on the one hand, is that of a highly skillful and profoundly original artist, but on the other hand it is that of a sophomore just made aware of Haeckel, Bradlaugh and Nietzsche.
Bennett’s unmitigated skepticism explains two things that have constantly puzzled the reviewers, and that have been the cause of a great deal of idiotic writing about him—for him as well as against him. One of these things is his utter lack of anything properly describable as artistic conscience—his extreme readiness to play the star houri in the seraglio of the publishers; the other is his habit of translating platitudes into racy journalese and gravely offering them to the suburban trade as “pocket philosophies.” Both crimes, it seems to me, have their rise in his congenital incapacity for taking ideas seriously, even including his own. “If this,” he appears to say, “is the tosh you want, then here is another dose of it. Personally, I have little interest in that sort of thing. Even good novels—the best I can do—are no more than compromises with a silly convention. I am not interested in stories; I am interested in the anatomy of human melancholy; I am a descriptive sociologist, with overtones of malice. But if you want stories, and can pay for them, I am willing to give them to you. And if you prefer bad stories, then here is a bad one. Don’t assume you can shame me by deploring my willingness. Think of what your doctors do every day, and your lawyers, and your men of God, and your stockbrokers, and your traders and politicians. I am surely no worse than the average. In fact, I am probably a good deal superior to the average, for I am at least not deceived by my own mountebankery—I at least know my sound goods from my shoddy.” Such, I daresay, is the process of thought behind such hollow trade-goods as “Buried Alive” and “The Lion’s Share.” One does not need the man’s own amazing confidences to hear his snickers at his audience, at his work and at himself.
The books of boiled-mutton “philosophy” in the manner of Dr. Orison Swett Marden and Dr. Frank Crane and the occasional pot-boilers for the newspapers and magazines probably have much the same origin. What appears in them is not a weakness for ideas that are stale and obvious, but a distrust of all ideas whatsoever. The public, with its mob yearning to be instructed, edified and pulled by the nose, demands certainties; it must be told definitely and a bit raucously that this is true and that is false. But there are no certainties. Ergo, one notion is as good as another, and if it happens to be utter flubdub, so much the better—for it is precisely flubdub that penetrates the popular skull with the greatest facility. The way is already made: the hole already gapes. An effort to approach the hidden and baffling truth would simply burden the enterprise with difficulty. Moreover, the effort is intrinsically laborious and ungrateful. Moreover, there is probably no hidden truth to be uncovered. Thus, by the route of skepticism, Bennett apparently arrives at his sooth-saying. That he actually believes in his own theorizing is inconceivable. He is far too intelligent a man to hold that any truths within the comprehension of the popular audience are sound enough to be worth preaching, or that it would do any good to preach them if they were. No doubt he is considerably amused in petto by the gravity with which his bedizened platitudes have been received by persons accustomed to that sort of fare, particularly in America. It would be interesting to hear his private view of the corn-fed critics who hymn him as a profound and impassioned moralist, with a mission to rescue the plain people from the heresies of such fellows as Dreiser.
So much for two of the salient symptoms of his underlying skepticism. Another is to be found in his incapacity to be, in the ordinary sense, ingratiating; it is simply beyond him to say the pleasant thing with any show of sincerity. Of all his books, probably the worst are his book on the war and his book on the United States. The latter was obviously undertaken with some notion of paying off a debt. Bennett had been to the United States; the newspapers had hailed him in their side-show way; the women’s clubs had pawed over him; he had, no doubt, come home a good deal richer. What he essayed to do was to write a volume on the republic that should be at once colorably accurate and discreetly agreeable. The enterprise was quite beyond him. The book not only failed to please Americans; it offended them in a thousand subtle ways, and from its appearance dates the decline of the author’s vogue among us. He is not, of course, completely forgotten, but it must be plain that Wells now stands a good deal above him in the popular estimation—even the later Wells of bad novel after bad novel. His war book missed fire in much the same way. It was workmanlike, it was deliberately urbane, it was undoubtedly truthful—but it fell flat in England and it fell flat in America. There is no little significance in the fact that the British government, in looking about for English authors to uphold the British cause in America and labor for American participation in the war, found no usefulness in Bennett. Practically every other novelist with an American audience was drafted for service, but not Bennett. He was non est during the heat of the fray, and when at length he came forward with “The Pretty Lady” the pained manner with which it was received quite justified the judgment of those who had passed him over.
What all this amounts to may be very briefly put: in one of the requisite qualities of the first-rate novelist Bennett is almost completely lacking, and so it would be no juggling with paradox to argue that, at bottom, he is scarcely a novelist at all. His books, indeed—that is, his serious books, the books of his better canon—often fail utterly to achieve the effect that one associates with the true novel. One carries away from them, not the impression of a definite transaction, not the memory of an outstanding and appealing personality, not the after-taste of a profound emotion, but merely the sense of having witnessed a gorgeous but incomprehensible parade, coming out of nowhere and going to God knows where. They are magnificent as representation, they bristle with charming detail, they radiate the humors of an acute and extraordinary man, they are entertainment of the best sort—but there is seldom anything in them of that clear, well-aimed and solid effect which one associates with the novel as work of art. Most of these books, indeed, are no more than collections of essays defectively dramatized. What is salient in them is not their people, but their backgrounds—and their people are forever fading into their backgrounds. Is there a character in any of these books that shows any sign of living as Pendennis lives, and Barry Lyndon, and Emma Bovary, and David Copperfield, and the George Moore who is always his own hero? Who remembers much about Sophia Baines, save that she lived in the Five Towns, or even about Clayhanger? Young George Cannon, in “The Roll-Call,” is no more than an anatomical chart in a lecture on modern marriage. Hilda Lessways-Cannon-Clayhanger is not only inscrutable; she is also dim. The man and woman of “Whom God Hath Joined,” perhaps the best of all the Bennett novels, I have so far forgotten that I cannot remember their names. Even Denry the Audacious grows misty. One remembers that he was the center of the farce, but now he is long gone and the farce remains.
This constant remainder, whether he be actually novelist or no novelist, is sufficient to save Bennett, it seems to me, from the swift oblivion that so often overtakes the popular fictioneer. He may not play the game according to the rules, but the game that he plays is nevertheless extraordinarily diverting and calls for an incessant display of the finest sort of skill. No writer of his time has looked into the life of his time with sharper eyes, or set forth his findings with a greater charm and plausibility. Within his deliberately narrow limits he had done precisely the thing that Balzac undertook to do, and Zola after him: he has painted a full-length portrait of a whole society, accurately, brilliantly and, in certain areas, almost exhaustively. The middle Englishman—not the individual, but the type—is there displayed more vividly than he is displayed anywhere else that I know of. The thing is rigidly held to its aim; there is no episodic descent or ascent to other fields. But within that one field every resource of observation, of invention and of imagination has been brought to bear upon the business—every one save that deep feeling for man in his bitter tragedy which is the most important of them all. Bennett, whatever his failing in this capital function of the artist, is certainly of the very highest consideration as craftsman. Scattered through his books, even his bad books, there are fragments of writing that are quite unsurpassed in our day—the shoe-shining episode in “The Pretty Lady,” the adulterous interlude in “Whom God Hath Joined,” the dinner party in “Paris Nights,” the whole discussion of the Cannon-Ingram marriage in “The Roll-Call,” the studio party in “The Lion’s Share.” Such writing is rare and exhilarating. It is to be respected. And the man who did it is not to be dismissed.
