By John Burroughs
BITS OF CRITICISM
THE difference between a precious stone and a common stone is not an essential difference—not a difference of substance, but of arrangement of the particles—the crystallization. In substance the charcoal and the diamond are one, but in form and effect how widely they differ. The pearl contains nothing that is not found in the coarsest oyster-shell.
Two men have the same thoughts; they use about the same words in expressing them; yet with one the product is real literature, with the other it is a platitude.
The difference is all in the presentation; a finer and more compendious process has gone on in the one case than in the other. The elements are better fused and knitted together; they are in some way heightened and intensified. Is not here a clew to what we mean by style? Style transforms common quartz into an Egyptian pebble. We are apt to think of style as something external, that can be put on, something in and of itself. But it is not; it is in the inmost texture of the substance itself. Polish, choice words, faultless rhetoric, are only the accidents of style. Indeed, perfect workmanship is one thing; style, as the great writers have it, is quite another. It may, and often does, go with faulty workmanship. It is the use of words in a fresh and vital way, so as to give us a vivid sense of a new spiritual force and personality. In the best work the style is found and hidden in the matter.
I heard a reader observe, after finishing one of Robert Louis Stevenson’s books, “How well it is written!” I thought it a doubtful compliment. It should have been so well written that the reader would not have been conscious of the writing at all. If we could only get the writing, the craft, out of our stories and essays and poems, and make the reader feel he was face to face with the real thing! The complete identification of the style with the thought; the complete absorption of the man with his matter, so that the reader shall say, “How good, how real, how true!” that is the great success. Seek ye the kingdom of truth first, and all things shall be added. I think we do feel, with regard to some of Stevenson’s books, like “An Inland Voyage,” “Travels with a Donkey,” etc., how well they are written. Certainly one would not have the literary skill any less, but would have one’s attention kept from it by the richness of the matter. Hence I think a British critic hits the mark when he says Stevenson lacks homeliness.
Dr. Holmes wrote fine and eloquent poems, yet I think one does not feel that he is essentially a poet. His work has not the inevitableness of nature; it is a skilful literary feat; we admire it, but seldom return to it. His poetry is a stream in an artificial channel; his natural channel is his prose; here we get his freest and most spontaneous activity.
One fault that I find with our younger and more promising school of novelists is that their aim is too literary; we feel that they are striving mainly for artistic effects. Do we feel this at all in Scott, Dickens, Hawthorne, or Tolstoi? These men are not thinking about art but about life; how to reproduce life. In essayists like Pater, Wilde, Lang, the same thing occurs; we are constantly aware of the literary artist; they are not in love with life, reality, so much as they are with words, style, literary effects. Their seriousness is mainly an artistic seriousness. It is not so much that they have something to say, as that they are filled with a desire to say something. Nearly all our magazine poets seem filled with the same desire; what labor, what art and technique; but what a dearth of feeling and spontaneity! I read a few lines or stanzas and then stop. I see it is only deft handicraft, and that the heart and soul are not in it. One day my boy killed what an old hunter told him was a mock duck. It looked like a duck, it acted like a duck, it quacked like a duck, but when it came upon the table—it mocked us. These mock poems of the magazines remind me of it.
Is it not unfair to take any book, certainly any great piece of literature, and deliberately sit down to pass judgment upon it? Great books are not addressed to the critical judgment, but to the life, the soul. They need to slide into one’s life earnestly, and find him with his guard down, his doors open, his attitude disinterested. The reader is to give himself to them, as they give themselves to him; there must be self-sacrifice. We find the great books when we are young, eager, receptive. After we grow hard and critical we find few great books. A recent French critic says: “It seems to me works of art are not made to be judged, but to be loved, to please, to dissipate the cares of real life. It is precisely by wishing to judge them that one loses sight of their true significance.”
“How can a man learn to know himself?” inquires Goethe. “Never by reflection, only by action.” Is not this a half-truth? One can only learn his powers of action by action, and his powers of thought by thinking. He can only learn whether or not he has power to command, to lead, to be an orator or legislator, by actual trial. Has he courage, self-control, self-denial, fortitude, etc.? In life alone can he find out. Action tests his moral virtues, reflection his intellectual. If he would define himself to himself he must think. “We are weak in action,” says Renan, “by our best qualities; we are strong in action by will and a certain one-sidedness.” “The moment Byron reflects,” says Goethe, “he is a child.” Byron had no self-knowledge. We have all known people who were ready and sure in action who did not know themselves at all. Your weakness or strength as a person comes out in action; your weakness or strength as an intellectual force comes out in reflection.
Verlaine: A Feminine Appreciation
By Mrs. Reginald de Koven
VERLAINE: A FEMININE APPRECIATION
IN early days, when the triumphs and the torments of his overwhelming vitality swept at will across his soul, Paul Verlaine was sometimes god and sometimes satyr. From aspiring altitudes of spiritual emotions he swung like a pendulum to unspoken depths of vice.
The world spirit doubly charged his strange and terrible personality, pouring into it the essences and intuitions of the body and the soul. Into the alembic were dissolved the entities of Baudelaire and Villon, floating still upon the earth.
Then the whole was set to the vibration of a new rhythm as strange and as remote from the consciousness of men as the songs of inter-lunar space, so that his utterances with the naturalness of a bird’s song or an infant’s lisp should have the accents of melody undreamed of. And this is not all—strangest and most tragically terrible in its possibilities of pain—the chrism of conscience burns his sinister brow. The phantom of the immortal soul drives him into the outer darkness.
What are the undiscovered laws of spiritual heredity and of a poetic paternity, such as are suggested in the likeness of Baudelaire and Verlaine to their prototype Villon? The secret is yet to find. It is all as strange as the mystery of Bernhardt’s strayed existence in this modern day. An emanation from some Egyptian tomb, wild spirit of genius and of vice is she, vampire-like, inhuman, wandering among a people who have thrilled to her voice and wondered, not knowing whence she came.
Behind them both—Baudelaire with his luminous, despairing eyes, and Verlaine with his terrible glabrous head—the madcap figure of Villon shines out of a cloud of time, and we hear the sound of his reckless laughter and the music of his tears.
But if the relation between these two moderns and this singing renegade of the Middle Ages is that of mysterious paternity, between Baudelaire and Verlaine there is a brotherhood which is as wonderful as an oriental dream of metempsychosis.
Baudelaire’s verses, read in early youth, so saturated and possessed the new-born soul of Paul Verlaine that he became more a reincarnation of Baudelaire than a separate existence.
