II
We look then, as time goes on, for signs that Mr. Forster is committing himself; that he is allying himself to one of the two great camps to which most novelists belong. Speaking roughly, we may divide them into the preachers and the teachers, headed by Tolstoy and Dickens, on the one hand, and the pure artists, headed by Jane Austen and Turgenev, on the other. Mr. Forster, it seems, has a strong impulse to belong to both camps at once. He has many of the instincts and aptitudes of the pure artist (to adopt the old classification) — an exquisite prose style, an acute sense of comedy, a power of creating characters in a few strokes which live in an atmosphere of their own; but he is at the same time highly conscious of a message. Behind the rainbow of wit and sensibility there is a vision which he is determined that we shall see. But his vision is of a peculiar kind and his message of an elusive nature. He has not great interest in institutions. He has none of that wide social curiosity which marks the work of Mr. Wells. The divorce law and the poor law come in for little of his attention. His concern is with the private life; his message is addressed to the soul. “It is the private life that holds out the mirror to infinity; personal intercourse, and that alone, that ever hints at a personality beyond our daily vision.” Our business is not to build in brick and mortar, but to draw together the seen and the unseen. We must learn to build the “rainbow bridge that should connect the prose in us with the passion. Without it we are meaningless fragments, half monks, half beasts.” This belief that it is the private life that matters, that it is the soul that is eternal, runs through all his writing. It is the conflict between Sawston and Italy in Where Angels Fear to Tread; between Rickie and Agnes in The Longest Journey; between Lucy and Cecil in A Room with a View. It deepens, it becomes more insistent as time passes. It forces him on from the lighter and more whimsical short novels past that curious interlude, The Celestial Omnibus, to the two large books, Howards End and A Passage to India, which mark his prime.
But before we consider those two books let us look for a moment at the nature of the problem he sets himself. It is the soul that matters; and the soul, as we have seen, is caged in a solid villa of red brick somewhere in the suburbs of London. It seems, then, that if his books are to succeed in their mission his reality must at certain points become irradiated; his brick must be lit up; we must see the whole building saturated with light. We have at once to believe in the complete reality of the suburb and in the complete reality of the soul. In this combination of realism and mysticism his closest affinity is, perhaps, with Ibsen. Ibsen has the same realistic power. A room is to him a room, a writing table a writing table, and a waste-paper basket a waste-paper basket. At the same time, the paraphernalia of reality have at certain moments to become the veil through which we see infinity. When Ibsen achieves this, as he certainly does, it is not by performing some miraculous conjuring trick at the critical moment. He achieves it by putting us into the right mood from the very start and by giving us the right materials for his purpose. He gives us the effect of ordinary life, as Mr. Forster does, but he gives it us by choosing a very few facts and those of a highly relevant kind. Thus when the moment of illumination comes we accept it implicitly. We are neither roused nor puzzled; we do not have to ask ourselves, What does this mean? We feel simply that the thing we are looking at is lit up, and its depths revealed. It has not ceased to be itself by becoming something else.
Something of the same problem lies before Mr. Forster — how to connect the actual thing with the meaning of the thing and to carry the reader’s mind across the chasm which divides the two without spilling a single drop of its belief. At certain moments on the Arno, in Hertfordshire, in Surrey, beauty leaps from the scabbard, the fire of truth flames through the crusted earth; we must see the red brick villa in the suburbs of London lit up. But it is in these great scenes which are the justification of the huge elaboration of the realistic novel that we are most aware of failure. For it is here that Mr. Forster makes the change from realism to symbolism; here that the object which has been so uncompromisingly solid becomes, or should become, luminously transparent. He fails, one is tempted to think, chiefly because that admirable gift of his for observation has served him too well. He has recorded too much and too literally. He has given us an almost photographic picture on one side of the page; on the other he asks us to see the same view transformed and radiant with eternal fires. The bookcase which falls upon Leonard Bast in Howards End should perhaps come down upon him with all the dead weight of smoke-dried culture; the Marabar caves should appear to us not real caves but, it may be, the soul of India. Miss Quested should be transformed from an English girl on a picnic to arrogant Europe straying into the heart of the East and getting lost there. We qualify these statements, for indeed we are not quite sure whether we have guessed aright. Instead of getting that sense of instant certainty which we get in The Wild Duck or in The Master Builder, we are puzzled, worried. What does this mean? we ask ourselves. What ought we to understand by this? And the hesitation is fatal. For we doubt both things — the real and the symbolical: Mrs. Moore, the nice old lady, and Mrs. Moore, the sibyl. The conjunction of these two different realities seems to cast doubt upon them both. Hence it is that there is so often an ambiguity at the heart of Mr. Forster’s novels. We feel that something has failed us at the critical moment; and instead of seeing, as we do in The Master Builder, one single whole we see two separate parts.
The stories collected under the title of The Celestial Omnibus represent, it may be, an attempt on Mr. Forster’s part to simplify the problem which so often troubles him of connecting the prose and poetry of life. Here he admits definitely if discreetly the possibility of magic. Omnibuses drive to Heaven; Pan is heard in the brushwood; girls turn into trees. The stories are extremely charming. They release the fantasticality which is laid under such heavy burdens in the novels. But the vein of fantasy is not deep enough or strong enough to fight single-handed against those other impulses which are part of his endowment. We feel that he is an uneasy truant in fairyland. Behind the hedge he always hears the motor horn and the shuffling feet of tired wayfarers, and soon he must return. One slim volume indeed contains all that he has allowed himself of pure fantasy. We pass from the freakish land where boys leap into the arms of Pan and girls become trees to the two Miss Schlegels, who have an income of six hundred pounds apiece and live in Wickham Place.
III
Much though we may regret the change, we cannot doubt that it was right. For none of the books before Howards End and A Passage To India altogether drew upon the full range of Mr. Forster’s powers. With his queer and in some ways contradictory assortment of gifts, he needed, it seemed, some subject which would stimulate his highly sensitive and active intelligence, but would not demand the extremes of romance or passion; a subject which gave him material for criticism, and invited investigation; a subject which asked to be built up of an enormous number of slight yet precise observations, capable of being tested by an extremely honest yet sympathetic mind; yet, with all this, a subject which when finally constructed would show up against the torrents of the sunset and the eternities of night with a symbolical significance. In Howards End the lower middle, the middle, the upper middle classes of English society are so built up into a complete fabric. It is an attempt on a larger scale than hitherto, and, if it fails, the size of the attempt is largely responsible. Indeed, as we think back over the many pages of this elaborate and highly skilful book, with its immense technical accomplishment, and also its penetration, its wisdom and its beauty, we may wonder in what mood of the moment we can have been prompted to call it a failure. By all the rules, still more by the keen interest with which we have read it from start to finish, we should have said success. The reason is suggested perhaps by the manner of one’s praise. Elaboration, skill, wisdom, penetration, beauty — they are all there, but they lack fusion; they lack cohesion; the book as a whole lacks force. Schlegels, Wilcoxes, and Basts, with all that they stand for of class and en
vironment, emerge with extraordinary verisimilitude, but the whole effect is less satisfying than that of the much slighter but beautifully harmonious Where Angels Fear to Tread. Again we have the sense that there is some perversity in Mr. Forster’s endowment so that his gifts in their variety and number tend to trip each other up. If he were less scrupulous, less just, less sensitively aware of the different aspects of every case, he could, we feel, come down with greater force on one precise point. As it is, the strength of his blow is dissipated. He is like a light sleeper who is always being woken by something in the room. The poet is twitched away by the satirist; the comedian is tapped on the shoulder by the moralist; he never loses himself or forgets himself for long in sheer delight in the beauty or the interest of things as they are. For this reason the lyrical passages in his books, often of great beauty in themselves, fail of their due effect in the context. Instead of flowering naturally — as in Proust, for instance — from an overflow of interest and beauty in the object itself, we feel that they have been called into existence by some irritation, are the effort of a mind outraged by ugliness to supplement it with a beauty which, because it originates in protest, has something a little febrile about it.
Yet in Howards End there are, one feels, in solution all the qualities that are needed to make a masterpiece. The characters are extremely real to us. The ordering of the story is masterly. That indefinable but highly important thing, the atmosphere of the book, is alight with intelligence; not a speck of humbug, not an atom of falsity is allowed to settle. And again, but on a larger battlefield, the struggle goes forward which takes place in all Mr. Forster’s novels — the struggle between the things that matter and the things that do not matter, between reality and sham, between the truth and the lie. Again the comedy is exquisite and the observation faultless. But again, just as we are yielding ourselves to the pleasures of the imagination, a little jerk rouses us. We are tapped on the shoulder. We are to notice this, to take heed of that. Margaret or Helen, we are made to understand, is not speaking simply as herself; her words have another and a larger intention. So, exerting ourselves to find out the meaning, we step from the enchanted world of imagination, where our faculties work freely, to the twilight world of theory, where only our intellect functions dutifully. Such moments of disillusionment have the habit of coming when Mr. Forster is most in earnest, at the crisis of the book, where the sword falls or the bookcase drops. They bring, as we have noted already, a curious insubstantiality into the “great scenes” and the important figures. But they absent themselves entirely from the comedy. They make us wish, foolishly enough, to dispose Mr. Forster’s gifts differently and to restrict him to write comedy only. For directly he ceases to feel responsible for his characters’ behaviour, and forgets that he should solve the problem of the universe, he is the most diverting of novelists. The admirable Tibby and the exquisite Mrs. Munt in Howards End, though thrown in largely to amuse us, bring a breath of fresh air in with them. They inspire us with the intoxicating belief that they are free to wander as far from their creator as they choose. Margaret, Helen, Leonard Bast, are closely tethered and vigilantly overlooked lest they may take matters into their own hands and upset the theory. But Tibby and Mrs. Munt go where they like, say what they like, do what they like. The lesser characters and the unimportant scenes in Mr. Forster’s novels thus often remain more vivid than those with which, apparently, most pain has been taken. But it would be unjust to part from this big, serious, and highly interesting book without recognizing that it is an important if unsatisfactory piece of work which may well be the prelude to something as large but less anxious.
IV
Many years passed before A Passage to India appeared. Those who hoped that in the interval Mr. Forster might have developed his technique so that it yielded rather more easily to the impress of his whimsical mind and gave freer outlet to the poetry and fantasy which play about in him were disappointed. The attitude is precisely the same four-square attitude which walks up to life as if it were a house with a front door, puts its hat on the table in the hall and proceeds to visit all the rooms in an orderly manner. The house is still the house of the British middle classes. But there is a change from Howards End. Hitherto Mr. Forster has been apt to pervade his books like a careful hostess who is anxious to introduce, to explain, to warn her guests of a step here, of a draught there. But here, perhaps in some disillusionment both with his guests and with his house, he seems to have relaxed these cares. We are allowed to ramble over this extraordinary continent almost alone. We notice things, about the country especially, spontaneously, accidentally almost, as if we were actually there; and now it was the sparrows flying about the pictures that caught our eyes, now the elephant with the painted forehead, now the enormous but badly designed ranges of hills. The people too, particularly the Indians, have something of the same casual, inevitable quality. They are not perhaps quite so important as the land, but they are alive; they are sensitive. No longer do we feel, as we used to feel in England, that they will be allowed to go only so far and no further lest they may upset some theory of the author’s. Aziz is a free agent. He is the most imaginative character that Mr. Forster has yet created, and recalls Gino the dentist in his first book, Where Angels Fear to Tread. We may guess indeed that it has helped Mr. Forster to have put the ocean between him and Sawston. It is a relief, for a time, to be beyond the influence of Cambridge. Though it is still a necessity for him to build a model world which he can submit to delicate and precise criticism, the model is on a larger scale. The English society, with all its pettiness and its vulgarity and its streak of heroism, is set against a bigger and a more sinister background. And though it is still true that there are ambiguities in important places, moments of imperfect symbolism, a greater accumulation of facts than the imagination is able to deal with, it seems as if the double vision which troubled us in the earlier books was in process of becoming single. The saturation is much more thorough. Mr. Forster has almost achieved the great feat of animating this dense, compact body of observation with a spiritual light. The book shows signs of fatigue and disillusionment; but it has chapters of clear and triumphant beauty, and above all it makes us wonder, What will he write next?
Middlebrow
[This letter was written, but not sent to The New Statesman.]
To The Editor of the “New Statesman”
Sir,
Will you allow me to draw your attention to the fact that in a review of a book by me (October ) your reviewer omitted to use the word Highbrow? The review, save for that omission, gave me so much pleasure that I am driven to ask you, at the risk of appearing unduly egotistical, whether your reviewer, a man of obvious intelligence, intended to deny my claim to that title? I say “claim,” for surely I may claim that title when a great critic, who is also a great novelist, a rare and enviable combination, always calls me a highbrow when he condescends to notice my work in a great newspaper; and, further, always finds space to inform not only myself, who know it already, but the whole British Empire, who hang on his words, that I live in Bloomsbury? Is your critic unaware of that fact too? Or does he, for all his intelligence, maintain that it is unnecessary in reviewing a book to add the postal address of the writer?
His answer to these questions, though of real value to me, is of no possible interest to the public at large. Of that I am well aware. But since larger issues are involved, since the Battle of the Brows troubles, I am told, the evening air, since the finest minds of our age have lately been engaged in debating, not without that passion which befits a noble cause, what a highbrow is and what a lowbrow, which is better and which is worse, may I take this opportunity to express my opinion and at the same time draw attention to certain aspects of the question which seem to me to have been unfortunately overlooked?
Complete Works of Virginia Woolf Page 392
