Matthew Arnold - George Saintsbury (best book club books .txt) 📗

doctrine of

"Sculpte, lime, cisèle,"

as the great commandment of the creative artist, has been a friend and leader in the life of the spirit: to Mr Arnold he was only a sort of unspiritual innkeeper. To Mr Arnold, Maurice de Guérin, with his second-hand Quinetism, was a friend and leader in the life of the spirit; others scarcely find him so. "This is this to thee and that to me."

The third (strictly the middle) piece fortunately requires no allowances, and suffers from no drawbacks. "Literature and Science" is an apology for a liberal education, and for a rationally ordered hierarchy of human study, which it would be almost impossible to improve, and respecting which it is difficult to think that it can ever grow obsolete. Not only was Mr Arnold here on his own ground, but he was fighting for his true mistress, with the lance and sword and shield that he had proved. And the result is like that, of the fortunate fights of romance: he thrusts his antagonists straight over the crupper, he sends them rolling on the ground, and clutching its sand with their fingers. Even Mr Huxley, stoutest and best of all the Paynim knights, never succeeded in wiping off this defeat; and it is tolerably certain that no one else will. The language of the piece is unusually lacking in ornateness or fanciful digression; but the logic is the strongest that Mr Arnold ever brought to bear.

The three last essays we have mentioned, apart from the pathetic and adventitious interest which attaches to them as last, would be in any case among the best of their author's, and their value is (at least, as it seems to me) in an ascending scale. To care very much for that on Count Tolstoi is not easy for those who are unfashionable enough not to care very much for the eloquent Russian himself. Nothing is satisfactory that one can only read in translations. But Mr Arnold, in whom a certain perennial youthfulness was (as it often, if not always, is in the chosen of the earth) one of his most amiable features, seems to have conceived a new engouement for this new and quaintly flavoured Russian literature. Had he lived longer, he probably would have sung us something in a cautionary strain; just as it can never be sufficiently regretted that he did not live long enough to handle Ibsenism. And it would have been very particularly pleasant to hear him on those Memoirs of a Mongol Minx (as they have been profanely called), which are assigned to the great Marie Bashkirtseff; or on those others of the learned She-Mathematician, who waited with a friend on a gentleman and suggested that he should marry one of them, no matter which, and lead both about. But the mixture of freshness, of passion, and of regard for conduct in Count Tolstoi could not but appeal to him; and he has given us a very charming
causerie on Anna Karenina , notable - like O'Rourke's noble feast - to

"Those who were there
And those who were not," -

to those who have read the book itself, and to those who have not yet found time to read it.

I cannot plead much greater affection for the lucubrations of Amiel than for Count Tolstoi's dealings with that odd compound of crudity and rottenness, the Russian nature; but Mr Arnold's "Amiel" is admirable. Never was there a more "gentlemanly correction," a more delicate and good-humoured setting to rights, than that which he administers to Amiel's two great panegyrists (who happened to be Mr Arnold's own niece and Mr Arnold's own friend). On subjects like Maya and the "great wheel" it would almost be impossible to conceive, and certainly impossible to find, a happier commentator than Mr Arnold, though perhaps in the regions of theology he had a private Maya, a very Great Wheel, of his own. The firmness with which he rebukes the maunderings of the Genevese hypochondriac - of whom some one once unkindly remarked that he was not so much intoxicated with Idealism as suffering from the subsequent headache - is equalled by the kindness of the dealing; and the quiet decision with which he puts his fine writing in its proper place is better still. Nobody could call Mr Arnold a Philistine or one insensible to finesse , grace,
sehnsucht , the impalpable and intangible charm of melancholy and of thought. And his comments on Amiel's loaded pathos and his muddled meditation are therefore invaluable. Nor is he less happy or less just in the praise which, though not the first, he was one of the first to give to by far the strongest side of Amiel's talent, his really remarkable power of literary criticism.

But the best wine was still kept for the very last. It will have been observed in these brief sketches of his work that, since his return to the fields of literature proper, Mr Arnold had drawn nearer to the
causerie and farther from the abstract critical essay, - that he had taken to that mixture of biography, abstract of work, and interspersed critical comment which Sainte-Beuve, though he did not exactly invent it, had perfected, and which somebody, I think, has recently described as "intensely irritating." Well! well! pearls, as we all know, are irritating to certain classes of consumers. He had from the first done this well, he now did it consummately. That he took occasion, in the paper on Shelley's life which appeared in the Nineteenth Century for January 1888, to repeat his pet heresy about Shelley's poetry, matters nothing at all. It is an innocent defiance, and no attempt whatever is made to support it by argument. The purpose of the essay is quite different. Already, some years before, in his article on Keats, Mr Arnold had dealt some pretty sharp blows both at the indiscretion of a certain class of modern literary biographers, and at the pawing and morbid sentimentality of the same persons or others. He had a new and a better opportunity in the matter he was now handling, and he struck more strongly, more repeatedly, and with truer aim than ever. From the moment of its appearance to the present day, this piece has been an unceasing joy to all who love literature with a sane devotion. Its composition is excellent; it selects just the right points, dwells on them in just the right way, and drops them just when we have had enough. In mere style it yields to nothing of its author's, and is conspicuously and quite triumphantly free from his repetitions and other mannerisms. No English writer - indeed one may say no writer at all - has ever tempered such a blend of quiet contempt with perfect good-humour and perfect good-breeding. Dryden would have written with an equally fatal serenity, but not so lightly; Voltaire with as much lightness, but not nearly so much like a gentleman - which may also be said Of Courier. Thackeray could not have helped a blaze of indignation - honest and healthy, but possibly just
plusquam -artistic - at the unspeakable persons who think that by blackening the unhappy Harriet they can whiten Shelley. And almost any one would have been likely either to commit the complementary error of being too severe on Shelley himself, or, if this were avoided, to underlie the charge of being callous and unsympathetic. Every one of these rocks, and others, Mr Arnold has avoided; and he has left us in the piece one of the most perfect examples that exist of the English essay on subjects connected with literature. In its own special division of causerie the thing is not only without a superior, it is almost without a peer; its insinuated or passing literary comments are usually as happy as its censure of vital matters, and even the above-referred-to heresy itself gives it a certain piquancy. Ill indeed was the fate that took its author away so soon after the completion of this little masterpiece; yet he could not have desired to leave the world with a better diploma-performance, lodged as an example of his actual accomplishment.

We must now return, for the last time unfortunately, to the narrative of biographical events. December 1877 furnishes, in some letters to his sister, evidence that he was increasingly "spread" (as the French say quaintly) by notices of parties and persons - Mr Disraeli and Mr Gladstone, Mr Huxley and Mr Ruskin. One is glad to hear of the last-named that the writer "is getting to like him " - the passages on the author of Modern Painters in the earlier letters are certainly not enthusiastic - and that "he gains much by his fancy being forbidden to range through the world of coloured cravats." This beneficial effect of evening dress is not limited to Mr Ruskin, and is so well expressed that one only wishes Mr Arnold had let his own fancy range more freely in such epistolary criticisms of life. We hear that Mr J.R. Green "likes the Reformation and Puritanism less the more he looks into them," again a not uncommon experience - and that Mr Stopford Brooke is deriving much edification from the review of his
Primer . The next year continues the series of letters to M. Fontanes, and gives a pleasant phrase in one to another sister, Mrs Cropper. "My poems have had no better friends in their early and needy days than my own sisters" - wherein Mr Arnold unconsciously quotes
Goblin Market , "there is no friend like a sister." Later, Mr Freeman is dashed off, a la maniere noire , as "an ardent, learned, and honest man, but a ferocious pedant." 1879 yields a letter to Miss Arnold, expressing the intention to send the Wordsworth book of selections to M. Scherer, and beg him to review it, which request resulted in one of the very best, perhaps the very best, of that critic's essays in English Literature. Mr Arnold is distressed later at Renan's taking Victor Hugo's poetry so prodigiously au serieux , just as some of us have been, if not distressed, yet mildly astonished, at Mr Arnold for not taking it, with all its faults, half seriously enough. Geist, the dachshund, appears agreeably, with many other birds and beasts, in a May letter of this year, and botany reinforces zoology in a later one to Mr Grant Duff.

1880 is at first less fertile, but gives an amusing account of a semi-royal reception of Cardinal Newman at the Duke of Norfolk's in May, and a very interesting series of letters from Pontresina in the autumn. Fortunately for us Mrs Arnold was not with him, and we profit by his letters to her. In one of them there is a very pleasing and probably unconscious touch. "Rapallo [the Duchess of Genoa's husband] smokes the whole evening: but I think he has a good heart ." And later still we have the curious and not uncharacteristic information that he is reading David Copperfield for the first time (whence no doubt its undue predominance in a certain essay), and the description of Burns as "a beast with splendid gleams," a view which has been fully developed since. On February 21, 1881, there is another interview, flattering as ever, with Lord Beaconsfield, and later he tells M. Fontanes, "I never much liked Carlyle," which indeed we knew. The same correspondent has the only references preserved to Dean Stanley's death; but the magnificent verses which that death produced make anything else superfluous. They appeared in the first number of the Nineteenth Century for 1882, when New