Thus again and again—the mark of the true fantasist—does Norman Matson merge the kingdoms of magic and common sense by using words that apply to both, and the mixture he has created comes alive. I will not tell the end of the story. You will have guessed its essentials, but there are always surprises in the working of a fresh mind, and to the end of time good literature will be made round this notion of a wish.
To turn from this simple example of the supernatural to a more complicated one—to a highly accomplished and superbly written book whose spirit is farcical: Zuleika Dobson by Max Beerbohm. You all know Miss Dobson—not personally, or you would not be here now. She is that damsel for love of whom all the undergraduates of Oxford except one drowned themselves during Eights week, and he threw himself out of a window.
A superb theme for a fantasy, but all will depend on the handling. It is treated with a mixture of realism, wittiness, charm and mythology, and the mythology is most important. Max has borrowed or created a number of supernatural machines—to have entrusted Zuleika to one of them would be inept; the fantasy would become heavy or thin. But we pass from the sweating emperors to the black and pink pearls, the hooting owls, the interference of the Muse Clio, the ghosts of Chopin and George Sand, of Nellie O’Mora; just as one fails another starts, to uphold this gayest and most exquisite of funeral palls.
Through the square, across the High, down Grove Street they passed. The Duke looked up at the tower of Merton, Strange that tonight it would still be standing here, in all its sober and solid beauty—still be gazing, over the roofs and chimneys, at the tower of Magdalen, its rightful bride. Through untold centuries of the future it would stand thus, gaze thus. He winced. Oxford walls have a way of belittling us; and the Duke was loth to regard his doom as trivial.
Aye, by all minerals we are mocked. Vegetables, yearly deciduous, are far more sympathetic. The lilac and laburnum, making lovely now the railed pathway to Christ Church meadow, were all a-swaying and nodding to the Duke as he passed by. “Adieu, adieu, your Grace,” they were whispering. “We are very sorry for you, very sorry indeed. We never dared suppose you would predecease us. We think your death a very great tragedy. Adieu! Perhaps we shall meet in another world—that is, if the members of the animal kingdom have immortal souls, as we have.”
The Duke was little versed in their language; yet, as he passed between these gently garrulous blooms, he caught at the least the drift of their salutation, and smiled a vague but courteous acknowledgment, to the right and the left alternately, creating a very favourable impression.
Has not a passage like this—with its freedom of invocation—a beauty unattainable by serious literature? It is so funny and charming, so iridescent yet so profound. Criticisms of human nature fly through the book, not like arrows but upon the wings of sylphs. Towards the end—that dreadful end often so fatal to fiction—the book rather flags: the suicide of all the undergraduates of Oxford is not as delightful as it ought to be when viewed at close quarters, and the defenestration of Noaks almost nasty. Still it is a great work—the most consistent achievement of fantasy in our time, and the closing scene in Zuleika’s bedroom with its menace of further disasters is impeccable.
And now with pent breath and fast-beating heart, she stared at the lady of the mirror, without seeing her; and now she wheeled round and swiftly glided to that little table on which stood her two books. She snatched Bradshaw.
We always intervene between Bradshaw and any one whom we see consulting him. “Mademoiselle will permit me to find that which she seeks?” asked Melisande.
“Be quiet,” said Zuleika. We always repulse, at first, any one who intervenes between us and Bradshaw.
We always end by accepting the intervention. “See if it is possible to go direct from here to Cambridge,” said Zuleika, handing the book on. “If it isn’t, then—well, see how one does get there.”
We never have any confidence in the intervener. Nor is the intervener, when it comes to the point, sanguine. With mistrust mounting to exasperation Zuleika sat watching the faint and frantic researches of her maid.
“Stop!” she said suddenly. “I have a much better idea. Go down very early to the station. See the station-master. Order me a special train. For ten o’clock, say.”
Rising, she stretched her arms above her head. Her lips parted in a yawn, met in a smile. With both hands she pushed back her hair from her shoulders, and twisted it into a loose knot. Very lightly she slipped up into bed, and very soon she was asleep.
So Zuleika ought to have come on to this place. She does not seem ever to have arrived and we can only suppose that through the intervention of the gods her special train failed to start, or, more likely, is still in a siding at Bletchley.
Among the devices in my list I mentioned “parody” or “adaptation” and would now examine this further. The fantasist here adopts for his mythology some earlier work and uses it as a framework or quarry for his own purposes. There is an aborted example of this in Joseph Andrews. Fielding set out to use Pamela as a comic mythology. He thought it would be fun to invent a brother to Pamela, a pure-minded footman, who should repulse Lady Booby’s attentions just as Pamela had repulsed Mr. B.’s, and he made Lady Booby Mr. B.’s aunt. Thus he would be able to laugh at Richardson, and incidentally express his own views of life. Fielding’s view of life however was of the sort that only rests content with the creation of solid round characters, and with the growth of Parson Adams and Mrs. Slipslop the fantasy ceases, and we get an independent work. Joseph Andrews (which is also important historically) is interesting to us as an example of a false start. Its author begins by playing the fool in a Richardsonian world, and ends by being serious in a world of his own—the world of Tom Jones and Amelia.
Parody or adaptation have enormous advantages to certain novelists, particularly to those who may have a great deal to say and plenty of literary genius, but who do not see the world in terms of individual men and women—who do not, in other words, take easily to creating characters. How are such men to start writing? An already existing book or literary tradition may inspire them—they may find high up in its cornices a pattern that will serve as a beginning, they may swing about in its rafters and gain strength. That fantasy of Lowes Dickinson, The Magic Flute, seems to be created thus: it has taken as its mythology the world of Mozart. Tamino, Sarastro, and the Queen of the Night stand in their enchanted kingdom ready for the author’s thoughts, and when these are poured in they become alive and a new and exquisite work is born. And the same is true of another fantasy, anything but exquisite—James Joyce’s Ulysses.* That remarkable affair—perhaps the most interesting literary experiment of our day—could not have been achieved unless Joyce had had, as his guide and butt, the world of the Odyssey.
I am only touching on one aspect of Ulysses: it is of course more than a fantasy—it is a dogged attempt to cover the universe with mud, it is an inverted Victorianism, an attempt to make crossness and dirt succeed where sweetness and light failed, a simplification of the human character in the interests of Hell. All simplifications are fascinating, all lead us away from the truth (which lies far nearer the muddle of Tristram Shandy), and Ulysses must not detain us on the ground that it contains a morality—otherwise we shall also have to discuss Mrs. Humphry Ward. We are concerned with it because, through a mythology, Joyce has been able to create the peculiar stage and characters he required.
The action of those 400,000 words occupies a single day, the scene is Dublin, the theme is a journey—the modern man’s journey from morn to midnight, from bed to the squalid tasks of mediocrity, to a funeral, newspaper office, library, pub, lavatory, lying-in hospital, a saunter by the beach, brothel, coffee stall, and so back to bed. And it coheres because it depends from the journey of a hero through the seas of Greece, like a bat hanging to a cornice.
Ulysses himself is Mr. Leopold Bloom—a converted Jew—greedy, lascivious, timid, undignified, desultory, superficial, kindly and always at his lowest when he preten
ds to aspire. He tries to explore life through the body. Penelope is Mrs. Marion Bloom, an overblown soprano, by no means harsh to her suitors. The third character is young Stephen Dedalus, whom Bloom recognizes as his spiritual son much as Ulysses recognizes Telemachus as his actual son. Stephen tries to explore life through the intellect—we have met him before in The Portrait of the Artist as a Young Man, and now he is worked into this epic of grubbiness and disillusion. He and Bloom meet half way through in Night Town (which corresponds partly to Homer’s Palace of Circe, partly to his Descent into Hell) and in its supernatural and filthy alleys they strike up their slight but genuine friendship. This is the crisis of the book, and here—and indeed throughout—smaller mythologies swarm and pullulate, like vermin between the scales of a poisonous snake. Heaven and earth fill with infernal life, personalities melt, sexes interchange, until the whole universe, including poor, pleasure-loving Mr. Bloom, is involved in one joyless orgy.
Does it come off? No, not quite. Indignation in literature never quite comes off either in Juvenal or Swift or Joyce; there is something in words that is alien to its simplicity. The Night Town scene does not come off except as a superfetation of fantasies, a monstrous coupling of reminiscences. Such satisfaction as can be attained in this direction is attained, and all through the book we have similar experiments—the aim of which is to degrade all things and more particularly civilization and art, by turning them inside out and upside down. Some enthusiasts may think that Ulysses ought to be mentioned not here but later on, under the heading of prophecy, and I understand this criticism. But I prefer to mention it today with Tristram Shandy, Flecker’s Magic, Zuleika Dobson, and The Magic Flute, because the raging of Joyce, like the happier or calmer moods of the other writers, seems essentially fantastic, and lacks the note for which we shall be listening soon.
We must pursue this notion of mythology further, and more circumspectly.
* Ulysses (Shakespeare & Co., Paris) is not at present obtainable in England. America, more enlightened, has produced a mutilated version without the author’s permission and without paying him a cent.
VII
PROPHECY
WITH prophecy in the narrow sense of foretelling the future we have no concern, and we have not much concern with it as an appeal for righteousness. What will interest us today—what we must respond to, for interest now becomes an inappropriate word—is an accent in the novelist’s voice, an accent for which the flutes and saxophones of fantasy may have prepared us. His theme is the universe, or something universal, but he is not necessarily going to “say” anything about the universe; he proposes to sing, and the strangeness of song arising in the halls of fiction is bound to give us a shock. How will song combine with the furniture of common sense? we shall ask ourselves, and shall have to answer “not too well”: the singer does not always have room for his gestures, the tables and chairs get broken, and the novel through which bardic influence has passed often has a wrecked air, like a drawing-room after an earthquake or a children’s party. Readers of D. H. Lawrence will understand what I mean.
Prophecy—in our sense—is a tone of voice. It may imply any of the faiths that have haunted humanity—Christianity, Buddhism, dualism, Satanism, or the mere raising of human love and hatred to such a power that their normal receptacles no longer contain them: but what particular view of the universe is recommended—with that we are not directly concerned. It is the implication that signifies and will filter into the turns of the novelist’s phrase, and in this lecture, which promises to be so vague and grandiose, we may come nearer than elsewhere to the minutiæ of style. We shall have to attend to the novelist’s state of mind and to the actual words he uses; we shall neglect as far as we can the problems of common sense. As far as we can: for all novels contain tables and chairs, and most readers of fiction look for them first. Before we condemn him for affectation and distortion we must realize his view point. He is not looking at the tables and chairs at all, and that is why they are out of focus. We only see what he does not focus—not what he does—and in our blindness we laugh at him.
I have said that each aspect of the novel demands a different quality in the reader. Well, the prophetic aspect demands two qualities: humility and the suspension of the sense of humour. Humility is a quality for which I have only a limited admiration. In many phases of life it is a great mistake and degenerates into defensiveness or hypocrisy. But humility is in place just now. Without its help we shall not hear the voice of the prophet, and our eyes will behold a figure of fun instead of his glory. And the sense of humour—that is out of place: that estimable adjunct of the educated man must be laid aside. Like the schoolchildren in the Bible, one cannot help laughing at a prophet—his bald head is so absurd—but one can discount the laughter and realize that it has no critical value and is merely food for bears.
Let us distinguish between the prophet and the non-prophet.
There were two novelists, who were both brought up in Christianity. They speculated and broke away, yet they neither left nor did they want to leave the Christian spirit which they interpreted as a loving spirit. They both held that sin is always punished, and punishment a purgation, and they saw this process not with the detachment of an ancient Greek or a modern Hindu, but with tears in their eyes. Pity, they felt, is the atmosphere in which morality exercises its logic, a logic which otherwise is crude and meaningless. What is the use of a sinner being punished and cured if there is not an addition in the cure, a heavenly bonus? And where does the addition come from? Not out of the machinery, but out of the atmosphere in which the process occurs, out of the love and pity which (they believed) are attributes of God.
How similar these two novelists must have been! Yet one of them was George Eliot and the other Dostoevsky.
It will be said that Dostoevsky had vision. Still, so had George Eliot. To classify them apart—and they must be parted—is not so easy. But the difference between them will define itself at once exactly if I read two passages from their works. To the classifier the passages will seem similar: to any one who has an ear for song they come out of different worlds.
I will begin with a passage—fifty years ago it was a very famous passage—out of Adam Bede. Hetty is in prison, condemned to die for the murder of her illegitimate child. She will not confess, she is hard and impenitent. Dinah, the Methodist, comes to visit her and tries to touch her heart.
Dinah began to doubt whether Hetty was conscious who it was that sat beside her. But she felt the Divine presence more and more—nay, as if she herself were a part of it, and it was the Divine pity that was beating in her heart, and was willing the rescue of this helpless one. At last she was prompted to speak, and find out how far Hetty was conscious of the present.
“Hetty,” she said gently, “do you know who it is that sits by your side?”
“Yes,” Hetty answered slowly, “it’s Dinah.” Then, after a pause, she added, “But you can do nothing for me. You can’t make ‘em do anything. They’ll hang me o’ Monday—it’s Friday now.”
“But, Hetty, there is some one else in this cell besides me, some one close to you.”
Hetty said, in a frightened whisper, “Who?”
“Some one who has been with you through all your hours of sin and trouble—who has known every thought you have had—has seen where you went, where you lay down and rose up again, and all the deeds you have tried to hide in darkness. And on Monday, when I can’t follow you, when my arms can’t reach you, when death has parted us, He who is with you now and knows all, will be with you then. It makes no difference—whether we live or die we are in the presence of God.”
“Oh, Dinah, won’t nobody do anything for me? Will they hang me for certain? … I wouldn’t mind if they’d let me live … help me…. I can’t feel anything like you … my heart is hard.”
Dinah held the clinging hand, and all her soul went forth in her voice: “… Come, mighty Saviour! let the dead hear Thy voice; let the eyes of the blind be opene
d: let her see that God encompasses her; let her tremble at nothing but the sin that cuts her off from Him. Melt the hard heart; unseal the closed lips: make her cry with her whole soul, ‘Father, I have sinned.’ “ “Dinah,” Hetty sobbed out, throwing her arms round Dinah’s neck, “I will speak … I will tell … I won’t hide it any more. I did do it, Dinah … I buried in the wood … the little baby … and it cried … I heard it cry … ever such a way off … all night … and I went back because it cried.”
She paused and then spoke hurriedly in a louder pleading tone.
“But I thought perhaps it wouldn’t die—there might somebody find it. I didn’t kill it—I didn’t kill it myself. I put it down there and covered it up, and when I came back it was gone…. I don’t know what I felt until I found that the baby was gone. And when I put it there, I thought I should like somebody to find it and save it from dying, but when I saw it was gone, I was struck like a stone, with fear. I never thought o’ stirring, I felt so weak. I knew I couldn’t run away, and everybody as saw me ‘ud know about the baby. My heart went like stone; I couldn’t wish or try for anything; it seemed like as if I should stay there for ever, and nothing ‘ud ever change. But they came and took me away.”
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