RELIGION IN THE MODERN NOVEL
Louise Maunsell Field
Of all the many accusations brought against our much abused young twentieth century, there is none more popular than that of materialism. For all its deficiencies, whether artistic, social or ethical, this parrot-cry furnishes a convenient explanation; but unfortunately for those who welcome such catch-phrases as a ready means of avoiding any necessity for trying to exercise their disused and rusty thinking apparatus, convenient and accurate are seldom—perhaps never—synonymous. If this age of ours really is what it has so frequently been called by capable judges, the Age of the Social Conscience, that fact is in itself ample disproof of materialism; for if conscience in its every manifestation be not spiritual, what is? True, we have done away with the old scorn of the body and of that generality once known as “the world,” but this is simply the natural result of an increased knowledge which has compelled an altered point of view, making such contempt appear rather childish. And because the new social conscience has developed so largely outside the orthodox church, it is not therefore any the less religious. Indeed, it is in very great measure the immediate cause of that re-awakened interest in what may for clearness’ sake be defined as strictly religious ideas which is now showing itself in so many ways and places, and especially in the modern novel.
That this new religious interest seldom takes a dogmatic form is probably one reason why the average reader has been and still is so slow to recognize it—of course we are in no way concerned here with those latter-day successors to the Elsie books which provide psychic water-gruel for the senile-minded of all ages—yet in the stirrings of a more or less vague discomfort he has become aware of those electric currents of spiritual unrest which are penetrating down even to the most respectable of the quarter-educated well-to-do. There is something more than a little pathetic in the way these latter welcome such an attempt to manipulate words, to stretch the ancient formulas and render
them broad enough to contain modern ethics and modern knowledge, as was shown in Mr. Winston Churchill’s The Inside of The Cup—a novel whose popularity was due at least as much to its discussion of religious as to its treatment of social problems. For there is no class in the community whose size, the multiplicity of books and opportunities for learning taken into consideration, is so astonishingly great as is that of the half and quarter educated well-to-do.
The best of those modern novels in which the present-day religious interest reveals itself in its most significant aspect often treat it shyly, almost timidly. For with the crumbling of the ancient cosmogony and its dependent beliefs the old cock-sure attitude became obsolete. The writer no longer says, “This is the truth; no decent or sensible person will deny it”; but instead: “This is my opinion—what experience has given me; take it for what it is or may be worth.” Very frequently it is only the consciousness of things spiritual which is clearly shown; their nature, with a deeper reverence than that of yore, is left indeterminate. Here and there appears an author whose belief is as detailed as that of Will Levington Comfort: usually, however, it is rather a reaching out, a sense of things unseen, the mental attitude one of obedience to Abt Vogler’s advice: “Consider, and bow the head.”
In this as in so many other phases of our modern thought and experience H. G. Wells has succeeded in stating lucidly that of which the majority of people are but more or less dimly aware. It is indeed particularly interesting to note the growth of spiritual and religious interest in Mr. Wells. Decidedly materialistic in much of his earlier work, it is only when Marriage is reached that we find the hero, Trafford, deploring the fact that his wife and himself have won “no religion to give them”—i. e. their children—“no sense of a general purpose.” And, though foreshadowed in other stories, not until The Passionate Friends of last autumn does there come the description of a genuine religious experience, a description which is thoroughly characteristic of that sense of awe, of a greatness and power too vast to be expressed in faltering, merely human speech, which is often—it might be safe to say, always—the very crux of the religious
spirit as it appears in the modern novel. Stephen Stratton, who relates the experience, has reached the crisis of his life and knows not where to go nor what to do when, as he phrases it: “The great stillness that is behind and above and around the world of sense did in some way communicate with me … commanding me to turn my face now to the great work that lies before mankind.” And having told him what his share in this work is to be, “the stillness” bids him: “Make use of that confusedly striving brain that I have lifted so painfully out of the deadness of matter.” And Stephen, though he cries out, “But who are you?” obeys.
Detailed at greater or less length, it is this occasional awareness of communication with the Power outside and beyond “the world of sense” which is the shape in which religion is most likely to appear in the modern novel. Sometimes, as in John Ward, M. D., this awareness, usually touched upon lightly, almost furtively, is clearly and strongly emphasized, but very seldom, and then under a slightly different aspect. The destruction of the old formulas has resulted in an instinctive distrust of creeds, an instinctive shrinking from anything which bears even the least appearance of an attempt to make new ones. The situation portrayed in William Arkwright’s able, yet curiously uneven book, The Trend, wherein he shows his mystic, purely spiritual singer as escaping, horror-stricken, from an orthodox church service and denouncing it as an insult to God, is typical, though extreme. For the revolt against the materialism of Haeckel and his followers—not of Darwin and Huxley, who were not materialists and repudiated the name with the utmost vigor—has been accompanied by a revolt against the materialism in religion which rendered it vulnerable to the onslaughts of historical and scientific criticism. “We claim and we shall wrest from theology,” said John Tyndall, “the entire domain of cosmological theory.” The event has proved him a true prophet—and helped men to disentangle religion from theology.
The whole movement of the modern novel, indeed, has been toward a spiritualization which embodies within itself an essentially religious feeling; only this spiritualization not being of the monastic and ascetic kind which so long swayed the imaginations
of men, but of a social or humanistic order, has frequently been mistaken for other than its real self. It constitutes, too, a force active in all the affairs of life rather than one principally confined to certain of its details, and this fact can be glimpsed, sometimes from one angle, sometimes from another, in the more ephemeral as well as in the best examples of our twentieth century fiction. In an article published in the May issue of The Forum attention was called to the change which has taken place in the character of the fiction hero, who has lost his idle elegance and become a worker. That this work should so often be a part of the struggle for human betterment or a joining in the endeavor to right some especial wrong is both a portion of and a testimony to the idealistic spirit which quickens the modern novel, as is also the companion fact that its drama is in many notable instances mainly a psychic one. More and more is the inward effect thrusting the outward event into a position of subordinate interest; the story of a murder becomes an account not of the efforts to trace the slayer, but of the result of the deed upon his soul. The most interesting and important chapter of The Devil’s Garden is that wherein William Dale reviews the inner life which has been so turbulent, while the outer was so calm; The Debit Account has little to say of Jeffries’s career in the realm of finance but very much about his mental attitude toward himself and that “world without trifles” in which he lived; despite a charming heroine and an absorbing plot it is the influence of failure upon the character of Ralph Lingham which is the matter of supreme importance in When Love Flies out o’ the Window.
To call this confused mass of struggle and revolt and aspiration “religion” may seem to many persons unjust and perhaps even a trifle shocking; but that is because of the popular confounding of religions which are many with religion, which is one in essence, whether it be manifested under the Buddhistic form of quietism or the social service activities within and without the present-day church. Modern thought has made the old-time easy shifting of responsibility impossible, and the changed belief which this involves, enforcing the conviction that the world is to be saved and the Kingdom of God established on earth not by miraculous intervention but by the earnest labor in well-doing
of many generations of devoted men and women, has had even among those who deny it an incalculably powerful effect. It may be too that the new humanitarianism which causes us to view with horror conditions which our forefathers regarded with more or less equanimity and makes reform one of the most familiar of words is to some extent due to the desire to escape from any effort to measure and explain the Infinite with mere finite instruments. Since the days when knowledge destroyed the foundations of that ancient stately tower of faith and authority which men had believed was based on truth’s very rock, this attempt to find a working theory of life which shall not imply any dogmatic response to the riddles of the universe has been made in directions innumerable, and is being so made to-day; only, the way of escape by “practical” social labor has become more popular than any other and is a road along which travel in divers manners all sorts and conditions of men—among them many who would vehemently and even indignantly deny that religious and spiritual problems had anything whatever to do with their chosen path.
In the modern novel as in the modern world religion has come to be more and more a matter of service and aspiration; less and less a matter of accordance with fixed rules and formulas. And upon this, as upon so many other aspects of life, the writer of to-day can express himself with a freedom which only a few years ago would have brought down torrents of wrath upon his head. What in our parents’ time would have been said of The Trend, for example, or even of A Man’s World?
Thus religion in the modern novel evinces itself principally in four distinct ways: in revolt against the worn-out, cramping traditions; in a broad humanitarianism which has increased sympathy and given a fresh and vivid and impelling meaning to the word duty; in a quickened spirituality that has removed punishment and reward from the hereafter and even from the world of matter to the living human soul; and in a reaching out, vaguely, gropingly, but never futilely, toward “the stillness,” “the Ultimate Force,” “the Unknown Power,” or whatever term men prefer to use in their desire to get away from the old anthropomorphic conceptions, and yet express their consciousness of the
Infinite and Divine. For “the obstinate questioning of invisible things” which began so soon as man developed from the primeval ape-forms and became Man, still goes on and will go on, in all probability, so long as the race endures; only the shape and manner of the questioning has changed as humanity has slowly learned something of its ability to mould its own destiny, the duty and privilege which it possesses of working out its own salvation. There have been many periods in the world’s history when that questioning found few to voice it aloud, yet always after such a pause it has been renewed with fresh and greater vigor. One of these pauses came in the last century; to-day the questioning resounds all about us, and one of the means through which it is being uttered most clearly is the modern novel.