But, as I said, these things are relative. To a couple of my fellow-captives Three Weeks was a window opening on the immortal meadows. For days they discussed it exhaustively from every point of view. It was, they were agreed, marvellously done. But they were doubtful of its morals; such ardour, they felt, was only permissible after a marriage ceremony, or, they were prepared to concede, as a prelude to one. But it was the less real part of them that doubted. Their instincts told them that the grand passion makes its own laws. And finally they yielded to their deeper nature.
“After all,” they said, “those two were different from the rest of us. They were wonderful characters. You can’t judge them as you judge ordinary people.”
It is with such words that we acquit Paolo and Francesca, Antony and Cleopatra, Lancelot and Guinevere. Three Weeks said to my fellow-captives what Antony and Cleopatra says to a cultured public. It was a focus for their belief in the grand passion.
One may well wonder, though, in what spirit the man who is deeply stirred by Victoria Cross and Elinor Glyn reads such masterpieces of prose narrative as Une Vie and Madame Bovary and Mademoiselle de Maupin. They are bound in the same lurid cover, printed on the same absorbent paper, and yet it is hard to believe that a man can be moved equally by what is good and by what is bad. Is it not more likely that he will be shocked and a little disgusted by Maupassant’s detachment and cold restraint? “Pretty hot stuff,” he will say to himself of Une Vie, but will add, “most awful filth.” And he will be ashamed of the book, and secrete it at the bottom of his chest of drawers. A melancholy reflection. It is, after all, of little matter that two thousand people should in the course of three years purchase at one shop a rather silly, sensual, sentimental book. But it is a little sad that only thus, in this form, and in this type of shop, should be procurable in the English language a complete translation of one of the world’s greatest novels, a little sad that even then it should be only read by such a person, and in such a spirit.
Sad though for the man of letters, not for the advocate of social progress. I am convinced that these books are as completely harmless as any book that may possibly encourage people to think for themselves can be harmless.
There appeared a few months ago an article, I believe, by St John Ervine, maintaining that the effect on the mind of the public of books such as The Way of an Eagle, with their scenes of brutality and masculine domination, was pernicious. And certainly they make melancholy enough reading. But what are they, after all, but an expression for our eternal human impulse to be swept off our feet, to be subjugated by a force outside of and stronger than ourselves. And cannot we find in literature equivalents enough for the cracked whip and the submissive cheek of an Ethel Dell romance? Equivalents, but not parallels; for the best seller is written for women, usually by women. And it is by a masculine intelligence that the masterpieces of prose literature have been produced. A man would, in search of such an equivalent, choose an experience of which he was the object, not the subject. He would not write of the dominant male, but of the siren. “Is it to be a kiss or a blow?” asks the hero of popular fiction. In Turgenev, that woman who “when she comes towards one, seems as though she is bringing all the happiness of one’s life to meet one,” leans forward across a table and taps the nails of one hand against the nails of the other. “Tell me, tell me,” she says, “is it true, they say you are going to be married?”
It is from such reflections that we are forced to ask ourselves how much purpose is served by our attempts to educate the public up to Shakespeare. We are only giving them an equivalent for what they already have. And the energy that we devote so prodigally to the organisation of lectures and bazaars and repertory theatres might be spent so very much more profitably on ourselves. I doubt if the Ethel Dell public would find life any fuller, any more enraptured, by an exchange of The Knave of Diamonds for Jude the Obscure.
I suspect, indeed, that these educational movements are inspired subconsciously for the most part, by the novelist’s desire to increase his own public. “If only,” he says, “a sixth part of the 60,000 who buy each novel by Ethel Dell would divert their attention towards my admittedly superior work, how salutary it would be for them and how charming it would be for me!” It sounds pleasant enough, but they are dangerous things, these revolutions, and they have a way of turning on their organisers. On the whole, I prefer to leave things as they are. It would be perfectly delightful if that 60,000 public were to transfer its affection to my humble efforts. If the public could be educated to a wide appreciation of the tendenz novel, very well, very admirably well. But this talk of Shakespeare and Fielding and the giants of the eighteenth century, frankly, I distrust it. I have no wish to see the public educated to that degree. Were it so to be, I can see that myself and many other deserving and inoffensive persons would have to seek some other means of livelihood—a procedure that would be most distasteful. For were the public able to appreciate Fielding and Balzac, and Smollett and Thomas Hardy, I cannot believe that it would take much interest in the stories that I should have to tell it. I distrust these Literature Promotion Leagues. I am disturbed when a new edition of Trollope is put upon the market. But a deep content consumes me when I open my Sunday newspaper and see that the publishers of Miss Dell’s new novel have “called” already for a seventh printing. I smile. Things are as they have been. The old standards remain. And I feel that there are still left a few people whom my publishers may be able to persuade to take some interest in my writings.
IX
I SAID that Florence Barclay was an equivalent for Turgenev. But I could wish that, eleven years ago, I had elected to read some popular writer in whom I could trace a closer parallel, a similarity of plot as well as atmosphere. For it would not be difficult to find in the Family Herald stories that would in synopsis seem to resemble very closely those of Turgenev. The plot of On the Eve or A House of Gentlefolk might well have appealed to the writer of slushy sentimental romances. In the type of story that Turgenev wrote, the story of memory and regret, the boundary between excellence and rubbish is very narrow, and only a lax sentimentalist or a man of genius would attempt to tell it. Talent would be frightened by the simple triangle of Spring Floods and of Smoke. It would seem ordinary, as would that of Rudin and The House of Gentlefolk. A man’s wife is unfaithful. He leaves her, and in time, believing her to be dead, falls in love with a young girl and proposes marriage. But the wife returns and his happiness is shattered. “What!” says the professional novelist, “that old theme; the person who returns from the grave at the eleventh hour and upsets everything. But that has been done a hundred times. It is impossibly vieux jeu. In farce, in light opera, perhaps, but in serious drama....” The writer of talent must take unusual and difficult situations. He must find originality in the employment of new material. The broad field has been ploughed too many times, has yielded too many harvests. It must lie fallow for a while.