Certainly the Moon was very charming that soft summer's night, as I watched its full golden orb gliding nonchalantly in the serene, starry heaven, and keeping me company as I strode across the silent gorse. But—to be indiscreet—I had grown aweary of the Moon, and of the stars also, as of beautiful pictures hung—or should one say, skied?—in a perpetual Academy. Caelum non animum mutant is only tolerably true. A derangement of stars is all the change you get by travelling—everywhere the same golden-headed nails, as Hugo, hard-driven, called them, are sticking in the firmament. This particular moon was hanging, not over a church steeple, like De Musset's moon,
Comme un point sur un i,
but like the big yellow dial of the clock in a church tower. An illuminated clock-face—but blank, featureless, expressionless, useless; in a word, without hands. Now I could not help thinking that if there had really been a Providence it would have put hands to the Moon—a big and a little—and made it the chronometer of the world—nay, of the cosmos—the universal time-piece, to which all eyes, in every place and planet, could be raised for information; by which all clocks could be set—moon time—an infallible monitor and measurer of the flight of the hours; divinely right, not to be argued with; though I warrant there be some would still swear by their watches. This were the true cosmopolitanism, destroying those distressful variations which make your clock vary with your climate, and which throw the shadow of pyrrhonism over truths which should be clear as daylight. For if, when it is five o'clock here, it may be two o'clock there and supper-time yonder, if it is night and day at the same moment, then is black white, and Pilate right—and Heraclitus,—and the nonconformist conscience a vain thing.
In supporting correct moral principles, the Moon would be of some use, instead of staring at us with an idiot face, signifying nothing. The stars, too, could be better employed than in winking at what goes on here below. Like ladies' gold watches by the side of Big Ben, they could repeat the same great eternal truth—that it was half-past nine, or five minutes to eleven.
Soon as the evening shades prevail The moon takes up the wondrous tale, While all the stars that round her burn, And all the planets in their turn, Confirm the tidings as they roll, And spread the time from pole to pole.
An obvious result of a synchronised universe would be the federation of mankind, Peace on Earth, and all those other beatitudes at present vainly sought by World Fairs, and pig-sticking prophets.
Till we have hands to the Moon I shall not look for the Millennium.
[Sidenote: Capital]
Suddenly the Moon went behind a cloud, as if to demonstrate that even then there would be difficulties. Besides, I remembered it had its quarter-days. Here my thoughts made a transition to money matters, and, after the manner of Richard Carstone in "Bleak House," I fell to reckoning up the sums I had saved of late. It is a calculation I make almost every week nowadays. I have lost nothing by any of the Jerry-Building Societies, nothing by any of the great Bank Failures. By not having any money one saves thousands a year in these unsettled times. Mr. Hamerton cites with amusement the remark of a wealthy Englishman, who could not understand "why men are so imprudent as to allow themselves to sink into money embarrassments." "There is a simple rule that I follow myself," said he, "and that I have always found a great safeguard: it is, never to let one's balance at the banker's fall below five thousand pounds." The rich Englishman's rule was quite wrong: the only safeguard is to have no balance at all. High and dry on the Lucretian tower of poverty, you may watch with complacency the struggles of the sinking funds. What a burden capital must be to those anxious to find safe investments at high rates of interest! It looks as if interest will sink to freezing point, and capital will have to flow to other planets if that comical claim for "wages of abstinence" is to be met any longer. Perhaps it will flow to Mars, the home in exile of the old political economy. Already a beginning has been made by investments in mines which are not upon this earth.
[Sidenote: Credit]
Every day makes clearer the evils of our complex credit system—that Frankenstein creation we have lost control over, that ampulaceous growth of capital, most of which is merely figures in a book, and which only exists in virtue of not being asked for, much as the tit-bits on a restaurant menu are "off" when ordered. The real meaning of National Debts is that every civilised country is bankrupt, and only goes on trading because its creditors give it time. To the uncertainties of the weather, and the chances of cholera, war, and earthquake, we have added an artificial uncertainty worse than any of these—we have invented a series of financial cyclones, which sweep round the globe, devastating all lands, and no more to be predicted—despite theories of sun-spots, cyclones and financial crises—than wrecks at sea; indeed, far less predictable, for I believe with the ex-mayor quoted by Bonamy Price, that finance is a subject which no man can understand in this world, or even in the next. The infinite ramifications, the endless actions and reactions, are beyond the grasp of any one but an impostor. The Professor just mentioned thought he had found the right thread of theory in the labyrinth of "Currency and Banking," and really did make a most sensible analysis of what actually went on in financial operations. Only he left out one great factor—the immense influence on the market of other people's wrong theories. No, if there is a right thread of theory, it must be so tangled as to be worse than useless. My friend the business man tells me that for success in business one requires four things: a large capital, industry, insight, and caution—and then it's a toss-up. I am fain to believe this whole system of modern commerce was devised to please the amateurs of the aleatory.
[Sidenote: The Small Boy]
A plague on both your Houses of Parliament! They legislate day and night, yet leave our lives unmodified. For our lives revolve on the pivot of custom, and our everyday movements are not political. The real ruler of England is the small boy of the streets! And, in truth, is it not so? By the unphilosophic regarded as akin to vermin, existing for the greater confusion of theologians, the small boy looms large to the man of insight, as the true conservator of custom—the one efficient custos morum. He it is who regulates the lengths to which we may go in eccentricity, and, above all, in hair:
Get your hair cut!
He is particular to a shade about clothes, and has a nice taste in hats. One wonders how he acquired it. His patriotic proclivity, his hostility to national costumes other than English, his preference for uncoloured complexions—this one may understand; but his aesthetic instinct is a problem for Weismann. As the interpreter of the conventions, he is of a cast-iron rigidity, for is he not a child of Mrs. Grundy—his mother's own boy? He has no exceptions—it is "one law and one measure." He is the scavenger of manners, as the Constantinople street-dog is of gutters; a natural police des moeurs, infinitely more efficient than any artificial organisation; an all-ramifying association created to keep the bounds of social order, on duty at every street corner, alert to check every outbreak of individuality. Do ladies aspire to ride bicycles? Or wear bloomers? There is the small boy to face. It is a question for him. Conciliate him, and you may laugh at the pragmatic. His, too, is a healthy barbarism, beneficent in its action, that thinks scorn of eyeglasses and spectacles, and leads him to denounce quadruple vision, as, indeed, all departure from the simplicities of physical perfection. A human scarecrow he abhors, and will follow such an one through six streets to express his disapprobation. Extremes of size? whether of tallness or shortness? offend him equally. Whitman was not kinder to "the average man." Nor is the small boy's influence limited to sumptuary and corporeal censorship: by taking up certain songs he "makes" the nation's ballads, and every one knows what that means. Let me train a nation's small boys, I care not who makes its laws. O small boy, true sovereign of England, I take off my hat to thee!—to show thee the maker's name in the lining, and satify thy anxious inquiries as to where I got it.
[Sidenote: A Day in Town.]
I have often wondered what country children do for a holiday. Do good people go round collecting to give them a day in London or Liverpool or Manchester, so that their stunted lives that stretch on from year to year with never a whiff of town fog, never a glimpse of green 'buses, or dangerous crossings, or furnace-smoke, may be expanded and elevated? If not, I beg to move the starting of a Town Fund at once. Nothing can be more narrowing than rustic existence—there are old yokels whose lives have always moved within a four-mile radius, women who have grown gray without ever knowing what lay beyond the blue hills that girdled their native village. I once knew a chawbacon who came to town and was barked at by a street-dog. He stooped down to pick up one of the rough stones lying in the roadway to ward it off withal, but to his astonishment the stone refused to budge, for it was an integral part of the road. "Danged if that baint[*] queer!" he exclaimed. "At home the dogs be tied and the stones be loose. Here the dogs be loose and the stones be tied." Now, if that man had enjoyed a school excursion to the town when a boy, he would have deprived me of a good story. A glimpse of the town in youth might also do good in checking the perpetual urban immigration, which, alas! removes so many of the rustic population from the soil, and places them under it. To this end all school excursions to London should take place in November. Yes, there is a vast future before that fund, and I shall be happy to start it with five thousand pounds, if two hundred and sixty-three one-armed Scotchmen of good moral character will bind themselves to do the same.
[* Transcriber's note: So in original.]
[Sidenote: The Profession of Charity.]
Mr. Labouchere is singularly unfair to a new profession. Beggary has long been a recognised profession, with its traditions, customs, and past-masters, and it is time that philanthropy should now be admitted to an equal status. There is no reason in the world why it should be left in the hands of amateurs, who muddle away funds by their lack of science and experience. Supposing a man sees his way to doing good—founding a home for incurables, or drunkards, or establishing a dispensary, or anything you please—why should he not make a living by it? What if he does get five hundred a year, is he not worth it, provided always the institution fulfils a useful function and is not a sham? Surely he does more for Society in return for his money than a Treasury clerk! Probably but for him—but for his wish to earn an income—the charitable institution would never have come into existence. Political economy already shows us how the individual's desire for profit brings humanity all its blessings, opens up new countries for it, and supplies them with wars and railways. If men did not buy shares with a view to a percentage on their savings, the march of civilisation would come to a halt. Since the philanthropy of percentage is so obvious, why should we not recognise the percentage of philanthropy? Charity has gone into business. Why not?
[Sidenote: The Privileges of Poverty.]
The only people who seem to escape the malady of the century are the poor. The Weltschmerz touches them not; however great their suffering, it is always individual. The privileges of poverty are, I fear, insufficiently appreciated in these grasping times. It is not only income-tax that the poor man is exempt from. There is a much more painful tax on income than the pecuniary—it is the thought of those who are worsted in the struggle for bare existence. Vae victis! Yet those who achieve the bare existence, who starve not, neither shiver, have surely enviable compensations. Not theirs the distressful, wearying problems of sociology. Far from feeling any responsibility for their fellow-beings, they do not even fulfil their own personal duty to society,—witness the breeding of babies in back streets. They have no sympathy with the troubles of any other class—they eat their hard crust and they drink their bitter beer without a thought of the dyspepsia of the diner-out, and their appetite is not dulled by any suspicion of heart-sickness in good society. Starvation other than physical they do not understand, and spiritual struggles are caviare. The state of the rich does not give them sleepless nights—they have no yearnings to reform them or amend their condition. The terrible overcrowding of the upper classes on Belgravian staircases wakes not a pang; they are untouched by the sufferings of insufficiently-clad ladies in draughty stalls and royal antechambers; and the grievances of old army men move them not. Not theirs to ponder sorrowfully over the lost souls of politicians or the degeneration of public manners. They live their own lives—and, whatsoever the burden, they do not bear any one's but their own.
[Sidenote: Salvation for the Seraphim]
Herbert Spencer says he knew a retired naval officer in whose mind God figured as a transcendently powerful sea-captain; and we have all heard the story of the English admiral who, when fighting the Dutch, felt sure God wouldn't desert a fellow-countryman. But this ingenuous identification of earthly and divine interests has been carried to the point of imbecility by General Booth in his claim to
"THE LARGEST CIRCULATION."
The War Cry, so the General states, Among the angels circulates, To Heaven having gone; but, oh, That it had first expired below!
Which is uglier—the crude spiritualism of the Salvationist or the crude materialism of the scientist? I receive the same sort of shock when I peruse Mrs. Spurgeon's fond picture of her departed husband waylaying the angels at the shining street-corners to preach the gospel to them, as when I read that woman's poetry is inferior to man's because she exhales less carbonic acid.
[Sidenote: Truth—Local and Temporal]
The other day I listened to some green-room persiflage between an actress and an eminent actor-manager. The lady said she had loved him years ago, and thrown herself at his head, but had never been able to bring him to a proposal. I asked if she would have been satisfied with the provincial rights. I am not at all sure that the introduction of this principle of legal partition would not promote domestic harmony, especially in theatrical circles, where the practice already prevails in the matter of plays. Indeed, this principle of partition has already been carried beyond its original sphere. Do I not remember a theatrical lawsuit four or five years ago in which the plaintiff sought to restrain the defendant from styling himself part-author of a piece, on the ground that he (the defendant) had not done a stroke of the work, and had been paid ten pounds for it; while the defendant claimed that he had only parted with his rights as regards London, and that in the provinces he was still entitled to claim a share of the authorship? Pascal long ago pointed out, in his "PensÉes," that virtue and vice were largely dependent on distance from the equator (a latitudinarianism in morals that does not seem to have shocked his Port Royal friends). But even he failed to reach this daring conception of "local fame." The marvel is that when once reached it should have been let slip again. It seems to me an invaluable remedy for disputes: absolutely infallible. When Mr. Stuart Cumberland wrote from India to claim the plot of "The Charlatan," how simple to accord him the authorship—in India! At once we perceive a modus vivendi for the followers of Donnelly and the adherents of common-sense. In America Bacon shall be the author of "Hamlet," but the English rights in the piece shall go to Shakespeare. In the same spirit of compromise Cruikshank might have been content to be the author of "Oliver Twist" in the Hebrides and the second-class saloons of Atlantic steamers. Herman should be sole author of "The Silver King" in Pall Mall, and Jones in Piccadilly. Some metropolitan streets belong by one pavement to one parish, and by the other to another; so that in the case of parochial celebrities it would be possible for the rival great men to glare at each other across the road—not, however, daring to cross it, for fear of losing their reputation. The Frenchman's long-standing assumption of Parisian rights in the victory of Waterloo would be put upon a legitimate basis.
By a logical extension of the principle we could allow Homer to be born in Chios on Mondays, in Colophon on Tuesdays, and so with each of the seven cities which starved him. They use up the week nicely. On the odd day of leap year we might concede that he never existed, and allow him to be resolved into the pieces into which he was torn by Wolf. Had this pacificatory principle been discovered earlier, "The Letters of Phalaris" would never have fluttered Europe, and Swift would have had no need to write "The Battle of the Books." It is never too late to mend, however, and an academy of leading politicians and ecclesiastics should be at once formed to draw up an authoritative "Calendar and Topography of Belief," fixing once for all the dates and places on or in which it is permissible to hold any given opinion. Although, when I come to think of it, Science and Religion have long been tacitly reconciled on this principle, Religion being true on Sundays and Science on week-days.
[Sidenote: The Creed of Despair.]
I am convinced that optimism is exactly the wrong sort of medicine for our "present discontents." It is time to try homoeopathy. My suggestion is that the religion of the future shall consist of the most pessimistic propositions imaginable; its creed shall be godless and immoral, its thirty-nine articles shall exhaust the possibilities of unfaith and its burden shall be vanitas vanitatum. Man shall be an automaton, and life an hereditary disease, and the world a hospital, and truth a dream, and beauty an optical illusion. These sad tidings of great sorrow shall be organized into a state church, with bishops and paraphernalia, and shall be sucked in by the infant at its mother's breast. Men shall be tutored in unrighteousness, and innocence shall be under ecclesiastical ban. Faith and Hope shall be of the seven deadly virtues, and unalloyed despair of man and nature a dogma it were blasphemous to doubt. The good shall be persecuted and the theists tortured, and those that say there is balm in Gilead, shall be thrust beyond the pale of decent society.
Then, oh, what a spiritual revival there will be! Every gleam of light will be eagerly sought for, every ray focussed; every hint of love and pity and beauty, of significance and divinity, in this infinite and infinitely mysterious universe, will be eagerly snatched up and thrust upon an age hide-bound in orthodoxy; every touch and trace of tenderness that softens suffering and sweetens the bitterness of death, will be treasured up in secret mistrust of the reigning creed; every noble thought and deed, every sacred tear, will be thrown into the balance of heresy with every dear delight of poetry and art, of woods and waters, of dawns and sunsets; with every grace of childhood and glory of man and womanhood. And every suppressed doubt of the hideousness of the universe will sink deep and ferment in darkness, and persecution will sit on every natural safety valve till at last the pent forces will swell and crack the sterile soil, and there will be an explosion that shall send a pillar of living fire towards the heavens of brass. The clerics will be among the first to feel the stirrings of infidel hope—a few will give up their livings rather than preach what they do not believe, but the majority—especially the bishops—will cling to the Church of Despair, hoping against hope that their despair is true. There will be wonderful word-spinnings in the reviews, and the dominant pessimism will be justified by algebraic analogies. But, beneath it all, the church will be infected to the core with faith, and for the first time in history we shall get a believing clergy. There will be secret societies founded to publish the Bible, and Colonel Ingersoll will lecture at the hall of religion, and the prisons will be crowded with martyred iconoclasts incredulous of the gospel of science. No, there is nothing so unwise as your optimistic organized creeds, with their suggestions of officialdom, red-tape, and back-stairs influence. We shall never be perfectly religious and moral till we are trained from childhood to ungodly works, forced to attend long sermons on the error of existence, and badgered into public impiety by force of opinion.
[Sidenote: Social Bugbears.]
First there were the Radicals, who stood for the apogee of human villainy, though it now appears they were Conservatives of the mildest type. Then came the turn of the Atheists, who, for all I have been able to discover, were very respectable creatures full of religious ardour, who spelt God with a small "g" and justice with a capital "J." Then the Socialists had their innings. But "we are all Socialists now," and the empty mantle of villainy has fallen upon Anarchism, which, as far as I can make out, is the simplest and most innocent creed ever invented, and which debars its adherents from exercising any compulsion upon anybody else, relying upon the natural moral working of the human heart. How this is compatible with bombs it is for Messieurs les Anarchistes to explain. Needless to say the assassinous Anarchists are disavowed by their philosophical brethren.
[Sidenote: Martyrs.]
Although we moderns work harder than our fathers for our opinions, we are sometimes taunted with not being so ready to die for them. But, as Renan points out, thinkers have no need to die to demonstrate a theorem. Saints may die for their faith because faith is a personal matter. Even so we are still ready to die for our honour. The Christian martyrs did prove that Christianity was a reality to them; but Galileo's death would have been irrelevant to the rotation of the earth. There is no argumentum per hominem possible here; the truth is impersonal. It is only for beliefs that exclude certainty that a man is tempted to martyrdom. The martyr is indeed, as the etymology implies, a witness; but his death is not a witness to the truth of his belief—merely to the truth of his believing. Blandine at her stake, enduring a hundred horrors unflinchingly, seems in addition to prove that faith was the first anaesthetic. It is curious to note how the word "martyr" has been degraded; so that we have to-day martyrs to the gout instead of to the truth. The idea of suffering has quite ousted the idea of witnessing. What a pity the word got these painful associations! There are "martyrs" to the truth—witnesses who without dying testify to the divine streak in life; and unconscious "martyrs" who, by their simple sincerity, their unpretentious unselfishness, prove more than a bookshelf of theology. I have found "martyrdom" in the grip of a friend's hand, though if I had told him so he would have apologised for squeezing so hard. And is not every pretty woman a "martyr"—a revelation of an inner soul of beauty and goodness in this chaotic universe? There! I have succumbed again to the common masculine impulse to conceive beauty and goodness as a chemical combination, subtly inter-related; whereas the slightest practical experience in the laboratory of life discovers them but a mechanical mixture, dissociable and not seldom antipathetic.
[Sidenote: The London Season]
I remember being so bored one night at dinner, by the ceaseless chatter about Burne-Jones, that I asked my fair neighbour: "Who is Burne-Jones?" Her reply was as smart as it was feminine. "I don't believe you." There is a moral in this. Why be a slave to the season? Why bother to read all the newest novels, see all the newest plays, hear all the newest musicians, remember all the newest "Reminiscences," and believe all the newest religions, when by pleading ignorance you will pass not only as an eccentric but a connoisseur? On second thoughts, why not eschew the season altogether? God made the seasons and man made the season, as Cowper forgot to say. And a nice mess man has made of it, turning night into day and heating his rooms in the summer. The London Season, not Winter, Mr. Cowper, is the true "Ruler of the Inverted Year."
[Sidenote: The Academy]
The Academy has survived Mr. Burne-Jones' desertion of his old associates, as it would survive art itself. I for one should regret its disappearance. It is a whetstone for wit, like everything established and respectable. I am only sorry we have no Academy of Letters. It gives one such a standing not to be a member—almost as good a standing as to be one. If you are left out in the cold you loudly pity those asphyxiating in the heat, and if you have a cozy chair by the fireside you fall asleep and say nothing. This promotes happiness all round, and makes the literary man contented with his lot. In England authors have no Academy, and so have to fall back on the poor publishers: Hinc illae lachrymae!
[Sidenote: Portraits of Gentlemen]
Everybody paints the portrait of nobody. Imagine a great writer being called upon to produce a black-and-white picture of a man of no importance: Let us imagine, say Meredith, being offered a thousand pounds for a pen-and-ink portrait of a provincial mayor—being asked to devote his graphic art, his felicitous choice of words, his gifts of insight and sympathy, his genius, in a word, to the portrayal of a real live mayor—the same to be published in book-form, asked for at the libraries, and discussed at dinner-tables and in the reviews as a specimen of the season's art. Of course Meredith would tell the man to go and be hanged (in the Academy); but if he consented, see what would take place. The literary portrait involves, of course, both mind and body, and practically the work would have to take the shape of a biography. For some weeks the man would come to Meredith's study and give him talkings. At the first talking Meredith would also make a sketch of the outside appearance of his subject. Here the resources of language far exceed those of colour. The happy euphemism of language permits a squint to be described as an ambidexterity of vision; it is even quite possible to omit an ill-regulated feature altogether. Suppose an artist paints a man without a nose—the defect sauterait aux yeux: it would be as plain as the nose not upon his face. But it is quite possible for the literary artist to omit a man's nose without attracting any attention. The reader's imagination supplies the nose, without even being conscious of its purveyorship. As for the psychological portion of the portrait, the author would be entirely dependent on the information given by the subject, so that provincial mayors would develop unsuspected virtues. Where the difficulty would come in would be in the absence of darker qualities, which would make literary chiaroscuro impossible. It is quite likely, though, that as a result of the talkings the subject would unwittingly present the novelist with a real character who would appear in his next work of fiction, and be entirely unrecognized either by the reader of the biography or its subject.
[Sidenote: Photography and Realism]
No artist of the brush can afford to dispense with models; when he draws from his inner consciousness the composition is tame and the draughtsmanship wild. The novelist, though his object is not portraiture, but creation, can as little afford to keep aloof from real men and women. When George Eliot ceased to draw from models and fell back on intuition and her library, she produced "Daniel Deronda." But I would demur altogether to the use of "photography" in literary criticism as synonymous with realism. The photograph is an utter misrepresentation of life, and this not merely because of its false shades and its lack of colour, but because the photographer is not content with literalness. He aspires to art. So far from being a realist, he is the greatest idealist of all. He not only puts you into poses you would never fall into naturally, he not only arranges you so as to hide your characteristic uglinesses, and bids you call up an expression you never use, but he touches up and tones down after you are gone, and treats his pictures, indeed, as though they were actors and he the dresser. And as each photographer has his own style, no two portraits are ever alike. My portraits of Annabel pass as a collection of pretty actresses. Still, if they are not like one another, they resemble one another in being unlike her. The only good photographs I have ever seen of myself were done by an amateur—most of the others might just as well have been taken in my absence. And there is always a painful neatness about photographs: my humble study was once photographed, and it looked like a princely library. Bags come out with artistic interstices, fustian gleams like satin. It is the true Platonic touch, glorifying and gilding everything. Filth itself would come out like roses. No, no, let us hear no more about Zola's "photography."
[Sidenote: The Great Unhung]
What becomes of all the old pins is a problem that worries many simple souls. What becomes of all the rejected pictures is a question that seems to trouble nobody. And yet at every exhibition the massacre of innocents is appalling. The Royal Academy of London, which is the most hospitable institution in the world toward "wet paint," still turns away very many more canvases than it admits. Their departure is like the retreat of the Ten Thousand. Into the Salon one year six thousand eager frames crowded, but when the public came to see, only thirteen hundred were left to tell the tale—
All that was left of them, Left of six thousand.
More ruthless still was the slaughter in the New Salon, the Salon of the Champs de Mars, where the pictures were decimated. Out of two thousand seven hundred works sent in by outsiders, only three hundred survived. It is impossible to believe that ideal justice was done, especially when we consider that the jury took only one day to consider the outcome of so many aspirations, such manifold toil. The pictures were wheeled past them on gigantic easels, an interminable panorama. Even supposing that the gentlemen of the jury took a full working day of eight hours, with no allowance for dÉjeuner, the average time for examining a picture works out at something like ten seconds. In each minute of that fateful day the destiny of half a dozen pictures was decided. Verily, our picture-connoisseur seems to have elevated criticism into an instinct—he is the smoothest human mechanism on record. One wonders if the critic will ever be replaced by an automaton, something analogous to the camera that has replaced the artist. Meantime, the point is—what becomes of the refused, those unwelcome revenants that return to lower the artist in the eyes of landladies and concierges? Sometimes, we know, the stone which the builders rejected becomes the corner-stone of the temple, and the proscribed painter lives to despise publicly the judges in the gate. But these revenges are rare, and for the poor bulk of mankind the whirligig of time revolves but emptily. The average artist rejected of one exhibition turns him to another, and the leavings of the Salon beat at the doors of Antwerp and Munich, where the annual of art blooms a little later in the spring.
Pitiful it is to follow a picture from refusal to refusal; one imagines the painter sublime amid the litter of secretarial notifications, gathering, Antaeus-like, fresh strength from every fall, and coming to a grim and gradual knowledge of the great cosmopolitan conspiracy. One year the rejected of the Academy were hung in London by an enterprising financier. It was the greatest lift-up the Academy had ever had. Even its enemies were silenced temporarily. But the rejected may console themselves. The accepted have scant advantage over them. To sell a picture is becoming rarer and rarer, and the dealer is no more respectful to the canvas that has achieved the honor of the catalogue than to that which has preserved the sequestration of the studio. Sometimes the unhung picture becomes the medium upon which another is painted (for a picture is always worth the canvas it is painted on), sometimes (if it is large) it is cut up and sold in bits, sometimes it adorns the family dining-room, or decorates the hall of a good-natured friend, and sometimes, after a variety of pecuniary adventures, it becomes the proud possession of a millionaire.
[Sidenote: The Abolition of Catalogues.]
The average Englishman takes his religion on Sundays and his Art in the spring. Influences that should permeate life are collected in chunks at particular seasons. This is sufficient to prove how little they are really felt or understood. The Academy headache is the due penalty of hypocrisy. It is the catalogue that is the greatest coadjutor of cant. If pictures, besides being hung, were treated like convicts in becoming merely numbers, without names either of painters or subjects, what a delightful confusion of critical tongues would ensue! But conceding that a picture should have the painter's name, for the sake of the artist (or his enemies), I would propose that everything else be abolished. It is not unfair to subject pictures to this severe test, because, of all forms of art, painting is the one whose appeal is instantaneous, simple and self-complete. If a picture cannot speak for itself, no amount of advocacy will save it. If it tells a story (which no good picture should), let it at least do so without invoking the aid of the rival art of literature. Literature does not ask the assistance of pictures to make its meaning clear. Nor, too, is anything gained by calling colours harmonies or symphonies. Let such pictures strike their own chords and blow their own trumpets. Catalogues of all kinds are but props to artistic inefficiency. If dumb-show plays did not rely on "books of the words," pantomime would have to become a finer art. If ballets had no thread of narrative attached to them, their constructors would be driven to achieve greater intelligibility, or to give up trying for it—which were the more gratifying alternative. So with the descriptions of symphonies we find in our programmes. Why should good music be translated into bad literature? Surely each art should be self-sufficient; developing its effects according to its own laws! A melody does not need to be painted, nor a picture to be set to music. The graceful evolutions of the dance are their own justification. The only case in which I would allow a title to a picture is when it is a portrait. That is an obvious necessity. Portrait-painting is a branch of art which demands recognition.
[Sidenote: The Artistic Temperament]
There are two aspects of the artistic temperament—the active or creative side, and the passive or receptive side. It is impossible to possess the power of creation without possessing also the power of appreciation; but it is quite possible to be very susceptible to artistic influences while dowered with little or no faculty of origination. On the one hand is the artist—poet, musician, or painter; on the other, the artistic person to whom the artist appeals. Between the two, in some arts, stands the artistic interpreter—the actor who embodies the aery conceptions of the poet, the violinist or pianist who makes audible the inspirations of the musician. But in so far as this artistic interpreter rises to greatness in his field, in so far he will be found soaring above the middle ground, away from the artistic person, and into the realm of the artist or creator. Joachim and De ReszkÉ, Paderewski and Irving, put something of themselves into their work; apart from the fact that they could all do (in some cases have done) creative work on their own account. So that when the interpreter is worth considering at all, he may be considered in the creative category. Limiting ourselves, then, to these two main varieties of the artistic temperament, the active and the passive, I should say that the latter is an unmixed blessing, and the former a mixed curse.
What, indeed, can be more delightful than to possess good aesthetic faculties—to be able to enjoy books, music, pictures, plays! This artistic sensibility is the one undoubted advantage of man over other animals, the extra octave in the gamut of life. Most enviable of mankind is the appreciative person, without a scrap of originality? who has every temptation to enjoy, and none to create. He is the idle heir to treasures greater than India's mines can yield; the bee that sucks at every flower, and is not even asked to make honey. For him poets sing, and painters paint, and composers write. "O fortunates nimium," who not seldom yearn for the fatal gift of genius! For this artistic temperament is a curse—a curse that lights on the noblest and best of mankind! From the day of Prometheus to the days of his English laureate it has been a curse
To vary from the kindly race of men,
and the eagles have not ceased to peck at the liver of men's benefactors. All great and high art is purchased by suffering—it is not the mechanical product of dexterous craftsmanship. This is one part of the meaning of that mysterious "Master Builder" of Ibsen's. "Then I saw plainly why God had taken my little children from me. It was that I should have nothing else to attach myself to. No such thing as love and happiness, you understand. I was to be only a master builder—nothing else." And the tense strings that give the highest and sweetest notes are most in danger of being overstrung.
But there are compensations. The creative artist is higher in the scale of existence than the man, as the man is higher than the beatified oyster for whose condition, as Aristotle pointed out, few would be tempted to barter the misery of human existence. The animal has consciousness, man self-consciousness, and the artist over-consciousness. Over-consciousness may be a curse, but, like the primitive curse—labour—there are many who would welcome it!
[Sidenote: Professional Ethics]
There's no knowing where the artistic temperament may break out. "I don't think that a person ought to come to the binder and just say to him, 'Bind that book for so much money.' I think the binder ought to say, 'Is the book worth binding?' and that if it were not he ought to refuse." The applications of this remarkable principle, enunciated by a bookbinder, are obvious. Applied universally it would reform the race. The tailor, when a man came to be measured, would say, "Yes, but are you worth measuring?" and if he was out of drawing would refuse to dress him, thus extruding deformity from the world and restoring the Olympian gods. The charwoman, inspired by George Herbert, would not only "sweep a room as by God's laws," but would inquire whether it was worth sweeping; the wine merchant would refuse wine to rich customers who did not deserve to drink it; and the doctors would certainly not devote their best energies to keeping gouty old noblemen alive.
[Sidenote: Lay Confessors]
We writers, as Beaeonsfield said to his sovereign, are a good substitute for the confessional; we like to be allowed peeps into the secret chambers of the heart. The most miserable sinners may be as sure of our secrecy as of our absolution. The more terrible the crime the better we are pleased. So come and ease your labouring consciences, and pour your sorrows into our sympathetic shorthand books, and we will work you up the bare material of your lives so artistically that you are the veriest Philistines if you shall not be rather glad to have sinned and suffered. For deep down in our hearts lurks the belief that, as Jerome wittily puts it, "God created the world to give the literary man something to write about!"
[Sidenote: Q. E. D. Novels]
A novel, like a metaphor, proves nothing: 't is merely a vivid pictorial presentation of a single case. I have just read one novel aspiring to prove that a couple who skip the marriage ceremony cannot be happy ever after, and another aspiring to prove that marriage is the one drawback to a happy union. In reality both novels prove the same thing—that the author is a fool. There is nothing I would not undertake to "prove" in a novel. You have only to take an exceptional case and treat it as if it were normal. Aesop's fables could easily be rewritten to prove exactly the opposite morals, just as there is no popular apothegm whose antidote may not be found in the same treasury of folk-wisdom: "Never put off till to-morrow what you can do to-day," and "Sufficient for the day is the evil thereof"; "Penny wise, pound foolish!" "Look after the pence and the pounds will take care of themselves."
In sooth I suffer from an inability to see the morals of stories—like the auditor who blunts the point of the drollest anecdote by inquiring "And what happened then?" Even the beautiful allegory of the three rings in "Nathan der Weise," always seems to me to throw considerable discredit on the father who set his sons wrangling over the imitation rings. And, inversely, nothing seems easier to me than to invent fables to prove wrong morals: e.g.
[Sidenote: The Mouse Who Died]
A pretty gray mouse was in the habit of sauntering from its hole every evening to pick up the Crumbs in the Dining Boom. "What a pretty Mouse!" said the Householder, and made more crumbs for Mousie to eat. So great a banquet was thus spread that the Noble-hearted little Mouse cheeped the news to its Sisters and its Cousins and its Aunts, and they all came every evening in the Train of its Tail to regale themselves on the remains of the Repast. "Dear, dear!" cried the Householder in despair, "the house is overrun with a plague of Vermin." And he mixed poison with the crumbs, and the poor little pioneer Mouse perished in contortions of agony. Moral: Don't.
[Sidenote: Theologic Novels]
Usually the speculations that first reach the great public through the medium of the novel have been familiar ad nauseam to the reading classes for scores of years. Conceive Noah, aroused by the grating of the Ark upon the summit of Mount Ararat, looking out of the window and exclaiming, "Why, it's been raining!" Then imagine Mrs. Noah, catching an odd syllable of her husband's remark, writing a love story to prove that the barometer portended showers. Finally, picture the world looking in alarm for its umbrella, and you have an image of the inception and effect of the modern Mrs. Noah's theologic novel.
MUDIE MEASURE.
Ten lines make one page; Ten pages make one point; Two points make one chapter; Five chapters make one episode; Two episodes make one volume: Three volumes make one tired.
[Sidenote: The Prop of Letters]
Is it a bright or a black day for an author when he gets so popular that the big advertisers insist on having him in any organ in which they place their advertisements? There can be no question but that it will be a black day for letters when the advertiser becomes the arbiter of literature, as this newest development forebodes. Where is this leprosy of advertisement to stop? Already it covers almost our whole civilisation. Already the advertiser is a main prop of the press.
A SONG OF ADVERTISEMENTS. (After Whitman.)
Give me Hornihand's Pure Mustard; Give me Apple's Soap, with the negress laving the cherub; Give me Bentley's Brimstone Tablets, and Ploughman's Pills—those of the Little Liver. (O get me ads., you agent with the frock-coat and the fountain pen, You with the large commissions And the further discount on cash, Get me ads., camarado! Full pages preferred, though little ones not scorning, For I scorn nothing, my brother.) Give me the Alphabetical Snuff; Give me Electric Batteries and False Teeth; also the Tooth-powders; Give me all the Soft Soaps and the Soothing Syrups; Give me all the Cocoas and Cough Lozenges and Corsets; Give me Infants' Food—yea, the diet of babes and sucklings; Give me the Nibs and the Beef Essences, and do not forget the Typewriters. (Forget nothing, camarado, for I, the poet, never forget anything.) Give me of the Fat of your agency, and of the Anti-Fat thereof! And I will build you magazines, high-class and well illustrated; Or pictureless À volontÉ, the latter with heavier articles. Also newspapers, daily and weekly, with posters flamboyant, That shall move the state and its pillars, That shall preach the loftiest morals, elevating the masses, By the strength of advertisements, By the mighty strength of advertisements!
It has been suggested that flypapers should be so sprinkled as to produce an aesthetic design in dead flies, so as to introduce beauty into the homes of the poor. It would be more in harmony with the age to lay out our public gardens with floral injunctions to use B's hair-dye and C's corn-plaster. Brag and display are the road to riches, and the trail of vulgarity is over it all. I take credit to myself for having been among the first to cry in the wilderness; but the critics—bless them!—say it is all empty paradox.
[Sidenote: The Latter-day Poet]
The one exception to the hunger for advertisement is the modern bard. He achieves his vogue by limited editions, and takes pains to prevent himself being an influence. He acquires a factitious fame and an artificial value by printing only a few copies, thus making his paper and print sought after rather than his matter. It is all very well for a book to become rare by the vicissitudes of literary fortune, but this machine-made rarity can only be prized by people who value their possessions merely because other people haven't got them. The old minor poet was frenzied and unbought; the new is calm and "collected." At this rate the greatest poets would be those of whose works only one copy is extant—in MS.
Bend, bend the knee, and bow the head To reverence the great unread, The great unread and much-reviewed, Whose lines are treasured like the lewd, His first editions prizes reckoned Because there never was a second. Obscurely famous in his rut, Unknown, unpopular, "uncut," Where Byron thrilled a continent, To thrill an auction-room content, He struggles through oblivion's bogs, To gain a place in—catalogues! And falls asleep and joins the dust In simple hope and modest trust That, though Posterity neglect His bones, his books it will collect, And these will grow—O prospect fair!— From year to year more "scarce" and "rare."
[Sidenote: An Attack of Alliteration]
Have you noticed the Renaissance of alliteration in the new journalism? The early English Poets made alliteration the chief element of their poetry, and in modern times Swinburne has paid more attention to it (and to rhyme) than to meaning, with the result that there has arisen a school of poets who don't mean anything—and say it. In the olden days, a bride was bonny, and was requested to busk herself in consequence; all of which was intelligible. Nowadays, the poet would call a basilisk bonny rather than miss his alliteration. Is it because the new journalism is so imaginative and emotional that it throws off alliterative phrases as naturally and unconsciously as Whittier confesses he did in writing "The Wreck of Rivermouth"? It is sometimes difficult to believe that providence is not on the side of the evening bills. When Balmaceda died he committed Suicide by Shooting himself in Santiago—of all places in the world. Boulanger, if from a local point of view he died less satisfactorily, was yet careful to employ a Bullet. It is for the sake of the phrase-makers that Burglars good-naturedly prefer Bermondsey, and that Tigers do not escape from their cages to play in Tragedies till the show arrives at Tewkesbury. The Baboon is already so largely alliterative in himself that it was an excess of generosity that made one recently attack an infant under such circumstances as to allow the report to be headed, "Baby Bitten by a Baboon in a Backyard at Bow." Alliteration has become a mighty factor in politics: it is fast replacing epigram, while its effects on moral character are tremendous. That "hardened criminal," Mr. Balfour, might have been a good man instead of a "base brutal bully," if his name had only commenced with an X. He is a noteworthy martyr to the mania of the times. I am convinced that the Death of the Duke of Devonshire was accelerated by anxiety to please the sub-editors, and it is a source of real regret to me to reflect that my own death can afford them no supplementary gratification of this nature.
[Sidenote: The Humorous]
To start anything exclusively funny is a serious mistake. This was why poor Henry J. Byron's "Mirth" was so short-lived. It died of laughing. A friend of mine, with a hopeless passion for psychological analysis, says that the reason people do not laugh over comic papers is that the element of the unexpected is wanting. This, he claims, is the essence of the comic. You laugh over a humorous remark in the middle of a serious essay, over a witty epigram flashed upon a grave conversation, over the slipping into the gutter of a ponderous gentleman—it is the shock of contrast, the flash of surprise, that tickles. Now this explanation of why people do not laugh over comic papers is obviously wrong, because you are surprised when you see a joke in a comic paper; at the same time, it contains an element of truth. The books which gain a reputation for brilliance are those which are witty at wide intervals; the writer who scintillates steadily stands in his own light.
[Sidenote: The Discount Farce]
Having started your magazine, you will begin humorously enough by affixing a mock price to it. What a strange world of make-believe it is! We are so habituated to shams that we cannot help shamming even where there is nothing to be gained by it. Why is music published at four shillings when you can buy it for one and four, or at most one and eight? Why are novels published at thirty-one and six and the magazines at a shilling? "Shilling shockers" are sold at ninepence, which is as comical as selling "tenpenny nails" at sixpence. The same principle rules in other trades. It almost seems as if there is an ineradicable instinct in humanity for getting things below their price, even if at more than their value. Hence the marked popularity of "sales" and "reductions." The idea of getting things cheap reconciles one to getting things one doesn't want. The craze for cheap things leads one into frightful extravagance. In some shops the weakness of humanity is pandered to without disguise, and every article is ticketed with a little card, from which the first price is carefully ruled out, and even on the second price you get a discount for cash. This same discount for cash is at least intelligible, but business men are painfully familiar with another wonderful deduction. After you wait months for your money, you get a cheque less "discount on payment." This seems to involve an exasperating Hibernicism. "On payment," forsooth! So long as it remains unpaid, the debt due to you is, say, one hundred pounds. But the moment you really get it, it shrinks to ninety-five. Why not call it ninety-five at the start and be done with it? But, no! men will not give up the subtle pleasure of discounts, ineffably childish though it be. The rather deaf lady who being asked six shillings a yard for stuff replied "Sixteen shillings a yard! I'll give you eleven," and who, when her mistake was pointed out, said "I couldn't think of paying more than four and sixpence" was a genuine type of the population of these islands.
[Sidenote: The Franchise Farce]
One American defense of bribery is as clever as it is cynical. It amounts to this: that universal suffrage is such a peril to the commonweal that having been given prematurely, it must insidiously be nullified in practice, even at the cost of universal corruption; in short, if the old society is to be preserved, universal franchise must be transformed into universal corruption. What an ironic commentary on the constitution that was founded by George Washington, who couldn't tell a lie! The honour of America, it appears, "rooted in dishonour" stands, and "faith unfaithful" makes its politicians falsely true. When one remembers some of the other gigantic evils of the society thus conserved by corruption, when one thinks of the great immoral capitalists, playing their game regardless of whom they ruin or whom they enrich, when one thinks of the squalid slums of the great cities, one wonders whether the society which these things shadow were not better damned. It were cleaner, at any rate, to abolish universal franchise than to flaunt this farce in the eyes of Europe. If universal suffrage was a mistake, if indeed the gift of the franchise does not develop a man's conscience and education—and certainly bribery is not the way to give him a chance of such development—then why not honestly admit that America has made this mistake, that the ideals of the Pilgrim Fathers were inferior to Tammany Hall's, and that even the negro is not a man and a brother?
Does our American reply that it is impossible now to take back the franchise? But on his own showing the electors merely regard it as an opportunity for extracting "boodle." All that would be impossible, then, is to take away this ancient concession without compensation. The electors must be bought out at the full market-value of their votes, with a few cents and corpse-revivers thrown in for their loss of amusement. At every election dollars and drinks for the ex-electors would be circulating freely under the direction of the Treasury. And, ex hypothesi, the bulk, or a number of electors sufficient to annul the danger to society, will accept the liquidation, and thus the dishonest will be honestly weeded out of the electorate. But if the cynics were wrong, and there remained among the poorer electorate men sufficiently honest to retain their votes, and sufficiently numerous to swamp the old society—why, then the devil take the old society! The object of government is only the good of the majority, and these men, being the majority, have every right to select their own form of good. If they were mistaken, nature would soon convince them of their mistake, and the next generation would profit by the object-lesson. Demos would go on, a sadder and a wiser man.
The solution of the question is that the people must not only govern: it must be fit to govern. To corrupt it with dollars, to drowse it with drink, is only to put off the inevitable day. It were far wiser to help it to educate itself for its functions. For, if the revolutionary economic ideas that are in the air are false, they will destroy themselves. And if they are true, they have got to be realised, and will get themselves realised. No amount of corruption will save society in the long run. Meantime, either let universal suffrage operate honestly, or let it be suspended or abolished. Let even those States which have enfranchised the black man, and which now, in accordance with the deep Machiavellian principle, brazenly revealed by our American, dishonestly render his vote nugatory by a reliable inaccuracy in the counting, withdraw their spurious Christianity. A double standard of morals subtly infects the whole core of the nation. Corruption cannot be localised; it creeps and spreads through all departments of thought and action. To give with the right hand, and take away with the left in exchange for a few dollars, is a manoeuvre unworthy of a great nation. The transaction is fair; let it be above board, let it be lifted into the plane of ethics. To found society upon a farce is to lower those ideals by which, as much as by bread, a nation lives.
[Sidenote: The Modern War Farce]
The horrors of war seem to have reached the vanishing point in our latest African campaign. The smallness of the English losses is appalling. I do not see the fun of fighting (i.e., of paying taxes) if all the spice and relish is to be taken out of the results. I want more blood for my money—hecatombs of corpses. Two men killed in a whole battle? Ridiculous! If I cannot have my war at my own doors, and hear the bands and the cannon I have paid for, I must at least have sensational battle-fields—Actiums and Waterloos and Marengos. What is the use of war if it does not even serve to reduce our surplus population? Soldiering was never so healthy an occupation as to-day; one fights only a few days a year at the utmost, and if the pay is poor, so is that of the scavenger and the engine-driver and the miner, and everybody else who does the dirty work of civilisation, and does it, too, without pomp and circumstance and brass bands and laureates.
[Sidenote: Fireworks]
If people cannot do without sulphur and noise, there are always fireworks. It is difficult to imagine festivity without them, and yet there must have been a time when rockets did not rise or Catherine wheels go round. You cannot have fireworks without gunpowder, and every school-boy knows that gunpowder was only invented in—I haven't got a dictionary of dates handy. Surely we ought to let off fireworks on Roger Bacon's birthday. "They let off fireworks when he was born," say the French in a slyly witty proverb, which is a circumlocutory way of saying that a man won't set the Thames on fire. For "he has not invented gunpowder" is the French equivalent for this idiom of ours, and it is obvious to the meanest intellect that a man whose birth was celebrated by fireworks could not have been the inventor of gunpowder. And yet there were fireworks of a kind from the earliest times, from the first appearance of stars in the firmament with their wandering habits and shooting expeditions. And, indeed, did not humanity long regard the heavens as a firework show for its amusement, a set piece entirely for its delectation? Mankind has always been fond of playing with fire—ever since Prometheus stole it from heaven and burnt his fingers. I am convinced the ancients only used bonfires for messages so as to enjoy the flare-up on the mountains. Who would not fight when summoned by a tongue of flame?
And the red glare on Skiddaw roused the burghers of Carlisle.
Roman candles were unknown to the Romans, but they enjoyed themselves with torches, and these were the fireworks at wedding fÊtes. The golden rain in which Jupiter wooed DanaË was another sort of hymeneal fireworks. There were fireworks at the destruction of Sodom and Gomorrah. The love of fireworks is a natural passion. Does not nature amuse herself with fireworks, especially on tropical summer nights? She loves to flash her lightnings (which are not to be put out by the rain), and to crash her thunder (which, as everybody knows, is only the report of the meeting of two electric clouds). And who does not admire her grand pyrotechnic display—twice daily—at sunrise and at sunset, or her celebrated local effect, the Aurora Borealis?
I have loved fireworks from boyhood, and would rather have had dry bread and fireworks than cake with jam. In manhood often I have listened to the long-drawn ecstatic "aw" of the Crystal Palace crowd. I have even written a poem on fireworks. Here it is:—
A dazzling fiery show of sphery rainbows, Whereof each wonder, monarch of a moment, Yields up its glory to the next one's splendour, And sadly sinks into the arms of darkness.
Is it not a true simile of the favour of the fickle crowd? The most brilliant phenomena are forgotten after a moment. Life and Time are full of such fireworks—religions, philosophies, fashions, dynasties. And overhead the sure stars shine on. In literature fireworks rarely last. They are too clever to live. A humble rushlight lasts longer. "All fireworks are unsound," says Steinitz. He is talking of chess, and chess is very much like life. Whistler has painted fireworks—I mean literally—in his blue and silver nocturne of old Battersea Bridge. Tennyson has painted them in his "Welcome to Alexandra" and elsewhere.
Flash, ye cities, in rivers of fire! Rush to the roof, sudden rocket, and higher, Melt into stars for the land's desire!
"Sudden rocket." How good the adjective is! A poet I know spent hall a day in finding the correct epithet for rockets, and was equally pleased and annoyed to discover subsequently that he had chosen the same adjective as the Master.
[Sidenote: Time's Forelock.]
Nowadays we let off all our fireworks a day before the fair and tug Time by his forelock. A magazine coming out in January must be dated February at the very earliest. We "go ahead" in an Irish-American sense, and cannot endure not to be in advance of our age. We live entirely in the future, and are too busy to live just at present. Christmas falls late in October and extends to the end of November, the period being marked by heavy showers of Christmas numbers. The Jews begin all their festivals the day before, and Christmas is by far the most Jewish of our holidays. Our evening papers come out in the morning, though this will right itself in time, for they are getting earlier and earlier, and will ultimately come out the evening before. Dr. Johnson's line about Shakespeare, "And panting Time toils after him in vain," is truer of the man of to-day. What's that you say? All this has been said before? Naturally.
[Sidenote: Diaries.]
Who is the most marvellous man? He who keepeth a diary. And by keeping a diary I mean keeping it for the whole year, from January 1st to December 31st—keeping it, moreover, by daily entry. Only one year in my life did I succeed in filling up every department of the three hundred and sixty-five, and even then I was often in arrears. Diaries are for those who lead cloistral lives and pure, so that the task is trivial, and whatsoever record of their own leap to light they shall not be shamed. Diaries are not for those whose existence is a whirlpool; for such the blank page is an added perturbation, a haunting whiteness beseeching the blackness of diurnal autobiography, an I O U that calls for instant satisfcation. To the spontaneous vexings of conscience has been added an artificial pricking at the neglect of a supererogatory duty. How have I blonched to see day adding itself to day, unrecorded, time flying without being "kodak'd" on the wing; and each new neglect retarding the day of reckoning even while it aggravated it! Then have I felt myself sinking beneath the self-imposed
Yoke, intolerable, not to be borne Of the too vast orb of my fate,
yearning for a smaller circumference and a shorter biography. At the outset one begins a diary, as one practises a new virtue, or plays with a new toy—enthusiastically. For the first few days of January the entries are rich in psychological and episodical matter. Then gradually the interest trails off; to the fertile plains of narrative and analysis succeeds a barren desert, relieved only by a few dates of appointments. With Mark Twain it will be remembered the entries were reduced to "Got up, washed, went to bed." The keeping of a diary is generally the first New Year resolution to be broken. How eloquent these old diaries filled up for a month or two—and the rest silence!
On second thoughts there is a more marvellous than the most marvellous man. It is he who keepeth a pecuniary diary. I know one such. He has kept a perfect and absolutely complete record of every farthing he has laid out since the days when farthings were his standard of currency. Which of us would dare do this, or, doing, would dare cast a backward glance on the financial past? There is a crude, relentless actuality about items of expenditure, not to be softened by euphemistic phrasing. Surely a truer proverb than any of its species would be: "Tell me what you buy, and I'll tell you what you be." And to think, in reviewing your pecuniary biography, that, though you owe no man a farthing, you have still to pay the bill; that many things you have bought have yet to be paid for "over and over again," as the Master Builder said, "over and over again."
[Sidenote: "Looking Backward"]
Looking backward is a luxury which should be indulged in only moderation—say once in fifty years. The preachers will tell you differently. But life is so restless and feverish nowadays that there is no time for obeying the preachers. It is as much as we can do to find time to listen to them. Goethe says, "He who looks forward sees only one way to pursue, but he who looks backward sees many." This is the last word on the subject. It speaks volumes. But as you cannot walk through any of those backways, what is the use of bothering to look for them? True, your own experience enables you to give advice to others. But advice is a drug in the market. What am I saying? A drug! No, no! Even a drug is taken sometimes. Advice never is. We learn only from our own mistakes, and when it is too late to profit by them. No; there is not much profit in looking backwards. Often it tends to make you pessimistic, to sap your energy, to petrify you, as it did Lot's wife. At other times, contrariwise, it makes you expel such salt as is already in you, dissolved in tears—
So sweet, so sad, the days that are no more.
Yet what is this but another form of Buskin's "Pathetic fallacy"? Those divinely sweet, sad days were in reality just as commonplace as to-day.
Life is a chaos of comic confusion, Past things alone take a halo harmonious; So from illusion we wake to illusion, Each as the rest just as true and erroneous.
A familiar form of the new illusion we wake to is seen in the exclamation that so often follows retrospection: "Oh, what a fool I was!" As a rule, nothing can be more conceited than this use of the past tense. A few people, perhaps, can look back complacently upon "a well-spent life" (wherein all the years have been laid out to advantage, and every hour has been made to go as far as seventy-five minutes, and every odd second has been worth a row of pins at least); but I should not care to meet them. For the bulk of us it is best to press on, doing what our hand findeth to do, and letting the dead past bury its dead. It is quite enough to know we cannot escape paying the funeral bills. One of my friends found himself let in for the discharge of a number of extra bills, owing to his retrospective proclivities. He was just beginning to overcome the adverse financial fates when, taking a complacent survey of his past, he was horrified to find it bristling with forgotten debts. Looking backward nearly ruined that man. Another of my friends lost his life entirely through it. He was an old man and a celebrity, and a publisher offered him £2000 for his memoirs. Unfortunately my friend had a very bad memory and no diaries, and, like my other friend, he was conscientious. The publisher's offer tantalized him terribly. He did not know what to do. At last, in despair, he determined to drown himself. On the moment before his death all his past life would come back to him and pass before his mental vision. Of course I was to rescue him the instant he lost consciousness, have him rubbed with hot towels and the rest of it. We went out bathing together, and everything came off as arranged, all except his resurrection. He was too old for such experiments.
A cynical Frenchman has defined life as the collection of recollections for the time when you shall have no memory. It is, at any rate, true (and the preachers are welcome to the moral) that the keenest joys of the senses leave a scant deposit in the memory, and that if sensual pleasures are doubled in anticipation, it is the spiritual that are doubled in looking backward.
[Sidenote: Long Lives]
Just as there are many persons of whose existence you are unaware till you read their obituaries, so there are many of whose celebrity you are ignorant till you see the advertisement of their biographies. On all sides we are flooded with big books about little people. What is this new disease that has come upon us? Life is short but a "Life" is long. Can there be any one man in this great procession of the suns who deserves the two royal octavo volumes, which is the least monument that the pious biographer builds? The perspective is all wrong. Bossuet got the history of the world into a fifth of the space. How keen must be the struggle for life amid these shoals of "Lives." How futile and vain this aspiration for a "Life" beyond the grave! Vainer still the bid for immortality, when one's own hand raises the mendacious memorial. It is an open question whether even Marie Bashkirtseff's self-hewn shrine will stand—she, who sacrificed her life to her "Life." If it does, it will not be by virtue of its veracity. I would not trust George Washington himself to write a perfectly accurate record of a prior day. As for the average biography, it is but the "In Memoriam" of memory. A friend of mine has written some excellent fiction and some entertaining reminiscences; only he has mis-labelled his books, and called his fiction "reminiscences," and his reminiscences "fiction."
VIVE LA MORT!
Wherefore do the critics rage? 'T is the Biographic Age. Every dolt who duly died In a book is glorified Uniformly with his betters; All his unimportant letters Edited by writers gifted, Every scrap of MS. sifted, Classified by dates and ages, Pages multiplied on pages, Till the man is—for their pains— Buried 'neath his own Remains. Every day the craze grows stronger, Art is long, but "lives" are longer. Those who were the most in view Block the stage post mortem too. Hark the tongues of either sex— Reminiscences of X! Of his juvenile affections Hundreds write their Recollections, (None will recollect their writings) Telling of his love for whitings Fried in butter, or his fancy For bananas, buns, and Nancy. Thank the gracious gods on high, Every day some "Life" must die: Death alone is our salvation. Though'tisdubious consolation That of all these countless "Lives" Only the unfit survives.
[Sidenote: Men and Bookmen]
The literary market is inundated with people who have no right to a stall. Aristocrats are badgered for books merely because they have the titles; and to have achieved success in any other profession than literature is the surest recommendation to the favour of the publishers. If I had to start my literary career over again, I should commence by hopping on one leg through the Pyrenees, or figuring in a big divorce case; anything short of assassination, which makes one's success too posthumous. It is most unfair, this doubling of the parts of doing and writing. Our modern heroes and heroines are quite too self-conscious; amid all their deeds of derring-do they have their eye on Mudie's. The old way was better. Even before the Pyramids were reared, when books were pictures and letters were cuneiform, heroes had their poets and kings their laureates. You can no more imagine Agamemnon, after the fall of Troy, rushing off to write an account of it for "Bentley's," than you can imagine Helen certifying that she found Pears' soap matchless for the complexion. It was better for the heroes as well as for the writers. Aeneas would never have dared to draw such constant attention to his "piety" as Virgil does; and even Louis Quatorze would have hesitated to describe the taking of Namur in the language of Boileau—
Et vous, vents, faites silence: Je vais parler de Louis.
The true hero nowadays is the man who conquers himself and does not write books.
[Sidenote: James I. on Tobacco]
But even ancient kings did write sometimes, as witness this of James I: I hold it aye to be a Kings part to the Body-Politicke of all euils & excesses, & would fain demonstrate afresh to my dear Countrey-men how abhorrent to Heauen is this stinking incense that ascendeth day & night; but amid the heat & burden of the day I cannot find an hour to examine into this matter de nouo, & must needs be content with commending to the readers of "Without Prejudice" my booklet, "A Counterblaste to Tobacco," imprinted Anno 1604, wherein they will find the abuses of this foreign custome duly set forth at length. But, on second thoughts, perchance these moderns read nothing but what is under their noses, so I will shortly recapitulate my main positions, merely adding that my objections to Smoak are to-day even stronger than when I wrote. (1) It is a fallacie of the vulgar that because the braines of men are colde & wet, therefore Tobacco Smoak, being hote and dry, is good for them; a conclusion which no more followeth on the Premiss than the Ratiocination of one who should apply a cake of cold lead to his stomacke, because the Liver, being the fountaine of blood, is always hote. Moreover, the Smoak hath also a venomous qualitee. (2) It is a vulgar fallacie that the affection of mankind for the Practise is a proof that it is good for them; inasmuch as men are ledd astray by a mode, & furthermore, the affectation & conceit of the patient persuadeth him he is benefited; yet how shall one drug cure of all diseases men of all complexions? (3) Men are by this custom disabled in their goods, spending many pounds a year upon this precious stinke, and are no better than drunkards. (4) It is a great iniquitee & against all humanity that the husband shall not bee ashamed to reduce thereby his delicate, wholesome and cleane complexioned wife to that extremitee that either shee must also corrupt her sweete breath therewith, or else resolve to live in a perpetual stinking torment. In short, tis a custome lothsome to the eye, hateful to the Nose, harmefull to the braine, dangerous to the Lungs, & in the blacke stinking fume thereof neerest resembling the horrible Stigian smoke of the pit that is bottomeless.
[Sidenote: A Counterblaste to James I.]
So please your Majestie, I would beg leave in all loyaltie & service to cry you mercy on behalf of the foreign weed, Tobacco, which stands for all time condemned by the potent Counterblaste of a monarch, the maruelle of Christendom, whose brow hath borne at once the bays of Apollo, the laurels of Mars, & the crownes of Scotia & Anglia. And imprimis I would venture humbly to obserue that your Majesties arguments are to the last Degree asinine. Euen the title—which, as is customarie with great personages, is the best part of your Majesties book—is marred by an unseemlie concession to paronomasia. That your Majesties manifold abuses of the Logicks may be better espied, I will take them seriatim. (1) The ground founded upon the Theoricke of a deceiuable apparence of Reason—your Majestie is mistaken in thinking that I hold it a sure aphorisme in the Physickes. For the braines are neuer colde & wet saue when there is water on them; & those who do not Smoak haue no braines for Tobacco to benefit. (2) Your Majesties argumentation proueth how zealously your Majestie striueth to liue up to the nickname of the British Solomon. And, of a veritie, I could not myself run atilt more cunningly at this popular fallacie; though I might back up your Majestie with a most transparent illustration—to wit, that the affection of Mankind for monarchs is no proof that they are good for them. (3) I denie that Tobacco wastes ones substance, & I would refer your Majestie to my demonstration of the Extrauagance of not smoaking. (4) And is it not an advantage that it resembleth to the Stigian smoak of the pit? The more we accustom ourselves thereto, the lesse we shall suffer when we join your Majestie. Will your Majestie kindlie recommend a Brande? Nor can I conclude without a word as to the ill-taste of that supplement to your Majesties booklet—a tax of Six Shillings & Eighte-Pence uppon euery Pounde-Waighte of Tobacco, ouer & aboue the Custome of Two Pence uppon the Pound-Waighte usuallye paide heretofore. Did your Majestie hope to effect so little by Reason that your Majestie must needs fall back on Reuenue? Hauing challenged this habit by the Kings pen, how unmannerly to resort to the coastguards cutlass & fight the custome at the Custome House. Was it, perhaps, that your Majestie was wishful to promote English Agriculture or was getting up a cornere in Cabbaiges?
Howsoever, Smoak hath suruiued the Stuarts. May I offer your Majestie a Cigarre?
[Sidenote: Valedictory]
And now, gentle reader, the hour has come for parting. You have kept me company a long time; tolerant of all my whimsies and vagaries, and not too restive when I became serious and heavy. I have written for you in many places and in many moods, and I cannot hope to have escaped the mood of dulness.
Up! up! my Friend, and quit your books; Or surely you'll grow double; Up! up! my Friend, and clear your looks: Why all this toil and trouble?
Ah, dear Wordsworth, 't is easy enough to answer your question. Still, at last the pen falls from my tired fingers.
Books! 't is a dull and endless strife: Come, hear the woodland linnet! How sweet his music! On my life, There's more of wisdom in it.
Yes, I will go down and hear the woodland linnet, there is one in the bird-shop round the corner. Ah me! he will not pipe—his is the wisdom of silence. Never mind; the pavements are flooded with sunshine, and the folk are walking gaily, and the omnibuses roll along top-heavy, and there is a blue strip of sky over the Strand. Yes, Spring is here, and the violets are blooming in the old women's baskets. How happy everybody seems! Even the sandwich-men have lost their doleful air. The sap is stirring in their boards. They are dreaming of their ancient springtides, when they edited magazines or played "Hamlet." And so, having taken up my pen again to tell you how I dropped it, let me not lay it down without bidding you a fond and last farewell—without prejudice.
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