Chapter 7

One is tempted to feel that, after all, there is a certain underlying justification for the man in the street's objection to this kind of so-called "realism." We have a right after all to demand of art something more than a clever reproduction of the experiences we have undergone. We have a right to demand something creative, something exceptional, something imaginative, something that lifts us out of ourselves and our ordinary environments, something that has _deep holes_ in it that go down into unfathomable mystery, something that has vistas, horizons, large and noble perspectives, breadth, sweep, and scope.

The truth is that these grey psychological histories of typical young persons, drearily revolting against dreary conventions, are, in a deep and inherent sense, false to the mystery of life.

One feels certain that even the clever people who write them have moods and impulses far more vivid and thrilling, far more abnormal and bizarre, than they have the audacity to put into their work. A sort of perverted Puritanism restrains them. They have the diseased conscience of modern art, and they think that nothing can be true which is not draggle-tailed and nothing can be real which is not petty and unstimulating. And all the while the maddest, beautifulest fantasticalest things are occurring every day, and every day the great drunken gods are tossing the crazy orb of our fate from hand to hand and making it shine with a thousand iridescent hues! The natural man takes refuge from these people's drab perversions of the outrageous reality, in the sham wonders of meretricious romances which are not real at all.

What we cry out for is something that shall have about it the liberating power of the imagination and yet be able to convince us of its reality. We need an imaginative realism. We need a romanticism which has its roots in the solid earth. We need, in fact, precisely what Balzac brings.

So far from finding anything tedious or irksome in the heavy massing up of animate and inanimate back-grounds which goes on all the while in Balzac's novels, I find these things most germane to the matter. What I ask from a book is precisely this huge weight of formidable verisimilitude which shall surround me on all sides and give firm ground for my feet to walk on. I love it when a novel is thick with the solid mass of earth-life, and when its passions spring up volcano-like from flaming pits and bleeding craters of torn and convulsed materials. I demand and must have in a book a four-square sense of life-illusion, a rich field for my imagination to wander in at large, a certain quantity of blank space, so to speak, filled with a huge litter of things that are not tiresomely pointing to the projected issue.

I hold the view that in the larger aspects of the creative imagination there is room for many free margins and for many materials that are not slavishly symbolic. I protest from my heart against this tyrannous "artistic conscience" which insists that every word "should tell" and every object and person referred to be of "vital importance" in the evolution of the "main theme."

I maintain that in the broad canvas of a nobler, freer art there is ample space for every kind of digression and by-issue. I maintain that the mere absence of this self-conscious vibrating pressure upon one string gives to a book that amplitude, that nonchalance, that huge friendly discursiveness, which enables us to breathe and loiter and move around and see the characters from all sides--from behind as well as from in front! The constant playing upon that one string of a symbolic purpose or a philosophical formula seems to me to lead invariably to a certain attenuation and strain. The imagination grows weary under repeated blows upon the same spot. We long to debouch into some path that leads nowhere. We long to meet some one who is interesting in himself and does nothing to carry anything along.

Art of this tiresomely technical kind can be taught to any one. If this were all--if this were the one thing needful--we might well rush off en masse to the lecture-rooms and acquire the complete rules of the Short Story. Luckily for our pleasant hours there is still, in spite of everything, a certain place left for what we call genius in the manufacture of books; a place left for that sudden thrilling lift of the whole thing to a level where the point of the interest is not in the mere accidents of one particular plot but in the vast stream of the mystery of life itself.

Among the individual volumes of the Human Comedy, I am inclined to regard "Lost Illusions"--of which there are two volumes in that ten-penny edition--as the finest of all, and no one who has read that book can forget the portentous weight of realistic background with which it begins.

After "Lost Illusions" I would put "Cousin Bette" as Balzac's master-piece, and, after that, "A Bachelor's Establishment." But I lay no particular stress upon these preferences. With the exception of such books as "The Wild Ass's Skin" and the "Alkahest" and "Seraphita," the bulk of his work has a sort of continuous interest which one would expect in a single tremendous prose epic dealing with the France of his age.

Balzac's most remarkable characteristic is a sort of exultant reveling in every kind of human passion, in every species of desire or greed or ambition or obsession which gives a dignity and a tragic grandeur to otherwise prosaic lives. There is a kind of subterranean torrent of blind primeval energy running through his books which focusses itself in a thick smouldering fuliginous eruption when the moment or the occasion arises. The "will to power," or whatever else you may call it, has never been more terrifically exposed. I cannot but feel that as a portrayer of such a "will to power" among the obstinate, narrow, savage personages of small provincial towns, no one has approached Balzac.

Here, in his country scenes, he is a supreme master; and the tough, resistant fibre of his slow-moving, massively egotistic provincials, with their backgrounds of old houses full of wicked secrets and hoarded wealth, lends itself especially well to his brooding materialistic imagination, ready to kindle under provocation into crackling and licking flames.

His imagination has transformed, for me at least, the face of more than one country-side. Coming in on a windy November evening, through muddy lanes and sombre avenues of the outskirts of any country town, how richly, how magically, the lights in the scattered high walled houses and the faces seen at the windows, suggest the infinite possibilities of human life! The sound of wheels upon cobblestones, as the street begins and as the spire of the church rises over the moaning branches of its leafless elm-trees has a meaning for me now, since I have read Balzac, different from what it had before. Is that muffled figure in the rumbling cart which passes me so swiftly the country doctor or the village priest, summoned to the death-bed of some notorious atheist? Is the slender white hand which closes those heavy shutters in that gloomy house the hand of some heart-broken Eugenie, desolately locking herself up once more, for another lonely night, with her sick hopes and her sacred memories?

I feel as though no one but Balzac has expressed the peculiar brutality, thick, impervious, knotted and fibrous like the roots of the tree-trunks at his gate, of the small provincial farmer in England as well as in France.

I am certain no one but Balzac--except it be some of the rougher, homelier Dutch painters--has caught the spirit of those mellow, sensual "interiors" of typical country houses, with their mixture of grossness and avarice and inveterate conservatism; where an odour of centuries of egotism emanates from every piece of furniture against the wall and from every gesture of every person seated over the fire! One is plunged indeed into the dim, sweet, brutal heart of reality here, and the imagination finds starting places for its wanderings from the mere gammons of dried bacon hanging from the smoky rafters and the least gross repartee and lewd satyrish jest of the rustic Grangousier and Gargamelle who quaff their amber-coloured cider under the flickering of candles.

If he did not pile up his descriptions of old furniture, old warehouses, old barns, old cellars, old shops, old orchards and old gardens, this thick human atmosphere--overlaid, generation after generation, by the sensual proclivities of the children of the earth--would never possess the unction of verisimilitude which it has.

If he were all the while fussing about his style in the exhausting Flaubert manner, the rich dim reek of all this time-mellowed humanity would never strike our senses as it does. Thus much one can see quite clearly from reading de Maupassant, Flaubert's pupil, whose stark and savage strokes of clean-cut visualisation never attain the imaginative atmosphere or Rabelaisian aplomb of Balzac's rural scenes.

But supreme as he is in his provincial towns and villages, one cannot help associating him even more intimately with the streets and squares and river banks of Paris.

I suppose Balzac has possessed himself of Paris and has ransacked and ravished its rare mysteries more completely than any other writer.

I once stayed in a hotel called the Louis le Grand in the Rue Louis le Grand, and I shall never forget the look of a certain old Parisian Banking-House, now altered into some other building, which was visible through the narrow window of my high-placed room. That very house is definitely mentioned somewhere in the Human Comedy; but mentioned or not, its peculiar Balzacian air, crowded round by sloping roofs and tall white houses, brought all the great desperate passionate scenes into my mind.

I saw old Goriot crying aloud upon his "unkind daughters." I saw Baron Hulot dragged away from the beseeching eyes and clinging arms of his last little inamorata to the bedside of his much wronged wife. I saw the Duchesse de Langeais, issuing forth from the chamber of her victim-victor, pale and tragic, and with love and despair in her heart.

It is the thing that pleases me most in the stories of Paul Bourget that he has continued the admirable Balzacian tradition of mentioning the Paris streets and localities by their historic names, and of giving circumstantial colour and body to his inventions by thus placing them in a milieu which one can traverse any hour of the day, recalling the imaginary scenes as if they were not imaginary, and reviving the dramatic issues as if they were those of real people.

A favourite objection to Balzac among aesthetic critics is that his aristocratic scenes are lacking in true refinement, lacking in the genuine air and grace of such fastidious circles. I do not give a fig for that criticism. To try and limit a great imaginative spirit, full of passionate fantasy and bizarre inventions, to the precise and petty reproduction of the tricks of any particular class seems to me a piece of impertinent pedantry. It might just as well be said that Shakespeare's lords and ladies were not euphuistic enough. I protest against this attempt to turn a Napoleonic superman of literature, with a head like that head which Rodin has so admirably recalled for us, into a bourgeois chronicler of bourgeois mediocrities.

Balzac's characters, to whatever class they belong, bear the royal and passionate stamp of their demiurgic creator. They all have a certain magnificence of gesture, a certain intensity of tone, a certain concentrated fury of movement.

There is something tremendous and awe-inspiring about the task Balzac set himself and the task he achieved.

One sees him drinking his black coffee in those early hours of the morning, wrapped in his dressing-gown, and with a sort of clouded Vulcanian grandeur about him, hammering at his population of colossal figures amid the smouldering images of his cavernous brain. He was wise to work in those hours when the cities of men sleep and the tides of life run low; at those hours when the sick find it easiest to die and the pulses of the world's heart are scarcely audible. There was little at such times to obstruct his imagination. He could work "in the void," and the spirit of his genius could brood over untroubled waters.

There was something formidable and noble in the way he drove all light and casual loves, the usual recreations of men of literary talent, away from his threshold. Like some primordial Prometheus, making men out of mud and fire, he kept the perilous worshippers of Aphrodite far-distant from the smoke of his smithy, and refused to interrupt his cosmic labour for the sake of dalliance.

That high imaginative love of his--itself like one of the great passions he depicts--which ended, in its unworthy fulfilment, by dragging him down to the earth, was only one other proof of how profoundly cerebral and psychic that demonic force was which drove the immense engine of his energy.

It is unlikely that, as the world progresses and the generations of the artists follow one another and go their way, there will be another like him.

Such primal force, capable of evoking a whole world of passionate living figures, comes only once or twice in the history of a race. There will be thousands of cleverer psychologists, thousands of more felicitous stylists, thousands of more exact copiers of reality.

There will never be another Balzac.

VICTOR HUGO

My first notions of Victor Hugo were associated with the sea. It was from the old Weymouth harbour that as a child I used to watch those Channel-Island steamers with red funnels setting forth on what seemed to me in those days a wondrous voyage of mystery and peril. I read "The Toilers of the Sea" at my inland school at Mr. Hardy's Sherton Abbas; whither, it may be remembered, poor Giles Winterbourne set off with such trembling anxiety to fetch home his Grace.

I read it in what was probably a very quaint sort of translation. The book was bound in that old-fashioned "yellow back" style which at that time was considered in clergymen's families as a symbol of all that was dissipated and dangerous; and on the outside of the yellow cover was a positively terrifying picture of the monstrous devilfish with which Gellert wrestled in that terrible sea-cavern.

Certain scenes in that romance lodged themselves in my brain with diabolic intensity. That scene, for instance, when the successful scoundrel, swimming in the water, "feels himself seized by one foot," that scene where the man buys the revolver in the little gunsmith's shop; that appalling scene at the end where Gellert drowns himself, watching the ship that bears his love away to happiness in the arms of another--all these held my imagination then, as indeed they hold it still, with the vividness of personal experience.

It was long after this, not more than five or six years ago in fact, that I read "Notre Dame de Paris." This book I secured from the ship's library of some transatlantic liner and the fantastic horrors it contains, carried to a point of almost intolerable melodrama, harmonised well enough with the nightly thud of the engines and the daylong staring at the heaving water.

"Notre Dame" is certainly an amazing book. If it were not for the presence of genius in it, that ineffable all-redeeming quality, it would be one of the most outrageous inventions of flagrant sensationalism ever indulged in by the morbidity of man. But genius pervades it from beginning to end; pervades even its most impossible scenes; and on the whole I think it is a much more arresting tale than, say, "The Count of Monte Cristo," or any of Dumas' works except "The Three Musketeers."

I have never, even as a child, cared greatly for Dumas, and I discern in the attitude of the persons who persist in preferring him to Victor Hugo the presence of a temperamental cult so alien to my own that I am tempted to regard it as no better than an affected pose.

Nowhere is Victor Hugo's genius more evident than in his invention of names. Esmeralda, Quasimodo, Gellert, Cosette, Fantine--they all have that indescribable ring of genuine romance about them which more than anything else restores to us the "long, long thoughts" of youth.

I think that Fantine is the most beautiful and imaginative name ever given to any woman. It is far more suggestive of wild and delicate mysteries than Fragoletta or Dolores or Charmian or Ianthe.

I am inclined to maintain that it is in the sphere of pure poetic imagination that Victor Hugo is greatest; though, like so many other foreigners, I find it difficult to read his formal poetry. It is, I fancy, this poetic imagination of his which makes it possible for him to throw his isolated scenes into such terrific relief that they lodge themselves in one's brain with such crushing force. In all his books it is the separate individual scenes of which one finds oneself thinking as one recalls the progress of this narrative or the other. And when he has struck out with a few vivid lightning-like flashes the original lineaments of one of his superb creations, it is rather in separate and detached scenes that he makes such a person's indelible characteristics gleam forth from the surrounding darkness, than in any continuous psychological process of development.

His psychology is the psychology of a child; but none the worse perhaps for that; for it is remarkable how often the most exhaustive psychological analysis misses the real mystery of human character. Victor Hugo goes to work by illuminating flashes. He carries a flaring torch in his hand; and every now and then he plunges it into the caverns of the human heart, and one is conscious of vast stupendous Shadows, moving from midnight to midnight.

His method is gnomic, laconic, oracular; never persuasive or plausible. It is "Lo--here" and then again "Lo--there!" and we are either with him or not with him. There are no half measures, no slow evolutionary disclosures.

One of his most interesting literary devices, and it is an essentially poetic one, is the diffusion through the story of some particular background, a background which gathers to itself a sort of brooding personality as the tale proceeds, and often becomes before the book is finished far more arresting and important than any of the human characters whose drama it dominates.

Such is the sea itself, for instance, in "The Toilers." Such is the historic cathedral in "Notre Dame." Such is the great Revolution --certainly a kind of natural cataclysm--in "Ninety-three." Such are the great sewers of Paris in "Les Miserables." Such--though it is rather a symbol than a background--is the terrible fixed smile of the unfortunate hero in "L'Homme qui Rit."

It is one of the most curious and interesting phenomena in the history of literature, this turning of a poet into a writer of romances, romances which have at least as much if not more of the poetic quality in them than the orthodox poetry of the same hand.

One is led to wonder what kind of stories Swinburne would have written had he debouched into this territory, or what would have been the novels conceived by Tennyson. Thomas Hardy began with poetry and has returned to poetry; and one cannot help feeling that it is more than anything else the absence of this quality in the autobiographical studies of sex and character which the younger writers of our day spin out that makes them after a time seem so sour and flat.

It is the extravagance of the poetic temper and its lack of proportion which leads to some of the most glaring of Victor Hugo's faults; and it is the oracular, prophetic, gnomic tone of his genius which causes those queer gaps and rents in his work and that fantastic arbitrariness which makes it difficult for him to evoke any rational or organic continuity.

It is an aspect of the poetic temper too, the queer tricks which the humour of Victor Hugo will condescend to play. I suppose he is by nature the least endowed with a sense of humour of all the men of genius who have ever lived. The poet Wordsworth had more. But like so many poetic natures, whose vivid imagination lends itself to every sort of human reaction, even to those not really indigenous, Victor Hugo cannot resist in indulging in freakish sallies of jocularity which sometimes become extraordinarily strained and forced, and even remind one now and then of the horrible mechanical smile on the countenance of the mutilated man in his own story.

Poet-like too is the portentous pedantry of his archaeological vein; the stupendous air of authority with which he raps out his classical quotations and his historic allusions. He is capable sometimes of producing upon the mind the effect of a hilarious school-master cracking his learned jokes to an audience only too willing to encourage him. At other times, so bizarre and out of all human proportion are his fantasies, one receives an impression as if one of the great granite effigies representing Liberty or Equality or the Rights of Man, from the portico of some solemn Palais de Justice, had suddenly yielded to the temptation of drink and was uttering the most amazing levities. Victor Hugo in his lighter vein is really, we must honestly confess, a somewhat disconcerting companion. One has such respect for the sublime imaginations which one knows are lurking behind "that cliff-like brow" that one struggles to find some sort of congruity in these strange gestures. It is as though when walking by the side of some revered prophet, one were suddenly conscious that the man was skipping or putting out his tongue. It is as though we caught Ajax masquerading as a mummer, or Aeschylus dressed up in cap and bells.

There are persons who interest themselves still in Victor Hugo's political attitudes, in his orations on the balcony of the Hotel de Ville; in his theatrical visits to the barricades where "he could be shot, but could not shoot"; in his diatribes against Napoleon the Third; in his defence of the Commune from the safe remoteness of Brussels. There are persons who suffer real disillusion when they discover how much of a conservative and a courtier he was in his youth. There are persons who are thrilled to recall how he carried his solemn vengeance against his imperial enemy so far as to rebuke in stern language Queen Victoria for her friendliness towards the Empress.

I must confess I find it difficult to share these emotions. I seem to smell the foot-lights of the opera in these heroic declamations, and indeed poor Napoleon the Little was himself so much of an operatic hero that to exalt him into a classic tyrant seems little short of ridiculous.

We derive a much truer picture of Victor Hugo's antagonist from Disraeli's "Endymion" than we do from the poet's torrential invectives. I have a shrewd idea that the Emperor was a good deal more amiable, if not more philosophical, than his eloquent judge.

Victor Hugo was an impassioned lover of children. Who can forget those scenes in "Les Miserables" about little Cosette and the great wonderful doll which Valjean gave her? He loved children and--for all his lack of humour; sometimes I think because of it--he thoroughly understood them. He loved children and he was a child himself.

No one but a child would have behaved as he did on certain occasions. The grave naivete of his attitude to the whole spectacle of life was like the solemnity of a child who takes very seriously every movement of the game which he is playing. A child is solemn when it is pretending to be an engine-driver or a pilot, and Victor Hugo was solemn when he pretended to be a saviour of society. No one but a person endowed with the perfect genius of childishness could have acted toward his mistress and his wife in the way he did, or have been so serenely blind to the irony of the world.