Judiciousness is carried to the comic limit. And then, Mark Twain is always getting the atmosphere, whether he picks up the exact words of loafers trying to borrow tobacco off one another or tells a tall story of an hysterical revival meeting.
Atmosphere is the decisive word. Huckleberry Finn reeks of its world. From a sensitive passage like:
When I got there it was all still and Sunday-like, and hot and the hands was gone to the fields; and there was them kind faint dronings of bugs and flies that makes it seem so lonesome and like everybody’s dead …
to descriptions of the silly, dying girl’s ridiculous poetry, the sensibility draws a clear outline and is never blurred and turned into sentimentality. One is enormously moved by Huck’s view of the world he sees. It is the world not of Eden, but of the “old Adam,” not the golden age of the past, but the earthly world of a reality which (we feel with regret) we have let slip through our fingers too carelessly. Huck is only a crude boy, but luckily he was drawn by a man whose own mind was arrested, with disastrous results in his other books, at the schoolboy stage; here it is perfect. And a thousand times better than the self-conscious adventures of Stevenson’s Treasure Island and Kidnapped.
Is Huckleberry Finn one of the great works of picaresque literature? It is, granting the limits of a boy’s mind in the hero and the author, a comic masterpiece; but this limitation is important. It is not a book which grows spiritually, if we compare it to Quixote, Dead Souls or even Pickwick; and it is lacking in that civilised quality which you are bound to lose when you throw over civilisation—the quality of pity. One is left with the cruelty of American humour, a cruelty which is softened by the shrewd moralisings of the humorous philosophers—the Josh Billingses, the Artemus Wards, and the Will Rogerses. And once Mark Twain passed this exquisite moment of his maturity, he went to bits in that morass of sentimentality, cynicism, melodrama and vulgarity which have damned him for the adult reader.
(1942)
SAMUEL RICHARDSON
CLARISSA
The modern reader of Richardson’s Clarissa emerges from his experience exhausted, exalted and bewildered. The book is, I fancy, the longest novel in the English language; it is the one most crowded with circumstantial detail; it is written in the most dilatory of narrative manners, i.e., in the form of letters. It is a tale perceived through a microscope; it is a monstrosity, a minute and inordinate act of prolonged procrastination. And the author himself is a monster. That a man like Samuel Richardson should write one of the great European novels is one of those humiliating frolics in the incidence of genius. The smug, juicy, pedestrian little printer from Derbyshire, more or less unlettered, sits down at the age of 50 and instructs young girls in the art of managing their virtue to the best advantage. Yet, ridiculous as Pamela is, her creator disarms criticism by a totally new ingredient in the novel: he knows how to make the reader weep. And, stung by the taunts of the educated writers of his time, Richardson calmly rises far above Pamela when he comes to the story of Clarissa Harlowe; he sets the whole continent weeping. Rousseau and even Goethe bow to him and take out their handkerchiefs; the vogue of sensibility, the first shoots of the Romantic movement, spring from the pool of Richardson’s pious tears like the grateful and delicate trees of an oasis. Yet there he is, plump, prosaic, the most middling of middling men, and so domestically fussy that even his gift of weeping hardly guarantees that he will be a major figure. Is there not some other strain in this dull and prodigiously painstaking little man? There is. Samuel Richardson was mad.
I do not mean that Richardson was a lunatic. I do not mean he was mad as Swift was mad. At first sight, an immeasurable smugness, an endlessly pettifogging normality seem to be the outer skin of Richardson’s character. We know, as I have already said, that from his youth he was an industrious and timid young man who was, for some reason or other, used by young women who wanted their love letters written. Profoundly sentimental, he sat like some pious old cook in her kitchen, giving advice to the kitchen maids, and when he came to write novels he was merely continuing this practical office. He lived vicariously like some sedentary lawyer who has to argue the disasters of other people’s lives letter by letter, but who himself never partakes. Genteel, he is, nevertheless, knowing; prim and cosy, he is, nevertheless, the victim of that powerful cult of the will, duty and conscience by which Puritanism turned life and its human relations into an incessant war. There is no love in Puritanism; there is a struggle for power. Who will win the daily battle of scruple and conscience—Pamela or the young squire; Clarissa or Lovelace? And yet what is urging Richardson to this battle of wills? What is it that the Puritan cannot get out of his mind, so that it is a mania and obsession? It is sex. Richardson is mad about sex.
His is the madness of Paul Pry and Peeping Tom. I said just now that Clarissa is a novel written under the microscope; really it is a novel written about the world as one sees it through the keyhole. Prurient and obsessed by sex, the prim Richardson creeps on tip-toe nearer and nearer, inch by inch, to that vantage point; he beckons us on, pausing to make every kind of pious protestation, and then nearer and nearer he creeps again, delaying, arguing with us in whispers, working us up until we catch the obsession too. What are we going to see when we get there? The abdication, the seduction, the lawful deflowering of a virgin in marriage are not enough for him. Nothing short of the rape of Clarissa Harlowe by a man determined on destroying her can satisfy Richardson’s phenomenal day-dream with its infinite delays.
The principle of procrastinated rape is said to be the ruling one in all the great best-sellers. It was in Richardson’s genius that he was able to elevate the inner conflict of the passions and the will to an abstract level, so that the struggle of Clarissa and Lovelace becomes a universal battle-piece; and, in doing this, Richardson was able to paint it with the highly finished realism of the Dutch painters. At the beginning one might simply be reading yet another novel of intrigue, which just goes on and on; and but for the incredible suspense in the narrative I think many readers must have given up Clarissa by the end of the first volume. It is not until the third and fourth volumes are reached, when Richardson transposes his intrigue into the sustained and weeping music, the romantic tragedy of Clarissa’s rape and long preparation for death, that we get his measure. She dies piously, yet like a Shakespearean conferring greatness upon all around her by the starkness of her defeat. At the beginning we are not prepared for this greatness in Clarissa; even in that last volume we are often uncertain of her real stature. It is not easy for virginity to become Virtue. Would she be anything without Lovelace? And yet, we know, she is the crown upon Lovelace’s head. He too becomes tragic under her judgment as she becomes tragic by his act. These two reflect glory upon each other, like saint and devil. But in the first volume there is no difficulty about deciding who is the greater as a character or as an abstract conception. Lovelace has her beaten hands down. A practical and languid correspondence wakes up when he takes pen in hand. Anna Howe, the “pert” friend, makes circles round her. Arabella, with her nose out of joint, is livelier comedy. The scheming brother, the gouty father with his paroxysms, the supplicating and fluttering mother, and the endearing uncles with their unendearing family solidarity, make a greater mark on our minds than the all-too-articulate Clarissa does. Our one hope is that witty Miss Howe is right when she teases Clarissa with maidenly self-deception. “The frost piece,” as Lovelace called her, looks exactly like one of those fascinating prudes whose minds are an alphabet that must be read backwards. But no; though she will enchant us when she is rattled, with cries like “Oh, my Nancy, what shall I do with this Lovelace?” her course and her motives are clear to her; and we begin the slow and painful discovery of a virtue which finds no exhilaration except in scruple. We face an inexhaustible determination, and this is exhausting to contemplate, for Clarissa is as interested in the organisation of human motives as Richardson himself; and he insinuates himself in her character so thoroughly, niggling away with his �
��ifs” and his “buts,” that he overwhelms her, as Flaubert overwhelmed Madame Bovary.
Still this does not take from the drama of Clarissa’s situation, and does, in fact, increase the suspense of it. If we skip—and of course we do, looking up the letters in the obliging synopsis—we do not, as in other novels, find ourselves caught out by an overlooked sub-plot; we are back in the main situation. Will the family relent? Will Lovelace abduct, marry, rape or reform? There’s hardly a sub-plot worth mentioning in this huge novel. It follows the labyrinth of a single theme. And though we turn to Anna Howe for glimpses of common sense, and for a wit to enliven the glum belligerents of what Lovelace—always a psychologist and nearly a Freudian—called “the Harlowe dunghill” with its wills and deeds of settlement, we see in Clarissa’s stand something more than a virtuous daughter bullied by her parents. She is a lawyer in family morals, and in Lovelace’s too; but she is the first heroine in English fiction to stand against the family. Richardson called them “the embattled phalanx,” and in Clarissa he goes to the heart of the middle-class situation: money, accretion of estate, the rise in the world, the desire to found a family, in conflict with the individual soul. She and Lovelace complement each other here. She thinks her family ought not to do evil to her, yet takes their evil upon herself; she is not a rebel but is tricked and driven into becoming an outcast and at last a saint. Like Lovelace, she has asked too much, “for people who allow nothing will be granted nothing; in other words, those who aim at carrying too many points will not be able to carry any.” Yes, and those who put up their price by the device of reluctance invite the violence of the robber. By setting such a price upon herself, Clarissa represents that extreme of puritanism which desires to be raped. Like Lovelace’s, her sexuality is really violent, insatiable in its wish for destruction.
Lovelace is Richardson’s extravagant triumph. How did such a burning and tormented human being come out of that tedious little printer’s mind? In the English novel Lovelace is one of the few men of intellect who display an intellect which is their own and not patently an abstract of their author’s intellectual interests. He is half-villain, half-god, a male drawn to the full, and he dominates English fiction. He is all the more male for the feminine strains in his character: his hatred of women, his love of intrigue, his personal vanity, his captiousness and lack of real humility. A very masculine novelist like Fielding is too much a moralist, and too confidently a man, to catch a strain like that. And how Lovelace can write! When Clarissa’s letters drag, like sighing Sunday hymns, or nag at us in their blameless prose, like the Collect for the day, the letters of Lovelace crackle and blaze with both the fire and the inconsequence of life. His words fly back and forth, throwing out anecdotes and the characters of his friends, with wonderful transitions of mood. In one paragraph he is writing a set apostrophe to Clarissa, full of longing and half-way to repentance. He shakes the mood off like a man who is drunk with grief and throws off this description of his gouty old kinsman:
And here (pox of his fondness for me; it happens at a very bad time) he makes me sit hours together entertaining him with my rogueries (a pretty amusement for a sick man!) and yet, whenever he has the gout, he prays night and morning with his chaplain. But what must his notions of religion be, who, after he has nosed and mumbled over his responses, can give a sigh or groan of satisfaction, as if he thought he had made up with Heaven; and return with a new appetite to my stories?—encouraging them, by shaking his sides with laughing at them, and calling me a sad fellow, in such an accent as shows he takes no small delight in his kinsman.
The old peer has been a sinner in his day, and suffers for it now; a sneaking sinner, sliding, rather than rushing into vices, for fear of his reputation; or rather, for fear of detection, and positive proof; for this sort of fellow, Jack, has no real regard for reputation. Paying for what he never had, and never daring to rise to the joy of an enterprise at first hand, which bring him within view of a tilting or the honour of being considered as the principal man in a court of justice.
To see such a Trojan as this just dropping into the grave which I hoped ere this would have been dug, and filled up with him; crying out with pain and grunting with weakness; yet in the same moment crack his leathern face into a horrible laugh, and call a young sinner charming varlet, encoring him as formerly he used to do the Italian eunuchs; what a preposterous, what an unnatural adherence to old habits.
Or there is the awful description of that old procuress, Mrs Sinclair, a horror out of Rowlandson, who advances upon Clarissa on the night of the rape, when all Richardson’s fascination with carnal horror breaks out. There is a double terror in it, because Lovelace himself is writing as if trying to drive evil out of his mind by a picture of evils still greater:
The old dragon straddled up to her, with her arms kemboed again, her eyebrows erect like the bristles upon a hog’s back, and, scowling over her shortened nose, more than half hid her ferret eyes. Her mouth was distorted. She pouted out her blubber-lips, as if to bellow up wind and sputter into her horse-nostrils, and her chin was curdled, and more than usually prominent with passion.
The temperate, lawyer-like mind of Richardson does not prepare one for passages like this. When there is matter-of-factness in the eighteenth century, one expects it to be as regular as Pope’s couplets were. But Richardson is not consistent. In the sheer variety of their styles the letters in this novel are astonishing. The bovine uncles, the teasing parenthetical Miss Howe, the admonitory Belford, the curt Colonel Morden, heading for his duel, the climbing neurotic brother whose descendants were no doubt in the British Union of Fascists, all have their styles, and they are as distinctive as Lovelace’s or Clarissa’s. Richardson is the least flat, the most stereoscopic novelist of an age which ran the plain or formal statement to death in the end. Another point: he is a writer of indirect narrative. We are shown scenes at second hand, for the epistolatory method requires it so; and we become used to a sort of memoranda of talk and action which will tire our inward eye because our judgment is called upon at the same time. So there are many reported scenes which are relative failures, for example, the early and rather confusing ones between Clarissa and her mother. One has a muddled impression of two hens flying up in the air at each other and scattering their feathers. Yet even in this kind of scene Richardson can, at times, write talk which is direct and put action wonderfully under our eye. The scene of the rape is tremendous in this respect; and so is the awful picture of the brothel when Mrs Sinclair breaks her leg and the harridans come out in their night attire; and there is the comic, savage picture of Lovelace defeating the attempt of his family to try him. But where Richardson shook off the slavery of his own method is shown at its best, I think, in Belford’s letter describing the prison scene where the two prostitutes offer to bail Clarissa out:
“We are surprised at your indifference, Miss Harlowe. Will you not write to any of your friends?”
“No.”
“Why, you don’t think of tarrying here always.”
“I shall not live always.”
Even in those few lines one sees Richardson advancing his inner narrative and, if one continues this conversation, one also sees him patiently and unerringly preserving character. One might almost say that prolix as it was, his method was economical, given his chosen end. The slowness comes from an excess of examination, not an excess of words. No prose has fewer redundancies.
We come to the death scene. The torment of Lovelace pacing his horse past the gate of the house he dare not enter, though Clarissa lies dying within, is not rhetorical. It is defiant as fits a being so saturnine, it is in the mind as becomes a man of intellect, it is the changeable, imploring, ranging madness of a clever mind that has met its conqueror. Lovelace is a villain no man hates, because he is a man. He is candid, if he is vain. He can argue like Iago or debate like Hamlet, and in between send a purse of a few guineas to a rogue who has helped him to his present catastrophe. It is strange to think of him—the only D
on Juan in English fiction and done to the last Freudian detail. Clarissa dies like a swan amid the formal melody of a prose into which Richardson fell without affectation.
Her breath being very short, she desired another pillow. Having two before, this made her, in a manner, sit up in her bed; and she spoke then with more distinctness; and seeing us greatly concerned, forgot her own stutterings to comfort us; and a charming lecture she gave us, though a brief one, upon the happiness of a timely preparation, and upon the hazards of a late repentance, when the mind, as she observed, was so much weakened, as well as the body, as to render a poor soul hardly able to contend with its natural infirmities.
It is a strong test of the illusion that Richardson has cast upon us that we think of Lovelace like a shadow cast upon Clarissa as she dies; and of Clarissa rather than of Lovelace when he appears. These lives are known by their absences; they are inextricable, tangled in the thousands of words they have spoken about each other, and are swept away at last into other people’s words.
(1946)
SCOTT
“No one reads Scott now”: how often one has heard these words! I have no doubt they are true, at any rate true of English readers. At some time in the last 30 years feeling against dialect and especially the Scottish dialect has hardened into a final dislike. It is troublesome to the eye, it is a language which nags and clatters; one would as soon read phonetics. And then dialect suggests the overweening conceit of local virtue, and if anything has died in the last 30 years, it is regionalism. Our society—why pretend?—has made war on regionalism and has destroyed it. We may question whether, under any disguise, it can be reborn in the modern world. That is the first difficulty when we look at the long brown row of the Waverley novels that have stood high out of reach on our shelves, unopened since our childhood. And here the second difficulty arises. We read Scott in our childhood and he is not suitable reading for children; few of the great novelists are. Why should a man, writing in his maturity, scarred by life, marked by the evils of the world, its passions and its experience in his blood, be consigned to the young who know nothing of themselves or the world? The fault is partly Scott’s: this great man, the single Shakespearean talent of the English novel, drew far too often the heroes and heroines which have always appealed to the adolescent and gently reared reader—wooden idealisations, projections of our more refined, sixteen-year-old wishes. At sixteen we are in love with those sexless heroines with their awful school-mistressy speeches. We are in love with those stick-in-the-mud heroes whose disinterestedness and honour pervert the minds of boys with a tedious and delusive idealism. One grows up in the daydream that Scott has generated to discover it is a swindle; and one never forgives him.
The Pritchett Century Page 63
