III
I see that I shall be obliged to keep on reiterating the difference between fine literature and “literature,” or in other words between art and observation expressed with artifice. I am afraid, that in your heart of hearts, you still believe that the “Odyssey” is fine literature, and that “Pride and Prejudice” is fine literature, though the “Odyssey” is “better” than “Pride and Prejudice.” It is that “better” that I want to get out of your head, that monstrous fallacy of comparing Westminster Abbey with the charming old houses in Queen Square. You would see the absurdity of imagining that there can be any degree of comparison between two things entirely different, if I substituted for “Pride and Prejudice” some ordinary circulating-library novel of our own times. At least I hope you would see, though, as I told you a few weeks ago, I doubt very much whether many people realise the distinction between the “Odyssey” and a political pamphlet. The general opinion, I expect, is that both belong to the same class, though the Greek poem is much more “important” than the pamphlet. I think we succeeded in demonstrating the falsity of this idea, in showing clearly and decisively that fine literature means the expression of the eternal human ecstasy in the medium of words, and that it means nothing else whatsoever. Words, it is true, are used for other ends than this: they are used in sending telegrams to stockbrokers, for example, but why should this double office create any confusion? A tub and a tabernacle may each be made of wood, but you don’t mix the two things up on that account? The other day you gave me a most amusing account of your landlady’s quarrels with her servant girls. I remember that I laughed consumedly, and at the moment, that solemn preconisation of the servant Mabel to the effect that her mistress, Mrs Stickings, was not a “lydy,” was more to my taste than the recitation of the “Ode on a Grecian Urn.” But you surely didn’t think that you were making literature all the while? Or that the history of Mrs Stickings and Mabel would have mysteriously become literature if you had written it down and got somebody to print it? Or that it would have been literature if some of the details had been a little exaggerated (I thought you had embroidered here and there); or if you had made the whole story up out of your own head? Exactly, you were, as you say, amusing me by the relation of facts a little altered, compressed, and embellished, and I am glad that you see that no process of writing or printing, no variation in the proportion of truth and invention, even to the total lack of all truth, could have changed an amusing presentation of the Stickings ménage into fine literature. But, surely, it is so very obvious. Did any cook ever think that he could change a turkey into a bird of paradise by careful attention to the farse and the sauce? The farmer might as well expect to breed early phœnixes for Leadenhall Market by the simple process of lighting a bonfire in the farmyard. The young ducks would jump into the blaze, and the transformation would be the work of a second! There is no more madness in that notion than in the other one—that one has only to print an amusing, interesting, life-like, or pathetic tale to make it into fine literature.
Yes; but what I am afraid is still lurking somewhere in your skull is this: that if only the stuffing is extremely well made, if only the sauce is an exquisite concoction, the turkey is, somehow or other, changed into a bird of paradise. That is, to translate the analogy, if only the plot is very ingenious, if only the construction is well carried out, if the characters are extremely life-like, if the English is admirably neat and sufficient, then reading-matter becomes fine literature. Make the bonfire high enough and your young ducks will be burned into phœnixes fast enough; let the artifice be sufficiently artificial and it will be art. Indeed you might as well maintain that a wooden statue, if it be really well carved, is thereby made into a gold statue.
Well, I remember saying one night that you were here that ecstasy is at once the most exquisite of emotions and a whole philosophy of life. And it is to the philosophy of life that we are brought, in the last resort. You know that there are, speaking very generally, two solutions of existence; one is the materialistic or rationalistic, the other, the spiritual or mystic. If the former were true, then Keats would be a queer kind of madman, and the “Morte d’Arthur” would be an elaborate symptom of insanity; if the latter is true, then “Pride and Prejudice” is not fine literature, and the works of George Eliot are the works of a superior insect—and nothing more. You must make your choice: is the story of the Graal lunacy, or not? You think it is not: then do not talk any more of turning glass into diamonds by careful polishing and cutting. Do not say: Mr A. spends five years over a book, and therefore what he writes is fine literature; Miss B. polishes off five novels in a year, and therefore she does not write fine literature. Do not say, Mr Shorthouse has got the name of a man who kept a private school in the time of Charles I. quite right; therefore “John Inglesant” is fine literature, while the archæological details in “Ivanhoe” are all wrong, therefore it is not fine literature. Good Lord! You might as well say: but my landlady’s name is Mrs Stickings, and the girl (who left last month) was really called Mabel; therefore that story of mine was fine literature. What’s that about sustained effort? Can you turn a deal ladder into a golden staircase by making it of a thousand rungs? What I say three times is right, eh? and if I tell the tale of Mrs Stickings so that it extends to “our minimum length for three volume novels,” it becomes fine literature.
Well, I really hope that we have at last settled the matter; that fine literature is simply the expression of the eternal things that are in man, that it is beauty clothed in words, that it is always ecstasy, that it always draws itself away, and goes apart into lonely places, far from the common course of life. Realise this, and you will never be misled into pronouncing mere reading-matter, however interesting, to be fine literature; and now that we clearly understand the difference between the two, I propose that we drop the “fine” and speak simply of literature.
But I assure you that, even after having established the grand distinction, it is by no means plain sailing. Everything terrestrial is so composite (except, perhaps, pure music) that one is confronted by an almost endless task of distinguishing matter from form, and body from spirit. Literature, we say, is ecstasy, but a book must be written about something and about somebody; it must be expressed in words, it must have arrangement and artifice, it must have accident as well as essence. Consider “Don Quixote” as an example; it is, I suppose, the finest prose romance in existence. Essentially, it expresses the eternal quest of the unknown, that longing, peculiar to man, which makes him reach out towards infinity; and he lifts up his eyes, and he strains his eyes, looking across the ocean, for certain fabled, happy islands, for Avalon that is beyond the setting of the sun. And he comes into life from the unknown world, from glorious places, and all his days he journeys through the world, spying about him, going on and ever on, expecting beyond every hill to find the holy city, seeing signs, and omens, and tokens by the way, reminded every hour of his everlasting citizenship. “From the great deep to the great deep he goes”: it is true of King Arthur and of each one of us; and this, I take it, is the essence of “Don Quixote,” and of all his forerunners and successors. Then, in the second place, you get the eternal moral of the book, and you will understand that I am not using “moral” in the vulgar sense. The eternal moral, then, of “Don Quixote” is the strife between temporal and eternal, between the soul and the body, between things spiritual and things corporal, between ecstasy and the common life. You read the book and you see that there is a perpetual jar, you are continually confronted by the great antinomy of life. It seems a mere comic incident when the knight dreaming of enchantment is knocked about, and made ridiculous; but I tell you it is the perpetual tragedy of life itself, symbolised. I say that it is, under a figure, the picture of humanity in the world, that you will find the truth it represents repeated again and again throughout all history. You know that if one goes back resolutely to the first principles of things, one finds oneself, as it were, in a place where all lines that seemed para
llel and eternally divided meet, and so it is with this tragedy symbolised by the Don Quixote. It is, you may say, the tragedy of the Unknown and the Known, of the Soul and Body, of the Idea and the Fact, of Ecstasy and Common Life; at last, I suppose, of Good and Evil. The source of it lies far beyond our understanding, but its symbol is shown again and again in Cervantes’s page.
Then, there is a third element in the book. The author intended to write a burlesque on the current romances of chivalry; and he wrote, I suppose, the best burlesque that has ever been written, or ever will be written. If you unhappily so choose, you can shut your eyes to everything serious and everything beautiful, and read merely of Amadis and Arthur “taken off,” of the highest ideals turned into nonsense, of the best motives shown to be, in effect, mischievous. You will read how the knight, in the approved manner of knights, helped the oppressed and the wretched, and how he usually worsened their condition tenfold. You may lend your ear to Sancho, grumbling and quoting “common-sense” proverbs all the road, as he rides on his ass, and if it were not for the wit and the comedy, you might fancy yourself in a suburban train bound for the city. Why, if you so please, “Don Quixote” is the Institute of cynicism, the reduction of every generous impulse to absurdity.
Finally, the knight is the mouthpiece of Cervantes himself, especially towards the end of the second part, where the armour and the fantasy drop off, piece by piece, and shred by shred, on that mournful, homeward journey. At last, I say, Don Quixote is almost simply Cervantes, commenting on men and affairs in Spain, and I think that in those final chapters the art has vanished together with the armour and the ecstasy. Yes, I always dread the ending of “Don Quixote.” A star drops a line of streaming fire, down the vault of the sky, and perhaps you may have seen the ugly, shapeless thing that sinks into the earth.
But this very brief and imperfect analysis of a great masterpiece of literary art may give you some idea of the extraordinary complexity of all literature. As it is I have omitted one most important item in the account; I have said nothing of the style, because, I am sorry to say that I have no Spanish, and Cervantes speaks to me through an interpreter named Charles Jarvis. But, omitting style, you see that we have, in this particular case, five books in one; we have the utterance of pure ecstasy, the strife between ecstasy and the common life, the burlesque of chivalry, the institutes of cynicism, and the comments on affairs. Each of these different themes is managed with consummate ability, and (always excepting the last chapters of the book), each keeps its due place, so that it really rests with the reader, in a manner, to choose which book he is to read.
And then, there are other elements which must be accounted for if one is to judge a book as a whole, fairly and thoroughly. I may be so charmed with the writer’s rapture, with the wonder and beauty of his idea, that I may forget the fact that the artist must also be the artificer; that while the soul conceives, the understanding must formulate the conception, that while ecstasy must suggest the conduct of the story, common-sense must help to range each circumstance in order, that while an inward, mysterious delight must dictate the burning phrases and sound in the music and melody of the words, cool judgment must go through every line, reminding the author that, if literature be the language of the Shadowy Companion it must yet be translated out of the unknown speech into the vulgar tongue. Here then we have the elements of a book. Firstly the Idea or Conception, the thing of exquisite beauty which dwells in the author’s soul, not yet clothed in words, nor even in thought, but a pure emotion. Secondly, when this emotion has taken definite form, is made incarnate as it were, in the shape of a story, which can be roughly jotted down on paper, we may speak of the Plot. Thirdly, the plot has to be systematised, to be drawn to scale, to be carried out to its legitimate conclusions, to be displayed by means of Incident; and here we have Construction. Fourthly, the story is to be written down, and Style is the invention of beautiful words which shall affect the reader by their meaning, by their sound, by their mysterious suggestion.
This, then, is the fourfold work of literature, and if you want to be perfect you must be perfect in each part. Art must inspire and shape each and all, but only the first, the Idea, is pure art; with Plot, and Construction, and Style there is an alloy of artifice. If then any given book can be shown to proceed from an Idea, it is to be placed in the class of literature, in the shelf of the “Odyssey” as I think I once expressed it. It may be placed very high in the class; the more it have of rapture in its every part, the higher it will be: or, it may be placed very low, because, for example, having once admired the Conception, the dream that came to the author from the other world, we are forced to admit that the Story or Plot was feebly imagined, that the Construction was clumsily carried out, that the Style is, æsthetically, non-existent. You will notice that I am never afraid of blaming my favourites, of finding fault with the books which I most adore. I can do so freely and without fear of consequences, since having once applied my test, and having found that “Pickwick,” for example, is literature, I am not in the least afraid that I shall be compelled to eat my words if flaws in plot and style and construction are afterwards made apparent. The statue is gold; we have settled that much, and we need not fear that it will turn into lead, if we find that the graving and carving is poor enough. Once be sure that your temple is a temple, and I will warrant you against it being suddenly transmuted into a tub, through the discovery of scamped workmanship.
Well, suppose we begin to apply our analysis. Let us take the strange case of Mr R. L. Stevenson, and especially his “Jekyll and Hyde,” which, in some ways, is his most characteristic and most effective book. Now I suppose that instructed opinion (granting its existence) was about equally divided as to the class in which this most skilful and striking story was to be placed. Many, I have no doubt, gave it a very high place in the ranks of imaginative literature, or (as we should now say) in the ranks of literature; while many other judges set it down as an extremely clever piece of sensationalism, and nothing more. Well, I think both these opinions are wrong; and I should be inclined to say that “Jekyll and Hyde” just scrapes by the skin of its teeth, as it were, into the shelves of literature, and no more. On the surface it would seem to be merely sensationalism; I expect that when you read it, you did so with breathless absorption, hurrying over the pages in your eagerness to find out the secret, and this secret once discovered, I imagine that “Jekyll and Hyde” retired to your shelf—and stays there, rather dusty. You have never opened it again? Exactly. I have read it for a second time, and I was astonished to find how it had, if I may say so, evaporated. At the first reading one was enthralled by mere curiosity, but when once this curiosity had been satisfied what remained? If I may speak from my own experience, simply a rather languid admiration of the ingenuity of the plot with its construction, combined with a slight feeling of impatience, such as one might experience if one were asked to solve a puzzle for the second time. You see that the secret once disclosed, all the steps which lead to the disclosure become, ipso facto, insignificant, or rather they become nothing at all, since their only significance and their only existence lay in the secret, and when the secret has ceased to be a secret, the signs and cyphers of it fall also into the world of nonentity. You may be amazed, and perplexed, and entranced by a cryptogram, while you are solving it, but the solution once attained, your cryptogram is either nothing or perilously near to nothingness.
Well, all this points, doesn’t it, towards mere sensationalism, very cleverly done? But, as I said, I think “Jekyll and Hyde” just scrapes over the border-line and takes its place, very low down, among books that are literature. And I base my verdict solely on the Idea, on the Conception that lies, buried rather deeply, beneath the Plot. The plot, in itself, strikes me as mechanical—this actual physical transformation, produced by a drug, linked certainly with a theory of ethical change, but not linked at all with the really mysterious, the really psychical—all this affects me, I say, as ingenious mechanism and nothing more; w
hile I have shown how the construction is ingenious artifice, and the style is affected by the same plague of laboured ingenuity. Throughout it is a thoroughly conscious style, and in literature all the highest things are unconsciously, or at least, subconsciously produced. It has music, but it has no under-music, and there are no phrases in it that seem veils of dreams, echoes of the “inexpressive song.” It is on the conception, then, alone, that I justify my inclusion of “Jekyll” amongst works of art; for it seems to me that, lurking behind the plot, we divine the presence of an Idea, of an inspiration. “Man is not truly one, but truly two,” or, perhaps, a polity with many inhabitants, Dr Jekyll writes in his confession, and I think that I see here a trace that Mr Stevenson had received a vision of the mystery of human nature, compounded of the dust and of the stars, of a dim vast city, splendid and ruinous as drowned Atlantis deep beneath the waves, of a haunted quire where a flickering light burns before the Veil. This, I believe, was the vision that came to the artist, but the admirable artificer seized hold of it at once and made it all his own, omitting what he did not understand, translating roughly from the unknown tongue, materialising, coarsening, hardening. Don’t you see how thoroughly physical the actual plot is, and if one escapes for a moment from the atmosphere of the laboratory it is only to be confronted by the most obvious vein of moral allegory; and from this latter light, “Jekyll and Hyde” seems almost the vivid metaphor of a clever preacher. You mustn’t imagine, you know, that I condemn the powder business as bad in itself, for (let us revert for a moment to philosophy) man is a sacrament, soul manifested under the form of body, and art has to deal with each and both and to show their interaction and interdependence. The most perfect form of literature is, no doubt, lyrical poetry which is, one might say, almost pure Idea, art with scarcely an alloy of artifice, expressed in magic words, in the voice of music. In a word, a perfect lyric, such as Keats’s “Belle Dame Sans Mercy” is almost pure soul, a spirit with the luminous body of melody. But (in our age, at all events) a prose romance must put on a grosser and more material envelope than this, it must have incident, corporeity, relation to material things, and all these will occupy a considerable part of the whole. To a certain extent, then, the Idea must be materialised, but still it must always shine through the fleshly vestment; the body must never be mere body but always the body of the spirit, existing to conceal and yet to manifest the spirit; and here it seems to me that Mr Stevenson’s story breaks down. The transformation of Jekyll into Hyde is solely material, as you read it, without artistic significance; it is simply an astounding incident, and not an outward sign of an inward mystery. As for the possible allegory I have too much respect for Mr Stevenson as an artificer to think that he would regard this element as anything but a very grave defect. Allegory, as Poe so well observed, is always a literary vice, and we are only able to enjoy the “Pilgrim’s Progress” by forgetting that the allegory exists. Yes, that seems to me the vitium of “Jekyll and Hyde”: the conception has been badly realised, and by badly I do not mean clumsily, because from the logical, literal standpoint, the plot and the construction are marvels of cleverness; but I mean inartistically: ecstasy, which as we have settled is the synonym of art, gave birth to the idea, but immediately abandoned it to artifice, and to artifice only, instead of presiding over and inspiring every further step in plot, in construction, and in style. All this may seem to you very fine-drawn and over-subtle, but I am convinced that it is the true account of the matter, and perhaps you may realise my theory better if I draw out that analogy of “translation” which I suggested, I think, a few minutes ago. I was passing along New Oxford Street the other day, and I happened to look into a shop which displays Bibles in all languages, and I glanced at the French version, open at the seventh chapter of the Book of Proverbs. I saw the words “un jeune homme dépourvu de bon sens,” and then, lower down, “comme un bœuf à la boucherie,” and it was some considerable time before I realised that these phrases “translated,” “a young man void of understanding,” and “as an ox goeth to the slaughter.” Now you notice that these are in every way commonplace examples; there is nothing extraordinarily poetical in either phrase as it stands in the Authorised Version. I might have made the contrast much more violent by choosing a passage from the Song of Songs or Ecclesiastes; and I wonder how “Therefore with Angels and Archangels” would go into French. But isn’t the gulf astounding between “void of understanding” and “dépourvu de bon sens”? Yet the meaning of the French is really the same as the meaning of the English; logically, I should think, the two phrases are exactly equivalent. And yet…well, we know perfectly well that “dépourvu de bon sens” in no way renders that noble and austere simplicity that we reverence in the English text.
The Arthur Machen Megapack: 25 Classic Works Page 122