Mr. President, Your Royal Highness, My Lords, Ladies and Gentlemen:—I feel that I am more unworthy now than I was eight years ago to figure as the representative of literature before this brilliant gathering of all the most important intellectual and social interests of our time. I have not yet been able like the Prime Minister, to go round this exhibition and see the works of art that glorify your walls; but I am led by him to expect that I shall see the pictures of Liberal leaders, including M. Rochefort. I am not sure whether M. Rochefort will figure as a man of letters or as a Liberal leader, but I can understand that his portrait would attract the Prime Minister because M. Rochefort is a politician who was once a Liberal leader, and who has now seen occasion to lose his faith in Parliamentary government. Nor have I seen the picture of "The Flowing Tide," but I shall expect to find in that picture when I do see it a number of bathing-machines in which, not the younger generation, but the elder generation, as I understand are waiting confidently—for the arrival of the "Flowing Tide," and when it arrives, the elderly gentlemen who are incarcerated in those machines will be only too anxious for a man and a horse to come and deliver them from their imminent peril.
I thought that I detected in the last words of your speech, in proposing this toast, Mr. President, an accent of gentle reproach that any one should desert the high and pleasant ways of literature for the turmoil and the everlasting contention of public life. I do not suppose that there has ever been a time in which there was less of divorce between literature and public life than the present time. There have been in the reign of the Queen two eminent statesmen who have thrice had the distinction of being Prime Minister, and oddly enough, one of those statesman (Lord Derby) has left behind him a most spirited version of Homer, while the other eminent statesman (William E. Gladstone)—happily still among us, still examines the legends and the significance of Homer. Then when we come to a period nearer to ourselves, and look at those gentlemen who have in the last six years filled the office of Minister for Ireland, we find that no fewer than three (George Otto Trevelyan, John Morley, and Arthur Balfour) were authors of books before they engaged in the very ticklish business of the government of men. And one of these three Ministers for Ireland embarked upon his literary career—which promised ample distinction—under the editorial auspices of another of the three. We possess in one branch of the Legislature the author of the most fascinating literary biography in our language. We possess also another writer whose range of knowledge and of intellectual interest is so great that he has written the most important book upon the American Commonwealth (James Bryce).
The first canon in literature was announced one hundred years ago by an eminent Frenchman who said that in literature it is your business to have preferences but no exclusions. In politics it appears to be our business to have very stiff and unchangeable preferences, and exclusion is one of the systematic objects of our life. In literature, according to another canon, you must have a free and open mind and it has been said: "Never be the prisoner of your own opinions." In politics you are very lucky if you do not have the still harder fate—(and I think that the gentlemen on the President's right hand will assent to that as readily as the gentlemen who sit on his left) of being the prisoner of other people's opinions. Of course no one can doubt for a moment that the great achievements of literature—those permanent and vital works which we will never let die—require a devotion as unceasing, as patient, as inexhaustible, as the devotion that is required for the works that adorn your walls; and we have luckily in our age—tho it may not be a literary age—masters of prose and masters of verse. No prose more winning has ever been written than that of Cardinal Newman; no verse finer, more polished, more melodious has ever been written than that of Lord Tennyson and Mr. Swinburne.
It seems to me that one of the greatest functions of literature at this moment is not merely to produce great works, but also to protect the English language—that noble, that most glorious instrument—against those hosts of invaders which I observe have in these days sprung up. I suppose that every one here has noticed the extraordinary list of names suggested lately in order to designate motion by electricity; that list of names only revealed what many of us had been observing for a long time—namely, the appalling forces that are ready at a moment's notice to deface and deform our English tongue. These strange, fantastic, grotesque, and weird titles open up to my prophetic vision a most unwelcome prospect. I tremble to see the day approach—and I am not sure that it is not approaching—when the humorists of the headlines of American journalism shall pass current as models of conciseness, energy, and color of style.
Even in our social speech this invasion seems to be taking place in an alarming degree, and I wonder what the Pilgrim Fathers of the seventeenth century would say if they could hear their pilgrim children of the nineteenth century who come over here, on various missions, and among others, "On the make." This is only one of the thousand such-like expressions which are invading the Puritan simplicity of our tongue. I will only say that I should like, for my own part, to see in every library and in every newspaper office that admirable passage in which Milton—who knew so well how to handle both the great instrument of prose and the nobler instrument of verse—declared that next to the man who furnished courage and intrepid counsels against an enemy he placed the man who should enlist small bands of good authors to resist that barbarism which invades the minds and the speech of men in methods and habits of speaking and writing.
I thank you for having allowed me the honor of saying a word as to the happiest of all callings and the most imperishable of all arts.
