Some Diversions Of A Man Of Letters Part 16

As a result of this obsession in creative drama, I suppose that we may expect to find in the poetry of the future a more steady hope for mankind than has up to the present time been exhibited. The result of an excessive observation of the startling facts of life, a work appropriate to the violent energy of realistic prose, has been a general exaggeration of the darker tints, an insistence on that prominence of what was called the "sub-fusc" colours which art-critics of a century ago judged essential to sublimity in all art. In Continental literature, and particularly in the very latest Russian drama, this determination to see blackness and blackness only, to depict the ordinary scene of existence as a Valley of the Shadow of Despair, has been painfully frequent. In England we had a poet of considerable power, whose tragic figure crossed me in my youth, in whose work there is not a single gleam of hope or dignity for man;--I mean the unfortunate James Thomson, author of _The City of Dreadful Night_. I cannot but believe that the poetry of the future, being more deeply instructed, will insist less emphatically upon human failure and less savagely upon the revolt of man. I antic.i.p.ate in the general tone of it an earnestness, a fullness of tribute to the n.o.ble pa.s.sion of life, an utterance simple and direct.

I believe that it will take as its theme the magnificence of the spectacle of Man's successful fight with Nature, not the grotesque and squalid picturesqueness of his occasional defeat.

It has been admirably said, in a charming essay, that "History may be abstract, science may be frankly inhuman, even art may be purely formal; but poetry must be full of human life." This consideration, I think, may make us feel perfectly secure as to the ultimate maintenance of poetic expression. For humanity will always be with us, whatever changes may be introduced into our social system, whatever revolutions may occur in religion, in legality, in public order, or in the stratification of composite life. I confess the only atmosphere in which it is impossible for me to conceive of poetry as able to breathe would be one of complete and humdrum uniformity of existence, such as was dreamed of at one time, but I think is no longer so rigidly insisted on, by extreme socialistic reformers. As long as there is such variety of individual action possible as will give free scope to the energies and pa.s.sions, the hopes and fears, of mankind, so long I think the element of plastic imagination will be found to insist on expression in the mode of formal art. It is quite possible that, as a result of extended knowledge and of the democratic instinct, a certain precipitant hardness of design, such as was presented in the nineteenth century by Tennyson in the blank verse lyrics in _The Princess_, by Browning in the more brilliant parts of _One Word More_, by Swinburne in his fulminating _Sapphics_, may be as little repeated as the a.n.a.logous hardness of Dryden in _MacFlecknoe_ or the lapidary splendour of Gray in his _Odes_. I should rather look, at least in the immediate future, for a revival of the liquid ease of Chaucer or the soft redundancies of _The Faerie Queene_. The remarkable experiments of the Symbolists of twenty years ago, and their effect upon the whole body of French verse, leads me to expect a continuous movement in that direction.

It is difficult indeed to speak of the probable future of poetry without introducing the word Symbolism, over which there has raged so much windy warfare in the immediate past. I cannot help believing that the immense importance of this idea is one of the princ.i.p.al--perhaps the greatest discovery with regard to poetry which was made in the last generation.

Symbols, among the ancient Greeks, were, if I mistake not, the signs by which the initiated wors.h.i.+ppers of Ceres or Cybele recognised their mysterious unison of heart. A symbol is an indication of an object, in opposition to a direct description of the same; it arouses the idea of it in the awakened soul; rings a bell, for we may almost put it so, which at once rouses the spirit and reminds it of some special event or imminent service. The importance of making this the foremost feature of poetry is not new, although it may be said that we have only lately, and only partially, become aware of its value. But, really, if you will consider it, all that the Symbolists have been saying is involved in Bacon's phrase that "poetry conforms the shows of things to the desires of the soul, instead of subjecting the soul to external things." There could never be presented a subject less calculated to be wound up with a rhetorical flourish or to close in pompous affirmation than that which I have so temerariously brought before you this afternoon. I hope that you will not think that your time has been wasted while we have touched, lightly and erratically, like birds on boughs, upon some of the probable or possible features of the poetry of the future. Whatever you, or I, or the wisest of professors, may predict on this theme of the unborn poets, we may be certain that there will

"hover in their restless heads One thought, one grace, one wonder, at the least, Which into words no virtue"

of ours can "digest." I began with the rococo image of a Pegasus, poised in the air, flas.h.i.+ng and curvetting, petulantly refusing to alight on any expected spot. Let me return to it in closing, that I may suggest our only sage att.i.tude to be one of always watching for his inevitable arrival, ready to put grateful lips to the waters of Hippocrene as soon as ever they bubble from the blow of his hoof.

[Footnote 8: Address delivered before the English a.s.sociation, May 30, 1913.]

THE AGONY OF THE VICTORIAN AGE

For a considerable time past everybody must have noticed, especially in private conversation, a growing tendency to disparagement and even ridicule of all men and things, and aspects of things, which can be defined as "Victorian." Faded habits of mind are lightly dismissed as typical of the Victorian Age, and old favourite poets, painters, and musicians are treated with the same scorn as the glued chairs and gla.s.s bowls of wax flowers of sixty years ago. The new generation are hardly willing to distinguish what was good from what was bad in the time of their grandmothers. With increasing audacity they repudiate the Victorian Age as a _saeclum insipiens et infacetum_, and we meet everywhere with the exact opposite of Montaigne's "Je les approuve tous Tun apres l'autre, quoi qu'ils disent." Our younger contemporaries are slipping into the habit of approving of nothing from the moment that they are told it is Victorian.

This may almost be described as an intellectual and moral revolution.

Every such revolution means some liberation of the intellect from bondage, and shows itself first of all in a temper of irreverence; the formulas of the old faith are no longer treated with respect and presently they are even ridiculed. It is useless to close our eyes to the fact that a spirit of this kind is at work amongst us, undermining the dignity and authority of objects and opinions and men that seemed half a century ago to be more perennial than bronze. Successive orators and writers have put the public in possession of arguments, and especially have sparkled in pleasantries, which have sapped the very foundations of the faith of 1850. The infection has attacked us all, and there is probably no one who is not surprised, if he seriously reflects, to realise that he once implicitly took his ideas of art from Ruskin and of philosophy from Herbert Spencer. These great men are no longer regarded by anybody with the old credulity; their theories and their dogmas are mined, as were those of the early eighteenth century in France by the Encyclopaedists, by a select cla.s.s of destructive critics, in whose wake the whole public irregularly follows. The ordinary unthinking man accepts the change with exhilaration, since in this country the majority have always enjoyed seeing noses knocked off statues. But if we are to rejoice in liberation from the bondage of the Victorian Age we ought to know what those bonds were.

The phenomena of the decadence of an age are never similar to those of its rise. This is a fact which is commonly overlooked by the opponents of a particular section of social and intellectual history. In the initial stages of a "period" we look for audacity, fire, freshness, pa.s.sion. We look for men of strong character who will hew a channel along which the torrent of new ideals and subversive sentiments can rush. But this violence cannot be expected to last, and it would lead to anarchy if it did. Slowly the impetus of the stream diminishes, the river widens, and its waters reach a point where there seems to be no further movement in their expanse. No age contains in itself the elements of endless progress; it starts in fury, and little by little the force of it declines. Its decline is patent--but not until long afterwards--in a deadening of effort, in a hardening of style. Dryden leads on to Pope, Pope points down to Erasmus Darwin, after whom the world can but reject the whole cla.s.sical system. The hungry sheep of a new generation look up and are not fed, and this is the vision which seems to face us in the last adventures of the schools of yesterday.

But what is, or was, the Victorian Age? The world speaks glibly of it as though it were a province of history no less exactly defined than the career of a human being from birth to death; but in practice no one seems in a hurry to mark out its frontiers. Indeed, to do so is an intrepid act. If the attempt is to be made at all, then 1840, the year of Queen Victoria's marriage with Prince Albert, may be suggested as the starting-point, and 1890 (between the death-dates of Browning, Newman, and Tennyson) as the year in which the Victorian Age is seen sinking into the sands. Nothing could be vaguer, or more open to contention in detail, than this delineation, but at all events it gives our deliberations a frame. It excludes _Pickwick_, which is the typical picture of English life under William IV., and _Sartor Resartus_, which was the tossing of the bound giant in his sleep; but it includes the two-volume Tennyson, "chiefly lyrical," the stir of the Corn Law agitation, the Tractarian Crisis of 1841, and the _History of the French Revolution and Past and Present_, when the giant opened his eyes and fought with his chains. Darwin was slowly putting together the notes he had made on the Beagle, and Hugh Miller was disturbing convention by his explorations of the Old Red Sandstone. Most of all, the discussion of permanent and transient elements in Christianity was taking a foremost place in all strata of society, not merely in the form of the contest around _Tract 90_, but in the divergent directions of Colenso, the Simeon Evangelicals, and Maurice.

The Victorian Age began in rancour and turmoil. This is an element which we must not overlook, although it was in a measure superficial. A series of storms, rattling and recurrent tempests of thunder and lightning, swept over public opinion, which had been so calm under George IV. and so dull under William IV. Nothing could exceed the discord of vituperation, the Hebraism of Carlyle denouncing the Vaticanism of Wiseman, "Free Kirk and other rubbish" pitted against "Comtism, ghastliest of algebraic spectralities." This theological tension marks the first twenty years and then slowly dies down, after the pa.s.sion expended over _Essays and Reviews_. It was in 1840 that we find Macaulay, anxious to start a scheme of Whig reform and to cut a respectable figure as Secretary of State for War, unable to get to business because of the stumbling-block of religious controversy.

Everything in heaven and earth was turned into "a theological treatise,"

and all that people cared about was "the nature of the sacraments, the operation of holy orders, the visibility of the Church and baptismal regeneration." The sitting member goes down to Edinburgh to talk to his const.i.tuents about Corn Laws and Sugar Duties and the Eastern Question; he is met by "a din" of such objections as "Yes, Mr. Macaulay, that is all very well for a statesman, but what becomes of the heads.h.i.+p of our Lord Jesus Christ?"

If the Victorian Age opened in a tempest of theology, it was only natural that it should cultivate a withering disdain for those who had attempted to reform society on a non-theological basis. In sharp contradistinction to the indulgence of the Georgian period for philosophic speculation, England's interest in which not even her long continental wars had been able to quench, we find with the accession of Victoria the credit of the French thinkers almost abruptly falling.

Voltaire, never very popular in England, becomes "as mischievous a monkey as any of them"; the enthusiasm for Rousseau, which had reached extravagant proportions, completely disappears, and he is merely the slanderous sceptic, who, after soaking other people's waistcoats with his tears, sent his own babies to the Foundling Hospital. The influence of the French eighteenth-century literature on the mind of England was first combated and then baldly denied. The premier journalist of the age declared, with the satisfaction of a turkey-c.o.c.k strutting round his yard, that no trace of the lowest level of what could be called popularity remained in England to the writers of France, and he felt himself "ent.i.tled to treat as an imbecile conceit the pretence" that a French school of thought survived in Great Britain. Such was the Podsnappery of the hour in its vigilance against moral and religious taint.

Notwithstanding, or perhaps we ought to say inevitably conducted by these elements of pa.s.sion and disdain, the infant Victorian Age pa.s.sed rapidly into the great political whirlpool of 1846, with its violent concentration of enthusiasm on the social questions which affected the welfare of the ma.s.ses, with, in short, its tremendous upheaval of a practical radicalism. From that time forth its development baffles a.n.a.lysis. Whatever its present enemies may allege to its discredit, they cannot pretend that it was languid or monotonous. No Age hitherto lived out upon the world's surface has been so multiform or so busy; none defies the art of the historian to such a bewildering degree. Its latest critic does not exaggerate when he says that our fathers and our grandfathers have poured forth and acc.u.mulated so vast a quant.i.ty of information concerning it "that the industry of a Ranke would be submerged by it and the perspicacity of a Gibbon would quail before it."

This is manifestly true, and it is evident that an encyclopaedia would be required to discuss all the divisions of so tremendous a subject. If we look over too wide a horizon we lose our bearings altogether. We get a hopelessly confused notion of the course of progress; we see experiments, criticisms, failures, but who is to a.s.sure us what was the tendency of evolution?

Mr. Lytton Strachey's "Eminent Victorians" has arrived at the very moment when all readers are prepared to discuss the age he deals with, and when public opinion is aware of the impatience which has been "rising in the bosom of a man like smoke" under the pressure of the insistent praise of famous men. The book has attracted a very remarkable degree of notice; it has been talked about wherever people have met together; and has received the compliment of being seriously displayed before the University of Oxford by one of the most eminent of the Victorian statesmen whom Oxford has produced. If we look into the causes of this success, enjoyed by the earliest extended book of a writer almost unknown, a book, too, which pretends to no novelty of matter or mystery of investigation, we find them partly in the preparedness of the public mind for something in the way of this exposure, but partly also in the skill of the writer. Whatever else may be said of Mr. Lytton Strachey, no one can deny that he is very adroit, or that he possesses the art of arresting attention.

It is part of this adroitness that he contrives to modify, and for a long time even to conceal the fact that his purpose is to damage and discredit the Victorian Age. He is so ceremonious in his approach, so careful to avoid all brusqueness and coa.r.s.eness, that his real aim may be for awhile un.o.bserved. He even professes to speak "dispa.s.sionately, impartially, and without ulterior intentions." We may admit the want of pa.s.sion and perhaps the want of partiality, but we cannot avoid seeing the ulterior intention, which is to undermine and belittle the reputation of the great figures of the Victorian Age. When the prodigious Signor Marinetti proposes to hurl the "leprous palaces" of his native city into her "fetid ca.n.a.ls," and to build in their place warehouses and railway stations, he does not differ in essential att.i.tude from Mr. Lytton Strachey, delicately "laying bare the facts of some cases." The only real difference consists in the finer tact, the greater knowledge of history--in short, the superior equipment of the English iconoclast. Each of them--and all the troop of opponents who grumble and mutter between their extremes--each of them is roused by an intense desire to throw off the shackles of a dying age, in which they have taught themselves chiefly to see affectation, pomposity, a virtuosity more technical than emotional, and an exasperating monotony of effect.

Mr. Strachey has conducted his attack from the point of view of biography. He realises the hopelessness of writing a history of the Victorian Age; it can only be dealt with in detail; it must be nibbled into here and there; discredited piecemeal; subjected to the ravages of the white ant. He has seen that the lives of the great Victorians lend themselves to this insidious kind of examination, because what was worst in the pretentiousness of their age is to be found enshrined in the Standard Biographies (in two volumes, post octavo) under which most of them are buried. Mr. Strachey has some criticism of these monsters which could hardly be bettered:

"Those two fat volumes, with which it is our custom to commemorate the dead--who does not know them, with their ill-digested ma.s.ses of material, their slipshod style, their tone of tedious panegyric, their lamentable lack of selection, of detachment, of design? They are as familiar as the cortege of the undertaker, and bear the same air of slow, funereal barbarism."

It is impossible not to agree with this pungent criticism. Every candid reader could point to a dozen Victorian biographies which deserve Mr.

Strachey's condemnation. For instance, instead of taking up any of the specimens which he has chosen for ill.u.s.tration, we need only refer the reader's memory to the appendix of "Impressions," by a series of elderly friends, which closes the official _Life of Tennyson_, published in 1897. He will find there an expression of the purest Victorian optimism.

The great object being to foist on the public a false and superhuman picture of the deceased, a set of ill.u.s.trious contemporaries--who themselves expected to be, when they died, transfigured in like manner--form a bodyguard around the corpse of the poet and emit their "tedious panegyric." In this case, more even than in any of the instances which Mr. Strachey has taken, the contrast between the real man and the funereal image is positively grotesque.

Without question this contrast is not a little responsible for the discredit into which the name of Tennyson has fallen. Lord Selborne found nothing in Tennyson "inconsistent with the finest courtesy and the gentlest heart." Dr. Jowett had preserved through forty years "an ever-increasing wonder at the depth of his thought," and emphatically stated that he "was above such feelings as a desire of praise, or fear of blame." (Tennyson, who was thirsty for ceaseless laudation, and to whom a hint of censure was like the bite of a mosquito!) Frederick Myers e.j.a.c.u.l.a.t.ed, "How august, how limitless a thing was Tennyson's own spirit's upward flight!" The Duke of Argyll, again, during the s.p.a.ce of forty years, had found him "always reverent, hating all levity or flippancy," and was struck by his possessing "the n.o.blest humility I have ever known." Lord Macaulay, who "had stood absolutely aloof," once having been permitted to glance at the proof-sheets of _Guenevere_, was "absolutely subdued" to "unfeigned and reverent admiration." The duke was the glad emissary who was "the medium of introduction," and he recognised in Macaulay's subjugation "a premonition" of Tennyson's complete "conquest over the living world and over the generations that are to come."

Thus the priesthood circled round their idol, waving their censers and shouting their hymns of praise, while their ample draperies effectively hid from the public eye the object which was really in the centre of their throng, namely, a gaunt, black, touzled man, rough in speech, brooding like an old gipsy over his inch of clay pipe stuffed with s.h.a.g, and sucking in port wine with gusto--"so long as it is black and sweet and strong, I care not!" Their fault lay, not in their praise, which was much of it deserved, but in their deliberate attempt in the interests of what was Nice and Proper--G.o.ds of the Victorian Age--to conceal what any conventional person might think not quite becoming. There were to be no shadows in the picture, no stains or rugosities on the smooth bust of rosy wax.

On the pretext, therefore, of supplying a brief and above all a complimentary set of portraits, Mr. Strachey takes the biography of an ecclesiastic, an educational authority, a woman of action, and a man of adventure, and tells them over again in his own way. The four figures he chooses are all contemporary, and yet, so implacably does time hurry us along, all would be very old if they still survived. Three of them could hardly survive, for Cardinal Manning and Dr. Arnold would be far over a hundred, and Florence Nightingale in her ninety-ninth year; the fourth, General Gordon, would be eighty-five. The motto of Mr. Strachey is "Put not your trust in the intellectual princes of the Victorian Age," or, at least, in what their biographers have reported of them; they were not demi-G.o.ds in any sense, but eccentric and forceful figures working dimly towards aims which they only understood in measure, and which very often were not worth the energy which they expended on them. This att.i.tude alone would be enough to distinguish Mr. Strachey from the purveyors of indiscriminate praise, and in adopting it he emphasises his deliberate break with the age of which they were the envy and the ornament. Given his 1918 frame of mind, no blame can attach to him for adopting this gesture. At moments when the tradition of a people has been violently challenged there have always ensued these abrupt acts of what to the old school seems injustice. If Mr. Lytton Strachey is reproached with lack of respect, he might reply: In the midst of a revolution, who is called on to be respectful to the fallen monarch?

Extreme admiration for this or that particular leader, the principle of Victorian hero-wors.h.i.+p, is the very heresy, he might say, which I have set out to refute.

When St. John the Divine addressed his Apocalypse to the Angels of the Seven Churches, he invented a system of criticism which is worthy of all acceptation. He dwelt first upon the merits of each individual church; not till he had exhausted them did he present the reverse of the coin.

In the same spirit, critics who, in the apostle's phrase, have "something against" Mr. Lytton Strachey, will do well to begin by acknowledging what is in his favour. In the first place, he writes sensibly, rapidly, and lucidly--without false ornament of any kind. Some of his pages might, with advantage, be pinned up opposite the writing-tables of our current authors of detestable pseudo-Meredithian and decayed Paterese. His narrative style is concise and brisk. His book may undoubtedly best be compared among English cla.s.sics with _Whiggism in its Relations to Literature_, although it is less discursive and does not possess the personal element of that vivacious piece of polemic. In this recurrence of Mr. Strachey to a pellucid stream of prose we see an argument against his own theory of revolt. The procedure of the arts, the mechanical tricks of the trade, do they really improve or decline from age to age? Are they not, in fact, much more the result of individual taste than of fas.h.i.+on? There seems to be no radical change in the methods of style. The extravagant romanticism of rebellion against the leaders of the Victorian Age finds at length an exponent, and behold he writes as soberly as Lord Morley, or as Newman himself!

The longest of these biographies is that of Cardinal Manning, and it is the one with which Mr. Lytton Strachey has taken most pains. Briefer than the briefest of the _English Men of Letters_ series of biographies, it is yet conducted with so artful an economy as to give the impression, to an uninstructed reader, that nothing essential about the career of Manning has been omitted. To produce this impression gifts of a very unusual order were required, since the writer, pressed on all sides by a plethora of information, instead of being incommoded by it, had to seem to be moving smoothly in an atmosphere of his own choosing, and to be completely unembarra.s.sed by his material. He must have the air of saying, in Froude's famous impertinence, "This is all we know, and more than all, yet nothing to what the angels know." In the face of a whole literature of controversy and correspondence, after a storm of Purcell and Hutton, Ward and Mozley and Liddon tearing at one another's throats, Mr. Lytton Strachey steps delicately on to the stage and says, in a low voice, "Come here and I will tell you all about a funny ecclesiastic who had a Hat, and whose name was Henry Edward Manning. It will not take us long, and ever afterwards, if you hear that name mentioned, you will know everything about him which you need to remember." It is audacious, and to many people will seem shocking, but it is very cleverly done.

The study of Florence Nightingale is an even better example of Mr.

Strachey's method, since she is the one of his four subjects for whom he betrays some partiality. "The Miss Nightingale of fact was not as facile fancy painted her," and it has greatly entertained Mr. Strachey to chip the Victorian varnish off and reveal the iron will beneath. His first chapter puts it in one of his effective endings:--

"Her mother was still not quite resigned; surely Florence might at least spend the summer in the country. At this, indeed, among her intimates, Mrs. Nightingale almost wept. 'We are ducks,' she said with tears in her eyes, 'who have hatched a wild swan.' But the poor lady was wrong; it was not a swan that they had hatched, it was an eagle."

It is therefore as an eagle, black, rapacious, with hooked bill and crooked talons, that he paints Miss Nightingale; and the Swan of Scutari, the delicate Lady with the Lamp, fades into a fable. Mr.

Strachey glorifies the demon that possessed this pitiless, rus.h.i.+ng spirit of philanthropy. He gloats over its ravages; its irresistible violence of purpose. It is an evident pleasure to him to be able to detach so wild a figure from the tameness of the circ.u.mambient scene, and all his enmity to the period comes out in the closing pages, in which he describes how the fierce philanthropist lived so long that the Victorian Age had its revenge upon her, and reduced her, a smiling, fat old woman, to "compliance and complacency." It is a picture which will give much offence, but it is certainly extremely striking, and Mr.

Strachey can hardly be accused of having done more than deepen the shadows which previous biographers had almost entirely omitted.

In this study, if the author is unusually indulgent to his subject, he is relatively severer than usual to the surrounding figures. To some of them, notably to Arthur Hugh Clough, he seems to be intolerably unjust.

On the other hand, to most of those public men who resisted the work of Florence Nightingale it is difficult to show mercy. Mr. Strachey is so contemptuous, almost so vindictive, in his att.i.tude to Lord Panmure, that the reader is tempted to take up the cudgels in defence of an official so rudely flouted. But, on reflection, what is there that can be said in palliation of Lord Panmure? He was the son of a man of whom his own biographer has admitted that "he preserved late into the [nineteenth] century the habits and pa.s.sions--scandalous and unconcealed--which had, except in his case, pa.s.sed away. He was devoted to his friends so long as they remained complaisant, and violent and implacable to all who thwarted him.--His uncontrollable temper alienated him from nearly all his family in his latter years. In private life he was an immovable despot."

This was the father of Fox Maule, second Baron Panmure, of whom Mr.

Strachey has so much to say. Evidently he was a Regency type, as the son was a Victorian. Determined not to resemble his father, Fox Maule early became a settled and industrious M.P., and in 1846 Lord John Russell made him Secretary of War. He held the same post under Lord Palmerston from 1855 to 1858. Nothing could dislodge him from office; not even the famous despatch "Take care of Dawb" could stir him. In 1860 he became eleventh Earl of Dalhousie. He died two years later, having enjoyed every distinction, even that of President of the Royal Military Asylum.

He was "unco guid," as pious as his father had been profane, but he had no social or political or intellectual merit of any kind which can at this distance of time be discerned. Florence Nightingale called him the Bison, and his life's energy seems to have been expended in trying, often with success, to frustrate every single practical reform which she suggested. To the objection that Mr. Strachey has depicted the heroine as "an ill-tempered, importunate spinster, who drove a statesman to his death," he might conceivably reply that if history, grown calm with the pa.s.sage of years, does so reveal her, it is rather absurd to go on idealising her. Why not study the real Eagle in place of the fabulous Swan? It is difficult to condemn Mr. Strachey along this line of argument.

The early Victorians liked what was definable and tangible; they were "ponderous mechanists of style." Even in their suggestions of change they preserved an impenetrable decorum of demeanour, a studied progress, a deep consciousness of the guiding restraint of tradition upon character. Their preoccupation with moral ideas tinged the whole of their surroundings, their literature, their art, their outlook upon life. That the works of Mr. Charles d.i.c.kens, so excruciatingly funny, should have been produced and appreciated in the midst of this intense epoch of exhortation seems a paradox, till we recollect how careful d.i.c.kens is, when his laughter is loudest, never to tamper with "the deep sense of moral evil." This apprehension of the rising immorality of the world, against which the only rampart was the education of "a thorough English gentleman, Christian, manly and enlightened" was dominant in no spirit more than in that of Mr. Thomas Arnold, of whom Mr. Strachey gives a somewhat deterrent portrait. It is deterrent, because we have pa.s.sed, in three-quarters of a century, completely out of the atmosphere in which Dr. Arnold moved and breathed. We are not sure that Mr.

Strachey acted very wisely in selecting Dr. Arnold for one of his four subjects, since the great schoolmaster was hardly a Victorian at all.

When he entered the Church George III. was on the throne; his accomplishment at Rugby was started under George IV.; he died when the Victorian Age was just beginning. He was a forerunner, but hardly a contemporary.

Although in his att.i.tude to the great Rugby schoolmaster Mr. Strachey shows more approbation than usual, this portrait has not given universal satisfaction. It has rather surprisingly called forth an indignant protest from Dr. Arnold's granddaughter. Yet such is the perversity of the human mind that the mode in which Mrs. Humphry Ward "perstringes"

the biographer brings us round to that biographer's side. For Mrs. Ward has positively the indiscretion, astounding in a writer of her learning and experience, to demand the exclusion of irony from the legitimate weapons of the literary combatant. This is to stoop to sharing one of the meanest prejudices of the English commonplace mind, which has always resented the use of that delicate and pointed weapon. Moreover, Mrs.

Ward does not merely adopt the plebeian att.i.tude, but she delivers herself bound hand and foot to the enemy by declaring the use of irony to be "unintelligent." In support of this amazing statement she quotes some wandering phrase of Sainte-Beuve. By the light of recent revelations, whether Sainte-Beuve was ironical or not, he was certainly perfidious. But, to waive that matter, does Mrs. Humphry Ward consider that Swift and Lucian and Machiavelli were, as she puts it, "doomed to failure" because they used irony as a weapon? Was Heine and is Anatole France conspicuous for want of intelligence? And, after all, ought not Mrs. Ward to remember that if she had a very serious grandfather, she had a still more celebrated uncle, who wrote _Friends.h.i.+p's Garland_?

While no one else will seriously blame Mr. Strachey for employing irony in his investigation of character, the subject leads on to what may be regarded as a definite fault in his method. A biographer should be sympathetic; not blind, not indulgent, but _sympathetic_. He should be able to enter into the feelings of his subjects, and be anxious to do so. It is in sympathy, in imaginative insight, that Mr. Strachey fails.

His personages are like puppets observed from a great height by an amiable but entirely superior intelligence. The peculiar aim of Mr.

Strachey, his desire to lower our general conception of the Victorian Age, tempts him to exaggerate this tendency, and he succ.u.mbs to the temptation. His description of Lord Acton at Rome in 1870--"he despised Lord Acton almost as much as he disliked him"--is not ironic, it is contemptuous. Arthur Hugh Clough presents no aspect to Mr. Strachey but that of a timid and blundering packer-up of parcels; one might conceive that the biographer had never contemplated the poet in any other capacity than, with sealing-wax in his hand and string between his lips, shuddering under the eye of Miss Nightingale. The occasional references to Lord Wolseley suggest an unaccountable hurrying figure of pygmy size, which Mr. Strachey can only just discern. This att.i.tude of hovering superiority is annoying.

But it reaches a more dangerous importance when it affects spiritual matters. The author interests himself, from his great height, in the movements of his Victorian dwarfs, and notices that they are particularly active, and p.r.o.ne to unusual oddity of movement, when they are inspired by religious and moral pa.s.sion. Their motions attract his attention, and he describes them with gusto and often with wit. His sketch of Rome before the c.u.menical Council is an admirably studied page. Miss Nightingale's ferocity when the War Office phalanx closed its ranks is depicted in the highest of spirits; it is impossible not to be riveted by the scene round Cardinal Manning's death-bed; but what did those manifestations mean? To Mr. Strachey it is evident that the fun of the whole thing is that they meant nothing at all; they were only part of the Victorian absurdity. It is obvious that religious enthusiasm, as a personal matter, means nothing to him. He investigates the feelings of Newman or Keble as a naturalist might the contortions of an insect.

The ceremonies and rites of the Church are objects of subdued hilarity to him, and in their presence, if he suppresses his laughter, it is solely to prevent his missing any detail precious to his curiosity. When the subject of Baptismal Regeneration agitates the whole pious world of England Mr. Strachey seems to say, looking down with exhilaration on the anthill beneath him, "The questions at issue are being taken very seriously by a large number of persons. How Early Victorian of them!"

Mr. Strachey has yet to learn that questions of this kind are "taken seriously" by serious people, and that their emotion is both genuine and deep. He sees nothing but alcoholic eccentricity in the mysticism of Gordon. His cynicism sometimes carries him beyond the confines of good taste, as in the pa.s.sage where he refers to the large and dirty ears of the Roman cardinals. Still worse is the query as to what became of the soul of Pope Pius IX. after his death.

These are errors in discretion. A fault in art is the want of care which the author takes in delineating his minor or subordinate figures. He gives remarkable pains, for example, to his study of General Gordon, but he is indifferent to accuracy in his sketches of the persons who came into contact, and often into collision, with Gordon. In this he resembles those French painters, such as Bastien Lepage, who focus their eye on one portion of their canvas, and work that up to a high perfection, while leaving the rest of the picture misty and vague. Even in that case the subordinate figures, if subdued in fogginess, should not be falsely drawn, but Mr. Strachey, intent upon the violent portrait of Gordon, is willing to leave his Baring and Hartington and Wolseley inexact as well as shadowy. The essay on General Gordon, indeed, is the least successful of the four monographs. Dexterous as he is, Mr.

Strachey has not had the material to work upon which now exists to elucidate his other and earlier subjects. But it is difficult to account for his apparently not having read Mr. Bernard Holland's life of the Duke of Devons.h.i.+re, which throws much light, evidently unknown to Mr.

Strachey, on the Gordon relief expedition. He ought to know that Sir Evelyn Baring urged the expedition, while Chamberlain was one of its opponents. Mr. Strachey does not seem to have noticed how much the issue was confused by conflicting opinions as to whether the route to be taken should be by Suakin or up the Nile.