The Critical Game Part 8

A man's place in the generations of mankind is not wholly determined by the date of his birth. If William James were alive he would be eighty years old; but he belongs to us, to the living present. Mr.

George Edward Woodberry is only sixty-seven; yet he already seems like the last figure in a tradition which has come to an end--so far as any period in literature may truly be said to end. James was aware of something like this twenty years ago. He gave Mr. Woodberry the praise that is his due, but expressed at the same time his essential weakness. Of "The Heart of Man" James wrote in a letter:

The essays are grave and n.o.ble in the extreme. I hail another American author. They can't be popular, and for cause. The respect of him for the Queen's English, the cla.s.sic leisureliness and explicitness, which give so rare a dignity to his style, also take from it that which our generation seems to need, the sudden word, the unmeditated transition, the flash of perception that makes reasonings unnecessary. Poor Woodberry, so high, so true, so good, so original in his total make-up, and yet so unoriginal if you take him spot-wise--and therefore so ineffective.

Mr. Woodberry is not out of date in a mere journalistic sense or in the hasty judgment of an irreverent generation which affects a trivial contemporaneity and regards even the end of the last century as old fogy. He is out of date because he did not gear with his own times, but remained aloof and backward-looking and so became the last of the Lowells instead of the first of the Woodberrys. It could not have been a conscious or servile emulation on his part, for he has a spirit of his own. But his surroundings and his education were too strong for his fine talent. He was brought up in the twilight of the New England demiG.o.ds. They handed him the "torch," and he has carried it with pious devotion. To younger men as docile as himself, he became, almost officially, the representative in the flesh of the elders over whose graves he prayed. His publishers announce with pride, with no sense of the depressing implications of what they are saying, that there is a Woodberry Society, "probably the only organization in America dedicated to a living writer." Thus the anachronism is fulfilled. Mr.

Woodberry was old when he was young, and he is an inst.i.tution before he is dead. Some books are epoch making; other books, even great and original books, lie comfortably in their times without being either innovative or conclusive; Mr. Woodberry's six solid volumes[1] are epoch closing, a collection of such words as will not be written again by a man of genuine talent and wisdom.

[1] Collected Essays of George Edward Woodberry. 6 vols. New York: Harcourt, Brace and Company. 1921.

The feeling that Mr. Woodberry is a voice from the past that immediately preceded him comes over me most heavily when I read his essays on Lowell's Addresses, on Democracy, and on Wendell Phillips.

It may be only the essayist's strict fidelity to Lowell's ideas--no doubt a merit--which leaves the impression that the essayist knows only what Lowell knew and no more, that the pupil has not moved a step beyond the master. It is Lowell over again without the slightest addition from the lessons of time. The London _Nation_ has said of Mr. Woodberry's essays that most of them have "a unity and life that make many of Lowell's seem those of a shrewd but old-fas.h.i.+oned amateur." Yet Lowell was at least a vivid amateur, who expressed something that belonged to the 'fifties, 'sixties and 'seventies; and he had an old gentleman's right to be old in the 'eighties. It is not to be expected that a critic should begin where Lowell leaves off--only a thinker of real genius makes such long strides. But the critic following Lowell in time and not moving half a step ahead of him seems older than Lowell himself.

The same thing is true of the address on Wendell Phillips, "The Faith of an American." It is fine, even eloquent, but it is abstract and curiously old-fas.h.i.+oned. Phillips in his own utterances is more of to-day and of to-morrow than is his eulogist who was a child in Beverley when Phillips was in mid-career. The reason, of course, is that Phillips was a fighter, hot with real issues, and it is not the critic's business to fight but to examine the ideas of the fighter.

These ideas necessarily become somewhat abstract when a critic quotes or rephrases them, especially since Phillips was an orator and flung at his audiences sweeping generalities which in a less inspired man are mere tall talk. But Mr. Woodberry devitalizes Phillips, especially the later Phillips who went on from one issue to the next until he dropped. Mr. Woodberry has not a single clear, plain word about one of Phillips' last fights, that for the Labor party. Mr. Woodberry stops with the actual Phillips before Phillips stopped, and the end of the address fades out in vagueness and plat.i.tude. There is something rather touching about Mr. Woodberry's declaration: "I know that what I have said to-night is heavy with risk." One looks in vain to discover the risk. Surely in 1911, when the address was delivered, a man might talk in Mr. Woodberry's mild way every night in the week and invite no more severe punishment than a scolding from Dr. Nicholas Murray Butler.

Mr. Woodberry's ideas and his expressions are all gentle, though not timid nor emasculate. His general faith in "Democracy" is too serenely above the tumult to disturb anybody or provoke a riot call in the quietude of Beverley. I do not know what he means by "Democracy,"

whether such actual democracy as existed in America in 1899, or some beautiful dream of the future. If democracy is a dream, an unrealized dream, then any beautiful thing a poet says about it is true. But Mr.

Woodberry seems to be talking about something actually existing, something already realized in considerable part if not completely, for he says: "Democracy has its great career, for the first time, in our national being, and exhibits here most purely its formative powers, and unfolds destiny on the grand scale." That was not true twenty years ago, and it is certainly not true now. It is the sort of thing that Emerson and Lowell could say with rousing conviction, but twenty years ago it was as obsolete as a beaver hat except in newspaper editorials and political speeches, where it is still going strong--even if not quite so strong as it used to be.

Mr. Woodberry seems to imply that he is somewhat more of a realist than Lowell. But he is in fact less of a realist than Lowell; for Lowell in his time did grapple with the facts of politics. In poetry it is not necessary, it is better not, to be a realist. But in dealing with politics and contemporaneous history the true citizen must be a realist and leave it to the politicians to fly with the eagle. No wisdom is to be derived from such a statement as this: "There is always an ideality of the human spirit in all its [Democracy's] works, if one will search them out." Or this: "Democracy is a mode of dealing with souls." Or this: "Not that other governments have not had regard to the soul, but in democracy, it is spirituality that gives the law and rules the issue." It is, alas, not true that "education, high education even, is more respected and counts for more in a democracy than under the older systems," or that "the law becomes the embodied persuasion of the community," or that "all these blessings [aversion to war, devotion to public duty and many other enumerated virtues]

unconfined as the element, belong to all our people."

Mr. Woodberry's democracy simply does not exist and never did exist.

Yet there is one existent glory of my country which I believe I appreciate better than he does. He says: "It behooves us, especially, to be modest, for our magnificent America has never yet produced a poet even of the rank of Gray." That was written fourteen years after the death of Whitman. Mr. Woodberry's democracy had not yet come along, but one of its great poets had arrived and departed leaving Mr.

Woodberry none the wiser. There is another glory of my country which I appreciate better than Mr. Woodberry does--Poe, whose poetry Mr.

Woodberry has never understood, though he has written what is altogether the best biography of the man! To save the six best lyrics of Poe, I would, if such a sacrifice were necessary, cheerfully sink Gray in the deepest sea of oblivion, "Elegy," letters and all. But that is only a slight difference of judgment, and there is no more futile business than to draw up minor poets in grades and ranks.

Whitman is another matter; the critic who misses him in this day of the world is simply incompetent. The excuse for Mr. Woodberry is that he does not belong to this day of the world.

There is something pathetic about Mr. Woodberry's patriotism. He sincerely believes that "America's t.i.tle to glory is her service to human liberty." He has never been delivered from the superst.i.tion that "the sense of justice is the bedrock of the Puritan soul"--the Puritan soul, narrow, despotic, cruelly unjust! But when Mr. Woodberry leaves politics and patriotism and religion and returns to art and literature where he is at home, he puts his finger ruefully on the real rock of the Puritan soul, recalling the Puritan's hostility to the theatre and regretting "the American inhibition" "which rejects the nude in sculpture and painting, not only forfeiting thereby the supreme of Greek genius and sanity, but to the prejudice, also, of human dignity." Mr. Woodberry is himself a Puritan, yearning to be free but chained to New England granite, and since he can not get free on this planet he looks up to the heavens where the G.o.d of his fathers used to dwell, but where he can find only abstract and vague ideas. Mr.

Woodberry's tendency to abstract phrases, which on pressure yield nothing, vitiates his literary essays, the essays in which a professional critic ought to be most concrete, definite, and nouris.h.i.+ng. The trouble may be that his views are too high and too broad for the limited vision of a common man; but I think his trouble is that he has not the true philosopher's power to make a long idea, bridging time and s.p.a.ce, stand up under its own weight; there is a lack of solid timber and concrete. His best essays are those on individual authors in which he has the selected specific substance of another man's thought to work on. As ought to happen to a sensitive critic, it sometimes happens that Mr. Woodberry's style takes the very tone of his subject. He is whimsical in his charming little essay on Pepys, an adequate trifle; he is grave and quiet when he writes about Gray; and Swinburne so stirs him that his prose awakes and sparkles with metaphor. Even in this essay, however, he can not help demoralizing poetry by moralizing it into pseudo-philosophic prose.

"The imagery (of 'Laus Veneris') has more affinity with modes of sacerdotal art, with symbolism and the attributive in imaginative power than it has with the free vitality that is more properly the sphere of poetry." What does that mean? What is the sphere of poetry?

The essays on the older poets would make first-rate introductions to school texts, and I think some of them have been so used. They suffer from the fact that in Mr. Woodberry's time--and since--so many standard essays on Milton, Shakespeare, and the rest were written and rewritten, that unless a critic has a fresh point of view, as Mr.

Woodberry has not, another essay is simply another essay.

It must be pleasant to meditate on the great men of letters and from time to time write an essay on Virgil or Montaigne or Matthew Arnold.

Some leisure is necessary, for the conscientious critic must read much, and much reading takes time. It may be that in our nervous age, in this country, the scholarly critic with a true taste for letters has disappeared, to return perhaps in a day when Democracy or something better shall have dawned. The comfortable old tradition is dead or dying, and since its good works are extant in print, we need no more contributions to it. As Mr. Woodberry says in an essay called "Culture of the Old School": "The _Gentleman's Magazine_--both the name and the thing belong to a bygone time."

ABRAHAM CAHAN

Toward the end of the last century there appeared in the magazines some remarkable stories of the East Side of New York by Abraham Cahan.

They were not of the crudely comic type of Potash and Perlmutter, nor were they in the somewhat finer mood of sentimental humor which made Myra Kelly deservedly popular. They were humorous and pathetic in a quiet, compelling way, with a gentle austerity of tone even less familiar to American readers then than it is in the days of the Russian invasion. Mr. Howells praised these stories and he and others in editorial authority encouraged the author to write more. A career in the pleasant art of fiction was open to Mr. Cahan. But he withdrew from it and, so far as I know, he wrote no more stories for at least ten years. He has devoted his energy to building up the great _Jewish Daily Forward_, which is not only the voice of the East Side, but a powerful vehicle of social and political ideals that have not yet penetrated the sanctums of Times Square and of the older newspaper world near City Hall and Civic Virtue.

Then, as he approached sixty, Mr. Cahan gave us "The Rise of David Levinsky", a solid mature novel, into which are compacted the reflections of a lifetime. The publisher's notice called it "a story of success in the turmoil of American life." Probably the writer of those words intended to help the book by the appeal which "success"

makes to the American mind, for no reader, not even a publisher's clerk, could miss the immense irony of the story. It is indeed the story of a failure. The vanity of great riches was never set forth with more searching sincerity. The helplessness of the individual, even the strong and prosperous, in the economic whirlpool, the loneliness and disillusionment only partly a.s.suaged by pride in commercial achievement, the sacrifice of the intellectual life to the practical, these are the fundamental themes of the book. Levinsky, with the instincts of a scholar and a desire for the finest things in life, is swept into business by circ.u.mstances which he hardly understands himself and against which he is powerless; once in the game he makes the most of his abilities, but he never ceases to regard his visible good fortune as poor compensation for the invisible things he has missed. His wealth forces him to a.s.sociate with all that is vulgar and acquisitive in Jewry and isolates him from all that is idealistic. He finds that he cannot even speak the language of the woman he most admires. Worse still, he is out of sympathy with the aspirations of millions of poor Jews from whose ranks he has sprung.

He has no sympathy with those who would break the game up or make new rules, yet he sees that the game is hardly worth playing, even for the winner. "Success! Success! Success! It was the almighty G.o.ddess of the hour. Thousands of new fortunes were advertising her gaudy splendors.

Newspapers, magazines, and public speeches were full of her glory, and he who found favor in her eyes found favor in the eyes of man."

The portrait of David Levinsky is a portrait of society, not simply of the Jewish section of it, or of New York, but of American business.

And business is business whether done by Jew or Gentile. If Levinsky is a triumphant failure, he is so because American business, which shaped him to its ends, is, viewed from any decent regard for humanity, a miserable monster of success. Not that Levinsky is an abstraction, or that the novelist is forcing a thesis. Far from it.

The personality of Levinsky is as sharply individualized as the hero of Meredith's "One of Our Conquerors," though with a different kind of subtlety, the subtlety not of detached a.n.a.lysis, but of navely simple self-revelation, which of course is not so simple as it sounds.

Mr. Cahan knows how to think through his characters, by letting them do the thinking, as if it were their affair and not his. At the same time he does not perform (nor does any other artist) that foolish and meaningless operation, as expressed by a great poet through a young critic, of holding "the mirror up to nature." Nature in a mirror is just nature, not nature thought out, excogitated, turned to human uses, interpreted in human words. And this is the place to say that Mr. Cahan knows how to use words. There are no great phrases in this book. A simple and (intellectually) honest business man writing his autobiography would not use a great phrase; such a phrase might issue from some enviable person in that intellectual life from which Levinsky was excluded. But there is no ba.n.a.l or inept phrase. Such a man as Mr. Cahan intends Levinsky to be, a man trained in the Talmud, which means verbal sense, and hammered by the facts of life, which means a sense of reality, and a wistful failure, which means imaginative retrospection, says things in a direct, firm, accurate style.

There is no lack of emotion; strong feeling, expressed or implied, runs through the book from beginning to end. But there is a complete absence of eloquence, a deliberate refraining from emphasis, an even manner of setting forth ideas and events impartially for the value inherent in them, an admirable method, the method of a philosophic artist. Here is life, some of it is good, some of it is bad; it is all somewhat pitiable, to be laughed at rather than cried over; n.o.body is deserving of indignant blame or abuse. It is our business to understand it as well as we can; and though we never can see it in its entirety or with complete clearness, if we make an honest effort to record events and delineate personalities, the events will arrange themselves in a more or less intelligible sequence, and the personalities will be their own commentary upon themselves. An obvious method, but you will read many a book to find one skilful application of it.

It seems to me the method most often employed and carried to the highest degree of perfection by the great Russians. I am driven to the timidity of "seems" because we do much talking about Russian novels without having read many of them or understanding what we have read.

But better-informed critics than I have noted that one characteristic of the Russian novel is a benevolent impartiality in its treatment of all kinds of people and a calm contemplation of events horrible, gay, sad, comic. A revolutionist can portray, in fiction, a commissioner of police, whom in real life he would be willing to kill, with a fairness that is more than fair, with a combination of Olympian serenity and human sympathy. He can be a virulent propagandist when he is writing pamphlets, and when he writes fiction he can forget his propaganda or subdue it to art, that is, to a balanced sense of life.

When I say that Mr. Cahan's novel sounds like a good translation of a Russian novel, and that he is a disciple of the Russian novelists, I accuse him of the crime of being an artist and a seer. As a matter of biography, he is a child of Russian literature. And that is why his novel, written in faultless English, is a singular and solitary performance in American fiction. If that strange demand for "the" or "a great American novel," a demand which is at once foolish and the expression of a justifiably proud feeling that a big country ought to have big books, is to be satisfied, perhaps we shall have to ask an East Side Jew to write it for us. That would be an interesting phenomenon for some future Professor Wendell to deal with in a History of American Literature. And by the way, Mr. Cahan is a competent critic. I hope he will give us not only more novels, but a study of Russian literature for the enlightenment of the American mind. I remember with grat.i.tude an article of his which I read when I was even more ignorant than I am now, on the modern successors to the group of t.i.tans, Turgenev, Tolstoy, Dostoevsky. He put Maxim Gorky in his place and told us (this was before the Russian invasion) about Andreyev and Chekhov. If Mr. Cahan will write a book on Russian literature, I will do my best to establish him in his merited place in American literature.

THOMAS HARDY

Mr. Bernard Shaw says, apropos Samuel Butler, that the English people do not deserve to have a genius. Butler himself in a note remarks that America, even America, will probably have men of genius, has indeed, already had one, Walt Whitman, but that he cannot imagine any country where a genius would have more unfortunate surroundings than in America. Mr. Arnold Bennett sends a shot from the same gun in "Milestones," when he makes the millionaire s.h.i.+pbuilder puff his chest and say that there is no greater honor to English character than the way we treat our geniuses. Egad! The unworthiness of the British and American nations to have artists born to them was never more shamefully manifested than by the reception accorded thirty years ago to Hardy's "Jude, the Obscure." Harper's Magazine, which seems to have begun printing the story before the editors had seen the complete ma.n.u.script, fell into temporary disfavor with some outraged readers.

One British journal distinguished itself by reviewing the book under the caption, "Jude, the Obscene."

It is inconceivable that any nation on the continent of Europe could, through its critics or through any considerable number of readers, so dishonor a masterpiece. For "Jude" is a masterpiece; if it is not Hardy's greatest novel, it is one of his three or four greatest, and that means one of a score of supreme works of prose fiction in the language. If profundity of substance and skill in narrative are both considered, Hardy is without rival among British novelists. His is the crowning achievement in the century of fiction that began with Jane Austen and, happily, has not yet terminated with Joseph Conrad. In his hands the English novel a.s.sumed a form which, perhaps without good critical reason, one thinks of as French. Despite the racy localism of scene and character, Hardy's work seems alien to the Anglo-Saxon temperament; it has less in common with the s.p.a.cious days of great Victoria than with a younger time, whose living masters, Mr. Conrad and Mr. Galsworthy, for example, have taken lessons in art across the channel.

In a prefatory note to "Desperate Remedies," dated February, 1896, Hardy lets fall a casual phrase which indicates that he and others had noted his kins.h.i.+p to the French, but that he was not disposed to acknowledge it fully. He seems to say, with that kind of modest pride which distinguishes him, that he found his method for himself, played the game alone. "As it happened," runs the note, "that certain characteristics which provoked most discussion in my latest story ['Jude'?] were present in this my first--published in 1871, when there was no French name for them--it has seemed best to let them stand unaltered." What characteristics does he intend? And was there no French name for them in 1871? Or had not the British critics begun to use the French name? Are these characteristics his candor, his logic, his cla.s.sic finish of phrase, a certain cool stateliness of manner, an impersonal, distant way of treating most tender and poignant subjects, a lucid, ironic view of life, perfect proportion, large intellectual pity and freedom from cant, from sentimentality? These are some of his virtues and they are the virtues of several modern French novelists and some of the Russian pupils of the French.

If the ill reception of "Jude" caused Mr. Hardy to foreswear fiction, then the fools have in a way done us harm by cheating us of two or three great novels. Yet genius takes its revenge on a dull world, especially if it is prosperous genius, too well established to be starved out by the stupidity of an inartistic people. If Hardy had been encouraged to write more novels perhaps we should not have had "The Dynasts." And by and by we shall discover what a loss that would have been. It is the greatest epic that we have been privileged to read since Tolstoy's "War and Peace." And it is the best long poem in English since Morris's "The Earthly Paradise." Though it is cast in scenes and acts it is not a drama except in a vast untechnical sense of the word. But epic it is, creation of an enormous imagination which sweeps the universe and manages a cosmic panorama as commandingly as the same imagination dominates a rural kingdom of farms and desolate heaths. If "The Dynasts" and Hardy's shorter poems lack one thing, that one thing is the magical and haunting line, that concatenation of words which is everlastingly beautiful in the context or detached from it. Morris knew that magic. He was born with it, and no reader of Morris, except a critic, will be deceived by his own denial of his divinity when he said in his honest, off-hand way, sensible as Anthony Trollope, that inspiration is nonsense and verse is easy to write.

"The Dynasts" is an extraordinary poem. It is not French, it is not Greek, it is not like anything else in English. Hardy has discarded Christian mythology. He is not childish enough to revert to the Greek.

He has invented a new one. His celestial machinery is as strange an apparition in the heavens as the first aeroplane. His hero, Napoleon, rises above the human stature by which the realistic novelist measures man and becomes not only a tool of destiny but a demiG.o.d who seems to understand destiny and share the secrets of that impersonal G.o.ddess.

Those who are curious about Hardy's philosophy (we like his art; his philosophy may lie down and die on the shelf with the other philosophies) will find the closing chorus of "The Dynasts"

significant:

But--a stirring thrills the air Like to sounds of joyance there That the rages Of the ages Shall be cancelled, and deliverance offered from the darts that were, Consciousness the Will informing, till It fas.h.i.+on all things fair!

Such is the ultimate word of this artist who so keenly loves beauty, yet, like some neo-Puritan and latter-day ascetic, cannot draw a lovely woman without reminding you that the skull under the cheeks and behind the pa.s.sionate eyes is not pretty and will probably endure a long time under ground. Is he of like mind with his chorus at last, and does he believe that the Will is going to grow intelligent and make all things fair?

Perhaps Hardy's p.r.o.neness to dwell on the skeletonic grin of life is due to his exceeding sensitiveness to beauty. Like Poe and other poets, he cannot abide the ugliness that is in the world, and so he insists on The Conqueror Worm, as a man cannot refrain from thrusting his tongue into the sore tooth. Perhaps Hardy is a reaction against the saccharine optimism of his contemporaries and of those just before his time. They falsified life in their fictions by making everything come out nicely, thank you, on the last page. He leans over backward from that kind of untruth and comes dangerously near to being as false. As between falsity in one direction and falsity in the other, there is no choice, except that we have had so much of the sweet kind that Hardy is refres.h.i.+ng. He tends to restore the balance.

Ask any man, rich man, poor man, beggar man, thief, how life has gone with him, and, if he is honest, he will tell you that life did not go definitely one way or the other. Things sometimes came out well and sometimes not. Hardy is biased in favor of the things that do not come out well. "Life's Little Ironies" is a good t.i.tle, but it is a t.i.tle that implies a thesis, an att.i.tude from which humanity is surveyed.

The stories are perfection and they sound true. Hardy is a logician and he will back any tale of his with evidence, even the first story in "Wess.e.x Tales," in the preface of which the authority of physicians is invoked. But when you take all his stories together you find nine failures out of ten human careers, and life has a better batting average than that. No one doubts that the "Fellowtownsmen" got into such horrid confusion, that things happened as they shouldn't, that every shot at happiness was a miss. And "The Waiting Supper" is so convincing that you cannot escape. But the two stories together, regarded for the moment not as the excellent works of art which they are, but as a view of human destiny, weaken each other. One convinces you. The two together make you ask questions about the author.

In "The Waiting Supper" there is one line that is as great a pathetic fallacy as the more familiar and cheery kind which represents nature as smiling upon the lovers. Hardy's lovers have to submit to this: "Thus the sad autumn afternoon waned, while the waterfall hissed sarcastically of the inevitableness of the unpleasant." Did you ever hear a waterfall like that? The only waterfalls I have heard quote Darwin and discuss the election returns. I know that the happy poet is a liar when he says that the nightingale is celebrating my love for Mamie, for the nightingale is concerned with other matters. But as between a nightingale who is sympathetic with my emotions and a sarcastic waterfall, I prefer the nightingale. And I do not like either in realistic fiction.

Thomas Hardy, the idol of the younger realists and the liberator of British fiction from the Victorian hoopskirt and the happy ending, is not a realist. He is a great romantic, with a taste for pretty girls, moonlight, heroes and dragoons. He is incurably superst.i.tious. He is pained by many modern things, especially by modern restorations of ancient buildings. He takes Tess to the Druidical stones on Salisbury Plain because he dearly likes that kind of moonlit antiquity. His p.r.o.nominal subst.i.tution of It for He does not achieve a revolution in theology. He manages the destinies of human folk as arbitrarily as any maker of fiction that ever lived. But he never made a story in which he did not convince you that life is overwhelmingly interesting and that nature, girls, and dragoons are beautiful if sad things to contemplate.