athenians called [Greek: _spoudiotês_]; and schoolmasters call "high seriousness." He accepts the age into which he has stumbled with all its nastiness, vulgarity, and cheek. He accepts that woebegone, modern democracy which could not even make its great war fine. He believes he can make something of it. Because he has a first-rate intellect he can afford to mistrust reason; and so sure is he of his own taste that he can brush refinement aside. Yet neither his scepticisms nor his superstitions alienate the intelligent, nor are the sensitive offended by his total disregard of their distinctions. And though all this has nothing to do with painting, on painters, I surmise, it has its effect.

"PLUS DE JAZZ" [Y]

[Footnote Y: 1921]

On the first night of the Russian ballet in Paris, somewhere about the middle of May, perhaps the best painter in France, one of the best musicians, and an obscure journalist were sitting in a small _bistrot_ on the Boulevard St. Germain. They should all have been at the spectacle; all had promised to go; and yet they sat on over their _alcools_ and _bocks_, and instead of going to the ballet began to abuse it. And from the ballet they passed to modern music in general, and from music to literature: till gradually into the conversation came, above the familiar note of easy denigration, a note of energy, of conviction, of aspiration, which so greatly astonished one, at least, of the three that, just before two o'clock--the hour at which the patron puts even his most faithful clients out of doors--he exclaimed, with an emphasis in him uncommon, "Plus de Jazz!"

It was the least important of the three who said it, and, had it been the most, I am not suggesting that, like the walls of Jericho, a movement would have tottered at an ejaculation. Jazz will not die because a few clever people have discovered that they are getting sick of it; Jazz is dying, and the conversation to which I have referred is of importance only as an early recognition of the fact. For the rest it was unjust, as such conversations will be; the Jazz movement, short and slightly irritating though it was, having served its turn and added its quota to the tradition. But Jazz is dead--or dying, at any rate--and the moment has come for someone who likes to fancy himself wider awake than his fellows to write its obituary notice. In doing so he may, adventitiously, throw light on something more interesting than the past; he may adumbrate the outline of the coming movement. For always movements are conditioned partly by their predecessors, against which, in some sort, they must ever be reactions.

The Jazz movement is a ripple on a wave; the wave--the large movement which began at the end of the nineteenth century in a reaction against realism and scientific paganism--still goes forward. The wave is essentially the movement which one tends to associate, not very accurately perhaps, with the name of Cézanne: it has nothing to do with Jazz; its most characteristic manifestation is modern painting, which, be it noted, Jazz had left almost untouched. "Picasso?" queries someone. I shall come to Picasso presently. The great modern painters--Derain, Matisse, Picasso, Bonnard, Friesz, Braque, etc.--were firmly settled on their own lines of development before ever Jazz was heard of: only the riff-raff has been affected. Italian Futurism is the nearest approach to a pictorial expression of the Jazz spirit.

The movement bounced into the world somewhere about the year 1911. It was headed by a Jazz band and a troupe of niggers, dancing. Appropriately it took its name from music--the art that is always behind the times. Gavroche was killed on the barricades, and it was with his name that Jazz should have been associated. Impudence is its essence--impudence in quite natural and legitimate revolt against nobility and beauty: impudence which finds its technical equivalent in syncopation: impudence which rags. "The Ragtime movement" would have been the better style, but the word "Jazz" has passed into at least three languages, and now we must make the best of it.

After impudence comes the determination to surprise: you shall not be gradually moved to the depths, you shall be given such a start as makes you jigger all over. And from this determination issues the grateful corollary--thou shalt not be tedious. The best Jazz artists are never long-winded. In their admirable and urbane brevity they remind one rather of the French eighteenth century. But surprise is an essential ingredient. An accomplished Jazz artist, whether in notes or words, will contrive, as a rule, to stop just where you expected him to begin. Themes and ideas are not to be developed; to say all one has to say smells of the school, and may be a bore, and--between you and me--a "giveaway" to boot. Lastly, it must be admitted there is a typically modern craving for small profits and quick returns. Jazz art is soon created, soon liked, and soon forgotten. It is the movement of masters of eighteen; and these masterpieces created by boys barely escaped from college can be appreciated by the youngest Argentine beauty at the Ritz. Jazz is very young: like short skirts, it suits thin, girlish legs, but has a slightly humiliating effect on grey hairs. Its fears and dislikes--for instance, its horror of the noble and the beautiful--are childish; and so is its way of expressing them. Not by irony and sarcasm, but by jeers and grimaces does Jazz mark its antipathies. Irony and wit are for the grown-ups. Jazz dislikes them as much as it dislikes nobility and beauty. They are the products of the cultivated intellect, and Jazz cannot away with intellect or culture. Niggers can be admired artists without any gifts more singular than high spirits; so why drag in the intellect? Besides, to bring intellect into art is to invite home a guest who is apt to be inquisitive and even impartial. Intellect in Jazz circles is treated rather as money was once in polite society--it is taken for granted. Nobility, beauty, and intellectual subtlety are alike ruled out: the first two are held up to ridicule, the last is simply abused. What Jazz wants are romps and fun, and to make fun; that is why, as I have said, its original name Ragtime was the better. At its best Jazz rags every thing.

The inspiration of Jazz is the same as that of the art of the _grand siècle_. Everyone knows how in the age of Louis XIV artists found in _la bonne compagnie_ their standards, their critics, and many of their ideas. It was by studying and writing for this world that Racine, Molière, and Boileau gave an easier and less professional gait to French literature, which--we should not forget--during its most glorious period was conditioned and severely limited by the tastes and prejudices of polite society. Whether the inventors of Jazz thought that, in their pursuit of beauty and intensity, the artists of the nineteenth century had strayed too far from the tastes and interests of common but well-to-do humanity I know not, but certain it is that, like Racine and Molière, and unlike Beaudelaire and Mallarmé and César Franck, they went to _la bonne compagnie_ for inspiration and support. _La bonne compagnie_ they found in the lounges of great hotels, on transatlantic liners, in _wagons-lits_, in music-halls, and in expensive motor-cars and restaurants. _La bonne compagnie_ was dancing one-steps to ragtime music. This, they said, is the thing. The artists of the nineteenth century had found _la bonne compagnie_--the rich, that is to say--dancing waltzes to sentimental _Olgas_ and _Blue Danubes_, but they had drawn quite other conclusions. Yet waltzes and waltz-tunes are just as good as, and no better than, fox-trots and ragtime. Both have their merits; but it is a mistake, perhaps, for artists to take either seriously.

Be that as it may, the serious artists of the nineteenth century never dreamed of supposing that the pleasures of the rich were the proper stuff of art; so it was only natural that the twentieth should go to the hotel lounges for inspiration. And, of course, it was delightful for those who sat drinking their cocktails and listening to nigger-bands to be told that, besides being the jolliest people on earth, they were the most sensitive and critically gifted. They, along with the children and savages whom in so many ways they resembled, were the possessors of natural, uncorrupted taste. They first had appreciated ragtime and surrendered themselves to the compelling qualities of Jazz. Their instinct might be trusted: so, no more classical concerts and music-lessons; no more getting Lycidas by heart; no more Bædeker; no more cricking one's neck in the Sistine Chapel: unless the coloured gentleman who leads the band at the Savoy has a natural leaning towards these things you may depend upon it they are noble, pompous, and fraudulent. And it was delightful, too, for people without a vestige of talent--and even then these were in the majority--people who could just strum a tune or string a few lines of doggerel, to be told that all that distinguishes what used to be called "serious art" from their productions was of no consequence whatever, and that, on the contrary, it was these, if any, that ought to be taken seriously. The output of verse, which was manifestly much too easy to write and difficult to read, went up suddenly by leaps and bounds. What is more, some of it got printed: publishers, and even editors, bowed the knee. Naturally, the movement was a success at the Ritz and in Grub Street, Mayfair. On the other hand, because to people who reflected for an instant it seemed highly improbable that fox-trotters and shimmy-shakers were sensitive or interesting people, that Christy Minstrels were great musicians, or that pub-crawlers and _demi-mondaines_ were poets, there sprang simultaneously into existence a respectable, intelligent, and ill-tempered opposition which did, and continues to do, gross injustice to the genuine artists who have drawn inspiration, or sustenance at any rate, from Jazz.

During the last ten years Jazz had dominated music and coloured literature: on painting, as I have said, its effect has been negligible. What, for want of a better name, I must call the Cézanne movement was too profound a stream to be modified by so shallow a current. All the great contemporary painters are extremely serious; they make no faces at their predecessors, or at anyone else. They are not _gavroche_. Surprise is the last emotion they wish to arouse. And, assuredly, they have neither gone to the hotel-loungers for inspiration nor shown the slightest desire to amuse them. This is as true of Picasso as of Derain: only, Picasso's prodigious inventiveness may sometimes give the impression of a will to surprise, while his habit of turning everything to account certainly does lead him to cast an inquisitive eye on every new manifestation of vitality. I have seen him enthusiastic over _la politique_ Lloyd-George, and I should not be in the least surprised if he found something in it to serve some one or other of his multifarious purposes. If, however, surprise were what Picasso aimed at he could go a very much easier way about it. He could do what his tenth-rate imitators try to do--for instance, he could agreeably shock the public with monstrous caricatures and cubist photography--those pictures, I mean, which the honest stockbroker recognizes, with a thrill of excitement at his own cleverness, as his favourite picture-postcards rigged out to look naughty. But Picasso shows such admirable indifference to the public that you could never guess from his pictures that such a thing existed: and that, of course, is how it should be. He never startles for the sake of startling; neither does he mock. Certainly, unlike the best of his contemporaries, he seems almost as indifferent to the tradition as he is to the public; but he no more laughs at the one than he tries to startle the other. Only amongst the whipper-snappers of painting will you discover a will to affront tradition, or attract attention by deliberate eccentricity. Only, I think, the Italian Futurists, their transalpine apes, a few revolutionaries on principle, but especially the Futurists with their electric-lit presentation of the more obvious peculiarities of contemporary life and their taste for popular actualities can be said definitely to have attempted a pictorial expression of Jazz.

On music, however, and literature its influence has been great, and here its triumphs are considerable. It is easy to say that the genius of Stravinsky--a musician, unless I mistake, of the first order and in the great line--rises superior to movements. To be sure it does: so does the genius of Molière. But just as the genius of Molière found its appropriate food in one kind of civilization, so does the genius of Stravinsky in another; and with that civilization his art must inevitably be associated. Technically, too, he has been influenced much by nigger rhythms and nigger methods. He has composed ragtimes. So, if it is inexact to say that Stravinsky writes Jazz, it is true to say that his genius has been nourished by it. Also, he sounds a note of defiance, and sometimes, I think, does evince a will to insult. That he surprises and startles is clear; what is more, I believe he means to do it: but tricks of self-advertisement are, of course, beneath so genuine an artist. No more than Picasso does he seek small profits or quick returns; on the contrary, he casts his bread upon the waters with a finely reckless gesture. The fact is, Stravinsky is too big to be covered by a label; but I think the Jazz movement has as much right to claim him for its own as any movement has to claim any first-rate artist. Similarly, it may claim Mr. T.S. Eliot--a poet of uncommon merit and unmistakably in the great line--whose agonizing labours seem to have been eased somewhat by the comfortable ministrations of a black and grinning muse. Midwifery, to be sure, seems an odd occupation for a lady whom one pictures rather in the rôle of a flapper: but a midwife was what the poet needed, and in that capacity she has served him. Apparently it is only by adopting a demurely irreverent attitude, by being primly insolent, and by playing the devil with the instrument of Shakespeare and Milton that Mr. Eliot is able occasionally to deliver himself of one of those complicated and remarkable imaginings of his: apparently it is only in language of an exquisite purity so far as material goes, but twisted and ragged out of easy recognition, that these nurslings can be swathed. As for surprise, that, presumably, is an emotion which the author of _Ara Vos Prec_ is not unwilling to provoke. Be that as it may, Mr. Eliot is about the best of our living poets, and, like Stravinsky, he is as much a product of the Jazz movement as so good an artist can be of any.

In literature Jazz manifests itself both formally and in content. Formally its distinctive characteristic is the familiar one--syncopation. It has given us a ragtime literature which flouts traditional rhythms and sequences and grammar and logic. In verse its products--rhythms which are often indistinguishable from prose rhythms and collocations of words to which sometimes is assignable no exact intellectual significance--are by now familiar to all who read. Eliot is too personal to be typical of anything, and the student who would get a fair idea of Jazz poetry would do better to spend half an hour with a volume of Cocteau or Cendrars. In prose I think Mr. Joyce will serve as a, perhaps, not very good example: I choose him because he is probably better known to readers than any other writer who affects similar methods. In his later publications Mr. Joyce does deliberately go to work to break up the traditional sentence, throwing overboard sequence, syntax, and, indeed, most of those conventions which men habitually employ for the exchange of precise ideas. Effectually, and with a will, he rags the literary instrument: unluckily, this will has at its service talents which though genuine are moderate only. A writer of greater gifts, Virginia Woolf, has lately developed a taste for playing tricks with traditional constructions. Certainly she "leaves out" with the boldest of them: here is syncopation if you like it. I am not sure that I do. At least, I doubt whether the concentration gained by her new style for _An Unwritten Novel_ and _Monday or Tuesday_ makes up for the loss of those exquisite but old-fashioned qualities which make _The Mark on the Wall_ a masterpiece of English prose. But, indeed, I do not think of Mrs. Woolf as belonging properly to the movement; she is not imbued with that spirit which inspires the authentic Jazz writers, whether of verse that looks oddly like prose or of prose that raises a false hope of turning out to be verse, and conditions all that they produce. She is not _gavroche_. In her writings I find no implicit, and often well-merited, jeer at accepted ideas of what prose and verse should be and what they should be about; no nervous dislike of traditional valuations, of scholarship, culture, and intellectualism; above all, no note of protest against the notion that one idea or emotion can be more important or significant than another. Assuredly, Mrs. Woolf is not of the company on whose banner is inscribed "No discrimination!" "No culture!" "Not much thought!" She is not of that school whose grand object it is to present, as surprisingly as possible, the chaos of any mind at any given moment.

The Jazz theory of art, if theory there be, seems stupid enough--as do most. What matters, however, are not theories, but works: so what of the works of Jazz? If Stravinsky is to be claimed for the movement, Jazz has its master: it has also its _petits maîtres_--Eliot, Cendrars, Picabia, and Joyce, for instance, and _les six_. Oddly enough, _les six_ consist of four musicians--Darius Milhaud, Georges Auric, Poulenc, and Germaine Taillefer [Z]--chaperoned by the brilliant Jean Cocteau. All five have their places in contemporary civilization: and such talents are not to be disposed of simply by the present of a bad name. For it is not enough to call an artist "extremist" or "reactionary," "Cubist" or "Impressionist," and condemn or approve him as such. These classifications are merely journalistic or, if you will, archæological conveniences. It is the critic's business to inquire not so much whether an artist is "advanced" or "Cubist" or "Jazz," as whether he is good, bad, or interesting; and that is what most critics fail to do. One's general opinion of a movement or school ought not to affect one's opinion of any particular work. One may, for excellent reasons, dislike a movement; one may hold that it hampers or sets on a false scent more artists than it serves; that it induces students of promise to waste time and energy on fruitless problems; that it generally fails to get the best out of its most gifted adherents, while it pumps into a multitude of empty heads so much hot air as to swell them to disquieting proportions. This is pretty much what I think of Cubism; but I am not such a fool as to deny that, experimenting in these very problems which seem to me to lead most artists into a rather unprofitable world of abstractions, Picasso and Braque have produced works of the greatest beauty and significance, while those of Fernand Léger, Jean Metsinger, and other avowed Cubists are of extraordinary merit and deserve the most careful attention. I can think of no movement except that called "Art nouveau," which has not contributed something to the world's artistic capital and to the great tradition. Only, to realize this, one must be able to distinguish not only between movements, but between the artists of a movement. That is what angry critics will not do. That is why the admirable Mr. Dent--whose brilliant lacerations of _les six_, and other exponents of Jazz, I sometimes have the pleasure of translating to his victims--knew no better, the other day, than to bracket Poulenc with Miss Edith Sitwell. Confusions of this sort seem to me to take the sting out of criticism; and that, I am sure, is the last thing Mr. Dent would wish to do. He, at any rate, who comes to bury Jazz should realize what the movement has to its credit, _viz._, one great musician, one considerable poet, ten or a dozen charming or interesting little masters and mistresses, and a swarm of utterly fatuous creatures who in all good faith believe themselves Artists.

[Footnote Z: Honegger, I think, was never officially of the band.]