Escape, and Other Essays

by Arthur Christopher Benson

In the Pilgrim's Progress, at the very outset of the journey,
Evangelist asks Christian why he is standing still. He replies:

"Because I know not whither to go."

Evangelist, with a certain grimness of humour, thereupon hands him a parchment roll. One supposes that it will be a map or a paper of directions, but all that it has written in it is, "Fly from the wrath to come!"

Well, it is no longer that of which we are afraid, a rain of fire and brimstone, storm and tempest! The Power behind the world has better gifts than these; but we still have to fly, where we can and as fast as we can; and when we have traversed the dim leagues, and have seen things wonderful at every turn, and have passed through the bitter flood, we shall find—at least this is my hope—no guarded city of God from which we shall go no more out, but another road passing into wider fields and dimmer uplands, and to things more and more wonderful and strange and unknown.

II

LITERATURE AND LIFE

There is a tendency, not by any means among the greater writers, but among what may be called the epigoni,—the satellites of literature, the men who would be great if they knew how,—to speak of the business of writing as if it were a sacred mystery, pontifically celebrated, something remote and secret, which must be guarded from the vulgar and the profane, and which requires an initiation to comprehend. I always feel rather suspicious of this attitude; it seems to me something of a pose, adopted in order to make other people envious and respectful. It is the same sort of precaution as the "properties" of the wizard, his gown and wand, the stuffed crocodile and the skeleton in the corner; for if there is a great fuss made about locking and double-locking a box, it creates a presumption of doubt as to whether there is anything particular in it. In my nursery days one of my brothers was fond of locking up his private treasures in a box, producing it in public, unfastening it, glancing into it with a smile, and then softly closing it and turning the key in a way calculated to provoke the most intense curiosity as to the contents; but upon investigation it proved to contain nothing but the wool of sheep, dried beans, and cases of exploded cartridges.

So, too, I have known both writers and artists who made a mystery out of their craft, professed a holy rapture, as if the business of imagination and the art of setting things down were processes that could not be explained to ordinary people, but were the property of a brotherhood. And thus grow up cliques and coteries, of people who, by mutual admiration, try to console one another for the absence of the applause which the world will not concede them, and to atone for the coldness of the public by a warmth of intimate proximity.

This does not in the least apply to groups of people who are genuinely and keenly interested in art of any kind, and form a congenial circle in which they discuss, frankly and enthusiastically, methods of work, the books, ideas, pictures, and music which interest them. That is quite a different thing, a real fortress of enthusiasm in the midst of Meshech and Kedar. What makes it base and morbid is the desire to exclude for the sake of exclusion; to indulge in solitary raptures, hoping to be overheard; to keep the tail of the eye upon the public; to attempt to mystify; and to trade upon the inquisitive instinct of human beings, the natural desire, that is, to know what is going on within any group that seems to have exciting business of its own.

The Pre-Raphaelites, for instance, were a group and not a coterie. They were engaged in working and enjoying, in looking out for artistic promise, in welcoming and praising any performance of a kind that Rossetti recognised as "stunning." They were sure of their ground. The brotherhood, with its magazine, The Germ, and its mystic initials, was all a gigantic game; and they held together because they were revolutionary in this, that they wished to slay, as one stabs a tyrant, the vulgarised and sentimental art of the day. They did not effect anything like a revolution, of course. It was but a ripple on the flowing stream, and they diverged soon enough, most of them, into definite tracks of their own. The strength of the movement lay in the fact that they hungered and thirsted after art, clamouring for beauty, so Mr. Chesterton says, as an ordinary man clamours for beer. But their aim was not to mystify or to enlarge their own consequence, but to convert the unbeliever, and to produce fine things.