Modern Essays Part 12

'Tis said that if a woman woo, no man Should leave her till she have prevailed; and, true, A man will yield for pity if he can, But if the flesh rebel what can he do?

I could not; hence I grieve my whole life long The wrong I did in that I did no wrong.

In these Butlerian times one who should speak of "good taste" would incur the risk of being called a prig. Good taste is no longer "in." Yet even now, in the face of these sonnets, may not one exclaim, Heaven preserve us from the remorseful moments of a Butlerian Adonis of fifty!

The descendants of eminent Victorians may well be thankful that their fathers had no intimate relations with Butler. There is a familiar story of Whistler, that when some one praised his latest portrait as equal to Velasquez, he snapped back, "Yes, but why lug in Velasquez?" Butler, with similar aversion for rivals, but without Whistler's extempore wit, slowly excogitated his killing sallies and entered them in his note-books or sent them in a letter to Miss Savage, preserving a copy for the delectation of the next age: "I do not see how I can well call Mr. Darwin the Pecksniff of Science, though this is exactly what he is; but I think I may call Lord Bacon the Pecksniff of his age and then, a little later, say that Mr. Darwin is the Bacon of the Victorian Era." To this he adds another note reminding himself to call "Tennyson the Darwin of Poetry, and Darwin the Tennyson of Science." I can recall but one work of a contemporary mentioned favorably in the biography; perhaps there are two. The staple of his comment runs about as follows: "Middlemarch" is a "longwinded piece of studied brag"; of "John Inglesant," "I seldom was more displeased with any book"; of "Aurora Leigh," "I dislike it very much, but I liked it better than Mrs.

Browning, or Mr., either"; of Rossetti, "I dislike his face and his manner and his work, and I hate his poetry and his friends"; of George Meredith, "No wonder if his work repels me that mine should repel him"; "all I remember is that I disliked and distrusted Morley"; of Gladstone, "Who was it said that he was 'a good man in the very worst sense of the words'?" The homicidal spirit here exhibited may be fairly related to his anxiety for the death of his father.

It was on the whole characteristic of Victorian free-thinkers to attack Christianity with reverence and discrimination in an attempt to preserve its substance while removing obstacles to the acceptance of its substance. Butler was Voltairean. When he did not attack mischievously like a gamin, he attacked vindictively like an Italian laborer whose sweetheart has been false to him. I have seen it stated that he was a broad churchman and a communicant; and Mr. Jones produces a letter from a clergyman testifying to his "saintliness." But this must be some of Mr. Jones's fun. From Gibbon, read on the voyage to New Zealand, Butler imbibed, he says, in a letter of 1861, "a calm and philosophic spirit of impartial and critical investigation." In 1862 he writes: "For the present I renounce Christianity altogether. You say people must have something to believe in. I can only say that I have not found my digestion impeded since I left off believing in what does not appear to be supported by sufficient evidence." When in 1865 he printed his "Evidence for the Resurrection of Jesus Christ," the manner of his attack was impish; and so was the gleeful exchange of notes between him and Miss Savage over the way the orthodox swallowed the bait. In his notebook he wrote: "Mead is the lowest of the intoxicants, just as Church is the lowest of the dissipations, and carraway seed the lowest of the condiments." He went to church once in 1883 to please a friend and was asked whether it had not bored him as inconsistent with his principles. "I said that, having given up Christianity, I was not going to be hampered by its principles. It was the substance of Christianity, and not its accessories of external wors.h.i.+p, that I had objected to ...

so I went to church out of pure cussedness." Finally, in a note of 1889: "There will be no comfortable and safe development of our social arrangements--I mean we shall not get infanticide, and the permission of suicide, nor cheap and easy divorce--till Jesus Christ's ghost has been laid; and the best way to lay it is to be a moderate churchman."

Robert Burns was a free-thinker, but he wrote the "Cotter's Sat.u.r.day Night"; Renan was a free-thinker, but he buried his G.o.d in purple; Matthew Arnold was a free-thinker, but he gave new life to the religious poetry of the Bible; Henry Adams believed only in mathematical physics, but he wrote of Mont St. Michel and Chartres with chivalrous and almost Catholic tenderness for the Virgin: for in all these diverse men there was reverence for what men have adored as their highest. There was respect for a tomb, even for the tomb of a G.o.d. Butler, having transferred his faith to the Bank of England, diverted himself like a street Arab with a slingshot by peppering the church windows. He established manners for the contemporary Butlerian who, coming down to breakfast on Christmas morning, exclaims with a pleased smile, "Well, this is the birthday of the hook-nosed Nazarene!"

Butler's moral note is rather attractive to young and middle-aged persons: "We have all sinned and come short of the glory of making ourselves as comfortable as we easily might have done." His ethics is founded realistically on physiology and economics; for "goodness is naught unless it tends towards old age and sufficiency of means."

Pleasure, dressed like a quiet man of the world, is the best teacher: "The devil, when he dresses himself in angels' clothes, can only be detected by experts of exceptional skill, and so often does he adopt this disguise that it is hardly safe to be seen talking to an angel at all, and prudent people will follow after pleasure as a more homely but more respectable and on the whole more trustworthy guide." There we have something of the tone of our genial Franklin; but Butler is a Franklin without a single impulse of Franklin's wide benevolence and practical beneficence, a Franklin shorn of the spirit of his greatness, namely, his immensely intelligent social consciousness.

Having disposed of Christianity, orthodox and otherwise, and having reduced the morality of "enlightened selfishness" to its lowest terms, Butler turned in the same spirit to the destruction of orthodox Victorian science. We are less concerned for the moment with his substance than with his character and manner as scientific controversialist. "If I cannot," he wrote, "and I know I cannot, get the literary and scientific bigwigs to give me a s.h.i.+lling, I can, and I know I can, heave bricks into the middle of them." Though such professional training as he had was for the church and for painting, he seems never to have doubted that his mother wit was sufficient equipment, supplemented by reading in the British Museum, for the overthrow of men like Darwin, Wallace and Huxley, who from boyhood had given their lives to collecting, studying and experimenting with scientific data. "I am quite ready to admit," he records, "that I am in a conspiracy of one against men of science in general." Having felt himself covertly slighted in a book for which Darwin was responsible, he vindictively a.s.sailed, not merely the work, but also the character of Darwin and his friends, who, naturally inferring that he was an unscrupulous "bounder"

seeking notoriety, generally ignored him.

His first "contribution" to evolutionary theory had been a humorous skit, written in New Zealand, on the evolution of machines, suggested by "The Origin of Species," and later included in "Erewhon." To support this whimsy he found it useful to revive the abandoned "argument from design"; and mother wit, still working whimsically, leaped to the conception that the organs of our bodies are machines. Thereupon he commenced serious scientific speculator, and produced "Life and Habit,"

1878; "Evolution Old and New," 1879; "Unconscious Memory," 1880; and "Luck or Cunning," 1886. The germ of all his speculations, contained in his first volume, is the notion of "the oneness of personality existing between parents and offspring up to the time that the offspring leaves the parent's body"; thence develops his theory that the offspring "unconsciously" remembers what happened to the parents; and thence his theory that a vitalistic purposeful cunning, as opposed to the Darwinian chance, is the significant factor in evolution. His theory has something in common with current philosophical speculation, and it is in part, as I understand, a kind of adumbration, a shrewd guess, at the present att.i.tude of cytologists. It has thus ent.i.tled Butler to half a dozen footnotes in a centenary volume on Darwin; but it hardly justifies his transference of Darwin's laurels to b.u.t.ton, Lamarck, Erasmus Darwin and himself; nor does it justify his reiterated contention that Darwin was a plagiarist, a fraud, a Pecksniff and a liar. He swelled the ephemeral body of scientific speculation; but his contribution to the verified body of science was negligible, and the injuries that he inflicted upon the scientific spirit were considerable.

For their symptomatic value, we must glance at Butler's sallies into some other fields. He held as an educational principle that it is hardly worth while to study any subject till one is ready to use it. When in his fifties he wished to write music, he took up for the first time the study of counterpoint. Mr. Garnett having inquired what subject Butler and Jones would take up when they had finished "Narcissus," Butler said that they "might write an oratorio on some sacred subject"; and when Garnett asked whether they had anything in particular in mind, he replied that they were thinking of "The Woman Taken in Adultery." In the same decade he cheerfully applied for the Slade professors.h.i.+p of art at Cambridge; and he took credit for the rediscovery of a lost school of sculpture.

At the age of fifty-five he brushed up his Greek, which he "had not wholly forgotten," and read the "Odyssey" for the purposes of his oratorio, "Ulysses." When he got to Circe it suddenly flashed upon him that he was reading the work of a young woman! Thereupon he produced his book, "The Auth.o.r.ess of the Odyssey," with portrait of the auth.o.r.ess, Nausicaa, identification of her birthplace in Sicily, which pleased the Sicilians, and an account of the way in which she wrote her poem. It was the most startling literary discovery since Delia Bacon burst into the silent sea on which Colonel Fabyan of the biliteral cypher is the latest navigator. That the cla.s.sical scholars laughed at or ignored him did not shake his belief that the work was as important as anything he had done.

"Perhaps it was," he would have remarked, if any one else had written it. "I am a prose man," he wrote to Robert Bridges, "and, except Homer and Shakespeare"--he should have added Nausicaa--"I have read absolutely nothing of English poetry and _very little_ of English prose." His inacquaintance with English poetry, however, did not embarra.s.s him, when, two years after bringing out his Sicilian auth.o.r.ess, he cleared up the mysteries of Shakespeare's sonnets. Nor did it prevent his dismissing the skeptical Dr. Furnivall, after a discussion at an A. B.

C. shop, as a poor old incompetent. "Nothing," said Alethea Pontifex, speaking for her creator, "is well done nor worth doing unless, take it all round, it has come pretty easily." The poor old doctor, like the Greek scholars and the professional men of science, had blunted his wits by too much research.

Butler maintained that every man's work is a portrait of himself, and in his own case the features stand out ruggedly enough. Why should any one see in this infatuated pursuer of paradox a reincarnation of the pagan wisdom? In his small personal affairs he shows a certain old-maidish tidiness and the prudence of an experienced old bachelor, who manages his little pleasures without scandal. But in his intellectual life what vestige do we find of the Greek or even of the Roman sobriety, poise and decorum? In one respect Butler was conservative: he respected the established political and economic order.

But he respected it only because it enabled him, without bestirring himself about his bread and b.u.t.ter, to sit quietly in his rooms at Clifford's Inn and invent attacks on every other form of orthodoxy. With a desire to be conspicuous only surpa.s.sed by his desire to be original he worked out the central Butlerian principle; videlicet: The fact that all the best qualified judges agree that a thing is true and valuable establishes an overwhelming presumption that it is valueless and false.

With his feet firmly planted on this grand radical maxim he employed his lively wit with lawyer-like ingenuity to make out a case against family life, of which he was incapable; against imaginative love, of which he was ignorant; against chivalry, otherwise the conventions of gentlemen, which he had but imperfectly learned; against Victorian men of letters, whom, by his own account, he had never read; against altruistic morality and the substance of Christianity, which were repugnant to his selfishness and other vices; against Victorian men of science, whose researches he had never imitated; and against Elizabethan and cla.s.sical scholars.h.i.+p, which he took up in an odd moment as one plays a game of solitaire before going to bed. To his disciples he could not bequeath his cleverness; but he left them his recipe for originality, his manners and his a.s.surance, which has been gathering compound interest ever since. In the original ma.n.u.script of "Alps and Sanctuaries" he consigned "Raffaele, along with Socrates, Virgil [the last two displaced later by Plato and Dante], Marcus Aurelius Antoninus, Goethe, Beethoven, and _another_, to limbo as the Seven Humbugs of Christiandom." Who was the unnamed seventh?

BED-BOOKS AND NIGHT-LIGHTS

_By_ H. M. TOMLINSON

I shall not forget with what a thrill of delight I came upon H. M.

Tomlinson's _Old Junk_, the volume of essays from which this is borrowed. One feels, in stumbling upon such a book, much as some happy and astounded readers must have felt in 1878 when _An Inland Voyage_ came out. It makes one wonder, submitting one's self to the moving music and magic of that prose, so simple and yet so subtle in its flavor, whether poetry is not, after all, an inferior and more mechanic form. "The cool element of prose," that perfect phrase of Milton's, comes back to mind. How direct and satisfying a pa.s.sage to the mind Mr. Tomlinson's paragraphs have. How they build and c.u.mulate, how the sentences s.h.i.+ft, turn and move in delicate loops and ridges under the blowing wind of thought, like the sand of the dunes that he describes in one essay. And through it all, as intangible but as real and beautifying as moonlight, there is the pervading brightness of a particular way of looking at the world, something for which we have no catchword, the illumination of a spirit at once humorous, melancholy, shrewd, lovely and humane.

Somehow, when one is caught in the web of that exquisite, considered prose, the awkward symbols of speech seem transparent; we come close to a man's mind.

In Mr. Tomlinson's three books--_The Sea and the Jungle_ (1912), _Old Junk_ (1920) and _London River_ (1921) is revealed one of the most sincere and perfect workmen in contemporary prose.

H. M. Tomlinson was born in 1873; among his early memories he records: "I was an office boy and a clerk among London's s.h.i.+ps, in the last days of the clippers. And I am forced to recall some of the things--such as bookkeeping in a jam factory and stoking on a tramp steamer." He joined the staff of the London _Morning Leader_ in 1904; which was later merged with the _Daily News_, and to this journal he was attached for several years. During the War he was a correspondent in France; at the danger of incurring his anger (should he see this) I quote Mr. S. K. Ratcliffe on this phase of his work:--"One who was the friend of all, a sweet and fine spirit moving untouched amid the ruin and terror, expressing itself everywhere with perfect simplicity, and at times with a shattering candor."

In 1917 he became a.s.sociate editor of the London _Nation_, where, if you are interested, you may find his initials almost weekly.

The rain flashed across the midnight window with a myriad feet. There was a groan in outer darkness, the voice of all nameless dreads. The nervous candle-flame shuddered by my bedside. The groaning rose to a shriek, and the little flame jumped in a panic, and nearly left its white column. Out of the corners of the room swarmed the released shadows. Black specters danced in ecstasy over my bed. I love fresh air, but I cannot allow it to slay the s.h.i.+ning and delicate body of my little friend the candle-flame, the comrade who ventures with me into the solitudes beyond midnight. I shut the window.

They talk of the candle-power of an electric bulb. What do they mean? It cannot have the faintest glimmer of the real power of my candle. It would be as right to express, in the same inverted and foolish comparison, the worth of "those delicate sisters, the Pleiades." That pinch of star dust, the Pleiades, exquisitely remote in deepest night, in the profound where light all but fails, has not the power of a sulphur match; yet, still apprehensive to the mind though tremulous on the limit of vision, and sometimes even vanis.h.i.+ng, it brings into distinction those distant and difficult hints--hidden far behind all our verified thoughts--which we rarely properly view. I should like to know of any great arc-lamp which could do that. So the star-like candle for me. No other light follows so intimately an author's most ghostly suggestion. We sit, the candle and I, in the midst of the shades we are conquering, and sometimes look up from the lucent page to contemplate the dark hosts of the enemy with a smile before they overwhelm us; as they will, of course. Like me, the candle is mortal; it will burn out.

As the bed-book itself should be a sort of night-light, to a.s.sist its illumination, coa.r.s.e lamps are useless. They would douse the book. The light for such a book must accord with it. It must be, like the book, a limited, personal, mellow, and companionable glow; the solitary taper beside the only wors.h.i.+per in a sanctuary. That is why nothing can compare with the intimacy of candle-light for a bed-book. It is a living heart, bright and warm in central night, burning for us alone, holding the gaunt and towering shadows at bay. There the monstrous specters stand in our midnight room, the advance guard of the darkness of the world, held off by our valiant little glim, but ready to flood instantly and founder us in original gloom.

The wind moans without; ancient evils are at large and wandering in torment. The rain shrieks across the window. For a moment, for just a moment, the sentinel candle is shaken, and burns blue with terror. The shadows leap out instantly. The little flame recovers, and merely looks at its foe the darkness, and back to its own place goes the old enemy of light and man. The candle for me, tiny, mortal, warm, and brave, a golden lily on a silver stem!

"Almost any book does for a bed-book," a woman once said to me. I nearly replied in a hurry that almost any woman would do for a wife; but that is not the way to bring people to conviction of sin. Her idea was that the bed-book is soporific, and for that reason she even advocated the reading of political speeches. That would be a dissolute act. Certainly you would go to sleep; but in what a frame of mind! You would enter into sleep with your eyes shut. It would be like dying, not only unshriven, but in the act of guilt.

What book shall it s.h.i.+ne upon? Think of Plato, or Dante, or Tolstoy, or a Blue Book for such an occasion! I cannot. They will not do--they are no good to me. I am not writing about you. I know those men I have named are transcendent, the greater lights. But I am bound to confess at times they bore me. Though their feet are clay and on earth, just as ours, their stellar brows are sometimes dim in remote clouds. For my part, they are too big for bed-fellows. I cannot see myself, carrying my feeble and restricted glim, following (in pajamas) the statuesque figure of the Florentine where it stalks, aloof in its garb of austere pity, the sonorous deeps of Hades. Hades! Not for me; not after midnight! Let those go who like it.

As for the Russian, vast and disquieting, I refuse to leave all, including the blankets and the pillow, to follow him into the gelid tranquillity of the upper air, where even the colors are prismatic spicules of ice, to brood upon the erratic orbit of the poor mud-ball below called earth. I know it is my world also; but I cannot help that.

It is too late, after a busy day, and at that hour, to begin overtime on fas.h.i.+oning a new and better planet out of cosmic dust. By breakfast-time, nothing useful would have been accomplished. We should all be where we were the night before. The job is far too long, once the pillow is nicely set.

For the truth is, there are times when we are too weary to remain attentive and thankful under the improving eye, kindly but severe, of the seers. There are times when we do not wish to be any better than we are. We do not wish to be elevated and improved. At midnight, away with such books! As for the literary pundits, the high priests of the Temple of Letters, it is interesting and helpful occasionally for an acolyte to swinge them a good hard one with an incense-burner, and cut and run, for a change, to something outside the rubrics. Midnight is the time when one can recall, with ribald delight, the names of all the Great Works which every gentleman ought to have read, but which some of us have not. For there is almost as much clotted nonsense written about literature as there is about theology.

There are few books which go with midnight, solitude, and a candle. It is much easier to say what does not please us then than what is exactly right. The book must be, anyhow, something benedictory by a sinning fellow-man. Cleverness would be repellent at such an hour. Cleverness, anyhow, is the level of mediocrity to-day; we are all too infernally clever. The first witty and perverse paradox blows out the candle. Only the sick in mind crave cleverness, as a morbid body turns to drink. The late candle throws its beams a great distance; and its rays make transparent much that seemed ma.s.sy and important. The mind at rest beside that light, when the house is asleep, and the consequential affairs of the urgent world have diminished to their right proportions because we see them distantly from another and a more tranquil place in the heavens where duty, honor, witty arguments, controversial logic on great questions, appear such as will leave hardly a trace of fossil in the indurated mud which presently will cover them--the mind then certainly smiles at cleverness.

For though at that hour the body may be dog-tired, the mind is white and lucid, like that of a man from whom a fever has abated. It is bare of illusions. It has a sharp focus, small and starlike, as a clear and lonely flame left burning by the altar of a shrine from which all have gone but one. A book which approaches that light in the privacy of that place must come, as it were, with honest and open pages.

I like Heine then, though. His mockery of the grave and great, in those sentences which are as brave as pennants in a breeze, is comfortable and sedative. One's own secret and awkward convictions, never expressed because not lawful and because it is hard to get words to bear them lightly, seem then to be heard aloud in the mild, easy, and confident diction of an immortal whose voice has the blitheness of one who has watched, amused and irreverent, the high G.o.ds in eager and secret debate on the best way to keep the gilt and trappings on the body of the evil they have created.

That first-rate explorer, Gulliver, is also fine in the light of the intimate candle. Have you read lately again his Voyage to the Houyhnhnms? Try it alone again in quiet. Swift knew all about our contemporary troubles. He has got it all down. Why was he called a misanthrope? Reading that last voyage of Gulliver in the select intimacy of midnight I am forced to wonder, not at Swift's hatred of mankind, not at his satire of his fellows, not at the strange and terrible nature of this genius who thought that much of us, but how it is that after such a wise and sorrowful revealing of the things we insist on doing, and our reasons for doing them, and what happens after we have done them, men do not change. It does seem impossible that society could remain unaltered, after the surprise its appearance should have caused it as it saw its face in that ruthless mirror. We point instead to the fact that Swift lost his mind in the end. Well, that is not a matter for surprise.

Such books, and France's "Isle of Penguins," are not disturbing as bed-books. They resolve one's agitated and outraged soul, relieving it with some free expression for the accusing and questioning thoughts engendered by the day's affairs. But they do not rest immediately to hand in the book-shelf by the bed. They depend on the kind of day one has had. Sterne is closer. One would rather be transported as far as possible from all the disturbances of earth's envelope of clouds, and "Tristram Shandy" is sure to be found in the sun.

But best of all books for midnight are travel books. Once I was lost every night for months with Doughty in the "Arabia Deserta." He is a craggy author. A long course of the ordinary facile stuff, such as one gets in the Press every day, thinking it is English, sends one thoughtless and headlong among the bitter herbs and stark boulders of Doughty's burning and s.p.a.cious expanse; only to get bewildered, and the s.h.i.+ns broken, and a great fatigue at first, in a strange land of fierce sun, hunger, glittering spar, ancient plutonic rock, and very Adam himself. But once you are acclimatized, and know the language--it takes time--there is no more London after dark, till, a wanderer returned from a forgotten land, you emerge from the interior of Arabia on the Red Sea coast again, feeling as though you had lost touch with the world you used to know. And if that doesn't mean good writing I know of no other test.

Because once there was a father whose habit it was to read with his boys nightly some chapters of the Bible--and cordially they hated that habit of his--I have that Book too; though I fear I have it for no reason that he, the rigid old faithful, would be pleased to hear about. He thought of the future when he read the Bible; I read it for the past. The familiar names, the familiar rhythm of its words, its wonderful well-remembered stories of things long past--like that of Esther, one of the best in English--the eloquent anger of the prophets for the people then who looked as though they were alive, but were really dead at heart, all is solace and home to me. And now I think of it, it is our home and solace that we want in a bed-book.

THE PRECEPT OF PEACE

_By_ LOUISE IMOGEN GUINEY

Louise Imogen Guiney (1861-1920), one of the rarest poets and most delicately poised essayists this country has reared, has been hitherto scantily appreciated by the omnipotent General Reader. Her dainty spoor is perhaps too lightly trodden upon earth to be followed by the throng. And yet one has faith in the imperishability of such a star-dust track. This lovely and profound "Precept of Peace" is peculiarly characteristic of her, and reminds one of the humorous tranquillity with which she faced the complete failure (financially speaking) of almost all her books. There was a certain sadness in learning, when the news of her death came, that many of our present-day critical Sanhedrim had never even become aware of her name.

There is no s.p.a.ce, in this brief note, to do justice to her. The student will refer to the newly published memoir by her friend, Alice Brown.

She was born in Boston in 1861, daughter of General Patrick Guiney who fought in the Civil War. From 1894-97 she was postmistress in Auburndale, Ma.s.s. Her later years were spent in England, mostly at Oxford: the Bodleian Library was a candle and she the ecstatic moth.

A certain sort of voluntary abstraction is the oldest and choicest of social att.i.tudes. In France, where all esthetic discoveries are made, it was crowned long ago: la sainte indifference is, or may be, a cult, and le saint indifferent an articled pract.i.tioner. For the Gallic mind, brought up at the knee of a consistent paradox, has found that not to appear concerned about a desired good is the only method to possess it; full happiness is given, in other words, to the very man who will never sue for it. This is a secret neat as that of the Sphinx: to "go softly"

among events, yet domineer them. Without fear: not because we are brave, but because we are exempt; we bear so charmed a life that not even Baldur's mistletoe can touch us to harm us. Without solicitude: for the essential thing is trained, falcon-like, to light from above upon our wrists, and it has become with us an automatic motion to open the hand, and drop what appertains to us no longer. Be it renown or a new hat, the shorter stick of celery, or