Books and Persons - Arnold Bennett (phonics readers .TXT) 📗
- Author: Arnold Bennett
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Ward has never got nearer to life than, for instance, "Rita" has got--nor so near! Gladstone, a thoroughly bad judge of literature, made her reputation, and not on a post card, either! Gladstone had no sense of humour--at any rate when he ventured into literature. Nor has Mrs. Humphry Ward. If she had she would not concoct those excruciating heroines of hers. She probably does not know that her heroines are capable of rousing temperaments such as my own to ecstasies of homicidal fury. Moreover, in literature all girls named Diana are insupportable. Look at Diana Vernon, beloved of Mr. Andrew Lang, I believe! What a creature! Imagine living with her! You can't! Look at Diana of the Crossways. Why did Diana of the Crossways marry? Nobody can say--unless the answer is that she was a ridiculous ninny. Would Anne Elliot have made such an inexplicable fool of herself? Why does Diana Mallory "go to" her preposterous Radical ex-M.P.? Simply because she is tiresomely absurd. Oh, those men with strong chins and irreproachable wristbands! Oh, those cultured conversations! Oh, those pure English maids! That skittishness! That impulsiveness! That noxious winsomeness!
* * * * *
I have invented a destiny for Mrs. Humphry Ward's heroines. It is terrible, and just. They ought to be caught, with their lawful male protectors, in the siege of a great city by a foreign army. Their lawful male protectors ought, before sallying forth on a forlorn hope, to provide them with a revolver as a last refuge from a brutal and licentious soldiery. And when things come to a crisis, in order to be concluded in our next, the revolvers ought to prove to be unloaded. I admit that this invention of mine is odious, and quite un-English, and such as would never occur to a right-minded subscriber to Mudie's. But it illustrates the mood caused in me by witnessing the antics of those harrowing dolls.
W.W. JACOBS AND ARISTOPHANES
[_24 Oct. '08_]
I have been reading a new novel by Mr. W.W. Jacobs--"Salthaven" (Methuen, 6s.). It is a long time since I read a book of his. Ministries have fallen since then, and probably Mr. Jacobs' prices have risen--indeed, much has happened--but the talent of the author of "Many Cargoes" remains steadfast where it did. "Salthaven" is a funny book. Captain Trimblett, to excuse the lateness of a friend for tea, says to the landlady: "He saw a man nearly run over!" and the landlady replies: "Yes, but how long would that take him?" If you ask me whether I consider this humorous, I reply that I do. I also consider humorous this conversational description of an exemplary boy who took to "Sandford and Merton" "as a duck takes to water": "By modelling his life on its teaching" (says young Vyner) "he won a silver medal for never missing an attendance at school. Even the measles failed to stop him. Day by day, a little more flushed than usual, perhaps, he sat in his place until the whole school was down with it, and had to be closed in consequence. Then and not till then did he feel that he had saved the situation." I care nothing for the outrageous improbability of any youthful son of a shipowner being able to talk in the brilliant fashion in which Mr. Jacobs makes Vyner talk. Success excuses it. "Salthaven" is bathed in humour.
* * * * *
At the same time I am dissatisfied with "Salthaven." And I do not find it easy to explain why. I suppose the real reason is that it discloses no signs of any development whatever on the part of the author. Worse, it discloses no signs of intellectual curiosity on the part of the author. Mr. Jacobs seems to live apart from the movement of his age. Nothing, except the particular type of humanity and environment in which he specializes, seems to interest him. There is no hint of a general idea in his work. By some of his fellow-artists he is immensely admired. I have heard him called, seriously, the greatest humorist since Aristophanes. I admire him myself, and I will not swear that he is not the greatest humorist since Aristophanes. But I will swear that no genuine humorist ever resembled Aristophanes less than Mr. Jacobs does. Aristophanes was passionately interested in everything. He would leave nothing alone. Whereas Mr. Jacobs will leave nearly everything alone. Kipling's general ideas are excessively crude, but one does feel in reading him that his curiosity is boundless, even though his taste in literature must infallibly be bad. "Q" is not to be compared in creative power with either of these two men, but one does feel in reading him that he is interested in other manifestations of his own art, that he cares for literature. Impossible to gather from Mr. Jacobs' work that he cares for anything serious at all; impossible to differentiate his intellectual outlook from that of an average reader of the _Strand Magazine_! I do not bring this as a reproach against Mr. Jacobs, whose personality it would be difficult not to esteem and to like. He cannot alter himself. I merely record the phenomenon as worthy of notice.
* * * * *
Mr. Jacobs is not alone. Among our very successful novelists there are many like him in what I will roundly term intellectual sluggishness, though there is, perhaps, none with quite his talent. Have these men entered into a secret compact not to touch a problem even with a pair of tongs? Or are they afraid of being confused with Hall Caine, Mrs. Humphry Ward, and Miss Marie Corelli, who anyhow have the merit of being interested in the wide aspects of their age? I do not know. But I think we might expect a little more general activity from some of our authors who lie tranquil, steeped in success as lizards in sunshine. I speak delicately, for I am on delicate ground. I do, however, speak as a creative artist, and not as a critic. Occasionally my correspondents upbraid me for not writing like a critic. I have never pretended to look at things from any other standpoint than that of a creative artist.
KENNETH GRAHAME
[_24 Oct. '08_]
It is a long time since I read a new book by Mr. Kenneth Grahame, but the fault is his rather than mine. I suppose that I was not the only reader who opened "The Wind in the Willows" (Methuen, 6s.) with an unusual and apprehensive curiosity. Would it disappoint? For really, you know, to live up to "The Golden Age" and "Pagan Papers" could not be an easy task--and after so many years of silence! It is ten years, if I mistake not, since Mr. Kenneth Grahame put his name to anything more important than the official correspondence of the Bank of England. Well, "The Wind in the Willows" does not disappoint. Here, indeed, we have the work of a man who is obviously interested in letters and in life, the work of a fastidious and yet a very robust artist. But the book is fairly certain to be misunderstood of the people. The publishers' own announcement describes it as "perhaps chiefly for youth," a description with which I disagree. The obtuse are capable of seeing in it nothing save a bread-and-butter imitation of "The Jungle Book." The woodland and sedgy lore in it is discreet and attractive. Names of animals abound in it. But it is nevertheless a book of humanity. The author may call his chief characters the Rat, the Mole, the Toad,--they are human beings, and they are meant to be nothing but human beings. Were it otherwise, the spectacle of a toad going through the motor-car craft would be merely incomprehensible and exasperating. The superficial scheme of the story is so childishly naive, or so daringly naive, that only a genius could have preserved it from the ridiculous. The book is an urbane exercise in irony at the expense of the English character and of mankind. It is entirely successful. Whatever may happen to it in the esteem of mandarins and professors, it will beyond doubt be considered by authentic experts as a work highly distinguished, original, and amusing--and no more to be comprehended by youth than "The Golden Age" was to be comprehended by youth.
ANATOLE FRANCE
[_29 Oct. '08_]
I obtained the new book of Anatole France, "L'Ile des Pingouins," the day after publication, and my copy was marked "eighteenth edition." But in French publishing the word "edition" may mean anything. There is a sort of legend among the simple that it means five hundred copies. The better informed, however, are aware that it often means less. Thus, in the case of the later novels of Emile Zola, an edition meant two hundred copies. This was chiefly to save the self-love of his publishers, who did not care to admit that the idol of a capricious populace had fallen off its pedestal. The vast fiction was created that Zola sold as well as ever! One Paris firm, the "Societe du Mercure de France," which in the domain of pure letters has probably issued in the last dozen years more good books than any other house in the world, has, with astounding courage, adopted the practice of numbering every copy of a book. Thus my copy of its "L'Esprit de Barbey d'Aurevilly" (an exceedingly diverting volume) is numbered 1424. I prefer this to advertisements of "second large edition," etc. One knows where one is. But I fear the example of the Mercure de France is not likely to be honestly imitated.
* * * * *
If Anatole France's "editions" consist of five hundred copies I am glad. For an immediate sale of nine thousand copies is fairly remarkable when the article sold consists of nothing more solid than irony. But I am inclined to think that they do not consist of five hundred copies. There is less enthusiasm--that is to say, less genuine enthusiasm--for Anatole France than there used to be. The majority, of course, could never appreciate him, and would only buy him under the threat of being disdained by the minority, whose sole weapon is scorn. And the minority has been seriously thinking about Anatole France, and coming to the conclusion that, though a genius, he is not the only genius that ever existed. (Stendhal is at present the god of the minority of the race which the _Westminister Gazette_ will persist in referring to as "our French neighbours." In some circles it is now a lapse from taste to read anything but Stendhal.) Anatole France's last two works of imagination did not brilliantly impose themselves on the intellect of his country. "L'Histoire Comique" showed once again his complete inability to construct a novel, and it appeared to be irresponsibly extravagant in its sensuality. And "Sur la Pierre Blanche" was inferior Wells. The minority has waited a long time for something large, original, and arresting; and it has not had it. The author was under
* * * * *
I have invented a destiny for Mrs. Humphry Ward's heroines. It is terrible, and just. They ought to be caught, with their lawful male protectors, in the siege of a great city by a foreign army. Their lawful male protectors ought, before sallying forth on a forlorn hope, to provide them with a revolver as a last refuge from a brutal and licentious soldiery. And when things come to a crisis, in order to be concluded in our next, the revolvers ought to prove to be unloaded. I admit that this invention of mine is odious, and quite un-English, and such as would never occur to a right-minded subscriber to Mudie's. But it illustrates the mood caused in me by witnessing the antics of those harrowing dolls.
W.W. JACOBS AND ARISTOPHANES
[_24 Oct. '08_]
I have been reading a new novel by Mr. W.W. Jacobs--"Salthaven" (Methuen, 6s.). It is a long time since I read a book of his. Ministries have fallen since then, and probably Mr. Jacobs' prices have risen--indeed, much has happened--but the talent of the author of "Many Cargoes" remains steadfast where it did. "Salthaven" is a funny book. Captain Trimblett, to excuse the lateness of a friend for tea, says to the landlady: "He saw a man nearly run over!" and the landlady replies: "Yes, but how long would that take him?" If you ask me whether I consider this humorous, I reply that I do. I also consider humorous this conversational description of an exemplary boy who took to "Sandford and Merton" "as a duck takes to water": "By modelling his life on its teaching" (says young Vyner) "he won a silver medal for never missing an attendance at school. Even the measles failed to stop him. Day by day, a little more flushed than usual, perhaps, he sat in his place until the whole school was down with it, and had to be closed in consequence. Then and not till then did he feel that he had saved the situation." I care nothing for the outrageous improbability of any youthful son of a shipowner being able to talk in the brilliant fashion in which Mr. Jacobs makes Vyner talk. Success excuses it. "Salthaven" is bathed in humour.
* * * * *
At the same time I am dissatisfied with "Salthaven." And I do not find it easy to explain why. I suppose the real reason is that it discloses no signs of any development whatever on the part of the author. Worse, it discloses no signs of intellectual curiosity on the part of the author. Mr. Jacobs seems to live apart from the movement of his age. Nothing, except the particular type of humanity and environment in which he specializes, seems to interest him. There is no hint of a general idea in his work. By some of his fellow-artists he is immensely admired. I have heard him called, seriously, the greatest humorist since Aristophanes. I admire him myself, and I will not swear that he is not the greatest humorist since Aristophanes. But I will swear that no genuine humorist ever resembled Aristophanes less than Mr. Jacobs does. Aristophanes was passionately interested in everything. He would leave nothing alone. Whereas Mr. Jacobs will leave nearly everything alone. Kipling's general ideas are excessively crude, but one does feel in reading him that his curiosity is boundless, even though his taste in literature must infallibly be bad. "Q" is not to be compared in creative power with either of these two men, but one does feel in reading him that he is interested in other manifestations of his own art, that he cares for literature. Impossible to gather from Mr. Jacobs' work that he cares for anything serious at all; impossible to differentiate his intellectual outlook from that of an average reader of the _Strand Magazine_! I do not bring this as a reproach against Mr. Jacobs, whose personality it would be difficult not to esteem and to like. He cannot alter himself. I merely record the phenomenon as worthy of notice.
* * * * *
Mr. Jacobs is not alone. Among our very successful novelists there are many like him in what I will roundly term intellectual sluggishness, though there is, perhaps, none with quite his talent. Have these men entered into a secret compact not to touch a problem even with a pair of tongs? Or are they afraid of being confused with Hall Caine, Mrs. Humphry Ward, and Miss Marie Corelli, who anyhow have the merit of being interested in the wide aspects of their age? I do not know. But I think we might expect a little more general activity from some of our authors who lie tranquil, steeped in success as lizards in sunshine. I speak delicately, for I am on delicate ground. I do, however, speak as a creative artist, and not as a critic. Occasionally my correspondents upbraid me for not writing like a critic. I have never pretended to look at things from any other standpoint than that of a creative artist.
KENNETH GRAHAME
[_24 Oct. '08_]
It is a long time since I read a new book by Mr. Kenneth Grahame, but the fault is his rather than mine. I suppose that I was not the only reader who opened "The Wind in the Willows" (Methuen, 6s.) with an unusual and apprehensive curiosity. Would it disappoint? For really, you know, to live up to "The Golden Age" and "Pagan Papers" could not be an easy task--and after so many years of silence! It is ten years, if I mistake not, since Mr. Kenneth Grahame put his name to anything more important than the official correspondence of the Bank of England. Well, "The Wind in the Willows" does not disappoint. Here, indeed, we have the work of a man who is obviously interested in letters and in life, the work of a fastidious and yet a very robust artist. But the book is fairly certain to be misunderstood of the people. The publishers' own announcement describes it as "perhaps chiefly for youth," a description with which I disagree. The obtuse are capable of seeing in it nothing save a bread-and-butter imitation of "The Jungle Book." The woodland and sedgy lore in it is discreet and attractive. Names of animals abound in it. But it is nevertheless a book of humanity. The author may call his chief characters the Rat, the Mole, the Toad,--they are human beings, and they are meant to be nothing but human beings. Were it otherwise, the spectacle of a toad going through the motor-car craft would be merely incomprehensible and exasperating. The superficial scheme of the story is so childishly naive, or so daringly naive, that only a genius could have preserved it from the ridiculous. The book is an urbane exercise in irony at the expense of the English character and of mankind. It is entirely successful. Whatever may happen to it in the esteem of mandarins and professors, it will beyond doubt be considered by authentic experts as a work highly distinguished, original, and amusing--and no more to be comprehended by youth than "The Golden Age" was to be comprehended by youth.
ANATOLE FRANCE
[_29 Oct. '08_]
I obtained the new book of Anatole France, "L'Ile des Pingouins," the day after publication, and my copy was marked "eighteenth edition." But in French publishing the word "edition" may mean anything. There is a sort of legend among the simple that it means five hundred copies. The better informed, however, are aware that it often means less. Thus, in the case of the later novels of Emile Zola, an edition meant two hundred copies. This was chiefly to save the self-love of his publishers, who did not care to admit that the idol of a capricious populace had fallen off its pedestal. The vast fiction was created that Zola sold as well as ever! One Paris firm, the "Societe du Mercure de France," which in the domain of pure letters has probably issued in the last dozen years more good books than any other house in the world, has, with astounding courage, adopted the practice of numbering every copy of a book. Thus my copy of its "L'Esprit de Barbey d'Aurevilly" (an exceedingly diverting volume) is numbered 1424. I prefer this to advertisements of "second large edition," etc. One knows where one is. But I fear the example of the Mercure de France is not likely to be honestly imitated.
* * * * *
If Anatole France's "editions" consist of five hundred copies I am glad. For an immediate sale of nine thousand copies is fairly remarkable when the article sold consists of nothing more solid than irony. But I am inclined to think that they do not consist of five hundred copies. There is less enthusiasm--that is to say, less genuine enthusiasm--for Anatole France than there used to be. The majority, of course, could never appreciate him, and would only buy him under the threat of being disdained by the minority, whose sole weapon is scorn. And the minority has been seriously thinking about Anatole France, and coming to the conclusion that, though a genius, he is not the only genius that ever existed. (Stendhal is at present the god of the minority of the race which the _Westminister Gazette_ will persist in referring to as "our French neighbours." In some circles it is now a lapse from taste to read anything but Stendhal.) Anatole France's last two works of imagination did not brilliantly impose themselves on the intellect of his country. "L'Histoire Comique" showed once again his complete inability to construct a novel, and it appeared to be irresponsibly extravagant in its sensuality. And "Sur la Pierre Blanche" was inferior Wells. The minority has waited a long time for something large, original, and arresting; and it has not had it. The author was under
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