as helpless nobodies in an epic struggle that transcends both their volition and their comprehension. Thus viewing them, he fails to humanize them completely, and so he fails to make their emotions contagious. They are, in their way, often vividly real; they are thoroughly accounted for; what there is of them is unfailingly life-like; they move and breathe in an environment that pulses and glows. But the attitude of the author toward them remains, in the end, the attitude of a biologist toward his laboratory animals. He does not feel with them—and neither does his reader.
Bennett’s chief business, in fact, is not with individuals at all, even though he occasionally brings them up almost to life-size. What concerns him principally is the common life of large groups, the action and reaction of castes and classes, the struggle among societies. In particular, he is engrossed by the colossal and disorderly functioning of the English middle class—a division of mankind inordinately mixed in race, confused in ideals and illogical in ideas. It is a group that has had interpreters aplenty, past and present; a full half of the literature of the Victorian era was devoted to it. But never, I believe, has it had an interpreter more resolutely detached and relentless—never has it had one less shaken by emotional involvement. Here the very lack that detracts so much from Bennett’s stature as a novelist in the conventional sense is converted into a valuable possession. Better than any other man of his time he has got upon paper the social anatomy and physiology of the masses of average, everyday, unimaginative Englishmen. One leaves the long series of Five Towns books with a sense of having looked down the tube of a microscope upon a huge swarm of infinitely little but incessantly struggling organisms—creatures engaged furiously in the pursuit of grotesque and unintelligible ends—helpless participants in and victims of a struggle that takes on, to their eyes, a thousand lofty purposes, all of them puerile to the observer above its turmoil. Here, he seems to say, is the middle, the average, the typical Englishman. Here is the fellow as he appears to himself—virtuous, laborious, important, intelligent, made in God’s image. And here he is in fact—swinish, ineffective, inconsequential, stupid, a feeble parody upon his maker. It is irony that penetrates and devastates, and it is unrelieved by any show of the pity that gets into the irony of Conrad, or of the tolerant claim of kinship that mitigates that of Fielding and Thackeray. It is harsh and cocksure. It has, at its moments, some flavor of actual bounderism: one instinctively shrinks from so smart-alecky a pulling off of underclothes and unveiling of warts.
It is easy to discern in it, indeed, a note of distinct hostility, and even of disgust. The long exile of the author is not without its significance. He not only got in France something of the Frenchman’s aloof and disdainful view of the English; he must have taken a certain distaste for the national scene with him in the first place, else he would not have gone at all. The same attitude shows itself in W. L. George, another Englishman smeared with Gallic foreignness. Both men, it will be recalled, reacted to the tremendous emotional assault of the war, not by yielding to it ecstatically in the manner of the unpolluted islanders, but by shrinking from it into a reserve that was naturally misunderstood. George has put his sniffs into “Blind Alley”; Bennett has got his into “The Pretty Lady.” I do not say that either book is positively French; what I do say is that both mirror an attitude that has been somehow emptied of mere nationalism. An Italian adventure, I daresay, would have produced the same effect, or a Spanish, or Russian, or German. But it happened to be French. What the Bennett story attempts to do is what every serious Bennett story attempts to do: to exhibit dramatically the great gap separating the substance from the appearance in the English character. It seems to me that its prudent and self-centered G. J. Hoape is a vastly more real Englishman of his class, and, what is more, an Englishman vastly more useful and creditable to England, than any of the gaudy Bayards and Cids of conventional war fiction. Here, indeed, the irony somehow fails. The man we are obviously expected to disdain converts himself, toward the end, into a man not without his touches of the admirable. He is no hero, God knows, and there is no more brilliance in him than you will find in an average country squire or Parliament man, but he has the rare virtue of common sense, and that is probably the virtue that has served the English better than all others. Curiously enough, the English reading public recognized the irony but failed to observe its confutation, and so the book got Bennett into bad odor at home, and into worse odor among the sedulous apes of English ideas and emotions on this side of the water. But it is a sound work nevertheless—a sound work with a large and unescapable defect.
That defect is visible in a good many of the other things that Bennett has done. It is the product of his emotional detachment and it commonly reveals itself as an inability to take his own story seriously. Sometimes he pokes open fun at it, as in “The Roll-Call”; more often he simply abandons it before it is done, as if weary of a too tedious foolery. This last process is plainly visible in “The Pretty Lady.” The thing that gives form and direction to that story is a simple enough problem in psychology, to wit: what will happen when a man of sound education and decent instincts, of sober age and prudent habit, of common sense and even of certain mild cleverness—what will happen, logically and naturally, when such a normal, respectable, cautious fellow finds himself disquietingly in love with a lady of no position at all—in brief, with a lady but lately of the town? Bennett sets the problem, and for a couple of hundred pages investigates it with the utmost ingenuity and address, exposing and discussing its sub-problems, tracing the gradual shifting of its terms, prodding with sharp insight into the psychological material entering into it. And then, as if suddenly tired of it—worse, as if suddenly convinced that the thing has gone on long enough, that he has given the public enough of a book for its money—he forthwith evades the solution altogether, and brings down his curtain upon a palpably artificial dénouement. The device murders the book. One is arrested at the start by a fascinating statement of the problem, one follows a discussion of it that shows Bennett at his brilliant best, fertile in detail, alert to every twist of motive, incisively ironical at every step—and then, at the end, one is incontinently turned out of the booth. The effect is that of being assaulted with an ice-pick by a hitherto amiable bartender, almost that of being bitten by a pretty girl in the midst of an amicable buss.
That effect, unluckily, is no stranger to the reader of Bennett novels. One encounters it in many of them. There is a tremendous marshaling of meticulous and illuminating observation, the background throbs with color, the sardonic humor is never failing, it is a capital show—but always one goes away from it with a sense of having missed the conclusion, always there is a final begging of the question. It is not hard to perceive the attitude of mind underlying this chronic evasion of issues. It is, in essence, agnosticism carried to the last place of decimals. Life itself is meaningless; therefore, the discussion of life is meaningless; therefore, why try futilely to get a meaning into it? The reasoning, unluckily, has holes in it. It may be sound logically, but it is psychologically unworkable. One goes to novels, not for the bald scientific fact, but for a romantic amelioration of it. When they carry that amelioration to the point of uncritical certainty, when they are full of “ideas” that click and whirl like machines, then the mind revolts against the childish naïveté of the thing. But when there is no organization of the spectacle at all, when it is presented as a mere formless panorama, when to the sense of its unintelligibility is added the suggestion of its inherent chaos, then the mind revolts no less. Art can never be simple representation. It cannot deal solely with precisely what is. It must, at the least, present the real in the light of some recognizable ideal; it must give to the eternal farce, if not some moral, then at all events some direction. For without that formulation there can be no clear-cut separation of the individual will from the general stew and turmoil of things, and without that separation there can be no coherent drama, and without that drama there can be no evocation of emotion, and without that emotion art is unimaginable. The field of the novel is very wide. There is room, on the one side, for a brilliant play of ideas and theories, provided only they do not stiffen the struggle of man with man, or of man with destiny, into a mere struggle of abstractions. There is room, on the other side, for the most complete agnosticism, provided only it be tempered by feeling. Joseph Conrad is quite as unshakable an agnostic as Bennett; he is a ten times more implacable ironist. But there is yet a place in his scheme for a sardonic sort of pity, and pity, however sardonic, is perhaps as good an emotion as another. The trouble with Bennett is that he essays to sneer, not only at the futile aspiration of man, but also at the agony that
