I

TENNYSON—AND AFTER?

When this essay first appeared in The New Review, the scepticism it expressed with regard to the universal appreciation of the poet was severely censured in one or two newspapers. On the other hand, the accomplished author of Thyrza and New Grub Street obliged me with a letter of very great interest, which fully confirmed my doubts. Mr. Gissing has kindly permitted me to print his letter here. His wide experience among the poor makes his opinion on this matter one which cannot lightly be passed by:

"Nov. 20, 1892.

"Sir,—Will you pardon me if I venture to say with what satisfaction I have read your remarks about Tennyson in The New Review, which has only just come into my hands?

"The popular mind is my study, and I know that Tennyson's song no more reached it than it reached the young-eyed cherubim. Nor does any song reach the populace, rich and poor, unless, as you suggest, it be such as appears in The Referee.

"After fifteen years' observation of the poorer classes of English folk, chiefly in London and the south, I am pretty well assured that, whatever civilising agencies may be at work among the democracy, poetry is not one of them. Reading, of one kind or another, is universal; study, serious and progressive, is no longer confined to the ranks that enjoy a liberal education; but the populace, the industrial and trading masses, not merely remain without interest in poetry, but do not so much as understand what the term poetry means. In other intellectual points, the grades of unlettered life are numerous; as regards appreciation of verse, the People are one. From the work-girl, with her penny novelette, to the artisan who has collected a little library, the natural inclination of all who represent their class is to neglect verse as something exotic, something without appeal to their instincts. They either do not read it at all—the common case—or (with an exception to be noticed) they take it as a quaint variety of prose, which custom has consecrated to religion, to the affections, and to certain phases of facetiousness.

"In London, through all orders of society below the liberally educated, it is a most exceptional thing to meet with a person who seeks for verse as verse; who recognises the name of any greater poet not hackneyed in the newspapers, or who even distantly apprehends the nature of the poet's art. In the north of England, where more native melody is found, self-taught readers of poetry are, I believe, not so rare; but they must still be greatly the exception. As to the influence of board-schools, one cannot doubt that the younger generation are even less inclined to a taste for poetry than their fathers. Some elderly people, in Sunday languor, take up a book of verse with which they have been familiar since early days (Mrs. Hemans, Eliza Cook, Montgomery, Longfellow); whereas their children cannot endure printed matter cut into rhythmic lengths, unless the oddity solicit them in the columns of a paper specially addressed to their intelligence.

"At the instigation of those zealous persons who impress upon shopkeepers, clerks and artisans, the duty of 'self-culture in leisure hours,' there undoubtedly goes on some systematic reading of verse—the exceptional case to which I alluded. It is undertaken in a resolute spirit by pallid men, who study the poet just as they study the historian, the economist, the master of physical science, and their pathetic endeavour is directed by that species of criticism which demands—exclusively—from poetry its 'message for our time.' Hence, no doubt, the conviction of many who go down to the great democratic deep that multitudes are hungering for the poet's word. Here, as in other kindred matters, the hope of such enthusiasts arises from imperfect understanding. Not in lecture-hall and classroom can the mind of the people be discovered. Optimism has made a fancy picture of the representative working-man, ludicrous beyond expression to those who know him in his habitat; and the supremely ludicrous touch is that which attributes to him a capacity for enjoying pure literature.

"I have in mind a typical artisan family, occupying a house to themselves, the younger members grown up and, in their own opinion, very far above those who are called 'the poor.' They possess perhaps a dozen volumes: a novel or two, some bound magazines, a few musty works of popular instruction or amusement; all casually acquired and held in no value. Of these people I am able confidently to assert (as the result of specific inquiry) that they have in their abode no book of verse—that they never read verse when they can avoid it—that among their intimates is no person who reads or wishes to read verse—that they never knew of any one buying a book of verse—and that not one of them, from childhood upwards, ever heard a piece of verse read aloud at the fireside. In this respect, as in many others, the family beyond doubt is typical. They stand between the brutal and the intelligent of working-folk. There must be an overwhelming number of such households through the land, representing a vast populace absolutely irresponsive to the word of any poet.

"The custodian of a Free Library in a southern city informs me that 'hardly once in a month' does a volume of verse pass over his counter; that the exceptional applicant (seeking Byron or Longfellow) is generally 'the wife of a tradesman'; and that an offer of verse to man or woman who comes simply for 'a book' is invariably rejected; 'they won't even look at it.'

"What else could one have anticipated? To love poetry is a boon of nature, most sparingly bestowed; appreciation of the poet's art is an outcome of studious leisure. Even an honest liking for verse, without discernment, depends upon complex conditions of birth, breeding, education. No one seeks to disparage the laborious masses on the ground of their incapacity for delights necessarily the privilege of a few. It was needless folly to pretend that, because one or two of Tennyson's poems became largely known through popular recitation, therefore Tennyson was dear to the heart of the people, a subject of their pride whilst he lived, of their mourning when he departed. My point is that no poet holds this place in the esteem of the English lower orders.

"Tennyson? The mere price of his works is prohibitive to people who think a shilling a very large outlay for printed paper. Half a dozen of his poems at most would obtain a hearing from the average uneducated person. We know very well the kind of home in which Tennyson is really beloved for the sake of perhaps half his work—and that not the better half. Between such households and the best discoverable in the world of which I speak, lies a chasm of utter severance. In default of other tests, Tennyson might be used as a touch-stone to distinguish the last of gentle-folk from the first of the unprivileged.

"On the day of his funeral, I spoke of the dead poet to a live schoolmaster, a teacher of poor children, and he avowed to me, quite simply, that he 'couldn't stand poetry—except a few hymns;' that he had thoroughly disliked it ever since the day, when as a schoolboy, he had to learn by heart portions of The Lady of the Lake. I doubt whether this person could have named three pieces of Tennyson's writing. He spoke with the consciousness of being supported by general opinion in his own world.

"Some days before, I was sitting in a public room, where two men, retired shopkeepers, exchanged an occasional word as they read the morning's news. 'A great deal here about Lord Tennyson,' said one. The 'Lord' was significant; I listened anxiously for his companion's reply. 'Ah—yes.' The man moved uneasily, and added at once: 'What do you think about this long-distance ride?' In that room (I frequented it on successive days with this object) not a syllable did I hear regarding Tennyson save the sentence faithfully recorded. This was in the south of England; perhaps it could not have happened in the north.

"As a boy, I at one time went daily to school by train. It happened once that I was alone in the carriage with a commercial traveller; my Horace was open before me, and it elicited a remark from the man of samples, who spoke with the accent of that northern county, and certainly did not belong to the educated class. After a word or two, he opened his bag, and took out an ancient copy, battered, thumbed, pencilled, of—Horatius Flaccus. Without this, he told me, he never travelled. From a bare smattering obtained at school, he had pursued the study of Latin; Horace was dear to him; he indicated favourite odes——

"Everywhere there are the many and the few. What of the multitude in higher spheres? Their leisure is ample; literature lies thick about them. It would be amusing to know how many give one hour a month to the greater poets....

"Believe me, Sir, yours faithfully,
"George Gissing.

"To Edmund Gosse, Esq."

II

M. MALLARMÉ AND SYMBOLISM

It was with not a little hesitation that I undertook to unravel a corner of the mystic web, woven of sunbeams and electrical threads, in which the poet of L'AprÈs-Midi d'un Faune conceals himself from curious apprehension. There were a dozen chances of my interpretation being wrong, and scarcely one of its being right. My delight therefore may be conceived when I received a most gracious letter from the mage himself; Apollonius was not more surprised when, by a fortunate chance, one of his prophecies came true. I quote from this charming paper of credentials, which proceeds to add some precious details:—

"Votre Étude est un miracle de divination.... Les poËtes seuls ont le droit de parler; parce qu'avant coup, ils savent. Il y a, entre toutes, une phrase, oÙ vous Écartez tous voiles et dÉsignez la chose avec une clairvoyance de diamant, le voici: 'His aim ... is to use words in such harmonious combination as will suggest to the reader a mood or a condition which is not mentioned in the text, but is nevertheless paramount in the poet's mind at the moment of composition.'

"Tout est lÀ. Je fais de la Musique, et appelle ainsi non celle qu'on peut tirer du rapprochement euphonique des mots, cette premiÈre condition va de soi; mais l'au delÀ magiquement produit par certaines dispositions de la parole, oÙ celle-ci ne reste qu'À l'Êtat de moyen de communication matÉrielle avec le lecteur comme les touches du piano. Vraiment entre les lignes et au-dessus du regard cela se passe, en toute puretÉ, sans l'entremise de cordes À boyaux et de pistons comme À l'orchestre, qui est dÉjÀ industriel; mais c'est la mÊme chose que l'orchestre, sauf que littÉrairement ou silencieusement. Les poËtes de tous les temps n'ont jamais fait autrement et il est aujourd'hui, voilÀ tout, amusant d'en avoir conscience. Employez Musique dans le sens grec, au fond signifiant IdÉe au rythme entre les rapports; lÀ, plus divine que dans son expression publique ou Symphonique. TrÈs mal dit, en causant, mais vous saisissez ou plutÔt aviez saisi toute au long de cette belle Étude qu'il faut garder telle quelle et intacte. Je ne vous chicane que sur l'obscuritÉ: non, cher poËte, exceptÉ par maladresse ou gaucherie je ne suis pas obscur, du moment qu'on me lit pour y chercher ce que j'Énonce plus haut, ou la manifestation d'un art qui se sert—mettons incidemment, j'en sais la cause profonde—du langage: et le deviens, bien sÛr! si l'on se trompe et croit ouvrir le journal....—Votre

StÉphane MallarmÉ.

Printed by Ballantyne, Hanson and Co.
London and Edinburgh