Part 4

If we remember best _The Wonderful One-Hoss Shay_, we do so in spite of the religious and pathetic motive of the greater part of Dr. Holmes's work, and of his fancy, which should be at least as conspicuous as his humour. It is fancy rather than imagination; but it is more perfect, more definite, more fit, than the larger art of imagery, which is apt to be vague, because it is intellectual and adult. No grown man makes quite so definite mental images as does a child; when the mind ages it thinks stronger thoughts in vaguer pictures. The young mind of Dr. Holmes has less intellectual imagination than intelligent fancy. For example: 'If you ever saw a crow with a king-bird after him, you will get an image of a dull speaker and a lively listener. The bird in sable plumage flaps heavily along his straightforward course, while the other sails round him, over him, under him, leaves him, comes back again, tweaks out a black feather, shoots away once more, never losing sight of him, and finally reaches the crow's perch at the same time the crow does;' but the comparison goes on after this at needless length, with explanations. Again: 'That blessed clairvoyance which sees into things without opening them: that glorious licence which, having shut the door and driven the reporter from the keyhole, calls upon Truth, majestic Virgin! to get off from her pedestal and drop her academic _poses_.' And this, of the Landlady: 'She told me her story once; it was as if a grain that had been ground and bolted had tried to individualise itself by a special narrative.' 'The riotous tumult of a laugh, which, I take it, is the mob-law of the features.' 'Think of the Old World--that part of it which is the seat of ancient civilisation! . . . A man cannot help marching in step with his kind in the rear of such a procession.' 'Young folk look on a face as a unit; children who go to school with any given little John Smith see in his name a distinctive appellation.' And that exquisitely sensitive passage on the nervous outward movement and the inward tranquillity of the woods. Such things are the best this good author gives us, whether they go gay with metaphor, or be bare thoughts shapely with their own truth.

Part of the charm of Dr. Holmes's comment on life, and of the phrase wherein he secures it, arises from his singular vigilance. He has unpreoccupied and alert eyes. Strangely enough, by the way, this watchfulness is for once as much at fault as would be the slovenly observation of an ordinary man, in the description of a horse's gallop, 'skimming along within a yard of the ground.' Who shall trust a man's nimble eyes after this, when habit and credulity have taught him? Not an inch nearer the ground goes the horse of fact at a gallop than at a walk. But Dr. Holmes's vigilance helps him to somewhat squalid purpose in his studies of New England inland life. Much careful literature besides has been spent, after the example of _Elsie Venner_ and the _Autocrat_, upon the cottage worldliness, the routine of abundant and common comforts achieved by a distressing household industry, the shrillness, the unrest, the best-parlour emulation, the ungraceful vanity, of Americans of the country-side and the country-town; upon their affections made vulgar by undemonstrativeness, and their consciences made vulgar by demonstrativeness--their kindness by reticence, and their religion by candour.

As for the question of heredity and of individual responsibility which Dr. Oliver Wendell Holmes proposes in _Elsie Venner_, it is strange that a man whom it had sincerely disquieted should present it--not in its own insolubility but--in caricature. As though the secrets of the inherited body and soul needed to be heightened by a bit of burlesque physiology! It is in spite of our protest against the invention of Elsie's horrible plight--a conception and invention which Dr. Oliver Wendell Holmes should feel to be essentially frivolous--that the serpent- maiden moves us deeply by her last 'Good night,' and by the gentle phrase that tells us 'Elsie wept.' But now, if Dr. Holmes shall succeed in proposing the question of separate responsibility so as to convince every civilised mind of his doubts, there will be curiously little change wrought thereby in the discipline of the world. For Dr. Holmes incidentally lets us know that he cherishes and values the instinct of intolerance and destructiveness in presence of the cruel, the self-loving, and the false. Negation of separate moral responsibility, when that negation is tempered by a working instinct of intolerance and destructiveness, will deal with the felon, after all, very much in the manner achieved by the present prevalent judicialness, unscientific though it may be. And to say this is to confess that Dr. Oliver Wendell Holmes has worked, through a number of books, to futile purpose. His books are justified by something quite apart from his purpose.

JAMES RUSSELL LOWELL

The United States have produced authors not a few; among some names not the most famous, perhaps, on the popular tongue, are two or three names of their poets; but they have hardly given to the world more than one man of letters--judicious, judicial, disinterested, patient, happy, temperate, delighted. The colonial days, with the 'painful' divines who brought the parish into the wilderness; the experimental period of ambition and attempts at a literature that should be young as the soil and much younger than the race; the civil-war years, with a literature that matched the self-conscious and inexpert heroism of the army;--none of these periods of the national life could fitly be represented by a man of letters. And though James Russell Lowell was the contemporary of the 'transcendentalists,' and a man of middle age when the South seceded, and though indeed his fame as a Yankee humourist is to be discerned through the smoke and the dust, through the gravity and the burlesque, of the war, clear upon the other side, yet he was virtually the child of national leisure, of moderation and education, an American of the seventies and onwards. He represented the little-recognised fact that in ripeness, not in rawness, consists the excellence of Americans--an excellence they must be content to share with contemporary nations, however much it may cost them to abandon we know not what bounding ambitions which they have never succeeded in definitely describing in words. Mr. Lowell was a refutation of the fallacy that an American can never be American enough. He ranked with the students and the critics among all nations, and nothing marks his transatlantic conditions except, perhaps, that his scholarliness is a little anxious and would not seem so; he enriches his phrases busily, and yet would seem composed; he makes his allusions tread closely one upon another, and there is an assumed carelessness, and an ill-concealed vigilance, as to the effect their number and their erudition will produce upon the reader. The American sensitiveness takes with him that pleasantest of forms; his style confesses more than he thinks of the loveable weakness of national vanity, and asks of the stranger now and again, 'Well, what do you think of my country?'

Declining, as I do, to separate style in expression from style in the thought that informs it--for they who make such a separation can hardly know that style should be in the very conception of a phrase, in its antenatal history, else the word is neither choice nor authentic--I recognise in Mr. Lowell, as a prose author, a sense of proportion and a delicacy of selection not surpassed in the critical work of this critical century. Those small volumes, _Among My Books_ and _My Study Windows_, are all pure literature. A fault in criticism is the rarest thing in them. I call none to mind except the strange judgment on Dr. Johnson: 'Our present concern with the Saxons is chiefly a literary one. . . Take Dr. Johnson as an instance. The Saxon, as it appears to me, has never shown any capacity for art,' and so forth. One wonders how Lowell read the passage on Iona, and the letter to Lord Chesterfield, and the Preface to the Dictionary without conviction of the great English writer's supreme art--art that declares itself and would not be hidden. But take the essay on Pope, that on Chaucer, and that on one Percival, a writer of American verse of whom English readers are not aware, and they prove Lowell to have been as clear in judging as he was exquisite in sentencing. His essay 'On a Certain Condescension in Foreigners' is famous, but an equal fame is due to 'My Garden Acquaintance' and 'A Good Word for Winter.' His talk about the weather is so full of wit that one wonders how prattlers at a loss for a topic dare attempt one so rich. The birds that nest in his syringas seem to be not his pensioners only, but his parishioners, so charmingly local, so intent upon his chronicle does he become when he is minded to play White of Selborne with a smile. And all the while it is the word that he is intent upon. You may trace his reading by some fine word that has not escaped him, but has been garnered for use when his fan has been quick to purge away the chaff of commonplace. He is thus fastidious and alert in many languages. You wonder at the delicacy of the sense whereby he perceives a choice rhyme in the Anglo-Norman of Marie de France or a clang of arms in the brief verse of Peire de Bergerac, or touches sensitively a word whereby Dante has transcended something sweet in Bernard de Ventadour, or Virgil somewhat noble in Homer. In his own use, and within his own English, he has the abstinence and the freshness of intention that keep every word new for the day's work. He gave to the language, and did not take from it; it gained by him, and lost not. There are writers of English now at work who almost convince us of their greatness until we convict them on that charge: they have succeeded at an unpardonable cost; they are glorified, but they have beggared the phrases they leave behind them.

Nevertheless Lowell was no poet. To accept his verse as a poet's would be to confess a lack of instinct, and there is no more grievous lack in a lover of poetry. Reason, we grant, makes for the full acceptance of his poems, and perhaps so judicial a mind as his may be forgiven for having trusted to reason and to criticism. His trust was justified--if such justification avails--by the admiration of fairly educated people who apparently hold him to have been a poet first, a humourist in the second place, and an essayist incidentally. It is hard to believe that he failed in instinct about himself. More probably he was content to forego it when he found the ode, the lyric, and the narrative verse all so willing. They made no difficulty, and he made none; why then are we reluctant to acknowledge the manifest stateliness of this verse and the evident grace of that, and the fine thought finely worded? Such reluctance justifies itself. Nor would I attempt to back it by the cheap sanctions of prophecy. Nay, it is quite possible that Lowell's poems may live; I have no commands for futurity. Enough that he enriched the present with the example of a scholarly, linguistic, verbal love of literature, with a studiousness full of heart.

DOMUS ANGUSTA

The narrow house is a small human nature compelled to a large human destiny, charged with a fate too great, a history too various, for its slight capacities. Men have commonly complained of fate; but their complaints have been of the smallness, not of the greatness, of the human lot. A disproportion--all in favour of man--between man and his destiny is one of the things to be taken for granted in literature: so frequent and so easy is the utterance of the habitual lamentation as to the trouble of a 'vain capacity,' so well explained has it ever been.

'Thou hast not half the power to do me harm That I have to be hurt,'

discontented man seems to cry to Heaven, taking the words of the brave Emilia. But inarticulate has been the voice within the narrow house. Obviously it never had its poet. Little elocution is there, little argument or definition, little explicitness. And yet for every vain capacity we may assuredly count a thousand vain destinies, for every liberal nature a thousand liberal fates. It is the trouble of the wide house we hear of, clamorous of its disappointments and desires. The narrow house has no echoes; yet its pathetic shortcoming might well move pity. On that strait stage is acted a generous tragedy; to that inadequate soul is intrusted an enormous sorrow; a tempest of movement makes its home within that slender nature; and heroic happiness seeks that timorous heart.

We may, indeed, in part know the narrow house by its inarticulateness--not, certainly, its fewness of words, but its inadequacy and imprecision of speech. For, doubtless, right language enlarges the soul as no other power or influence may do. Who, for instance, but trusts more nobly for knowing the full word of his confidence? Who but loves more penetratingly for possessing the ultimate syllable of his tenderness? There is a 'pledging of the word,' in another sense than the ordinary sense of troth and promise. The poet pledges his word, his sentence, his verse, and finds therein a peculiar sanction. And I suppose that even physical pain takes on an edge when it not only enforces a pang but whispers a phrase. Consciousness and the word are almost as closely united as thought and the word. Almost--not quite; in spite of its inexpressive speech, the narrow house is aware and sensitive beyond, as it were, its poor power.

But as to the whole disparity between the destiny and the nature, we know it to be general. Life is great that is trivially transmitted; love is great that is vulgarly experienced. Death, too, is a heroic virtue; and to the keeping of us all is death committed: death, submissive in the indocile, modest in the fatuous, several in the vulgar, secret in the familiar. It is destructive because it not only closes but contradicts life. Unlikely people die. The one certain thing, it is also the one improbable. A dreadful paradox is perhaps wrought upon a little nature that is incapable of death and yet is constrained to die. That is a true destruction, and the thought of it is obscure.

Happy literature corrects all this disproportion by its immortal pause. It does not bid us follow man or woman to an illogical conclusion. Mrs. Micawber never does desert Mr. Micawber. Considering her mental powers, by the way, an illogical conclusion for her would be manifestly inappropriate. Shakespeare, indeed, having seen a life whole, sees it to an end: sees it out, and Falstaff dies. More than Promethean was the audacity that, having kindled, quenched that spark. But otherwise the grotesque man in literature is immortal, and with something more significant than the immortality awarded to him in the sayings of rhetoric; he is predurable because he is not completed. His humours are strangely matched with perpetuity. But, indeed, he is not worthy to die; for there is something graver than to be immortal, and that is to be mortal. I protest I do not laugh at man or woman in the world. I thank my fellow-mortals for their wit, and also for the kind of joke that the French so pleasantly call _une joyeusete_; these are to smile at. But the gay injustice of laughter is between me and the book.

That narrow house--there is sometimes a message from its living windows. Its bewilderment, its reluctance, its defect, show by moments from eyes that are apt to express none but common things. There are allusions unawares, involuntary appeals, in those brief glances. Far from me and from my friends be the misfortune of meeting such looks in reply to pain of our inflicting. To be clever and sensitive and to hurt the foolish and the stolid--wouldst thou do such a deed for all the world? Not I, by this heavenly light.

REJECTION

Simplicity is not virginal in the modern world. She has a penitential or a vidual singleness. We can conceive an antique world in which life, art, and letters were simple because of the absence of many things; for us now they can be simple only because of our rejection of many things. We are constrained to such a vigilance as will not let even a master's work pass unfanned and unpurged. Even among his phrases one shall be taken and the other left. For he may unawares have allowed the habitualness that besets this multitudinous life to take the pen from his hand and to write for him a page or a word; and habitualness compels our refusals. Or he may have allowed the easy impulse of exaggeration to force a sentence which the mere truth, sensitively and powerfully pausing, would well have become. Exaggeration has played a part of its own in human history. By depreciating our language it has stimulated change, and has kept the circulating word in exercise. Our rejection must be alert and expert to overtake exaggeration and arrest it. It makes us shrewder than we wish to be. And, indeed, the whole endless

## action of refusal shortens the life we could desire to live. Much of our

resolution is used up in the repeated mental gesture of adverse decision. Our tacit and implicit distaste is made explicit, who shall say with what loss to our treasury of quietness? We are defrauded of our interior ignorance, which should be a place of peace. We are forced to confess more articulately than befits our convention with ourselves. We are hurried out of our reluctances. We are made too much aware. Nay, more: we are tempted to the outward activity of destruction; reviewing becomes almost inevitable. As for the spiritual life--O weary, weary act of refusal! O waste but necessary hours, vigil and wakefulness of fear! 'We live by admiration' only a shortened life who live so much in the iteration of rejection and repulse. And in the very touch of joy there hides I know not what ultimate denial; if not on one side, on the other. If joy is given to us without reserve, not so do we give ourselves to joy. We withhold, we close. Having denied many things that have approached us, we deny ourselves to many things. Thus does _il gran rifiuto_ divide and rule our world.

Simplicity is worth the sacrifice; but all is not sacrifice. Rejection has its pleasures, the more secret the more unmeasured. When we garnish a house we refuse more furniture, and furniture more various, than might haunt the dreams of decorators. There is no limit to our rejections. And the unconsciousness of the decorators is in itself a cause of pleasure to a mind generous, forbearing, and delicate. When we dress, no fancy may count the things we will none of. When we write, what hinders that we should refrain from Style past reckoning? When we marry--. Moreover, if simplicity is no longer set in a world having the great and beautiful quality of fewness, we can provide an equally fair setting in the quality of refinement. And refinement is not to be achieved but by rejection. One who suggests to me that refinement is apt to be a mere negative has offered up a singular blunder in honour of robustiousness. Refinement is not negative, because it must be compassed by many negations. It is a thing of price as well as of value; it demands immolations, it exacts experience. No slight or easy charge, then, is committed to such of us as, having apprehension of these things, fulfil the office of exclusion. Never before was a time when derogation was always so near, a daily danger, or when the reward of resisting it was so great. The simplicity of literature, more sensitive, more threatened, and more important than other simplicities, needs a guard of honour, who shall never relax the good will nor lose the good heart of their intolerance.

THE LESSON OF LANDSCAPE

The landscape, like our literature, is apt to grow and to get itself formed under too luxurious ideals. This is the evil work of that _little more_ which makes its insensible but persistent additions to styles, to the arts, to the ornaments of life--to nature, when unluckily man becomes too explicitly conscious of her beauty, and too deliberate in his arrangement of it. The landscape has need of moderation, of that fast-disappearing grace of unconsciousness, and, in short, of a return towards the ascetic temper. The English way of landowning, above all, has made for luxury. Naturally the country is fat. The trees are thick and round--a world of leaves; the hills are round; the forms are all blunt; and the grass is so deep as to have almost the effect of snow in smoothing off all points and curving away all abruptness. England is almost as blunt as a machine-made moulding or a piece of Early-Victorian cast-iron work. And on all this we have, of set purpose, improved by our invention of the country park. There all is curves and masses. A little more is added to the greenness and the softness of the forest glade, and for increase of ornament the fat land is devoted to idleness. Not a tree that is not impenetrable, inarticulate. Thick soil below and thick growth above cover up all the bones of the land, which in more delicate countries show brows and hollows resembling those of a fine face after mental experience. By a very intelligible paradox, it is only in a landscape made up for beauty that beauty is so ill achieved. Much beauty there must needs be where there are vegetation and the seasons. But even the seasons, in park scenery, are marred by the _little too much_: too complete a winter, too emphatic a spring, an ostentatious summer, an autumn too demonstrative.