THE DUTIES OF AUTHORS.
I propose to speak to you to-day upon a subject which, though I may perhaps be tempted to exaggerate its importance, possesses some real importance. I have undertaken to speak upon the duties of the class to which I belong. I make, however, no claims to the position of censor. I have no such claim, except, indeed, the claim of possessing some experience. There are two ways, I may observe, in which a man may acquire a sense of the importance of any moral law. One is by keeping the law, and the other is by breaking it. In some ways, perhaps, the systematic offender has acquired the most valuable experience. No one can speak more feelingly about the evils of intemperance than the reformed drunkard, unless it be the drunkard who has not reformed. The sober gentleman who has never exceeded can realise neither the force of the temptation nor the severity of the penalty. On the other hand, I must admit that some writers upon ethical questions have been men of fair moral character. I only make the statement by way of explaining that, in speaking of the duties of authors, I do not assert, even by the most indirect implication, that I personally have either observed or disregarded the principles which I shall discuss. Whether I am a model for imitation or an example of the evils to be avoided, matters nothing to this discourse; though the question to which of these classes I belong has a certain interest for myself.
There is one other matter which I can deal with very briefly. I have said that the subject has a certain importance. Upon that it is needless to dilate; for, in the first place, authors have been engaged for generations, and never more industriously than in this generation, in preaching the vast importance of authors to mankind. I could not hope to add anything to their eloquence upon a topic with which they are so familiar. We may, however, assume that the enormous mass of literature which is daily produced, whether its abundance be a matter of regret or exultation, is at least a proof that a vast number of people read something, and are, we may suppose, more or less affected by what they read. It cannot be indifferent to inquire what are the duties of those who undertake to provide for this ever-growing demand.
One matter has been lately discussed which may serve as a starting-point for what I have to say. A French author who came the other day to observe our manners and customs, was impressed by the fact that so much of our writing is anonymous. The public, that is, reads without knowing who are its instructors, and the instructors write without incurring any definite personal responsibility. The problem is naturally suggested, whether such a system be not morally objectionable. Ought not a man who undertakes to speak as an authority let us know who he is, and therefore with what authority he speaks? The question could hardly be answered satisfactorily without some study of the facts; and especially of the way in which the system has grown up. I can only notice one or two obvious reflections. A century ago we boasted—and we had reason to boast—that the English Press was the freest in Europe. It was already a very important factor in political life. But at that period the profession of letters was still regarded as more or less disreputable. The great author—the poet, divine, or historian—was indeed fully as much respected as he is now; but to write for money or to write in periodicals was held to be not quite worthy of a gentleman. Byron, for example, refused to take money for his poetry, and taunted others for taking money, until so much money was offered to him that he swallowed his scruples. Burns, though as much in need of money, had shortly before refused to write for money; and Wordsworth held that his high calling imposed upon him the duty of rather repelling than seeking the popularity by which money is to be won. We have changed all this, and the greatest modern authors are less apt to disavow a desire for pay, than to complain that their pay is insufficient. The employment—it can hardly be called the profession—of periodical writing, again—the only kind of writing which could make literature a source of a regular income—was long regarded as a kind of poor relation of the respectable or so-called learned professions, clerical, legal, and medical. Jeffrey, whose fame now rests upon his position as the editor of The Edinburgh Review, was for a long time anxious to conceal his employment as not exactly creditable. In the year 1809 the benchers of Lincoln's Inn passed a resolution that no one should be called to the Bar who had written for money in a newspaper. Writers in newspapers since that time have frequently risen to the Bench, and have been not the least honoured of Cabinet Ministers. Yet the sentiment which involved a certain stigma has only disappeared in this generation. And the historical cause seems to be obvious. The newspaper Press had gradually grown up in spite of authority. It had first been persecuted, and writers had escaped persecution by consenting to be spies or dependants upon great men. Half the hack-authors aspired to subsidies from the secret-service money, and the other half were looking for a reward when their patrons should have a turn in the distribution of good things. The Press was freer than elsewhere, for the English system of government gave importance to public discussion. Both Ministers and Opposition wished to influence voters through the papers. But the authors were in the position of dependent auxiliaries, prosecuted for libel if they went too far, and recompensed by pensions for the risks they had to run; they were despised, even by those who used them, as a set of mercenary guerillas, employed to do dirty work and insinuate charges which could not be made by responsible people, and ready, as was supposed, to serve on whichever side would pay them best. According to a well-known anecdote, two writers of the eighteenth century decided by the toss of a halfpenny which should write for Walpole and which should write for his adversary Pulteney; but the choice was generally decided by less reputable motives. Now, so long as the Press meant such a class it was of course natural that the trade should be regarded as discreditable, and should be carried on by men who had less care for their character than for their pockets. In England, where our development has been continuous and traditions linger long, the sentiment long survived; and the practice which corresponded to it—the practice, that is, of anonymity—has itself survived the sentiment which gave it birth.
I do not, indeed, mean to insinuate that the practice may not have better reasons than that which led to its first adoption. The mask was formerly worn by men who were ashamed of their employment, and who had the same reasons for anonymity as a thief or an anarchist may have for a disguise. It may now be worn even by men who are proud of their profession, because the mask has a different significance. When a journalist calls himself "we" instead of "I," the word really represents a fact: the fact that he speaks not simply as an individual, but as the mouthpiece of a corporation, which itself claims to be the organ of a party. The plural covers whatever additional weight may be due to this representative character. To consider the value of this justification would take me too far. I have spoken of this historical fact because I think that it illustrates a more general problem.
For, in the first place, I think that there were some elements in the older sentiment which deserved respect. When an author was as anxious to disavow the charge of writing for money as an author at the present day is to claim his reward, I cannot, for my part, simply set him down as silly. "My songs," said Burns, "are either above price or below price, and, therefore, I will accept nothing." I respect his feelings. He may not have been quite logical; but he was surely right in the belief that the poet whose inspiration should come from his breeches-pocket would never write true songs or embody the very spirit of a nation. I do not doubt that authors ought to be paid; but I certainly agree that a money reward never ought to be the chief aim of their writing. And I confess that some utterances about copyrights in these days have jarred upon me, because they seem to imply that the doctrine is not disavowed so unequivocally as it should be by our leaders. I am, indeed, happy to believe, as I fully believe, that there has never been a time at which more good work has been done for pure love of the work, independently, and even in defiance, of pecuniary considerations. But I cannot help thinking that in their desire to establish a right to the profits of their work, authors have condescended at moments to speak as if that reward constituted their sole motive to work, instead of being desired—as it may most properly be desired—simply as the means of enabling them to work. The old contempt was aristocratic, and in these days we have come to use aristocratic as a term of abuse. My own impression is that we ought to be just even to aristocrats; and in that contempt for all such work, I think that there was a genuine element of self-respect. The noble despised the poor scribe who had to get his living by his pen. We, my lords, as Chesterfield put it, may thank Providence that we do not depend upon our brains. It is wrong, no doubt, to despise anybody; and especially mean to despise a man for poverty. But the sentiment also included the belief—surely not so wrong—that the adventurer who joined the ranks of a party for the sake of the pay was so far contemptible, and likely to join the party which paid best. The misfortune, no doubt, was that the political state involved such dependence; and the desirable solution that every one should become independent. Till that solution was more or less reached, the corresponding sentiment was inevitable, and not without meaning.
Well, the literary class has had its declaration of independence. An author has long ceased to need a patron, and he is in little danger of the law of libel. The question occurs: What are the qualities by which we should justify our independence? Have we not still a certain stoop of the shoulders, a kind of traditional shamefacedness, an awkwardness of manner, and a tendency to blush and stammer, which shows that we are not quite at ease in our new position? Or have we not—it is a more serious question—exchanged dependence upon the great for dependence upon the public, rather than learnt to stand upon our own feet? Have we made ourselves, and, if we have not, how can we make ourselves, worthy of our position as free men? We boast that the Press does part of what used to be done by the priesthood, that we enlighten and encourage and purify public opinion. There is a whole class which depends upon us for intellectual culture; which reads nothing that is not in newspapers and magazines. Do we give them a wholesome training, provide them with sound knowledge, and stimulate them to real thought? Are we such a priesthood as is really raising the standard of human life; or such a priesthood as is clinging to power by echoing the superstitions of its congregations? Nature is ruled by obeying her; and what is called ruling public opinion is too often servilely following its dictates. There is an old story which tells how a certain newspaper used to send out an emissary to discover what was the common remark that every one was making in omnibuses and club smoking-rooms, and to fashion it into next morning's article for the instruction of mankind. The echo affected to set the tune which it really repeated. Now, there is nothing more flattering than an echo. "This must be an inspired teacher, for he says exactly what I thought myself," is a very common and effective argument. To reproduce the opinions of the average reader; to dress them so skilfully that he will be pleased to see what keen intelligence is implied in holding such opinions; to say just what everybody wishes to have said a little more neatly than everybody could say it, or, at the outside, to say to-day what every one will be saying to-morrow, is one path to success in journalism. There is, I am afraid, much so-called education which tends to nothing better than a development of this art. I was consulted the other day by a young gentleman who was proposing to put himself under a professor of journalism. So far as I could gather from his account, the professor did not suggest that the pupil should study any branch of serious knowledge: that he should become, for example, a good political economist, or read ancient or modern history, or make himself familiar with continental affairs or bimetallism, or other thorny and complex subjects. The aim was precisely to enable him to dispense with all study, and to spin words out of absolute mental vacuity. If such an art can really be acquired, it is scarcely an art to be recommended to ingenuous youth. And yet, as I understand, it is an art which is more or less countenanced even at our universities. A distinguished classman learns much, but the last thing he learns is the depth of his own ignorance. He is too often practised in the power of beating out his gold or his tinsel to cover the largest possible surface; he becomes an adept in adopting the very last new fashion of thought; he can pronounce dogmatically upon all previous thinkers after reading not their own works, but the summary given in the last text-book. Success in the art of passing examinations requires the same qualities which enable a man to write off-hand a brilliant leading article upon any side of any subject. I have often heard remarks upon the modern diffusion of literary skill. Ten people, it is said, can write well now for one who could write well fifty years ago. No doubt the demand for facile writing has enormously increased the supply. But I do not think that first-rate writing—the writing which speaks of a full mind and strong convictions, which is clear because it is thorough, not because it is shallow—has increased in the same proportion, if, indeed, we can be sure that it has increased at all. Perhaps there are ten times as many people who can put other men's thoughts into fluent phrases; but are there ten times as many, are there even as many, who think for themselves and speak at first hand? The practice of anonymous writing affords, of course, obvious conveniences to a superficial omniscience. The young gentleman who dogmatises so early might blush if he had to sign his name to his audacious utterances. His tone of infallibility would be absurd if we knew who was the pope that was promulgating dogmas. The man in a mask professes to detect at a glance the absurd sophistries which impose upon the keenest contemporary intellects; but if he doffed the mask and appeared as young Mr. Smith, or Jones, who took his degree last year, we might doubt whether he had a right to assume so calmly that the sophistry is all on the other side. I am, however, quite aware that this is only one side of the question of anonymity. Were the practice abolished, the journalist who was forced to appear in his own character might abandon not his superficiality, but whatever power of blushing he retains. The more fluent phrase-monger might take himself even more seriously than he now does, and might persuade other people to take him seriously too. The charlatan, in short, might have a better chance, and use his notoriety as a stepping-stone to more mischievous ambition.
I refrain from discussing this question: the rather because it is obvious that such changes must work themselves out gradually, and that we may assume, for the present, that the position will not be materially changed. I am, therefore, content to infer that the journalist should at least bear in mind one obvious criterion. He should never say anything anonymously to which he would be ashamed to sign his name. I do not mean merely that he should not be libellous or spiteful—I hope and believe that the underhand assassin of reputations, who at one period was common enough, has almost ceased to exist,—but rather that he should refrain from that pompous assumption of omniscience which would he ludicrous in a simple individual. He should say nothing when he speaks in the plural which would make him look silly if he used the first person singular. Now, this modest requirement involves, I think, a good deal. I will try to say what it involves by an example, of which I frequently think. I remember a young gentleman, who, in my hearing, confessed, in answer to a question from Carlyle, that he did a certain amount of journalistic work. The great man thereupon said, with his usual candour, and, I must add, without any personal discourtesy, that, in his opinion, the journalism of the period was just so much ditch-water. What should be a well of English undefiled poured forth streams little better than a public sewer. The phrase, like some other prophetic utterances, sounded a trifle harsh, but was all the more calculated to set me thinking. My thinking naturally led me to reflect upon Carlyle's own example. I was invited some time afterwards to sign a little testimonial presented to him upon his eightieth birthday, in imitation of the gift which he had himself forwarded to Goethe. In this it was said, and said, I think, most truly, that Carlyle was himself an example of the heroic life in literature. And why? A good many epigrams have been levelled at Carlyle, and he has more than once been ridiculed as the philosopher who preached the virtues of silence in thirty volumes. Now, Carlyle's utterances about silence may not have been unimpeachable; but I think that, stated in a commonplace way, they substantially come to this: that idle talk, a mere spinning of phrases, is a very demoralising habit, and one great mischief of the present day; but that the serious and careful utterance of real thought and genuine knowledge must be considered rather as a mode of action than of talk, and deserves the cordial welcome of all men. A Goethe affects action as much as a Napoleon. Carlyle did not really mean to draw the line between an active and a literary life; for he knew as well as any man that literature may at once require the most strenuous activity, and be the source of life and vigour in active men; but between frivolity and earnestness, between the mere waste and dissipation of energy and its concentration upon some worthy purpose. Judged by such a standard, Carlyle's words were also deeds. He wrote a good deal, for he lived a long time, and had for many years to live by his pen. I could, I think, mention several professional authors who habitually provide as much copy in a month as Carlyle ever achieved in a year. But, luckily for them, their works are not collected. Carlyle appears to be voluminous because he never wrote anything which was not worth preservation, and that because he never wrote an essay without making it as good as his abilities permitted. He did so, although he was till middle life hard pressed for money, and helping to support his family out of his narrow earnings. He stuck indomitably to his own ideal of what was best, though he had slowly to form a public which could appreciate him. And through long years of struggle and hardship he never condescended to make easy gains at the price of inferior workmanship, or to lower his standard of excellence in order to meet the immediate demands of editors. In that sense, if in no other, I call Carlyle a worthy hero of literature, and I reverence his example a great deal more, I fear, than I have imitated it.
Perhaps, indeed, a man must have an unusually, even unreasonably, strong conviction of the truth and importance of his mission before he can make such sacrifices in order to discharge it worthily. To most of us the question occurs whether it can possibly be worth while to do so. Perhaps, if I devoted myself exclusively to delivering my message to mankind as forcibly as I could, and to making all necessary preparations, it might be rather more effective than the second-hand twaddle which I actually produce. But would the game be worth the candle? I have, it may be, a family to support. Should I not, as an honest man, think first of my butcher and my baker and of paying the collector of rates, before I undertake to become an immortal author? Probably, at the best, my immortality would be a very short one, for there is not one author in a thousand who can make his voice audible at the distance of a generation. Is it not better and wiser to earn an honest living by innocent small talk, than to aim at a great success and let my children go barefoot and lose their schooling? That low man, says Browning's Grammarian—
That low man goes on adding one to one,
His hundred's soon hit:
This high man, aiming at a million,
Misses an unit.
Is it not better to hit your hundred than to aim at your million and miss it? That is a problem which I do not think it possible to answer by a general rule. We rightly honour the Carlyle or the Wordsworth who has forced the public to admire him in spite of critical gibes and long obscurity; but we must not forget that even success does not necessarily justify the audacity which has won it, and that a good many people who fancied themselves to be capable of enlightening the world have been empty-headed impostors who would have done better to take the critic's advice: drop their pens and mind their gallipots. Devotion to an ideal, like other high qualities, may be misplaced or counterfeited by mere personal vanity. But leaving each man to decide by the concrete circumstances of his own case, I still hold that at least we should try in this respect to act in Carlyle's spirit. I cannot blame the author who, under certain conditions, feels that his first duty is to pay his weekly bills, so long, of course, as he does not earn the money by pandering to the bad passions of his readers; for there are modes of making a livelihood by the pen to which starvation or the workhouse would be preferred by any high-minded man. But we will not judge harshly of the author who lives by supplying innocent, if rather insipid, food for public amusement. He might be capable of better things; but, then, he might certainly be doing much worse. Yet in any case, I say that, to have a tolerably comfortable conscience, an author should try to look a little farther than this. The great mass of mankind has to devote most of its energies to employments which require nothing more than honest work; and yet even the humblest can do something to maintain and elevate the moral standard of his surroundings. The author, so far as he is simply a journeyman, a reporter of ordinary events and speeches, for example, does his duty so far as he reports them honestly; and we have no more to say to him. But the author who takes part in political and social or religious discussions has a responsibility which involves something more. Probably he feels—I am sure enough that I feel—that his performance makes remarkably little difference to mankind in general; and that he is playing only an infinitesimal part in the great processes by which the huge world blunders along, struggling into some approximation to a more tolerable order. He may compare himself to one of the myriads of insects building up one square yard on the coral reef which stretches for hundreds of leagues. Yet even the coral reef depends on the units, and if the insect's powers are small it concerns him to make the best of them. Now, to make the best of them implies some genuine interest in his work; something that makes the reader perceive that he is being addressed by a human being, not a mere machine for vamping up old materials. I have been struck in reading newspaper articles, even my own, by the curious loss of individuality which a man seems to suffer as a writer. Unconsciously the author takes the colour of his organ; he adopts not only its sentiment but its style, and seems to become a mere transmitter of messages, with whose substance he has no more to do than the wires of the electric telegraph which carries them. But now and then we suddenly come across something fresh and original; we know by instinct that we are being addressed by another man, and are in a living relation to a separate human being, not to a mere drilled characterless unit of a disciplined army; we find actually thoughts, convictions, arguments, which, though all arguments are old, have evidently struck the writer's mind, and not merely been transmitted into his pen; and then we may know that we are in the presence of a real force, and meeting with a man who is doing his duty. I refrain from mentioning, though I easily could mention, living modern instances. But on looking to the history of the past, it is curious to notice how rare the phenomenon is, and how important it is when it occurs. Think for a moment, for example, of old Cobbett, agricultural labourer and soldier, with nothing to help him but his shrewd mother-wit and his burly English strength. He wrote much that was poor and clumsy enough; much, too, that was pure claptrap, and much that was dictated by personal motives and desire for notoriety. But in spite of this the untaught peasant became one of the great political forces, more effective than the ninety and nine elegant Edinburgh and Quarterly reviewers, who had all the advantages which he lacked. Why? Partly, no doubt, because he was a really strong man; but also because he had at least one genuine and deeply-rooted conviction, springing out of his profound desire for the welfare of the class which was both the largest and the most helpless of the England of his day. He is, therefore, one example, and there are many others, of the singular power which is exercised in journalism by a man, under whatever disadvantages, who possesses, or rather who is possessed by, some master-thought, and utters it in season and out of season with perhaps disproportionate intensity, but with perfect sincerity. Now, though Cobbett would be in some respects a bad model, I only refer to him in this sense. When my young friends consult me as to the conditions of successful journalism, my first bit of advice comes to this: know something really; at any rate, try to know something; be the slaves of some genuine idea, or you will be the slaves of a newspaper—a bit of mechanism instead of a man. You can carry on the business with self-respect—whatever your success—if it is also something more than a business; if, for example, you can honestly feel that you are helping on the propaganda of sound principle, denouncing real grievances, and speaking from genuine belief. No man has a right to lay down the law to statesmen as though he were in possession of absolute knowledge, or as though he were a man of science talking to a class of ignorant schoolboys. But every man ought to believe that truth is attainable, and to endeavour with all his power to attain it. He should study the great problems of the day historically: for he must know how they have arisen; what previous attempts have been made to solve them; how far recent suggestions are mere reproductions of exploded fallacies; and so qualify himself to see things in their true relations as facts of a great process of evolution. He should endeavour to be philosophical in spirit, so far, at least, as to seek to base his opinions upon general principles, and to look at the events of the day from a higher point of view than that of personal or party expediency. And he must, though upon this it is hardly necessary to insist, be familiar with the affairs of the day: for no one can apply principles to politics effectively without a genuine first-hand knowledge of the actual currents of political life. Unless a man can take up his calling in some such spirit, he can be but a mere retailer of popular commonplaces, and must live from hand to mouth or upon the chance utterances of people as thoughtless as himself, increasing the volume of mere noise which threatens to drown sense. But if he seriously cultivates his powers, and enriches his mind, he may feel sure that even in journalism he may be discharging one of the most important functions which a man can undertake. He may be right or wrong in the particular doctrines which he supports. Indeed, the first and most obvious result of any attempt to take wider views of politics is the admission that wisdom (and as certainly, nonsense) is not the exclusive possession of any party in politics, literature, or philosophy. But something is done whenever a man of trained intellect and genuine conviction lifts popular discussion to a higher plane. At such times it rises above the region of personal invective or pure platitude, and involves a conscious reference to great principles and to the remote conditions of the little bit of history which we are actually transacting. When John Stuart Mill became a member of the House of Commons, and was accepted as a philosopher coming among practical men, he said much that displeased his hearers; but it was observed by competent judges at the time, that the tone of parliamentary debates was perceptibly raised. Members of Parliament were forced to reflect for the moment, not only how their speeches would tell in next day's reports, and what traps they were setting for opponents, but also for a brief instant, how their arguments would stand the test of impartial logic. Mill tells a significant story in his autobiography, which, perhaps, indicates one source of his influence. When he appeared upon the hustings he was asked whether he had not said that the English working-classes were generally liars. He replied simply, "I did," and the reply was, he says, received with "vehement applause". The incident, he adds, convinced him that the working-classes valued nothing more than thorough straightforwardness, and honoured a man for daring to tell them of their faults. I hope that it is so: I believe, in point of fact, that no quality is more heartily honoured than unflinching political honesty. And I confess that I have often wondered why it is that where the reward is so clear, so few people take the plain road which leads to it. It seems equally clear that moral courage pays better than any other quality in politics, and that it is the rarest of all qualities even to be simulated. We are all anxious to show how profound is our affection for the masses; but how many candidates for their favour dare to give Mr. Mill's proof of genuine respect? No doubt you must make it clear that you possess some other qualities before you can hope to conciliate the respect of a class by accusing it openly of habitual lying. Indeed, this might be taken as a test of genuine independence. Till you can tell men of their faults without being suspected of spite or bad temper—till you can praise them without being suspected of unworthy flattery—you are not really in a position worthy to be called independent. How many journalists—I say nothing of statesmen—stand firmly enough on their own legs to speak out without giving offence? We are often told of a great revolution of opinion, and especially of the abandonment of the old prejudice against government interference. That a great change has taken place in the opinions which men profess is undeniable; though how far that change has been due to unbiassed scientific reflection, and how far to a change in the conditions of popularity, is a very different question. I see, for example, a statement by an honourable gentleman that he approves of the Eight Hours Bill because the principle of non-interference with adult labour is obsolete. It is too late to avow it. If the honourable gentleman means to say that experience has proved the principle to be erroneous, he is, of course, justified in abandoning it. But, if his meaning be simply that the principle has gone out of fashion, what is this but to admit that you will abandon any doctrine as soon as it ceases to be popular? Do we really mean to assert that a fallacious doctrine can never get the upper hand; that the beliefs of to-day are always better than the beliefs of yesterday; that every man who has dared to stick to an opinion condemned by a majority must necessarily be a fool for his pains? That really seems to be a common opinion. We hear a great deal at the present day about "mandates," and a mandate seems to be regarded not simply as a declaration of the will of a majority which must, in point of fact, be obeyed, but as the official utterance of an infallible church which cannot in point of logic be erroneous. Now, I confess that I have always had a weakness for the faithful Abdiel. I believe that a man is often doing invaluable services who resists the dominant current of opinion, who denounces fallacies when they are growing and flourishing, and points out that a revolution in belief, even though it be inevitable for the time, and even though it contain an element of right reason, may yet contain errors and hasty judgments and deviations from the true line of progress, which require exposure the more unsparing in proportion to their temporary popularity. Is not the ordinary journalist's frame of mind singularly unfavourable to his discharge of this function? and is it not inevitable that it should be so as long as the journalist's only aim is to gain a hearing somehow? It matters not which side he takes. He denounces some new doctrine, but only in the name of the current prejudices which it happens to shock. He advocates it, but only because it is the last new fashion of the day. In either case he falls into the ordinary party vice of imagining that his opponents must be fools or knaves, that their opinions are directly inspired by the devil or a judicial blindness inflicted by Providence, simply because he will not take the trouble to understand them. The man who would try to raise himself above the position of the mere pander to passing antipathies must widen his intellectual horizon. He must qualify himself to take broad views; he must learn that his little list of commonplaces does not represent real thought, but is often the embodiment of mere prejudice, or perhaps the deposit of words left by thinkers of past generations; he must learn to do more than merely dish them up with a new sauce; he must concentrate his abilities upon definite problems, consider how they have arisen, and what is their relation to the past and the future. To do so requires some disinterestedness: some love of truth for its own sake; and a capacity for answering your opponent by explaining him, instead of a mere quickness for taunting him personally. It requires, no doubt, serious and prolonged application. Even such a training will not enable a man to unlock all the puzzles of the day; but it may help towards the desirable consummation in which a solution is at least sought in connection with established principles, and with a constant reference to the organised experience which also can be a safe guide to more reasonable conclusions. Even the attempt to do so may strengthen a man against the temptation to take short cuts to notoriety, and seek a momentary sensation at the sacrifice of permanent effect. We owe gratitude to all who have acted upon such principles and won the influence which comes at last, though it comes slowly, to honest work, bestowed even upon such shifting materials as political and moral philosophy.
I have dwelt so far chiefly upon political journalism, because it is so characteristic a part of modern literature, and illustrates so clearly some obvious tendencies of the time. I must say something, however, of another department of literature, which is sometimes said to have nothing at all to do with morality. The poet or the novelist, it is suggested, has no duties except that duty which Scheherazade discharged at the risk of her neck,—the duty of keeping her master amused. If, instead of telling him stories about genii, she had read him every morning an orthodox sermon or an ethical discourse, the one thousand and one nights would have been diminished by one thousand. Am I to tell our modern Scheherazades to forget the Arabian Nights, and adopt for our use passages from the homilies of Tillotson? Some religious persons have taken that horn of the dilemma, and perhaps with some plausibility. When the world is heaving with the throes of a social earthquake, what right have you or I to be lounging on sofas, telling silly stories about young ladies' and gentlemen's billings and cooings? Perhaps the condemnation should be extended to recreations less obviously frivolous. Your philosopher who tries to distinguish or to identify "is" and "is not," and to draw the true line between object and subject, has a very fascinating plaything, but is perhaps as far from influencing the world. Judging from the history of past philosophical cobwebs, he might as well be framing conundrums, or learning how to throw grain through the eye of a needle.
I only refer to this to say that I am not in favour of suppressing either art or philosophy. I have a kind of hankering after them in some forms myself. I assume, without further argument, that Shakespeare, and Milton, and Wordsworth, and Fielding, and Scott, and Dickens, did well in devoting themselves to literature, and probably did more to make the world happier and better than if they had composed sermons or systems of philosophy. I must, as I said, refrain from pronouncing any set eulogy upon the services rendered by authors. This only I take for granted. No one, I think, of any intellectual capacity can remember the early days when his faculties were ripening, when he wandered, for the pure delight of wandering, in the enchanted world of the great imaginative writers, saw through their eyes, and unconsciously caught the contagion of their sympathies, without feeling a deep gratitude to the men who not only gave him so much innocent pleasure, but who incidentally refined his taste and roused his enthusiasm, and quickened his perception of whatever is beautiful, or heroic, or pathetic, in the moral or the natural world. The highest literature embodies the instincts by which a cultivated people differs from the barbarous, and the classes are in a true sense civilised, which enjoy and appreciate the ennobling as distinguished from the coarser pleasures, and rise above the merely brutal life. One who aspires to be a leader, or to follow the steps of the leaders, in this band of crusaders against barbarism, must surely have some corresponding duties. I am here upon the edge of certain troublesome controversies which I shall refrain from discussing at length. This only I need say. Some great authors explicitly accept the function of preaching. Milton, and, in later days, Wordsworth, identified the offices of the prophet and the poet, and set themselves deliberately to expound an ideal of life, and justify the ways of God to man. And Milton gave the principle in his famous saying, that he who would write well hereafter of laudable things must be himself a true poem. Yet men equally great have impressed readers by their apparent indifference to such considerations. They accept the new commandment which, as Emerson tells us, the Muse gave to her darling son, "Thou shalt not preach". Shakespeare and Scott did not consciously and deliberately write to set forth any ideal; they even wrote, more or less, to make money; they were magnificent opulent geniuses, who poured out their imaginative wealth liberally and spontaneously, without a thought of any particular moral, simply because their minds were full to overflowing of great thoughts and vivid images, which they diffused as liberally as the rose gives its scent. Are we to say that they were wrong or morally inferior, even if artistically superior, to those who wrote, like Milton or Dante, with a more definite aim? Must I condemn Scott because he did not write, like the excellent Miss Edgeworth, or even like Dickens in some of his stories, to preach consciously that honesty is the best policy, or that selfishness is a vice; and, if so, must I not condemn a man from whom I have not only received an incalculable amount of innocent enjoyment, but imbibed—it is my own fault if I have not imbibed—many thoughts that have strengthened and stimulated the best elements of my nature? If I insist upon the moral influences, am I not confounding the poet and the preacher, and falling under the lash of I know not how many critical connoisseurs? If I renounce the preachers, I am renouncing some of the greatest artists, and indirectly sanctioning even such art as is worthy only of Holywell Street, and panders to the worst passions.
I will say what I think. Great writers, it seems to me, may be great in two ways; and the greatest is he who combines them most thoroughly. The first-rate writer, in the first place, must—to use a frequently misapplied word—be a thorough realist. He is great in proportion to the width and depth of the truths which he grasps, and to which he gives the most perfect expression. When we read Shakespeare at his best, what strikes us is that he has expressed once for all some home-truth about human nature and the world, round which all inferior writers seem to have been blundering without ever achieving a complete utterance. More generally, every great period of our literature has been marked in one shape or other by a fresh realism, or what is called the desire to return to Nature: to get rid of the phrases which have become conventional and unreal, and express the real living ultimate truth. Shakespeare and the great men of his time were inspired by such a passion; they were animated by the desire to "hold the mirror up to Nature" and to portray real vivid human passion, for they had burst through the old mediæval chains of theological dogma, and were aroused to a sudden fresh perception of the beauties which had been unrecognised and misconceived by ascetic monks. The men of Pope's time, again, believed in what they, too, called the "religion of Nature," and tried to hasten the day when enlightened reason should finally crush what Berkeley called the "pedantry of courts and schools". Wordsworth and his followers inaugurated a new era by proposing a return to "Nature," because the language, which with Pope expressed a real meaning, had again become the conventional language of a narrow class of critics and the town. It is in all ages one great function of the imaginative writers to get rid of mere survivals; to forego the spectacles used by their ancestors as helps, which have now become encumbrances; to destroy the formulas employed only to save the trouble of thinking, and make us see facts directly, instead of being befooled by words. In that sense it is their great service that they break up the old frost of dreary commonplace, and give life and power, in place of an acceptance of mere ossified or fossilised remnants of what once was thought. Briefly, they teach us to see what is before us. So far the function of the poet resembles that of the scientific and philosophic observer. He differs radically in method, because he proceeds by intuition instead of analysis; shows us the type, instead of cataloguing the attributes of a class; and gives us a real living man—a Falstaff or a Hamlet—instead of propounding a psychological theory as to the relations of the will, the intellect, and the emotions.
I take it, therefore, that realism in this sense is one essential characteristic of great imaginative power. I hold it to be more than ever necessary; more necessary because scientific methods of thought are more developed. It is less possible for a serious writer to make use of the merely fanciful symbols which were perfectly legitimate as long as they represented real beliefs, but are now fitter for only the lighter moods. The greatest writers have to dispense with fairies and fighting gods and goddesses, and the muses, and to show us a direct portraiture of the forces by which society is actually moved. But the functions of the great writer, though they involve a perception of truth, are not adequately defined by the simple condition of truthfulness. He has to be—may I say it?—a preacher; he cannot help it; and, so far as he cannot help it, his preaching will be elevating in proportion as it is truthful. He does not preach in the sense in which a moralist preaches, by arguing in favour of this or that doctrine, or expounding the consequences of opinions. It is not his business to prove, but to see, and to make you see. But, in another sense, he cannot help preaching, because his power over you is founded upon sympathy, upon his personal charms, upon the clearness with which he sees and the vividness with which he portrays the real nature of the instincts which make men lovable or hateful. What are really the most fascinating books in the language? I was impressed the other day by discovering that perhaps the most popular of all English books, judging by the number of editions, is Goldsmith's Vicar of Wakefield. To what does it owe its popularity? Obviously to the exquisite keenness of Goldsmith's perception of the moral beauty of a simple character, which is always saved from the charge of being unctuous or sentimental by the constant play of gentle and yet penetrative humour. Do we not love Charles Lamb for a similar reason? Why, again, do we love Scott, as all men ought to love him? Is it not because his Jeanie Deans and his Dandie Dinmont, and a hundred more characters, show the geniality, the manliness as well as the shrewd common-sense of their creator, and his vivid perception of the elements which ennoble the national character which he loved so well? Why does the British public love Dickens so well? For his incomparable fun, no doubt; but also because the fun is always associated with a keen perception of certain moral qualities which they regard with, it may be, excessive admiration. But to give no more examples, I am content to say that the enduring power of every great writer depends not merely on his intellectual forces, but upon the charm of his character—the clear recognition of what it really is that makes life beautiful and desirable, and of what are the baser elements that fight against the elevating forces. We are under intellectual obligations to the man of science who will tell us, for example, how mountain chains have been raised and carved into their present shape. But we are grateful to the great poets and prose writers, to Wordsworth and Mr. Ruskin, for interpreting and stimulating the emotions which make the vision of the great peaks a source of pure delight. We may, in the same way, thank the psychologist who can make more intelligible the principle of association of ideas, or trace the development of the moral sense or the social affections. But we love the man who, like Goldsmith, and Lamb, and Scott, and Wordsworth, has revealed to us by actual portraits of typical characters, the sweetness and tenderness and truthfulness which may be embodied in humble characters. Love, says Wordsworth, of his shepherd lord—
Love had he found in huts where poor men lie,
His daily teachers had been woods and rills;
The silence that is in the starry sky,
The sleep that is among the comely hills.
The power of discovering and of making us discover such thoughts in the huts of poor men and in natural scenery is the true prerogative of the poet, and it is to that power that he owes his enduring place in our hearts.
I have said this much because I think that it is in a perversion of these principles that we shall find some of the temptations to which the author is in these days most liable. I can only glance at them briefly. One perversion, for example, is indicated by the common use of the phrase "realism". This word has various meanings; but the commonest, perhaps, would not be misrepresented by saying that it involves a confusion between the functions of the man of science and the poet. In a scientific sense, it is a sufficient reason for setting forth any theory that you believe it to be true. The facts which you describe may be hideous and revolting: it is not the less desirable that they should be accurately known. The poet and novelist may be equally justified in taking hideous and revolting facts into account. That, for example, is the duty of a satirist; and I am not at all concerned to say that satire is illegitimate—I think it perfectly legitimate. I should be the last to assert that a writer should confine himself to such facts as can be discussed with decency in presence of a young ladies' school. On the contrary, I think that, if not the most enviable privilege, it is sometimes a duty of the novelist to set forth vice and crime, and even, it may be, to set them forth in impressive and startling shapes. It is his duty to represent them truly and to make them intelligible; to show how they may be natural, and not to misrepresent even a villain. All I say is, that he should also recognise the fact that they are hideous and revolting. And, therefore, this is no excuse for the man who really dwells upon such facts, not because they are facts, but because he knows that such descriptions are the easiest way of attracting morbid tastes; and that he can get a readier market by being irreverent and indecent than by other expedients. To defend such work on the excuse of realism is simply to indulge in a bit of contemptible humbug, too transparent to need exposure. The purpose of an artist, you say, is to give pleasure, not to preach. That is perfectly true; but to give pleasure to whom? If it is to give pleasure to the prurient, to the cynical, to the debauchee, to give the kind of pleasure which, to a pure-minded man, is pain, and of which even the blackguard is ashamed, then I will not quarrel over words, and ask whether it can be truly artistic, but I will simply reply that I should have a greater respect for a man who lived by picking pockets. But, you reply, it requires a great deal of skill. So does picking pockets, and so do some other kinds of human energy which I need not particularise. If the ethical judgment be really irrelevant æsthetically, the æsthetic judgment must be irrelevant ethically. If that doctrine be true, we are, therefore, quite at liberty to say that a thing may be beautiful and at the same time blackguardly and beastly. I will, however, express my own conviction, that what is disgusting to a right-minded man cannot be really beautiful, and that the sentiments which it offends cannot be put out of court simply because they are called moral. They have as good a right to be considered as any others.
There is a temptation of the opposite kind: the temptation to what I may briefly call sentimentalism. The virtue of idealism is as necessary as the virtue of realism; and every great writer shows his greatness by combining the two. The contradictory of the real is not properly the ideal, but the unreal—which is a very different thing. For idealism means properly, as I take it, that quality in virtue of which a poem or a fiction does not represent merely the scientific or photographic reproduction of matters of fact, but incarnates an idea and expresses a sentiment. A great work imparts to us the impression made upon a mind of unusual power, reflectiveness, and emotional sensibility by some aspect of the world in which we all live, but which he can see more vividly than others. To be really impressive, therefore, it must correspond to facts and be the genuine product of experience. The erroneous idealism is that which perverts the truth in order to gain apparent emphasis; which deals in the impossible, the absurd, and the exaggerated; and supposes a world which cannot even be better than the actual, because it cannot exist; which, therefore, has the defect of being arbitrary and inconceivable. So political Utopias are interesting in proportion as they suggest a legitimate construction, based upon actual facts and observed laws of human nature. As soon as we see that they presuppose a world of monstrosities, of impossible combinations of incompatible qualities, they become mere playthings. And the same is true of every work of imagination; as soon as it ceases to have a foundation in truth—to be other than realistic—it loses its real hold upon our sympathies. You solve no problem when you call in a god to cut the knot. This is the tendency of the sentimentalist, who refuses to be bound by the actual conditions. His creations are ephemeral because only plausible, even to the imagination, so long as the illusions to which they are congenial survive. And he probably falls into the further error that the emotion which he utters becomes as factitious as the laws which he invents. The man who weeps because he is melted at the sight of misery, touches us; but when he weeps because he finds it pleasant, or because he wishes to make a public exhibition of his tenderness of heart, we find him out by degrees and call him a humbug and a sentimentalist. Sham feelings and moral facts are the staple of the sentimentalist and the cause of his inevitable decay.
These remarks may serve to suggest the temptations which most beset the author in our days, though peculiar to our day only in the degree in which authorship has become more professional. For the ideal author is the man who, having discovered truth, desires to reveal it to his fellows, or, being full of perceptions of beauty, cannot resist the impulse to embody them in words or outward symbols. But when he desires also to live by his powers, he is at once in a position of which all authors know the peril. He becomes self-conscious; for he has a perpetual poultice of public favour or enmity applied to soften his fibres, and to make him feel, even in his study, that an eye is upon him and that he must so act as always to preserve attention. He is tempted to produce sensation at any cost—to shock and startle by horrors if he cannot move the sympathies by gentle arts: for a man who cannot command the pathetic, can, at least, always be disgusting. He can turn our stomachs if he cannot move our hearts. He is tempted, at least, to caricature—to show how keen is his perception by crude and glaring colours, and to indulge in the grotesque as an easy substitute for the really graphic; he can affect a facile cynicism to show how profound is his penetration, and display that marvellous knowledge of the world and the human heart, and that power of discovering the emptiness of all apparent virtues which is so common an endowment of young gentlemen upon their first initiation into real experience of life. There is nothing which the author affects so easily at his first start as the world weariness which comes from long experience and years of disappointed hope. And when a man has once gained applause for his sentiment, he finds himself his own covert rival, and is forced to substitute for the first "sprightly runnings" a fanciful pumping up of the last dregs of his old feelings. Nothing, unfortunately, is more common, or could be more easily illustrated by examples of good writers, than the spectacle of the veteran trying to reproduce in cold blood the effects which he struck out spontaneously and unconsciously in youth. And, then, at every instant the poor author feels that he must keep up with the fashion; he lives in fear of that verdict which will come some day, that he is an old fogey, and that he is transgressing those eternal principles which were discovered by some ingenuous youth a fortnight ago.
Some such danger is, indeed, shared by others than the author. It is the misfortune of his calling that success with him is intrinsically associated with notoriety. A man may do good work in many departments of life, of which no one will ever hear beyond a narrow circle. I hold, for my part, that the greatest part of the good work which is done in the world is actually of that kind, and that the best is done for the pure love of work. The world knows nothing of its greatest men, and as little, perhaps, of its best. But what would be the good of writing even a Hamlet or a Divine Comedy if nobody was to read it? Some great writers, I know, have prided themselves on finding fit audience and few; and I fully agree that a man who could really influence a few seminal minds might be well content with such a result of his labours. But, after all, the genuine aim of a great author must be, directly or indirectly, to affect the world in which he lives, whether by changing its beliefs or stimulating its emotions. And, as a rule, he cannot do so without becoming known, and even known to vast numbers of readers. Some religious writers, the author, for example, of the Imitation of Christ, have influenced many generations, while absolutely concealing their identity. Even they must, at least, have desired that their works should be known; and the case is a rare one. For the author generally, success of the worthiest kind, success in enlightening, encouraging, and stimulating his fellow-men, is inextricably connected with success of a lower kind, the success measured by fame and popularity. That, of course, is equally the case with statesmanship: a statesman has to appeal to crowds, and is too apt to be fascinated by thunders of applause; public oratory, even in the pulpit, is a terrible stimulant to unworthy vanity. The author only differs in this, that his very function presupposes a temperament of more than average sensibility; that he does not get that case-hardening which is administered to the statesman by the opposition orator; and that publicity has a specially intoxicating effect upon the man whose proper home is in his study, and who, perhaps, leaves it only to mix with a circle of reverent admirers.
I have tried to indicate some of the obvious temptations of authors, especially so far as they are strengthened by the practice of authorship as a profession. They may be summed up by saying that they tend to degrade the profession into a trade, and a trade which has as many tricks as the least elevating kind of business. It would be, perhaps, desirable to end by deducing some definite moral. But, in the first place, I think that any such moral as I could give is sufficiently indicated by the statement of the dangers. And, in the second place, I do not think that there is any moral that can be regarded as peculiar to authors. For an author, after all, is a man, and, as all men ought to be, a workman. His power comes to this, that he is a man with a special capacity for exciting sympathy. That he should be a good workman, therefore, goes without saying; and it follows that he should have a sense of responsibility in whatever department he undertakes; that he should not bestow his advice upon us without qualifying himself to be a competent adviser; nor write philosophical speculation without serious study of philosophy; nor, if possible, produce poetry or even fiction without filling his mind by observation or training it by sympathy with the great movements of thought which are shaping the world in which we live. It is a sort of paradox which cannot be avoided, that we must warn a man that one condition of all good work is that it should be spontaneous, and yet tell him that it should be directed to make men better and happier. It seems to be saying that the conscious pursuit of a given end would be inconsistent with the attainment of the end. Yet I believe that this is a paradox which can be achieved in practice on the simple condition of a reasonable modesty. The author, that is, should not listen to those who would exaggerate the importance of his work. The world can get on very well without it; and even the greatest men are far more the product than the producers of the intellectual surroundings. The acceptance of that truth—I hold it to be a truth—will help to keep in check the exaggerated estimate of the importance of making a noise in the world, which is our besetting sin, and help to make a regulating principle of what is a theoretical belief, that a man who is doing honestly good work in any department, whether under the eyes of a multitude or of a few, will be happiest if he can learn to take pleasure in doing it thoroughly rather than in advertising it widely. And, finally, with that conviction we shall be less liable to the common error of an author who grumbles at his want of success, and becomes morbid and irritable and inclined to lower his standard, when in reality he ought to remember that he is as unreasonable as a marksman who should complain of the target for keeping out of the line of fire. "It is my own fault" is often a bitter reflection, but a bitter may be a very wholesome tonic.