Chapter 1

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STUDIES IN LITERATURE AND HISTORY

by the Late

SIR ALFRED C. LYALL

P.C., G.C.I.E., K.C.B., D.C.L., LL.D.

London John Murray, Albemarle Street, W. 1915

PREFACE

In the Second Series of his _Asiatic Studies_ the late Sir Alfred Lyall republished a number of articles that he had contributed to various Reviews up to the year 1894. After that date he wrote frequently, especially for the _Edinburgh Review_, and he left amongst his papers a note naming a number of articles from which he considered that a selection might be made for publication.

The present volume contains, with two exceptions, the articles so mentioned, together with one that was not included by the author.

A large number of Sir Alfred Lyall's contributions[1] to the Reviews deal, as might be expected, with India--with its political and administrative problems, or with the careers of its statesmen and soldiers. He appears, however, to have regarded such articles as not of sufficient permanent value for republication, and his selection was confined almost exclusively to writings on literary, historical or religious subjects. He made an exception in favour of an essay on his old friend Sir Henry Maine; but as the limitations imposed by the publisher made it necessary to sacrifice one of the larger articles, this essay was, with some reluctance, excluded. It dealt chiefly with Maine's influence on Indian administration and legislation; and would more appropriately be included in a collection of his writings on India, should these ever be published.

While Indian official subjects have been excluded, readers of the earlier 'Studies' will recognise that many of the writings in this volume follow out lines of thought suggested in the earlier works, or apply in a larger sphere the results of observations made when the author was studying Indian myths and Indian religions in Berar, or the 'rare and antique stratification of society' in Rajputana. The two addresses on religion placed at the end of the volume form the most obvious example, but there is a close connection between a group of the other articles and the views developed in _Asiatic Studies_.

In the last edition of that work a chapter on 'History and Fable' was inserted because of its bearing on the author's general views 'regarding the elementary commixture of fable and fact in ages that may be called prehistoric.' In this chapter the author made a rapid survey of the 'kinship between history and fable,' tracing it through the times of myth and romance to the period of the historic novel. 'At their birth,' he says, 'history and fable were twin sisters;' and again, 'There is always a certain quantity of fable in history, and there is always an element of history in one particular sort of fable.' The reviews of English and Anglo-Indian fiction, and of 'Heroic Poetry' in the present work, give opportunities of further illustrations from fiction of his views: which reappear from another standpoint in the 'Remarks on the Reading of History'--a short address, which it has been thought worth while to reprint, though it was not specially indicated by the author for publication.

Several of the other articles contain criticism of a more purely literary character; the article on 'Frontiers,' which recounts exciting but little-known episodes in the Russian advance in Asia, has an important bearing on a branch of Indian policy in which Sir Alfred Lyall to the end of his career took a deep interest, and of which he had a profound knowledge; and 'L'Empire Libéral' may, it is thought, be found to contain much that is of special interest at the present time.

These articles have not had the benefit of any general revision by their author, but in a few cases he had indicated in the printed copies alterations or additions that he desired to be made.

_The Quarterly._ _The Anglo-Saxon._ _The Edinburgh._ _The Fortnightly._

Except that the two essays on 'Race and Religion' and 'The State in its Relation to Religion' have been brought together at the end of the volume, the chronological order of original publication has been observed. The source from which each article is drawn has in all cases been indicated, and this opportunity is taken of acknowledging the permission to republish that has courteously been accorded by the editors or proprietors of the Reviews concerned.

Permission has also been given to publish the article on 'Sir Spencer Walpole' written for the British Academy, and the address on the 'Reading of History.'

John O. Miller

_December 1914._

CONTENTS

PAGE

NOVELS OF ADVENTURE AND MANNERS 1

ENGLISH LETTER-WRITING IN THE NINETEENTH CENTURY 34

THACKERAY 76

THE ANGLO-INDIAN NOVELIST 121

HEROIC POETRY 155

THE WORKS OF LORD BYRON 177

THE ENGLISH UTILITARIANS 210

CHARACTERISTICS OF MR. SWINBURNE'S POETRY 263

FRONTIERS ANCIENT AND MODERN 291

L'EMPIRE LIBÉRAL 328

SIR SPENCER WALPOLE 368

REMARKS ON THE READING OF HISTORY 377

RACE AND RELIGION 399

THE STATE IN ITS RELATION TO EASTERN AND WESTERN RELIGIONS 427

INDEX 454

NOVELS OF ADVENTURE AND MANNERS[2]

Mr. Raleigh[3] very rightly goes back to mediæval romance for the origins of English fiction. In all countries the metrical tale is many generations older than the prose story; for prose writing is a refinement of the literary art which flourishes only when reading has become popular; while verse, being at first a kind of _memoria technica_ used for the correct transmission of sacred texts and the heroic tradition, strikes the ear and fixes the recollection of an audience. The exploits of mighty warriors and the miracles of saints--love, fighting, and theology--form the subject matter of these stories in verse. They are, as Mr. Raleigh says, epical in spirit though not in form: 'they carry their hero through the actions and adventures of his life ... they display a marked preference for deeds done, and attempt no character-drawing.... A sense of the instability of human life, very present to the minds of men familiar with battle and plague, is everywhere mirrored in these romances.' Then came Chaucer, who not only wrote prose tales, but also carried far toward perfection the art of narration in verse; and 'in the fifteenth century both of the ancestors of the modern novel--that is, the novella or short pithy story after the manner of the Italians, and the romance of chivalry--appear in an English prose dress.' But the genius of English fiction was still loaded with the chains of allegory and pedantic moralisation; and in the _Gesta Romanorum_, the most popular collection of English prose stories which had been translated from the Latin at the end of the fifteenth century, 'human beings are mere puppets, inhabiting the great fabric of mediæval thought and mediæval institution.... It was the work of the Renaissance to recover the literal and obvious sense of human life, as it was the work of the closely-allied Reformation to recover the literal sense of the Bible.'

The playwright has always been a formidable rival to the novelist, insomuch that in a period of dramatic activity the novel, as our author remarks, can hardly maintain itself. But from the middle of the seventeenth century the stage had fallen low, while the formal and fantastic romance, the long-winded involved story, was losing its vogue. So the heroic romances, we are told, 'availed themselves skilfully of the opportunity to foster a new taste in the reading public--a delight, namely, born of the fashionable leisure of a self-conscious society, in minute introspection, and the analysis and portraiture of emotional states.' We are inclined to suspect that these words, which would serve well enough to describe the taste for the analytic novel of our own day, must be taken with considerable reserve in their application to the writings and the readers of two centuries ago. But we may agree that certain tendencies of style and developments of feeling which are now predominant may be traced back to this time. And when, toward the end of the seventeenth century, Mrs. Aphra Behn began to enlist incidents of real life into the service of her fiction, she was making a distinct attempt, as Mr. Raleigh points out, to bring romance into closer relation with contemporary life, although a conventional treatment of facts and character still overlay all her work. Mr. Raleigh holds, however, that this attempt was abortive; that it failed at the time; and that the great eighteenth-century school of English novelists, with Richardson and Fielding at their head, took its rise, quite independently of predecessors in the seventeenth century, out of the general stock of miscellaneous literature--plays, books of travel, adventures, satires, journals, and broadsides--which had been drawn at first hand from observation and experience of the various forms of surrounding life.

We are quite ready to agree that the eighteenth-century Novel of Manners belongs to a family distinct from that of the Romantic story, or is at any rate very distantly connected with it. But when Mr. Raleigh goes on to say that the heroic romance died in the seventeenth century and left no issue, although it was revived again in the latter half of the eighteenth century, to this view we are much inclined to demur. Such complete interruptions in the transmission of species are as rare in the intellectual as in the physical world; and we prefer to maintain that the romance, although it was for a time eclipsed by the brilliancy of the writers who described the manners and sentiments of contemporary society, was never extinguished, but became transformed gradually, by successive modifications of environment, into the modern novel of adventure. It is true that Defoe entirely rejected the marvellous, while Horace Walpole, fifty years later, dealt immoderately in the elements of mystery and wonder; yet, notwithstanding these violent oscillations of style and method, we believe that the great historical novels of the early nineteenth century, and the tales of stirring incident which flourish at the present day, descend by an unbroken filiation from the fabulous romance of elder times.

Mr. Raleigh does not carry his brief yet instructive history of the English novel beyond the time of Walter Scott, with whom, he says, 'the wheel has come full circle,' the Romantic revival was victorious, prose finally superseded verse as the vehicle of adventurous story, and realism was wedded to romance. We trust that in some future work he will carry on up to a later date his survey of the course and currents of imaginative fiction. In the meantime, it may not be irrelevant to follow up further and a little more closely the ruling characteristics and the formative influences that have contributed toward the production of English light literature as it exists at the present day.

The novels with which our fortunate generation is so abundantly supplied may be divided broadly into two classes, overlapping and interlaced with each other, yet on the whole distinguishable as separate species--the Novel of Adventure and the Novel of Manners. The former class has a very long pedigree. The early romance writer drew his incidents from the field of heroic action and marvellous enterprise; he revelled in noble sentiments, astonishing feats, and the exhibition of all the cardinal virtues in tragic situations; his mission was to preserve and hand down to us magnified figures of mighty men, or the pictures of great events, as they had impressed themselves upon the popular imagination. For such material he was obliged to travel abroad into remote countries, or backward to bygone ages; but if his images of gallant knights and fair damsels were well modelled, if the language was superb, and the deeds or sufferings sufficiently astonishing, no one cared about anachronisms, incongruities, or improbabilities.

But as the heroic romance dwindled and withered under the dry light of precise knowledge and extending erudition, the purveyors of fiction, accommodating themselves to a more exacting taste, applied themselves seriously to the reproduction of famous scenes and portraits by the aid and guidance of historic documents and antiquarian research. The modern romantic school, of whom the master, if not the founder, is Scott, represented a clear step forward to what is now called Realism, and a proportionate abandonment of the classic convention, or the method of drawing from traditional or imaginary models. To Scott may be ascribed the authoritative introduction of descriptions of landscape, of storms, sunsets, and picturesque effects; not the artificial scene-painting of Mrs. Radcliffe, but artistic delineations of the aspects of earth, sea, and sky which gave depth and atmosphere to his dramatic situations. From this period, also, may be dated the practice, so entirely contrary to the spirit of true romance, of verifying by documentary evidence the details of a story. It was Scott who, in the first years of this century, set prominently the example of appending copious notes to his stories in verse or prose, wherein he displayed his archæologic lore and produced his authorities for any striking illustration of manners or characteristic incident. This practice, which was largely adopted by others, was at least an improvement upon the old unregenerate system of seasoning the conversation of warriors and peasants with uncouth phrases picked up at random, or trusting to mere fancy or accepted formula for the description of battles or of the ways of folk in mediæval castles and cottages. But the process savoured too much of the workshop. A novel or poem that required an appendix of notes and glossaries must be of high excellence to avoid suspicious resemblance to an elaborate literary counterfeit, since open and avowed borrowing from dictionaries of antiquities or volumes of travel must damage the illusion which is the indispensable element of romance. In Moore's fantastic metrical romance of _Lalla Rookh_ the system was carried to an extent that now seems ridiculous, for certain passages are loaded with outlandish phrases or metaphors that are unintelligible except by reference to the notes. Nevertheless the English public, being then quite ignorant of the true East, tolerated Moore's sham Orientalism, even though Byron's fine poems were just then exposing the difference between working up the subject in a library and wandering in Asiatic countries. Byron's language seems in the present day turgid, and his Greeks and Turks may have a theatrical air, but his splendid descriptive passages were drawn by a master hand straight from nature, while his colouring, landscape, and costume are usually excellent; so that his work also is a distinct movement in the direction of realism. Yet it is to be observed that after Byron and Scott the metrical romance, that most ancient form of tale-telling, fell rapidly into disuse. The fact that Byron's latest poem, _Don Juan_, belonged essentially to the coming realistic school, is a significant indication of transition; and Scott's abandonment of poetry for prose, which was a necessary consequence of his advance toward realism, gave its death-blow to the earlier fashion.

By this time, indeed, the conventional writer of adventures, though he held his ground up to or even beyond the middle of the century, was in a state of incurable decadence. He was losing the confidence of the general reader, who had picked up some precise notions regarding appropriate scenery, language, and costume in sundry periods and divers places, from China to Peru; and he was persecuted by that mortal foe of the old romancer, the well-informed critic, who trampled even upon a commonplace book well filled with references to standard authorities, insisting upon careful study of the whole environment, the dexterous incorporation of details, and delicate blending of local colours. Severe pedagogic handling of a historic novel, as if it were a paper done at some competitive examination, was too much for the old school, which finally subsided into cheap popular editions, making way for a new class of writers that adapted the Novel of Adventure to the requirements of latter-day taste, to the widening of knowledge, and the diversified expansion of our national life. The prevailing tendency was now to confine the range of scene and action more and more approximately to the contemporary period, to insist on genuine materials, and to observe a stricter canon of probabilities, wherein the discriminating reader fancied himself to be a judge. The use of notes was discarded as contrary to the high artistic principle that in fiction everything must resemble reality while nothing must be demonstrably matter of fact. The appearance of famous personages must be occasional, after the manner of gods in an epic poem; they must not be, as formerly, the leading characters and chief actors in the drama. And great battles, instead of marking the grand climacteric of a story's development, were now merely traversed, so to speak, on their outskirts, or were only approached near enough to throw a glowing sidelight on certain groups and situations. The gradual adoption of these limitations may be traced back to the naval and military novels that reflect the traditions of the great French war. No one even then thought of writing a romance with Nelson or Bonaparte as the hero, or of finishing off in the full blaze of Trafalgar or in the rout of Waterloo; although with Marryat and Lever the English reader revelled in the dashing exploits or bacchanalian revels of sailors and soldiers. Lever did indeed give glimpses of Wellington or Napoleon; but his business was with Connaught Rangers and French guardsmen; while Marryat and Michael Scott gave us daring sea-captains and reckless sailors with inimitable vigour and animation.

But as the echo of thunderous battles by sea and land died away, this particular offshoot of modern romance ceased to flourish, and has never had any considerable revival. The tale-teller of adventure, like his ancestor the epic poet, requires a certain haziness of atmosphere; he must have elbow room for his inventive faculty; and he is liable to be stifled in the flood of lucid narrative and inflexible facts let loose upon recent events in our day by complete histories, personal memoirs, public documents, war correspondence, and all-pervading journalism. This is probably the main reason why the Crimean War and the Indian Mutiny, which broke for brief intervals the long peace of England, have furnished no fresh material contribution of importance to the romance of war, either in prose or poetry, to stamp the memory of a long weary siege, or of a short and bloody struggle, upon the popular imagination. Another reason must be, of course, the non-appearance in England of the _vates sacer_; for Tolstoi has shown us that within and without Sebastopol there might be found material for work of the highest order. However this may be, it is a remarkable fact that just about that time the novel of adventure turned back for a moment, in Kingsley's hands, to the spacious times of great Elizabeth, to the Armada and the legends of filibustering on the Spanish main; and at the present time we may observe that the leading writer of this school goes back at least a hundred years for the field of his best stories. The eighteenth century, whose politics, philosophy, and literature seemed to Carlyle's somewhat bookish conception to be flat, prosaic, and comparatively uninteresting, was in truth for Englishmen pre-eminently the age of energetic activity, which touched the high level of romantic enterprise at two points, the Scottish rebellions and the exploits of famous buccaneers. Mr. Stevenson has reopened, with great skill and success, these mines of literary ore that had been discovered but only partially worked by Walter Scott. His rare artistic instinct divined the rich veins which they still contained; while in other stories his intimate acquaintance with actual life and circumstance on the coasts and islands of the Pacific Ocean has provided him with those elements of distance and unfamiliarity which are essential, as we have suggested, to the composition of the novel of adventure. Other less original writers have travelled in search of these elements to the Australian bush or the outlying half-explored regions of South Africa.