by C. S. Lewis
Who in his ordinary senses would try to decide between the claims of materialism and theism by reading Lucretius and Dante? But who in his literary senses would not delightedly learn from them a great deal about what it is like to be a materialist or a theist?
In good reading there ought to be no' problem of belief. I read Lucretius and Dante at a time when (by and large) I agreed with Lucretius. I have read them since I came (by and large) to agree with Dante. I cannot find that this has much altered my experience, or at all altered my evaluation, of either. A true lover of literature should be in one way like an honest examiner, who is prepared to give the highest marks to the telling, felicitous and well-documented exposition of views he dissents from or even abominates.
The sort of misreading I here protest against is unfortunately encouraged by the increasing importance of 'English Literature' as an academic discipline.
This directs to the study of literature a great many talented, ingenious, and diligent people whose real interests are not specifically literary at all. Forced to talk incessantly about books, what can they do but try to make books into the sort of things they can talk about? Hence literature becomes for them a religion, a philosophy, a school of ethics, a psychotherapy, a sociology-anything rather than a collection of works of art. Lighter works-divertissements-are either disparaged or misrepresented as being really far more serious than they look. But to a real lover of literature an exquisitely made divertissement is a very much more respectable thing than some of the ' philosophies of life'
which are foisted upon the great poets. For one thing, it is a good deal harder to make.
This is not to say that all critics who extract such a philosophy from their favourite novelists or poets produce work without value: Each attributes to his chosen author what he believes to be wisdom; and the sort of thing that seems to him wise will of course be determined by his own calibre. If he is a fool he will find and admire foolishness, if he is a mediocrity, platitude, in all his favourites. But if he is a profound thinker himself, what he acclaims and expounds as his author's philosophy may be well worth reading, even if it is in reality his own. We may compare him to the long succession of divines who have based edifying and eloquent sermons on some straining of their texts.
The sermon, though bad exegesis, was often good homiletics in its own right.
Next Chapter...
SURVEY
It will now be convenient to sum up the position I am trying to develop as follows:
1. A work of (whatever) art can be either 'received' or 'used'. When we 'receive'
it we exert our senses and imagination and various other powers according to a pattern invented by the artist. When we 'use' it we treat it as assistance for our own activities. The one, to use an old-fashioned image, is like being taken for a bicycle ride by a man who may know roads we have never yet explored.
The other is like adding one of those little motor attachments to our own bicycle and then going for one of our familiar rides. These rides may in themselves be good, bad, or indifferent. The 'uses' which the many make of the arts may or may not be intrinsically vulgar, depraved, or morbid. That's as may be. 'Using'
is inferior to 'reception' because art, if used rather than received, merely facilitates, brightens, relieves or palliates our life, and does not add to it.
2. When the art in question is literature a complication arises, for to 'receive'
significant words is always, in one sense, to 'use' them, to go through and beyond them to an imagined something which is not itself verbal. The distinction here takes a somewhat different form. Let us call this' imagined something'
the content. The 'user' wants to use this content-as pastime for a dull or torturing hour, as a puzzle, as a help to castle-building, or perhaps as a source for 'philosophies of life'. The 'recipient' wants to rest in it. It is for him, at least temporarily, an end. That way, it may be compared (upward) with religious contemplation or (downward) with a game.
3. But, paradoxically, the 'user' never makes a full use of the words and indeed prefers words of which no really full use could be made. A very rough and ready apprehension of the content is enough for his purpose because he wants only to use it for his present need. Whatever in the words invites a more precise apprehension, he ignores; whatever demands it, is a stumbling-block. Words are to him mere pointers or signposts. In the good reading of a good book, on the other hand, though they certainly point, words do something for which 'pointing'
is far too coarse a name. They are exquisitely detailed compulsions on a mind willing and able to be so compelled. That is why to speak of 'magic' or 'evocation'
in connection with a style is to use a metaphor not merely emotive, but extremely apt. That is why, again, we are driven to speak of the 'colour', 'flavour', 'texture', 'smell' or 'race' of words. That is why the inevitable abstraction of content and words seems to do such violence to great literature. Words, we want to protest, are more than the clothing, more even than the incarnation, of content. And this is true. As well try to separate the shape and colour of an orange. Yet for some purposes we must separate them in thought.
4. Because good words can thus compel, thus guide us into every cranny of a character's mind or make palpable and individual Dante's Hell or Pindar's gods'-eye view of an island, [Fragm. 87 + 88(58).]
good reading is always aural as well as visual. For the sound is not merely a superadded pleasure, though it may be that too, but part of the compulsion; in that sense, part of the meaning. This is true even of a good, working prose.
What keeps us happy, despite much shallowness and bluster, through a Shavian preface, is the brisk, engaging and cheerful cocksureness; and this reaches us mainly through the rhythm. What makes Gibbon so exhilarating is the sense of triumph, of ordering and contemplating in Olympian tranquillity so many miseries and grandeurs. It is the periods that do it. Each is like a great viaduct on which we pass, smoothly and at unaltered speed, over smiling or appalling valleys.
5. What bad reading wholly consists in may enter as an ingredient into good reading. Excitement and curiosity obviously do. So does vicarious happiness; not that good readers ever read for the sake of it, but that when happiness legitimately occurs in a fiction they enter into it. But when they demand a happy ending it will not be for this reason but because it seems to them in various ways demanded by the work itself. (Deaths and disasters can be as patently'
contrived ' and inharmonious as wedding bells.) Egoistic castle-building will not survive long in the right reader. But I suspect that, especially in youth, or other unhappy periods, it may send him to a book. It has been maintained that the attraction of Trollope or even Jane Austen for many readers is the imaginative truancy into an age when their class, or the class they identify with theirs, was more secure and fortunate than now. Perhaps it is sometimes so with Henry James. In some of his books the protagonists live a life as impossible for most of us as that of fairies or butterflies; free from religion, from work, from economic cares, from the demands of family and settled neighbourhood. But it can only be an initial attraction. No one who chiefly or even very strongly wants egoistic castle-building will persevere long with James, Jane Austen, or Trollope.
In characterising the two sorts of reading I have deliberately avoided the word 'entertainment'. Even when fortified by the adjective mere, it is too equivocal.
If entertainment means light and playful pleasure, then I think it is exactly what we ought to get from some literary work-say, from a trifle by Prior or Martial. If it means those things which 'grip' the reader of popular romance-suspense, excitement and so forth-then I would say that every book should be entertaining.
A good book will be more; it must not be less. Entertainment, in this sense, is like a qualifying examination. If a fiction can't provide even that, we may be excused from inquiry into its higher qualities. But of course what 'grips'
one will not grip another. Where the intelligent reader holds his breath
, the duller one may complain that nothing is happening. 'But I hope that most of what is usually called (in disparagement) 'entertainment' will find a place among my classifications.
I have also refrained from describing the sort of reading I approve as 'critical reading'. The phrase, if not elliptically used, seems to me deeply misleading.
I said in an earlier chapter that we can judge any sentence or even word only by the work it does or fails to do. The effect must precede the judgement on the effect. The same is true of a whole work. Ideally, we must receive it first and then evaluate it. Otherwise, we have nothing to evaluate. Unfortunately this ideal is progressively less and less realised the longer we live in a literary profession or in literary circles. It occurs, magnificently, in young readers.
At a first reading of some great work, they are'knocked flat'. Criticise it?
No, by God, but read it again. The judgement 'This must be a great work' may be long delayed. But in later life we can hardly help evaluating as we go along; it has become a habit. We thus fail of that inner silence, that emptying out of ourselves, by which we ought to make room for the total reception of the work. The failure is greatly aggravated if, while we read, we know that we are under some obligation to express a judgement; as when we read a book in order to review it, or a friend's MS. in order to advise him. Then the pencil gets to work on the margin and phrases of censure or approval begin forming themselves in our mind. All this activity impedes reception.
For this reason I am very doubtful whether criticism is a proper exercise for boys and girls. A clever schoolboy's reaction to his reading is most naturally expressed by parody or imitation. The necessary condition of all good reading is ' to get ourselves out of the way'; we do not help the young to do this by forcing them to keep on expressing opinions. Especially poisonous is the kind of teaching which encourages them to approach every literary work with suspicion.
It springs from a very reasonable motive. In a world full of sophistry and propaganda, we want to protect the rising generation from being deceived, to forearm them against the invitations to false sentiment and muddled thinking which printed words will so often offer them. Unfortunately, the very same habit which makes them impervious to the bad writing may make them impervious also to the good.
The excessively 'knowing' rustic who comes to town too well primed with warnings against coney-catchers does not always get on very well; indeed, after rejecting much genuine friendliness, missing many real opportunities and making several enemies, he is quite likely to fall a victim to some trickster who flatters his 'shrewdness'. So here. No poem will give up its secret to a reader who enters it regarding the poet as a potential deceiver, and determined not to be taken in. We must risk being taken in, if we are to get anything. The best safeguard against bad literature is a full experience of good; just as a real and affectionate acquaintance with honest people gives a better protection against rogues than a habitual distrust of everyone.
To be sure, boys do not reveal the disabling effect of such a training by condemning all the poems their masters set before them. A mixture of images which resists logic and visual imagination will be praised if they meet it in Shakespeare and triumphantly 'exposed' if they meet it in Shelley. But that is because the boys know what is expected of them. They know, on quite other grounds, that Shakespeare has to be praised and Shelley condemned. They get the right answer not because their method leads to it, but because they knew it beforehand. Sometimes, when they don't, a revealing answer may give the teacher cold doubts about the method itself.
Next Chapter...