IX
Now, for what the world thinks of that ejaculation—I would not give a groat.
And he goes on to my Uncle Toby, the Corporal, Mrs. Shandy, and the rest of them.
There, one sees, is poetry changing easily and naturally into prose, prose into poetry. Standing a little aloof, Sterne lays his hands lightly upon imagination, wit, fantasy; and reaching high up among the branches where these things grow, naturally and no doubt willingly forfeits his right to the more substantial vegetables that grow on the ground. For, unfortunately, it seems true that some renunciation is inevitable. You cannot cross the narrow bridge of art carrying all its tools in your hands. Some you must leave behind, or you will drop them in midstream or, what is worse, overbalance and be drowned yourself.
So, then, this unnamed variety of the novel will be written standing back from life, because in that way a larger view is to be obtained of some important features of it; it will be written in prose, because prose, if you free it from the beast-of-burden work which so many novelists necessarily lay upon it, of carrying loads of details, bushels of fact—prose thus treated will show itself capable of rising high from the ground, not in one dart, but in sweeps and circles, and of keeping at the same time in touch with the amusements and idiosyncrasies of human character in daily life.
There remains, however, a further question. Can prose be dramatic? It is obvious, of course, that Shaw and Ibsen have used prose dramatically with the highest success, but they have been faithful to the dramatic form. This form one may prophesy is not the one which the poetic dramatist of the future will find fit for his needs. A prose play is too rigid, too limited, too emphatic for his purposes. It lets slip between its meshes half the things that he wants to say. He cannot compress into dialogue all the comment, all the analysis, all the richness that he wants to give. Yet he covets the explosive emotional effect of the drama; he wants to draw blood from his readers, and not merely to stroke and tickle their intellectual susceptibilities. The looseness and freedom of Tristram Shandy, wonderfully though they encircle and float off such characters as Uncle Toby and Corporal Trim, do not attempt to range and marshal these people in dramatic contrast together. Therefore it will be necessary for the writer of this exacting book to bring to bear upon his tumultuous and contradictory emotions the generalizing and simplifying power of a strict and logical imagination. Tumult is vile; confusion is hateful; everything in a work of art should be mastered and ordered. His effort will be to generalize and split up. Instead of enumerating details he will mould blocks. His characters thus will have a dramatic power which the minutely realized characters of contemporary fiction often sacrifice in the interests of psychology. And then, though this is scarcely visible, so far distant it lies on the rim of the horizon—one can imagine that he will have extended the scope of his interest so as to dramatize some of those influences which play so large a part in life, yet have so far escaped the novelist—the power of music, the stimulus of sight, the effect on us of the shape of trees or the play of colour, the emotions bred in us by crowds, the obscure terrors and hatreds which come so irrationally in certain places or from certain people, the delight of movement, the intoxication of wine. Every moment is the centre and meeting-place of an extraordinary number of perceptions which have not yet been expressed. Life is always and inevitably much richer than we who try to express it.
But it needs no great gift of prophecy to be certain that whoever attempts to do what is outlined above will have need of all his courage. Prose is not going to learn a new step at the bidding of the first comer. Yet if the signs of the times are worth anything the need of fresh developments is being felt. It is certain that there are scattered about in England, France, and America writers who are trying to work themselves free from a bondage which has become irksome to them; writers who are trying to readjust their attitude so that they may once more stand easily and naturally in a position where their powers have full play upon important things. And it is when a book strikes us as the result of that attitude rather than by its beauty or its brilliancy that we know that it has in it the seeds of an enduring existence.
[New York Herald Tribune, Aug 14, 1927, as “Poetry, Fiction and the Future”]
Hours in a Library.
Let us begin by clearing up the old confusion between the man who loves learning and the man who loves reading, and point out that there is no connexion whatever between the two. A learned man is a sedentary, concentrated solitary enthusiast, who searches through books to discover some particular grain of truth upon which he has set his heart. If the passion for reading conquers him, his gains dwindle and vanish between his fingers. A reader, on the other hand, must check the desire for learning at the outset; if knowledge sticks to him well and good, but to go in pursuit of it, to read on a system, to become a specialist or an authority, is very apt to kill what it suits us to consider the more humane passion for pure and disinterested reading.
In spite of all this we can easily conjure up a picture which does service for the bookish man and raises a smile at his expense. We conceive a pale, attenuated figure in a dressing-gown, lost in speculation, unable to lift a kettle from the hob, or address a lady without blushing, ignorant of the daily news, though versed in the catalogues of the second-hand booksellers, in whose dark premises he spends the hours of sunlight—a delightful character, no doubt, in his crabbed simplicity, but not in the least resembling that other to whom we would direct attention. For the true reader is essentially young. He is a man of intense curiosity; of ideas; open minded and communicative, to whom reading is more of the nature of brisk exercise in the open air than of sheltered study; he trudges the high road, he climbs higher and higher upon the hills until the atmosphere is almost too fine to breathe in; to him it is not a sedentary pursuit at all.
But, apart from general statements, it would not be hard to prove by an assembly of facts that the great season for reading is the season between the ages of eighteen and twenty-four. The bare list of what is read then fills the heart of older people with despair. It is not only that we read so many books, but that we had such books to read. If we wish to refresh our memories, let us take down one of those old notebooks which we have all, at one time or another, had a passion for beginning. Most of the pages are blank, it is true; but at the beginning we shall find a certain number very beautifully covered with a strikingly legible hand-writing. Here we have written down the names of great writers in their order of merit; here we have copied out fine passages from the classics; here are lists of books to be read; and here, most interesting of all, lists of books that have actually been read, as the reader testifies with some youthful vanity by a dash of red ink. We will quote a list of the books that some one read in a past January at the age of twenty, most of them probably for the first time. i. Rhoda Fleming, 2. The Shaving of Shagpat. 3. Tom Jones. 4. The Laodicean. 5. Dewey’s Psychology. 6. The Book of Job. 7. Webbe’s Discourse of Poesie. 8. The Duchess of Malfi. 9. The Revenger’s Tragedy. And so he goes on from month to month, until, as such lists will, it suddenly stops in the month of June. But if we follow the reader through his months it is clear that he can have done practically nothing but read. Elizabethan literature is gone through with some thoroughness; he read a great deal of Webster, Browning, Shelley, Spenser, and Congreve; Peacock he read from start to finish; and most of Jane Austen’s novels two or three times over. He read the whole of Meredith, the whole of Ibsen, and a little of Bernard Shaw. We may be fairly certain, too, that the time not spent in reading was spent in some stupendous argument in which the Greeks were pitted against the moderns, romance against realism, Racine against Shakespeare, until the lights were seen to have grown pale in the dawn.
The old lists are there to make us smile and perhaps to sigh a little, but we would give much to recall also the mood in which this orgy of reading was done. Happily, this reader was no prodigy, and with a little thought we can most of us recall the stages at least of our own initiation. The books we read in childhood, having purloined them from some shelf supposed
