This is one of the admirable sentiments which should have been left unspoken. It is a true word as far as it goes, but more suggestive of “Little Women,” or “A Summer in Leslie Goldthwaite’s Life,” than of those virile, varied and animated novels which make no appeal to immaturity. In Trollope’s teeming world, as in the teeming world about us, a few young people fall in love and are married, but this is an infrequent episode. Most of his men and women, like the men and women whom we know, are engrossed in other activities. Once, indeed, Bishop Proudie wooed and won Mrs. Proudie. Once Archdeacon Grantly wooed and won Mrs. Grantly. But neither of these gentlemen could possibly have belonged to “the great cruising brotherhood of the Pilgrims of Love.” “Le culte de la femme” has never been a popular pastime in Britain, and Trollope was the last man on the island to have appreciated its significance. He preferred politics, the hunting-field, and the church.
Yet surely Archdeacon Grantly is worth a brace of lovers. With what sincerity he is drawn, and with what consummate care! A churchman who, as Sir Leslie Stephen somewhat petulantly observes, “gives no indication of having any religious views whatever, beyond a dislike to dissenters.” A solidly respectable member of provincial clerical society, ambitious, worldly, prizing wealth, honouring rank, unspiritual, unprogressive,—but none the less a man who would have proved his worth in the hour of England’s trial.
It is a testimony to the power of fiction that, having read with breathless concern and through countless pages Mr. Britling’s reflections on the war, my soul suddenly cried out within me for the reflections of Archdeacon Grantly. Mr. Britling is an acute and sensitive thinker. The archdeacon’s mental processes are of the simplest. Mr. Britling has winged his triumphant flight from “the clumsy, crawling, snobbish, comfort-loving caterpillar of Victorian England.” The archdeacon is still confessedly a grub. Mr. Britling has “truckled to no domesticated god.” The archdeacon’s deity is open to such grievous innuendoes. Yet I wish I could have stood on the smooth lawn of Plumstead, and have heard what the archdeacon had to say when he learned that an English scholar and gentleman had smuggled out of England, by the help of a female “confidential agent,” a treacherous appeal to the President of the United States, asking that pressure should be brought upon fighting Englishmen in the interests of peace. I wish I could have heard the cawing rooks of Plumstead echo his mighty wrath. For there is that in the heart of a man, even a Victorian churchman with a love of preferment and a distaste for dissenters, which holds scatheless the sacred thing called honour.
Trollope is as frank about the archdeacon’s frailties as Mr. Wells is frank about Mr. Britling’s frailties. In piping days of peace, the archdeacon’s contempt for Mr. Britling would have been as sincere and hearty as Mr. Britling’s contempt for the archdeacon. But under the hard, heroic discipline of war there would have come to the archdeacon, as to Mr. Britling, a white dawn of revelation. Both men have the liberating qualities of manhood.
It is always hard to make an elastic phrase fit with precision. We know what we mean by Victorian conventions and hypocrisies, but the perpetual intrusion of blinding truths disturbs our point of view. The new Reform bill and the extension of the suffrage were hardy denials of convention. “The Origin of Species” and “Zoölogical Evidences as to Man’s Place in Nature” were not published in the interests of hypocrisy. There was nothing oppressively respectable about “The Ring and the Book”; and Swinburne can hardly be said to have needed correction at Zola’s hands. These mid-Victorian products have a savour of freedom about them, and so has “The Ordeal of Richard Feverel.” Even the Homeric eloquence of Ruskin was essentially the eloquence of the free. The two lessons he sought to drive home to his reluctant readers were, first, that Englishmen were not living on an illuminated earth spot, under the especial patronage of the Almighty; and, second, that no one was called by Providence to the enjoyment of wealth and security. If such unpleasant and reiterated truths—as applicable to the United States to-day as they were to Victoria’s England—are “smug,” then Jeremiah is sugar-coated, and the Baptist an apostle of ease.
The English have at all times lacked the courage of their emotions, but not the emotions themselves. Their reticence has stood for strength as well as for stiffness. The pre-Raphaelites, indeed, surrendered their souls with docility to every wavelet of feeling, and produced something iridescent, like the shining of wet sand. Love, according to their canon, was expressed with transparent ease. It was “a great but rather sloppy passion,” says Mr. Ford Madox Hueffer, “which you swooned about on broad general lines.” A pre-Raphaelite corsair languished as visibly as a pre-Raphaelite seraph. He could be bowled over by a worsted ball; but he was at least more vigorous and more ruddy than a cubist nude. One doubted his seared conscience and his thousand crimes; but not his ability to walk unassisted downstairs.
The Victorian giants were of mighty girth. They trod the earth with proud and heavy steps, and with a strength of conviction which was as vast and tranquil as the plains. We have parted with their convictions and with their tranquillity. We have parted also with their binding prejudices and with their standards of taste. Freedom has come to us, not broadening down
“from precedent to precedent,”
but swiftly and comprehensively. There are no more taboos, no more silent or sentimental hypocrisies. We should now know a great many interesting details concerning the Marquis of Steyne and the Duke of Omnium, if these two imposing figures had not passed forever from our ken. We should have searchlights thrown upon Becky Sharp, if Becky had not escaped into the gloom. Her successors sin exhaustively, and with a lamentable lack of esprit. We are bidden to scrutinize their transgressions, but Becky’s least peccadillo is more engaging than all their broken commandments. The possibility of profound tediousness accompanying perfect candour dawns slowly on the truth-tellers of fiction. It takes a great artist, like Edith Wharton, to recognize and deplore “the freedom of speech which never arrives at wit, and the freedom of act which never makes for romance.”