But as I was saying, all this would be too subtle for the enemy, for the people who maintain that fine literature is a faithful reflection of life, and think that Jane Austen touched the point of literary supremacy. With them, as I said, we must be rough; we must ask: Did Sophocles describe the ordinary life of Athens in his day? No: very well, then; since the works of Sophocles are fine literature, it follows that some fine literature does not reflect ordinary life, and therefore that fidelity to nature is not the differentia of the highest art.
I wonder whether I ought to caution you again against the ambiguity of language? We are dealing easily enough with such words as “life” and “nature,” and from what you know of my system you may perhaps have seen that I have been using these words as the people use them, as those use them who would say that “Vanity Fair” is a faithful presentation of life. I thought you would understand this, but I may just mention in passing that words like “nature,” “life” and “truth” or “fidelity” have also their esoteric values, that (by way of example) the truth of the scientist and the truth of the philosopher are two very different things. So it may turn out by and bye that in the occult sense, “fidelity to life” is the differentia of fine literature; that the aim of art is truth; that the artist continually mirrors nature in its eternal, essential forms; but for the present moment, it is understood, is it not, that these words have been used in their common, everyday popular significance? The “Dunciad” is a study of man, and Wordsworth’s “Ode on Intimations of Immortality” is a study of man, and the literary standpoint that we have been attacking is that of Pope and not that of Wordsworth.
If I remember, the next test we have to analyse is that of artifice, often and improperly called art. But I think we have already demolished this criterion. In distinguishing between art and artifice I pointed out that the latter merely signifies the adaptation of means to an end, and has no relation whatever with art properly so-called; it is simply the mental instrument with which man performs every task and every work of his daily life; it consists in the rejection of that which is unfit for the particular purpose in view, and in the acceptance and use of that which is fit for the desired end and likely to bring it about. It concerns not creation but execution, and it is I need hardly say as indispensable to the author as are his pen and ink, and (I might almost say) is as little concerned as these with the essence of his art. Of course in works of the very highest genius we may declare that, in a sense, art has become all in all, that the necessary artifice has been interpenetrated with art, so that we can hardly distinguish in our minds between the idea and the realisation of it. In such cases, artifice has been lifted up and exalted into the heaven of art, and it remains artifice no longer; but in the view that we are considering it is merely the adaptation of means to an end, a clever choice of incident, the knack of putting in and leaving out. The faculty may, as I said, be glorified and transfigured by genius, but every newspaper reporter must have more or less of it, and it is clear enough I think (perhaps I may mention Wilkie Collins once more) that in itself it cannot establish the claim of any book to be fine literature.
And lastly we have to deal with style; and here again I must have recourse to my distinctions. What is a good style? If you mean by a “good” style, one that delivers the author’s meaning in the clearest possible manner, if its purpose and effect are obviously utilitarian, if it be designed solely with the view of imparting knowledge—the knowledge of what the author intends—then I must point out that “style” in this sense is or should be amongst the accomplishments of every commercial clerk—indeed, it will be merely a synonym for plain speaking and plain writing—and in this sense it is evidently not one of the marks of art, since the object of art is not information, but a peculiar kind of æsthetic delight. But if on the other hand style is to mean such a use and choice of words and phrases and cadences that the ear and the soul through the ear receive an impression of subtle but most beautiful music, if the sense and sound and colour of the words affect us with an almost inexplicable delight, then I say that while Idea is the soul, style is the glorified body of the very highest literary art. Style, in short, is the last perfection of the very best in literature, it is the outward sign of the burning grace within. But we must keep the systematic consideration of style for some other night; it’s not a subject to be dealt with by the way, and I have only said so much because it was necessary to draw the line between language as a means of imparting facts (good style in the sense of our opponents) and language as an æsthetic instrument, which is a good, or rather a beautiful style in our sense. In the latter sense it is the form of fine literature, in the former sense it is the medium of all else that is expressed in words, from a bill of exchange upwards.
It seems to me, then, that we have considered one by one the alternative tests of fine literature which have been or may be proposed, and we have come to the conclusion that each and all are impossible. It is no longer permissible, I imagine, for you or for me to say: “This book is fine literature because it makes me cry, because it was so interesting that I couldn’t put it down, because it is so natural and faithful to life, because it is so well (plainly and neatly) written.” We have picked these reasons to pieces one by one, and the result is that we are driven back on my “word of the enigma”—Ecstasy; the infallible instrument, as I think, by which fine literature may be discerned from reading-matter, by which art may be known from artifice, and style from intelligent expression. At any rate we have got our hypothesis, and you remember what stress Coleridge laid on the necessity of forming some hypothesis before entering on any investigation.
I believe we began tonight with the evening paper, and the strange glimpse it gives us, through a pinky-green veil, through a cloud of laborious nonsense about odds and winners and tips and all such foolery, into that ancient eternal desire of man for the unknown. And that, you remember, was one of the synonyms that I offered you for ecstasy; and so in a sense I expect that we shall have the evening paper close beside us all the way of our long voyage in quest of the lost Atlantis.
II
I think it is a horrible thing to have such a good memory as that. I recollect, now that you remind me, that I did lay down “Pickwick” v. “Vanity Fair” as a sort of test case of my theory of literature; but you surely do not expect me to work out the arguments in detail? Of course if I were giving a series of lectures I should “set a paper” after each one; but I expect you to content yourself with the suggestion, with the skeleton map, as it were. Besides, if we take that special case of two eminent Victorian novels as a concrete instance of the abstract argument, don’t you see that we are answering the particular question all the while that we are investigating the general proposition? Surely if you recollect all that we said about fine literature in general, you won’t have much difficulty in adjudicating on the claims of Thackeray. Don’t you see that he never withdraws himself from the common life and the common consciousness, that he is all the while nothing but a photographer; a showman with a set of pictures. A consummately clever photographer, certainly, a showman with a gift of amusing, interesting “patter” that is quite extraordinary, an artificer of very high merit. But where will you find Ecstasy in Thackeray? Where is his adoration? You may search, I think, from one end of his books to the other, without finding any evidence that he realised the mystery of things; he was never for a moment aware of that shadowy double, that strange companion of man, who walks, as I said, foot to foot with each one of us, and yet his paces are in an unknown world. And (unless you have got any fresh arguments) I think we decided last week that the book which lacks the sense of all this is not fine literature.
I hope you don’t think I am abusing Thackeray. I am always reading him, and I chose his “Vanity Fair” because it strikes me as such a supremely clever example of its class. I suppose there is nothing more amusing than the society of a brilliant, observant man of the world. Well, Thackeray was brilliant and observant in excelsis, and besides th
at, he understood the artifice of story-telling, and he could write a terse, clean-cut English which was always sufficient for his purpose. He contrives the corporal overthrow of the Marquis of Steyne, he shows you that bald old nobleman sprawling on the floor, and the words that he uses are his brisk, willing, and capable servants. He has observation, and artifice, and “style” in that secondary sense which we distinguished from the real style; from those “melodies unheard” which I called (I think rather picturesquely) the glorified body of the highest literary art. But these qualities, we found out, are not, separately or conjointly, the differentia of fine literature as we understand the term; and consequently, with all our admiration and all our interest we are compelled to place Thackeray in the lower form, simply because he is clearly and decisively lacking in that one essential quality of ecstasy, because he never leaves the street and the highroad to wander on the eternal hills, because he does not seem to be aware that such hills exist.
Of course I have only taken Thackeray as the representative of his class, and I chose him, as I remarked, because, for me, he is the most favourable representative of it. I am thinking, really, of the “plain man” whom we have engaged in so many forms, and of his “plain” argument which comes to this—“for me a great book is a book that amuses me greatly and that I enjoy reading.” And I say that Thackeray amuses me greatly and that I enjoy reading his books immensely, but that, with due respect to “common sense,” such an argument fails to prove that “Vanity Fair” is fine literature. Other people would, no doubt, have chosen other books; many would have selected Miss Austen, and I daresay they would have a good deal to say for their choice. Undoubtedly there is a severity, a self-restraint, a fineness of observation, a delicacy of irony in “Pride and Prejudice” which are unmatched of their kind (the Thackeray of the caricatures, of those queer woodblocks, comes out now and then in the books, and digression occasionally goes beyond due bounds); but I named “Vanity Fair” because, personally, I find it more amusing than “Pride and Prejudice.” In neither of these books is there art in our high sense of the word, and in preferring the one over the other I am simply saying that I prefer the company of a brilliant and witty cosmopolitan to that of a very keen and delicate, but very limited maiden lady, who lives in a remote country town and understands thoroughly the reason why the vicar bowed so low when a certain carriage rolled up the high street, and why that pretty, prim girl crossed over the way when the handsome gentleman from the Hall came out of the chymist’s. Yes, the cosmopolitan at the club window certainly fails a little in his manners now and then, and the country gentlewoman’s breeding is perfect of its kind, but the circles in which Pendennis moved are (to me) so infinitely the more entertaining of the two.
You see, I think that the question of liking a book or not liking it has nothing whatever to do with the consideration of fine art. Art is there, if I may say so, just as the Tenth Commandment is there; and if we don’t like them, so much the worse for us. I may find Homer very dull reading, I may covet your ox and your ass and everything that is yours, but my limited and somewhat commonplace brains, and my envy of your prosperity won’t alter the fact that the “Odyssey” is fine literature and that covetousness is wicked. But when we once leave the utterances of the eternal, universal human ecstasy, which we have agreed to call art, and descend to these lower levels that we are talking of now, it seems to me that the question of liking or not liking counts for a good deal. Not for everything, of course. We must still distinguish: between plots stupid or ingenious, between observation that is close and keen and observation that is vague and inaccurate, between artifice and the want of it, between sentences that are neatly constructed and mere slipshod. All these things naturally reckon in the account, but when they have been estimated and allowed their value, you will usually find that you are influenced still more by your mere liking or disliking of the subject-matter, and it seems to me quite legitimately. For, if you look closely into the whole question, you will find that you are judging these secondary books as you judge of life, as you choose the scene of your holiday, as you read the newspaper. One man may say that he prefers to talk to artists, another, quite legitimately, may love the society of brewers; you may think Norway perfection, I am going to Constantinople; A. turns at once to the quotation for Turpentine at Savannah, B. folds down the sheet at the Police News. It is not a question of art, but of taste, that is of individual humour and constitution; you frequent the company that suits you, you go to the place you like, you read the news that happens to be most interesting from your special standpoint. And in the same way, if I find the conversation of Miss Becky Sharpe, as reported by Mr W. M. Thackeray, more amusing than the conversation of Miss Elizabeth Bennett as reported by Miss Jane Austen; it seems to me that there is no more to be said. Elizabeth’s remarks are more skilfully reported? Very likely, but, granting that, I had rather listen to the record, imperfect, if you please, of the other lady’s conversation. Here is a speech on Bimetallism, given at great length, and (let us presume) with great accuracy; here is a short summary of Professor L.’s “Lecture on the Eleusinian Mysteries,” very badly “sub-edited.” But, you see, I happen not to care twopence about Bimetallism, so I turn away from the careful report, growling; while I cut out that wretched summary of the Lecture with the purpose of pasting it in my scrap-book, since every word about the Eleusinian Mysteries has a vivid interest for me.
It often amuses me to hear people quarrelling about the rival “artistic merit” of books which have, in most cases, no artistic merits at all. A. writes a book about greengrocers, and you, who find something singularly piquant and entertaining in the manners, speech, and habits of the class in question, pronounce A. to be a “great artist” who has written a masterpiece. I love dukes, and B.’s novel of the peerage strikes me as a marvel of artistic accomplishment, while I pronounce the work that has charmed you to be as stupid and tiresome as the class it represents. Each of us is talking nonsense; there is no art in the question, which is purely a matter of individual taste. The Stock Exchange column interests one man, while the latest football news absorbs the other. That is all.
Of course, as I said, artifice counts for something: there is a pleasure in seeing the thing neatly done, and I suppose it is this pleasure that has secured Miss Austen her fervent admirers. It is a little difficult to treat this form of pleasure quite fairly; a musician perhaps would find it difficult to answer the question whether he would rather hear Palestrina badly rendered or Zingarelli executed to perfection. In the latter case there would certainly be the charm of exquisite voices in perfect order and accord, though the music were nothing or worse than nothing; still, our musician might say, on the other hand, that Palestrina martyred was better than Zingarelli triumphant. I am afraid I can imagine myself saying: “Limited country-people, as seen by Jane Austen, are so ‘slow’ that they rather bore me, though the author has portrayed them with wonderful skill,” but I can hardly fancy myself affirming that Becky Sharpe is such an interesting personage that she would still delight me, even if the author of “Ten Thousand a Year” had written her history. On the other hand I believe that the plot of “Jekyll and Hyde” would still have had some fascination, though it had been treated by the veriest dolt in letters. But that is not a good example, since “Jekyll and Hyde” is certainly in its conception, though not in its execution, a work of fine art. Let us take the “Moonstone” again as an example; I believe then, that if the events related in it had caught our eyes in a brief newspaper paragraph they would still have interested.
It seems to me that, after all, this question of artifice, of “how the thing is done,” comes under the same category as liking and disliking. I mean it is largely a matter of the personal equation, about which no very strict laws can be laid down. You might say, for example, that Becky would entertain you in any hands, however indifferent, provided that her “facts” were preserved, and I don’t see that I could argue the point with you. It reminds me again of the way
in which men choose their friends; one lays stress on pleasant manners, another on sterling goodness of character, a third on wit, a fourth on distinction of some kind; and argument is really voiceless. “Here is a book-case,” you may say, “look how exquisitely it is made.” Yes, but I don’t want a book-case; whereas that table, ricketty as it is, will be really useful. But if you were to say: “Look at Westminster Abbey,” you can hardly imagine my answering: “Bother Westminster Abbey; I want a pig-sty.” You see how, here again, we come to the generic difference between fine literature and interesting reading matter. We read the “Odyssey” because we are supernatural, because we hear in it the echoes of the eternal song, because it symbolises for us certain amazing and beautiful things, because it is music; we read Miss Austen and Thackeray because we like to recognise the faces of our friends aptly reproduced, to see the external face of humanity so deftly mimicked, because we are natural. The question of our preference for one over the other, is, making due allowance for analogy, the question of our preference for a table over a bookcase or vice versâ, and the workmanship in each case is largely a matter of detail. And the great poem may be equated with the great church: each is made for beauty, the one is ecstasy in words, the other ecstasy in stone. But the church and the pig-sty, on the other hand, are not to be compared together: incidentally, no doubt, the former is rainproof or in ill repair, has good or bad acoustic properties, while the latter may be either an æsthetic pest in the back-yard, or an agreeable looking little shed enough. Still, the essence of the church is beauty, ecstasy; of the sty utility, the safe keeping of pigs. It would be absurd, you see, to say: “I prefer an abbey to a pig-sty,” and it would be equally absurd to say: “I prefer the ‘Œdipus’ to ‘Pride and Prejudice’” or “I prefer the Venus of the Louvre to the wax-figures in the exhibition.” Of course these are only analogies, and you mustn’t press them, but they may help to make my meaning clearer, to enforce the vast distinction between art and artifice. Please don’t think that I wish to establish a proportion: as a pig-sty is to an abbey, so is Jane Austen to Sophocles. In her case you would have to substitute a neat Georgian house for “pig-sty” and then I think you would have a very fair proportion. But all that I wanted to do was to draw the line between things made for use, to occupy some definite place in relation to our common daily life; and things made by ecstasy and for ecstasy, things that are symbols, proclaiming the presence of the unknown world.
The Arthur Machen Megapack: 25 Classic Works Page 120
