No More Learning

It occurred to me that a selection of Wilde's prose
might at least rehabilitate the notorious reputation for common sense
enjoyed by all publishers, who rarely issue shilling editions of deceased
authors for mere aesthetic considerations. And I confess to a hope that
this volume may reach the eye or ear of those who have not read Wilde's
books, or of those, such as Mr. Sydney Grundy, who are irritated by the
revival of his plays and the praise accorded to his works throughout the
Continent.

Wilde's prose is distinguished by its extraordinary ease and clarity, and
by the absence--very singular in his case--of the preciosity which he
admired too much in other writers, and advocated with over-emphasis.
Perhaps that is why many of his stories and essays and plays are used as
English text-books in Russian and Scandinavian and Hungarian schools.
Artifice and affectation, often assumed to be recurrent defects in his
writings by those unacquainted with them, are comparatively rare. Wilde
once boasted in an interview that only Flaubert, Pater, Keats, and
Maeterlinck had influenced him, and then added in a characteristic way:
"But I had already gone more than half-way to meet them. " Anyone curious
as to the origin of Wilde's style and development should consult the
learned treatise {1} of Dr. Ernst Bendz, whose comprehensive treatment of
the subject renders any elucidation of mine superfluous; while nothing
can be added to Mr. Holbrook Jackson's masterly criticism {2} of Wilde
and his position in literature.

In making this selection, with the valuable assistance of Mr. Stuart
Mason, I have endeavoured to illustrate and to justify the critical
appreciations of both Dr. Bendz and Mr. Holbrook Jackson, as well as to
afford the general reader a fair idea of Wilde's variety as a prose
writer. He is more various than almost any author of the last century,
though the act of writing was always a burden to him. Some critic
acutely pointed out that poetry and prose were almost side-issues for
him. The resulting faults and weakness of what he left are obvious.
Except in the plays he has no sustained scheme of thought. Even "De
Profundis" is too desultory.

For the purpose of convenient reference I have exercised the prerogative
of a literary executor and editor by endowing with special titles some of
the pieces quoted in these pages. Though unlike one of Wilde's other
friends I cannot claim to have collaborated with him or to have assisted
him in any of his plays, I was sometimes permitted, as Wilde acknowledges
in different letters, to act in the capacity of godfather by suggesting
the actual titles by which some of his books are known to the world. I
mention the circumstance only as a precedent for my present temerity. To
compensate those who disapprove of my choice, I have included two
unpublished letters. The examples of Wilde's epistolary style, published
since his death, have been generally associated with disagreeable
subjects. Those included here will, I hope, prove a pleasant contrast.

ROBERT ROSS




HOW THEY STRUCK A CONTEMPORARY


There is such a thing as robbing a story of its reality by trying to make
it too true, and _The Black Arrow_ is so inartistic as not to contain a
single anachronism to boast of, while the transformation of Dr. Jekyll
reads dangerously like an experiment out of the _Lancet_. As for Mr.
Rider Haggard, who really has, or had once, the makings of a perfectly
magnificent liar, he is now so afraid of being suspected of genius that
when he does tell us anything marvellous, he feels bound to invent a
personal reminiscence, and to put it into a footnote as a kind of
cowardly corroboration. Nor are our other novelists much better. Mr.
Henry James writes fiction as if it were a painful duty, and wastes upon
mean motives and imperceptible 'points of view' his neat literary style,
his felicitous phrases, his swift and caustic satire. Mr. Hall Caine, it
is true, aims at the grandiose, but then he writes at the top of his
voice. He is so loud that one cannot bear what he says. Mr. James Payn
is an adept in the art of concealing what is not worth finding. He hunts
down the obvious with the enthusiasm of a short-sighted detective. As
one turns over the pages, the suspense of the author becomes almost
unbearable. The horses of Mr. William Black's phaeton do not soar
towards the sun. They merely frighten the sky at evening into violent
chromolithographic effects. On seeing them approach, the peasants take
refuge in dialect. Mrs. Oliphant prattles pleasantly about curates, lawn-
tennis parties, domesticity, and other wearisome things. Mr. Marion
Crawford has immolated himself upon the altar of local colour. He is
like the lady in the French comedy who keeps talking about "le beau ciel
d'Italie. " Besides, he has fallen into the bad habit of uttering moral
platitudes. He is always telling us that to be good is to be good, and
that to be bad is to be wicked. At times he is almost edifying. _Robert
Elsmere_ is of course a masterpiece--a masterpiece of the "genre
ennuyeux," the one form of literature that the English people seems
thoroughly to enjoy. A thoughtful young friend of ours once told us that
it reminded him of the sort of conversation that goes on at a meat tea in
the house of a serious Nonconformist family, and we can quite believe it.
Indeed it is only in England that such a book could be produced. England
is the home of lost ideas. As for that great and daily increasing school
of novelists for whom the sun always rises in the East-End, the only
thing that can be said about them is that they find life crude, and leave
it raw. --_The Decay of Lying_.




THE QUALITY OF GEORGE MEREDITH


Ah! Meredith! Who can define him? His style is chaos illumined by
flashes of lightning. As a writer he has mastered everything except
language: as a novelist he can do everything, except tell a story: as an
artist he is everything except articulate. Somebody in
Shakespeare--Touchstone, I think--talks about a man who is always
breaking his shins over his own wit, and it seems to me that this might
serve as the basis for a criticism of Meredith's method. But whatever he
is, he is not a realist. Or rather I would say that he is a child of
realism who is not on speaking terms with his father. By deliberate
choice he has made himself a romanticist. He has refused to bow the knee
to Baal, and after all, even if the man's fine spirit did not revolt
against the noisy assertions of realism, his style would be quite
sufficient of itself to keep life at a respectful distance. By its means
he has planted round his garden a hedge full of thorns, and red with
wonderful roses. As for Balzac, he was a most remarkable combination of
the artistic temperament with the scientific spirit. The latter he
bequeathed to his disciples. The former was entirely his own. The
difference between such a book as M. Zola's _L'Assommoir_ and Balzac's
_Illusions Perdues_ is the difference between unimaginative realism and
imaginative reality. 'All Balzac's characters;' said Baudelaire, 'are
gifted with the same ardour of life that animated himself. All his
fictions are as deeply coloured as dreams. Each mind is a weapon loaded
to the muzzle with will. The very scullions have genius. ' A steady
course of Balzac reduces our living friends to shadows, and our
acquaintances to the shadows of shades. His characters have a kind of
fervent fiery-coloured existence. They dominate us, and defy scepticism.
One of the greatest tragedies of my life is the death of Lucien de
Rubempre. It is a grief from which I have never been able completely to
rid myself. It haunts me in my moments of pleasure. I remember it when
I laugh. But Balzac is no more a realist than Holbein was. He created
life, he did not copy it. I admit, however, that he set far too high a
value on modernity of form, and that, consequently, there is no book of
his that, as an artistic masterpiece, can rank with _Salammbo_ or
_Esmond_, or _The Cloister and the Hearth_, or the _Vicomte de
Bragelonne_. --_The Decay of Lying_.




LIFE THE FALLACIOUS MODEL


Art begins with abstract decoration, with purely imaginative and
pleasurable work dealing with what is unreal and non-existent. This is
the first stage. Then Life becomes fascinated with this new wonder, and
asks to be admitted into the charmed circle. Art takes life as part of
her rough material, recreates it, and refashions it in fresh forms, is
absolutely indifferent to fact, invents, imagines, dreams, and keeps
between herself and reality the impenetrable barrier of beautiful style,
of decorative or ideal treatment. The third stage is when Life gets the
upper hand, and drives Art out into the wilderness. That is the true
decadence, and it is from this that we are now suffering.

Take the case of the English drama. At first in the hands of the monks
Dramatic Art was abstract, decorative and mythological. Then she
enlisted Life in her service, and using some of life's external forms,
she created an entirely new race of beings, whose sorrows were more
terrible than any sorrow man has ever felt, whose joys were keener than
lover's joys, who had the rage of the Titans and the calm of the gods,
who had monstrous and marvellous sins, monstrous and marvellous virtues.
To them she gave a language different from that of actual use, a language
full of resonant music and sweet rhythm, made stately by solemn cadence,
or made delicate by fanciful rhyme, jewelled with wonderful words, and
enriched with lofty diction. She clothed her children in strange raiment
and gave them masks, and at her bidding the antique world rose from its
marble tomb. A new Caesar stalked through the streets of risen Rome, and
with purple sail and flute-led oars another Cleopatra passed up the river
to Antioch. Old myth and legend and dream took shape and substance.
History was entirely re-written, and there was hardly one of the
dramatists who did not recognise that the object of Art is not simple
truth but complex beauty. In this they were perfectly right. Art itself
is really a form of exaggeration; and selection, which is the very spirit
of art, is nothing more than an intensified mode of over-emphasis.

But Life soon shattered the perfection of the form. Even in Shakespeare
we can see the beginning of the end. It shows itself by the gradual
breaking-up of the blank-verse in the later plays, by the predominance
given to prose, and by the over-importance assigned to characterisation.
The passages in Shakespeare--and they are many--where the language is
uncouth, vulgar, exaggerated, fantastic, obscene even, are entirely due
to Life calling for an echo of her own voice, and rejecting the
intervention of beautiful style, through which alone should life be
suffered to find expression. Shakespeare is not by any means a flawless
artist. He is too fond of going directly to life, and borrowing life's
natural utterance. He forgets that when Art surrenders her imaginative
medium she surrenders everything. --_The Decay of Lying_.




LIFE THE DISCIPLE


We have all seen in our own day in England how a certain curious and
fascinating type of beauty, invented and emphasised by two imaginative
painters, has so influenced Life that whenever one goes to a private view
or to an artistic salon one sees, here the mystic eyes of Rossetti's
dream, the long ivory throat, the strange square-cut jaw, the loosened
shadowy hair that he so ardently loved, there the sweet maidenhood of
'The Golden Stair,' the blossom-like mouth and weary loveliness of the
'Laus Amoris,' the passion-pale face of Andromeda, the thin hands and
lithe beauty of the Vivian in 'Merlin's Dream. ' And it has always been
so. A great artist invents a type, and Life tries to copy it, to
reproduce it in a popular form, like an enterprising publisher. Neither
Holbein nor Vandyck found in England what they have given us. They
brought their types with them, and Life with her keen imitative faculty
set herself to supply the master with models. The Greeks, with their
quick artistic instinct, understood this, and set in the bride's chamber
the statue of Hermes or of Apollo, that she might bear children as lovely
as the works of art that she looked at in her rapture or her pain. They
knew that Life gains from art not merely spirituality, depth of thought
and feeling, soul-turmoil or soul-peace, but that she can form herself on
the very lines and colours of art, and can reproduce the dignity of
Pheidias as well as the grace of Praxiteles. Hence came their objection
to realism. They disliked it on purely social grounds. They felt that
it inevitably makes people ugly, and they were perfectly right. We try
to improve the conditions of the race by means of good air, free
sunlight, wholesome water, and hideous bare buildings for the better
housing of the lower orders. But these things merely produce health,
they do not produce beauty. For this, Art is required, and the true
disciples of the great artist are not his studio-imitators, but those who
become like his works of art, be they plastic as in Greek days, or
pictorial as in modern times; in a word, Life is Art's best, Art's only
pupil. --_The Decay of Lying_.




LIFE THE PLAGIARIST


I once asked a lady, who knew Thackeray intimately, whether he had had
any model for Becky Sharp. She told me that Becky was an invention, but
that the idea of the character had been partly suggested by a governess
who lived in the neighbourhood of Kensington Square, and was the
companion of a very selfish and rich old woman. I inquired what became
of the governess, and she replied that, oddly enough, some years after
the appearance of _Vanity Fair_, she ran away with the nephew of the lady
with whom she was living, and for a short time made a great splash in
society, quite in Mrs. Rawdon Crawley's style, and entirely by Mrs.
Rawdon Crawley's methods. Ultimately she came to grief, disappeared to
the Continent, and used to be occasionally seen at Monte Carlo and other
gambling places. The noble gentleman from whom the same great
sentimentalist drew Colonel Newcome died, a few months after _The
Newcomer_ had reached a fourth edition, with the word 'Adsum' on his
lips. Shortly after Mr. Stevenson published his curious psychological
story of transformation, a friend of mine, called Mr. Hyde, was in the
north of London, and being anxious to get to a railway station, took what
he thought would be a short cut, lost his way, and found himself in a
network of mean, evil-looking streets. Feeling rather nervous he began
to walk extremely fast, when suddenly out of an archway ran a child right
between his legs. It fell on the pavement, he tripped over it, and
trampled upon it. Being of course very much frightened and a little
hurt, it began to scream, and in a few seconds the whole street was full
of rough people who came pouring out of the houses like ants. They
surrounded him, and asked him his name. He was just about to give it
when he suddenly remembered the opening incident in Mr. Stevenson's
story. He was so filled with horror at having realised in his own person
that terrible and well-written scene, and at having done accidentally,
though in fact, what the Mr. Hyde of fiction had done with deliberate
intent, that he ran away as hard as he could go. He was, however, very
closely followed, and finally he took refuge in a surgery, the door of
which happened to be open, where he explained to a young assistant, who
happened to be there, exactly what had occurred. The humanitarian crowd
were induced to go away on his giving them a small sum of money, and as
soon as the coast was clear he left. As he passed out, the name on the
brass door-plate of the surgery caught his eye. It was 'Jekyll. ' At
least it should have been. --_The Decay of Lying_.




THE INDISPENSABLE EAST


What is true about the drama and the novel is no less true about those
arts that we call the decorative arts. The whole history of these arts
in Europe is the record of the struggle between Orientalism, with its
frank rejection of imitation, its love of artistic convention, its
dislike to the actual representation of any object in Nature, and our own
imitative spirit. Wherever the former has been paramount, as in
Byzantium, Sicily and Spain, by actual contact, or in the rest of Europe
by the influence of the Crusades, we have had beautiful and imaginative
work in which the visible things of life are transmuted into artistic
conventions, and the things that Life has not are invented and fashioned
for her delight. But wherever we have returned to Life and Nature, our
work has always become vulgar, common and uninteresting. Modern
tapestry, with its aerial effects, its elaborate perspective, its broad
expanses of waste sky, its faithful and laborious realism, has no beauty
whatsoever. The pictorial glass of Germany is absolutely detestable. We
are beginning to weave possible carpets in England, but only because we
have returned to the method and spirit of the East. Our rugs and carpets
of twenty years ago, with their solemn depressing truths, their inane
worship of Nature, their sordid reproductions of visible objects, have
become, even to the Philistine, a source of laughter. A cultured
Mahomedan once remarked to us, "You Christians are so occupied in
misinterpreting the fourth commandment that you have never thought of
making an artistic application of the second. " He was perfectly right,
and the whole truth of the matter is this: The proper school to learn art
in is not Life but Art. --_The Decay of Lying_.




THE INFLUENCE OF THE IMPRESSIONISTS ON CLIMATE


Where, if not from the Impressionists, do we get those wonderful brown
fogs that come creeping down our streets, blurring the gas-lamps and
changing the houses into monstrous shadows? To whom, if not to them and
their master, do we owe the lovely silver mists that brood over our
river, and turn to faint forms of fading grace curved bridge and swaying
barge? The extraordinary change that has taken place in the climate of
London during the last ten years is entirely due to a particular school
of Art. You smile. Consider the matter from a scientific or a
metaphysical point of view, and you will find that I am right. For what
is Nature? Nature is no great mother who has borne us. She is our
creation. It is in our brain that she quickens to life. Things are
because we see them, and what we see, and how we see it, depends on the
Arts that have influenced us. To look at a thing is very different from
seeing a thing. One does not see anything until one sees its beauty.
Then, and then only, does it come into existence. At present, people see
fogs, not because there are fogs, but because poets and painters have
taught them the mysterious loveliness of such effects. There may have
been fogs for centuries in London. I dare say there were. But no one
saw them, and so we do not know anything about them. They did not exist
till Art had invented them. Now, it must be admitted, fogs are carried
to excess. They have become the mere mannerism of a clique, and the
exaggerated realism of their method gives dull people bronchitis. Where
the cultured catch an effect, the uncultured catch cold. And so, let us
be humane, and invite Art to turn her wonderful eyes elsewhere. She has
done so already, indeed. That white quivering sunlight that one sees now
in France, with its strange blotches of mauve, and its restless violet
shadows, is her latest fancy, and, on the whole, Nature reproduces it
quite admirably. Where she used to give us Corots and Daubignys, she
gives us now exquisite Monets and entrancing Pissaros. Indeed there are
moments, rare, it is true, but still to be observed from time to time,
when Nature becomes absolutely modern. Of course she is not always to be
relied upon. The fact is that she is in this unfortunate position. Art
creates an incomparable and unique effect, and, having done so, passes on
to other things. Nature, upon the other hand, forgetting that imitation
can be made the sincerest form of insult, keeps on repeating this effect
until we all become absolutely wearied of it. Nobody of any real
culture, for instance, ever talks nowadays about the beauty of a sunset.
Sunsets are quite old-fashioned. They belong to the time when Turner was
the last note in art. To admire them is a distinct sign of provincialism
of temperament. Upon the other hand they go on. --_The Decay of Lying_.




AN EXPOSURE OF NATURALISM


After all, what the imitative arts really give us are merely the various
styles of particular artists, or of certain schools of artists. Surely
you don't imagine that the people of the Middle Ages bore any resemblance
at all to the figures on mediaeval stained glass, or in mediaeval stone
and wood carving, or on mediaeval metal-work, or tapestries, or
illuminated MSS. They were probably very ordinary-looking people, with
nothing grotesque, or remarkable, or fantastic in their appearance.
The
Middle Ages, as we know them in art, are simply a definite form of style,
and there is no reason at all why an artist with this style should not be
produced in the nineteenth century. No great artist ever sees things as
they really are. If he did, he would cease to be an artist. Take an
example from our own day. I know that you are fond of Japanese things.
Now, do you really imagine that the Japanese people, as they are
presented to us in art, have any existence? If you do, you have never
understood Japanese art at all. The Japanese people are the deliberate
self-conscious creation of certain individual artists. If you set a
picture by Hokusai, or Hokkei, or any of the great native painters,
beside a real Japanese gentleman or lady, you will see that there is not
the slightest resemblance between them. The actual people who live in
Japan are not unlike the general run of English people; that is to say,
they are extremely commonplace, and have nothing curious or extraordinary
about them. In fact the whole of Japan is a pure invention. There is no
such country, there are no such people. One of our most charming
painters {3} went recently to the Land of the Chrysanthemum in the
foolish hope of seeing the Japanese. All he saw, all he had the chance
of painting, were a few lanterns and some fans. He was quite unable to
discover the inhabitants, as his delightful exhibition at Messrs.
Dowdeswell's Gallery showed only too well. He did not know that the
Japanese people are, as I have said, simply a mode of style, an exquisite
fancy of art. And so, if you desire to see a Japanese effect, you will
not behave like a tourist and go to Tokio. On the contrary, you will
stay at home and steep yourself in the work of certain Japanese artists,
and then, when you have absorbed the spirit of their style, and caught
their imaginative manner of vision, you will go some afternoon and sit in
the Park or stroll down Piccadilly, and if you cannot see an absolutely
Japanese effect there, you will not see it anywhere. Or, to return again
to the past, take as another instance the ancient Greeks. Do you think
that Greek art ever tells us what the Greek people were like? Do you
believe that the Athenian women were like the stately dignified figures
of the Parthenon frieze, or like those marvellous goddesses who sat in
the triangular pediments of the same building? If you judge from the
art, they certainly were so. But read an authority, like Aristophanes,
for instance. You will find that the Athenian ladies laced tightly, wore
high-heeled shoes, dyed their hair yellow, painted and rouged their
faces, and were exactly like any silly fashionable or fallen creature of
our own day. The fact is that we look back on the ages entirely through
the medium of art, and art, very fortunately, has never once told us the
truth. --_The Decay of Lying_.




THOMAS GRIFFITHS WAINEWRIGHT


He was taken back to Newgate, preparatory to his removal to the colonies.
In a fanciful passage in one of his early essays he had fancied himself
'lying in Horsemonger Gaol under sentence of death' for having been
unable to resist the temptation of stealing some Marc Antonios from the
British Museum in order to complete his collection. The sentence now
passed on him was to a man of his culture a form of death. He complained
bitterly of it to his friends, and pointed out, with a good deal of
reason, some people may fancy, that the money was practically his own,
having come to him from his mother, and that the forgery, such as it was,
had been committed thirteen years before, which, to use his own phrase,
was at least a _circonstance attenuante_. The permanence of personality
is a very subtle metaphysical problem, and certainly the English law
solves the question in an extremely rough-and-ready manner. There is,
however, something dramatic in the fact that this heavy punishment was
inflicted on him for what, if we remember his fatal influence on the
prose of modern journalism, was certainly not the worst of all his sins.

While he was in gaol, Dickens, Macready, and Hablot Browne came across
him by chance. They had been going over the prisons of London, searching
for artistic effects, and in Newgate they suddenly caught sight of
Wainewright. He met them with a defiant stare, Forster tells us, but
Macready was 'horrified to recognise a man familiarly known to him in
former years, and at whose table he had dined. '

Others had more curiosity, and his cell was for some time a kind of
fashionable lounge. Many men of letters went down to visit their old
literary comrade. But he was no longer the kind light-hearted Janus whom
Charles Lamb admired. He seems to have grown quite cynical.

To the agent of an insurance company who was visiting him one afternoon,
and thought he would improve the occasion by pointing out that, after
all, crime was a bad speculation, he replied: 'Sir, you City men enter on
your speculations, and take the chances of them. Some of your
speculations succeed, some fail. Mine happen to have failed, yours
happen to have succeeded. That is the only difference, sir, between my
visitor and me. But, sir, I will tell you one thing in which I have
succeeded to the last. I have been determined through life to hold the
position of a gentleman. I have always done so. I do so still. It is
the custom of this place that each of the inmates of a cell shall take
his morning's turn of sweeping it out. I occupy a cell with a bricklayer
and a sweep, but they never offer me the broom! ' When a friend
reproached him with the murder of Helen Abercrombie he shrugged his
shoulders and said, 'Yes; it was a dreadful thing to do, but she had very
thick ankles. '--_Pen, Pencil and Poison_.




WAINEWRIGHT AT HOBART TOWN


His love of art, however, never deserted him. At Hobart Town he started
a studio, and returned to sketching and portrait-painting, and his
conversation and manners seem not to have lost their charm. Nor did he
give up his habit of poisoning, and there are two cases on record in
which he tried to make away with people who had offended him. But his
hand seems to have lost its cunning. Both of his attempts were complete
failures, and in 1844, being thoroughly dissatisfied with Tasmanian
society, he presented a memorial to the governor of the settlement, Sir
John Eardley Wilmot, praying for a ticket-of-leave. In it he speaks of
himself as being 'tormented by ideas struggling for outward form and
realisation, barred up from increase of knowledge, and deprived of the
exercise of profitable or even of decorous speech. ' His request,
however, was refused, and the associate of Coleridge consoled himself by
making those marvellous _Paradis Artificiels_ whose secret is only known
to the eaters of opium. In 1852 he died of apoplexy, his sole living
companion being a cat, for which he had evinced at extraordinary
affection.

His crimes seem to have had an important effect upon his art. They gave
a strong personality to his style, a quality that his early work
certainly lacked. In a note to the _Life of Dickens_, Forster mentions
that in 1847 Lady Blessington received from her brother, Major Power, who
held a military appointment at Hobart Town, an oil portrait of a young
lady from his clever brush; and it is said that 'he had contrived to put
the expression of his own wickedness into the portrait of a nice, kind-
hearted girl. ' M. Zola, in one of his novels, tells us of a young man
who, having committed a murder, takes to art, and paints greenish
impressionist portraits of perfectly respectable people, all of which
bear a curious resemblance to his victim. The development of Mr.
Wainewright's style seems to me far more subtle and suggestive. One can
fancy an intense personality being created out of sin. --_Pen, Pencil and
Poison_.




CARDINAL NEWMAN AND THE AUTOBIOGRAPHERS


In literature mere egotism is delightful. It is what fascinates us in
the letters of personalities so different as Cicero and Balzac, Flaubert
and Berlioz, Byron and Madame de Sevigne. Whenever we come across it,
and, strangely enough, it is rather rare, we cannot but welcome it, and
do not easily forget it. Humanity will always love Rousseau for having
confessed his sins, not to a priest, but to the world, and the couchant
nymphs that Cellini wrought in bronze for the castle of King Francis, the
green and gold Perseus, even, that in the open Loggia at Florence shows
the moon the dead terror that once turned life to stone, have not given
it more pleasure than has that autobiography in which the supreme
scoundrel of the Renaissance relates the story of his splendour and his
shame. The opinions, the character, the achievements of the man, matter
very little. He may be a sceptic like the gentle Sieur de Montaigne, or
a saint like the bitter son of Monica, but when he tells us his own
secrets he can always charm our ears to listening and our lips to
silence. The mode of thought that Cardinal Newman represented--if that
can be called a mode of thought which seeks to solve intellectual
problems by a denial of the supremacy of the intellect--may not, cannot,
I think, survive. But the world will never weary of watching that
troubled soul in its progress from darkness to darkness. The lonely
church at Littlemore, where 'the breath of the morning is damp, and
worshippers are few,' will always be dear to it, and whenever men see the
yellow snapdragon blossoming on the wall of Trinity they will think of
that gracious undergraduate who saw in the flower's sure recurrence a
prophecy that he would abide for ever with the Benign Mother of his
days--a prophecy that Faith, in her wisdom or her folly, suffered not to
be fulfilled. Yes; autobiography is irresistible. --_The Critic as
Artist_.




ROBERT BROWNING


Taken as a whole the man was great. He did not belong to the Olympians,
and had all the incompleteness of the Titan. He did not survey, and it
was but rarely that he could sing. His work is marred by struggle,
violence and effort, and he passed not from emotion to form, but from
thought to chaos. Still, he was great. He has been called a thinker,
and was certainly a man who was always thinking, and always thinking
aloud; but it was not thought that fascinated him, but rather the
processes by which thought moves. It was the machine he loved, not what
the machine makes. The method by which the fool arrives at his folly was
as dear to him as the ultimate wisdom of the wise. So much, indeed, did
the subtle mechanism of mind fascinate him that he despised language, or
looked upon it as an incomplete instrument of expression. Rhyme, that
exquisite echo which in the Muse's hollow hill creates and answers its
own voice; rhyme, which in the hands of the real artist becomes not
merely a material element of metrical beauty, but a spiritual element of
thought and passion also, waking a new mood, it may be, or stirring a
fresh train of ideas, or opening by mere sweetness and suggestion of
sound some golden door at which the Imagination itself had knocked in
vain; rhyme, which can turn man's utterance to the speech of gods; rhyme,
the one chord we have added to the Greek lyre, became in Robert
Browning's hands a grotesque, misshapen thing, which at times made him
masquerade in poetry as a low comedian, and ride Pegasus too often with
his tongue in his cheek. There are moments when he wounds us by
monstrous music. Nay, if he can only get his music by breaking the
strings of his lute, he breaks them, and they snap in discord, and no
Athenian tettix, making melody from tremulous wings, lights on the ivory
horn to make the movement perfect, or the interval less harsh. Yet, he
was great: and though he turned language into ignoble clay, he made from
it men and women that live. He is the most Shakespearian creature since
Shakespeare. If Shakespeare could sing with myriad lips, Browning could
stammer through a thousand mouths. Even now, as I am speaking, and
speaking not against him but for him, there glides through the room the
pageant of his persons. There, creeps Fra Lippo Lippi with his cheeks
still burning from some girl's hot kiss. There, stands dread Saul with
the lordly male-sapphires gleaming in his turban. Mildred Tresham is
there, and the Spanish monk, yellow with hatred, and Blougram, and Ben
Ezra, and the Bishop of St. Praxed's. The spawn of Setebos gibbers in
the corner, and Sebald, hearing Pippa pass by, looks on Ottima's haggard
face, and loathes her and his own sin, and himself. Pale as the white
satin of his doublet, the melancholy king watches with dreamy treacherous
eyes too loyal Strafford pass forth to his doom, and Andrea shudders as
he hears the cousins whistle in the garden, and bids his perfect wife go
down. Yes, Browning was great. And as what will he be remembered? As a
poet? Ah, not as a poet! He will be remembered as a writer of fiction,
as the most supreme writer of fiction, it may be, that we have ever had.
His sense of dramatic situation was unrivalled, and, if he could not
answer his own problems, he could at least put problems forth, and what
more should an artist do? Considered from the point of view of a creator
of character he ranks next to him who made Hamlet. Had he been
articulate, he might have sat beside him. The only man who can touch the
hem of his garment is George Meredith. Meredith is a prose Browning, and
so is Browning. He used poetry as a medium for writing in prose. --_The
Critic as Artist_.




THE TWO SUPREME AND HIGHEST ARTS


Life and Literature, life and the perfect expression of life. The
principles of the former, as laid down by the Greeks, we may not realise
in an age so marred by false ideals as our own. The principles of the
latter, as they laid them down, are, in many cases, so subtle that we can
hardly understand them. Recognising that the most perfect art is that
which most fully mirrors man in all his infinite variety, they elaborated
the criticism of language, considered in the light of the mere material
of that art, to a point to which we, with our accentual system of
reasonable or emotional emphasis, can barely if at all attain; studying,
for instance, the metrical movements of a prose as scientifically as a
modern musician studies harmony and counterpoint, and, I need hardly say,
with much keener aesthetic instinct. In this they were right, as they
were right in all things. Since the introduction of printing, and the
fatal development of the habit of reading amongst the middle and lower
classes of this country, there has been a tendency in literature to
appeal more and more to the eye, and less and less to the ear which is
really the sense which, from the standpoint of pure art, it should seek
to please, and by whose canons of pleasure it should abide always. Even
the work of Mr. Pater, who is, on the whole, the most perfect master of
English prose now creating amongst us, is often far more like a piece of
mosaic than a passage in music, and seems, here and there, to lack the
true rhythmical life of words and the fine freedom and richness of effect
that such rhythmical life produces. We, in fact, have made writing a
definite mode of composition, and have treated it as a form of elaborate
design. The Greeks, upon the other hand, regarded writing simply as a
method of chronicling. Their test was always the spoken word in its
musical and metrical relations. The voice was the medium, and the ear
the critic. I have sometimes thought that the story of Homer's blindness
might be really an artistic myth, created in critical days, and serving
to remind us, not merely that the great poet is always a seer, seeing
less with the eyes of the body than he does with the eyes of the soul,
but that he is a true singer also, building his song out of music,
repeating each line over and over again to himself till he has caught the
secret of its melody, chaunting in darkness the words that are winged
with light. Certainly, whether this be so or not, it was to his
blindness, as an occasion, if not as a cause, that England's great poet
owed much of the majestic movement and sonorous splendour of his later
verse. When Milton could no longer write he began to sing. --_The Critic
as Artist_.




THE SECRETS OF IMMORTALITY


On the mouldering citadel of Troy lies the lizard like a thing of green
bronze. The owl has built her nest in the palace of Priam. Over the
empty plain wander shepherd and goatherd with their flocks, and where, on
the wine-surfaced, oily sea, [Greek text], as Homer calls it,
copper-prowed and streaked with vermilion, the great galleys of the
Danaoi came in their gleaming crescent, the lonely tunny-fisher sits in
his little boat and watches the bobbing corks of his net. Yet, every
morning the doors of the city are thrown open, and on foot, or in horse-
drawn chariot, the warriors go forth to battle, and mock their enemies
from behind their iron masks. All day long the fight rages, and when
night comes the torches gleam by the tents, and the cresset burns in the
hall. Those who live in marble or on painted panel, know of life but a
single exquisite instant, eternal indeed in its beauty, but limited to
one note of passion or one mood of calm. Those whom the poet makes live
have their myriad emotions of joy and terror, of courage and despair, of
pleasure and of suffering. The seasons come and go in glad or saddening
pageant, and with winged or leaden feet the years pass by before them.
They have their youth and their manhood, they are children, and they grow
old. It is always dawn for St. Helena, as Veronese saw her at the
window. Through the still morning air the angels bring her the symbol of
God's pain. The cool breezes of the morning lift the gilt threads from
her brow. On that little hill by the city of Florence, where the lovers
of Giorgione are lying, it is always the solstice of noon, of noon made
so languorous by summer suns that hardly can the slim naked girl dip into
the marble tank the round bubble of clear glass, and the long fingers of
the lute-player rest idly upon the chords. It is twilight always for the
dancing nymphs whom Corot set free among the silver poplars of France. In
eternal twilight they move, those frail diaphanous figures, whose
tremulous white feet seem not to touch the dew-drenched grass they tread
on. But those who walk in epos, drama, or romance, see through the
labouring months the young moons wax and wane, and watch the night from
evening unto morning star, and from sunrise unto sunsetting can note the
shifting day with all its gold and shadow. For them, as for us, the
flowers bloom and wither, and the Earth, that Green-tressed Goddess as
Coleridge calls her, alters her raiment for their pleasure. The statue
is concentrated to one moment of perfection. The image stained upon the
canvas possesses no spiritual element of growth or change. If they know
nothing of death, it is because they know little of life, for the secrets
of life and death belong to those, and those only, whom the sequence of
time affects, and who possess not merely the present but the future, and
can rise or fall from a past of glory or of shame. Movement, that
problem of the visible arts, can be truly realised by Literature alone.
It is Literature that shows us the body in its swiftness and the soul in
its unrest. --_The Critic as Artist_.




THE CRITIC AND HIS MATERIAL


Who cares whether Mr. Ruskin's views on Turner are sound or not? What
does it matter? That mighty and majestic prose of his, so fervid and so
fiery-coloured in its noble eloquence, so rich in its elaborate symphonic
music, so sure and certain, at its best, in subtle choice of word and
epithet, is at least as great a work of art as any of those wonderful
sunsets that bleach or rot on their corrupted canvases in England's
Gallery; greater indeed, one is apt to think at times, not merely because
its equal beauty is more enduring, but on account of the fuller variety
of its appeal, soul speaking to soul in those long-cadenced lines, not
through form and colour alone, though through these, indeed, completely
and without loss, but with intellectual and emotional utterance, with
lofty passion and with loftier thought, with imaginative insight, and
with poetic aim; greater, I always think, even as Literature is the
greater art. Who, again, cares whether Mr. Pater has put into the
portrait of Monna Lisa something that Lionardo never dreamed of? The
painter may have been merely the slave of an archaic smile, as some have
fancied, but whenever I pass into the cool galleries of the Palace of the
Louvre, and stand before that strange figure 'set in its marble chair in
that cirque of fantastic rocks, as in some faint light under sea,' I
murmur to myself, 'She is older than the rocks among which she sits; like
the vampire, she has been dead many times, and learned the secrets of the
grave; and has been a diver in deep seas, and keeps their fallen day
about her: and trafficked for strange webs with Eastern merchants; and,
as Leda, was the mother of Helen of Troy, and, as St. Anne, the mother of
Mary; and all this has been to her but as the sound of lyres and flutes,
and lives only in the delicacy with which it has moulded the changing
lineaments, and tinged the eyelids and the hands. ' And I say to my
friend, 'The presence that thus so strangely rose beside the waters is
expressive of what in the ways of a thousand years man had come to
desire'; and he answers me, 'Hers is the head upon which all "the ends of
the world are come," and the eyelids are a little weary. '

And so the picture becomes more wonderful to us than it really is, and
reveals to us a secret of which, in truth, it knows nothing, and the
music of the mystical prose is as sweet in our ears as was that flute-
player's music that lent to the lips of La Gioconda those subtle and
poisonous curves. Do you ask me what Lionardo would have said had any
one told him of this picture that 'all the thoughts and experience of the
world had etched and moulded therein that which they had of power to
refine and make expressive the outward form, the animalism of Greece, the
lust of Rome, the reverie of the Middle Age with its spiritual ambition
and imaginative loves, the return of the Pagan world, the sins of the
Borgias? ' He would probably have answered that he had contemplated none
of these things, but had concerned himself simply with certain
arrangements of lines and masses, and with new and curious
colour-harmonies of blue and green. And it is for this very reason that
the criticism which I have quoted is criticism of the highest kind. It
treats the work of art simply as a starting-point for a new creation. It
does not confine itself--let us at least suppose so for the moment--to
discovering the real intention of the artist and accepting that as final.
And in this it is right, for the meaning of any beautiful created thing
is, at least, as much in the soul of him who looks at it, as it was in
his soul who wrought it. Nay, it is rather the beholder who lends to the
beautiful thing its myriad meanings, and makes it marvellous for us, and
sets it in some new relation to the age, so that it becomes a vital
portion of our lives, and a symbol of what we pray for, or perhaps of
what, having prayed for, we fear that we may receive. --_The Critic as
Artist_.




DANTE THE LIVING GUIDE


There is no mood or passion that Art cannot give us, and those of us who
have discovered her secret can settle beforehand what our experiences are
going to be. We can choose our day and select our hour. We can say to
ourselves, 'To-morrow, at dawn, we shall walk with grave Virgil through
the valley of the shadow of death,' and lo! the dawn finds us in the
obscure wood, and the Mantuan stands by our side. We pass through the
gate of the legend fatal to hope, and with pity or with joy behold the
horror of another world. The hypocrites go by, with their painted faces
and their cowls of gilded lead. Out of the ceaseless winds that drive
them, the carnal look at us, and we watch the heretic rending his flesh,
and the glutton lashed by the rain. We break the withered branches from
the tree in the grove of the Harpies, and each dull-hued poisonous twig
bleeds with red blood before us, and cries aloud with bitter cries. Out
of a horn of fire Odysseus speaks to us, and when from his sepulchre of
flame the great Ghibelline rises, the pride that triumphs over the
torture of that bed becomes ours for a moment. Through the dim purple
air fly those who have stained the world with the beauty of their sin,
and in the pit of loathsome disease, dropsy-stricken and swollen of body
into the semblance of a monstrous lute, lies Adamo di Brescia, the coiner
of false coin. He bids us listen to his misery; we stop, and with dry
and gaping lips he tells us how he dreams day and night of the brooks of
clear water that in cool dewy channels gush down the green Casentine
hills. Sinon, the false Greek of Troy, mocks at him. He smites him in
the face, and they wrangle. We are fascinated by their shame, and
loiter, till Virgil chides us and leads us away to that city turreted by
giants where great Nimrod blows his horn. Terrible things are in store
for us, and we go to meet them in Dante's raiment and with Dante's heart.
We traverse the marshes of the Styx, and Argenti swims to the boat
through the slimy waves. He calls to us, and we reject him. When we
hear the voice of his agony we are glad, and Virgil praises us for the
bitterness of our scorn. We tread upon the cold crystal of Cocytus, in
which traitors stick like straws in glass. Our foot strikes against the
head of Bocca. He will not tell us his name, and we tear the hair in
handfuls from the screaming skull. Alberigo prays us to break the ice
upon his face that he may weep a little. We pledge our word to him, and
when he has uttered his dolorous tale we deny the word that we have
spoken, and pass from him; such cruelty being courtesy indeed, for who
more base than he who has mercy for the condemned of God? In the jaws of
Lucifer we see the man who sold Christ, and in the jaws of Lucifer the
men who slew Caesar. We tremble, and come forth to re-behold the
stars. --_The Critic as Artist_.




THE LIMITATIONS OF GENIUS


The appeal of all Art is simply to the artistic temperament. Art does
not address herself to the specialist. Her claim is that she is
universal, and that in all her manifestations she is one.