In literature, as in all art, manner is everything and matter nothing; I mean that matter, however important, has nothing to do with the art of literature; that is a thing apart. In literature it makes very little difference what you say, but a great deal how you say it. It is precisely this thing called style which determines and fixes the place of any written discourse; the thoughts may be the most interesting, the statements the most important, that it is possible to conceive; yet if they be not cast in the literary mold, the world can not be persuaded to accept the work as literature. What could be more important and striking than the matter of Darwin’s books, or Spencer’s? Does anyone think of Darwin and Spencer as men of letters? Their manner, too, is admirable for its purpose — to convince. Conviction, though, is not a literary purpose. What can depose Sterne from literature? Yet who says less than Sterne, or says it better?
It is so in painting. One man makes a great painting of a sheepcote; another, a bad one of Niagara. The difference is not in the subject — in that the Niagara man has all the advantage; it is in the style. Art — literary, graphic, or what you will — is not a matter of matter, but a matter of manner. It is not the What but the How. The master enchants when writing of a pebble on the beach; the bungler wearies us with a storm at sea. Let the dullard look to his theme and thought; the artist sets down what comes. He pickles it sweet with a salt savor of verbal felicity, and it charms like Apollo’s lute.
ON READING NEW BOOKS
IT is hereby confessed too — nay, affirmed — that this our time is as likely to produce great literary work as any of the ages that have gone before. There is no reason to suppose that the modern mind is any whit inferior in creative power to the ancient, albeit the moderns have not, as the ancients had, “the first rifling of the beauties of nature.” For our images, our metaphors, our similes and what not we must go a bit further afield than Homer had to go. We can no longer — at least we no longer should, though many there be who do — say “as red as blood,”
“as white as snow,” and so forth. Our predecessors harvested that crop and threshed it out before we had the bad luck to be born. But much that was closed to them is open to us, for still creation widens to man’s view.
No; the laudatores temporis acti are not to be trusted when they say that the days of great literature are past. At any time a supreme genius may rise anywhere on the literary horizon and, flaming in the sky, splendor the world with a new glory. But the readers of new books need not put on colored spectacles to protect their eyes. It is not they that will recognize him. They will not be able to distinguish him from the little luminaries whose advent they are always “hailing” as the dawn of a new and wonderful day. It is unlikely, indeed, that he will be recognized at all in his own day for what he is. It may be that when he “swims into our ken” we shall none of us eye the blue vault and bless the useful light, but swear that it is a malign and baleful beam. Nay, worse, he may never be recognized by posterity. Great work in letters has no inherent quality, no innate vitality, that will necessarily preserve it long enough to demand judgment from those qualified by time to consider it without such distractions as the circumstances and conditions under which it was produced. And only so can a true judgment be given. It is likely that more great writers have died and been forever forgotten than have had their fame bruited about the world. Ah, well, they must take their chances. I, for my part, am not going to read dozens of the very newest books annually lest I overlook a genius now and then. Dozens are large numbers when it is books that one is talking about. Probably not so many worth reading were written in either half of the Nineteenth Century.
The reader of new books is in the position of one who, having at hand a mine of precious metals, easy of working and by his utmost diligence inexhaustible, suffers it to lie untouched and goes prospecting on the chance of finding another as good. He may find one, though the odds are a thousand to one that he will not. If he does, he will find also that he did not need to be in a hurry about it. Every book that is worth reading is founded on something permanent in human nature or the constitution of things, and constructed on principles of art which are themselves eternal. Whether it is read in one decade or another — even in one century or another — is of no importance; its value and charm are unchanging and unchangeable. Reverting to my simile of the mine, a good book is located on the great mother-lode of human interest; whereas the work that immediately prospers in the praise of the multitude commonly taps some “pocket” in the country rock and the accidental deposit is soon exhausted.
The world is full of great books in lettered languages. If any one has lived long enough, and read with sufficient assiduity, to have possessed his mind of all the literary treasures accessible to him; if he has mastered all the tongues in which are any masterworks of genius yet untranslated; if the ages have nothing more to offer him; if he has availed himself of the utmost advantages that he can derive from the infallible censorship of time and advice of the posterity which he calls his ancestors — let him commit himself to the blind guidance of chance, stand at the tail end of a modern press and devour as much of its daily output as he can. That will, at least, enable him to shine in a conversation; and the social illuminati whose achievements in that way are most admired will themselves assure you that such are the purpose and advantage of “literary culture.” And of all drawing-room authorities, he or she is most reverently esteemed who can most readily and accurately say what dullard wrote the latest and stupidest novel, but can not say why.
ALPHABETES AND BORDER RUFFIANS
I
IT is hoped that Divine Justice may find some suitable affliction for the malefactors who invent variations upon the letters of the alphabet of our fathers — our Roman fathers. Within the past thirty years our current literature has become a spectacle for the gods. The type-founder, worthy mechanic, has asserted himself with an overshadowing individuality, defacing with his monstrous creations and revivals every publication in the land. Everywhere secret, black and midnight wags are diligently studying the alphabet to see how many of the letters are susceptible to mutation into something new and strange. Some of the letters are more tractable than others: the O, for example, can be made as little as you please and set as far above the line as desired, with or without a flyspeck in the center or a dash (straight or curved) below. Why should one think that O looks better when thrown out of relation to the other letters when Heaven has given him eyes to see that it does not?
Then there is the M — the poor M, who for his distinction as the biggest toad in the alphabetical puddle is subjected to so dreadful though necessary indignity in typoscript — the wanton barbarity of his treatment by the type-founders makes one blush for civilization, or at least wish for it. There are two schools of Masters; when their warfare is accomplished we shall know whether that letter is to figure henceforth as two sides of a triangle or three sides of a square. In A the ruffians have an easy victim; they can put his cross-bar up or down at will; it does not matter, so that it is put where it was not. For it must be understood that all these alterations are made with no thought of beauty: the sole purpose of the ruffians is to make the letters, as many as possible of them, different from what they were before. That is true generally, but not universally: in the titles of books and weekly newspapers, and on the covers of magazines, there is frequently an obvious revival, not merely of archaic forms, but of crude and primitive printing, as if from wooden blocks. Doubtless it is beautiful, but it does not look so. In our time the reversionaries have so far prevailed against common sense that in several periodicals the long-waisted is restored, and we have a renewal of the scandalous relations between the c and the t.
The most fantastic and grotesque of these reversions (happily it has not yet affected the text of our daily reading) is the restoration of the ancient form of U, which is now made a V again. This would seem to be bad enough, but it appears that it has not sated the passion for change; so the V also has again become a U! What a
dvantage is got by the transposition those who make it have not condescended to explain. Altogether the unhappy man who conceives himself obliged to read the literature of the day — especially the part that shouts and screams in titles and catalogues, headlines, and so forth — may justly claim remission of punishment in the next world, so poignant are his sufferings in this.
II
Coincidently in point of time with these indisposing pranks, came in, and has remained in, a companion-fad of the artists who illustrate newspapers, magazines and books. These probably well-meaning but most undesirable persons, who could be spared by even the most unsparing critic, are affected with a weakness for borders to pictures. By means of borders — borders rectangular, borders triangular, borders circular, borders omniform and nulliform they can put pictures into pictures, like cards in a loose pack, stick pictures through pictures, and so confuse, distract and bewilder the attention that it turns its back upon the display, occupying itself with the noble simplicity and naturalness of the wish that all artists were at the devil. Nor are they satisfied with all that: they must make pictures of pictures by showing an irrelevant background outside their insupportable borders; by representing their pictures as depending from hooks; nailed upon the walls; spitted on pins, and variously served right. And still they are not happy: the picture must, upon occasion, transgress its border — a mast, a steeple, or a tree thrust through and rejoicing in its escape; an ocean spilling over and taking to its heels as hard as ever it can hook it. The taste that accepts this fantastic nonsense is creature to the taste that supplies it; in an age and country having any sense of the seriousness of art the taste could not exist long enough to outlast its victim’s examination on a charge of lunacy.
No picture should have a border; that has no use, no meaning, and whatever beauty is given to it the picture pays for through the nose. It is what may be called a contemporary survival: it stands for the frame of a detached picture — a picture on a wall. The frame is necessary for support and protection; but an illustration, like the female of the period, needs neither protection nor support, and the border would give none if it were needed. It is an impertinence without a mandate; its existence is due to unceasing suggestions flowing from the frames into heads where there is plenty of room.
III
Apropos of illustrations and illustrators, I should like to ask what is the merit or meaning of that peculiar interpretation of nature which consists in representing men and women with white clothing and black faces and hands. I do not say that it is not sufficiently realistic — that it is too conventional; I only “want to know.” I should like to know, too, if in illustrating, say, a football match in Ujiji the gentlemen addicted to that method here would show the players in black clothing, with white faces and hands? Or in default of clothing would they be shown white all over? If anybody can endarken my lightness on this subject I shall be glad to hear from him. I am groping in a noonday of doubt and plunged in a gulf of white despair.
Possibly these pictures are called silhouettes — I have heard them called so. Possibly if they were silhouettes they would be acceptable, for the genius of a Kanewka may lift the spectator above such considerations as right and left in the matter of legs and arms. But they are not silhouettes; the faces and hands are in shadow, the clothing in light. The figures are like Tennyson’s lotus eaters: “between the sun and moon”; the former has power upon the skin only, the latter upon the apparel. The spectator is supposed to be upon the same side as the moon. That is where the artist is. He draws the figures, the moon draws him, and I draw a veil over the affecting scene.
TO TRAIN A WRITER
THERE is a good deal of popular ignorance about writing; it is commonly thought that good writing comes of a natural gift and that without the gift the trick can not be turned. This is true of great writing, but not of good. Any one with good natural intelligence and a fair education can be taught to write well, as he can be taught to draw well, or play billiards well, or shoot a rifle well, and so forth; but to do any of these things greatly is another matter. If one can not do great work it is worth while to do good work and think it great.
I have had some small experience in teaching English composition, and some of my pupils are good enough to permit me to be rather proud of them. Some I have been able only to encourage, and a few will recall my efforts to profit them by dissuasion. I should not now think it worth while to teach a pupil to write merely well, but given one capable of writing greatly, and five years in which to train him, I should not permit him to put pen to paper for at least two of them — except to make notes. Those two years should be given to broadening and strengthening his mind, teaching him how to think and giving him something to think about — to sharpening his faculties of observation, dispelling his illusions and destroying his ideals. That would hurt: he would sometimes rebel, doubtless, and have to be subdued by a diet of bread and water and a poem on the return of our heroes from Santiago.
If I caught him reading a newly published book, save by way of penance, it would go hard with him. Of our modern education he should have enough to read the ancients: Plato, Aristotle, Marcus Aurelius, Seneca and that lot — custodians of most of what is worth knowing. He might retain what he could of the higher mathematics if he had been so prodigal of his time as to acquire any, and might learn enough of science to make him prefer poetry; but to learn from Euclid that the three angles of a triangle are equal to two right angles, yet not to learn from Epictetus how to be a worthy guest at the table of the gods, would be accounted a breach of contract.
But chiefly this fortunate youth with the brilliant future should learn to take comprehensive views, hold large convictions and make wide generalizations. He should, for example, forget that he is an American and remember that he is a Man. He should be neither Christian, nor Jew, nor Buddhist, nor Mahometan, nor Snake Worshiper. To local standards of right and wrong he should be civilly indifferent. In the virtues, so-called, he should discern only the rough notes of a general expediency; in fixed moral principles only time-saving predecisions of cases not yet before the court of conscience. Happiness should disclose itself to his enlarging intelligence as the end and purpose of life; art and love as the only means to happiness. He should free himself of all doctrines, theories, etiquettes, politics, simplifying his life and mind, attaining clarity with breadth and unity with height. To him a continent should not seem wide, nor a century long. And it would be needful that he know and have an ever present consciousness that this is a world of fools and rogues, blind with superstition, tormented with envy, consumed with vanity, selfish, false, cruel, cursed with illusions — frothing mad!
We learn in suffering what we teach in song — and prose. I should pray that my young pupil would occasionally go wrong, experiencing the educational advantages of remorse; that he would dally with some of the more biting vices. I should be greatly obliged if Fortune would lay upon him, now and then, a heavy affliction. A bereavement or two, for example, would be welcome, although I should not care to have a hand in it. He must have joy, too — O, a measureless exuberance of joy; and hate, and fear, hope, despair and love — love inexhaustible, a permanent provision. He must be a sinner and in turn a saint, a hero, a wretch. Experiences and emotions — these are necessaries of the literary life. To the great writer they are as indispensable as sun and air to the rose, or good, fat, edible vapors to toads. When my pupil should have had two years of this he would be permitted to try his ‘prentice hand at a pig story in words of one syllable. And I should think it very kind and friendly if Mr. George Sylvester Vierick would consent to be the pig.
1899.
AS TO CARTOONING
I
I WISH that the American artists whose lot is cast in the pleasant domain of caricature would learn something of the charm of moderation and the strength of restraint. Their “cartoons” yell; one looks at them with one’s fingers in one’s ears.
Did you ever observe and consider the dragon in Chinese
art? With what an awful ferocity it is endowed by its creator — the expanded mouth with its furniture of curling tongue and impossible teeth, its big, fiery eyes, scaly body, huge claws and spiny back! All the horrible qualities the artist knows he lavishes upon this pet of his imagination. The result is an animal which one rather wishes to meet and would not hesitate to cuff. Unrestricted exaggeration has defeated its own purpose and made ludicrous what was meant to be terrible. That is, the artist has lacked the strength of restraint. A true artist could so represent the common domestic bear, or the snake of the field, as to smite the spectator with a nameless dread. He could do so by merely giving to the creature’s eye an expression of malevolence which would need no assistance from claw, fang or posture.
The American newspaper cartoonist errs in an infantile way similar to that of the Chinese; by intemperate exaggeration he fails of his effect. His men are not men at all, so it is impossible either to respect or detest them, or to feel toward them any sentiment whatever. As well try to evoke a feeling for or against a wooden Indian, a butcher’s-block, or a young lady’s favorite character in fiction. His deformed and distorted creations are entirely outside the range of human sympathy, antipathy, or interest. They are not even amusing. They are disgusting and, as in the case of foul names, the object of the disgust which they inspire is not the person vilified, but the person vilifying.
Complete Works of Ambrose Bierce (Delphi Classics) Page 280
