Title: The Common Reader, First Series (1925) Author: Virginia Woolf * A Project Gutenberg of Australia eBook * eBook No.: 0300031h.html Edition: 1 Language: English Character set encoding: HTML Date first posted: January 2003 Date most recently updated: January 2003 This eBook was produced by: Don Lainson firstname.lastname@example.org Production notes: References in the Ebook to [Greek text-1] to [Greek text-8] refer to a graphic file, greek.jpg which is included with the zipped version of this eBook and forms part of the html version, both of which are available from http://gutenberg.net.au/plusfifty. Project Gutenberg of Australia eBooks are created from printed editions which are in the public domain in Australia, unless a copyright notice is included. We do NOT keep any eBooks in compliance with a particular paper edition. Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this or any other Project Gutenberg file. This eBook is made available at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg of Australia License which may be viewed online at http://gutenberg.net.au/licence.html
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THE COMMON READER
TO LYTTON STRACHEY
Some of these papers appeared originally in the Times Literary Supplement, the Athenaeum, the Nation and Athanaeum, the New Statesman, the London Mercury, the Dial (New York); the New Republic (New York), and I have to thank the editors for allowing me to reprint them here. Some are based upon articles written for various newspapers, while others appear now for the first time.
The Common Reader
The Pastons and Chaucer
On not knowing Greek
The Elizabethan Lumber Room
Notes on an Elizabethan Play
The Duchess of Newcastle
Rambling round Evelyn
Lives of the Obscure--
I. Taylors and Edgeworths
II. Laetitia Pilkington
"Jane Eyre" and "Wuthering Heights"
The Russian Point of View
I. Miss Mitford
II. Dr. Bentley
III. Lady Dorothy Nevill
IV. Archbishop Thomson
The Patron and the Crocus
The Modern Essay
How it strikes a Contemporary
THE COMMON READER
There is a sentence in Dr. Johnson's Life of Gray which might well be written up in all those rooms, too humble to be called libraries, yet full of books, where the pursuit of reading is carried on by private people. ". . . I rejoice to concur with the common reader; for by the common sense of readers, uncorrupted by literary prejudices, after all the refinements of subtilty and the dogmatism of learning, must be finally decided all claim to poetical honours." It defines their qualities; it dignifies their aims; it bestows upon a pursuit which devours a great deal of time, and is yet apt to leave behind it nothing very substantial, the sanction of the great man's approval.
The common reader, as Dr. Johnson implies, differs from the critic and the scholar. He is worse educated, and nature has not gifted him so generously. He reads for his own pleasure rather than to impart knowledge or correct the opinions of others. Above all, he is guided by an instinct to create for himself, out of whatever odds and ends he can come by, some kind of whole--a portrait of a man, a sketch of an age, a theory of the art of writing. He never ceases, as he reads, to run up some rickety and ramshackle fabric which shall give him the temporary satisfaction of looking sufficiently like the real object to allow of affection, laughter, and argument. Hasty, inaccurate, and superficial, snatching now this poem, now that scrap of old furniture, without caring where he finds it or of what nature it may be so long as it serves his purpose and rounds his structure, his deficiencies as a critic are too obvious to be pointed out; but if he has, as Dr. Johnson maintained, some say in the final distribution of poetical honours, then, perhaps, it may be worth while to write down a few of the ideas and opinions which, insignificant in themselves, yet contribute to so mighty a result.
THE PASTONS AND CHAUCER1
The tower of Caister Castle still rises ninety feet into the air, and the arch still stands from which Sir John Fastolf's barges sailed out to fetch stone for the building of the great castle. But now jackdaws nest on the tower, and of the castle, which once covered six acres of ground, only ruined walls remain, pierced by loop-holes and surmounted by battlements, though there are neither archers within nor cannon without. As for the "seven religious men" and the "seven poor folk" who should, at this very moment, be praying for the souls of Sir John and his parents, there is no sign of them nor sound of their prayers. The place is a ruin. Antiquaries speculate and differ.
1The Paston Letters, edited by Dr. James Gairdner (1904), 4 vols.
Not so very far off lie more ruins--the ruins of Bromholm Priory, where John Paston was buried, naturally enough, since his house was only a mile or so away, lying on low ground by the sea, twenty miles north of Norwich. The coast is dangerous, and the land, even in our time, inaccessible. Nevertheless, the little bit of wood at Bromholm, the fragment of the true Cross, brought pilgrims incessantly to the Priory, and sent them away with eyes opened and limbs straightened. But some of them with their newly-opened eyes saw a sight which shocked them--the grave of John Paston in Bromholm Priory without a tombstone. The news spread over the country-side. The Pastons had fallen; they that had been so powerful could no longer afford a stone to put above John Paston's head. Margaret, his widow, could not pay her debts; the eldest son, Sir John, wasted his property upon women and tournaments, while the younger, John also, though a man of greater parts, thought more of his hawks than of his harvests.
The pilgrims of course were liars, as people whose eyes have just been opened by a piece of the true Cross have every right to be; but their news, none the less, was welcome. The Pastons had risen in the world. People said even that they had been bondmen not so very long ago. At any rate, men still living could remember John's grandfather Clement tilling his own land, a hard-working peasant; and William, Clement's son, becoming a judge and buying land; and John, William's son, marrying well and buying more land and quite lately inheriting the vast new castle at Caister, and all Sir John's lands in Norfolk and Suffolk. People said that he had forged the old knight's will. What wonder, then, that he lacked a tombstone? But, if we consider the character of Sir John Paston, John's eldest son, and his upbringing and his surroundings, and the relations between himself and his father as the family letters reveal them, we shall see how difficult it was, and how likely to be neglected--this business of making his father's tombstone.
For let us imagine, in the most desolate part of England known to us at the present moment, a raw, new-built house, without telephone, bathroom or drains, arm-chairs or newspapers, and one shelf perhaps of books, unwieldy to hold, expensive to come by. The windows look out upon a few cultivated fields and a dozen hovels, and beyond them there is the sea on one side, on the other a vast fen. A single road crosses the fen, but there is a hole in it, which, one of the farm hands reports, is big enough to swallow a carriage. And, the man adds, Tom Topcroft, the mad bricklayer, has broken loose again and ranges the country half-naked, threatening to kill any one who approaches him. That is what they talk about at dinner in the desolate house, while the chimney smokes horribly, and the draught lifts the carpets on the floor. Orders are given to lock all gates at sunset, and, when the long dismal evening has worn itself away, simply and solemnly, girt about with dangers as they are, these isolated men and women fall upon their knees in prayer.
In the fifteenth century, however, the wild landscape was broken suddenly and very strangely by vast piles of brand-new masonry. There rose out of the sandhills and heaths of the Norfolk coast a huge bulk of stone, like a modern hotel in a watering-place; but there was no parade, no lodging-houses, and no pier at Yarmouth then, and this gigantic building on the outskirts of the town was built to house one solitary old gentleman without any children--Sir John Fastolf, who had fought at Agincourt and acquired great wealth. He had fought at Agincourt and got but little reward. No one took his advice. Men spoke ill of him behind his back. He was well aware of it; his temper was none the sweeter for that. He was a hot-tempered old man, powerful, embittered by a sense of grievance. But whether on the battlefield or at court he thought perpetually of Caister, and how, when his duties allowed, he would settle down on his father's land and live in a great house of his own building.
The gigantic structure of Caister Castle was in progress not so many miles away when the little Pastons were children. John Paston, the father, had charge of some part of the business, and the children listened, as soon as they could listen at all, to talk of stone and building, of barges gone to London and not yet returned, of the twenty-six private chambers, of the hall and chapel; of foundations, measurements, and rascally work-people. Later, in 1454, when the work was finished and Sir John had come to spend his last years at Caister, they may have seen for themselves the mass of treasure that was stored there; the tables laden with gold and silver plate; the wardrobes stuffed with gowns of velvet and satin and cloth of gold, with hoods and tippets and beaver hats and leather jackets and velvet doublets; and how the very pillow-cases on the beds were of green and purple silk. There were tapestries everywhere. The beds were laid and the bedrooms hung with tapestries representing sieges, hunting and hawking, men fishing, archers shooting, ladies playing on their harps, dallying with ducks, or a giant "bearing the leg of a bear in his hand ". Such were the fruits of a well-spent life. To buy land, to build great houses, to stuff these houses full of gold and silver plate (though the privy might well be in the bedroom), was the proper aim of mankind. Mr. and Mrs. Paston spent the greater part of their energies in the same exhausting occupation. For since the passion to acquire was universal, one could never rest secure in one's possessions for long. The outlying parts of one's property were in perpetual jeopardy. The Duke of Norfolk might covet this manor, the Duke of Suffolk that. Some trumped-up excuse, as for instance that the Pastons were bondmen, gave them the right to seize the house and batter down the lodges in the owner's absence. And how could the owner of Paston and Mauteby and Drayton and Gresham be in five or six places at once, especially now that Caister Castle was his, and he must be in London trying to get his rights recognised by the King? The King was mad too, they said; did not know his own child, they said; or the King was in flight; or there was civil war in the land. Norfolk was always the most distressed of counties and its country gentlemen the most quarrelsome of mankind. Indeed, had Mrs. Paston chosen, she could have told her children how when she was a young woman a thousand men with bows and arrows and pans of burning fire had marched upon Gresham and broken the gates and mined the walls of the room where she sat alone. But much worse things than that had happened to women. She neither bewailed her lot nor thought herself a heroine. The long, long letters which she wrote so laboriously in her clear cramped hand to her husband, who was (as usual) away, make no mention of herself. The sheep had wasted the hay. Heyden's and Tuddenham's men were out. A dyke had been broken and a bullock stolen. They needed treacle badly, and really she must have stuff for a dress.
But Mrs. Paston did not talk about herself.
Thus the little Pastons would see their mother writing or dictating page after page, hour after hour, long long letters, but to interrupt a parent who writes so laboriously of such important matters would have been a sin. The prattle of children, the lore of the nursery or schoolroom, did not find its way into these elaborate communications. For the most part her letters are the letters of an honest bailiff to his master, explaining, asking advice, giving news, rendering accounts. There was robbery and manslaughter; it was difficult to get in the rents; Richard Calle had gathered but little money; and what with one thing and another Margaret had not had time to make out, as she should have done, the inventory of the goods which her husband desired. Well might old Agnes, surveying her son's affairs rather grimly from a distance, counsel him to contrive it so that "ye may have less to do in the world; your father said, In little business lieth much rest. This world is but a thoroughfare, and full of woe; and when we depart therefrom, right nought bear with us but our good deeds and ill."
The thought of death would thus come upon them in a clap. Old Fastolf, cumbered with wealth and property, had his vision at the end of Hell fire, and shrieked aloud to his executors to distribute alms, and see that prayers were said "in perpetuum", so that his soul might escape the agonies of purgatory. William Paston, the judge, was urgent too that the monks of Norwich should be retained to pray for his soul "for ever". The soul was no wisp of air, but a solid body capable of eternal suffering, and the fire that destroyed it was as fierce as any that burnt on mortal grates. For ever there would be monks and the town of Norwich, and for ever the Chapel of Our Lady in the town of Norwich. There was something matter-of-fact, positive, and enduring in their conception both of life and of death.
With the plan of existence so vigorously marked out, children of course were well beaten, and boys and girls taught to know their places. They must acquire land; but they must obey their parents. A mother would clout her daughter's head three times a week and break the skin if she did not conform to the laws of behaviour. Agnes Paston, a lady of birth and breeding, beat her daughter Elizabeth. Margaret Paston, a softer-hearted woman, turned her daughter out of the house for loving the honest bailiff Richard Calle. Brothers would not suffer their sisters to marry beneath them, and "sell candle and mustard in Framlingham". The fathers quarrelled with the sons, and the mothers, fonder of their boys than of their girls, yet bound by all law and custom to obey their husbands, were torn asunder in their efforts to keep the peace. With all her pains, Margaret failed to prevent rash acts on the part of her eldest son John, or the bitter words with which his father denounced him. He was a "drone among bees", the father burst out, "which labour for gathering honey in the fields, and the drone doth naught but taketh his part of it". He treated his parents with insolence, and yet was fit for no charge of responsibility abroad.
But the quarrel was ended, very shortly, by the death (22nd May 1466) of John Paston, the father, in London. The body was brought down to Bromholm to be buried. Twelve poor men trudged all the way bearing torches beside it. Alms were distributed; masses and dirges were said. Bells were rung. Great quantities of fowls, sheep, pigs, eggs, bread, and cream were devoured, ale and wine drunk, and candles burnt. Two panes were taken from the church windows to let out the reek of the torches. Black cloth was distributed, and a light set burning on the grave. But John Paston, the heir, delayed to make his father's tombstone.
He was a young man, something over twenty-four years of age. The discipline and the drudgery of a country life bored him. When he ran away from home, it was, apparently, to attempt to enter the King's household. Whatever doubts, indeed, might be cast by their enemies on the blood of the Pastons, Sir John was unmistakably a gentleman. He had inherited his lands; the honey was his that the bees had gathered with so much labour. He had the instincts of enjoyment rather than of acquisition, and with his mother's parsimony was strangely mixed something of his father's ambition. Yet his own indolent and luxurious temperament took the edge from both. He was attractive to women, liked society and tournaments, and court life and making bets, and sometimes, even, reading books. And so life now that John Paston was buried started afresh upon rather a different foundation. There could be little outward change indeed. Margaret still ruled the house. She still ordered the lives of the younger children as she had ordered the lives of the elder. The boys still needed to be beaten into book-learning by their tutors, the girls still loved the wrong men and must be married to the right. Rents had to be collected; the interminable lawsuit for the Fastolf property dragged on. Battles were fought; the roses of York and Lancaster alternately faded and flourished. Norfolk was full of poor people seeking redress for their grievances, and Margaret worked for her son as she had worked for her husband, with this significant change only, that now, instead of confiding in her husband, she took the advice of her priest.
But inwardly there was a change. It seems at last as if the hard outer shell had served its purpose and something sensitive, appreciative, and pleasure-loving had formed within. At any rate Sir John, writing to his brother John at home, strayed sometimes from the business on hand to crack a joke, to send a piece of gossip, or to instruct him, knowingly and even subtly, upon the conduct of a love affair. Be "as lowly to the mother as ye list, but to the maid not too lowly, nor that ye be too glad to speed, nor too sorry to fail. And I shall always be your herald both here, if she come hither, and at home, when I come home, which I hope hastily within XI. days at the furthest." And then a hawk was to be bought, a hat, or new silk laces sent down to John in Norfolk, prosecuting his suit, flying his hawks, and attending with considerable energy and not too nice a sense of honesty to the affairs of the Paston estates.
The lights had long since burnt out on John Paston's grave. But still Sir John delayed; no tomb replaced them. He had his excuses; what with the business of the lawsuit, and his duties at Court, and the disturbance of the civil wars, his time was occupied and his money spent. But perhaps something strange had happened to Sir John himself, and not only to Sir John dallying in London, but to his sister Margery falling in love with the bailiff, and to Walter making Latin verses at Eton, and to John flying his hawks at Paston. Life was a little more various in its pleasures. They were not quite so sure as the elder generation had been of the rights of man and of the dues of God, of the horrors of death, and of the importance of tombstones. Poor Margaret Paston scented the change and sought uneasily, with the pen which had marched so stiffly through so many pages, to lay bare the root of her troubles. It was not that the lawsuit saddened her; she was ready to defend Caister with her own hands if need be, "though I cannot well guide nor rule soldiers", but there was something wrong with the family since the death of her husband and master. Perhaps her son had failed in his service to God; he had been too proud or too lavish in his expenditure; or perhaps he had shown too little mercy to the poor. Whatever the fault might be, she only knew that Sir John spent twice as much money as his father for less result; that they could scarcely pay their debts without selling land, wood, or household stuff ("It is a death to me to think if it"); while every day people spoke ill of them in the country because they left John Paston to lie without a tombstone. The money that might have bought it, or more land, and more goblets and more tapestry, was spent by Sir John on clocks and trinkets, and upon paying a clerk to copy out Treatises upon Knighthood and other such stuff. There they stood at Paston--eleven volumes, with the poems of Lydgate and Chaucer among them, diffusing a strange air into the gaunt, comfortless house, inviting men to indolence and vanity, distracting their thoughts from business, and leading them not only to neglect their own profit but to think lightly of the sacred dues of the dead.
For sometimes, instead of riding off on his horse to inspect his crops or bargain with his tenants, Sir John would sit, in broad daylight, reading. There, on the hard chair in the comfortless room with the wind lifting the carpet and the smoke stinging his eyes, he would sit reading Chaucer, wasting his time, dreaming--or what strange intoxication was it that he drew from books? Life was rough, cheerless, and disappointing. A whole year of days would pass fruitlessly in dreary business, like dashes of rain on the window-pane. There was no reason in it as there had been for his father; no imperative need to establish a family and acquire an important position for children who were not born, or if born, had no right to bear their father's name. But Lydgate's poems or Chaucer's, like a mirror in which figures move brightly, silently, and compactly, showed him the very skies, fields, and people whom he knew, but rounded and complete. Instead of waiting listlessly for news from London or piecing out from his mother's gossip some country tragedy of love and jealousy, here, in a few pages, the whole story was laid before him. And then as he rode or sat at table he would remember some description or saying which bore upon the present moment and fixed it, or some string of words would charm him, and putting aside the pressure of the moment, he would hasten home to sit in his chair and learn the end of the story.
To learn the end of the story--Chaucer can still make us wish to do that. He has pre-eminently that story-teller's gift, which is almost the rarest gift among writers at the present day. Nothing happens to us as it did to our ancestors; events are seldom important; if we recount them, we do not really believe in them; we have perhaps things of greater interest to say, and for these reasons natural story-tellers like Mr. Garnett, whom we must distinguish from self-conscious storytellers like Mr. Masefield, have become rare. For the story-teller, besides his indescribable zest for facts, must tell his story craftily, without undue stress or excitement, or we shall swallow it whole and jumble the parts together; he must let us stop, give us time to think and look about us, yet always be persuading us to move on. Chaucer was helped to this to some extent by the time of his birth; and in addition he had another advantage over the moderns which will never come the way of English poets again. England was an unspoilt country. His eyes rested on a virgin land, all unbroken grass and wood except for the small towns and an occasional castle in the building. No villa roofs peered through Kentish tree-tops; no factory chimney smoked on the hill-side. The state of the country, considering how poets go to Nature, how they use her for their images and their contrasts even when they do not describe her directly, is a matter of some importance. Her cultivation or her savagery influences the poet far more profoundly than the prose writer. To the modern poet, with Birmingham, Manchester, and London the size they are, the country is the sanctuary of moral excellence in contrast with the town which is the sink of vice. It is a retreat, the haunt of modesty and virtue, where men go to hide and moralise. There is something morbid, as if shrinking from human contact, in the nature worship of Wordsworth, still more in the microscopic devotion which Tennyson lavished upon the petals of roses and the buds of lime trees. But these were great poets. In their hands, the country was no mere jeweller's shop, or museum of curious objects to be described, even more curiously, in words. Poets of smaller gift, since the view is so much spoilt, and the garden or the meadow must replace the barren heath and the precipitous mountain-side, are now confined to little landscapes, to birds' nests, to acorns with every wrinkle drawn to the life. The wider landscape is lost.
But to Chaucer the country was too large and too wild to be altogether agreeable. He turned instinctively, as if he had painful experience of their nature, from tempests and rocks to the bright May day and the jocund landscape, from the harsh and mysterious to the gay and definite. Without possessing a tithe of the virtuosity in word-painting which is the modern inheritance, he could give, in a few words, or even, when we come to look, without a single word of direct description, the sense of the open air.
And se the fresshe floures how they sprynge
--that is enough.
Nature, uncompromising, untamed, was no looking-glass for happy faces, or confessor of unhappy souls. She was herself; sometimes, therefore, disagreeable enough and plain, but always in Chaucer's pages with the hardness and the freshness of an actual presence. Soon, however, we notice something of greater importance than the gay and picturesque appearance of the mediaeval world--the solidity which plumps it out, the conviction which animates the characters. There is immense variety in the Canterbury Tales, and yet, persisting underneath, one consistent type. Chaucer has his world; he has his young men; he has his young women. If one met them straying in Shakespeare's world one would know them to be Chaucer's, not Shakespeare's. He wants to describe a girl, and this is what she looks like:
Ful semely hir wimpel pinched was,
Hir nose tretys; hir eyen greye as glas;
Hir mouth ful smal, and ther-to soft and reed;
But sikerly she hadde a fair foreheed;
It was almost a spanne brood, I trowe;
For, hardily, she was nat undergrowe.
Then he goes on to develop her; she was a girl, a virgin, cold in her virginity:
I am, thou woost, yet of thy companye,
A mayde, and love hunting and venerye,
And for to walken in the wodes wilde,
And noght to been a wyf and be with childe.
Next he bethinks him how
Discreet she was in answering alway;
And though she had been as wise as Pallas
No countrefeted termes hadde she
To seme wys; but after hir degree
She spak, and alle hir wordes more and lesse
Souninge in vertu and in gentillesse.
Each of these quotations, in fact, comes from a different Tale, but they are parts, one feels, of the same personage, whom he had in mind, perhaps unconsciously, when he thought of a young girl, and for this reason, as she goes in and out of the Canterbury Tales bearing different names, she has a stability which is only to be found where the poet has made up his mind about young women, of course, but also about the world they live in, its end, its nature, and his own craft and technique, so that his mind is free to apply its force fully to its object. It does not occur to him that his Griselda might be improved or altered. There is no blur about her, no hesitation; she proves nothing; she is content to be herself. Upon her, therefore, the mind can rest with that unconscious ease which allows it, from hints and suggestions, to endow her with many more qualities than are actually referred to. Such is the power of conviction, a rare gift, a gift shared in our day by Joseph Conrad in his earlier novels, and a gift of supreme importance, for upon it the whole weight of the building depends. Once believe in Chaucer's young men and women and we have no need of preaching or protest. We know what he finds good, what evil; the less said the better. Let him get on with his story, paint knights and squires, good women and bad, cooks, shipmen, priests, and we will supply the landscape, give his society its belief, its standing towards life and death, and make of the journey to Canterbury a spiritual pilgrimage.
This simple faithfulness to his own conceptions was easier then than now in one respect at least, for Chaucer could write frankly where we must either say nothing or say it slyly. He could sound every note in the language instead of finding a great many of the best gone dumb from disuse, and thus, when struck by daring fingers, giving off a loud discordant jangle out of keeping with the rest. Much of Chaucer--a few lines perhaps in each of the Tales--is improper and gives us as we read it the strange sensation of being naked to the air after being muffled in old clothing. And, as a certain kind of humour depends upon being able to speak without self-consciousness of the parts and functions of the body, so with the advent of decency literature lost the use of one of its limbs. It lost its power to create the Wife of Bath, Juliet's nurse, and their recognisable though already colourless relation, Moll Flanders. Sterne, from fear of coarseness, is forced into indecency. He must be witty, not humorous; he must hint instead of speaking outright. Nor can we believe, with Mr. Joyce's Ulysses before us, that laughter of the old kind will ever be heard again.
But, lord Christ! When that it remembreth me
Up-on my yowthe, and on my Iolitee,
It tikleth me aboute myn herte rote.
Unto this day it doth myn herte bote
That I have had my world as in my tyme.
The sound of that old woman's voice is still.
But there is another and more important reason for the surprising brightness, the still effective merriment of the Canterbury Tales. Chaucer was a poet; but he never flinched from the life that was being lived at the moment before his eyes. A farmyard, with its straw, its dung, its cocks and its hens, is not (we have come to think) a poetic subject; poets seem either to rule out the farmyard entirely or to require that it shall be a farmyard in Thessaly and its pigs of mythological origin. But Chaucer says outright:
Three large sowes hadde she, and namo,
Three kyn, and eek a sheep that highte Malle;
A yard she hadde, enclosed al aboute
With stikkes, and a drye ditch with-oute.
He is unabashed and unafraid. He will always get close up to his object--an old man's chin--
With thikke bristles of his berde unsofte,
Lyk to the skin of houndfish, sharp as brere;
or an old man's neck--
The slakke skin aboute his nekke shaketh
Whyl that he sang;
and he will tell you what his characters wore, how they looked, what they ate and drank, as if poetry could handle the common facts of this very moment of Tuesday, the sixteenth day of April, 1387, without dirtying her hands. If he withdraws to the time of the Greeks or the Romans, it is only that his story leads him there. He has no desire to wrap himself round in antiquity, to take refuge in age, or to shirk the associations of common grocer's English.
Therefore when we say that we know the end of the journey, it is hard to quote the particular lines from which we take our knowledge. Chaucer fixed his eyes upon the road before him, not upon the world to come. He was little given to abstract contemplation. He deprecated, with peculiar archness, any competition with the scholars and divines:
The answere of this I lete to divynis,
But wel I woot, that in this world grey pyne is.
What is this world? What asketh men to have?
Now with his love, now in the colde grave
Allone, withouten any companye,
O cruel goddes, that governe
This world with binding of your worde eterne,
And wryten in the table of athamaunt
Your parlement, and your eterne graunt,
What is mankinde more un-to yow holde
Than is the sheepe, that rouketh in the folde?
Questions press upon him; he asks them, but he is too true a poet to answer them; he leaves them unsolved, uncramped by the solution of the moment, and thus fresh for the generations that come after him. In his life, too, it would be impossible to write him down a man of this party or of that, a democrat or an aristocrat. He was a staunch churchman, but he laughed at priests. He was an able public servant and a courtier, but his views upon sexual morality were extremely lax. He sympathised with poverty, but did nothing to improve the lot of the poor. It is safe to say that not a single law has been framed or one stone set upon another because of anything that Chaucer said or wrote; and yet, as we read him, we are absorbing morality at every pore. For among writers there are two kinds: there are the priests who take you by the hand and lead you straight up to the mystery; there are the laymen who imbed their doctrines in flesh and blood and make a complete model of the world without excluding the bad or laying stress upon the good. Wordsworth, Coleridge, and Shelley are among the priests; they give us text after text to be hung upon the wall, saying after saying to be laid upon the heart like an amulet against disaster--
Farewell, farewell, the heart that lives alone
He prayeth best that loveth best
All things both great and small
--such lines of exhortation and command spring to memory instantly. But Chaucer lets us go our ways doing the ordinary things with the ordinary people. His morality lies in the way men and women behave to each other. We see them eating, drinking, laughing, and making love, and come to feel without a word being said what their standards are and so are steeped through and through with their morality. There can be no more forcible preaching than this where all actions and passions are represented, and instead of being solemnly exhorted we are left to stray and stare and make out a meaning for ourselves. It is the morality of ordinary intercourse, the morality of the novel, which parents and librarians rightly judge to be far more persuasive than the morality of poetry.
And so, when we shut Chaucer, we feel that without a word being said the criticism is complete; what we are saying, thinking, reading, doing, has been commented upon. Nor are we left merely with the sense, powerful though that is, of having been in good company and got used to the ways of good society. For as we have jogged through the real, the unadorned country-side, with first one good fellow cracking his joke or singing his song and then another, we know that though this world resembles, it is not in fact our daily world. It is the world of poetry. Everything happens here more quickly and mere intensely, and with better order than in life or in prose; there is a formal elevated dullness which is part of the incantation of poetry; there are lines speaking half a second in advance what we were about to say, as if we read our thoughts before words cumbered them; and lines which we go back to read again with that heightened quality, that enchantment which keeps them glittering in the mind long afterwards. And the whole is held in its place, and its variety and divagations ordered by the power which is among the most impressive of all--the shaping power, the architect's power. It is the peculiarity of Chaucer, however, that though we feel at once this quickening, this enchantment, we cannot prove it by quotation. From most poets quotation is easy and obvious; some metaphor suddenly flowers; some passage breaks off from the rest. But Chaucer is very equal, very even-paced, very unmetaphorical. If we take six or seven lines in the hope that the quality will be contained in them it has escaped.
My lord, ye woot that in my fadres place,
Ye dede me strepe out of my povre wede,
And richely me cladden, o your grace
To yow broghte I noght elles, out of drede,
But feyth and nakedness and maydenhede.
In its place that seemed not only memorable and moving but fit to set beside striking beauties. Cut out and taken separately it appears ordinary and quiet. Chaucer, it seems, has some art by which the most ordinary words and the simplest feelings when laid side by side make each other shine; when separated, lose their lustre. Thus the pleasure he gives us is different from the pleasure that other poets give us, because it is more closely connected with what we have ourselves felt or observed. Eating, drinking, and fine weather, the May, cocks and hens, millers, old peasant women, flowers--there is a special stimulus in seeing all these common things so arranged that they affect us as poetry affects us, and are yet bright, sober, precise as we see them out of doors. There is a pungency in this unfigurative language; a stately and memorable beauty in the undraped sentences which follow each other like women so slightly veiled that you see the lines of their bodies as they go--
And she set down hir water pot anon
Biside the threshold in an oxe's stall.
And then, as the procession takes its way, out from behind peeps the face of Chaucer, in league with all foxes, donkeys, and hens, to mock the pomps and ceremonies of life--witty, intellectual, French, at the same time based upon a broad bottom of English humour.
So Sir John read his Chaucer in the comfortless room with the wind blowing and the smoke stinging, and left his father's tombstone unmade. But no book, no tomb, had power to hold him long. He was one of those ambiguous characters who haunt the boundary line where one age merges in another and are not able to inhabit either. At one moment he was all for buying books cheap; next he was off to France and told his mother, "My mind is now not most upon books." In his own house, where his mother Margaret was perpetually making out inventories or confiding in Gloys the priest, he had no peace or comfort. There was always reason on her side; she was a brave woman, for whose sake one must put up with the priest's insolence and choke down one's rage when the grumbling broke into open abuse, and "Thou proud priest" and "Thou proud Squire" were bandied angrily about the room. All this, with the discomforts of life and the weakness of his own character, drove him to loiter in pleasanter places, to put off coming, to put off writing, to put off, year after year, the making of his father's tombstone.
Yet John Paston had now lain for twelve years under the bare ground. The Prior of Bromholm sent word that the grave-cloth was in tatters, and he had tried to patch it himself. Worse still, for a proud woman like Margaret Paston, the country people murmured at the Pastons' lack of piety, and other families she heard, of no greater standing than theirs, spent money in pious restoration in the very church where her husband lay unremembered. At last, turning from tournaments and Chaucer and Mistress Anne Hault, Sir John bethought him of a piece of cloth of gold which had been used to cover his father's hearse and might now be sold to defray the expenses of his tomb. Margaret had it in safe keeping; she had hoarded it and cared for it, and spent twenty marks on its repair. She grudged it; but there was no help for it. She sent it him, still distrusting his intentions or his power to put them into effect. "If you sell it to any other use," she wrote, "by my troth I shall never trust you while I live."
But this final act, like so many that Sir John had undertaken in the course of his life, was left undone. A dispute with the Duke of Suffolk in the year 1479 made it necessary for him to visit London in spite of the epidemic of sickness that was abroad; and there, in dirty lodgings, alone, busy to the end with quarrels, clamorous to the end for money, Sir John died and was buried at Whitefriars in London. He left a natural daughter; he left a considerable number of books; but his father's tomb was still unmade.
The four thick volumes of the Paston letters, however, swallow up this frustrated man as the sea absorbs a raindrop. For, like all collections of letters, they seem to hint that we need not care overmuch for the fortunes of individuals. The family will go on, whether Sir John lives or dies. It is their method to heap up in mounds of insignificant and often dismal dust the innumerable trivialities of daily life, as it grinds itself out, year after year. And then suddenly they blaze up; the day shines out, complete, alive, before our eyes. It is early morning, and strange men have been whispering among the women as they milk. It is evening, and there in the churchyard Warne's wife bursts out against old Agnes Paston: "All the devils of Hell draw her soul to Hell." Now it is the autumn in Norfolk, and Cecily Dawne comes whining to Sir John for clothing. "Moreover, Sir, liketh it your mastership to understand that winter and cold weather draweth nigh and I have few clothes but of your gift." There is the ancient day, spread out before us, hour by hour.
But in all this there is no writing for writing's sake; no use of the pen to convey pleasure or amusement or any of the million shades of endearment and intimacy which have filled so many English letters since. Only occasionally, under stress of anger for the most part, does Margaret Paston quicken into some shrewd saw or solemn curse. "Men cut large thongs here out of other men's leather. . . . We beat the bushes and other men have the birds. . . . Haste reweth . . . which is to my heart a very spear." That is her eloquence and that her anguish. Her sons, it is true, bend their pens more easily to their will. They jest rather stiffly; they hint rather clumsily; they make a little scene like a rough puppet show of the old priest's anger and give a phrase or two directly as they were spoken in person. But when Chaucer lived he must have heard this very language, matter of fact, unmetaphorical, far better fitted for narrative than for analysis, capable of religious solemnity or of broad humour, but very stiff material to put on the lips of men and women accosting each other face to face. In short, it is easy to see, from the Paston letters, why Chaucer wrote not Lear or Romeo and Juliet, but the Canterbury Tales.
Sir John was buried; and John the younger brother succeeded in his turn. The Paston letters go on; life at Paston continues much the same as before. Over it all broods a sense of discomfort and nakedness; of unwashed limbs thrust into splendid clothing; of tapestry blowing on the draughty walls; of the bedroom with its privy; of winds sweeping straight over land unmitigated by hedge or town; of Caister Castle covering with solid stone six acres of ground, and of the plain-faced Pastons indefatigably accumulating wealth, treading out the roads of Norfolk, and persisting with an obstinate courage which does them infinite credit in furnishing the bareness of England.
ON NOT KNOWING GREEK
For it is vain and foolish to talk of knowing Greek, since in our ignorance we should be at the bottom of any class of schoolboys, since we do not know how the words sounded, or where precisely we ought to laugh, or how the actors acted, and between this foreign people and ourselves there is not only difference of race and tongue but a tremendous breach of tradition. All the more strange, then, is it that we should wish to know Greek, try to know Greek, feel for ever drawn back to Greek, and be for ever making up some notion of the meaning of Greek, though from what incongruous odds and ends, with what slight resemblance to the real meaning of Greek, who shall say?
It is obvious in the first place that Greek literature is the impersonal literature. Those few hundred years that separate John Paston from Plato, Norwich from Athens, make a chasm which the vast tide of European chatter can never succeed in crossing. When we read Chaucer, we are floated up to him insensibly on the current of our ancestors' lives, and later, as records increase and memories lengthen, there is scarcely a figure which has not its nimbus of association, its life and letters, its wife and family, its house, its character, its happy or dismal catastrophe. But the Greeks remain in a fastness of their own. Fate has been kind there too. She has preserved them from vulgarity. Euripides was eaten by dogs; Aeschylus killed by a stone; Sappho leapt from a cliff. We know no more of them than that. We have their poetry, and that is all.
But that is not, and perhaps never can be, wholly true. Pick up any play by Sophocles, read--
Son of him who led our hosts at Troy of old, son of Agamemnon,
and at once the mind begins to fashion itself surroundings. It makes some background, even of the most provisional sort, for Sophocles; it imagines some village, in a remote part of the country, near the sea. Even nowadays such villages are to be found in the wilder parts of England, and as we enter them we can scarcely help feeling that here, in this cluster of cottages, cut off from rail or city, are all the elements of a perfect existence. Here is the Rectory; here the Manor house, the farm and the cottages; the church for worship, the club for meeting, the cricket field for play. Here life is simply sorted out into its main elements. Each man and woman has his work; each works for the health or happiness of others. And here, in this little community, characters become part of the common stock; the eccentricities of the clergyman are known; the great ladies' defects of temper; the blacksmith's feud with the milkman, and the loves and matings of the boys and girls. Here life has cut the same grooves for centuries; customs have arisen; legends have attached themselves to hilltops and solitary trees, and the village has its history, its festivals, and its rivalries.
It is the climate that is impossible. If we try to think of Sophocles here, we must annihilate the smoke and the damp and the thick wet mists. We must sharpen the lines of the hills. We must imagine a beauty of stone and earth rather than of woods and greenery. With warmth and sunshine and months of brilliant, fine weather, life of course is instantly changed; it is transacted out of doors, with the result, known to all who visit Italy, that small incidents are debated in the street, not in the sitting-room, and become dramatic; make people voluble; inspire in them that sneering, laughing, nimbleness of wit and tongue peculiar to the Southern races, which has nothing in common with the slow reserve, the low half-tones, the brooding introspective melancholy of people accustomed to live more than half the year indoors.
That is the quality that first strikes us in Greek literature, the lightning-quick, sneering, out-of-doors manner. It is apparent in the most august as well as in the most trivial places. Queens and Princesses in this very tragedy by Sophocles stand at the door bandying words like village women, with a tendency, as one might expect, to rejoice in language, to split phrases into slices, to be intent on verbal victory. The humour of the people was not good-natured like that of our postmen and cab-drivers. The taunts of men lounging at the street corners had something cruel in them as well as witty. There is a cruelty in Greek tragedy which is quite unlike our English brutality. Is not Pentheus, for example, that highly respectable man, made ridiculous in the Bacchae before he is destroyed? In fact, of course, these Queens and Princesses were out of doors, with the bees buzzing past them, shadows crossing them, and the wind taking their draperies. They were speaking to an enormous audience rayed round them on one of those brilliant southern days when the sun is so hot and yet the air so exciting. The poet, therefore, had to bethink him, not of some theme which could be read for hours by people in privacy, but of something emphatic, familiar, brief, that would carry, instantly and directly, to an audience of seventeen thousand people perhaps, with ears and eyes eager and attentive, with bodies whose muscles would grow stiff if they sat too long without diversion. Music and dancing he would need, and naturally would choose one of those legends, like our Tristram and Iseult, which are known to every one in outline, so that a great fund of emotion is ready prepared, but can be stressed in a new place by each new poet.
Sophocles would take the old story of Electra, for instance, but would at once impose his stamp upon it. Of that, in spite of our weakness and distortion, what remains visible to us? That his genius was of the extreme kind in the first place; that he chose a design which, if it failed, would show its failure in gashes and ruin, not in the gentle blurring of some insignificant detail; which, if it succeeded, would cut each stroke to the bone, would stamp each fingerprint in marble. His Electra stands before us like a figure so tightly bound that she can only move an inch this way, an inch that. But each movement must tell to the utmost, or, bound as she is, denied the relief of all hints, repetitions, suggestions, she will be nothing but a dummy, tightly bound. Her words in crisis are, as a matter of fact, bare; mere cries of despair, joy, hate
But these cries give angle and outline to the play. It is thus, with a thousand differences of degree, that in English literature Jane Austen shapes a novel. There comes a moment--"I will dance with you," says Emma--which rises higher than the rest, which, though not eloquent in itself, or violent, or made striking by beauty of language, has the whole weight of the book behind it. In Jane Austen, too, we have the same sense, though the ligatures are much less tight, that her figures are bound, and restricted to a few definite movements. She, too, in her modest, everyday prose, chose the dangerous art where one slip means death.
But it is not so easy to decide what it is that gives these cries of Electra in her anguish their power to cut and wound and excite. It is partly that we know her, that we have picked up from little turns and twists of the dialogue hints of her character, of her appearance, which, characteristically, she neglected; of something suffering in her, outraged and stimulated to its utmost stretch of capacity, yet, as she herself knows ("my behaviour is unseemly and becomes me ill"), blunted and debased by the horror of her position, an unwed girl made to witness her mother's vileness and denounce it in loud, almost vulgar, clamour to the world at large. It is partly, too, that we know in the same way that Clytemnestra is no unmitigated villainess. "[Greek text-2]" she says--"there is a strange power in motherhood". It is no murderess, violent and unredeemed, whom Orestes kills within the house, and Electra bids him utterly destroy--"Strike again." No; the men and women standing out in the sunlight before the audience on the hill-side were alive enough, subtle enough, not mere figures, or plaster casts of human beings.
Yet it is not because we can analyse them into feelings that they impress us. In six pages of Proust we can find more complicated and varied emotions than in the whole of the Electra. But in the Electra or in the Antigone we are impressed by something different, by something perhaps more impressive--by heroism itself, by fidelity itself. In spite of the labour and the difficulty it is this that draws us back and back to the Greeks; the stable, the permanent, the original human being is to be found there. Violent emotions are needed to rouse him into action, but when thus stirred by death, by betrayal, by some other primitive calamity, Antigone and Ajax and Electra behave in the way in which we should behave thus struck down; the way in which everybody has always behaved; and thus we understand them more easily and more directly than we understand the characters in the Canterbury Tales. These are the originals, Chaucer's the varieties of the human species.
It is true, of course, that these types of the original man or woman, these heroic Kings, these faithful daughters, these tragic Queens who stalk through the ages always planting their feet in the same places, twitching their robes with the same gestures, from habit not from impulse, are among the greatest bores and the most demoralising companions in the world. The plays of Addison, Voltaire, and a host of others are there to prove it. But encounter them in Greek. Even in Sophocles, whose reputation for restraint and mastery has filtered down to us from the scholars, they are decided, ruthless, direct. A fragment of their speech broken off would, we feel, colour oceans and oceans of the respectable drama. Here we meet them before their emotions have been worn into uniformity. Here we listen to the nightingale whose song echoes through English literature singing in her own Greek tongue. For the first time Orpheus with his lute makes men and beasts follow him. Their voices ring out clear and sharp; we see the hairy, tawny bodies at play in the sunlight among the olive trees, not posed gracefully on granite plinths in the pale corridors of the British Museum. And then suddenly, in the midst of all this sharpness and compression, Electra, as if she swept her veil over her face and forbade us to think of her any more, speaks of that very nightingale: "that bird distraught with grief, the messenger of Zeus. Ah, queen of sorrow, Niobe, thee I deem divine--thee; who evermore weepest in thy rocky tomb."
And as she silences her own complaint, she perplexes us again with the insoluble question of poetry and its nature, and why, as she speaks thus, her words put on the assurance of immortality. For they are Greek; we cannot tell how they sounded; they ignore the obvious sources of excitement; they owe nothing of their effect to any extravagance of expression, and certainly they throw no light upon the speaker's character or the writer's. But they remain, something that has been stated and must eternally endure.
Yet in a play how dangerous this poetry, this lapse from the particular to the general must of necessity be, with the actors standing there in person, with their bodies and their faces passively waiting to be made use of! For this reason the later plays of Shakespeare, where there is more of poetry than of action, are better read than seen, better understood by leaving out the actual body than by having the body, with all its associations and movements, visible to the eye. The intolerable restrictions of the drama could be loosened, however, if a means could be found by which what was general and poetic, comment, not action, could be freed without interrupting the movement of the whole. It is this that the choruses supply; the old men or women who take no active part in the drama, the undifferentiated voices who sing like birds in the pauses of the wind; who can comment, or sum up, or allow the poet to speak himself or supply, by contrast, another side to his conception. Always in imaginative literature, where characters speak for themselves and the author has no part, the need of that voice is making itself felt. For though Shakespeare (unless we consider that his fools and madmen supply the part) dispensed with the chorus, novelists are always devising some substitute--Thackeray speaking in his own person, Fielding coming out and addressing the world before his curtain rises. So to grasp the meaning of the play the chorus is of the utmost importance. One must be able to pass easily into those ecstasies, those wild and apparently irrelevant utterances, those sometimes obvious and commonplace statements, to decide their relevance or irrelevance, and give them their relation to the play as a whole.
We must "be able to pass easily"; but that of course is exactly what we cannot do. For the most part the choruses, with all their obscurities, must be spelt out and their symmetry mauled. But we can guess that Sophocles used them not to express something outside the action of the play, but to sing the praises of some virtue, or the beauties of some place mentioned in it. He selects what he wishes to emphasize and sings of white Colonus and its nightingale, or of love unconquered in fight. Lovely, lofty, and serene, his choruses grow naturally out of his situations, and change, not the point of view, but the mood. In Euripides, however, the situations are not contained within themselves; they give off an atmosphere of doubt, of suggestion, of questioning; but if we look to the choruses to make this plain we are often baffled rather than instructed. At once in the Bacchae we are in the world of psychology and doubt; the world where the mind twists facts and changes them and makes the familiar aspects of life appear new and questionable. What is Bacchus, and who are the Gods, and what is man's duty to them, and what the rights of his subtle brain? To these questions the chorus makes no reply, or replies mockingly, or speaks darkly as if the straitness of the dramatic form had tempted Euripides to violate it, in order to relieve his mind of its weight. Time is so short and I have so much to say, that unless you will allow me to place together two apparently unrelated statements and trust to you to pull them together, you must be content with a mere skeleton of the play I might have given you. Such is the argument. Euripides therefore suffers less than Sophocles and less than Aeschylus from being read privately in a room, and not seen on a hill-side in the sunshine. He can be acted in the mind; he can comment upon the questions of the moment; more than the others he will vary in popularity from age to age.
If then in Sophocles the play is concentrated in the figures themselves, and in Euripides is to be retrieved from flashes of poetry and questions far flung and unanswered, Aeschylus makes these little dramas (the Agamemnon has 1663 lines; Lear about 2600) tremendous by stretching every phrase to the utmost, by sending them floating forth in metaphors, by bidding them rise up and stalk eyeless and majestic through the scene. To understand him it is not so necessary to understand Greek as to understand poetry. It is necessary to take that dangerous leap through the air without the support of words which Shakespeare also asks of us. For words, when opposed to such a blast of meaning, must give out, must be blown astray, and only by collecting in companies convey the meaning which each one separately is too weak to express. Connecting them in a rapid flight of the mind we know instantly and instinctively what they mean, but could not decant that meaning afresh into any other words. There is an ambiguity which is the mark of the highest poetry; we cannot know exactly what it means. Take this from the Agamemnon for instance--
The meaning is just on the far side of language. It is the meaning which in moments of astonishing excitement and stress we perceive in our minds without words; it is the meaning that Dostoevsky (hampered as he was by prose and as we are by translation) leads us to by some astonishing run up the scale of emotions and points at but cannot indicate; the meaning that Shakespeare succeeds in snaring.
Aeschylus thus will not give, as Sophocles gives, the very words that people might have spoken, only so arranged that they have in some mysterious way a general force, a symbolic power, nor like Euripides will he combine incongruities and thus enlarge his little space, as a small room is enlarged by mirrors in odd corners. By the bold and running use of metaphor he will amplify and give us, not the thing itself, but the reverberation and reflection which, taken into his mind, the thing has made; close enough to the original to illustrate it, remote enough to heighten, enlarge, and make splendid.
For none of these dramatists had the licence which belongs to the novelist, and, in some degree, to all writers of printed books, of modelling their meaning with an infinity of slight touches which can only be properly applied by reading quietly, carefully, and sometimes two or three times over. Every sentence had to explode on striking the ear, however slowly and beautifully the words might then descend, and however enigmatic might their final purport be. No splendour or richness of metaphor could have saved the Agamemnon if either images or allusions of the subtlest or most decorative had got between us and the naked cry
Dramatic they had to be at whatever cost.
But winter fell on these villages, darkness and extreme cold descended on the hill-side. There must have been some place indoors where men could retire, both in the depths of winter and in the summer heats, where they could sit and drink, where they could lie stretched at their ease, where they could talk. It is Plato, of course, who reveals the life indoors, and describes how, when a party of friends met and had eaten not at all luxuriously and drunk a little wine, some handsome boy ventured a question, or quoted an opinion, and Socrates took it up, fingered it, turned it round, looked at it this way and that, swiftly stripped it of its inconsistencies and falsities and brought the whole company by degrees to gaze with him at the truth. It is an exhausting process; to concentrate painfully upon the exact meaning of words; to judge what each admission involves; to follow intently, yet critically, the dwindling and changing of opinion as it hardens and intensifies into truth. Are pleasure and good the same? Can virtue be taught? Is virtue knowledge? The tired or feeble mind may easily lapse as the remorseless questioning proceeds; but no one, however weak, can fail, even if he does not learn more from Plato, to love knowledge better. For as the argument mounts from step to step, Protagoras yielding, Socrates pushing on, what matters is not so much the end we reach as our manner of reaching it. That all can feel--the indomitable honesty, the courage, the love of truth which draw Socrates and us in his wake to the summit where, if we too may stand for a moment, it is to enjoy the greatest felicity of which we are capable.
Yet such an expression seems ill fitted to describe the state of mind of a student to whom, after painful argument, the truth has been revealed. But truth is various; truth comes to us in different disguises; it is not with the intellect alone that we perceive it. It is a winter's night; the tables are spread at Agathon's house; the girl is playing the flute; Socrates has washed himself and put on sandals; he has stopped in the hall; he refuses to move when they send for him. Now Socrates has done; he is bantering Alcibiades; Alcibiades takes a fillet and binds it round "this wonderful fellow's head". He praises Socrates. "For he cares not for mere beauty, but despises more than any one can imagine all external possessions, whether it be beauty or wealth or glory, or any other thing for which the multitude felicitates the possessor. He esteems these things and us who honour them, as nothing, and lives among men, making all the objects of their admiration the playthings of his irony. But I know not if any one of you has ever seen the divine images which are within, when he has been opened and is serious. I have seen them, and they are so supremely beautiful, so golden, divine, and wonderful, that everything which Socrates commands surely ought to be obeyed even like the voice of a God." All this flows over the arguments of Plato--laughter and movement; people getting up and going out; the hour changing; tempers being lost; jokes cracked; the dawn rising. Truth, it seems, is various; Truth is to be pursued with all our faculties. Are we to rule out the amusements, the tendernesses, the frivolities of friendship because we love truth? Will truth be quicker found because we stop our ears to music and drink no wine, and sleep instead of talking through the long winter's night? It is not to the cloistered disciplinarian mortifying himself in solitude that we are to turn, but to the well-sunned nature, the man who practises the art of living to the best advantage, so that nothing is stunted but some things are permanently more valuable than others.
So in these dialogues we are made to seek truth with every part of us. For Plato, of course, had the dramatic genius. It is by means of that, by an art which conveys in a sentence or two the setting and the atmosphere, and then with perfect adroitness insinuates itself into the coils of the argument without losing its liveliness and grace, and then contracts to bare statement, and then, mounting, expands and soars in that higher air which is generally reached only by the more extreme measures of poetry--it is this art which plays upon us in so many ways at once and brings us to an exultation of mind which can only be reached when all the powers are called upon to contribute their energy to the whole.
But we must beware. Socrates did not care for "mere beauty", by which he meant, perhaps, beauty as ornament. A people who judged as much as the Athenians did by ear, sitting out-of-doors at the play or listening to argument in the market-place, were far less apt than we are to break off sentences and appreciate them apart from the context. For them there were no Beauties of Hardy, Beauties of Meredith, Sayings from George Eliot. The writer had to think more of the whole and less of the detail. Naturally, living in the open, it was not the lip or the eye that struck them, but the carriage of the body and the proportions of its parts. Thus when we quote and extract we do the Greeks more damage than we do the English. There is a bareness and abruptness in their literature which grates upon a taste accustomed to the intricacy and finish of printed books. We have to stretch our minds to grasp a whole devoid of the prettiness of detail or the emphasis of eloquence. Accustomed to look directly and largely rather than minutely and aslant, it was safe for them to step into the thick of emotions which blind and bewilder an age like our own. In the vast catastrophe of the European war our emotions had to be broken up for us, and put at an angle from us, before we could allow ourselves to feel them in poetry or fiction. The only poets who spoke to the purpose spoke in the sidelong, satiric manner of Wilfrid Owen and Siegfried Sassoon. It was not possible for them to be direct without being clumsy; or to speak simply of emotion without being sentimental. But the Greeks could say, as if for the first time, "Yet being dead they have not died". They could say, "If to die nobly is the chief part of excellence, to us out of all men Fortune gave this lot; for hastening to set a crown of freedom on Greece we lie possessed of praise that grows not old". They could march straight up, with their eyes open; and thus fearlessly approached, emotions stand still and suffer themselves to be looked at.
But again (the question comes back and back), Are we reading Greek as it was written when we say this? When we read these few words cut on a tombstone, a stanza in a chorus, the end or the opening of a dialogue of Plato's, a fragment of Sappho, when we bruise our minds upon some tremendous metaphor in the Agamemnon instead of stripping the branch of its flowers instantly as we do in reading Lear--are we not reading wrongly? losing our sharp sight in the haze of associations? reading into Greek poetry not what they have but what we lack? Does not the whole of Greece heap itself behind every line of its literature? They admit us to a vision of the earth unravaged, the sea unpolluted, the maturity, tried but unbroken, of mankind. Every word is reinforced by a vigour which pours out of olive-tree and temple and the bodies of the young. The nightingale has only to be named by Sophocles and she sings; the grove has only to be called [Greek text-5], "untrodden", and we imagine the twisted branches and the purple violets. Back and back we are drawn to steep ourselves in what, perhaps, is only an image of the reality, not the reality itself, a summer's day imagined in the heart of a northern winter. Chief among these sources of glamour and perhaps misunderstanding is the language. We can never hope to get the whole fling of a sentence in Greek as we do in English. We cannot hear it, now dissonant, now harmonious, tossing sound from line to line across a page. We cannot pick up infallibly one by one all those minute signals by which a phrase is made to hint, to turn, to live. Nevertheless, it is the language that has us most in bondage; the desire for that which perpetually lures us back. First there is the compactness of the expression. Shelley takes twenty-one words in English to translate thirteen words of Greek--[Greek text-6] (". . . for everyone, even if before he were ever so undisciplined, becomes a poet as soon as he is touched by love").
Every ounce of fat has been pared off, leaving the flesh firm. Then, spare and bare as it is, no language can move more quickly, dancing, shaking, all alive, but controlled. Then there are the words themselves which, in so many instances, we have made expressive to us of our own emotions, [Greek text-7]--to take the first that come to hand; so clear, so hard, so intense, that to speak plainly yet fittingly without blurring the outline or clouding the depths, Greek is the only expression. It is useless, then, to read Greek in translations. Translators can but offer us a vague equivalent; their language is necessarily full of echoes and associations. Professor Mackail says "wan", and the age of Burne-Jones and Morris is at once evoked. Nor can the subtler stress, the flight and the fall of the words, be kept even by the most skilful of scholars--
. . . thee, who evermore weepest in thy rocky tomb
Further, in reckoning the doubts and difficulties there is this important problem--Where are we to laugh in reading Greek? There is a passage in the Odyssey where laughter begins to steal upon us, but if Homer were looking we should probably think it better to control our merriment. To laugh instantly it is almost necessary (though Aristophanes may supply us with an exception) to laugh in English. Humour, after all, is closely bound up with a sense of the body. When we laugh at the humour of Wycherley, we are laughing with the body of that burly rustic who was our common ancestor on the village green. The French, the Italians, the Americans, who derive physically from so different a stock, pause, as we pause in reading Homer, to make sure that they are laughing in the right place, and the pause is fatal. Thus humour is the first of the gifts to perish in a foreign tongue, and when we turn from Greek to English literature it seems, after a long silence, as if our great age were ushered in by a burst of laughter.
These are all difficulties, sources of misunderstanding, of distorted and romantic, of servile and snobbish passion. Yet even for the unlearned some certainties remain. Greek is the impersonal literature; it is also the literature of masterpieces. There are no schools; no forerunners; no heirs. We cannot trace a gradual process working in many men imperfectly until it expresses itself adequately at last in one. Again, there is always about Greek literature that air of vigour which permeates an "age", whether it is the age of Aeschylus, or Racine, or Shakespeare. One generation at least in that fortunate time is blown on to be writers to the extreme; to attain that unconsciousness which means that the consciousness is stimulated to the highest extent; to surpass the limits of small triumphs and tentative experiments. Thus we have Sappho with her constellations of adjectives; Plato daring extravagant flights of poetry in the midst of prose; Thucydides, constricted and contracted; Sophocles gliding like a shoal of trout smoothly and quietly, apparently motionless, and then, with a flicker of fins, off and away; while in the Odyssey we have what remains the triumph of narrative, the clearest and at the same time the most romantic story of the fortunes of men and women.
The Odyssey is merely a story of adventure, the instinctive story-telling of a sea-faring race. So we may begin it, reading quickly in the spirit of children wanting amusement to find out what happens next. But here is nothing immature; here are full-grown people, crafty, subtle, and passionate. Nor is the world itself a small one, since the sea which separates island from island has to be crossed by little hand-made boats and is measured by the flight of the sea-gulls. It is true that the islands are not thickly populated, and the people, though everything is made by hands, are not closely kept at work. They have had time to develop a very dignified, a very stately society, with an ancient tradition of manners behind it, which makes every relation at once orderly, natural, and full of reserve. Penelope crosses the room; Telemachus goes to bed; Nausicaa washes her linen; and their actions seem laden with beauty because they do not know that they are beautiful, have been born to their possessions, are no more self-conscious than children, and yet, all those thousands of years ago, in their little islands, know all that is to be known. With the sound of the sea in their ears, vines, meadows, rivulets about them, they are even more aware than we are of a ruthless fate. There is a sadness at the back of life which they do not attempt to mitigate. Entirely aware of their own standing in the shadow, and yet alive to every tremor and gleam of existence, there they endure, and it is to the Greeks that we turn when we are sick of the vagueness, of the confusion, of the Christianity and its consolations, of our own age.
THE ELIZABETHAN LUMBER ROOM
These magnificent volumes1 are not often, perhaps, read through. Part of their charm consists in the fact that Hakluyt is not so much a book as a great bundle of commodities loosely tied together, an emporium, a lumber room strewn with ancient sacks, obsolete nautical instruments, huge bales of wool, and little bags of rubies and emeralds. One is for ever untying this packet here, sampling that heap over there, wiping the dust off some vast map of the world, and sitting down in semi-darkness to snuff the strange smells of silks and leathers and ambergris, while outside tumble the huge waves of the uncharted Elizabethan sea.
1Hakluyt's Collection of the Early Voyages, Travels, and Discoveries of the English Nation, five volumes, 4to, 1810.
For this jumble of seeds, silks, unicorns' horns, elephants' teeth, wool, common stones, turbans, and bars of gold, these odds and ends of priceless value and complete worthlessness, were the fruit of innumerable voyages, traffics, and discoveries to unknown lands in the reign of Queen Elizabeth. The expeditions were manned by "apt young men" from the West country, and financed in part by the great Queen herself. The ships, says Froude, were no bigger than modern yachts. There in the river by Greenwich the fleet lay gathered, close to the Palace. "The Privy council looked out of the windows of the court . . . the ships thereupon discharge their ordnance . . . and the mariners they shouted in such sort that the sky rang again with the noise thereof." Then, as the ships swung down the tide, one sailor after another walked the hatches, climbed the shrouds, stood upon the mainyards to wave his friends a last farewell. Many would come back no more. For directly England and the coast of France were beneath the horizon, the ships sailed into the unfamiliar; the air had its voices, the sea its lions and serpents, its evaporations of fire and tumultuous whirlpools. But God too was very close; the clouds but sparely hid the divinity Himself; the limbs of Satan were almost visible. Familiarly the English sailors pitted their God against the God of the Turks, who "can speake never a word for dulnes, much lesse can he helpe them in such an extremitie. . . . But howsoever their God behaved himself, our God showed himself a God indeed. . . ." God was as near by sea as by land, said Sir Humfrey Gilbert, riding through the storm. Suddenly one light disappeared; Sir Humfrey Gilbert had gone beneath the waves; when morning came, they sought his ship in vain. Sir Hugh Willoughby sailed to discover the North-West Passage and made no return. The Earl of Cumberland's men, hung up by adverse winds off the coast of Cornwall for a fortnight, licked the muddy water off the deck in agony. And sometimes a ragged and worn-out man came knocking at the door of an English country house and claimed to be the boy who had left it years ago to sail the seas. "Sir William his father, and my lady his mother knew him not to be their son, until they found a secret mark, which was a wart upon one of his knees." But he had with him a black stone, veined with gold, or an ivory tusk, or a silver ingot, and urged on the village youth with talk of gold strewn over the land as stones are strewn in the fields of England. One expedition might fail, but what if the passage to the fabled land of uncounted riches lay only a little farther up the coast? What if the known world was only the prelude to some more splendid panorama? When, after the long voyage, the ships dropped anchor in the great river of the Plate and the men went exploring through the undulating lands, startling grazing herds of deer, seeing the limbs of savages between the trees, they filled their pockets with pebbles that might be emeralds or sand that might be gold; or sometimes, rounding a headland, they saw, far off, a string of savages slowly descending to the beach bearing on their heads and linking their shoulders together with heavy burdens for the Spanish King.
These are the fine stories used effectively all through the West country to decoy "the apt young men" lounging by the harbour-side to leave their nets and fish for gold. But the voyagers were sober merchants into the bargain, citizens with the good of English trade and the welfare of English work-people at heart. The captains are reminded how necessary it is to find a market abroad for English wool; to discover the herb from which blue dyes are made; above all to make inquiry as to the methods of producing oil, since all attempts to make it from radish seed have failed. They are reminded of the misery of the English poor, whose crimes, brought about by poverty, make them "daily consumed by the gallows". They are reminded how the soil of England had been enriched by the discoveries of travellers in the past; how Dr. Linaker brought seeds of the damask rose and tulipas, and how beasts and plants and herbs, "without which our life were to be said barbarous", have all come to England gradually from abroad. In search of markets and of goods, of the immortal fame success would bring them, the apt young men set sail for the North, and were left, a little company of isolated Englishmen surrounded by snow and the huts of savages, to make what bargains they could and pick up what knowledge they might before the ships returned in the summer to fetch them home again. There they endured, an isolated company, burning on the rim of the dark. One of them, carrying a charter from his company in London, went inland as far as Moscow, and there saw the Emperor "sitting in his chair of estate with his crown on his head, and a staff of goldsmiths' work in his left hand". All the ceremony that he saw is carefully written out, and the sight upon which the English merchant first set eyes has the brilliancy of a Roman vase dug up and stood for a moment in the sun, until, exposed to the air, seen by millions of eyes, it dulls and crumbles away. There, all these centuries, on the outskirts of the world, the glories of Moscow, the glories of Constantinople have flowered unseen. The Englishman was bravely dressed for the occasion, led "three fair mastiffs in coats of red cloth", and carried a letter from Elizabeth "the paper whereof did smell most fragrantly of camphor and ambergris, and the ink of perfect musk". And sometimes, since trophies from the amazing new world were eagerly awaited at home, together with unicorns' horns and lumps of ambergris and the fine stories of the engendering of whales and "debates" of elephants and dragons whose blood, mixed, congealed into vermilion, a living sample would be sent, a live savage caught somewhere off the coast of Labrador, taken to England, and shown about like a wild beast. Next year they brought him back, and took a woman savage on board to keep him company. When they saw each other they blushed; they blushed profoundly, but the sailors, though they noted it, knew not why. Later the two savages set up house together on board ship, she attending to his wants, he nursing her in sickness. But, as the sailors noted again, the savages lived together in perfect chastity.
All this, the new words, the new ideas, the waves, the savages, the adventures, found their way naturally into the plays which were being acted on the banks of the Thames. There was an audience quick to seize upon the coloured and the high-sounding; to associate those
frigates bottom'd with rich Sethin planks,
Topt with the lofty firs of Lebanon,
with the adventures of their own sons and brothers abroad. The Verneys, for example, had a wild boy who had gone as pirate, turned Turk, and died out there, sending back to Claydon to be kept as relics of him some silk, a turban, and a pilgrim's staff. A gulf lay between the spartan domestic housecraft of the Paston women and the refined tastes of the Elizabethan Court ladies, who, grown old, says Harrison, spent their time reading histories, or "writing volumes of their own, or translating of other men's into our English and Latin tongue", while the younger ladies played the lute and the citharne and spent their leisure in the enjoyment of music. Thus, with singing and with music, springs into existence the characteristic Elizabethan extravagance; the dolphins and lavoltas of Greene; the hyperbole, more surprising in a writer so terse and muscular, of Ben Jonson. Thus we find the whole of Elizabethan literature strewn with gold and silver; with talk of Guiana's rarities, and references to that America--"O my America! my new-found-land"--which was not merely a land on the map, but symbolised the unknown territories of the soul. So, over the water, the imagination of Montaigne brooded in fascination upon savages, cannibals, society, and government.
But the mention of Montaigne suggests that though the influence of the sea and the voyages, of the lumber room crammed with sea beasts and horns and ivory and old maps and nautical instruments, helped to inspire the greatest age of English poetry, its effects were by no means so beneficial upon English prose. Rhyme and metre helped the poets to keep the tumult of their perceptions in order. But the prose writer, without these restrictions, accumulated clauses, petered out in interminable catalogues, tripped and stumbled over the convolutions of his own rich draperies. How little Elizabethan prose was fit for its office, how exquisitely French prose was already adapted, can be seen by comparing a passage from Sidney's Defense of Poesie with one from Montaigne's Essays.
He beginneth not with obscure definitions, which must blur the margent with interpretations, and load the memory with doubtfulness: but he cometh to you with words set in delightful proportion, either accompanied with, or prepared for the well enchanting Skill of Music, and with a tale (forsooth) he cometh unto you, with a tale which holdeth children from play, and old men from the Chimney corner; and pretending no more, doth intend the winning of the mind from wickedness to virtue; even as the child is often brought to take most wholesome things by hiding them in such other as have a pleasant taste: which if one should begin to tell them the nature of the Aloës or Rhubarbarum they should receive, would sooner take their physic at their ears than at their mouth, so is it in men (most of which are childish in the best things, till they be cradled in their graves) glad they will be to hear the tales of Hercules. . . .
And so it runs on for seventy-six words more. Sidney's prose is an uninterrupted monologue, with sudden flashes of felicity and splendid phrases, which lends itself to lamentations and moralities, to long accumulations and catalogues, but is never quick, never colloquial, unable to grasp a thought closely and firmly, or to adapt itself flexibly and exactly to the chops and changes of the mind. Compared with this, Montaigne is master of an instrument which knows its own powers and limitations, and is capable of insinuating itself into crannies and crevices which poetry can never reach; capable of cadences different but no less beautiful; of subtleties and intensities which Elizabethan prose entirely ignores. He is considering the way in which certain of the ancients met death:
. . . ils l'ont faicte couler et glisser parmy la lascheté de leurs occupations accoustumées entre des garses et bons compaignons; nul propos de consolation, nulle mention de testament, nulle affectation ambitieuse de constance, nul discours de leur condition future; mais entre les jeux, les festins, facecies, entretiens communs et populaires, et la musique, et des vers amoureux.
An age seems to separate Sidney from Montaigne. The English compared with the French are as boys compared with men.
But the Elizabethan prose writers, if they have the formlessness of youth, have, too, its freshness and audacity. In the same essay Sidney shapes language, masterfully and easily, to his liking; freely and naturally reaches his hand for a metaphor. To bring this prose to perfection (and Dryden's prose is very near perfection) only the discipline of the stage was necessary and the growth of self-consciousness. It is in the plays, and especially in the comic passages of the plays, that the finest Elizabethan prose is to be found. The stage was the nursery where prose learnt to find its feet. For on the stage people had to meet, to quip and crank, to suffer interruptions, to talk of ordinary things.
Cler. A pox of her autumnal face, her pieced beauty! there's no man can be admitted till she be ready now-a-days; till she has painted, and perfumed, and washed, and scoured, but the boy here; and him she wipes her oiled lips upon, like a sponge. I have made a song (I pray thee hear it) on the subject.
Still to be neat, still to be drest, &c.
True. And I am clearly on the other side: I love a good dressing before any beauty o' the world. O, a woman is then like a delicate garden; nor is there one kind of it; she may vary every hour; take often counsel of her glass, and choose the best. If she have good ears, show them; good hair, lay it out; good legs, wear short clothes; a good hand, discover it often: practise any art to mend breath, cleanse teeth, repair eyebrows; paint and profess it.
So the talk runs in Ben Jonson's Silent Woman, knocked into shape by interruptions, sharpened by collisions, and never allowed to settle into stagnancy or swell into turbidity. But the publicity of the stage and the perpetual presence of a second person were hostile to that growing consciousness of one's self, that brooding in solitude over the mysteries of the soul, which, as the years went by, sought expression and found a champion in the sublime genius of Sir Thomas Browne. His immense egotism has paved the way for all psychological novelists, auto-biographers, confession-mongers, and dealers in the curious shades of our private life. He it was who first turned from the contacts of men with men to their lonely life within. "The world that I regard is myself; it is the microcosm of my own frame that I cast mine eye on; for the other I use it but like my globe, and turn it round sometimes for my recreation." All was mystery and darkness as the first explorer walked the catacombs swinging his lanthorn. "I feel sometimes a hell within myself; Lucifer keeps his court in my breast; Legion is revived in me." In these solitudes there were no guides and no companions. "I am in the dark to all the world, and my nearest friends behold me but in a cloud." The strangest thoughts and imaginings have play with him as he goes about his work, outwardly the most sober of mankind and esteemed the greatest physician in Norwich. He has wished for death. He has doubted all things. What if we are asleep in this world and the conceits of life are as mere dreams? The tavern music, the Ave Mary bell, the broken pot that the workman has dug out of the field--at the sight and sound of them he stops dead, as if transfixed by the astonishing vista that opens before his imagination. "We carry with us the wonders we seek without us; there is all Africa and her prodigies in us." A halo of wonder encircles everything that he sees; he turns his light gradually upon the flowers and insects and grasses at his feet so as to disturb nothing in the mysterious processes of their existence. With the same awe, mixed with a sublime complacency, he records the discovery of his own qualities and attainments. He was charitable and brave and averse from nothing. He was full of feeling for others and merciless upon himself. "For my conversation, it is like the sun's, with all men, and with a friendly aspect to good and bad." He knows six languages, the laws, the customs and policies of several states, the names of all the constellations and most of the plants of his country, and yet, so sweeping is his imagination, so large the horizon in which he sees this little figure walking that "methinks I do not know so many as when I did but know a hundred, and had scarcely ever simpled further than Cheapside".
He is the first of the autobiographers. Swooping and soaring at the highest altitudes, he stoops suddenly with loving particularity upon the details of his own body. His height was moderate, he tells us, his eyes large and luminous; his skin dark but constantly suffused with blushes. He dressed very plainly. He seldom laughed. He collected coins, kept maggots in boxes, dissected the lungs of frogs, braved the stench of the spermaceti whale, tolerated Jews, had a good word for the deformity of the toad, and combined a scientific and sceptical attitude towards most things with an unfortunate belief in witches. In short, as we say when we cannot help laughing at the oddities of people we admire most, he was a character, and the first to make us feel that the most sublime speculations of the human imagination are issued from a particular man, whom we can love. In the midst of the solemnities of the Urn Burial we smile when he remarks that afflictions induce callosities. The smile broadens to laughter as we mouth out the splendid pomposities, the astonishing conjectures of the Religio Medici. Whatever he writes is stamped with his own idiosyncrasy, and we first become conscious of impurities which hereafter stain literature with so many freakish colours that, however hard we try, it is difficult to be certain whether we are looking at a man or his writing. Now we are in the presence of sublime imagination; now rambling through one of the finest lumber rooms in the world--a chamber stuffed from floor to ceiling with ivory, old iron, broken pots, urns, unicorns' horns, and magic glasses full of emerald lights and blue mystery.
NOTES ON AN ELIZABETHAN PLAY
There are, it must be admitted, some highly formidable tracts in English literature, and chief among them that jungle, forest, and wilderness which is the Elizabethan drama. For many reasons, not here to be examined, Shakespeare stands out, Shakespeare who has had the light on him from his day to ours, Shakespeare who towers highest when looked at from the level of his own contemporaries. But the plays of the lesser Elizabethans--Greene, Dekker, Peele, Chapman, Beaumont and Fletcher,--to adventure into that wilderness is for the ordinary reader an ordeal, an upsetting experience which plys him with questions, harries him with doubts, alternately delights and vexes him with pleasures and pains. For we are apt to forget, reading, as we tend to do, only the masterpieces of a bygone age, how great a power the body of a literature possesses to impose itself: how it will not suffer itself to be read passively, but takes us and reads us; flouts our preconceptions; questions principles which we had got into the habit of taking for granted, and, in fact, splits us into two parts as we read, making us, even as we enjoy, yield our ground or stick to our guns.
At the outset in reading an Elizabethan play we are overcome by the extraordinary discrepancy between the Elizabethan view of reality and our own. The reality to which we have grown accustomed is, speaking roughly, based upon the life and death of some knight called Smith, who succeeded his father in the family business of pitwood importers, timber merchants and coal exporters, was well known in political, temperance, and church circles, did much for the poor of Liverpool, and died last Wednesday of pneumonia while on a visit to his son at Muswell Hill. That is the world we know. That is the reality which our poets and novelists have to expound and illuminate. Then we open the first Elizabethan play that comes to hand and read how
I once did see
In my young travels through Armenia
An angry unicorn in his full career
Charge with too swift a foot a jeweller
That watch'd him for the treasure of his brow,
And ere he could get shelter of a tree
Nail him with his rich antlers to the earth.
Title: The Moment and Other Essays Author: Virginia Woolf * A Project Gutenberg of Australia eBook * eBook No.: 1500221h.html Language: English Date first posted: March 2015 Most recent update: March 2015 This eBook was produced by: Colin Choat Project Gutenberg of Australia eBooks are created from printed editions which are in the public domain in Australia, unless a copyright notice is included. We do NOT keep any eBooks in compliance with a particular paper edition. Copyright laws are changing all over the world. Be sure to check the copyright laws for your country before downloading or redistributing this file. This eBook is made available at no cost and with almost no restrictions whatsoever. You may copy it, give it away or re-use it under the terms of the Project Gutenberg Australia Licence which may be viewed online.
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The Moment and Other Essays
The Moment: Summer's Night
On Being Ill
The Faery Queen
Sir Walter Scott. Gas at Abbotsford
Sir Walter Scott. The Antiquary
Notes on D. H. Lawrence
The Art Of Fiction
The Leaning Tower
On Rereading Novels
Genius: R. B. Haydon
The Enchanted Organ: Anne Thackeray
Two Women: Emily Davies and Lady Augusta Stanley
The Artist and Politics
In my editorial note to The Death of the Moth I wrote that Virginia Woolf "left behind her a considerable number of essays, sketches, and short stories, some unpublished and some previously published in newspapers; there are, indeed, enough to fill three or four volumes". Since then the short stories have been published in A Haunted House. The present volume contains a further selection of essays. I have followed the same method of selection as in The Death of the Moth, including some of all the different kinds of essay—the sketch, literary criticism, biographical, "political"—and not attempting to choose according to some scale of merit or importance. The consequence is that the standard of achievement seems to me as high in this volume as it was in The Common Reader or in The Death of the Moth, and it is the same in the essays which I have not included, but are sufficient to fill yet another volume.
Some of the essays are now published for the first time; others have appeared in The Times Literary Supplement, The Nation, the New Statesman and Nation, Time and Tide, the New York Saturday Review, New Writing. I have included two essays with the same title, Royalty; the first was commissioned, but, for obvious reasons, not published by Picture Post; the second was published in Time and Tide.
What I said with regard to the unrevised state of the essays in the editorial note to The Death of the Moth applies to the essays included in this volume. If Virginia Woolf had lived, she would have revised or rewritten nearly all of them. The essays differ considerably in their state of "finish". All which have actually been published in newspapers have been written and rewritten and revised, though there is no doubt that the process would have continued. Some of them—e.g. On Re-reading Novels—have in fact been revised and rewritten after publication with a view to inclusion in volume form. Others, e.g. The Moment, exist only in a much earlier stage, a rather rough typescript heavily corrected in handwriting. I have printed these exactly as they were left, except for punctuation and the correction of obvious mistakes, but I have done so with some hesitation, if only because the handwriting is occasionally extremely difficult to decipher.
THE MOMENT: SUMMER'S NIGHT
The night was falling so that the table in the garden among the trees grew whiter and whiter; and the people round it more indistinct. An owl, blunt, obsolete looking, heavy weighted, crossed the fading sky with a black spot between its claws. The trees murmured. An aeroplane hummed like a piece of plucked wire. There was also, on the roads, the distant explosion of a motor cycle, shooting further and further away down the road. Yet what composed the present moment? If you are young, the future lies upon the present, like a piece of glass, making it tremble and quiver. If you are old, the past lies upon the present, like a thick glass, making it waver, distorting it. All the same, everybody believes that the present is something, seeks out the different elements in this situation in order to compose the truth of it, the whole of it.
To begin with: it is largely composed of visual and of sense impressions. The day was very hot. After heat, the surface of the body is opened, as if all the pores were open and everything lay exposed, not sealed and contracted, as in cold weather. The air wafts cold on the skin under one's clothes. The soles of the feet expand in slippers after walking on hard roads. Then the sense of the light sinking back into darkness seems to be gently putting out with a damp sponge the colour in one's own eyes. Then the leaves shiver now and again, as if a ripple of irresistible sensation ran through them, as a horse suddenly ripples its skin.
But this moment is also composed of a sense that the legs of the chair are sinking through the centre of the earth, passing through the rich garden earth; they sink, weighted down. Then the sky loses its colour perceptibly and a star here and there makes a point of light. Then changes, unseen in the day, coming in succession seem to make an order evident. One becomes aware that we are spectators and also passive participants in a pageant. And as nothing can interfere with the order, we have nothing to do but accept, and watch. Now little sparks, which are not steady, but fitful as if somebody were doubtful, come across the field. Is it time to light the lamp, the farmers' wives are saying: can I see a little longer? The lamp sinks down; then it burns up. All doubt is over. Yes the time has come in all cottages, in all farms, to light the lamps. Thus then the moment is laced about with these weavings to and fro, these inevitable downsinkings, flights, lamp lightings.
But that is the wider circumference of the moment. Here in the centre is a knot of consciousness; a nucleus divided up into four heads, eight legs, eight arms, and four separate bodies. They are not subject to the law of the sun and the owl and the lamp. They assist it. For sometimes a hand rests on the table; sometimes a leg is thrown over a leg. Now the moment becomes shot with the extraordinary arrow which people let fly from their mouths—when they speak.
"He'll do well with his hay."
The words let fall this seed, but also, coming from that obscure face, and the mouth, and the hand so characteristically holding the cigarette, now hit the mind with a wad, then explode like a scent suffusing the whole dome of the mind with its incense, flavour; let fall, from their ambiguous envelope, the self-confidence of youth, but also its urgent desire, for praise, and assurance; if they were to say: "But you're no worse looking than many—you're no different—people don't mark you out to laugh at you": that he should be at once so cock-ahoop and so ungainly makes the moment rock with laughter, and with the malice that comes from overlooking other people's motives; and seeing what they keep hid; and so that one takes sides; he will succeed; or no he won't; and then again, this success, will it mean my defeat; or won't it? All this shoots through the moment, makes it quiver with malice and amusement; and the sense of watching and comparing; and the quiver meets the shore, when the owl flies out, and puts a stop to this judging, this overseeing, and with our wings spread, we too fly, take wing, with the owl, over the earth and survey the quietude of what sleeps, folded, slumbering, arm stretching in the vast dark and sucking its thumb too; the amorous and the innocent; and a sigh goes up. Could we not fly too, with broad wings and with softness; and be all one wing; all embracing, all gathering, and these boundaries, these pryings over hedge into hidden compartments of different colours be all swept into one colour by the brush of the wing; and so visit in splendour, augustly, peaks; and there lie exposed, bare, on the spine, high up, to the cold light of the moon rising, and when the moon rises, single, solitary, behold her, one, eminent over us?
Ah, yes, if we could fly, fly, fly...Here the body is gripped; and shaken; and the throat stiffens; and the nostrils tingle; and like a rat shaken by a terrier one sneezes; and the whole universe is shaken; mountains, snows, meadows; moon; higgledly, piggledy, upside down, little splinters flying; and the head is jerked up, down. "Hay fever—what a noise!—there's no cure. Except spending hay time on a boat. Perhaps worse than the disease, though that's what a man did—crossing and recrossing, all the summer."
Issuing from a white arm, a long shape, lying back, in a film of black and white, under the tree, which, down sweeping, seems a part of that curving, that flowing, the voice, with its ridicule and its sense, reveals to the shaken terrier its own insignificance. No longer part of the snow; no part of the mountain; not in the least venerable to other human beings; but ridiculous; a little accident; a thing to be laughed at; discriminated out; seen clearly cut out, sneezing, sneezing, judged and compared. Thus into the moment steals self-assertion; ah, the sneeze again; the desire to sneeze with conviction; masterfully; making oneself heard; felt; if not pitied, then somebody of importance; perhaps to break away and go. But no; the other shape has sent from its arrow another fine binding thread, "Shall I fetch my Vapex?" She, the observant, the discriminating, who keeps in mind always other instances, so that there is nothing singular in any special case—who refuses to be jumped into extravagance; and so sceptical withal; cannot believe in miracles; sees the vanity of effort there; perhaps then it would be well to try here; yet if she isolates cases from the mists of hugeness, sees what is there all the more definitely; refuses to be bamboozled; yet in this definite discrimination shows some amplitude. That is why the moment becomes harder, is intensified, diminished, begins to be stained by some expressed personal juice; with the desire to be loved, to be held close to the other shape; to put off the veil of darkness and see burning eyes.
Then a light is struck; in it appears a sunburnt face, lean, blue-eyed, and the arrow flies as the match goes out:
"He beats her every Saturday; from boredom, I should say; not drink; there's nothing else to do."
The moment runs like quicksilver on a sloping aboard into the cottage parlour; there are the tea things on the table; the hard windsor chairs; tea caddies on the shelf for ornament; the medal under a glass shade; vegetable steam curling from the pot; two children crawling on the floor; and Liz comes in and John catches her a blow on the side of her head as she slopes past him, dirty, with her hair loose and one hairpin sticking out about to fall. And she moans in a chronic animal way; and thy children look up and then make a whistling noise to imitate the engine which they trail across the flags; and John sits himself down with a thump at the table and carves a hunk of bread and munches because there is nothing to be done. A steam rises from his cabbage patch. Let us do something then, something to end this horrible moment, this plausible glistening moment that reflects in its smooth sides this intolerable kitchen, this squalor; this woman moaning; and the rattle of the toy on the flags, and the man munching. Let us smash it by breaking a match. There—snap.
And then comes the low of the cows in the field; and another cow to the left answers; and all the cows seem to be moving tranquilly across the field and the owl flutes off its watery bubble. But the sun is deep below the earth. The trees are growing heavier, blacker; no order is perceptible; there is no sequence in these cries, these movements; they come from no bodies; they are cries to the left and to the right. Nothing can be seen. We can only see ourselves as outlines, cadaverous, sculpturesque. And it is more difficult for the voice to carry through this dark. The dark has stripped the fledge from the arrow—the vibrations that rise red shiver as it passes through us.
Then comes the terror, the exultation; the power to rush out unnoticed, alone; to be consumed; to be swept away to become a rider on the random wind; the tossing wind; the trampling and neighing wind; the horse with the blown-back mane; the tumbling, the foraging; he who gallops for ever, nowhither travelling, indifferent; to be part of the eyeless dark, to be rippling and streaming, to feel the glory run molten up the spine, down the limbs, making the eyes glow, burning, bright, and penetrate the buffeting waves of the wind.
"Everything's sopping wet. It's the dew off the grass. Time to go in."
And then one shape heaves and surges and rises, and we pass, trailing coats, down the path towards the lighted windows, the dim glow behind the branches, and so enter the door, and the square draws its lines round us, and here is a chair, a table, glasses, knives, and thus we are boxed and housed, and will soon require a draught of soda-water and to find something to read in bed.
ON BEING ILL
First published in 1930
Considering how common illness is, how tremendous the spiritual change that it brings, how astonishing, when the lights of health go down, the undiscovered countries that are then disclosed, what wastes and deserts of the soul a slight attack of influenza brings to view, what precipices and lawns sprinkled with bright flowers a little rise of temperature reveals, what ancient and obdurate oaks are uprooted in us by the act of sickness, how we go down into the pit of death and feel the waters of annihilation close above our heads and wake thinking to find ourselves in the presence of the angels and the harpers when we have a tooth out and come to the surface in the dentist's arm-chair and confuse his "Rinse the mouth—rinse the mouth" with the greeting of the Deity stooping from the floor of Heaven to welcome us—when we think of this, as we are so frequently forced to think of it, it becomes strange indeed that illness has not taken its place with love and battle and jealousy among the prime themes of literature. Novels, one would have thought, would have been devoted to influenza; epic poems to typhoid; odes to pneumonia; lyrics to toothache. But no; with a few exceptions De Quincey attempted something of the sort in The Opium Eater; there must be a volume or two about disease scattered through the pages of Proust—literature does its best to maintain that its concern is with the mind; that the body is a sheet of plain glass through which the soul looks straight and clear, and, save for one or two passions such as desire and greed, is null, and negligible and non-existent. On the contrary, the very opposite is true. All day, all night the body intervenes; blunts or sharpens, colours or discolours, turns to wax in the warmth of June, hardens to tallow in the murk of February. The creature within can only gaze through the pane—smudged or rosy; it cannot separate off from the body like the sheath of a knife or the pod of a pea for a single instant; it must go through the whole unending procession of changes, heat and cold, comfort and discomfort, hunger and satisfaction, health and illness, until there comes the inevitable catastrophe; the body smashes itself to smithereens, and the soul (it is said) escapes. But of all this daily drama of the body there is no record. People write always of the doings of the mind; the thoughts that come to it; its noble plans; how the mind has civilised the universe. They show it ignoring the body in the philosopher's turret; or kicking the body, like an old leather football, across leagues of snow and desert in the pursuit of conquest or discovery. Those great wars which the body wages with the mind a slave to it, in the solitude of the bedroom against the assault of fever or the oncome of melancholia, are neglected. Nor is the reason far to seek. To look these things squarely in the face would need the courage of a lion tamer; a robust philosophy; a reason rooted in the bowels of the earth. Short of these, this monster, the body, this miracle, its pain, will soon make us taper into mysticism, or rise, with rapid beats of the wings, into the raptures of transcendentalism. The public would say that a novel devoted to influenza lacked plot; they would complain that there was no love in it—wrongly however, for illness often takes on the disguise of love, and plays the same odd tricks. It invests certain faces with divinity, sets us to wait, hour after hour, with pricked ears for the creaking of a stair, and wreathes the faces of the absent (plain enough in health, Heaven knows) with a new significance, while the mind concocts a thousand legends and romances about them for which it has neither time nor taste in health. Finally, to hinder the description of illness in literature, there is the poverty of the language. English, which can express the thoughts of Hamlet and the tragedy of Lear, has no words for the shiver and the headache. It has all grown one way. The merest schoolgirl, when she falls in love, has Shakespeare or Keats to speak her mind for her; but let a sufferer try to describe a pain in his head to a doctor and language at once runs dry. There is nothing ready made for him. He is forced to coin words himself, and, taking his pain in one hand, and a lump of pure sound in the other (as perhaps the people of Babel did in the beginning), so to crush them together that a brand new word in the end drops out. Probably it will be something laughable. For who of English birth can take liberties with the language? To us it is a sacred thing and therefore doomed to die, unless the Americans, whose genius is so much happier in the making of new words than in the disposition of the old, will come to our help and set the springs aflow. Yet it is not only a new language that we need, more primitive, more sensual, more obscene, but a new hierarchy of the passions; love must be deposed in favour of a temperature of 104; jealousy give place to the pangs of sciatica; sleeplessness play the part of villain, and the hero become a white liquid with a sweet taste—that mighty Prince with the moths' eyes and the feathered feet, one of whose names is Chloral.
But to return to the invalid. "I am in bed with influenza"—but what does that convey of the great experience; how the world has changed its shape; the tools of business grown remote; the sounds of festival become romantic like a merry-go-round heard across far fields; and friends have changed, some putting on a strange beauty, others deformed to the squatness of toads, while the whole landscape of life lies remote and fair, like the shore seen from a ship far out at sea, and he is now exalted on a peak and needs no help from man or God, and now grovels supine on the floor glad of a kick from a housemaid—the experience cannot be imparted and, as is always the way with these dumb things, his own suffering serves but to wake memories in his friends' minds of their influenzas, their aches and pains which went unwept last February, and now cry aloud, desperately, clamorously, for the divine relief of sympathy. But sympathy we cannot have. Wisest Fate says no. If her children, weighted as they already are with sorrow, were to take on them that burden too, adding in imagination other pains to their own, buildings would cease to rise; roads would peter out into grassy tracks; there would be an end of music and of painting; one great sigh alone would rise to Heaven, and the only attitudes for men and women would be those of horror and despair. As it is, there is always some little distraction—an organ grinder at the corner of the hospital, a shop with book or trinket to decoy one past the prison or the workhouse, some absurdity of cat or dog to prevent one from turning the old beggar's hieroglyphic of misery into volumes of sordid suffering; and thus the vast effort of sympathy which those barracks of pain and discipline, those dried symbols of sorrow, ask us to exert on their behalf, is uneasily shuffled off for another time. Sympathy nowadays is dispensed chiefly by the laggards and failures, women for the most part (in whom the obsolete exists so strangely side by side with anarchy and newness), who, having dropped out of the race, have time to spend upon fantastic and unprofitable excursions; C. L. for example, who, sitting by the stale sickroom fire, builds up, with touches at once sober and imaginative, the nursery fender, the loaf, the lamp, barrel organs in the street, and all the simple old wives' tales of pinafores and escapades; A. R., the rash, the magnanimous, who, if you fancied a giant tortoise to solace you or a theorbo to cheer you, would ransack the markets of London and procure them somehow, wrapped in paper, before the end of the days; the frivolous K. T., who, dressed in silks and feathers, powdered and painted (which takes time too) as if for a banquet of Kings and Queens, spends her whole brightness in the gloom of the sick room, and makes the medicine bottles ring and the flames shoot up with her gossip and her mimicry. But such follies have had their day; civilisation points to a different goal; and then what place will there be for the tortoise and the theorbo?
There is, let us confess it (and illness is the great confessional), a childish outspokenness in illness; things are said, truths blurted out, which the cautious respectability of health conceals. About sympathy for example—we can do without it. That illusion of a world so shaped that it echoes every groan, of human beings so tied together by common needs and fears that a twitch at one wrist jerks another, where however strange your experience other people have had it too, where however far you travel in your own mind someone has been there before you—is all an illusion. We do not know our own souls, let alone the souls of others. Human beings do not go hand in hand the whole stretch of the way. There is a virgin forest in each; a snowfield where even the print of birds' feet is unknown. Here we go alone, and like it better so. Always to have sympathy, always to be accompanied, always to be understood would be intolerable. But in health the genial pretence must be kept up and the effort renewed—to communicate, to civilise, to share, to cultivate the desert, educate the native, to work together by day and by night to sport. In illness this make-believe ceases. Directly the bed is called for, or, sunk deep among pillows in one chair, we raise our feet even an inch above the ground on another, we cease to be soldiers in the army of the upright; we become deserters. They march to battle. We float with the sticks on the stream; helter-skelter with the dead leaves on the lawn, irresponsible and disinterested and able, perhaps for the first time for years, to look round, to look up—to look, for example, at the sky.
The first impression of that extraordinary spectacle is strangely overcoming. Ordinarily to look at the sky for any length of time is impossible. Pedestrians would be impeded and disconcerted by a public sky-gazer. What snatches we get of it are mutilated by chimneys and churches, serve as a background for man, signify wet weather or fine, daub windows gold, and, filling in the branches, complete the pathos of dishevelled autumnal plane trees in autumnal squares. Now, lying recumbent, staring straight up, the sky is discovered to be something so different from this that really it is a little shocking. This then has been going on all the time without our knowing it!—this incessant making up of shapes and casting them down, this buffeting of clouds together, and drawing vast trains of ships and waggons from North to South, this incessant ringing up and down of curtains of light and shade, this interminable experiment with gold shafts and blue shadows, with veiling the sun and unveiling it, with making rock ramparts and wafting them away—this endless activity, with the waste of Heaven knows how many million horse power of energy, has been left to work its will year in year out. The fact seems to call for comment and indeed for censure. Ought not some one to write to The Times? Use should be made of it. One should not let this gigantic cinema play perpetually to an empty house. But watch a little longer and another emotion drowns the stirrings of civic ardour. Divinely beautiful it is also divinely heartless. Immeasurable resources are used for some purpose which has nothing to do with human pleasure or human profit. If we were all laid prone, stiff, still the sky would be experimenting with its blues and its golds. Perhaps then, if we look down at something very small and close and familiar, we shall find sympathy. Let us examine the rose. We have seen it so often flowering in bowls, connected it so often with beauty in its prime, that we have forgotten how it stands, still and steady, throughout an entire afternoon in the earth. It preserves a demeanour of perfect dignity and self-possession. The suffusion of its petals is of inimitable rightness. Now perhaps one deliberately falls; now all the flowers, the voluptuous purple, the creamy, in whose waxen flesh the spoon has left a swirl of cherry juice; gladioli; dahlias; lilies, sacerdotal, ecclesiastical; flowers with prim cardboard collars tinged apricot and amber, all gently incline their heads to the breeze—all, with the exception of the heavy sunflower, who proudly acknowledges the sun at midday and perhaps at midnight rebuffs the moon. There they stand; and it is of these, the stillest, the most self-sufficient of all things that human beings have made companions; these that symbolise their passions, decorate their festivals, and lie (as if they knew sorrow) upon the pillows of the dead. Wonderful to relate, poets have found religion in nature; people live in the country to learn virtue from plants. It is in their indifference that they are comforting. That snowfield of the mind, where man has not trodden, is visited by the cloud, kissed by the falling petal, as, in another sphere, it is the great artists, the Miltons and the Popes, who console not by their thought of us but by their forgetfulness.
Meanwhile, with the heroism of the ant or the bee, however indifferent the sky or disdainful the flowers, the army of the upright marches to battle. Mrs. Jones catches her train. Mr. Smith mends his motor. The cows are driven home to be milked. Men thatch the roof. The dogs bark. The rooks, rising in a net, fall in a net upon the elm trees. The wave of life flings itself out indefatigably. It is only the recumbent who know what, after all, Nature is at no pains to conceal—that she in the end will conquer; heat will leave the world; stiff with frost we shall cease to drag ourselves about the fields; ice will lie thick upon factory and engine; the sun will go out. Even so, when the whole earth is sheeted and slippery, some undulation, some irregularity of surface will mark the boundary of an ancient garden, and there, thrusting its head up undaunted in the starlight, the rose will flower, the crocus will burn. But with the hook of life still in us still we must wriggle. We cannot stiffen peaceably into glassy mounds. Even the recumbent spring up at the mere imagination of frost about the toes and stretch out to avail themselves of the universal hope—Heaven, Immortality. Surely, since men have been wishing all these ages, they will have wished something into existence; there will be some green isle for the mind to rest on even if the foot cannot plant itself there. The co-operative imagination of mankind must have drawn some firm outline. But no. One opens the Morning Post and reads the Bishop of Lichfield on Heaven. One watches the church-goers file into those gallant temples where, on the bleakest day, in the wettest fields, lamps will be burning, bells will be ringing, and however the autumn leaves may shuffle and the winds sigh outside, hopes and desires will be changed to beliefs and certainties within. Do they look serene? Are their eyes filled with the light of their supreme conviction? Would one of them dare leap straight into Heaven off Beachy Head? None but a simpleton would ask such questions; the little company of believers lags and drags and strays. The mother is worn; the father tired. As for imagining Heaven, they have no time. Heaven-making must be left to the imagination of the poets. Without their help we can but trifle—imagine Pepys in Heaven, adumbrate little interviews with celebrated people on tufts of thyme, soon fall into gossip about such of our friends as have stayed in Hell, or, worse still, revert again to earth and choose, since there is no harm in choosing, to live over and over, now as man, now as woman, as sea-captain, or court lady, as Emperor or farmer's wife, in splendid cities and on remote moors, at the time of Pericles or Arthur, Charlemagne or George the Fourth—to live and live till we have lived out those embryo lives which attend about us in early youth until "I" suppressed them. But "I" shall not, if wishing can alter it, usurp Heaven too, and condemn us, who have played our parts here as William or Alice, to remain William or Alice for ever. Left to ourselves we speculate thus carnally. We need the poets to imagine for us. The duty of Heaven-making should be attached to the office of the Poet Laureate.
Indeed it is to the poets that we turn. Illness makes us disinclined for the long campaigns that prose exacts. We cannot command all our faculties and keep our reason and our judgment and our memory at attention while chapter swings on top of chapter, and, as one settles into place, we must be on the watch for the coming of the next, until the whole structure—arches, towers, and battlements—stands firm on its foundations. The Decline and Fall of the Roman Empire is not the book for influenza, nor The Golden Bowl nor Madame Bovary. On the other hand, with responsibility shelved and reason in the abeyance—for who is going to exact criticism from an invalid or sound sense from the bed-ridden?—other tastes assert themselves; sudden, fitful, intense. We rifle the poets of their flowers. We break off a line or two and let them open in the depths of the mind:
and oft at eve
Visits the herds along the twilight meadows
wandering in thick flocks along the mountains
Shepherded by the slow unwilling wind.
Or there is a whole three volume novel to be mused over in a verse of Hardy's or a sentence of La Bruyère. We dip in Lamb's Letters—some prose writers are to be read as poets—and find "I am a sanguinary murderer of time, and would kill him inchmeal just now. But the snake is vital", and who shall explain the delight? or open Rimbaud and read:
O saisons o chateaux
Quelle ame est sans défauts?
and who shall rationalise the charm? In illness words seem to possess a mystic quality. We grasp what is beyond their surface meaning, gather instinctively this that, and the other—a sound, a colour, here a stress, there a pause—which the poet, knowing words to be meagre in comparison with ideas, has strewn about his page to evoke, when collected, a state of mind which neither words can express nor the reason explain. Incomprehensibility has an enormous power over us in illness, more legitimately perhaps than the upright will allow. In health meaning has encroached upon sound. Our intelligence domineers over our senses. But in illness, with the police off duty, we creep beneath some obscure poem by Mallarmé or Donne, some phrase in Latin or Greek, and the words give out their scent and distil their flavour, and then, if at last we grasp the meaning, it is all the richer for having come to us sensually first, by way of the palate and the nostrils, like some queer odour. Foreigners, to whom the tongue is strange, have us at a disadvantage. The Chinese must know the sound of Antony and Cleopatra better than we do.
Rashness is one of the properties of illness—outlaws that we are—and it is rashness that we need in reading Shakespeare. It is not that we should doze in reading him, but that, fully conscious and aware, his fame intimidates and bores, and all the views of all the critics dull in us that thunder-clap of conviction which, if an illusion, is still so helpful an illusion, so prodigious a pleasure, so keen a stimulus in reading the great. Shakespeare is getting flyblown; a paternal government might well forbid writing about him, as they put his monument at Stratford beyond the reach of scribbling fingers. With all this buzz of criticism about, one may hazard one's conjectures privately, make one's notes in the margin; but, knowing that someone has said it before, or said it better, the zest is gone. Illness, in its kingly sublimity, sweeps all that aside and leaves nothing but Shakespeare and oneself. What with his overweening power and our overweening arrogance, the barriers go down, the knots run smooth, the brain rings and resounds with Lear or Macbeth, and even Coleridge himself squeaks like a distant mouse.
But enough of Shakespeare—let us turn to Augustus Hare. There are people who say that even illness does not warrant these transitions; that the author of The Story of Two Noble Lives is not the peer of Boswell; and if we assert that short of the best in literature we like the worst—it is mediocrity that is hateful—will have none of that either. So be it. The law is on the side of the normal. But for those who suffer a slight rise of temperature the names of Hare and Waterford and Canning ray out as beams of benignant lustre. Not, it is true, for the first hundred pages or so. There, as so often in these fat volumes, we flounder and threaten to sink in a plethora of aunts and uncles. We have to remind ourselves that there is such a thing as atmosphere; that the masters themselves often keep us waiting intolerably while they prepare our minds for whatever it may be—the surprise, or the lack of surprise. So Hare, too, takes his time; the charm steals upon us imperceptibly; by degrees we become almost one of the family, yet not quite, for our sense of the oddity of it all remains, and share the family dismay when Lord Stuart leaves the room—there was a ball going forward—and is next heard of in Iceland. Parties, he said, bored him—such were English aristocrats before marriage with intellect had adulterated the fine singularity of their minds. Parties bore them; they are off to Iceland. Then Beckford's mania for castle building attacked him; he must lift a French château across the Channel, and erect pinnacles and towers to use as servants' bedrooms at vast expense, upon the borders of a crumbling cliff, too, so that the housemaids saw their brooms swimming down the Solent, and Lady Stuart was much distressed, but made the best of it and began, like the high-born lady that she was, planting evergreens in the face of ruin. Meanwhile the daughters, Charlotte and Louisa, grew up in their incomparable loveliness, with pencils in their hands, for ever sketching, dancing, flirting, in a cloud of gauze. They are not very distinct it is true. For life then was not the life of Charlotte and Louisa. It was the life of families, of groups. It was a web, a net, spreading wide and enmeshing every sort of cousin, dependant, and old retainer. Aunts—Aunt Caledon, Aunt Mexborough—grandmothers—Granny Stuart, Granny Hardwicke—cluster in chorus, and rejoice and sorrow and eat Christmas dinner together, and grow very old and remain very upright, and sit in hooded chairs cutting flowers it seems out of coloured paper. Charlotte married Canning and went to India; Louisa married Lord Waterford and went to Ireland. Then letters begin to cross vast spaces in slow sailing ships and communication becomes still more protracted and verbose, and there seems no end to the space and the leisure of those early Victorian days, and faiths are lost and the life of Hedley Vicars revives them; aunts catch cold but recover; cousins marry; there are the Irish famine and the Indian Mutiny, and both sisters remain to their great, but silent, grief without children to come after them. Louisa, dumped down in Ireland with Lord Waterford at the hunt all day, was often very lonely; but she stuck to her post, visited the poor, spoke words of comfort ("I am sorry indeed to hear of Anthony Thompson's loss of mind, or rather of memory; if, however, he can understand sufficiently to trust solely in our Saviour, he has enough") and sketched and sketched. Thousands of notebooks were filled with pen and ink drawings of an evening, and then the carpenter stretched sheets for her and she designed frescoes for schoolrooms, had live sheep into her bedroom, draped gamekeepers in blankets, painted Holy Families in abundance, until the great Watts exclaimed that here was Titian's peer and Raphael's master! At that Lady Waterford laughed (she had a generous, benignant sense of humour); and said that she was nothing but a sketcher; had scarcely had a lesson in her life—witness her angel's wings scandalously unfinished. Moreover, there was her father's house forever falling into the sea; she must shore it up; must entertain her friends; must fill her days with all sorts of charities, till her Lord came home from hunting, and then, at midnight often, she would sketch him with his knightly face half hidden in a bowl of soup, sitting with her sketch-book under a lamp beside him. Off he would ride again, stately as a crusader, to hunt the fox, and she would wave to him and think each time, what if this should be the last? And so it was, that winter's morning; his horse stumbled; he was killed. She knew it before they told her, and never could Sir John Leslie forget, when he ran downstairs on the day of the burial, the beauty of the great lady standing to see the hearse depart, nor, when he came back, how the curtain, heavy, mid-Victorian, plush perhaps, was all crushed together where she had grasped it in her agony.
THE FAERY QUEEN
The Faery Queen, it is said, has never been read to the end; no one has ever wished Paradise Lost, it is said, a word longer; and these remarks however exaggerated probably give pleasure, like a child's laugh at a ceremony, because they express something we secretly feel and yet try to hide. Dare we then at this time of day come out with the remark that The Faery Queen is a great poem? So one might say early rising, cold bathing, abstention from wine and tobacco are good; and if one said it, a blank look would steal over the company as they made haste to agree and then to lower the tone of the conversation. Yet it is true. Here are some general observations made by one who has gone through the experience, and wishes to urge others, who may be hiding their yawns and their polite boredom, to the same experience.
The first essential is, of course, not to read The Faery Queen. Put it off as long as possible. Grind out politics; absorb science; wallow in fiction; walk about London; observe the crowds; calculate the loss of life and limb; rub shoulders with the poor in markets; buy and sell; fix the mind firmly on the financial columns of the newspapers, weather; on the crops; on the fashions. At the mere mention of chivalry shiver and snigger; detest allegory; revel in direct speech; adore all the virtues of the robust, the plain spoken; and then, when the whole being is red and brittle as sandstone in the sun, make a dash for The Faery Queen and give yourself up to it.
But reading poetry is a complex art. The mind has many layers, and the greater the poem the more of these are roused and brought into action. They seem, too, to be in order. The faculty we employ upon poetry at the first reading is sensual; the eye of the mind opens. And Spenser rouses the eye softly and brilliantly with his green trees, his pearled women, his crested and plumed knights. (Then we need to use our sympathies, not the strong passions, but the simple wish to go with our knight and his lady to feel their heat and cold, and their thirst and hunger.) And then we need movement. Their figures, as they pass along the grass track, must reach a hovel or a palace or find a man in weeds reading his book. That too is gratified. And then living thus with our eyes, with our legs and arms, with the natural quiet feelings of liking and disliking tolerantly and gently excited, we realise a more complex desire that all these emotions should combine. There must be a pervading sense of belief, or much of our emotion will be wasted. The tree must be part of the knight; the knight of the lady. All these states of Mind must support one another, and the strength of the poem will come from the combination, just as it will fail if at any point the poet loses belief.
But it may be said, when a poet is dealing with Faery Land and the supernatural people who live there, belief can only be used' in a special sense. We do not believe in the existence of giants and Ogres, but in something that the poet himself believed them to represent. What then was Spenser's belief, when he wrote his poem? He has himself declared that the "general intention and meaning" of The Faery Queen was "to fashion a gentleman or noble person in virtuous and noble discipline". It would be absurd to pretend that we are more than intermittently conscious of the poet's meaning. Yet as we read, we half consciously have the sense of some pattern hanging in the sky, so that without referring any of the words to a special place, they have that meaning which comes from their being parts of a whole design, and not an isolated fragment of unrelated loveliness. The mind is being perpetually enlarged by the power of suggestion. Much more is imagined than is stated. And it is due to this quality that the poem changes, with time, so that after four hundred years it still corresponds to something which we, who are momentarily in the flesh, feel at the moment.
The question asks itself, then, how Spenser, himself imprisoned in so many impediments of circumstance, remote from us in time, in speech, in convention, yet seems to be talking about things that are important to us too?. Compare, for example, his perfect gentleman with Tennyson's Arthur. Already, much in Tennyson's pattern is unintelligible; an easy butt for satire. Among living writers again, there is none who is able to display a typical figure. Each seems limited to one room of the human dwelling. But with Spenser, though here in this department of our being, we seem able to unlock the door and walk about. We miss certain intensities and details; but on the other hand we are uncabined. We are allowed to give scope to a number of interests, delights, curiosities, and loves that find no satisfaction in the poetry of our own time. But though it would be easy to frame a reason for this and to generalise about the decay of faith, the rise of machines, the isolation of the human being, let us, however, work from the opposite point of view. In reading The Faery Queen the first thing, we said, was that the mind has different layers. It brings one into play and then another. The desire of the eye, the desire of the body, desires for rhythm, movement, the desire for adventure—each is gratified. And this gratification depends upon the poet's own mobility. He is alive in all his parts. He scarcely seems to prefer one to another. We are reminded of the old myth of the body which has many organs, and the lesser and the obscure are as important as the kingly and important.
Here at any rate the poet's body seems all alive. A fearlessness, a simplicity that is like the movement of a naked savage possesses him. He is not merely a thinking brain; he is a feeling body, a sensitive heart. He has hands and feet, and, as he says himself, a natural chastity, so that some things are judged unfit for the pen. "My chaster muse for shame doth blush to write." In short, when we read The Faery Queen, we feel that the whole being is drawn upon, not merely a separate part.
To say this is to say that the conventions that Spenser uses are not enough to cut us off from the inner meaning. And the reason soon makes itself apparent. When we talk of the modern distaste for allegory, we are only saying that we prefer our qualities in another form. The novelist uses allegory; that is to say, when he wishes to expound his characters, he makes them think; Spenser impersonated his psychology. Thus if the novelist now wished to convey his hero's gloom, he would tell us his thoughts; Spenser creates a figure called Despair. He has the fullest sense of what sorrow is. But he typifies it; he creates a dwelling, an old man who comes out of the house and says I cannot tell; and then the figure of Despair with his beautiful elegy. Instead of being prisoned in one breast we are shown the outer semblance. He is working thus on a larger, freer, more depersonalised scale. By making the passions into people, he gives them an amplitude. And who shall say that this is the less natural, the less realistic? For the most exact observer has to leave much of his people's minds obscure.
Once we get him out of his private mythology, there is no mythology which can personify his actions. We wish to convey delight and have to describe an actual garden, here and now; Spenser at once calls up a picture of nymphs dancing, youth, maidens crowned. And yet it is not pictorial merely. Nothing is more refreshing, nothing serves more to sting and revive us than the spray of fresh hard words, little colloquialisms, tart green words that might have been spoken at dinner, joining in easily with the more stately tribe. But such externality is impossible to us, because we have lost our power to create symbols. Spenser's ability to use despair in person depends on his power to create a world in which such a figure draws natural breath, living breath. He has his dwelling at the centre of a universe which offers him the use of dragons, knights, magic; and all the company that exist about them; and flowers and dawn and sunset. All this was still just within his reach. He could believe in it, his public could believe in it, sufficiently to make it serviceable. It was, of course, just slipping from his grasp. That is obvious from his own words: His poem, he says, will be called the abundance of an idle brain. His language, too, oddly compounded of the high flown and the vernacular, was just then at the turn. On the one hand we have the old smooth conventions—Tithonus, Cynthia, Phoebus, and the rest; on the other fry and rascal and losel, the common speech that was current on the lips of the women at the door. He was not asking the reader to adopt an unnatural pose; only to think poetically. And the writer's faith is still effective. We are removed four hundred years from Spenser; and the effort to think back into his mood requires some adjustment, some oblivion; but there is nothing false in what is to be done; it is easier to read Spenser than to read William Morris.
The true difficulty lies elsewhere. It lies in the fact that the poem is a meditation, not a dramatisation. At no point is Spenser under the necessity of bringing his characters to the surface; they lack the final embodiment which is forced so drastically upon the playwright. They sink back into the poet's mind and thus lack definition. He is talking about them; they are not using their own words. Hence the indistinctness which leads, as undoubtedly it does lead, to monotony. The verse becomes for a time a rocking horse; swaying up and down; a celestial rocking horse, whose pace is always rhythmical and seemly, but lulling, soporofic. It sings us to sleep; it lulls the teeth of the wind. On no other terms, however, could we be kept in being. And to compensate we have the quality of that mind; the sense that we are confined in one continuous consciousness, which is Spenser's; that he has saturated and enclosed this world, that we live in a great bubble blown from the poet's brain. Yet if it ignores our own marks, houses, chimneys, roads, the multitudinous details which serve like signposts or features to indicate to us where our emotions lie, it is not a private world of fantasy. Here are the qualities that agitate living people at the moment; spite, greed, jealousy, ugliness, poverty, pain; Spenser in his poet's castle was as acutely aware of the rubs and tumbles of life as the living, but by virtue of his poetry blew them away into the higher air. So we feel not shut in, but freed; and take our way in a world which gives expression to sensation more vigorously, more exactly than we can manage for ourselves in the flesh. It is-a world of astonishing physical brilliance and intensity; sharpened, intensified as objects are in a clearer air; such as we see them, not in dreams, but when all the faculties are alert and vigorous; when the stuffing and the detail have been brushed aside; and we see the bone and the symmetry; now in a landscape, in Ireland or in Greece; and now when we think of ourselves, under the more intense ray of poetry; under its sharper, its lovelier light.
Written in August 1937
The four great plays through which Congreve is immortal take up very little space, and can be bought very cheaply; but they can be seen very seldom, and to read them, silently and in solitude, is to do them an injustice. The best way to repair that injustice is to consider them with the author's help more critically, if more coldly, than we are able when the words are embodied on the stage. Congreve, the man of mystery, the man of superb genius who ceased to use his genius at his height, was also, as any reader may guess from almost any page, of the class of writers who are not so entirely submerged in their gift but that they can watch it curiously and to some extent guide it even when they are possessed by it. Whatever he has to say in a letter, in a dedication, in a prologue about his art is worth listening to with all our ears. Let us then put to him some of the questions that the remembrance of his plays has left over in the mind before we allow the Tattles and the Foresights, the Wishforts and the Millamants to sweep us off our feet.
First there is the old grievance which, though it sounds elementary, must always have its say: the grievance that is summed up in the absurd names he gives his characters—Vainlove, Fondlewife, and the rest—as if we were back again in the age of mummer and cart, when one humour to one character was all the audience could grasp or the actor express. To that he replies, "...the distance of the stage requires the figures represented to be something larger than the life", a warning to the reader to suppress the desire for certain subtleties which the playwright cannot satisfy, a reminder that the imponderable suggestions which come together on silent feet in fiction are denied the playwright. He must speak; the speaking voice is the only instrument allowed him. That introduces a second question: they must speak, but why so artificially? Men and women were never so witty as he makes them; they never speak so aptly, so instantly, and with such a wealth of figure and imagery as he would have us believe. And to that he replies, "I believe if a poet should steal a dialogue of any length, from the extempore discourse of the two wittiest men upon earth, he would find the scene but coldly receiv'd by the town". People on the stage must be larger than life because they are further from us than in the book; and cleverer than life because if he set down their actual words we should be bored to distraction. Every writer has his selection to make; his artifice to enforce; these are the playwright's. These are the methods by which he puts us in the frame of mind needed for his purpose.
Still there remains another grievance which is not so elementary nor so easily laid to rest; and that is, of course, the plot. Who can remember the plot when the book is shut? Who has not been teased by its intricacies while the book is open? As everybody is agreed something must happen, and it matters very little what happens if it serves to make the characters more real, or more profound, than they would otherwise have been; a plot should put the characters on the rack and show them thus extended. But what are we to say when the plot merely teases and distorts the character, and distracts us from any more profound enjoyment than that of asking who is behind that door, who is behind that mask? To this Congreve the critic gives us no satisfactory answer. Sometimes, as in the preface to The Double Dealer, he prides himself that he has maintained "the unities of the drama". But a certain doubt declares itself elsewhere. In the dedication to The Way of the World he envies Terence. Terence, he points out, had "great advantages to encourage his undertaking for he built most on the foundations of Menander; his plots were generally modelled and his characters ready drawn to his hand". Either then, one must conclude, the old weather-worn plots which slip into the mind so smoothly that we scarcely notice them—the legendary, the prehistoric—are the only tolerable ones, or we are forced to suppose that the plot-making genius is so seldom combined with the genius for creating character that we must allow even Shakespeare to fail here—even Shakespeare sometimes lets the plot dictate to the character; suffers the story to drag the character out of its natural orbit. And Congreve, who had not Shakespeare's miraculous fecundity, who could not cover up the farfetched and the mechanical with the abundance of his imagination and the splendour of his poetry, fails here. The character is squeezed to fit the situation; the machine has set its iron stamp upon live flesh and blood.
But, now that we have dismissed the questions that hang about an unopened book, let us submit ourselves to the dramatist in action. The dramatist is in action from the very first word on the very first page. There are no preliminaries, no introductions; the curtain rises and they are in the thick of it. Never was any prose so quick. Miraculously pat, on the spot, each speaker caps the last, without fumbling or hesitation; their minds are full charged; it seems as if they had to rein themselves in, bursting with energy as they are, alive and alert to their finger tips. It is we who fumble, make irrelevant observations, notice the chocolate or the cinnamon, the sword or the muslin, until the illusion takes hold of us, and what with the rhythm of the speech and the indescribable air of tension, of high breeding that pervades it, the world of the stage becomes the real world and the other, outside the play, but the husk and cast-off clothing. To attempt to reduce this first impression to words is as futile as to explain a physical sensation—the slap of a wave, the rush of wind, the scent of a bean field. It is conveyed by the curl of a phrase on the ear; by speed; by stillness. It is as impossible to analyse Congreve's prose as to distinguish the elements—the bark of a dog, the song of a bird, the drone of the branches—which make the summer air. But then, since words have meaning, we notice here a sudden depth beneath the surface, a meaning not grasped but felt, and then come to realise something not merely dazzling in this world, but natural, for all its wit; even familiar, and traditional. It has a coarseness, a humour something like Shakespeare's; a toppling imagination that heaps image upon image; a lightning swiftness of apprehension that snatches a dozen meanings and compacts them into one.
And yet it is not Shakespeare's world; for just as we think, tossed up on the crest of some wonderful extravagance of humour, to be swept into poetry we come slap against hard common sense, and realise that here is a different combination of elements from the poet's. There is tragedy—Lady Touchwood and Maskwell in The Double Dealer are not comic figures—but when tragedy and comedy collide it is comedy that wins. Lady Touchwood seizes her dagger; but she drops it. A moment more and it would have been too late. Already she has passed from prose to rant. Already we feel not that the scene is ridiculous, for there is passion there; but that it is unsafe. Congreve has lost his control, his fine balance is upset; he feels the ground tremble beneath him. Mr. Brisk's comment, "This is all very surprising, let me perish", is the appropriate one. With that he finds his feet and withdraws.
The world that we have entered, then, in Congreve's comedies is not the world of the elemental passions. It is an enclosure surrounded with the four walls of a living room. Ladies and gentlemen go through their figures with their tongues to the measure dictated by common sense as precisely as they dance the minuet with their feet; but the image has only a superficial rightness. We have only to compare Congreve's comedy with Goldsmith's or with Sheridan's, let alone with Wilde's, to be aware that if, to distinguish him from the Elizabethans, we confine him to a room, not a world, that room is not the drawing-room of the eighteenth century, still less is it the drawing-room of the nineteenth century. Drays roar on the cobbles beneath; the brawling of street hucksters and tavern rioters comes in at the open windows. There is a coarseness of language, an extravagance of humour, and a freedom of manners which cast us back to the Elizabethans. Yet it is in a drawing-room, surrounded by all the fopperies and refinements of the most sophisticated society in the world, that these ladies and gentlemen speak so freely, drink so deeply, and smell so strong. It is the contrast, perhaps, that makes us more aware of the coarseness of the Restoration dramatists than of the Elizabethan. A great lady who spits on the floor offends where a fishwife merely amuses. And perhaps it was for this reason that Congreve incurred first the majestic censure of Dr. Johnson and then the more supercilious contempt of the Victorians who neglected, Sir Edmund Gosse informs us, either to read him or to act him. More conscious than we are of the drawing-room, they were quicker repelled perhaps by any violation of its decencies.
But however we may account for the change, to reach The Way of the World through The Old Bachelor, The Double Dealer, and Love for Love is to become more and more at loggerheads with Dr. Johnson's dictum:
It is acknowledged, with universal conviction, that the perusal of his works will make no man better; and that their ultimate effect is to represent pleasure in alliance with vice, and to relax those obligations by which life ought to be regulated.
On the contrary, to read Congreve's plays is to be convinced that we may learn from them many lessons much to our advantage both as writers of books and—if the division is possible—as livers of life. We might learn there, to begin with, the discipline of plain speech; to leave nothing lurking in the insidious shades of obscurity that can be said in words. The phrase is always finished; nothing is left to dwindle into darkness, to sound after the words are over. Then, when we have learnt to express ourselves, we may go on to observe the indefatigable hard work of a great writer: how he keeps us entertained because something is always happening, and on the alert because that something is always changing, and by contrasting laughter and seriousness, action and thought, keeps the edge of the emotions always sharp. To ring so many changes and keep up so rapid a speed of movement might well be enough, but in addition each of these characters has its own being, and each differs—the sea-dog from the fop, the old eccentric from the man of the world, the maid from the mistress. He has to enter into each; to leave his private pigeon-hole and invest himself with the emotions of another human being, so that speech meets speech at full tilt, each from its own angle.
A genius for phrase-making helps him. Now he strikes off a picture in a flash: "...there he lies with a great beard, like a Russian bear upon a drift of snow". Now in a marvellous rush of rapid invention he conveys a whole chapter of guttersnipe life.
That I took from the washing of old gauze and weaving of dead hair, with a bleak blue nose, over a chafing dish of starv'd embers, and dining behind a traverse rag, in a shop no bigger than a bird cage.
Then, again, like some miraculous magpie he repeats the naive words, follows the crude emotions, of a great gawky girl like Miss Prue. However it is done, to enter into such diverse characters is, the moralists may note, at any rate to forget your own. Undoubtedly it is true that his language is often coarse; but then it is also true that his characters are more alive, quicker to strip off veils, more intolerant of circumlocutions than the ordinary run of people. They are reduced to phrase-making oftener than we could wish, and fine phrases often sound cynical; but then the situations are often so improbable that only fine phrases will cover them, and words, we must remember, were still to Congreve's generation as delightful as beads to a savage. Without that rapture the audacity of his splendid phrases would have been impossible.
But if we have to admit that some of the characters are immoral, and some of the opinions cynical, still we must ask how far we can call a character immoral or an opinion cynical if we feel that the author himself was aware of its immorality and intended its cynicism? And, though it is a delicate matter to separate an author from his characters and detach him from their opinions, no one can read Congreve's comedies without detecting a common atmosphere, a general attitude that holds them together for all their diversity. The stress laid on certain features creates a common likeness as unmistakable as the eyes and nose of a family face. The plays are veined through and through with satire. "Therefore I would rail in my writings and be revenged", says Valentine in Love for Love. Congreve's satire seems sometimes, as Scandal says, to have the whole world for its butt. Yet there is underneath a thinking mind, a mind that doubts and questions. Some hint thrown out in passing calls us back to make us ponder it: for instance, Mellefont's "Ay, My Lord, I shall have the same reason for happiness that your Lordship has, I shall think myself happy". Or, again, a sudden phrase like "There's comfort in a hand stretched out to one that's sinking" suggests, by its contrast, a sensibility that trembles on the edge of tears. Nothing is stressed; sentiment never broadens into sentimentality; everything passes as quickly as a ray of light and blends as indistinguishably. But if we needs must prove that the creator of Sir Sampson Legend and old Foresight had not only a prodigious sense of human absurdity and a bitter conviction of its insincerity but as quick a regard for its honesty and decency as any Victorian or Dr. Johnson himself, we need only point to his simplicity. After we have run up the scale of absurdity to its sublime heights a single word again and again recalls us to common sense. "That my poor father should be so very silly" is one such comment, immensely effective in its place. Again and again we are brought back to sanity and daylight by the sound of a voice speaking in its natural tones.
But it is the Valentines, the Mirabells, the Angelicas, and the Millamants who keep us in touch with truth and, by striking a sudden serious note, bring the rest to scale. They have sharpened their emotions upon their wits. They have flouted each other; bargained; taken love and examined it by the light of reason; teased and tested each other almost beyond endurance. But when it comes to the point and she must be serious, the swiftest of all heroines, whose mind and body seem equally winged, so that there is a rush in the air as she passes and we exclaim with Scandal. "Gone; why, she was never here, nor anywhere else", has a centre of stillness in her heart and enough emotion in her words to furbish out a dozen pages of eloquent disquisition. "Why does not the man take me? Would you have me give myself to you over again?" The words are simple, and yet, after what has already been said, so brimming with meaning that Mirabell's reply, "Ay, over and over again", seems to receive into itself more than words, can say. And this depth of emotion, we have to reflect, the change and complexity that are implied in it, have been reached in the direct way; that is by making each character speak in his or her own person, without addition from the author or any soliloquy save such as can be spoken on the stage in the presence of an audience. No, whether we read him from the moralist's angle or from the artist's, to agree with Dr. Johnson is an impossibility. To read the comedies is not to "relax those obligations by which life ought to be regulated". On the contrary, the more slowly we read him and the more carefully, the more meaning we find, the more beauty we discover.
Here perhaps, in the reflections that linger when the book is shut and The Way of the World is finished, lies the answer to the old puzzle why at the height of his powers he stopped writing. It is that he had done all that was possible in that kind. The last play held more than any audience could grasp at a single sitting. The bodily presence of actors and actresses must, it would seem, often overpower the words that they had to speak. He had forgotten, or disregarded, his own axiom that "the distance of the stage requires the figures represented to be something larger than the life". He had written, as he says in the dedication, for "the Few", and "but little of it was prepar'd for that general taste which seems now to be predominant in the palates of our audience". He had come to despise his public, and it was time therefore either to write differently or to leave off. But the novel, which offered another outlet, was uncongenial; he was incorrigibly dramatic, as his one attempt at fiction shows. And poetry, too, was denied him, for though again and again he brings us to the edge of poetry in a phrase like "You're a woman, One to whom Heav'n gave beauty, when it grafted roses on a briar", and suggests, as. Meredith does in his novels, the mood of poetry, he was unable to pass beyond human idiosyncrasy to the more general statement of poetry. He must move and laugh and bring us into touch with action instantly.
Since these two paths then were blocked, what other way was there for a writer of Congreve's temperament but to make an end? Dangerous as it is to distinguish a writer from his work, we cannot help but recognise a man behind the plays—a man as sensitive to criticism as he was skilled in inflicting it on others; for what is his defiance of the critics but deference to them? A scholar too with all the scholar's fastidiousness; a man of birth and breeding for whom the vulgar side of fame held little gratification; a man, in short, who might well have said with Valentine, "Nay, I am not violently bent upon the trade", and sit, handsome and portly and sedate as his portrait shows him, "very gravely with his hat over his eyes", as the gossips observed him, content to strive no more.
But indeed he left very little for the gossips to feed upon; no writer of his time and standing passed through the world more privately. Voltaire left a dubious anecdote; the Duchess of Marlborough, it is said, had an effigy of him set at her table after his death; his few discreet letters provide an occasional hint: "Ease and quiet is what I hunt after"; "I feel very sensibly and silently for those whom I love"—that is all. But there is a fitness in this very absence of relics as though he had consumed whatever was irrelevant to his work and left us to find him there. And there, indeed, we find something beyond himself; beyond the many figures of his fertile and brilliant imagination; beyond Tattle and Ben, Foresight and Angelica, Maskwell and Lady Wishfort, Mirabell and Mellefont and Millamant. Between them they have created what is not to be confined within the limits of a single character or expressed in any one play—a world where each part depends upon the other, the serene, impersonal, and indestructible world of art.
Written in 1925
That men have ghosts; that ghosts revisit the places where life ran quickest; that Sterne therefore haunts no churchyard, but the room where Tristram Shandy was written—all this may be taken for granted; even if we find it no such easy matter to decide in what mood and with what motives the ghost of Sterne beat regularly at midnight upon the wall of Mrs. Simpson's best bedroom in Stonegate, Yorks.
Mrs. Simpson made no secret of the matter, which perhaps was too notorious to be concealed. Owing to the ghost, she told the young Mathews, she would let the rooms, large as they were and convenient for the theatre, very cheap indeed, and perceiving something in Mrs. Mathews's aspect which made her think her, as indeed she was, "a candidate for literary gains", she added how it was in this room and at that very table that a very famous book called Tristram Shandy was written, she believed, some forty years before. Even without its literary associations the cheapness of the lodging was enough to excuse the ghost, for the young Mathews were extremely poor—Charles acting at a salary of twenty-five shillings a week in Tate Wilkinson's company, but Tate did not scruple to tell him that with his screwed-up face and threadpaper body he had better keep a shop than go upon the stage, while poor Eliza, the girl whom Charles had married, out of pity, the second Mrs. Mathews said, without "really loving her", had not a penny to her name, which happened to be Strong. And Strong she had need to be, said Charles's father, strong in character, strong in health, strong in principles, strong in affections, if she became the wife of the misguided boy who so wantonly preferred the stage and all its evils to selling serious books to saintly personages in the Strand. But Eliza herself was conscious of one source of strength only (besides that she was very much in love with her husband) and that was her gift for writing—her passion for literature. When Mrs. Simpson at one and the same moment lowered the rent and mentioned Sterne, the bargain was struck and the rooms taken. The ghost must be endured.
That necessity arose, indeed, the very first night the Mathews went to bed. As York Minster struck the first chimes of midnight three powerful blows resounded on the wall at the back of the young couple's bed. The same thing happened night after night. York Minster had only to begin striking twelve and the ghost struck three. Watch was set; experiments were made; but whether it was the ghost of Sterne or the malevolence of some ill-wisher, no cause could be discovered and the young people could only move their bed, and shift their bedtime, which, as the playhouse hours were late and Charles had a passion for reading or talking late at night, was a matter of not much difficulty. Such courage could hardly have been expected of so frail a woman. But unfortunately Eliza had a reason for tolerating ghosts, if they reduced the rent, which she dared not tell her Husband. Every week, like the honest and affectionate creature he was, he poured his salary—twenty-five shillings—into her lap, and every week she assured him that twenty-five shillings was ample—all their bills were paid. But every week a certain number, an increasing number, for all she could do to keep their expenses down, were slipped, unpaid, into Sterne's table drawer. Eliza perhaps had some inkling of the fact that her husband had married her impetuously in the goodness of his heart, from pity that the only child of the late Dr. Strong should have to support herself by inculcating the principles of arithmetic into the daughters of the gentlemen of Swansea. At any rate, she was determined that he should never suffer for his generosity. Comforts he must have, and if twenty-five shillings a week were not enough to pay for them she would pay for them herself out of her own earnings. She was confident that she could do it. She would write a novel, a novel like Tristram Shandy perhaps, save that her knowledge of life was unfortunately limited, which would set all London in a roar. And then she would come to her husband with the bills receipted and her deception confessed, and give him the proceeds of her famous novel to do what he liked with. But that day was still far distant—at present she must work. While Charles was acting and reading, while Charles, who loved talk and hated bedtime, was gossiping and chattering and taking off odd characters, so that he was famous in the green room whatever he might be upon the stage, Eliza wrote. She wrote every kind of piece—novels, sonnets, elegies, love songs. The publishers took them, the publishers printed them, but they never paid her a penny for them, and on she toiled, always carefully concealing her work from her husband, so that his surprise when the day of revelation came might be entire.
Meanwhile the bills accumulated, and act as Charles might (and there were some young ladies in York who thought him the finest comic actor they had ever seen, and would stand a whole evening in the wings to hear him) his salary remained twenty-five shillings and no more. It was useless for the ghost to knock; useless for Eliza's back to ache; useless for her good brother-in-law William to implore her to write everything twice over, peruse the best works of the best authors, and find mottoes for all her chapters—she had no choice; write she must. Surely the novel she was now engaged on—What Has Been—promised better than the others, and with a little help from William, who knew Mr. Wordsworth and could perhaps solicit the favours of reviewers, might, indeed must, bring her fame. Sitting where Sterne had sat, writing where Sterne had written, the omens were auspicious.
There, at any rate, long after the ghost had knocked thrice and York Minster had tolled twelve times, she sat writing. She neglected to take exercise. She never allowed herself to stand in the wings a whole evening to see her Charles in his comic parts. At last signs of exhaustion became apparent. Alarmed by her wasted looks, Charles brought a doctor to see her. But one glance was enough. Nothing could now be done. Whatever the cause, lack of exercise or lack of food, or whether the nervous strain of hearing those three taps delivered nightly had hopelessly injured her constitution, consumption was far advanced; and all the doctor could do was to prescribe apothecaries' stuff, which, expensive as it was, Charles feared to be useless.
Eliza was now confined to bed. Her projects had totally failed. What Has Been appeared, but, even corrected and at least partially supplied with mottoes by the kindness of Mr. William Mathews, failed like its predecessors, and she was at an end of her resources. Even so, the worst was still to come. The butcher or the baker stopped Charles in the street and demanded payment. The drawer and its bills had to be revealed. The whole of her miserable, innocent, overwhelming deception must be confessed. Charles took the blow like an angel, said not a word of complaint, though the bills were to hang about his neck for years to come. And now, for the first time, the ghost fell silent. York Minster struck midnight and there was no reply. But really the silence was worse than the sound! To lie and wait for the three stout strokes as York Minster struck twelve, and then to hear nothing—that seemed to convey a more appalling message than the blow itself—as if the enemy had worked its will and gone its way. But this very silence inspired Eliza Mathews with a desperate courage. With the ghost quiescent, the novels unsold, the bills unpaid, Charles all day at the playhouse, often cast down by his failure and the thought of his father's displeasure—for the God-fearing bookseller in the Strand, where the whole house was hung with portraits of the Saints framed in ebony, and canting humbugs bamboozled the simple old tradesman out of his livelihood, had been justified in his warnings—with all this that she had caused, or failed to prevent, to oppress her, and the daily decline of her own health to appal, Eliza framed a terrible and desperate resolve. There was a girl at the playhouse for whom she had an affection, a singer who was friendless as Eliza herself had been, and timid and charming. For this young woman, Anne Jackson by name, Eliza sent. She was better, Eliza claimed, as Anne came in, and indeed her looks confirmed it; much better, because of an idea that had come to her, which she counted on her friend's help to carry out. First, before her husband came back, she wished to be propped up in bed, in order, she said mysteriously, "to be able to look at you both while I reveal my project". Directly Charles Mathews appeared, and exclaimed in his turn at her sparkle, her animation, she began. Sitting up, forced often to pause for breath, she said how she knew her fate; death was inevitable; how the thought of her husband's loneliness oppressed her—worse, the thought that he would marry again a woman who did not understand him. Here she paused exhausted, and Charles looked at Anne and Anne at Charles, as if to ask had she lost her reason? On she went again. It was even worse, she said, to think of Anne left in her youth and inexperience without such help as she, Eliza, might have given her. Thoughts of this kind embittered her last moments. Surely, then, they would grant the last request she would ever make? She took her husband's hand and kissed it; then took her friend's and kissed that too "in a solemn manner, which I remember made me tremble all over", and at last framed her terrible request. Would they, there and then, pledge themselves to marry each other when she was dead?
Both were flabbergasted. Anne burst into floods of tears. Never, she cried, never could she contemplate marriage with Mr. Mathews She esteemed him; she admired him; she thought him the first comic actor of the age; that was all. Charles himself fairly scolded the dying woman for putting them in such an awful predicament. He ran after the sobbing girl to implore her to believe that it was none of his doing—that his wife was raving and no longer knew what she said. And so Eliza died. For months a coldness, an awkwardness, existed between the widower and his wife's friend. They scarcely met. Then at the same moment on the same night the same vision visited them, far apart as they were, in their sleep. Eliza came imploring to the side of each. Well, said Anne, it must be destiny; Shakespeare said so; "marriage comes of destiny", he said, and she was disposed to agree with Shakespeare. Twelve months after she had sworn that she could never feel anything but esteem for Mr. Mathews, she was his wife.
But what conclusion are we led to draw from the behaviour of Sterne's ghost? Was it malicious or tender, did it come to warn or to mock, or merely to dip its handkerchief once more in the tears of lovers? Nobody could say. Charles Mathews told the story of the Stonegate ghost a hundred times in the green room at York, but nobody came forward with an explanation. Again one night he was telling the story, when an old actress who had returned to the stage after a long absence and had heard nothing of the ghost or of the Mathews, exclaimed in astonishment "Why, that was my dear Billy Leng!" And then she told them how they lodged next door to Mrs. Simpson's in Stonegate; how her dear Billy had been bedridden for many years; how, as his infirmities increased, so did his fear of robbers; how, being the most methodical of men, and growing more so with age, he waited always for York Minster to chime midnight and then took his crutch-handled stick and beat forcibly on the calico at the back of his bed to warn any thief who might be concealed there. "It was no ghost," she cried, "it was my dear Billy Leng!"
Cleared of the imputation which the ghost of Sterne had cast upon them, Mrs. Simpson now let her rooms for the ordinary sum.
Written in February 1941
No one can destroy Boswell's sketch of Mrs. Thrale. It is done with such venom and such vivacity; it contains so much of Boswell himself, and, like all Boswell's portraits, it fits so perfectly into its place in the picture. But Mr. Clifford* has done what is far more valuable and more difficult. He has gone behind Boswell's sketch and beyond it. He has amplified it and solidified it. He has brought Mrs. Thrale herself into the foreground. And by so doing he has changed the proportions of the picture.
[* Hester Lynch Piozzi (Mrs. Thrale). By James L. Clifford.]
Mrs. Thrale herself has lived an ambiguous scattered life all these years in a mass of half published or unpublished documents sprinkled over England and America. And for years Mr. Clifford has been tracking her down and piecing her together with the most devoted care and the most triumphant results. If it were not that her diary and her commonplace book are still in the hands of an American editor, we should suppose that the whole woman is now before us. As it is we know her better perhaps than almost any living person. We can follow her, as we cannot follow our friends, at a foot's pace for more than eighty years. Yet the effect of this minute illumination is baffling. The more we know of people the less we can sum them up. Just as we think to hold the bird in our hands, the bird flits off. Who can explain, for example, why the brilliant and precocious Hester consented to marry the man whom Mr. Clifford now reveals in his entirety—the odious Thrale? When her father discovered their clandestine correspondence he fell dead in a fit. And for once the incompetent, irascible, impecunious Welsh squire was in the right. No marriage could have been more incongruous. Hester was impressionable, generous, intellectual. Thrale was a cold, callous, conventional man of business who aped the habits of the aristocracy but was without their distinction, who had the grossness of the middle class but lacked their geniality. If he had any affection besides his passion for meat and drink, it was not for Hester but for her mother. Yet Hester married him and was at once immured in the great house at Streatham, "like a kept mistress", as Johnson said, "shut from the world".
It was her marriage, however, that gave depth to her relationship with Johnson. Had she been happy, she would never have known him as she did. He gave her, of course, the obvious things—stimulus, society, an outlet for her irrepressible curiosity and ambition. But the friendship between the young wife and the old man was based on deeper things. Johnson was not merely a distinguished guest at dinner. He had the run of the house. He and his hostess went together behind the scenes. It was to Johnson that Mrs. Thrale turned when her eyes were red with crying—when Queeney snubbed her; when Mr. Thrale took another mistress; when ruin threatened them; when one after another the children were born, and the children fell ill and died. "What shall I do? What can I do? Has the flattery of my friends made me too proud of my Brains? and must these poor Children suffer for my crime?" she cried out to him in her anguish. He gave her counsel and confidence. In return she gave him a share in the family, a stake in the next generation, and domesticity. It was by "the pump-side in the kitchen garden" at Streatham that Johnson was caught "fusing metals" when Mr. Thrale came back from the city and put out the fire. One anecdote sums up their relationship. Johnson had been more than usually rude to her in company, and some one protested. But Mrs. Thrale passed it off with a smile. "Oh dear good man!" she said. And when the words were repeated to Johnson "he seemed much delighted...and repeated in a loud whisper, Oh dear good man!"
Why, then, when Mr. Thrale finally ate himself to death, did a friendship that had been daily rubbed and tried for sixteen years come to an end? Partly, as Mr. Clifford makes plain, because Mrs. Thrale had suppressed a great deal. She had certain individual tastes of her own. One was a romantic passion for the scenery of Wales; another was a genuine love for painting. But when the three of them travelled in Wales, neither Johnson nor Thrale had a word of praise for the landscape; and in Paris she was left to gaze for hours in the galleries alone. Again as a writer—she scribbled incessantly—she was by nature an innovator. "Why, she wondered, should there be one set of words for writing and another for speaking?" She saw no reason why one should not write as one speaks, familiarly, colloquially; and her pages, "crowded with familiar phrases and vulgar idioms", roused the disgust of the conventional. Clearly there were a thousand curiosities and desires dormant in her that the old man could not gratify. So long as she was Thrale's wife and the mistress of Streatham she must suppress them. But when her husband's dead weight was lifted off her, up she sprang. She became again the precocious and impulsive Hester Salusbury. Perhaps marriage had kept her youth green in her—she was only just past forty when she became a widow. And one day before Thrale's death Mrs. Byron had warned her, while Piozzi sang to the harpsichord: "You know, I suppose, that that man is in Love with you?"
"That man" is one of Mr. Clifford's most remarkable reconstructions. To the Streatham circle he was merely "an Italian musick master". When they had said that they had said enough. But in fact he was an Italian gentleman of great charm and cultivation; a composer and performer of merit; and a passionate lover of music. He travelled with a small harpsichord fitted under the seat so that he could play Mozart and Haydn on the roads. They floated on a barge down the Brenta to the strains of his music. Nor was he lacking in the sober virtues. He managed Mrs. Piozzi's tangled money matters admirably, and he ended his days in Wales giving plum puddings to villagers and performing the duties of a country gentleman. Yet at the notion that such a man could marry a brewer's widow, the whole company of distinguished people who had feasted at her table took flight in one flock. Johnson trumpeted his rage. "She has now become a subject for her enemies to exult over, and for her friends, if she has any left, to forget or pity." "Heaven be praised," exclaimed the Queen of the Blues, "that I have no daughters." It was only charity that led her to conclude that Mrs. Thrale was mad. For Johnson there is the excuse that he had lost at one blow Streatham and its peaches and its pork pies and the undivided attention of his lady. The old elephant was jealous, and his rage has at least the dignity of wounded passion. But how are we to explain the conduct of the others? Only perhaps by supposing that it is almost impossible even for genius and learning to swim against the conventions of their time. And while genius and learning come down the stream untouched, the conventions in which they exist soon become obsolete and ridiculous. An Italian music master in the eighteenth century was, we must suppose, equal to a negro to-day. To explain the conduct of the Streatham set we must imagine the attitude of society to-day to a lady of rank who has contracted an alliance with a negro and expects Mayfair to open its doors to her dusky and illegitimate brood.
But the more we excuse the Streatham set, the more we must admire Mrs. Piozzi. Her passion for Piozzi made her for once concentrated and direct. There is a fine ring in her letter to Johnson.
The birth of my second husband (she told him) is not meaner than that of my first; his sentiments are not meaner; his profession is not meaner...till you have changed your opinion of Mr. Piozzi let us converse no more.
With those words she should have vanished down the Brenta to the strains of Mozart. Unfortunately, Mr. Clifford has an inexhaustible supply of those little facts that reduce music to common speech. With Johnson it is plain that Mrs. Thrale had lost her centre. Now there was some screw loose. The whirligig spins faster and faster. She was for ever dipping and sampling, quarrelling and chattering. She was impulsive and impressionable, but she was also obtuse and tactless. Her children found her intolerable Fanny Burney resented her patronage. She decked her little body in grebe skins and tiger shawls and flaxen wigs and many-coloured ribbons. She made a fool of herself with her adopted nephew, and let herself be cheated out of six thousand pounds to buy him a baronetcy. There was a coarseness in her fibre and a commonness in her vision that explain why, as an observer, she was so greatly inferior to Boswell.
Yet the spin of the whirligig has its fascination. Her appetite for life was prodigious. She must have someone to worship. Mrs. Siddons succeeded Dr. Johnson. Mr. Conway succeeded Mrs. Siddons. When there was no hero to entertain, she devoured books. And when the books were read, and the letters written, and the copy books filled, she had out her telescope and scoured the horizon. One day she counted forty-one sails out to sea. Then, turning her telescope to the earth, she discovered Sir John Williams five miles away searching for something in his garden. What could it be? She could not rest until she had sent a servant to ascertain that Sir John was looking for his watch.
At last, at the age of eighty, she led the dance at her birthday party with her nephew; and danced indefatigably till dawn. That was in 1820. By that time one has almost forgotten Boswell's sketch. It was a snapshot at one particular moment. But the moment has long been covered over. She has loved; she has travelled; she has known everybody; she has been in the depths of despair and on the crest of the wave times without counting. The portrait of the old lady in the huge bonnet shows a very modern face, with her great vivacious eyes, her loose lips, and the deep scar over the mouth which, by her own wish, the artist has faithfully depicted. For that was the scar she got when her horse threw her in 1774 at Streatham.
SIR WALTER SCOTT. GAS AT ABBOTSFORD
Written in January 1940
Either Scott the novelist is swallowed whole and becomes r part of the body and brain, or he is rejected entirely. There is no middle party in existence—no busybodies run from camp to camp with offers of mediation. For there is no war. The novels of Dickens, Trollope, Henry James, Tolstoy, the Brontës—they are discussed perpetually; the Waverley novels never. There they remain, completely accepted, entirely rejected—a queer stage in that ever-changing process which is called immortality. If anything is going to break the deadlock perhaps it is the first volume of Scott's Journal, 1825-1826, which Mr. J. G. Tait has been at immense pains to edit and revise. As Scott's Journals are the best life of Scott in existence, as they contain Scott in his glory and Scott in his gloom, and gossip about Byron, and the famous comment upon Jane Austen, as in a few passages Scott throws more light upon his genius and its limitations than all his critics in their innumerable volumes, this new version may one of these dark nights bring the two non-combatants to blows.
By way of inducing that desirable encounter, let us take the entry for November 21st, 1825: "Went to the Oil Gas Committee this morning, of which concern I am President or Chairman". Scott, as Lockhart tells us and we can well believe, had a passion for gas. He loved a bright light, and he did not mind a slight smell. As for the expense of those innumerable pipes, in dining-room, drawing-room, corridors, and bedrooms, and the men's wages—he swept all that aside in those glorious days when his imagination was at its height. "The state of an illumination was constantly kept up"; and the gas shone upon a brilliant company. Everyone was flocking to Abbotsford—dukes and duchesses, lion hunters and toadies, the famous and the obscure. "Oh dear," Miss Scott exclaimed. "Will this never end, Papa?" And her father replied, "Let them come, the more the merrier." And someone else walked in.
One night, a year or two before the diary begins, the stranger was a young artist. Artists were so common at Abbotsford that Scott's dog, Maida, recognised them at sight and got up and left the room. This time it was William Bewick, obscure, penniless, in pursuit of sitters. Naturally he was a good deal dazzled both by the gas and the company. Kind Mrs. Hughes, therefore, the wife of the deaf Dean of St. Paul's, tried to put him at his ease. She told him how she had often soothed her children's quarrels by showing them Bewick's woodcuts. But William Bewick was no relation of Thomas Bewick. One feels that he had heard the remark before and rather resented it, for was he not a painter himself?
He was a painter himself, and an extremely bad one. Did not Haydon say "Bewick, my pupil, has realised my hopes in his picture of Jacob and Rachel"? Did he not add, some years later, when they had quarrelled about money, "Daniel's left foot and leg would have disgraced Bewick before he ran away from my tuition to the shelter of Academical wings"? But we know without Haydon's testimony that Bewick's portraits were intolerable. We know that from his writing. His friends are always painted in a state of violent physical agitation, but mentally they are stock still, stone dead. There is his picture of Hazlitt playing tennis. "He looked more like a savage animal than anything human..." He cast off his shirt; he leapt; he darted; when the game was over he rubbed himself against a post, dripping with sweat. But when he spoke, "His ejaculations were interlarded", Bewick says, "with unintentional and unmeaning oaths." They cannot be repeated; they must be imagined; in other words, Hazlitt was dumb. Or take Bewick's account of an evening party in a small room when the Italian poet Foscolo met Wordsworth. They argued. Foscolo "deliberately doubled his fist and held it in Wordsworth's face close to his nose". Then, suddenly, he began whirling round the room, tossing his quizzing glass, rolling his R's, bawling. The ladies "drew in their feet and costumes". Wordsworth sat "opening his mouth and eyes, gasping for breath". At last he spoke. For page after page he spoke; or rather dead phrases coagulated upon his lips, in frozen and lifeless entanglements. Listen for a moment. "Although I appreciate, and I hope, can admire sufficiently the beauties of Raphael's transcendent genius...yet we must brace the sinews, so to speak, of our comprehension to grapple with the grandeur and sublimity...of Michael Angelo..." It is enough. We see Bewick's pictures; we realise how intolerable it became to sit any longer under the portrait of Grandpapa flinging out a bare arm from the toga while the horse in the background champs his bit, paws the ground, and seems to neigh.
That night at Abbotsford the gas blazed from the three great chandeliers over the dinner-table; and the dinner, "as my 'friend, Thackeray, would have said, was recherche". Then they went into the drawing-room—a vast apartment with its mirrors, its marble tables, Chantrey's bust, the varnished woodwork and the crimson tasselled curtains pendant from handsome brass rods. They went in and Bewick was dazzled—"The brilliant gaslight, the elegance and taste displayed throughout this beautiful apartment, the costumes of the ladies, with the sparkle and glitter of the tea-table"—the scene, as Bewick describes it, brings back all the worst passages in the Waverley Novels. We can see the jewels sparkling, we can smell the gas escaping, we can hear the conversation. There is Lady Scott gossiping with kind Mrs. Hughes; there is Scott himself, prosing and pompous, grumbling about his son Charles and his passion for sport. "But I suppose it will have an end at a given time, like any other hobby of youth." To complete the horror, the German Baron D'este strums on the guitar. He is showing "how in Germany they introduced into guitar performances of martial music the imitation of the beating of drums" Miss Scott—or is she Miss Wardour or another of the vapid and vacant Waverley novel heroines?—hangs over him entranced. Then, suddenly, the whole scene changes. Scott began in a low mournful voice to recite the ballad of Sir Patrick Spens: