Delphi Complete Works of Ambrose Bierce (Illustrated)

by Bierce, Ambrose

  Prof. Peck tries to be fair; he concedes the honesty of Ingersoll’s belief and acknowledges that

  It Is entitled to the same respect that we accord to the unshaken faith of other men. Indeed, for the purpose of the moment we may even go still further and assume that he was right; that Christianity is in truth a superstition and its history a fable; that it has no hold on reason; and that the book from which it draws in part its teaching and its inspiration is only an inconsistent chronicle of old-world myths. Let us assume all this and let us still inquire what final judgment should be passed upon the man who held these views and strove so hard to make them universal.

  Prof. Peck is not called upon to make any such concessions and assumptions. As counsel for the defense, I am as willing to make admissions as he, and “for the sake of argument,” as the meaningless saying goes, to confess that the religion attacked by my client is indubitably true. His justification depends in no degree upon the accuracy of his judgment, but upon his honest confidence in it; and that is unquestioned; that is no assumption; it is not conceded but affirmed. If he believed that in these matters he was right and a certain small minority of mankind, including a considerable majority of his living countrymen, wrong it was merely his duty as a gentleman to speak his views and to strive, as occasion offered or opportunity served, to “make them universal.” In our personal affairs there is such a thing as righteous suppression of the truth — even such another thing as commendable falsehood. In certain circumstances avowal of convictions is as baleful and mischievous as in other circumstances dissimulation is. But in all the large matters of the mind — in philosophy, religion, science, art and the like, a lesser service to the race than utterance of the truth as he thinks he sees it, leaving the result to whatever powers may be, a man has no right to be content with having performed, for it is only so that truth is established. It was only so that Prof. Peck’s religion was enthroned upon the ruins of others — among them one so beautiful that after centuries of effacement its myths and memories stir with a wonderful power the hearts of scholars and artists of the later and conquering faith. Of that religion it might once have been said in deprecation of St. Paul, as, in deprecation of Ingersoll, Prof. Peck now says of religion in general:

  Its roots strike down into the very depths of human consciousness. They touch the heart, the sympathies and the emotions. They lay strong hold on life itself, and they are the chords to which all being can be made to vibrate with a passionate intensity which nothing else could call to life.

  I have said that Prof. Peck tries to be fair; if he had altogether succeeded he would have pointed out, not only that Ingersoll sincerely believed the Christian religion false, but that he believed it mischievous, and that he was persuaded that its devotees would be better off with no religion than with any. Had Prof. Peck done that he could have spared himself the trouble of writing, and many of his admirers the pain of reading, his variants of the ancient and discreditable indictment of the wicked incapable who can “tear down,” but not “build up.” Agnosticism may be more than a mere negation. It may be, as in Ingersoll it was, a passionate devotion to Truth, a consecration of self to her service. Of such a one as he it is incredibly false to say that he can only “destroy” and “has naught to give.” As well and as truthfully could that be said of one who knocks away the chains of a slave and goes his way, imposing no others. One may err in doing so. There are as many breeds of men as of dogs and horses; and as a cur can not be taught to retrieve nor herd sheep, nor a roadster to hunt, so there are human tribes unfit for liberty. One’s zeal in liberation may be greater than one’s wisdom, but faith in all mankind is at least an honorable error, even when manifested by hammering at the shackles of the mind. What Ingersoll thought he had to “give” was Freedom — and that, I take it, is quite as positive and real as bondage. The reproach of “tearing down” without “building up” is valid against nobody but an idolatrous iconoclast. Ingersoll was different.

  Prof. Peck has a deal to say against Ingersoll’s methods; he does not think them sufficiently serious, not to say reverent. This objection may be met as Voltaire met it — by authorizing his critic to disregard the wit and answer the argument. But Prof. Peck will not admit that Ingersoll was witty. He sees nothing in his sallies but “buffoonery,” a word meaning wit directed against one’s self or something that one respects. This amazing judgment from the mouth of one so witty himself could, but for one thing, be interpreted no otherwise than as evidence that he has not read the works that he condemns. That one thing is religious bigotry which, abundantly manifest everywhere in the article under review, is nowhere so conspicuous as in the intemperate, not to say low, language in which the charge of “buffoonery” is made. Who that has an open mind would think that it was written of Robert Ingersoll that he “burst into the sacred silence of their devotion with the raucous bellowing of an itinerant stump-speaker and the clowning of a vulgar mountebank”? To those who really know the character of Robert Ingersoll’s wit — keen, bright and clean as an Arab’s scimetar; to those who know the clear and penetrating mental insight of which such wit is the expression and the proof; to those who know how much of gold and how little of mud clung to the pebbles that he slung at the Goliaths of authority and superstition; to those who have noted the astonishing richness of his work in elevated sentiments fitly expressed, his opulence of memorable aphorism and his fertility of felicitous phrase — to these it will not seem credible that such a man can be compared to one who, knowing the infidelity of a friend’s wife, would “slap his friend upon the back and tell the story with a snicker, in the coarsest language of the brothel, interspersed with Rabelaisian jokes.” It is of the nature of wit mercifully to veil its splendors from the eyes of its victim. The taken thief sees in his captor an unheroic figure. The prisoner at the bar is not a good judge of the prosecution. But it is difficult distinctly to conceive a scholar, a wit, a critic, an accomplished editor of a literary magazine, committing himself to such judgments as these upon work accessible to examination and familiar to memory. To paraphrase Pope,

  Who would not laugh if such a man there be?

  Who would not weep if Harry Peck were he?

  Another “point” that Prof. Peck is not ashamed to make is that Ingersoll lectured on religion for money—” in the character of a paid public entertainer, for his own personal profit.” And in what character, pray, does anybody lecture where there is a charge for admittance? In what character have some of the world’s greatest authors, scientists, artists and masters of crafts generally lectured when engaged to do so by “lyceums,”

  “bureaus,” or individual “managers”? In what character does Prof. Peck conduct his valuable and entertaining magazine for instruction and amusement of those willing to pay for it? In what character, indeed, does the Defender of the Faith put upon the market his austere sense of Ingersoll’s cupidity?

  Obviously the agnostic’s offence was not lecturing for pay. It was not lecturing on religion. It was not sarcasm. It was that, lecturing for pay on religion, his sarcasm took a direction disagreeable to Prof. Peck, instead of disagreeable to Prof. Peck’s opponents. As a ridiculer of infidels and agnostics Ingersoll might have made a great fame and not one of his present critics would have tried to dim its lustre with a breath, nor “with polluted finger tarnish it.”

  Religions are human institutions; at least those so hold who belong to none of “the two-and-seventy jarring sects.” Religious faiths, like political and social, are entitled to no immunity from examination and criticism; all the methods and weapons that are legitimate against other institutions and beliefs are legitimate against them. Their devotees have not the right to shield themselves behind some imaginary special privilege, to exact an exceptional exemption. A religion of divine origin would have a right to such exemption; its devotees might with some reason assist God to punish the crime of lèse majesté; but the divinity of the religion’s origin is the very point in dispute, and in holding that it
shall be settled his way as an assurance of peace its protagonist is guilty of a hardy and impenitent impudence. Blasphemy has been defined as speaking disrespectfully of my phemy; one does not observe among the followers of one faith any disposition to accord immunity from ridicule to the followers of another faith. The devoutest Christian can throw mud at Buddha without affecting his own good standing with the brethren; and if Mahomet were hanged in effigy from the cross of St. Paul’s, Protestant Christianity would condemn the act merely as desecration of a sacred edifice.

  Here is one more quotation from Prof. Peck, the concluding passage of his paper:

  Robert Ingersoll is dead. Death came to him with swiftness and without a warning. Whether he was even conscious of his end no man can say. It may be that before the spark grew quite extinct there was for him a moment of perception — that one appalling moment when, within a space of time too brief for human contemplation, the affrighted mind, as it reels upon the brink, flashes its vivid thought through all the years of Its existence and perceives the final meaning of them all. If such a moment came to him, and as the light of day grew dim before his dying eyes his mind looked backward through the past, there can have been small consolation in the thought, that in all the utterances of his public teaching, and in all the phrases of his fervid eloquence, there was nothing that could help to make the life of a man on earth more noble, or more spiritual, or more truly worth living.

  This of a man who taught all the virtues as a duty and a delight! — who stood, as no other man among his countrymen has stood, for liberty, for honor, for good will toward men, for truth as it was given to him to see it, for love! — who by personal example taught patience under falsehood and silence under vilification! — who when slandered in debate answered not back, but addressed himself to the argument! — whose entire life was an inspiration to high thought and noble deed, and whose errors, if errors they are, the world can not afford to lose for the light and reason that are in them!

  The passage quoted is not without eloquence and that literary distinction which its author gives to so much of what he writes. Withal it is infinitely discreditable. There is in it a distinct undertone of malice — of the same spirit which, among bigots of less civility; and franker speech, affirms of an irreligious person’s sudden death that it was “a judgment of Heaven,” and which gloats upon the possibility that he suffered the pangs of a penitence that came, thank God! too late to command salvation. It is in the same spirit that conceived and keeps in currency the ten-thousand-times-disproved tales of the deathbed remorse of Thomas Paine, Voltaire and all the great infidels. Indubitably posterity will enjoy the advantage of believing the same thing of Ingersoll; and I can not help thinking that in suggesting his remorse as only a possibility, instead of relating it as a fact attested by piteous appeals for divine mercy, Prof. Peck has committed a sin of omission for which on his own deathbed he will himself suffer the keenest regret.

  1899.

  THE SHORT STORY

  “THE short story is always distinctly a sketch. It can not express what is the one greatest thing in all literature — intercommunion of human characters, their juxtapositions, their contrasts.... It is not a high form of art, and its present extreme popularity bespeaks decadence far more than advance.”

  So said Edgar Fawcett, an author of no small note and consequence in his day. The one-greatest-things-in-all-literature are as plentiful and obvious, apparently, as the sole causes of the decline of the Roman power, yet new ones being continually discovered, it is a fair presumption that the supply is inexhaustible; and Fawcett, an ingenious man, could hardly have failed to find one and catalogue it. The one that he would discover was pretty sure to be as good as another and to abound in his own work — and Fawcett did not write short stories, but exceedingly long ones. So “the intercommunion of human characters,” and so forth, stands. Nevertheless, one fairly great thing in all literature is the power to interest the reader. Perhaps the author having the other thing can afford to forego that one, but its presence is observable, somehow, in much of the work that is devoid of that polyonymous element noted by Messrs. Fawcett, Thomas, Richard and Henry. Having that fact in mind, and the added fact that in his own admirable sonnets (for example) the intercommunion is an absent factor, I am disposed to think that Edgar was facetious.

  The short story, quoth ‘a, “is not a high form of art”; and inferably the long story — the novel — is. Let us see about that. As all the arts are essentially one, addressing the same sensibilities, quickening the same emotions and subject to the same law and limitations of human attention, it may be helpful to consider some of the arts other than literary and see what we can educe from the comparison. It will be admitted, I hope, that even in its exterior aspect St. Peter’s Church is a work of high art. But is Rome a work of high art? Was it ever, or could it by rebuilding be made such? Certainly not, and the reason is that it can not all take attention at once. We may know that the several parts are coordinated and interrelated, but we do not discern and feel the coordination and interrelation. An opera, or an oratorio, that can be heard at a sitting may be artistic, but if in the manner of a Chinese play it were extended through the evenings of a week or a month what would it be? The only way to get unity of impression from a novel is to shut it up and look at the covers.

  Not only is the novel, for the reason given, and for others, a faulty form of art, but because of its faultiness it has no permanent place in literature. In England it flourished less than a century and a half, beginning with Richardson and ending with Thackeray, since whose death no novels, probably, have been written that are worth attention; though as to this, one can not positively say, for of the incalculable multitude written only a few have been read by competent judges, and of these judges few indeed have uttered judgment that is of record. Novels are still produced in suspicious abundance and read with fatal acclaim but the novel of to-day has no art broader and better than that of its individual sentences — the art of style. That would serve if it had style.

  Among the other reasons why the novel is both inartistic and impermanent is this — it is mere reporting. True, the reporter creates his plot, incidents and characters, but that itself is a fault, putting the work on a plane distinctly inferior to that of history. Attention is not long engaged by what could, but did not, occur to individuals; and it is a canon of the trade that nothing is to go into the novel that might not have occurred. “Probability” — which is but another name for the commonplace — is its keynote. When that is transgressed, as in the fiction of Scott and the greater fiction of Hugo, the work is romance, another and superior thing, addressed to higher faculties with a more imperious insistence. The singular inability to distinguish between the novel and the romance is one of criticism’s capital ineptitudes. It is like that of a naturalist who should make a single species of the squirrels and the larks. Equally with the novel, the short story may drag at each remove a lengthening chain of probability, but there are fewer removes. The short story does not, at least, cloy attention, confuse with overlaid impressions and efface its own effect.

  Great work has been done in novels. That is only to say that great writers have written them. But great writers may err in their choice of literary media, or may choose them wilfully for something else than their artistic possibilities. It may occur that an author of genius is more concerned for gain than excellence — for the nimble popularity that comes of following a literary fashion than for the sacred credentials to a slow renown. The acclamation of the multitude may be sweet in his ear, the clink of coins, heard in its pauses, grateful to his purse. To their gift of genius the gods add no security against its misdirection. I wish they did. I wish they would enjoin its diffusion in the novel, as for so many centuries they did by forbidding the novel to be. And what more than they gave might we not have had from Virgil, Dante, Tasso, Camoëns and Milton if they had not found the epic poem ready to their misguided hands? May there be in Elysium no beds of asphodel and moly f
or its hardy inventor, whether he was Homer or “another man of the same name.”

  The art of writing short stories for the magazines of the period can not be acquired. Success depends upon a kind of inability that must be “ born into” one — it does not come at call. The torch must be passed down the line by the thumbless hands of an illustrious line of prognathous ancestors unacquainted with fire. For the torch has neither light nor heat — is, in truth, fireproof. It radiates darkness and all shadows fall toward it. The magazine story must relate nothing: like Dr. Hern’s “holes” in the luminiferous ether, it is something in which nothing can occur. True, if the thing is written in a “dialect” so abominable that no one of sense will read, or so unintelligible that none who reads will understand, it may relate something that only the writer’s kindred spirits care to know; but if told in any human tongue action and incident are fatal to it. It must provoke neither thought nor emotion; it must only stir up from the shallows of its readers’ understandings the sediment which they are pleased to call sentiment, murking all their mental pool and effacing the reflected images of their natural environment.

  The master of this school of literature is Mr. Howells. Destitute of that supreme and almost sufficient literary endowment, imagination, he does, not what he would, but what he can — takes notes with his eyes and ears and “writes them up” as does any other reporter. He can tell nothing but something like what he has seen or heard, and in his personal progress through the rectangular streets and between the trim hedges of Philistia, with the lettered old maids of his acquaintance curtseying from the doorways, he has seen and heard nothing worth telling. Yet tell it he must and, having told, defend. For years he conducted a department of criticism with a purpose single to expounding the after-thought theories and principles which are the offspring of his own limitations.