An Englishman Looks at the World Part 8

I name "Jean Christophe" as a sort of archetype in this connection, because it is just at present very much in our thoughts by reason of the admirable translation Mr. Cannan is giving us; but there is a greater predecessor to this comprehensive and spectacular treatment of a single mind and its impressions and ideas, or of one or two a.s.sociated minds, that comes to us now _via_ Mr. Bennett and Mr. Cannan from France. The great original of all this work is that colossal last unfinished book of Flaubert, "Bouvard et Pecuchet." Flaubert, the bulk of whose life was spent upon the most austere and restrained fiction--Turgenev was not more austere and restrained--broke out at last into this gay, sad miracle of intellectual abundance. It is not extensively read in this country; it is not yet, I believe, translated into English; but there it is--and if it is new to the reader I make him this present of the secret of a book that is a precious wilderness of wonderful reading. But if Flaubert is really the Continental emanc.i.p.ator of the novel from the restrictions of form, the master to whom we of the English persuasion, we of the discursive school, must for ever recur is he, whom I will maintain against all comers to be the subtlest and greatest _artist_--I lay stress upon that word artist--that Great Britain has ever produced in all that is essentially the novel, Laurence Sterne....

The confusion between the standards of a short story and the standards of the novel which leads at last to these--what shall I call them?--_Westminster Gazettisms?_--about the correct length to which the novelist should aspire, leads also to all kinds of absurd condemnations and exactions upon matters of method and style. The underlying fallacy is always this: the a.s.sumption that the novel, like the story, aims at a single, concentrated impression. From that comes a fertile growth of error. Constantly one finds in the reviews of works of fiction the complaint that this, that or the other thing in a novel is irrelevant.

Now it is the easiest thing, and most fatal thing, to become irrelevant in a short story. A short story should go to its point as a man flies from a pursuing tiger: he pauses not for the daisies in his path, or to note the pretty moss on the tree he climbs for safety. But the novel by comparison is like breakfasting in the open air on a summer morning; nothing is irrelevant if the waiter's mood is happy, and the tapping of the thrush upon the garden path, or the petal of apple-blossom that floats down into my coffee, is as relevant as the egg I open or the bread and b.u.t.ter I bite. And all sorts of things that inevitably mar the tense illusion which is the aim of the short story--the introduction, for example, of the author's personality--any comment that seems to admit that, after all, fiction is fiction, a change in manner between part and part, burlesque, parody, invective, all such thing's are not necessarily wrong in the novel. Of course, all these things may fail in their effect; they may jar, hinder, irritate, and all are difficult to do well; but it is no artistic merit to evade a difficulty any more than it is a merit in a hunter to refuse even the highest of fences. Nearly all the novels that have, by the lapse of time, reached an a.s.sured position of recognised greatness, are not only saturated in the personality of the author, but have in addition quite unaffected personal outbreaks. The least successful instance the one that is made the text against all such first-personal interventions, is, of course, Thackeray. But I think the trouble with Thackeray is not that he makes first-personal interventions, but that he does so with a curious touch of dishonesty. I agree with the late Mrs. Craigie that there was something profoundly vulgar about Thackeray. It was a sham thoughtful, sham man-of-the-world pose he a.s.sumed; it is an aggressive, conscious, challenging person astride before a fire, and a little distended by dinner and a sense of social and literary precedences, who uses the first person in Thackeray's novels. It isn't the real Thackeray; it isn't a frank man who looks you in the eyes and bares his soul and demands your sympathy. That is a criticism of Thackeray, but it isn't a condemnation of intervention.

I admit that for a novelist to come in person in this way before his readers involves grave risks; but when it is done without affectations, starkly as a man comes in out of the darkness to tell of perplexing things without--as, for instance, Mr. Joseph Conrad does for all practical purposes in his "Lord Jim"--then it gives a sort of depth, a sort of subjective reality, that no such cold, almost affectedly ironical detachment as that which distinguishes the work of Mr. John Galsworthy, for example, can ever attain. And in some cases the whole art and delight of a novel may lie in the author's personal interventions; let such novels as "Elizabeth and her German Garden," and the same writer's "Elizabeth in Rugen," bear witness.

Now, all this time I have been hacking away at certain hampering and limiting beliefs about the novel, letting it loose, as it were, in form and purpose; I have still to say just what I think the novel is, and where, if anywhere, its boundary-line ought to be drawn. It is by no means an easy task to define the novel. It is not a thing premeditated.

It is a thing that has grown up into modern life, and taken upon itself uses and produced results that could not have been foreseen by its originators. Few of the important things in the collective life of man started out to be what they are. Consider, for example, all the unexpected aesthetic values, the inspiration and variety of emotional result which arises out of the cross-shaped plan of the Gothic cathedral, and the undesigned delight and wonder of white marble that has ensued, as I have been told, through the ageing and whitening of the realistically coloured statuary of the Greeks and Romans. Much of the charm of the old furniture and needlework, again, upon which the present time sets so much store, lies in acquired and unpremeditated qualities.

And no doubt the novel grew up out of simple story-telling, and the universal desire of children, old and young alike, for a story. It is only slowly that we have developed the distinction of the novel from the romance, as being a story of human beings, absolutely credible and conceivable as distinguished from human beings frankly endowed with the glamour, the wonder, the brightness, of a less exacting and more vividly eventful world. The novel is a story that demands, or professes to demand, no make-believe. The novelist undertakes to present you people and things as real as any that you can meet in an omnibus. And I suppose it is conceivable that a novel might exist which was just purely a story of that kind and nothing more. It might amuse you as one is amused by looking out of a window into a street, or listening to a piece of agreeable music, and that might be the limit of its effect. But almost always the novel is something more than that, and produces more effect than that. The novel has inseparable moral consequences. It leaves impressions, not simply of things seen, but of acts judged and made attractive or unattractive. They may prove very slight moral consequences, and very shallow moral impressions in the long run, but there they are, none the less, its inevitable accompaniments. It is unavoidable that this should be so. Even if the novelist attempts or affects to be impartial, he still cannot prevent his characters setting examples; he still cannot avoid, as people say, putting ideas into his readers' heads. The greater his skill, the more convincing his treatment the more vivid his power of suggestion. And it is equally impossible for him not to betray his sense that the proceedings of this person are rather jolly and admirable, and of that, rather ugly and detestable. I suppose Mr. Bennett, for example, would say that he should not do so; but it is as manifest to any disinterested observer that he greatly loves and admires his Card, as that Richardson admired his Sir Charles Grandison, or that Mrs. Humphry Ward considers her Marcella a very fine and estimable young woman. And I think it is just in this, that the novel is not simply a fict.i.tious record of conduct, but also a study and judgment of conduct, and through that of the ideas that lead to conduct, that the real and increasing value--or perhaps to avoid controversy I had better say the real and increasing importance--of the novel and of the novelist in modern life comes in.

It is no new discovery that the novel, like the drama, is a powerful instrument of moral suggestion. This has been understood in England ever since there has been such a thing as a novel in England. This has been recognised equally by novelists, novel-readers, and the people who wouldn't read novels under any condition whatever. Richardson wrote deliberately for edification, and "Tom Jones" is a powerful and effective appeal for a charitable, and even indulgent, att.i.tude towards loose-living men. But excepting Fielding and one or two other of those partial exceptions that always occur in the case of critical generalisations, there is a definable difference between the novel of the past and what I may call the modern novel. It is a difference that is reflected upon the novel from a difference in the general way of thinking. It lies in the fact that formerly there was a feeling of cert.i.tude about moral values and standards of conduct that is altogether absent to-day. It wasn't so much that men were agreed upon these things--about these things there have always been enormous divergences of opinion--as that men were emphatic, c.o.c.ksure, and unteachable about whatever they did happen to believe to a degree that no longer obtains.

This is the Balfourian age, and even religion seeks to establish itself on doubt. There were, perhaps, just as many differences in the past as there are now, but the outlines were harder--they were, indeed, so hard as to be almost, to our sense, savage. You might be a Roman Catholic, and in that case you did not want to hear about Protestants, Turks, Infidels, except in tones of horror and hatred. You knew exactly what was good and what was evil. Your priest informed you upon these points, and all you needed in any novel you read was a confirmation, implicit or explicit, of these vivid, rather than charming, prejudices. If you were a Protestant you were equally clear and unshakable. Your sect, whichever sect you belonged to, knew the whole of truth and included all the nice people. It had nothing to learn in the world, and it wanted to learn nothing outside its sectarian convictions. The unbelievers you know, were just as bad, and said their creeds with an equal fury--merely interpolating _nots_. People of every sort--Catholic, Protestant, Infidel, or what not--were equally clear that good was good and bad was bad, that the world was made up of good characters whom you had to love, help and admire, and of bad characters to whom one might, in the interests of goodness, even lie, and whom one had to foil, defeat and triumph over shamelessly at every opportunity. That was the quality of the times. The novel reflected this quality of a.s.surance, and its utmost charity was to unmask an apparent villain and show that he or she was really profoundly and correctly good, or to unmask an apparent saint and show the hypocrite. There was no such penetrating and pervading element of doubt and curiosity--and charity, about the rightfulness and beauty of conduct, such as one meets on every hand to-day.

The novel-reader of the past, therefore, like the novel-reader of the more provincial parts of England to-day, judged a novel by the convictions that had been built up in him by his training and his priest or his pastor. If it agreed with these convictions he approved; if it did not agree he disapproved--often with great energy. The novel, where it was not unconditionally banned altogether as a thing disturbing and unnecessary, was regarded as a thing subordinated to the teaching of the priest or pastor, or whatever director and dogma was followed. Its modest moral confirmations began when authority had completed its direction. The novel was good--if it seemed to harmonise with the graver exercises conducted by Mr. Chadband--and it was bad and outcast if Mr.

Chadband said so. And it is over the bodies of discredited and disgruntled Chadbands that the novel escapes from its servitude and inferiority.

Now the conflict of authority against criticism is one of the eternal conflicts of humanity. It is the conflict of organisation against initiative, of discipline against freedom. It was the conflict of the priest against the prophet in ancient Judaea, of the Pharisee against the Nazarene, of the Realist against the Nominalist, of the Church against the Franciscan and the Lollard, of the Respectable Person against the Artist, of the hedge-clippers of mankind against the shooting buds. And to-day, while we live in a period of tightening and extending social organisation, we live also in a period of adventurous and insurgent thought, in an intellectual spring unprecedented in the world's history. There is an enormous criticism going on of the faiths upon which men's lives and a.s.sociations are based, and of every standard and rule of conduct. And it is inevitable that the novel, just in the measure of its sincerity and ability, should reflect and co-operate in the atmosphere and uncertainties and changing variety of this seething and creative time.

And I do not mean merely that the novel is unavoidably charged with the representation of this wide and wonderful conflict. It is a necessary part of the conflict. The essential characteristic of this great intellectual revolution amidst which we are living to-day, that revolution of which the revival and restatement of nominalism under the name of pragmatism is the philosophical aspect, consists in the rea.s.sertion of the importance of the individual instance as against the generalisation. All our social, political, moral problems are being approached in a new spirit, in an inquiring and experimental spirit, which has small respect for abstract principles and deductive rules. We perceive more and more clearly, for example, that the study of social organisation is an empty and unprofitable study until we approach it as a study of the a.s.sociation and inter-reaction of individualised human beings inspired by diversified motives, ruled by traditions, and swayed by the suggestions of a complex intellectual atmosphere. And all our conceptions of the relations.h.i.+ps between man and man, and of justice and rightfulness and social desirableness, remain something misfitting and inappropriate, something uncomfortable and potentially injurious, as if we were trying to wear sharp-edged clothes made for a giant out of tin, until we bring them to the test and measure of realised individualities.

And this is where the value and opportunity of the modern novel comes in. So far as I can see, it is the only medium through which we can discuss the great majority of the problems which are being raised in such bristling mult.i.tude by our contemporary social development Nearly every one of those problems has at its core a psychological problem, and not merely a psychological problem, but one in which the idea of individuality is an essential factor. Dealing with most of these questions by a rule or a generalisation is like putting a cordon round a jungle full of the most diversified sort of game. The hunting only begins when you leave the cordon behind you and push into the thickets.

Take, for example, the immense cl.u.s.ter of difficulties that arises out of the increasing complexity of our state. On every hand we are creating officials, and compared with only a few years ago the private life in a dozen fresh directions comes into contact with officialdom. But we still do practically nothing to work out the interesting changes that occur in this sort of man and that, when you withdraw him as it were from the common crowd of humanity, put his mind if not his body into uniform and endow him with powers and functions and rules. It is manifestly a study of the profoundest public and personal importance. It is manifestly a study of increasing importance. The process of social and political organisation that has been going on for the last quarter of a century is pretty clearly going on now if anything with increasing vigour--and for the most part the entire dependence of the consequences of the whole problem upon the reaction between the office on the one hand and the weak, uncertain, various human beings who take office on the other, doesn't seem even to be suspected by the energetic, virtuous and more or less amiable people whose activities in politics and upon the backstairs of politics bring about these developments. They a.s.sume that the sort of official they need, a combination of G.o.d-like virtue and intelligence with unfailing mechanical obedience, can be made out of just any young nephew. And I know of no means of persuading people that this is a rather unjustifiable a.s.sumption, and of creating an intelligent controlling criticism of officials and of a.s.sisting conscientious officials to an effective self-examination, and generally of keeping the atmosphere of official life sweet and healthy, except the novel. Yet so far the novel has scarcely begun its attack upon this particular field of human life, and all the attractive varied play of motive it contains.

Of course we have one supreme and devastating study of the illiterate minor official in b.u.mble. That one figure lit up and still lights the whole problem of Poor Law administration for the English reading community. It was a translation of well-meant regulations and pseudo-scientific conceptions of social order into blundering, arrogant, ill-bred flesh and blood. It was worth a hundred Royal Commissions. You may make your regulations as you please, said d.i.c.kens in effect; this is one sample of the stuff that will carry them out. But b.u.mble stands almost alone. Instead of realising that he is only one aspect of officialdom, we are all too apt to make him the type of all officials, and not an urban district council can get into a dispute about its electric light without being denounced as a b.u.mbledom by some whirling enemy or other. The burthen upon b.u.mble's shoulders is too heavy to be borne, and we want the contemporary novel to give us a score of other figures to put beside him, other aspects and reflections upon this great problem of officialism made flesh. b.u.mble is a magnificent figure of the follies and cruelties of ignorance in office--I would have every candidate for the post of workhouse master pa.s.s a severe examination upon "Oliver Twist"--but it is not only caricature and satire I demand.

We must have not only the fullest treatment of the temptations, vanities, abuses, and absurdities of office, but all its dreams, its sense of constructive order, its consolations, its sense of service, and its n.o.bler satisfactions. You may say that is demanding more insight and power in our novels and novelists than we can possibly hope to find in them. So much the worse for us. I stick to my thesis that the complicated social organisation of to-day cannot get along without the amount of mutual understanding and mutual explanation such a range of characterisation in our novels implies. The success of civilisation amounts ultimately to a success of sympathy and understanding. If people cannot be brought to an interest in one another greater than they feel to-day, to curiosities and criticisms far keener, and co-operations far subtler, than we have now; if cla.s.s cannot be brought to measure itself against, and interchange experience and sympathy with cla.s.s, and temperament with temperament then we shall never struggle very far beyond the confused discomforts and uneasiness of to-day, and the changes and complications of human life will remain as they are now, very like the crumplings and separations and complications of an immense avalanche that is sliding down a hill. And in this tremendous work of human reconciliation and elucidation, it seems to me it is the novel that must attempt most and achieve most.

You may feel disposed to say to all this: We grant the major premises, but why look to the work of prose fiction as the main instrument in this necessary process of, so to speak, sympathising humanity together?

Cannot this be done far more effectively through biography and autobiography, for example? Isn't there the lyric; and, above all, isn't there the play? Well, so far as the stage goes, I think it is a very charming and exciting form of human activity, a display of actions and surprises of the most moving and impressive sort; but beyond the opportunity it affords for saying startling and thought-provoking things--opportunities Mr. Shaw, for example, has worked to the utmost limit--I do not see that the drama does much to enlarge our sympathies and add to our stock of motive ideas. And regarded as a medium for startling and thought-provoking things, the stage seems to me an extremely clumsy and costly affair. One might just as well go about with a pencil writing up the thought-provoking phrase, whatever it is, on walls. The drama excites our sympathies intensely, but it seems to me it is far too objective a medium to widen them appreciably, and it is that widening, that increase in the range of understanding, at which I think civilisation is aiming. The case for biography, and more particularly autobiography, as against the novel, is, I admit, at the first blush stronger. You may say: Why give us these creatures of a novelist's imagination, these phantom and fantastic thinkings and doings, when we may have the stories of real lives, really lived--the intimate record of actual men and women? To which one answers: "Ah, if one could!" But it is just because biography does deal with actual lives, actual facts, because it radiates out to touch continuing interests and sensitive survivors, that it is so unsatisfactory, so untruthful. Its inseparable falsehood is the worst of all kinds of falsehood--the falsehood of omission. Think what an abounding, astonis.h.i.+ng, perplexing person Gladstone must have been in life, and consider Lord Morley's "Life of Gladstone," cold, dignified--not a life at all, indeed, so much as embalmed remains; the fire gone, the pa.s.sions gone, the bowels carefully removed. All biography has something of that post-mortem coldness and respect, and as for autobiography--a man may show his soul in a thousand half-conscious ways, but to turn upon oneself and explain oneself is given to no one. It is the natural liars and braggarts, your Cellinis and Casanovas, men with a habit of regarding themselves with a kind of objective admiration, who do best in autobiography. And, on the other hand, the novel has neither the intense self-consciousness of autobiography nor the paralysing responsibilities of the biographer. It is by comparison irresponsible and free. Because its characters are figments and phantoms, they can be made entirely transparent. Because they are fictions, and you know they are fictions, so that they cannot hold you for an instant so soon as they cease to be true, they have a power of veracity quite beyond that of actual records. Every novel carries its own justification and its own condemnation in its success or failure to convince you that _the thing was so_. Now history, biography, blue-book and so forth, can hardly ever get beyond the statement that the superficial fact was so.

You see now the scope of the claim I am making for the novel; it is to be the social mediator, the vehicle of understanding, the instrument of self-examination, the parade of morals and the exchange of manners, the factory of customs, the criticism of laws and inst.i.tutions and of social dogmas and ideas. It is to be the home confessional, the initiator of knowledge, the seed of fruitful self-questioning. Let me be very clear here. I do not mean for a moment that the novelist is going to set up as a teacher, as a sort of priest with a pen, who will make men and women believe and do this and that. The novel is not a new sort of pulpit; humanity is pa.s.sing out of the phase when men _sit under_ preachers and dogmatic influences. But the novelist is going to be the most potent of artists, because he is going to present conduct, devise beautiful conduct, discuss conduct a.n.a.lyse conduct, suggest conduct, illuminate it through and through. He will not teach, but discuss, point out, plead, and display. And this being my view you will be prepared for the demand I am now about to make for an absolutely free hand for the novelist in his choice of topic and incident and in his method of treatment; or rather, if I may presume to speak for other novelists, I would say it is not so much a demand we make as an intention we proclaim. We are going to write, subject only to our limitations, about the whole of human life. We are going to deal with political questions and religious questions and social questions. We cannot present people unless we have this free hand, this unrestricted field. What is the good of telling stories about people's lives if one may not deal freely with the religious beliefs and organisations that have controlled or failed to control them? What is the good of pretending to write about love, and the loyalties and treacheries and quarrels of men and women, if one must not glance at those varieties of physical temperament and organic quality, those deeply pa.s.sionate needs and distresses from which half the storms of human life are brewed? We mean to deal with all these things, and it will need very much more than the disapproval of provincial librarians, the hostility of a few influential people in London, the scurrility of one paper, and the deep and obstinate silences of another, to stop the incoming tide of aggressive novel-writing. We are going to write about it all. We are going to write about business and finance and politics and precedence and pretentiousness and decorum and indecorum, until a thousand pretences and ten thousand impostures shrivel in the cold, clear air of our elucidations. We are going to write of wasted opportunities and latent beauties until a thousand new ways of living open to men and women. We are going to appeal to the young and the hopeful and the curious, against the established, the dignified, and defensive. Before we have done, we will have all life within the scope of the novel.

THE PHILOSOPHER'S PUBLIC LIBRARY

Suppose a philosopher had a great deal of money to spend--though this is not in accordance with experience, it is not inherently impossible--and suppose he thought, as any philosopher does think, that the British public ought to read much more and better books than they do, and that founding public libraries was the way to induce them to do so, what sort of public libraries would he found? That, I submit, is a suitable topic for a disinterested speculator.

He would, I suppose, being a philosopher, begin by asking himself what a library essentially was, and he would probably come to the eccentric conclusion that it was essentially a collection of books. He would, in his unworldliness, entirely overlook the fact that it might be a job for a munic.i.p.ally influential builder, a costly but conspicuous monument to opulent generosity, a news-room, an employment bureau, or a meeting-place for the glowing young; he would never think for a moment of a library as a thing one might build, it would present itself to him with astonis.h.i.+ng simplicity as a thing one would collect. Bricks ceased to be literature after Babylon.

His first proceeding would be, I suppose, to make a list of that collection. What books, he would say, have all my libraries to possess anyhow? And he would begin to jot down--with the a.s.sistance of a few friends, perhaps--this essential list.

He would, being a philosopher, insist on good editions, and he would also take great pains with the selection. It would not be a limited or an exclusive list--when in doubt he would include. He would disregard modern fiction very largely, because any book that has any success can always be bought for sixpence, and modern poetry, because, with an exception or so, it does not signify at all. He would set almost all the Greek and Roman literature in well-printed translations and with luminous introductions--and if there were no good translations he would give some good man 500 or so to make one--translations of all that is good in modern European literatures, and, last but largest portion of his list, editions of all that is worthy of our own. He would make a very careful list of thoroughly modern encyclopaedias, atlases, and volumes of information, and a particularly complete catalogue of all literature that is still copyright; and then--with perhaps a secretary or so--he would revise all his lists and mark against every book whether he would have two, five or ten or twenty copies, or whatever number of copies of it he thought proper in each library.

Then next, being a philosopher, he would decide that if he was going to buy a great number of libraries in this way, he was going to make an absolutely new sort of demand for these books, and that he was ent.i.tled to a special sort of supply.

He would not expect the machinery of retail book-selling to meet the needs of wholesale buying. So he would go either to wholesale booksellers, or directly to the various publishers of the books and editions he had chosen, and ask for reasonable special prices for the two thousand or seven thousand or fifty thousand of each book he required. And the publishers would, of course, give him very special prices, more especially in the case of the out-of-copyright books. He would probably find it best to buy whole editions in sheets and bind them himself in strong bindings. And he would emerge from these negotiations in possession of a number of complete libraries each of--how many books? Less than twenty thousand ought to do it, I think, though that is a matter for separate discussion, and that should cost him, buying in this wholesale way, under rather than over 2,000 a library.

And next he would bethink himself of the readers of these books. "These people," he would say, "do not know very much about books, which, indeed, is why I am giving them this library."

Accordingly, he would get a number of able and learned people to write him guides to his twenty thousand books, and, in fact, to the whole world of reading, a guide, for example, to the books on history in general, a special guide to books on English history, or French or German history, a guide to the books on geology, a guide to poetry and poetical criticisms, and so forth.

Some such books our philosopher would find already done--the "Bibliography of American History," of the American Libraries'

a.s.sociation, for example, and Mr. Nield's "Guide to Historical Fiction"--and what are not done he would commission good men to do for him. Suppose he had to commission forty such guides altogether and that they cost him on the average 500 each, for he would take care not to sweat their makers, then that would add another 20,000 to his expenditure. But if he was going to found 400 libraries, let us say, that would only be 50 a library--a very trivial addition to his expenditure.

The rarer books mentioned in these various guides would remind him, however, of the many even his ample limit of twenty thousand forced him to exclude, and he would, perhaps, consider the need of having two or three libraries each for the storage of a hundred thousand books or so not kept at the local libraries, but which could be sent to them at a day's notice at the request of any reader. And then, and only then, would he give his attention to the housing and staffing that this reality of books would demand.

Being a philosopher and no fool, he would draw a very clear, hard distinction between the reckless endowment of the building trade and the dissemination of books. He would distinguish, too, between a library and a news-room, and would find no great attraction in the prospect of supplying the national youth with free but thumby copies of the sixpenny magazines. He would consider that all that was needed for his library was, first, easily accessible fireproof shelving for his collection, with ample s.p.a.ce for his additions, an efficient distributing office, a cloak-room, and so forth, and eight or nine not too large, well lit, well carpeted, well warmed and well ventilated rooms radiating from that office, in which the guides and so forth could be consulted, and where those who had no convenient, quiet room at home could read.

He would find that, by avoiding architectural vulgarities, a simple, well proportioned building satisfying all these requirements and containing housing for the librarian, a.s.sistant, custodian and staff could be built for between 4,000 and 5,000, excluding the cost of site, and his sites, which he would not choose for their conspicuousness, might average something under another 1,000.

He would try to make a bargain with the local people for their co-operation in his enterprise, though he would, as a philosopher, understand that where a public library is least wanted it is generally most needed. But in most cases he would succeed in stipulating for a certain standard of maintenance by the local authority. Since moderately prosperous illiterate men undervalue education and most town councillors are moderately illiterate men, he would do his best to keep the salary and appointment of the librarian out of such hands. He would stipulate for a salary of at least 400, in addition to housing, light and heat, and he would probably find it advisable to appoint a little committee of visitors who would have the power to examine qualifications, endorse the appointment, and recommend the dismissal of all his four hundred librarians. He would probably try to make the a.s.sistants.h.i.+p at 100 a year or thereabout a sort of local scholars.h.i.+p to be won by compet.i.tion, and only the cleaner and caretaker's place would be left to the local politician. And, of course, our philosopher would stipulate that, apart from all other expenditure, a sum of at least 200 a year should be set aside for buying new books.

So our rich philosopher would secure at the minimum cost a number of efficiently equipped libraries throughout the country. Eight thousand pounds down and 900 a year is about as cheap as a public library can be. Below that level, it would be cheaper to have no public library.

Above that level, a public library that is not efficient is either dishonestly or incapably organised or managed, or it is serving too large a district and needs duplication, or it is trying to do too much.

ABOUT CHESTERTON AND BELLOC

It has been one of the less possible dreams of my life to be a painted Pagan G.o.d and live upon a ceiling. I crown myself becomingly in stars or tendrils or with electric coruscations (as the mood takes me), and wear an easy costume free from complications and appropriate to the climate of those agreeable s.p.a.ces. The company about me on the clouds varies greatly with the mood of the vision, but always it is in some way, if not always a very obvious way, beautiful. One frequent presence is G.K.

Chesterton, a joyous whirl of brush work, appropriately garmented and crowned. When he is there, I remark, the whole ceiling is by a sort of radiation convivial. We drink limitless old October from handsome flagons, and we argue mightily about Pride (his weak point) and the nature of Deity. A hygienic, attentive, and essentially anaesthetic Eagle checks, in the absence of exercise, any undue enlargement of our Promethean livers.... Chesterton often--but never by any chance Belloc.

Belloc I admire beyond measure, but there is a sort of partisan viciousness about Belloc that bars him from my celestial dreams. He never figures, no, not even in the remotest corner, on my ceiling. And yet the divine artist, by some strange skill that my ignorance of his technique saves me from the presumption of explaining, does indicate exactly where Belloc is. A little quiver of the paint, a faint aura, about the spectacular ma.s.ses of Chesterton? I am not certain. But no intelligent beholder can look up and miss the remarkable fact that Belloc exists--and that he is away, safely away, away in his heaven, which is, of course, the Park Lane Imperialist's h.e.l.l. There he presides....

But in this life I do not meet Chesterton exalted upon clouds, and there is but the mockery of that endless leisure for abstract discussion afforded by my painted entertainments. I live in an urgent and incessant world, which is at its best a wildly beautiful confusion of impressions and at its worst a dingy uproar. It crowds upon us and jostles us, we get our little interludes for thinking and talking between much rough scuffling and laying about us with our fists. And I cannot afford to be continually bickering with Chesterton and Belloc about forms of expression. There are others for whom I want to save my knuckles. One may be wasteful in peace and leisure, but economies are the soul of conflict.

In many ways we three are closely akin; we diverge not by necessity but accident, because we speak in different dialects and have divergent metaphysics. All that I can I shall persuade to my way of thinking about thought and to the use of words in my loose, expressive manner, but Belloc and Chesterton and I are too grown and set to change our languages now and learn new ones; we are on different roads, and so we must needs shout to one another across intervening abysses. These two say Socialism is a thing they do not want for men, and I say Socialism is above all what I want for men. We shall go on saying that now to the end of our days. But what we do all three want is something very alike.

Our different roads are parallel. I aim at a growing collective life, a perpetually enhanced inheritance for our race, through the fullest, freest development of the individual life. What they aim at ultimately I do not understand, but it is manifest that its immediate form is the fullest and freest development of the individual life. We all three hate equally and sympathetically the spectacle of human beings blown up with windy wealth and irresponsible power as cruelly and absurdly as boys blow up frogs; we all three detest the complex causes that dwarf and cripple lives from the moment of birth and starve and debase great ma.s.ses of mankind. We want as universally as possible the jolly life, men and women warm-blooded and well-aired, acting freely and joyously, gathering life as children gather corn-c.o.c.kles in corn. We all three want people to have property of a real and personal sort, to have the son, as Chesterton put it, bringing up the port his father laid down, and pride in the pears one has grown in one's own garden. And I agree with Chesterton that giving--giving oneself out of love and fellows.h.i.+p--is the salt of life.

But there I diverge from him, less in spirit, I think, than in the manner of his expression. There is a base because impersonal way of giving. "Standing drink," which he praises as n.o.ble, is just the thing I cannot stand, the ultimate mockery and vulgarisation of that fine act of bringing out the cherished thing saved for the heaven-sent guest. It is a mere commercial transaction, essentially of the evil of our time.

Think of it! Two temporarily homeless beings agree to drink together, and they turn in and face the public supply of drink (a little vitiated by private commercial necessities) in the public-house. (It is horrible that life should be so wholesale and heartless.) And Jones, with a sudden effusion of manner, thrusts twopence or ninepence (got G.o.d knows how) into the economic mysteries and personal delicacy of Brown. I'd as soon a man slipped sixpence down my neck. If Jones has used love and sympathy to detect a certain real thirst and need in Brown and knowledge and power in its a.s.suaging by some specially appropriate fluid, then we have an altogether different matter; but the common business of "standing treat" and giving presents and entertainments is as proud and unspiritual as c.o.c.k-crowing, as foolish and inhuman as that sorry compendium of mercantile vices, the game of poker, and I am amazed to find Chesterton commend it.

But that is a criticism by the way. Chesterton and Belloc agree with the Socialist that the present world does not give at all what they want.

They agree that it fails to do so through a wild derangement of our property relations. They are in agreement with the common contemporary man (whose creed is stated, I think, not unfairly, but with the omission of certain important articles by Chesterton), that the derangements of our property relations are to be remedied by concerted action and in part by altered laws. The land and all sorts of great common interests must be, if not owned, then at least controlled, managed, checked, redistributed by the State. Our real difference is only about a little more or a little less owning. I do not see how Belloc and Chesterton can stand for anything but a strong State as against those wild monsters of property, the strong, big private owners. The State must be complex and powerful enough to prevent them. State or plutocrat there is really no other practical alternative before the world at the present time. Either we have to let the big financial adventurers, the aggregating capitalist and his Press, in a loose, informal combination, rule the earth, either we have got to stand aside from preventive legislation and leave things to work out on their present lines, or we have to construct a collective organisation sufficiently strong for the protection of the liberties of the some-day-to-be-jolly common man. So far we go in common. If Belloc and Chesterton are not Socialists, they are at any rate not anti-Socialists. If they say they want an organised Christian State (which involves practically seven-tenths of the Socialist desire), then, in the face of our big common enemies, of adventurous capital, of alien Imperialism, base ambition, base intelligence, and common prejudice and ignorance, I do not mean to quarrel with them politically, so long as they force no quarrel on me. Their organised Christian State is nearer the organised State I want than our present plutocracy. Our ideals will fight some day, and it will be, I know, a first-rate fight, but to fight now is to let the enemy in. When we have got all we want in common, then and only then can we afford to differ. I have never believed that a Socialist Party could hope to form a Government in this country in my lifetime; I believe it less now than ever I did. I don't know if any of my Fabian colleagues entertain so remarkable a hope. But if they do not, then unless their political aim is pure cantankerousness, they must contemplate a working political combination between the Socialist members in Parliament and just that non-capitalist section of the Liberal Party for which Chesterton and Belloc speak. Perpetual opposition is a dishonourable aim in politics; and a man who mingles in political development with no intention of taking on responsible tasks unless he gets all his particular formulae accepted is a pervert, a victim of Irish bad example, and unfit far decent democratic inst.i.tutions ...

I digress again, I see, but my drift I hope is clear. Differ as we may, Belloc and Chesterton are with all Socialists in being on the same side of the great political and social cleavage that opens at the present time. We and they are with the interests of the ma.s.s of common men as against that growing organisation of great owners who have common interests directly antagonistic to those of the community and State. We Socialists are only secondarily politicians. Our primary business is not to impose upon, but to ram right into the substance of that object of Chesterton's solicitude, the circle of ideas of the common man, the idea of the State as his own, as a thing he serves and is served by. We want to add to his sense of property rather than offend it. If I had my way I would do that at the street corners and on the trams, I would take down that alien-looking and detestable inscription "L.C.C.," and put up, "This Tram, this Street, belongs to the People of London." Would Chesterton or Belloc quarrel with that? Suppose that Chesterton is right, and that there are incurable things in the mind of the common man flatly hostile to our ideals; so much of our ideals will fail. But we are doing our best by our lights, and all we can. What are Chesterton and Belloc doing? If our ideal is partly right and partly wrong, are they trying to build up a better ideal? Will they state a Utopia and how they propose it shall be managed? If they lend their weight only to such fine old propositions as that a man wants freedom, that he has a right to do as he likes with his own, and so on, they won't help the common man much. All that fine talk, without some further exposition, goes to sustain Mr. Rockefeller's simple human love of property, and the woman and child sweating manufacturer in his fight for the inspector-free home industry. I bought on a bookstall the other day a pamphlet full of misrepresentation and bad argument against Socialism by an Australian Jew, published by the Single-Tax people apparently in a disinterested attempt to free the land from the landowner by the simple expedient of abusing anyone else who wanted to do as much but did not hold Henry George to be G.o.d and Lord; and I know Socialists who will protest with tears in their eyes against a.s.sociation with any human being who sings any song but the "Red Flag" and doubts whether Marx had much experience of affairs. Well, there is no reason why Chesterton and Belloc should at their level do the same sort of thing. When we talk on a ceiling or at a dinner-party with any touch of the celestial in its composition, Chesterton and I, Belloc and I, are antagonists with an undying feud, but in the fight against human selfishness and narrowness and for a finer, juster law, we are brothers--at the remotest, half-brothers.

Chesterton isn't a Socialist--agreed! But now, as between us and the Master of Elibank or Sir Hugh Bell or any other Free Trade Liberal capitalist or landlord, which side is he on? You cannot have more than one fight going on in the political arena at the same time, because only one party or group of parties can win.

And going back for a moment to that point about a Utopia, I want one from Chesterton. Purely unhelpful criticism isn't enough from a man of his size. It isn't justifiable for him to go about sitting on other people's Utopias. I appeal to his sense of fair play. I have done my best to reconcile the conception of a free and generous style of personal living with a social organisation that will save the world from the harsh predominance of dull, persistent, energetic, unscrupulous grabbers tempered only by the vulgar extravagance of their wives and sons. It isn't an adequate reply to say that n.o.body stood treat there, and that the simple, generous people like to beat their own wives and children on occasion in a loving and intimate manner, and that they won't endure the spirit of Mr. Sidney Webb.