The Principles Of Success In Literature Part 1

The Principles of Success in Literature.

by George Henry Lewes.

This eBook was prepared by Roland Cheney.

In the development of the great series of animal organisms, the Nervous System a.s.sumes more and more of an imperial character. The rank held by any animal is determined by this character, and not at all by its bulk, its strength, or even its utility. In like manner, in the development of the social organism, as the life of nations becomes more complex, Thought a.s.sumes a more imperial character; and Literature, in its widest sense, becomes a delicate index of social evolution. Barbarous societies show only the germs of literary life. But advancing civilisation, bringing with it increased conquest over material agencies, disengages the mind from the pressure of immediate wants, and the loosened energy finds in leisure both the demand and the means of a new activity: the demand, because long unoccupied hours have to be rescued from the weariness of inaction; the means, because this call upon the energies nourishes a greater ambition and furnishes a wider arena.

Literature is at once the cause and the effect of social progress. It deepens our natural sensibilities, and strengthens by exercise our intellectual capacities. It stores up the acc.u.mulated experience of the race, connecting Past and Present into a conscious unity; and with this store it feeds successive generations, to be fed in turn by them. As its importance emerges into more general recognition, it necessarily draws after it a larger crowd of servitors, filling n.o.ble minds with a n.o.ble ambition.

There is no need in our day to be dithyrambic on the glory of Literature. Books have become our dearest companions, yielding exquisite delights and inspiring lofty aims. They are our silent instructors, our solace in sorrow, our relief in weariness. With what enjoyment we linger over the pages of some well-loved author! With what grat.i.tude we regard every honest book! Friends.h.i.+ps, prefound and generous, are formed with men long dead, and with men whom we may never see. The lives of these men have a quite personal interest for us.

Their homes become as consecrated shrines. Their little ways and familiar phrases become endeared to us, like the little ways and phrases of our wives and children.

It is natural that numbers who have once been thrilled with this delight should in turn aspire to the privilege of exciting it. Success in Literature has thus become not only the ambition of the highest minds, it has also become the ambition of minds intensely occupied with other means of influencing their fellow--with statesmen, warriors, and rulers. Prime ministers and emperors have striven for distinction as poets, scholars, critics, and historians. Unsatisfied with the powers and privileges of rank, wealth, and their conspicuous position in the eyes of men, they have longed also for the n.o.bler privilege of exercising a generous sway over the minds and hearts of readers. To gain this they have stolen hours from the pressure of affairs, and disregarded the allurements of luxurious ease, labouring steadfastly, hoping eagerly. Nor have they mistaken the value of the reward. Success in Literature is, in truth, the blue ribbon of n.o.bility.

There is another aspect presented by Literature. It has become a profession; to many a serious and elevating profession; to many more a mere trade, having miserable trade-aims and trade-tricks. As in every other profession, the ranks are thronged with incompetent aspirants, without seriousness of aim, without the faculties demanded by their work. They are led to waste powers which in other directions might have done honest service, because they have failed to discriminate between aspiration and inspiration, between the desire for greatness and the consciousness of power. Still lower in the ranks are those who follow Literature simply because they see no other opening for their incompetence; just as forlorn widows and ignorant old maids thrown suddenly on their own resources open a school--no other means of livelihood seeming to be within their reach. Lowest of all are those whose esurient vanity, acting on a frivolous levity of mind, urges them to make Literature a plaything for display. To write for a livelihood, even on a complete misapprehension of our powers, is at least a respectable impulse. To play at Literature is altogether inexcusable: the motive is vanity, the object notoriety, the end contempt.

I propose to treat of the Principles of Success in Literature, in the belief that if a clear recognition of the principles which underlie all successful writing could once be gained, it would be no inconsiderable help to many a young and thoughtful mind. Is it necessary to guard against a misconception of my object, and to explain that I hope to furnish nothing more than help and encouragement? There is help to be gained from a clear understanding of the conditions of success; and encouragement to be gained from a reliance on the ultimate victory of true principles. More than this can hardly be expected from me, even on the supposition that I have ascertained the real conditions. No one, it is to be presumed, will imagine that I can have any pretension of giving recipes for Literature, or of furnis.h.i.+ng power and talent where nature has withheld them. I must a.s.sume the presence of the talent, and then a.s.sign the conditions under which that talent can alone achieve real success, no man is made a discoverer by learning the principles of scientific Method; but only by those principles can discoveries be made; and if he has consciously mastered them, he will find them directing his researches and saving him from an immensity of fruitless labour. It is something in the nature of the Method of Literature that I propose to expound. Success is not an accident. All Literature is founded upon psychological laws, and involves principles which are true for all peoples and for all times. These principles we are to consider here.

II.

The rarity of good books in every department, and the enormous quant.i.ty of imperfect, insincere books, has been the lament of all times. The complaint being as old as Literature itself, we may dismiss without notice all the accusations which throw the burden on systems of education, conditions of society, cheap books, levity and superficialty of readers, and a.n.a.logous causes. None of these can be a VERA CAUSA; though each may have had its special influence in determining the production of some imperfect works. The main cause I take to be that indicated in Goethe's aphorism: "In this world there are so few voices and so many echoes." Books are generally more deficient in sincerity than in cleverness. Talent, as will become apparent in the course of our inquiry, holds a very subordinate position in Literature to that usually a.s.signed to it. Indeed, a cursory inspection of the Literature of our day will detect an abundance of remarkable talent---that is, of intellectual agility, apprehensiveness, wit, fancy, and power of expression which is nevertheless impotent to rescue "clever writing"

from neglect or contempt. It is unreal splendour; for the most part mere intellectual fireworks. In Life, as in Literature, our admiration for mere cleverness has a touch of contempt in it, and is very unlike the respect paid to character. And justly so. No talent can be supremely effective unless it act in close alliance with certain moral qualities. (What these qualities are will be specified hereafter.)

Another cause, intimately allied with the absence of moral guidance just alluded to, is MISDIRECTION of talent. Valuable energy is wasted by being misdirected. Men are constantly attempting, without special apt.i.tude, work for which special apt.i.tude is indispensable.

"On peut etre honnete hornme et faire mal des vers."

A man may be variously accomplished, and yet be a feeble poet. He may be a real poet, yet a feeble dramatist, he may have dramatic faculty, yet be a feeble novelist. He may be a good story-teller, yet a shallow thinker and a slip-shod writer. For success in any special kind of work it is obvious that a special talent is requisite; but obvious as this seems, when stated as a general proposition, it rarely serves to check a mistaken presumption. There are many writers endowed with a certain susceptibility to the graces and refinements of Literature which has been fostered by culture till they have mistaken it for native power; and these men, being really dest.i.tute of native power, are forced to imitate what others have created. They can understand how a man may have musical sensibility and yet not be a good singer; but they fail to understand, at least in their own case, how a man may have literary sensibility, yet not be a good story-teller or an effective dramatist.

They imagine that if they are cultivated and clever, can write what is delusively called a "brilliant style," and are familiar with the masterpieces of Literature, they must be more competent to succeed in fiction or the drama than a duller man, with a plainer style and slenderer acquaintance with the "best models." Had they distinctly conceived the real aims of Literature this mistake would often have been avoided. A recognition of the aims would have pressed on their attention a more distinct appreciation of the requirements.

No one ever doubted that special apt.i.tudes were required for music, mathematics, drawing, or for wit; but other apt.i.tudes not less special are seldom recognised. It is with authors as with actors: mere delight in the art deludes them into the belief that they could be artists.

There are born actors, as there are born authors. To an observant eye such men reveal their native endowments. Even in conversation they spontaneously throw themselves into the characters they speak of. They mimic, often quite unconsciously the speech and gesture of the person.

They dramatise when they narrate. Other men with little of this faculty, but with only so much of it as will enable them to imitate the tones and gestures of some admired actor, are misled by their vanity into the belief that they also are actors, that they also could move an audience as their original moves it.

In Literature we see a few original writers, and a crowd of imitators: men of special apt.i.tudes, and men who mistake their power of repeating with slight variation what others have done, for a power of creating anew. The imitator sees that it is easy to do that which has already been done. He intends to improve on it; to add from his own stores something which the originator could not give; to lend it the l.u.s.tre of a richer mind; to make this situation more impressive, and that character more natural. He is vividly impressed with the imperfections of the original. And it is a perpetual puzzle to him why the public, which applauds his imperfect predecessor, stupidly fails to recognise his own obvious improvements.

It is from such men that the cry goes forth about neglected genius and public caprice. In secret they despise many a distinguished writer, and privately, if not publicly, a.s.sert themselves as immeasurably superior.

The success of a Dumas is to them a puzzle and an irritation. They do not understand that a man becomes distinguished in virtue of some special talent properly directed; and that their obscurity is due either to the absence of a special talent, or to its misdirection. They may probably be superior to Dumas in general culture, or various ability; it is in particular ability that they are his inferiors. They may be conscious of wider knowledge, a more exquisite sensibility, and a finer taste more finely cultivated; yet they have failed to produce any impression on the public in a direction where the despised favourite has produced a strong impression. They are thus thrown upon the alternative of supposing that he has had "the luck" denied to them, or that the public taste is degraded and prefers trash. Both opinions are serious mistakes. Both injure the mind that harbours them.

In how far is success a test of merit? Rigorously considered it is an absolute test. Nor is such a conclusion shaken by the undeniable fact that temporary applause is often secured by works which have no lasting value. For we must always ask, What is the nature of the applause, and from what circles does it rise? A work which appears at a particular juncture, and suits the fleeting wants of the hour, flattering the pa.s.sions of the hour, may make a loud noise, and bring its author into strong relief. This is not luck, but a certain fitness between the author's mind and the public needs. He who first seizes the occasion, may be for general purposes intrinsically a feebler man than many who stand listless or hesitating till the moment be pa.s.sed; but in Literature, as in Life, a sudden prompt.i.tude outrivals vacillating power.

Generally speaking, however, this prompt.i.tude has but rare occasions for achieving success. We may lay it down as a rule that no work ever succeeded, even for a day, but it deserved that success; no work ever failed but under conditions which made failure inevltable. This will seem hard to men who feel that in their case neglect arises from prejudice or stupidity. Yet it is true even in extreme cases; true even when the work once neglected has since been acknowleged superior to the works which for a time eclipsed it. Success, temporary or enduring, is the measure of the relatlon, temporary or enduring, which exists between a work and the public mind. The millet seed may be intrinsically less valuable than a pearl; but the hungry c.o.c.k wisely neglected the pearl, because pearls could not, and millet seeds could, appease his hunger. Who shall say how much of the subsequent success of a once neglected work is due to the preparation of the public mind through the works which for a time eclipsed it?

Let us look candidly at this matter. It interests us all; for we have all more or less to contend against public misconception, no less than against our own defects. The object of Literature is to instruct, to animate, or to amuse. Any book which does one of these things succeeds; any book which does none of these things fails. Failure is the indication of an inability to perform what was attempted: the aim was misdirected, or the arm was too weak: in either case the mark has not been hit.

"The public taste is degraded." Perhaps so; and perhaps not. But in granting a want of due preparation in the public, we only grant that the author has missed his aim. A reader cannot be expected to be interested in ideas which are not presented intelligibly to him, nor delighted by art which does not touch him; and for the writer to imply that he furnishes arguments, but does not pretend to furnish brains to understand the arguments, is arrogance. What Goethe says about the most legible handwriting being illegible in the twilight, is doubtless true; and should be oftener borne in mind by frivolous objectors, who declare they do not understand this or do not admire that, as if their want of taste and understanding were rather creditable than otherwise, and were decisive proofs of an author's insignificance. But this reproof, which is telling against individuals, has no justice as against the public.

For--and this is generally lost sight of--the public is composed of the cla.s.s or cla.s.ses directly addressed by any work, and not of the heterogeneous ma.s.s of readers. Mathematicians do not write for the circulating library. Science is not addressed to poets. Philosophy is meant for students, not for idle readers. If the members of a cla.s.s do not understand--if those directly addressed fail to listen, or listening, fail to recognise a power in the voice--surely the fault lies with the speaker, who, having attempted to secure their attention and enlighten their understandings, has failed in the attempt? The mathematician who is without value to mathematicians, the thinker who is obscure or meaningless to thinkers, the dramatist who fails to move the pit, may be wise, may be eminent, but as an author he has failed.

He attempted to make his wisdom and his power operate on the minds of others. He has missed his mark. MARGARITAS ANTE PORCOS! is the soothing maxim of a disappointed self-love. But we, who look on, may sometimes doubt whether they WERE pearls thus ineffectually thrown; and always doubt the judiciousness of strewing pearls before swine. The prosperity of a book lies in the minds of readers. Public knowledge and public taste fluctuate; and there come times when works which were once capable of instructing and delighting thousands lose their power, and works, before neglected, emerge into renown. A small minority to whom these works appealed has gradually become a large minority, and in the evolution of opinion will perhaps become the majority. No man can pretend to say that the work neglected today will not be a household word tomorrow; or that the pride and glory of our age will not be covered with cobwebs on the bookshelves of our children. Those works alone can have enduring success which successfully appeal to what is permanent in human nature--which, while suiting the taste of the day, contain truths and beauty deeper than the opinions and tastes of the day; but even temperary success implies a certain temporary fitness. In Homer, Sophocles, Dante, Shakspeare, Cervantes, we are made aware of much that no longer accords with the wisdom or the taste of our day--temporary and immature expressions of fluctuating opinions--but we are also aware of much that is both true and n.o.ble now, and will be so for ever.

It is only posterity that can decide whether the success or failure shall be enduring; for it is only posterity that can reveal whether the relation now existing between the work and the public mind is or is not liable to fluctuation. Yet no man really writes for posterity; no man ought to do so.

"Wer machte denn der Mitwelt Spa.s.s?"

("Who is to amuse the present?") asks the wise Merry Andrew in FAUST. We must leave posterity to choose its own idols. There is, however, this chance in favour of any work which has once achieved success, that what has pleased one generation may please another, because it may be based upon a truth or beauty which cannot die; and there is this chance against any work which has once failed, that its unfitness may be owing to some falsehood or imperfection which cannot live.

III.

In urging all writers to be steadfast in reliance on the ultimate victory of excellence, we should no less strenuously urge upon them to beware of the intemperate arrogance which attributes failure to a degraded condition of the public mind. The instinct which leads the world to wors.h.i.+p success is not dangerous. The book which succeeds accomplishes its aim. The book which fails may have many excellencies, but they must have been misdirected. Let us, however, understand what is meant by failure. From want of a clear recognition of this meaning, many a serious writer has been made bitter by the reflection that shallow, feeble works have found large audiences, whereas his own work has not paid the printing expenses. He forgets that the readers who found instruction and amus.e.m.e.nt in the shallow books could have found none in his book, because he had not the art of making his ideas intelligible and attractive to them, or had not duly considered what food was a.s.similable by their minds. It is idle to write in hieroglyphics for the ma.s.s when only priests can read the sacred symbols.

No one, it is hoped, will suppose that by what is here said I countenance the notion which is held by some authors--a notion implying either arrogant self-sufficiency or mercenary servility--that to succeed, a man should write down to the public. Quite the reverse. To succeed, a man should write up to his ideal. He should do his very best; certain that the very best will still fall short of what the public can appreciate. He will only degrade his own mind by putting forth works avowedly of inferior quality; and will find himself greatly surpa.s.sed by writers whose inferior workmans.h.i.+p has nevertheless the indefinable aspect of being the best they can produce. The man of common mind is more directly in sympathy with the vulgar public, and can speak to it more intelligibly, than any one who is condescending to it. If you feel yourself to be above the ma.s.s, speak so as to raise the ma.s.s to the height of your argument. It may be that the interval is too great. It may be that the nature of your arguments is such as to demand from the audience an intellectual preparation, and a habit of concentrated continuity of thought, which cannot be expected from a miscellaneous a.s.sembly. The scholars.h.i.+p of a Scaliger or the philosophy of a Kant will obviously require an audience of scholars and philosophers. And in cases where the nature of the work limits the cla.s.s of readers, no man should complain if the readers he does not address pa.s.s him by to follow another. He will not allure these by writing down to them; or if he allure them, he will lose those who properly const.i.tute his real audience.

A writer misdirects his talent if he lowers his standard of excellence.

Whatever he can do best let him do that, certain of reward in proportion to his excellence. The reward is not always measurable by the number of copies sold; that simply measures the extent of his public. It may prove that he has stirred the hearts and enlightened the minds of many. It may also prove, as Johnson says, "that his nonsense suits their nonsense." The real reward of Literature is in the sympathy of congenial minds, and is precious in proportion to the elevation of those minds, and the gravity with which such sympathy moves: the admiration of a mathematician for the MECANIQUE CELESTE, for example, is altogether higher in kind than the admiration of a novel reader for the last "delightful story." And what should we think of Laplace if he were made bitter by the wider popularity of Dumas? Would he forfeit the admiration of one philosopher for that of a thousand novel readers?

To ask this question is to answer it; yet daily experience tells us that not only in lowering his standard, but in running after a popularity incompatible with the nature of his talent, does many a writer forfeit his chance of success. The novel and the drama, by reason of their commanding influence over a large audience, often seduce writers to forsake the path on which they could labour with some success, but on which they know that only a very small audience can be found; as if it were quant.i.ty more than quality, noise rather than appreciation, which their mistaken desires sought. Unhappily for them, they lose the substance, and only snap at the shadow. The audience may be large, but it will not listen to them. The novel may be more popular and more lucrative, when successful, than the history or the essay; but to make it popular and lucrative the writer needs a special talent, and this, as was before hinted, seems frequently forgotten by those who take to novel writing. Nay, it is often forgotten by the critics; they being, in general, men without the special talent themselves, set no great value on it. They imagine that Invention may be replaced by culture, and that clever "writing" will do duty for dramatic power.

They applaud the "drawing" of a character, which drawing turns out on inspection to be little more than an epigrammatic enumeration of particularities, the character thus "drawn" losing all individuality as soon as speech and action are called upon. Indeed, there are two mistakes very common among reviewers: one is the overvaluation of what is usually considered as literary ability ("brilliant writing" it is called; "literary tinsel" would be more descriptive) to the prejudice of Invention and Individuality; the other is the overvaluation of what they call "solid acquirements," which really mean no more than an acquaintance with the cla.s.sics. As a fact, literary ability and solid acquirements are to be had in abundance; invention, humour, and originality are excessively rare. It may be a painful reflection to those who, having had a great deal of money spent on their education, and having given a great deal of time to their solid aquirements, now see genius and original power of all kinds more esteemed than their learning; but they should reflect that what is learning now is only the diffused form of what was once invention. "Solid acquirement" is the genius of wits become the wisdom of reviewers.

IV.

Authors are styled an irritable race, and justly, if the epithet be understood in its physiological rather than its moral sense. This irritability, which responds to the slightest stimulus, leads to much of the misdirection of talent we have been considering. The greatness of an author consists in having a mind extremely irritable, and at the same time steadfastly imperial:--irritable that no stimulus may be inoperative, even in its most evanescent solicitations; imperial, that no solicitation may divert him from his deliberately chosen aims. A magisterial subjection of all dispersive influences, a concentration of the mind upon the thing that has to be done, and a proud renunciation of all means of effect which do not spontaneously connect themselves with it--these are the rare qualities which mark out the man of genius.

In men of lesser calibre the mind is more constantly open to determination from extrinsic influences. Their movement is not self-determined, self-sustained. In men of still smaller calibre the mind is entirely determined by extrinsic influences. They are prompted to write poems by no musical instinct, but simply because great poems have enchanted the world. They resolve to write novels upon the vulgarest provocations: they see novels bringing money and fame; they think there is no difficulty in the art. The novel will afford them an opportunity of bringing in a variety of scattered details; sc.r.a.ps of knowledge too scanty for an essay, and sc.r.a.ps of experience too meagre for independent publication. Others, again, attempt histories, or works of popular philosophy and science; not because they have any special stores of knowledge, or because any striking novelty of conception urges them to use up old material in a new shape, but simply because they have just been reading with interest some work of history or science, and are impatient to impart to others the knowledge they have just acquired for themselves. Generally it may be remarked that the pride which follows the sudden emanc.i.p.ation of the mind from ignorance of any subject, is accompanied by a feeling that all the world must be in the state of darkness from which we have ourselves emerged. It is the knowledge learned yesterday which is most freely imparted today.

We need not insist on the obvious fact of there being more irritability than mastery, more imitation than creation, more echoes than voices in the world of Literature. Good writers are of necessity rare. But the ranks would be less crowded with incompetent writers if men of real ability were not so often misdirected in their aims. My object is to decree, if possible, the Principles of Success--not to supply recipes for absent power, but to expound the laws through which power is efficient, and to explain the causes which determine success in exact proportion to the native power on the one hand, and to the state of public opinion on the other.

The laws of Literature may be grouped under three heads. Perhaps we might say they are three forms of one principle. They are founded on our threefold nature--intellectual, moral, and aesthetic.

The intellectual form is the PRINCIPLE OF VISION.

The moral form is the PRINCIPLE OF SINCERITY.

The aesthetic form is the PRINCIPLE OF BEAUTY.

It will be my endeavour to give definite significance, in succeeding chapters, to these expressions, which, standing unexplained and unill.u.s.trated, probably convey very little meaning. We shall then see that every work, no matter what its subject-matter, necessarily involves these three principles in varying degrees; and that its success is always strictly in accordance with its conformity to the guidance of these principles.

Unless a writer has what, for the sake of brevity, I have called Vision, enabling him to see clearly the facts or ideas, the objects or relations, which he places before us for our own instruction, his work must obviously be defective. He must see clearly if we are to see clearly. Unless a writer has Sincerity, urging him to place before us what he sees and believes as he sees and believes it, the defective earnestness of his presentation will cause an imperfect sympathy in us.

He must believe what he says, or we shall not believe it. Insincerity is always weakness; sincerity even in error is strength. This is not so obvious a principle as the first; at any rate it is one more profoundly disregarded by writers.

Finally, unless the writer has grace--the principle of Beauty I have named it--enabling him to give some aesthetic charm to his presentation, were it only the charm of well-arranged material, and well-constructed sentences, a charm sensible through all the intricacies of COMPOSITION and of STYLE, he will not do justice to his powers, and will either fail to make his work acceptable, or will very seriously limit its success. The amount of influence issuing from this principle of Beauty will, of course, be greatly determined by the more or less aesthetic nature of the work.

Books minister to our knowledge, to our guidance, and to our delight, by their truth, their uprightness, and their art. Truth is the aim of Literature. Sincerity is moral truth. Beauty is aesthetic truth. How rigorously these three principles determine the success of all works whatever, and how rigorously every departure from them, no matter how slight, determines proportional failure, with the inexorable sequence of a physical law, it will be my endeavour to prove in the chapters which are to follow.

EDITOR.

CHAPTER II

THE PRINCIPLE OF VISION.