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

no compulsion to write his history of Joan of Arc, which bears little relation to his epoch, and which one is justified in dismissing as the elegant pastime of a savant. If in Anatole France the savant has not lately flourished to the detriment of the fighting philosopher, why should he have spent years on the "Joan of Arc" at a period when Jaures urgently needed intellectual aid against the doctrinarianism of the International Congress? Jaures was beaten, and he yielded, with the result that Clemenceau, a man far too intelligent not to be a practical Socialist at heart, has become semi-reactionary for want of support. This has not much to do with literature. Neither has the history of Joan of Arc. To return to literature, it is indubitable that Anatole France is slightly acquiring the reputation of a dilettante.

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In "L'Ile des Pingouins" he returns, in a parable, to his epoch. For this book is the history of France "from the earliest time to the present day," seen in the mirror of the writer's ironical temperament. It is very good. It is inimitable. It is sheer genius. One cannot reasonably find fault with its amazing finesse. But then one is so damnably _un_reasonable! One had expected--one does not know what one had expected--but anyhow something with a more soaring flight, something more passionate, something a little less gently "tired" in its attitude towards the criminal frailties of mankind! When an A.B. Walkley yawns in print before the spectacle of the modern English theatre, it really doesn't matter. But when an Anatole France grows wearily indulgent before the spectacle of life, one is inclined to wake him by throwing "Leaves of Grass" or "Ecce Homo" (Nietzsche's) at his head. For my part, I am ready to hazard that what is wrong with Anatole France is just spiritual anaemia. Yet only a little while, and he was as great a force for pushing forward as H.G. Wells himself!


INTIMATIONS OF IMMORTALITY

[_3 Dec. '08_]

The judgments of men who have the right to judge are not as other judgments. According to Mr. Yeats "the finest comedian of his kind on the English-speaking stage" is not Mr. George Alexander, but Mr. William Fay! And who, outside Dublin, has ever heard of Mr. J.M. Synge, author of "The Playboy of the Western World?" For myself, I have heard of him, and that is all. Mr. Yeats calls him "a unique man," and puts him above all other Irish creative artists in prose. And very probably Mr. Yeats is correct. For the difference between what informed people truly think about reputations, and what is printed about reputations by mandarins in popular papers, is apt to be startling. The other day I had a terrific pow-wow with one of the most accomplished writers now living; it occurred in the middle of a wood. We presently arrived at this point: He asked impatiently: "Well, who _is_ there who can write tip-top poetry to-day?" I tried to dig out my genuine opinions. Really, it is not so easy to put one's finger on a high-class poet. I gave the names of Robert Bridges and W.B. Yeats. He wouldn't admit Mr. Yeats's tip-topness. "What about T.W.H. Crosland?" he inquired. At first, with the immeasurable and vulgar tedium of Mr. Crosland's popular books in my memory, I thought he was joking. But he was not. He was convinced than an early book by the slanger of suburbs contained as fine poetry as has been written in these days. I was formally bound over to peruse the volume. "And Alfred Douglas?" he said further. (Not that he had shares or interest in the _Academy_!) Of course, I had to admit that Lord Alfred Douglas, before he began to cut capers in the hinterland of Fleet Street, had been a poet. I have an early volume of his that, to speak mildly, I cherish. I should surmise that scarcely one person in a million has the least idea of the identity of the artists by which the end of the twentieth century will remember the beginning. The vital facts of to-day's literature always lie buried beneath chatter of large editions and immense popularities. I wouldn't mind so much, were it not incontestable that at the end of the century I shall be dead.


MALLARME, BAZIN, SWINBURNE

[_17 Dec. '08_]

The Mrs. Humphry Ward of France, M. Rene Bazin, has visited these shores, and has been interviewed. In comparing him to Mrs. Humphry Ward, I am unfair to the lady in one sense and too generous in another. M. Bazin writes perhaps slightly better than Mrs. Humphry Ward, but not much. _Per contra_, he is a finished master of the art of self-advertisement, whereas the public demeanour of Mrs. Humphry Ward is entirely beyond reproach. M. Bazin did not get through his interview without giving some precise statistical information as to the vast sale of his novels. I suppose that M. Bazin, Academician and apostle of literary correctitude, is just the type of official mediocrity that the Alliance Francaise was fated to invite to London as representative of French letters. My only objection to the activities of M. Bazin is that, not content with a golden popularity, he cannot refrain from sneering at genuine artists. Thus, to the interviewer, he referred to Stephane Mallarme as a "fumiste." No English word will render exactly this French slang; it may be roughly translated a practical joker with a trace of fraud. There may be, and there are, two opinions as to the permanent value of Mallarme's work, but there cannot be two informed and honest opinions as to his profound sincerity. It is indubitable that he had one aim--to produce the finest literature of which he was capable, and that to this aim he sacrificed everything else in his career. A charming spectacle, this nuncio of mediocrity and of the Academie Francaise coming to London to assert that a distinguished writer like Mallarme was a "fumiste"! If any one wishes to know what is thought of Mallarme by the younger French school, let him read the Mallarme chapter in Andre Gide's "Pretextes." In this very able book will be found also some wonderful reminiscences of Oscar Wilde.

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Speaking of the respect which ought to be accorded to a distinguished artist, there is an excellent example of propriety in Dr. Levin Schuecking's review of Swinburne's "The Age of Shakespeare," which brings to a close the extraordinarily fine first number of the _English Review_. Dr. Schuecking shows that he is quite aware of the defects of manner which mark the book, but his own manner is the summit of courteous deference such as is due to one of the chief ornaments of English literature, and to a very old man. "A Man of Kent" (_British Weekly_), in commenting on the article, regrets its timidity, and refers to Swinburne as the "howling dervish" of criticism. This is the kind of lapse from decorum which causes the judicious not to grieve but to shrug their shoulders. Probably "A Man of Kent" would wish to withdraw it. I trust he is aware that "The Age of Shakespeare" is packed full of criticism whose insight and sensitiveness no other English critic could equal.


THE RUINED SEASON

[_24 Dec. '08_]

In a recent number of the _Athenaeum_ appeared a letter from Mr. E.H. Cooper, novelist and writer for children, protesting against the publication of the Queen's Gift-Book and the royally commanded cheap edition of "Queen Victoria's Letters" during the autumn season, and requesting their Majesties to forbear next year from injuring the general business of books as they have injured it this year. That some semi-official importance is attached to Mr. Cooper's statements is obvious from the fact that the _Athenaeum_ (which is the organ of the trade as well as of learning) thought well to print his letter. But Mr. Cooper undoubtedly exaggerates. He states that the two books in question "have ruined the present publishing season rather more effectively than a Pan-European war could have done." Briefly, this is ridiculous. He says further: "Men and women who could trust to a sale of 5000 or 6000 copies of a novel, equally with authors who can command much larger sales, find that this year the sale of their annual novel has reached a tenth part of the usual figures." This also is ridiculous. The general view is that, while the season has been scarcely up to the average for fiction, it has not been below the average on the whole. But Mr. Cooper is nothing if not sweeping. A few days later he wrote to the _Westminster Gazette_ about the House of Lords, and said: "I am open to wager a considerable sum that if the Government fights a general election next year they will win back all their lost by-elections and get an increased majority besides." Such rashness proves that grammar is not Mr. Cooper's only weak point.

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It is a pity that Mr. Cooper's protest was not made with more moderation, for it was a protest worth making. The books of the two Queens have not ruined the season, nor have they reduced the sales of popular novels by 90 per cent.; but they have upset trade quite unnecessarily. The issue of "Queen Victoria's Letters" at six shillings was a worthy idea, but its execution was thoughtlessly timed. The volumes would have sold almost equally well at another period of the year. As for "Queen Alexandra's Gift-Book," I personally have an objection to the sale of books for charity, just as I have an objection to all indirect taxation and to the paying of rates out of gas profits. In such enterprises as the vast, frenzied pushing and booming of the "Gift-Book," the people who really pay are just the people who get no credit whatever. The public who buy get rich value for their outlay; the chief pushers and boomsters get an advertisement after their own hearts; and the folk who genuinely but unwillingly contribute, without any return of any kind, are authors whose market is disturbed and booksellers who, partly intimidated and partly from good nature, handle the favoured book on wholesale terms barely profitable. I will have none of Mr. Cooper's 90 per cent.; but I dare say that I have lost at the very least L10 owing to the "Gift-Book." That is to say, I have furnished L10 to the Unemployed Fund. I share Mr. Cooper's resentment. I do not want to give L10 to any fund whatever, and to force me to pay it to the Unemployed Fund, of all funds, is to insult my most sacred convictions. L10 wants earning. And the fact that L10 wants earning should be brought to the attention of Windsor and Greeba Castles.

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Still, I am not depressed about the general cause of serious literature. Serious literature is kept alive by a few authors who,