The Author's Craft - Arnold Bennett (knowledgeable books to read TXT) 📗

wakes up in the morning and rises with reluctance. Being a big man, and existing with his wife and children in a very confined space, he has to adapt himself to his environment as he goes through the various functions incident to preparing for his day's work. He is just like you or me. He wants his breakfast, he very much wants to know where his boots are, and he has the usually sinister preoccupations about health and finance. Whatever the force of his egoism, he must more or less harmonise his individuality with those of his wife and children. Having laid down the law, or accepted it, he sets forth to his daily duties, just a fraction of a minute late. He arrives at his office, resumes life with his colleagues sympathetic and antipathetic, and then leaves the office for an expedition extending over several hours. In the course of his expedition he encounters the corpse of a young dog run down by a motor-bus. Now you also have encountered that corpse and are gazing at it; and what do you say to yourself when he comes along? You say: "Oh! Here's a policeman." For he happens to be a policeman. You stare at him, and you never see anything but a policeman--an indivisible phenomenon of blue cloth, steel buttons, flesh resembling a face, and a helmet; "a stalwart guardian of the law"; to you little more human than an algebraic symbol: in a word--a policeman.

Only, that word actually conveys almost nothing to you of the reality which it stands for. You are satisfied with it as you are satisfied with the description of a disease. A friend tells you his eyesight is failing. You sympathise. "What is it?" you ask. "Glaucoma." "Ah! Glaucoma!" You don't know what glaucoma is. You are no wiser than you were before. But you are content. A name has contented you. Similarly the name of policeman contents you, seems to absolve you from further curiosity as to the phenomenon. You have looked at tens of thousands of policemen, and perhaps never seen the hundredth part of the reality of a single one. Your imagination has not truly worked on the phenomenon.

There may be some excuse for not seeing the reality of a policeman, because a uniform is always a thick veil. But you--I mean you, I, any of us--are oddly dim-sighted also in regard to the civil population. For instance, we get into the empty motor-bus as it leaves the scene of the street accident, and examine the men and women who gradually fill it. Probably we vaunt ourselves as being interested in the spectacle of life. All the persons in the motor-bus have come out of a past and are moving towards a future. But how often does our imagination put itself to the trouble of realising this? We may observe with some care, yet owing to a fundamental defect of attitude we are observing not the human individuals, but a peculiar race of beings who pass their whole lives in motor-buses, who exist only in motor-buses and only in the present! No human phenomenon is adequately seen until the imagination has placed it back into its past and forward into its future. And this is the final process of observation of the individual.


VII


Seeing life, as I have tried to show, does not begin with seeing the individual. Neither does it end with seeing the individual. Particular and unsystematised observation cannot go on for ever, aimless, formless. Just as individuals are singled out from systems, in the earlier process of observation, so in the later processes individuals will be formed into new groups, which formation will depend upon the personal bent of the observer. The predominant interests of the observer will ultimately direct his observing activities to their own advantage. If he is excited by the phenomena of organisation--as I happen to be--he will see individuals in new groups that are the result of organisation, and will insist on the variations from type due to that grouping. If he is convinced--as numbers of people appear to be--that society is just now in an extremely critical pass, and that if something mysterious is not forthwith done the structure of it will crumble to atoms--he will see mankind grouped under the different reforms which, according to him, the human dilemma demands. And so on! These tendencies, while they should not be resisted too much, since they give character to observation and redeem it from the frigidity of mechanics, should be resisted to a certain extent. For, whatever they may be, they favour the growth of sentimentality, the protean and indescribably subtle enemy of common sense.


PART II


WRITING NOVELS

I


The novelist is he who, having seen life, and being so excited by it that he absolutely must transmit the vision to others, chooses narrative fiction as the liveliest vehicle for the relief of his feelings. He is like other artists--he cannot remain silent; he cannot keep himself to himself, he is bursting with the news; he is bound to tell--the affair is too thrilling! Only he differs from most artists in this--that what most chiefly strikes him is the indefinable humanness of human nature, the large general manner of existing. Of course, he is the result of evolution from the primitive. And you can see primitive novelists to this day transmitting to acquaintances their fragmentary and crude visions of life in the cafe or the club, or on the kerbstone. They belong to the lowest circle of artists; but they are artists; and the form that they adopt is the very basis of the novel. By innumerable entertaining steps from them you may ascend to the major artist whose vision of life, inclusive, intricate and intense, requires for its due transmission the great traditional form of the novel as perfected by the masters of a long age which has temporarily set the novel higher than any other art-form.

I would not argue that the novel should be counted supreme among the great traditional forms of art. Even if there is a greatest form, I do not much care which it is. I have in turn been convinced that Chartres Cathedral, certain Greek sculpture, Mozart's _Don Juan_, and the juggling of Paul Cinquevalli, was the finest thing in the world--not to mention the achievements of Shakspere or Nijinsky. But there is something to be said for the real pre-eminence of prose fiction as a literary form. (Even the modern epic has learnt almost all it knows from prose-fiction.) The novel has, and always will have, the advantage of its comprehensive bigness. St Peter's at Rome is a trifle compared with Tolstoi's _War and Peace_; and it is as certain as anything can be that, during the present geological epoch at any rate, no epic half as long as _War and Peace_ will ever be read, even if written.

Notoriously the novelist (including the playwright, who is a sub-novelist) has been taking the bread out of the mouths of other artists. In the matter of poaching, the painter has done a lot, and the composer has done more, but what the painter and the composer have done is as naught compared to the grasping deeds of the novelist. And whereas the painter and the composer have got into difficulties with their audacious schemes, the novelist has poached, colonised, and annexed with a success that is not denied. There is scarcely any aspect of the interestingness of life which is not now rendered in prose fiction--from landscape-painting to sociology--and none which might not be. Unnecessary to go back to the ante-Scott age in order to perceive how the novel has aggrandised itself! It has conquered enormous territories even since _Germinal_. Within the last fifteen years it has gained. Were it to adopt the hue of the British Empire, the entire map of the universe would soon be coloured red. Wherever it ought to stand in the hierarchy of forms, it has, actually, no rival at the present day as a means for transmitting the impassioned vision of life. It is, and will be for some time to come, the form to which the artist with the most inclusive vision instinctively turns, because it is the most inclusive form, and the most adaptable. Indeed, before we are much older, if its present rate of progress continues, it will have reoccupied the dazzling position to which the mighty Balzac lifted it, and in which he left it in 1850. So much, by the way, for the rank of the novel.


II


In considering the equipment of the novelist there are two attributes which may always be taken for granted. The first is the sense of beauty--indispensable to the creative artist. Every creative artist has it, in his degree. He is an artist because he has it. An artist works under the stress of instinct. No man's instinct can draw him towards material which repels him--the fact is obvious. Obviously, whatever kind of life the novelist writes about, he has been charmed and seduced by it, he is under its spell--that is, he has seen beauty in it. He could have no other reason for writing about it. He may see a strange sort of beauty; he may--indeed he does--see a sort of beauty that nobody has quite seen before; he may see a sort of beauty that none save a few odd spirits ever will or can be made to see. But he does see beauty. To say, after reading a novel which has held you, that the author has no sense of beauty, is inept. (The mere fact that you turned over his pages with interest is an answer to the criticism--a criticism, indeed, which is not more sagacious than that of the reviewer who remarks: "Mr Blank has produced a thrilling novel, but unfortunately he cannot write." Mr Blank has written; and he could, anyhow, write enough to thrill the reviewer.) All that a wise person will assert is that an artist's sense of beauty is different for the time being from his own.

The reproach of the lack of a sense of beauty has been brought against nearly all original novelists; it is seldom brought against a mediocre novelist. Even in the extreme cases it is untrue; perhaps it is most untrue in the extreme cases. I do not mean such a case as that of Zola, who never went to extremes. I mean, for example, Gissing, a real extremist, who, it is now admitted, saw a clear and undiscovered beauty in forms of existence which hitherto no artist had deigned seriously to examine. And I mean Huysmans, a case even more extreme. Possibly no works have been more abused for ugliness than Huysman's novel _En Menage_ and his book of descriptive essays _De Tout_. Both reproduce with exasperation what is generally regarded as the sordid ugliness of commonplace daily life. Yet both exercise a unique charm (and will surely be read when _La Cathedrale_ is forgotten). And it is inconceivable that Huysmans--whatever he may have said--was not ravished by the secret beauty of his subjects and did not exult in it.

The other attribute which may be taken for granted in the novelist, as in every artist, is passionate intensity of vision. Unless the vision is passionately intense the artist will not be moved to transmit it. He will not be inconvenienced by it; and the motive to pass it on will thus not exist. Every fine emotion produced in the reader has been, and must have been, previously felt by the writer, but in a far greater degree. It is not altogether uncommon to hear a reader whose heart has been desolated by the poignancy of a narrative complain that the writer is unemotional. Such people have