The Altar Fire - Arthur Christopher Benson (the chimp paradox txt) 📗

hand. There is nothing to make one believe that Shakespeare had a particularly noble or beautiful character; and some of our greatest writers have been men of unbalanced, childish, immature temperaments, full of vanity and pettiness. Of course a man must be interested in what he is describing; but I think that a man of a naturally great, wise, and lofty spirit is so disposed as a rule to feel that his qualities are instinctive, and so ready to credit other people with them, that it does not occur to him to depict those qualities. I am not sure that the best equipment for an artist is not that he should see and admire great and noble and beautiful things, and feel his own deficiency in them acutely, desiring them with the desire of the moth for the star. The best characters in my own books have been, I am sure, the people least like myself, because the creation of a character that one whole-heartedly admires, and that yet is far out of one's reach, is the most restful and delightful thing in the world. If one is unready in speech, thinking of one's epigrams three hours after the occasion for them has arisen, how pleasant to draw the man who says the neat, witty, appropriate, consoling thing! If one suffers from timidity, from meanness, from selfishness, what a delight to depict the man who is brave, generous, unselfish! Of course the quality of a man's mind flows into and over his work, but that is rather like the varnish of the picture than its tints--it is the medium rather than the design. The artistic creation of ideal situations is often a sort of refuge to the man who knows that he makes a mess of the beautiful and simple relations of life. The artist is fastidious and moody, feeling the pressure of strained nerves and tired faculties, easily discouraged, disgusted by the superficial defect, the tiny blot that spoils alike the noble character, the charming prospect, the attractive face. He sees, let us say, a person with a beautiful face and an ugly hand. The normal person thinks of the face and forgets the hand. The artist thinks with pain of the hand and forgets the face. He desires an impossible perfection, and flies for safety to the little world that he can make and sway. That is why artists, as a rule, love twilight hours, shaded rooms, half-tones, subdued hues, because what is common, staring, tasteless, is blurred and hidden. Men of rich vitality are generally too much occupied with life as it is, its richness, its variety, its colour and fragrance, to think wistfully of life as it might be. The unbridled, sensuous, luxurious strain, that one finds in so many artists, comes from a lack of moral temperance, a snatching at delights. They fear dreariness and ugliness so much that they welcome any intoxication of pleasure. But after all, it is clearness of vision that makes the artist, the power of disentangling the central feature from the surrounding details, the power of subordinating accessories, of seeing which minister to the innermost impression, and which distract and blur. An artist who creates a great character need not necessarily even desire to attain the great qualities which he discerns; he sees them, as he sees the vertebrae of the mountain ridge under pasture and woodland, as he sees the structure of the tree under its mist of green; but to see beauty is not necessarily to desire it; for, as in the mountain and the tree, it may have no ethical significance at all, only a symbolical meaning. The best art is inspired more by an intellectual force than by a vital sympathy. Of course to succeed as a novelist in England to-day, one must have a dash of the moralist, because an English audience is far more preoccupied with moral ideals than with either intellectual or artistic ideals. The reading public desires that love should be loyal rather than passionate; it thinks ultimate success a more impressive thing than ultimate failure; it loves sadness as a contrast and preface to laughter. It prefers that the patriarch Job should end by having a nice new family of children and abundant flocks, rather than that he should sink into death among the ashes, refusing to curse God for his reverses. Its view of existence after death is that Dives should join Lazarus in Abraham's bosom. To succeed, one must compromise with this comfortable feeing, sacrificing, if needs be, the artistic conscience, because the place of the minstrel in England is after the banquet, when the warriors are pleasantly tired, have put off the desire of meat and drink, and the fire roars and crackles in the hearth. When Ruskin deserted his clouds and peaks, his sunsets and sunrises, and devoured his soul over the brutalities and uglinesses and sordid inequalities of life, it was all put down to the obscure pressure of mental disease. Ophelia does not sob and struggle in the current, but floats dreamily to death in a bed of meadow-flowers.


October 21, 1888.


Let me try to recollect for my own amusement how it was that my last book grew up and took shape. How well I remember the day and the hour when the first thought came to me! Some one was dining here, and told a story about a friend of his, and an unhappy misunderstanding between him and a girl whom he loved, or thought he loved. A figure, two figures, a scene, a conversation, came into my head, absolutely and perfectly life-like. I lay awake half the night, I remember, over it. How did those people come to be in exactly that situation? how would it develop? At first it was just the scene by itself, nothing more; a room which filled itself with furniture. There were doors--where did they lead to? There were windows--where did they look out? The house was full, too, of other people, whose quiet movements I heard. One person entered the room, and then another; and so the story opened out. I saw the wrong word spoken, I saw the mist of doubt and distress that filled the girl's mind; I felt that I would have given anything to intervene, to explain; but instead of speaking out, the girl confided in the wrong person, who had an old grudge against the man, so old that it had become instinctive and irrational. So the thing evolved itself. Then at one time the story got entangled and confused. I could go no further. The characters were by this time upon the scene, but they could not speak. I then saw that I had made a mistake somewhere. The scaffolding was all taken down, spar by spar, and still the defect was not revealed. I must go, I saw, backwards; and so I felt my way, like a man groping in the dark, into what had gone before, and suddenly came out into the light. It was a mistake far back in the conception. I righted it, and the story began to evolve itself again; this time with a delicate certainty, that made me feel I was on the track at last. An impressive scene was sacrificed--it was there that my idea had gone wrong! As to the writing of it, I cannot say it was an effort. It wrote itself. I was not creating; I was describing and selecting. There was one scene in particular, a scene which has been praised by all the reviewers. How did I invent it? I do not know. I had no idea what the characters were to say when I began to write it, but one remark grew inevitably and surely out of the one before. I was never at a loss; I never stuck fast; indeed the one temptation which I firmly and constantly resisted was the temptation to write morning, noon, and night. Sometimes I had a horrible fear that I might not live to set down what was so clear in my mind; but there is a certain freshness which comes of self-restraint. Day after day, as I strolled, and read, and talked, I used to hug myself at the thought of the beloved evening hours that were coming, when I should fling myself upon the book with a passionate zest, and feel it grow under my hand. And then it was done! I remember writing the last words, and the conviction came upon me that it was the end. There was more to be told; the story stretched on into the distance; but it was as though the frame of the picture had suddenly fallen upon the canvas, and I knew that just so much and no more was to be seen. And then, as though to show me plainly that the work was over, the next day came an event which drew my mind off the book. I had had a period of unclouded health and leisure, everything had combined to help me, and then this event, of which I need not speak, came and closed the book at the right moment.

What wonder if one grows fatalistic about writing; that one feels that one can only say what is given one to say! And now, dry and arid as my mind is, I would give all I have for a renewal of that beautiful glow, which I cannot recover. It is misery--I can conceive no greater--to be bound hand and foot in this helpless silence.


November 6, 1888.


It is a joy to think of the way in which the best, most beautiful, most permanent things have stolen unnoticed into life. I like to think of Wordsworth, an obscure, poor, perverse, absurd man, living in the corner of the great house at Alfoxden, walking in the moonlight with Coleridge, living on milk and eggs, utterly unaccountable and puerile to the sensible man of affairs, while the two planned the Lyrical Ballads. I like to think of Keats, sitting lazily and discontentedly in the villa garden at Hampstead, with his illness growing upon him and his money melting away, scribbling the "Ode to the Nightingale," and caring so little about the fate of it that it was only by chance, as it were, that the pencil scraps were rescued from the book where he had shut them. I love to think of Charlotte Bronte, in the bare kitchen of the little house in the grey, wind-swept village on the edge of the moorland, penning, in sickness and depression, the scenes of Jane Eyre, without a thought that she was doing anything unusual or lasting. We surround such scenes with a heavenly halo, born of the afterglow of fame; we think them romantic, beautiful, thrilled and flushed by passionate joy; but there was little that was delightful about them at the time.

The most beautiful of all such scenes is the tale of the maiden-wife in the stable at Bethlehem, with the pain and horror and shame of the tragic experience, in all its squalid publicity, told in those simple words, which I never hear without a smile that is full of tears, BECAUSE THERE WAS NO ROOM FOR THEM IN THE INN. We poor human souls, knowing what that event has meant for the race, make the bare, ugly place seemly and lovely, surrounding the Babe with a tapestry of heavenly forms, holy lights, rapturous sounds; taking the terror and the meanness of the scene away, and thereby, by our clumsy handling, losing the divine seal of the great mystery, the fact that hope can spring, in unstained and sublime radiance, from the vilest, lowest, meanest, noisiest conditions that can well be conceived.


November 20, 1888.


I wonder aimlessly what it is that makes a book, a picture, a piece of music, a poem,