The Complete Essays of John Galsworthy Part 14

Mankind at large has little patience with puzzling fellows.

Few, in fact, want flower of author. Moreover, it is a quality that may well be looked for where it does not exist. To say that the finality which Art requires is merely an enwrapping mood, or flower of author, is not by any means to say that any robust fellow, slamming his notions down in ink, can give us these. Indeed, no! So long as we see the author's proper person in his work, we do not see the flower of him. Let him retreat himself, if he pretend to be an artist. There is no less of subtle skill, no less impersonality, in the "Bergeret" volumes than in "Le Lys Rouge." No less labour and mental torturing went to their making, page by page, in order that they might exhale their perfume of mysterious finality, their withdrawn but implicit judgment. Flower of author is not quite so common as the b.u.t.tercup, the Californian poppy, or the gay Texan gaillardia, and for that very reason the finality it gives off will never be robust enough for a mankind at large that would have things cut and dried, and labelled in thick letters. For, consider--to take one phase alone of this demand for factual finality--how continual and insistent is the cry for characters that can be wors.h.i.+pped; how intense and persistent the desire to be told that Charles was a real hero; and how bitter the regret that Mary was no better than she should be! Mankind at large wants heroes that are heroes, and heroines that are heroines--and nothing so inappropriate to them as unhappy endings.

Travelling away, I remember, from that Grand Canyon of Arizona were a young man and a young woman, evidently in love. He was sitting very close to her, and reading aloud for her pleasure, from a paper-covered novel, heroically oblivious of us all:

"'Sir Robert,' she murmured, lifting her beauteous eyes, 'I may not tempt you, for you are too dear to me!' Sir Robert held her lovely face between his two strong hands. 'Farewell!' he said, and went out into the night.

But something told them both that, when he had fulfilled his duty, Sir Robert would return . . . ." He had not returned before we reached the Junction, but there was finality about that baronet, and we well knew that he ultimately would. And, long after the sound of that young man's faithful reading had died out of our ears, we meditated on Sir Robert, and compared him with the famous characters of fiction, slowly perceiving that they were none of them so final in their heroism as he. No, none of them reached that apex. For Hamlet was a most unfinished fellow, and Lear extremely violent. Pickwick addicted to punch, and Sam Weller to lying; Bazarof actually a Nihilist, and Irina----! Levin and Anna, Pierre and Natasha, all of them stormy and unsatisfactory at times. "Un Coeur Simple" nothing but a servant, and an old maid at that; "Saint Julien l'Hospitalier" a sheer fanatic. Colonel Newcome too irritable and too simple altogether. Don Quixote certified insane. Hilda w.a.n.gel, Nora, Hedda--Sir Robert would never even have spoken to such baggages! Mon sieur Bergeret--an amiable weak thing! D'Artagnan--a true swashbuckler!

Tom Jones, Faust, Don Juan--we might not even think of them: And those poor Greeks: Prometheus--shocking rebel. OEdipus for a long time banished by the Censor. Phaedra and Elektra, not even so virtuous as Mary, who failed of being what she should be! And coming to more familiar persons Joseph and Moses, David and Elijah, all of them lacked his finality of true heroism--none could quite pa.s.s muster beside Sir Robert . . . . Long we meditated, and, reflecting that an author must ever be superior to the creatures of his brain, were refreshed to think that there were so many living authors capable of giving birth to Sir Robert; for indeed, Sir Robert and finality like his--no doubtful heroes, no flower of author, and no mystery is what mankind at large has always wanted from Letters, and will always want.

As truly as that oil and water do not mix, there are two kinds of men.

The main cleavage in the whole tale of life is this subtle, all pervading division of mankind into the man of facts and the man of feeling. And not by what they are or do can they be told one from the other, but just by their att.i.tude toward finality. Fortunately most of us are neither quite the one nor quite the other. But between the pure-blooded of each kind there is real antipathy, far deeper than the antipathies of race, politics, or religion--an antipathy that not circ.u.mstance, love, goodwill, or necessity will ever quite get rid of. Sooner shall the panther agree with the bull than that other one with the man of facts.

There is no bridging the gorge that divides these worlds.

Nor is it so easy to tell, of each, to which world he belongs, as it was to place the lady, who held out her finger over that gorge called Grand Canyon, and said:

"It doesn't look thirteen miles; but they measured it just there! Excuse my pointing!"

1912.

WANTED-SCHOOLING

"Et nous jongleurs inutiles, frivoles joueurs de luth!". . . Useless jugglers, frivolous players on the lute! Must we so describe ourselves, we, the producers, season by season, of so many hundreds of "remarkable"

works of fiction?--for though, when we take up the remarkable works of our fellows, we "really cannot read them!" the Press and the advertis.e.m.e.nts of our publishers tell us that they are "remarkable."

A story goes that once in the twilight undergrowth of a forest of nut-bearing trees a number of little purblind creatures wandered, singing for nuts. On some of these purblind creatures the nuts fell heavy and full, extremely indigestible, and were quickly swallowed; on others they fell light, and contained nothing, because the kernel had already been eaten up above, and these light and kernel-less nuts were accompanied by sibilations or laughter. On others again no nuts at all, empty or full, came down. But nuts or no nuts, full nuts or empty nuts, the purblind creatures below went on wandering and singing. A traveller one day stopped one of these creatures whose voice was peculiarly disagreeable, and asked "Why do you sing like this? Is it for pleasure that you do it, or for pain? What do you get out of it? Is it for the sake of those up there? Is it for your own sake--for the sake of your family--for whose sake? Do you think your songs worth listening to? Answer!"

The creature scratched itself, and sang the louder.

"Ah! Cacoethes! I pity, but do not blame you," said the traveller.

He left the creature, and presently came to another which sang a squeaky treble song. It wandered round in a ring under a grove of stunted trees, and the traveller noticed that it never went out of that grove.

"Is it really necessary," he said, "for you to express yourself thus?"

And as he spoke showers of tiny hard nuts came down on the little creature, who ate them greedily. The traveller opened one; it was extremely small and tasted of dry rot.

"Why, at all events," he said, "need you stay under these trees? the nuts are not good here."

But for answer the little creature ran round and round, and round and round.

"I suppose," said the traveller, "small bad nuts are better than no bread; if you went out of this grove you would starve?"

The purblind little creature shrieked. The traveller took the sound for affirmation, and pa.s.sed on. He came to a third little creature who, under a tall tree, was singing very loudly indeed, while all around was a great silence, broken only by sounds like the snuffling of small noses.

The creature stopped singing as the traveller came up, and at once a storm of huge nuts came down; the traveller found them sweetish and very oily.

"Why," he said to the creature, "did you sing so loud? You cannot eat all these nuts. You really do sing louder than seems necessary; come, answer me!"

But the purblind little creature began to sing again at the top of its voice, and the noise of the snuffling of small noses became so great that the traveller hastened away. He pa.s.sed many other purblind little creatures in the twilight of this forest, till at last he came to one that looked even blinder than the rest, but whose song was sweet and low and clear, breaking a perfect stillness; and the traveller sat down to listen. For a long time he listened to that song without noticing that not a nut was falling. But suddenly he heard a faint rustle and three little oval nuts lay on the ground.

The traveller cracked one of them. It was of delicate flavour. He looked at the little creature standing with its face raised, and said:

"Tell me, little blind creature, whose song is so charming, where did you learn to sing?"

The little creature turned its head a trifle to one side as though listening for the fall of nuts.

"Ah, indeed!" said the traveller: "You, whose voice is so clear, is this all you get to eat?"

The little blind creature smiled . . . .

It is a twilight forest in which we writers of fiction wander, and once in a way, though all this has been said before, we may as well remind ourselves and others why the light is so dim; why there is so much bad and false fiction; why the demand for it is so great. Living in a world where demand creates supply, we writers of fiction furnish the exception to this rule. For, consider how, as a cla.s.s, we come into existence.

Unlike the followers of any other occupation, nothing whatever compels any one of us to serve an apprentices.h.i.+p. We go to no school, have to pa.s.s no examination, attain no standard, receive no diploma. We need not study that which should be studied; we are at liberty to flood our minds with all that should not be studied. Like mushrooms, in a single sight we spring up--a pen in our hands, very little in our brains, and who-knows-what in our hearts!

Few of us sit down in cold blood to write our first stories; we have something in us that we feel we must express. This is the beginning of the vicious circle. Our first books often have some thing in them. We are sincere in trying to express that something. It is true we cannot express it, not having learnt how, but its ghost haunts the pages the ghost of real experience and real life--just enough to attract the untrained intelligence, just enough to make a generous Press remark: "This shows promise." We have tasted blood, we pant for more. Those of us who had a carking occupation hasten to throw it aside, those who had no occupation have now found one; some few of us keep both the old occupation and the new. Whichever of these courses we pursue, the hurry with which we pursue it undoes us. For, often we have only that one book in us, which we did not know how to write, and having expressed that which we have felt, we are driven in our second, our third, our fourth, to warm up variations, like those dressed remains of last night's dinner which are served for lunch; or to spin from our usually commonplace imaginations thin extravagances which those who do not try to think for themselves are ever ready to accept as full of inspiration and vitality.

Anything for a book, we say--anything for a book!

From time immemorial we have acted in this immoral manner, till we have accustomed the Press and Public to expect it. From time immemorial we have allowed ourselves to be driven by those powerful drivers, Bread, and Praise, and cared little for the quality of either. Sensibly, or insensibly, we tune our songs to earn the nuts of our twilight forest.

We tune them, not to the key of: "Is it good?" but to the key of: "Will it pay?" and at each tuning the nuts fall fast! It is all so natural.

How can we help it, seeing that we are undisciplined and standardless, seeing that we started without the backbone that schooling gives? Here and there among us is a genius, here and there a man of exceptional stability who trains himself in spite of all the forces working for his destruction. But those who do not publish until they can express, and do not express until they have something worth expressing, are so rare that they can be counted on the fingers of three or perhaps four hands; mercifully, we all--or nearly all believe ourselves of that company.

It is the fas.h.i.+on to say that the public will have what it wants.

Certainly the Public will have what it wants if what it wants is given to the Public. If what it now wants were suddenly withdrawn, the Public, the big Public, would by an obvious natural law take the lowest of what remained; if that again were withdrawn, it would take the next lowest, until by degrees it took a relatively good article. The Public, the big Public, is a mechanical and helpless consumer at the mercy of what is supplied to it, and this must ever be so. The Public then is not to blame for the supply of bad, false fiction. The Press is not to blame, for the Press, like the Public, must take what is set before it; their Critics, for the most part, like ourselves have been to no school, pa.s.sed no test of fitness, received no certificate; they cannot lead us, it is we who lead them, for without the Critics we could live but without us the Critics would die. We cannot, therefore, blame the Press. Nor is the Publisher to blame; for the Publisher will publish what is set before him. It is true that if he published no books on commission he would deserve the praise of the State, but it is quite unreasonable for us to expect him to deserve the praise of the State, since it is we who supply him with these books and incite him to publish them. We cannot, therefore, lay the blame on the Publisher.

We must lay the blame where it clearly should be laid, on ourselves. We ourselves create the demand for bad and false fiction. Very many of us have private means; for such there is no excuse. Very many of us have none; for such, once started on this journey of fiction, there is much, often tragic, excuse--the less reason then for not having trained ourselves before setting out on our way. There is no getting out of it; the fault is ours. If we will not put ourselves to school when we are young; if we must rush into print before we can spell; if we will not repress our natural desires and walk before we run; if we will not learn at least what not to do--we shall go on wandering through the forest, singing our foolish songs.

And since we cannot train ourselves except by writing, let us write, and burn what we write; then shall we soon stop writing, or produce what we need not burn!

For, as things are now, without compa.s.s, without map, we set out into the twilight forest of fiction; without path, without track--and we never emerge.

Yes, with the French writer, we must say:

"Et nous jongleurs inutiles, frivoles joueurs de luth!" . . .

1906.

REFLECTIONS ON OUR DISLIKE OF THINGS AS THEY ARE

Yes! Why is this the chief characteristic of our art? What secret instincts are responsible for this inveterate distaste? But, first, is it true that we have it?

To stand still and look at a thing for the joy of looking, without reference to any material advantage, and personal benefit, either to ourselves or our neighbours, just simply to indulge our curiosity! Is that a British habit? I think not.

If, on some November afternoon, we walk into Kensington Gardens, where they join the Park on the Bayswater side, and, crossing in front of the ornamental fountain, glance at the semicircular seat let into a dismal little Temple of the Sun, we shall see a half-moon of apathetic figures.

There, enjoying a moment of lugubrious idleness, may be sitting an old countrywoman with steady eyes in a lean, dusty-black dress and an old poke-bonnet; by her side, some gin-faced creature of the town, all blousy and draggled; a hollow-eyed foreigner, far gone in consumption; a bronzed young navvy, asleep, with his muddy boots jutting straight out; a bearded, dreary being, chin on chest; and more consumptives, and more vagabonds, and more people dead-tired, speechless, and staring before them from that crescent-shaped haven where there is no draught at their backs, and the sun occasionally s.h.i.+nes. And as we look at them, according to the state of our temper, we think: Poor creatures, I wish I could do something for them! or: Revolting! They oughtn't to allow it!

But do we feel any pleasure in just watching them; any of that intimate sensation a cat entertains when its back is being rubbed; are we curiously enjoying the sight of these people, simply as manifestations of life, as objects fas.h.i.+oned by the ebb and flow of its tides? Again, I think, not. And why? Either, because we have instantly felt that we ought to do something; that here is a danger in our midst, which one day might affect our own security; and at all events, a sight revolting to us who came out to look at this remarkably fine fountain. Or, because we are too humane! Though very possibly that frequent murmuring of ours: Ah! It's too sad! is but another way of putting the words: Stand aside, please, you're too depressing! Or, again, is it that we avoid the sight of things as they are, avoid the unedifying, because of what may be called "the uncreative instinct," that safeguard and concomitant of a civilisation which demands of us complete efficiency, practical and thorough employment of every second of our time and every inch of our s.p.a.ce? We know, of course, that out of nothing nothing can be made, that to "create" anything a man must first receive impressions, and that to receive impressions requires an apparatus of nerves and feelers, exposed and quivering to every vibration round it, an apparatus so entirely opposed to our national spirit and traditions that the bare thought of it causes us to blush. A robust recognition of this, a steadfast resolve not to be forced out of the current of strenuous civilisation into the sleepy backwater of pure impression ism, makes us distrustful of attempts to foster in ourselves that receptivity and subsequent creativeness, the microbes of which exist in every man: To watch a thing simply because it is a thing, entirely without considering how it can affect us, and without even seeing at the moment how we are to get anything out of it, jars our consciences, jars that inner feeling which keeps secure and makes harmonious the whole concert of our lives, for we feel it to be a waste of time, dangerous to the community, contributing neither to our meat and drink, our clothes and comfort, nor to the stability and order of our lives.

Of these three possible reasons for our dislike of things as they are, the first two are perhaps contained within the third. But, to whatever our dislike is due, we have it--Oh! we have it! With the possible exception of Hogarth in his non-preaching pictures, and Constable in his sketches of the sky,--I speak of dead men only,--have we produced any painter of reality like Manet or Millet, any writer like Flaubert or Maupa.s.sant, like Turgenev, or Tchekov. We are, I think, too deeply civilised, so deeply civilised that we have come to look on Nature as indecent. The acts and emotions of life undraped with ethics seem to us anathema. It has long been, and still is, the fas.h.i.+on among the intellectuals of the Continent to regard us as barbarians in most aesthetic matters. Ah! If they only knew how infinitely barbarous they seem to us in their naive contempt of our barbarism, and in what we regard as their infantine concern with things as they are. How far have we not gone past all that--we of the oldest settled Western country, who have so veneered our lives that we no longer know of what wood they are made! Whom generations have so soaked with the preserve "good form" that we are impervious to the claims and clamour of that ill-bred creature--life! Who think it either dreadful, or 'vieux jeu', that such things as the crude emotions and the raw struggles of Fate should be even mentioned, much less presented in terms of art! For whom an artist is 'suspect' if he is not, in his work, a sportsman and a gentleman? Who shake a solemn head over writers who will treat of s.e.x; and, with the remark: "Worst of it is, there's so much truth in those fellows!" close the book.