Critical Studies Part 9

'"One could not eat one's garden," said Albert.

'Georges, hypnotised, followed with his eyes the flight of an insect. Poised in the sunlight, the creature was motionless awhile; then descended, ascended, then, swift as a sped arrow, vanished in the shadows. One would wish for such an atom, taking so small a place in creation, the joys, the instincts, the intelligence of a great animal. At anyrate, it symbolises all the enjoyments of life, repose on a leaf, movement, ecstasy of travel through s.p.a.ce and towards mystery.

'"Ah!" thought Georges, in distress, "even to come and see this, one must have money!"

'The hard and heavy thought was like a blow on the tender heart of the boy. Soon this bitterness entered into the souls of all, even of the youngest child.'

What I have translated as 'oxidised silver' is in the original 'blackened nickel,' one of those unfortunate, grotesque, inharmonious expressions of which there are many in this work. To compare water, the liquid, the mobile, the translucent, to any metal is a strange and unfitting comparison. In this pa.s.sage, which is serious and poetical, the intrusion of such words as 'blackened nickel' seems offensive, and mars all the impression of the phrase. But it is in this kind of offence to the ear and the intelligence that _les jeunes_ unhappily revel; they see in such offences signs of emanc.i.p.ation, of realism, of originality, when, in truth, the usage is no sign of anything except of a faulty ear and a lack of judgment.

Throughout the work, however, despite these occasional blemishes, every episode connected with the Lamarques is a masterpiece of pathos and of simplicity, until the last scene of all, when the three children with their mother are about to light the charcoal collected by the little Francois as it dropped from the waggons when they pa.s.sed along the quay, and kept in a corner of the miserable room, in readiness for the last hour of all.

The characters of the three boys, so dissimilar and yet united by the vague likeness of race, are drawn with a life-like distinctness: Georges, pensive and philosophic, proud, gentle, observant; Albert, sceptic and scornful, with his pa.s.sionate sense that, since death killed his father through serving others, there can be no G.o.d; and the youngest, Francois, timid, imaginative, devoted, hiding himself under the table, to still the pangs of hunger with fancies of a lonely fairy isle where neither want nor death should come. These three children offer one of the most perfect pictures of innocent and unmerited suffering which literature can offer, and the limner of them and of their sorrows is a fine writer. Jacques Fougeraye, the central figure of the romance, yields his place to them as its chief interest; and is also perhaps inferior in interest to his unhappy and generous patron Dargelle. One would desire to know through what circ.u.mstances a man of the talent and character of Fougeraye comes to be dest.i.tute in the streets of Paris; something also of the parentage, education, influences which have gone towards making him what he is. In the same way one would wish to know how Lamarque fell into poverty, how his children became so cultured and refined, how the whole family is aloof in every way from their common and odious kindred. _Les jeunes_ do not deign to throw light on the antecedents of their _dramatis personae_; they are wrong, for two reasons: one because they thus baulk the natural and legitimate curiosity of their readers; the second, that there is no true psychology (the word they wors.h.i.+p) without study of the causes which have contributed to make a man or woman what the observer of them finds them to be. A writer like Gyp may with airy grace jump, as through a circus-hoop, into the middle of the lives of her personages without further explanation, but in a philosophic student of human nature in its sad seriousness such saltatory pranks are unbecoming.

One could well spare the hundreds of pages devoted to long and, one must say, tiresome descriptions of moral and mental states, for a few pages of lucid and graphic information as to the causes which brought the characters of the book to the pa.s.s in which we find them at their first appearance. But this is a method of composition too simple, direct, and natural to commend itself to _les jeunes_. And when on rare occasions they do furnish personal descriptions, these are so wrapped up in anatomical and physiological language that we can conjure up from them little or no real likeness. The characteristic of this new school is an extreme vagueness, an intentional nebulosity. Their personages are never introduced to the reader, nor are they given any pedigree; even personal description of them is of the slightest. They come abruptly on the scene as though they came up through a trap-door. It is left to the intelligence of the reader to supply all the details which the author disdains to furnish. In a book, as in life, one likes to have people duly presented before making their acquaintance; but this is a prejudice which the new school scorns to gratify.

There is a certain tedium in some of the experiences of Fougeraye, such as in his visits to the hospitals and the asylum of misshappen human creatures; and the young woman Louise, a medical student, who has learned to look on death with professional indifference, is so virtuous and self-satisfied that one is indisposed to share the admiration which Fougeraye feels for her. He himself is so unpretentious, so warm-hearted, so single-minded, and so manly that he deserves a more sympathetic and less vain helpmeet than this female doctor, with her too prosy plat.i.tudes and her chill philosophies.

Jeanne Dargelle, whom he rejects, is the least truthful, the most artificial, figure in the book. We are never interested in her. The breath of life has not been breathed into her; and when she kills herself we remain indifferent; we know that in her world women do not kill themselves, and a very proud woman would have found the idea of dying, because her husband's secretary had no love for her, altogether unendurable. We feel also that in real life Fougeraye would probably have shared her pa.s.sion, and the struggle it would have caused between his temptation, and his loyalty and grat.i.tude to Dargelle, would have been of profound interest. The chapter following on her death, in which Dargelle is alone with her dead body, is very fine, and reflects exactly that strange mixture of emotions and sensations which sway the survivor who pa.s.ses long hours of solitude beside the corpse of one once dear to him--the trivial incongruities which force themselves in amidst intense regret, the eccentric fancies which dance like marsh-lights over the sombre swamp of a deep despair. Who amongst us has not cried, like Dargelle, 'Pardon, pardon!' from the depths of an aching heart, looking on the dead features of one to whom, in the eyes of the world, we had no fault?

There is in the Rosnys the distressing habit, common to all the more recent French writers, with few exceptions, of endeavouring to be pedantic, to be involved, to express an idea barbarously and bewilderingly instead of harmoniously and clearly; to say _epiderme_ instead of _peau_, _veridique_ instead of _vrai_, _prunelles_ instead of _yeux_; to use the jargon of science, the abomination of foreign or technical idioms; to turn away from the natural, the direct, the usual, the obvious, and seek an appearance of profundity in what is merely a confusion of sounds. These affectations, these efforts, spoil many of the pages, and weary the most attentive reader in many of the chapters; as does also the incessant tendency to find similes of the most bizarre and eccentric kind, such as the comparison of dead leaves to the fur of animals; of a simile 'frail as the downy blow-ball of dandelion-seed'; of a sky 'of a powdery blue, with the horizon of an aquarium'; of a heart beating 'like a pear oscillating in a breeze,' and many others as far-fetched, as incongruous, and as grotesque. The excessive use of simile, however apt and exact, is always a fault; but similes as absurd and as strained as are most of those employed by the Rosnys, become a deformity of style, annoy the mind, and disagreeably abstract and distract the thoughts.

A too long, too technical, and too involved description is an inventory which leaves no concrete whole upon the reader's mind; it is a mere conglomeration of items. Take, as an instance, this description of Dargelle's physiognomy; and be it remembered that we never know who or what Dargelle is, how he came by his vast fortune, or anything, indeed, about him, except that he is _un pauvre riche_, a capitalist, one supposes, rich by inheritance. Here is the personal description of him:--

'A fat face, sad, meditative; his cheeks fell in; they were flabby. The forehead was a half-circle, with three deep wrinkles, the temples inflamed. The brow was vast but undecided, despite heavy eyebrows above violent eyes. The lips of a wild beast; a short beard which had never grown; flat hair, forming a little patch behind the brow and advancing laterally to the ears. The whole a Finnish face, very pale, with a disposition of the skin to become scaly. The nose long, broad, very irregular, between the snub and the aquiline, the end raised, the bridge bowed. Hardly any back to the head; the neck, like a Celt's, running straight up to the crown. The ears folded backward, stiff, cartilaginous,' etc., etc., etc.

This long and disagreeable description merely conveys the impression of a monster; and it does not in any way agree with the character of Dargelle, magnanimous, tender, generous, and sensitive; suffering acutely from a sense of utter loneliness amidst the parasites, who trade on his kind feelings. A man of this temperament would not have violent eyes or wild-beast lips; and the elevation of his sentiments would certainly have given some beauty of expression to his features.

Of Jacques Fougeraye, the hero of the work, we are given no description whatever. On the other hand, the portraiture of the frightful occupant of a monsters' asylum is traced in fullest and most minute detail, with an ostentation of technical knowledge, in that pa.s.sion for what is horrible and abnormal which is characteristic of this school.

Dargelle, morally, is throughout consistent and lovable, from his first movement of suspicion and distrust, feeling that his new favourite will only use him and cheat him, as all the other dispensers of his charities have done, to the last frank smile with which, though jealous of the happiness he has himself created, he says: 'Allons donc! Je vois bien que vous m'aimez aussi.'

The rich man will only have the crumbs of the bread of the soul which is called love, but his generosity is content with it. '_Le pauvre riche!_'

say the Rosnys, with rare insight into the small consolation which, to those in full possession of them, the powers of wealth can give.

Dargelle is unique, and it is almost to be regretted that he should occupy but a secondary place in the narrative. The description of his physical malady is perhaps exaggerated; deafness would scarcely cause such violent moral and mental torture; but the pathos of his last appearance is unexaggerated, and goes to the heart of the reader. By his mere word so many people are made happy, and yet, to secure happiness, even relief, for himself his millions are powerless! This is what many a rich and generous man must have felt. The irony of fate is more cruel in a sense to the heirs, than to the disinherited, of fortune. But the pain which the rich suffer is purely sentimental, and there are very few indeed who have n.o.bility of nature enough to feel this at all.

The rich man has always material comfort, freedom from daily and hourly anxieties; he is at liberty to go wherever he likes, to do whatever he pleases; he enjoys, if he have the true faculty for enjoyment; he can make himself obeyed, if the obedience be but eye-service; he can surround himself with beautiful objects; and he can freely indulge the luxury of generosity, although it is the one luxury of which the rich are not enamoured, the rich man in general never gives except to see his name in print in the newspapers. The compa.s.sion of the Rosnys for the rich is scarcely justified, since their greatest burden is _ennui_, and this is an artificial kind of suffering due to defective sympathies, as cold feet are due to sluggish circulation. The statement, put in the mouth of Dargelle, that suicide is much more general amongst the rich than the poor, is certainly not based on fact or on statistics. The rich man, moreover, has one great and most precious exemption: he is free from petty, carking bodily cares; he never knows the greatest agony possible, that of seeing those dear to him hungry and homeless; he can be always warm in cold weather, cool in hot weather; in illness he has every palliative and a.s.sistance; his home is his own if he care for it, intangible and immutable; the whole world is his if he possess perception enough to enjoy it; his sufferings may be considerable from dyspepsia and discontent, and, if he be of a high nature, from irritation at the ingrat.i.tude and insincerity of human nature, but it is absurd to compare his pains with those of the poor--above all, when the poor are of fine temper, sensitive nerve and cultured intellect like the Fougeraye and Lamarque of the Rosnys. It is well to remind society that there are sorrows of the soul from which the rich may suffer more acutely than the poor; but it is to exceed this truth to represent the rich as often suffering from this cause. The rich man is usually a complete egotist, whose philanthropy has a political purpose or a social ambition as its mainspring. A Dargelle may exist, does exist; but he is one in ten millions. He is legitimate in his place as a character in romance, but as a character in real life he is met with but very rarely.

There are many social questions and many philosophic theories discussed in _L'Imperieuse Bonte_. An unkind critic might say that it is rather a social and philosophic essay than a romance. But in much it conforms to and fulfils the highest demands of fiction, and the naturalness and lovableness of the chief personages lend to it throughout the interest of romance. The mission of Fougeraye in the expenditure of Dargelle's money introduces, perforce, many phases of social misery. It was probably to do this that the book was written; but the harmony and interest of the action of the novel, as a novel, are not sacrificed to this intention. In these chapters all affectation, all artifice drop from the style, and the writers become masters of strong, simple and infinitely touching prose. It is to be regretted that the influence of their time should ever mislead them into tortuous and strained exaggerations and archaisms when it is possible for them to write thus simply and eloquently:--

'The few precious things--the brooch and earrings of Madame Lamarque, even her wedding-ring, alas! then the china service, saved with such effort from the fire, with a little rosewood secretaire, and two Sevres vases won at a lottery for charity, the gift to it of the Empress Eugenie--all disappeared, all were devoured by the monster Misery. Georges suffered as much as his parents; his nature was inclined towards the adoration of relics, of frail things, of the semi-vitality of objects.

'It rained a little; in the shadow of the fortifications the lamps trembled under gusts of wind; the reflections touched the wet gra.s.s, which seemed for the moment as fresh as the turf of meadows. Everywhere solitude--solitude filled with a sense of near and hidden human life in the closed houses from which came the subdued light of unseen chambers in vague suggestion of mysterious joys. But there was no living creature out of doors except in the openings of the ramparts; on the gra.s.s, a dog looking as furtive as a hunting wolf. The boy's eyes gazed at the sky, at the gra.s.s, at the long vista of burning lamps, at the grey stony road under his feet. A sense of beauty came into his soul, but a beauty sombre as the psalms of All Saints' Day.

'Beside him his mother carried the mattress which had been sold; he bore one side of it on his shoulder.

'They walk thus, beaten, conquered, the child full of suffocating revolt, the mother humble and resigned, like the meek beasts of the stall, with occasional flickers of wrath soon extinguished. They go thus, saying to each other a few words, m.u.f.fled and heavyhearted, which are the mere dull echoes of their souls. "We must turn down that street. How will it end?--why does not the family help?" At a corner they stop, and suddenly Georges is overwhelmed with pity for his mother, as he sees her profile wet with rain in the light of the street lamp.

'He gazes at her. He remembers, in his earliest childhood, a time when there had been two servants in their house; when his mother had been a gentlewoman, going out for a walk with his father, while the bonne pushed the little carriage of the baby Francois. And here she was, his own mother, with a mattress for sale on her shoulder, on foot in the mud at this time of night.

"Mamma! mamma! dear little mamma!" he cried, sobbing, without a single selfish thought, caring only for her, so profoundly, so intensely!'

Again, there is the same intense sympathy in the author with the suffering of the spirit when the two Sevres vases are taken to their new home, sold for twenty francs, the poor, pretty, familiar things which look so elegant, so slender, so aristocratic amongst the coa.r.s.e, vulgar ornaments of their new owners, that Georges is proud of their superiority amidst the anguish with which he thinks of them, lost for ever:

'Frail penates, saturated with the soul of home. Ah! how many birthday mornings, how many twilights of study, how many long rainy days and gentle suns of springtime, how many dreams of future voyages in far lands, how many nights fearful with storm or mute with falling snow, had these objects seen! They had been always there, fixing themselves inalienably on the retina in their unalterable att.i.tude of delicacy and art: and now they were lost for ever, given over to an alien hand for a coin of gold which would last two days!'

Nothing can be more touching, more sincere, more eloquent than this episode.

Take again the magnificent opening chapter of the fire at which Lamarque contracts the illness which ultimately kills him. It is too long to quote here, but its description is of a force incomparable, and of a truth as great. No one of his contemporaries could have written this chapter; its sobriety and veracity, united to its splendour of diction and its terror of suggestion, make it a _magnum opus_.

It has only one defect; it gives the reader the impression that it cost great effort to the author. It does not convey that sense of the author's spontaneous fertility and joy in creation which Pierre Loti, Francois Coppee, Anatole France, feel and give. _L'Imperieuse Bonte_ is a great work, but its greatness must have cost painful thought and unremitting labour.

One feels that there is nothing of improvisation, of careless and happy inspiration, about it. It is the matured fruit of profound observation, and of complicated doubt, of an unselfish sorrow, and of a n.o.ble altruism. It is a work which must impress and elevate all readers who are capable of comprehending its teaching. But there is no laughter in it, nor is there even a smile, save that sad divine smile which accompanies the tears of pity.

VI

WILFRID SCAWEN BLUNT

There are few men of our time more interesting than the man who bears this name. Fresh with English air, and dark with desert suns, pa.s.sionately liberal in thought and n.o.bly independent in opinion, spending his winters on the sh.o.r.es of the Nile, on the edge of the desert, and his summers between the vale of Sh.o.r.eham, and the alder-shaded water of the humble Mole, he touches, and has always touched, life at its most different facets. Not without knowledge has he written of the green Suss.e.x weald, and of the woodc.o.c.ks and the thrushes, the oak trees and the yew trees, of 'Evelyn's land'; not without love as though he were also a son of the soil has he written of that other far-off country where--

'We may make terms with Nature, and awhile Put as it were our souls to gra.s.s, and run Barefooted and bareheaded in the smile Of that long summer which still girds the Nile.'

His private life, likewise, is equally of interest to the most indifferent, since he is the husband of Byron's granddaughter, the father-in-law of Neville Lytton, the companion in youth of Owen Meredith, the friend of the Arab, the champion of the dumb, and the standard-bearer of all lost causes. In few personalities is there united so much which is uncommon, and idiosyncrasies which are so varied. He has been so fortunate, often-times, in his friends and his fortunes, that it is perhaps only to be human that he should, in his editor who is his friend, fail to be so fortunate as one could wish. Mr Henley, who selected his poems, has excluded many; one is disposed to resent and to rebel; Mr Henley is apt at all times to arouse that sensation in the reader of his somewhat too condescending criticisms.

Many of the verses excluded were political; now it is precisely in politics that Mr Blunt is most delightful to those amongst us who abhor actual governments.

I wish that these poems had come before the public without this species of apology with which Mr Henley heads them. They do not need so uncertain a prefatory note. They are certainly not likely to be popular.

They will not be recited over a little tambourine, and used to collect monies for woollen socks and chocolate. They will be little appreciated by the lovers of ballads of blood and fury, and odes of war which scream like a steam-hooter. They are made to be read in quiet places where daffodils blossom, and the black-cap sings; where lake waters lie calm in mountain shadows, or where, through the stillness of a studio or study, a summer breeze blows dropped rose-leaves across the threshold.

Mr Henley raises one standard of great verse: Milton's: and below that nothing to him is great. I know not where he places Sh.e.l.ley, but does Milton ever touch the heart except perhaps in the Lycidas? Who can care for the exiles of Eden?

I do not think that it was necessary for Mr Henley to say that Mr Blunt is not John Milton. It would not occur to anyone that he was. But then, neither to my thinking is he Byron or Burns, whom Mr Henley thinks that he is, nor is he either Owen Meredith, to whom Mr Henley likewise compares him. He is, to my thinking, Wilfrid Scawen Blunt; alone in his verse as he is also alone (or almost alone) in his opinions and his politics. I dislike comparisons in criticisms. It is a meagre way to define what is, this habit of declaring what it is not; and I love not either the diminution of the living for the exaltation of the dead, or the praise of the living for the depreciation of the dead. Nor is it to me either wit or wisdom to say that Byron 'followed.' Who did he follow?

Who was his precursor? Who showed him his matchless double rhymes? Who before him struck the splendid chords of his Juan? Who crowded into a few years of life such accomplishment, such eloquence such romance of existence? Who resembled Byron before Byron lived?

Poets who are not great, and do not aspire to be so, may touch the chords of memory, may unseal the fountains of tears, may make dead loves arise and smile, and the springs of dead years return, and do this with a line, a verse, a suggestion. This is what Owen Meredith did in his song; so does his friend and comrade in his. There is a strongly virile quality in his verse: it is not epicene, nor ever effeminate; the thoughts are always the thoughts of a man who has felt the hoof of the desert horse cast up the sand of the desert, and seen the circle of the waiting vultures poised in the blue air; and heard 'G.o.d's thunder upon h.o.r.eb'; who has read his Augustine and Chrysostom on the sh.o.r.es of the Dead Sea, and his Horace and his Herrick lying on the short sheep-cropped gra.s.s of Suss.e.x; who knows many a bank whereon the wild thyme grows in lowly Kentish lanes, and has walked with the shades of Dante and of Byron in the marble streets of Ravenna, and under the dying pines of its forest; who has loved and laughed in the artificial pa.s.sions and mocking mirth of Paris, and has dwelt in the solitudes where the hair tents of the sons of Shem are dark against the east.

Mr Henley, in his somewhat autocratic manner, says that a man lives for posterity in proportion as he figures the gestures and sets forth the emotions of his own time. We can none of us judge what posterity may do or say. I fear it will be too engrossed with itself to take much heed of anything which went before it. Or, possibly, there will be no posterity at all, but only a shattered earth; scattered into s.p.a.ce by some exploit of that boastful Icarus called Science. But taking Mr Henley's dictum as it stands, is it true, seeing (as its context shows) that he means an Englishman must be judged by what he writes of England? If this were true, where would go the Juan and the Parisina, the Anactoria and the Atalanta in Calydon, the Cenci and the Adonas, the Lucille and the Clytemnestra? Scott would be greater than Sh.e.l.ley, and Cowper than Coleridge. The theory will not hold water. Which is the greater play of Shakespeare--'King John' or 'The Tempest'? 'Henry the Fifth' or 'Romeo and Juliet'? 'Richard the Third' or 'Hamlet'? What are esteemed the greatest epics of the human race--Milton's and Dante's--are located in no known province of our narrow sphere, but, in worlds, heavenly and infernal, whither no traveller has gone, save in the spirit. 'Country'

is but a restricted boundary for whoever has the vision which sees beyond the ordinary range of men. To the true poet his native land lies wherever what is beautiful can be beloved, or that which is sorrowful needs solace.

The only thing that personally I regret in these verses is their author's tendency to be too careless in his rhymes. Many of them grate upon one's ear, and such as _sun_ and _stone_ vex one's sense of melody, indeed, are not rhymes: whilst some words used, such as for instance _Revenue_, accord ill with verse at all. He deems himself quit of obligation to observe these delicacies of metrical beauty, because he says peevishly that he is no poet. But he is a poet; and is so strongly one in feeling that there is no excuse for him not to be more observant of style.

For style is the reed-pipe through which the singer's breath blows music, and he should take heed that his syrinx be well chosen, and well cut, so that each air played on it be clear as the throstle's note.

But rough though many of his compositions are--rough and unstudied--yet, when read in fitting atmosphere, they will be beloved, and in the mind of the reader they will linger like the lilt of a moorland song heard on an autumn eve. There is the _vox humana_ in their melody. They come from the heart of a man who has suffered. They are unequal, extremely unequal; the poet has gone through the woods and gathered together gra.s.s and orchis, and gorse, and the sceptered meadow sweet and the bearded barley, all together, just as they happened to come in his path; common things sometimes, or such as seem so to those who do not see the sun s.h.i.+ne through and the dew tremble on them.