Books and Persons - Arnold Bennett (phonics readers .TXT) 📗

by his mistimed religious dogmatism--that there is something seriously deficient in the very basis of his mind. And what his cleverness and charm cannot do his arrogance and his effrontery assuredly will not do. And yet I said that this book gave me a wholesome shock. Far from deteriorating, Mr. Chesterton is improving. In spite of the awful tediousness of his mannerism of antithetical epigram, he does occasionally write finer epigrams than ever. His imagination is stronger, his fancy more delicate, and his sense of beauty widened. There are things in this book that really are very excellent indeed; things that, if they die, will die hard. For example, the essay: "In Topsy Turvy Land." It is a book which, in the main, strongly makes for righteousness. Its minor defects are scandalous, in a literary sense; its central defect passes the comprehension; the book is journalism, it is anything you like. But I can tell you that it is literature, after all.

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If you desire a book entirely free from the exasperating faults of Mr. Chesterton's you will turn to Mr. Lucas's. But Mr. Lucas, too, is a highly mysterious man. On the surface he might be mistaken for a mere cricket enthusiast. Dig down, and you will come, with not too much difficulty, to the simple man of letters. Dig further, and, with somewhat more difficulty, you will come to an agreeably ironic critic of human foibles. Try to dig still further, and you will probably encounter rock. Only here and there in his two novels does Mr. Lucas allow us to glimpse a certain powerful and sardonic harshness in him, indicative of a mind that has seen the world and irrevocably judged it in most of its manifestations. I could believe that Mr. Lucas is an ardent politician, who, however, would not deign to mention his passionately held views save with a pencil on a ballot-paper--if then! It could not have been without intention that he put first in this new book an essay describing the manufacture of a professional criminal. Most of the other essays are exceedingly light in texture. They leave no loophole for criticism, for their accomplishment is always at least as high as their ambition. They are serenely well done. Immanent in the book is the calm assurance of a man perfectly aware that it will be a passing hard task to get change out of _him_! And even when some one does get change out of him, honour is always saved. In describing a certain over of his own bowling, Mr. Lucas says: "I was conscious of a twinge as I saw his swift glance round the field. He then hit my first ball clean out of it; from my second he made two; from my third another two; the fourth and fifth wanted playing; and the sixth he hit over my head among some distant haymakers." You see, the fourth and fifth wanted playing.


OFFICIAL RECOGNITION OF POETRY

[_14 Oct. '09_]

I did not go to Paris to witness the fetes in celebration of the fiftieth anniversary of Victor Hugo's "La Legende des Siecles," but I happened to be in Paris while they were afoot. I might have seen one of Hugo's dramas at the Theatre Francais, but I avoided this experience, my admiration for Hugo being tempered after the manner of M. Andre Gide's. M. Gide, asked with a number of other authors to say who was still the greatest modern French poet, replied: "Victor Hugo--alas!" So I chose Brieux instead of Hugo, and saw "La Robe Rouge" at the Francais. Brieux is now not only an Academician, but one of the stars of the Francais. A bad sign! A bad play, studded with good things, like all Brieux's plays. (The importance attached to Brieux by certain of the elect in England is absurd. Bernard Shaw could simply eat him up--for he belongs to the vegetable kingdom.) A thoroughly bad performance, studded with fine acting! A great popular success! Whenever I go to the Francais I tremble at the prospect of a national theatre in England. The Francais is hopeless--corrupt, feeble, tedious, reactionary, fraudulent, and the laughing-stock of artists. However, we have not got a national theatre yet.

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Immediately after its unveiling I gazed in the garden of the Palais Royal at Rodin's statue of Victor Hugo. I thought it rather fine, shadowed on the north and on the south by two famous serpentine trees. Hugo, in a state of nudity, reclines meditating on a pile of rocks. The likeness is good, but you would not guess from the statue that for many years Hugo travelled daily on the top of the Clichy-Odeon omnibus and was never recognized by the public. Heaven knows what he is meditating about! Perhaps about that gushing biography of himself which apparently he penned with his own hand and published under another name! For he was a weird admixture of qualities--like most of us. I could not help meditating, myself, upon the really extraordinary differences between France and England. Imagine a nude statue of Tennyson in St. James's Park! You cannot! But, assuming that some creative wit had contrived to get a nude statue of Tennyson into St. James's Park, imagine the enormous shindy that would occur, the horror-stricken Press of London, the deep pain and resentment of a mighty race! And can you conceive London officially devoting a week to the recognition of the fact that fifty years had elapsed since the publication of a work of poetic genius! Yet I think we know quite as much about poetry in England as they do in France. Still less conceivable is the participation of an English Government in such an anniversary. In Paris last Thursday a French Minister stood in front of the Hugo statue and thus began: "The Government of the Republic could not allow the fiftieth anniversary of the 'Legend of the Centuries' to be celebrated without associating itself with the events." My fancy views Mr. Herbert John Gladstone--yes, him!--standing discreetly in front of an indiscreet marble Wordsworth and asserting that the British Government had no intention of being left out of the national rejoicings about the immortality of "The Prelude"! A spectacle that surely Americans would pay to see! On Sunday, at the Francais, Hugo was being declaimed from one o'clock in the afternoon till midnight, with only an hour's interval. And it rained violently nearly all the time.


ARTISTS AND CRITICS

[_21 Oct. '09_]

There is a one-sided feud between artists and critics. When a number of artists are gathered together you will soon in the conversation come upon signs of that feud. I admit that the general attitude of artists to critics is unfair. They expect from critics an imaginative comprehension which in the nature of the case only a creative artist can possess. On the other hand, a creative artist cannot do the work of a critic because he has neither the time nor the inclination to master the necessary critical apparatus. Hence critical work seldom or never satisfies the artist, and the artist's ideal of what critical work ought to be is an impossible dream. I find confirmation of my view in other arts than my own. The critical work of Mr. Bernhard Berenson, for instance, seems to me wonderful and satisfying. But when I mention Mr. Berenson to a painter I invariably discover that that painter's secret attitude towards Mr. Berenson is--well, aristocratic. The finest, and the only first-rate, criticism is produced when, by an exceptional accident, a creative artist of balanced and powerful temperament is moved to deal exhaustively with a subject. Among standard critical works the one that has most impressed me is Lessing's "Laocoon"--at any rate the literary parts of it. Here (I have joyously said to myself) is somebody who knows what he is talking about! Here is some one who has _been there_.


RUDYARD KIPLING

[_4 Nov. '09_]

After a long period of abstention from Rudyard Kipling, I have just read "Actions and Reactions." It has induced gloom in me; yet a modified gloom. Nearly a quarter of a century has passed since "Plain Tales from the Hills" delighted first Anglo-Indian, and then English society. There was nothing of permanent value in that book, and in my extremest youth I never imagined otherwise. But "The Story of the Gadsbys" impressed me. So did "Barrack-room Ballads." So did pieces of "Soldiers Three." So did "Life's Handicap" and "Many Inventions." So did "The Jungle Book," despite its wild natural history. And I remember my eagerness for the publication of "The Seven Seas." I remember going early in the morning to Denny's bookshop to buy it. I remember the crimson piles of it in every bookshop in London. And I remember that I perused it, gulped it down, with deep joy. And I remember the personal anxiety which I felt when Kipling lay very dangerously ill in New York. For a fortnight, then, Kipling's temperature was the most important news of the day. I remember giving a party with a programme of music, in that fortnight, and I began the proceedings by reading aloud the programme, and at the end of the programme instead of "God Save the Queen," I read, "God Save Kipling," and everybody cheered. "Stalky and Co." cooled me, and "Kim" chilled me. At intervals, since, Kipling's astounding political manifestations, chiefly in verse, have shocked and angered me. As time has elapsed it has become more and more clear that his output was sharply divided into two parts by his visit to New York, and that the second half is inferior in quantity, in quality, in everything, to the first. It has been too plain now for years that he is against progress, that he is the shrill champion of things that are rightly doomed, that his vogue among the hordes of the respectable was due to political reasons, and that he retains his authority over the said hordes because he is the bard of their prejudices and of their clayey ideals. A democrat of ten times Kipling's gift and power could never have charmed and held the governing classes as Kipling has done. Nevertheless, I for one cannot, except in anger, go back on a genuine admiration. I cannot forget a benefit. If in quick resentment I have ever written of Kipling with less than the respect which is eternally due to an artist who has once excited in the heart a generous and beautiful emotion, and has remained honest, I regret it. And this is to be said: at his worst Kipling is an honest and painstaking artist. No work of his but has obviously been lingered over with a craftsman's devotion! He has never spoken when he had nothing to say--though probably no artist was ever more seductively tempted by publishers and editors to do so. And he has done more than shun notoriety--Miss Marie Corelli does that--he has succeeded in avoiding it.

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The first story, and the best, in "Actions and Reactions" is entitled "An Habitation Enforced," and it displays the amused but genuine awe of a couple of decent rich Americans confronted by the saecular wonders of the