Part 1
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THE GENTLE READER
The Gentle Reader
BY
SAMUEL McCHORD CROTHERS
BOSTON AND NEW YORK
HOUGHTON, MIFFLIN AND COMPANY
The Riverside Press, Cambridge
1904
_Copyright, 1903
By Samuel McChord Crothers
All rights reserved
Published October, 1903_
Preface
When Don Quixote was descanting on the beauty of the peerless Dulcinea, the Duchess interrupted him by expressing a doubt as to that lady's existence.
"Much may be said on that point," said Don Quixote. "God only knows whether there be any Dulcinea or not in the world. These are things the proof of which must not be pushed to extreme lengths."
But this admission does not in the least interfere with the habitual current of his thoughts, or cool the ardor of his loyalty. He proceeds after the momentary digression as if nothing had happened. "I behold her as she needs must be, a lady who contains within herself all the qualities to make her famous throughout the world; beautiful, without blemish; dignified, without haughtiness; tender, and yet modest; gracious from courtesy, and courteous from good breeding; and lastly of illustrious birth."
If in the following pages I begin by admitting that there is much to be said in behalf of the popular notion that the Gentle Reader no longer exists, let this pass simply as an evidence of my decent respect for the opinion of mankind. To my mind the Gentle Reader is the most agreeable of companions, and to make his acquaintance is one of the pleasures of life.
Of so elusive a personality it is not always possible to give a consistent account. I have no doubt that I may have occasionally attributed to him sentiments which are really my own; on the other hand, I suspect that some views that I have set down as my own may have been unconsciously derived from him. I have particular reference to the opinions expressed on the subject of Ignorance. Such confusion of mental properties the Gentle Reader will readily pardon, for there is no one in all the world so careless of the distinctions between Meum and Tuum.
CONTENTS
PAGE
THE GENTLE READER 1
THE ENJOYMENT OF POETRY 35
THE MISSION OF HUMOR 64
CASES OF CONSCIENCE CONCERNING WITCHCRAFTS 101
THE HONORABLE POINTS OF IGNORANCE 135
THAT HISTORY SHOULD BE READABLE 167
THE EVOLUTION OF THE GENTLEMAN 201
THE HINTER-LAND OF SCIENCE 227
THE GENTLE READER'S FRIENDS AMONG THE CLERGY 243
QUIXOTISM 271
INTIMATE KNOWLEDGE AND DELIGHT 303
The Gentle Reader
What has become of the Gentle Reader? One does not like to think that he has passed away with the stagecoach and the weekly news-letter; and that henceforth we are to be confronted only by the stony glare of the Intelligent Reading Public. Once upon a time, that is to say a generation or two ago, he was very highly esteemed. To him books were dedicated, with long rambling prefaces and with episodes which were their own excuse for being. In the very middle of the story the writer would stop with a word of apology or explanation addressed to the Gentle Reader, or at the very least with a nod or a wink. No matter if the fate of the hero be in suspense or the plot be inextricably involved.
"Hang the plot!" says the author. "I must have a chat with the Gentle Reader, and find out what he thinks about it."
And so confidences were interchanged, and there was gossip about the Universe and suggestions in regard to the queerness of human nature, until, at last, the author would jump up with, "Enough of this, Gentle Reader; perhaps it's time to go back to the story."
The thirteenth book of Tom Jones leaves the heroine in the greatest distress. The last words are, "Nor did this thought once suffer her to close her eyes during the whole succeeding night." Had Fielding been addressing the Intelligent Modern Public he would have intensified the interest by giving an analysis of Sophia's distress so that we should all share her insomnia. But not at all! While the dear girl is recovering her spirits it is such an excellent opportunity to have uninterrupted discourse with the Gentle Reader, who doesn't take these things too hard, having long since come to "the years that bring the philosophic mind." So the next chapter is entitled An Essay to prove that an author will write better for having some knowledge of the subject on which he treats. The discussion is altogether irrelevant; that is what the Gentle Reader likes.
"It is a paradoxical statement you make," he says, trying to draw the author out. "What are your arguments?"
Then the author moderates his expressions. "To say the truth I require no more than that an author should have some little knowledge of the subject of which he treats."
"That sounds more reasonable," says the Gentle Reader. "You know how much I dislike extreme views. Let us admit, for the sake of argument, that a writer may know a little about his subject. I hope that this may not prove the opening wedge for erudition. By the way, where was it we left the sweet Sophy; and do you happen to know anything more about that scapegrace Jones?"
That was the way books were written and read in the good old days before the invention of the telephone and the short story. The generation that delighted in Fielding and Richardson had some staying power. A book was something to tie to. No one would say jauntily, "I have read Sir Charles Grandison," but only, "I am reading." The characters of fiction were not treated as transient guests, but as lifelong companions destined to be a solace in old age. The short story, on the other hand, is invented for people who want a literary "quick lunch." "Tell me a story while I wait," demands the eager devourer of fiction. "Serve it hot, and be mighty quick about it!"
In rushes the story-teller with love, marriage, jealousy, disillusion, and suicide all served up together before you can say Jack Robinson. There is no time for explanation, and the reader is in no mood to allow it. As for the suicide, it must end that way; for it is the quickest. The ending, "They were happy ever after," cannot be allowed, for the doting author can never resist the temptation to add another chapter, dated ten years after, to show how happy they were.
I sometimes fear that reading, in the old-fashioned sense, may become a lost art. The habit of resorting to the printed page for information is an excellent one, but it is not what I have in mind. A person wants something and knows where to get it. He goes to a book just as he goes to a department store. Knowledge is a commodity done up in a neat parcel. So that the article is well made he does not care either for the manufacturer or the dealer.
Literature, properly so called, is quite different from this, and literary values inhere not in things or even in ideas, but in persons. There are some rare spirits that have imparted themselves to their words. The book then becomes a person, and reading comes to be a kind of conversation. The reader is not passive, as if he were listening to a lecture on The Ethics of the Babylonians. He is sitting by his fireside, and old friends drop in on him. He knows their habits and whims, and is glad to see them and to interchange thought. They are perfectly at their ease, and there is all the time in the world, and if he yawns now and then nobody is offended, and if he prefers to follow a thought of his own rather than theirs there is no discourtesy in leaving them. If his friends are dull this evening, it is because he would have it so; that is why he invited them. He wants to have a good, cosy, dull time. He has had enough to stir him up during the day; now he wants to be let down. He knows a score of good old authors who have lived long in the happy poppy fields.
In all good faith he invokes the goddess of the Dunciad:--
"Her ample presence fills up all the place, A veil of fogs dilates her awful face. Here to her Chosen all her works she shews, Prose swelled to verse, verse loitering into prose."
The Gentle Reader nods placidly and joins in the ascription:--
"Great tamer of all human art! First in my care and ever at my heart; Dullness whose good old cause I still defend.
* * * * *
O ever gracious to perplex'd mankind, Still shed a healing mist before the mind; And lest we err by wit's wild dancing light, Secure us kindly in our native night."
I would not call any one a gentle reader who does not now and then take up a dull book, and enjoy it in the spirit in which it was written.
Wise old Burton, in the Anatomy of Melancholy, advises the restless person to "read some pleasant author till he be asleep." Many persons find the Anatomy of Melancholy to answer this purpose; though Dr. Johnson declares that it was the only book that took him out of bed two hours before he wished to rise. It is hard to draw the line between stimulants and narcotics.
This insistence on the test of the enjoyment of the dullness of a dull book is not arbitrary. It arises from the characteristic of the Gentle Reader. He takes a book for what it is and never for what it is not. If he doesn't like it at all he doesn't read it. If he does read it, it is because he likes its real quality. That is the way we do with our friends. They are the people of whom we say that "we get at them." I suppose every one of us has some friend of whom we would confess that as thinker he is inferior to Plato. But we like him no less for that. We might criticise him if we cared,--but we never care. We prefer to take him as he is. It is the flavor of his individuality that we enjoy. Appreciation of literature is the getting at an author, so that we like what he is, while all that he is not is irrelevant.
There are those who endeavor to reduce literary criticism to an exact science. To this end they would eliminate the personal element, and subject our admirations to fixed standards. In this way it is hoped that we may ultimately be able to measure the road to Parnassus by kilometers. All this is much more easily said than done. Personal likings will not stay eliminated. We admire the acuteness of the critic who reveals the unsuspected excellence of our favorite writer. It is a pleasure like that which comes when a friend is received into a learned society. We don't know much about his learning, but we know that he is a good fellow, and we are glad to learn that he is getting on. We feel also a personal satisfaction in having our tastes vindicated and our enjoyment treated as if it were a virtue, just as Mr. Pecksniff was pleased with the reflection that while he was eating his dinner, he was at the same time obeying a law of the Universe.
But the rub comes when the judgment of the critic disagrees with ours. We discover that his laws have no penalties, and that if we get more enjoyment from breaking than from obeying, then we are just that much ahead. As for giving up an author just because the judgment of the critic is against him, who ever heard of such a thing? The stanchest canons of criticism are exploded by a genuine burst of admiration.
That is what happens whenever a writer of original force appears. The old rules do not explain him, so we must make new rules. We first enjoy him, and then we welcome the clever persons who assure us that the enjoyment is greatly to our credit. But--
"You must love him ere to you He shall seem worthy of your love."
I asked a little four-year-old critic, whose literary judgments I accept as final, what stories she liked best. She answered, "I like Joseph and Aladdin and The Forty Thieves and The Probable Son."
It was a purely individual judgment. Some day she may learn that she has the opinion of many centuries behind her. When she studies rhetoric she may be able to tell why Aladdin is better than The Shaving of Shagpat, and why the story of "The Probable Son" delights her, while the half-hour homily on the parable makes not the slightest impression on her mind. The fact is, she knows a good story just as she knows a good apple. How the flavor got there is a scientific question which she has not considered; but being there, trust the uncloyed palate to find it out! She does not set up as a superior person having good taste; but she says, "I can tell you what tastes good."
The Gentle Reader is not greatly drawn to any formal treatises. He does not enjoy a bare bit of philosophy that has been moulded into a fixed form. Yet he dearly loves a philosopher, especially if he turns out to be a sensible sort of man who doesn't put on airs.
He likes the old Greek way of philosophizing. What a delight it was for him to learn that the Academy in Athens was not a white building with green blinds set upon a bleak hilltop, but a grove where, on pleasant days, Plato could be found, ready to talk with all comers! That was something like; no board of trustees, no written examinations, no text-books--just Plato! You never knew what was to be the subject or where you were coming out; all you were sure of was that you would come away with a new idea. Or if you tired of the Academy, there were the Peripatetics, gentlemen who were drawn together because they imagined they could think better on their legs; or there were the Stoics, elderly persons who liked to sit on the porch and discuss the "cosmic weather." No wonder the Greeks got such a reputation as philosophers! They deserve no credit for it. Any one would like philosophy were it served up in that way.
All that has passed. Were Socrates to come back and enter a downtown office to inquire after the difference between the Good and the Beautiful, he would be confronted with one of those neatly printed cards, intended to discourage the Socratic method during business hours: "This is our busy day."
The Gentle Reader also has his business hours, and has learned to submit to their inexorable requirements; but now and then he has a few hours to himself. He declines an invitation to a progressive euchre party, on the ground of a previous engagement he had made long ago, in his college days, to meet some gentlemen of the fifth century B. C. The evening passes so pleasantly, and the world seems so much fresher in interest, that he wonders why he doesn't do that sort of thing oftener. Perhaps there are some other progressive euchre parties he could cut, and the world be none the worse.
How many people there have been who have gone through the world with their eyes open, and who have jotted down their impressions by the way! How quickly these philosophers come to know their own. Listen to Izaak Walton in his Epistle to the Reader: "I think it fit to tell thee these following truths, that I did not undertake to write or publish this discourse of Fish and Fishing to please myself, and that I wish it may not displease others. And yet I cannot doubt but that by it some readers may receive so much profit that if they be not very busy men, may make it not unworthy the time of their perusal. And I wish the reader to take notice that in the writing of it I have made a recreation of a recreation; and that it might prove so to thee in the reading, and not to read dully and tediously, I have in several places mixed some innocent mirth; of which if thou be a severe, sour-complexioned man, then I here disallow thee to be a competent judge.... I am the willinger to justify this innocent mirth because the whole discourse is a kind of picture of my own disposition, at least of my disposition on such days and times as I allow myself--when Nat and I go fishing together." How cleverly he bows out the ichthyologists! How he rebukes the sordid creature who has come simply to find out how to catch fish! That is the very spirit of Simon Magus! "Thou hast neither part nor lot in this matter!"
The Gentle Reader has no ulterior aims. All he wants to know is how Izaak Walton felt when he went fishing, and what he was thinking about.
"A kind of picture of a man's own disposition," that is literature. Even the most futile attempt at self-revelation evokes sympathy. I remember, as a boy, gazing at an austere volume in my grandfather's library. It was, as far as I could ascertain, an indigestible mixture of theology and philology. But my eye was caught by the title, The Diversions of Purley. I had not the slightest idea who Purley was, but my heart went out to him at once.
"Poor Purley!" I said. "If these were your diversions, what a dog's life you must have led!" I could see Purley gazing vaguely through his spectacles as he said: "Don't pity me! It's true I have had my trials,--but then again what larks! See that big book; I did it!" Only long after did I learn that my sympathy was un-called for, as Purley was not a person but a place.
* * * * *
Of all the devices for promoting a good understanding the old-fashioned Preface was the most excellent. It was not an introduction to the subject, its purpose was personal. In these days the Preface, where it survives, is reduced to the smallest possible space. It is like the platform of an electric car which affords the passenger a precarious foothold while he strives to obey the stern demand of the conductor that he move forward. But time was when the Preface was the broad hospitable porch on which the Author and Reader sat for an hour or so and talked over the enterprise that was before them. Sometimes they would talk so long that they almost forgot their ostensible subject.
The very title of Sir William Davenant's "Preface before Gondibert" suggests the hospitable leisure of the seventeenth century. Gondibert is a poetical masterpiece not to be lightly adventured upon. The mind must be duly prepared for it. Sir William, therefore, discourses about poetry in general, and then takes up special instances.
"I will (according as all times have applied their reverence) begin with Homer."
"Homer is an admirable point of departure, and I have no doubt but that you will also tell what you think of Virgil," says the Gentle Reader, who when he is asked to go a mile is glad to go twain.
Then follows discourse on Lucan, Statius, Tasso, and the rest.
"But I feel (sir) that I am falling into the dangerous Fit of a hot writer; for instead of performing the promise which begins this Preface, and doth oblige me (after I had given you the judgement of some upon others), to present myself to your censure, I am wandering after new thoughts; but I shall ask your pardon and return to my undertaking."
"No apologies are necessary, I assure you. With new thoughts the rule is first come, first served, while an immortal masterpiece can wait till such time as we can enjoy it together."
After some reflections on the fallibility of the clergy and the state of the country, the author proceeds to describe the general structure of his poem.
"I have now given you an account of such provisions as I have made for this new Building, and you may next please, having examined the substance, to take a view of the form." He points out the "shadowings, happy strokes, and sweet graces" of his work. This is done with an intimacy of knowledge and fullness of appreciation that could not be possible in a stranger.
"'Tis now fit, after I have given you so long a survey of the Building, to render you some account of the Builder, that you may know by what times, pains, and assistance I have already proceeded."
The time passes with much pleasure and profit until at last the host says: "And now (sir) I shall after my busy vanitie in shewing and describing my new Building, with great quietness, being almost as weary as yourself, bring you to the Back-dore."
It is all so handsomely done that the reader is prepared to begin upon the poem itself, and would do so were it not that the distinguished friend of the author, Mr. Hobbes, has prepared An Answer to the Preface--a point of politeness which has not survived the seventeenth century. Mr. Hobbes is of the opinion that there is only one point in which Gondibert is inferior to the masterpieces of antiquity, and that is that it is written in English instead of in Greek or Latin. The Preface and Answer to the Preface having been read, the further discovery is made that there is a Postscript.
The Author, it appears, has fallen on evil days, and is in prison charged with High Treason.
"I am arrived here at the middle of the Third Book which makes an equal half of the Poem, and I was now by degrees to present you (as I promised in the Preface) the several keys to the Main Building, which should convey you through such short walks as give you an easie view of the whole Frame. But 'tis high time to strike sail and cast anchor (though I have but run half my course), when at the Helme I am threatened with Death, who though he can trouble us but once seems troublesome, and even in the Innocent may beget such gravitie as diverts the Musick of Verse. I beseech thee if thou art as civill as to be pleased with what is written, not to take it ill that I run not till my last gasp.... If thou art a malicious Reader thou wilt remember my Preface boldly confessed that a main motive to this undertaking was a desire of Fame, and thou maist likewise say that I may not possibly live to enjoy it.... If thou (Reader) art one of those who has been warmed with Poetick Fire, I reverence thee as my Judge, and whilst others tax me with Vanitie as if the Preface argued my good Opinion of the Work, I appeal to thy Conscience whether it be much more than such a necessary assurance as thou hast made to thyself in like Undertakings."
The Gentle Reader feels that whatever may be the merits of Gondibert, Sir William Davenant is a gallant gentleman and worthy of his lasting friendship.
* * * * *
The Gentle Reader has a warm place in his heart for those whom he calls the paradisaical writers. These are the unfallen spirits who reveal their native dispositions and are not ashamed. They write about that which they find most interesting--themselves. They not only tell us what happens, but what they think and how they feel. We are made partners of their joys and sorrows. The first person singular is glorified by their use.
"But," says the Severe Moralist, "don't you frequently discover that these persons are vain?"