[SIR WILLIAM WATSON]
Why, I have sometimes asked myself, did not Pater say the right words on a writer greater than Mérimée—George Meredith? I imagine that he never admired his novels enough to try his hand on a subject not quite his own. Certain books, I confess, ought to have been launched at the British Philistine, like David's one convincing pebble, straight to the forehead. I confess also (my own fault it was in regard to Meredith) that to write about Carlyle, Swinburne or Meredith, without unconsciously reproducing some tricks of manner, is a feat of which any man might be proud.
The Egoist is a wonderful book, and in its elemental comedy it challenges Congreve and even Molière; but in the elemental tragedy of certain parts of Rhoda Fleming and Richard Feverel, he challenges Webster, or almost Shakespeare. Yet the uncouthness that disfigures certain pages in Richard Feverel is a mere after-taste of Arabian extravagance. It is a new kind of uncouthness that comes into prominence in The Egotist—that exaggeration of qualities which one sees in the later works of men who have a pronounced style, even in the case of Browning. No prose writer of our time has written finer or viler English than Meredith. It is a mistake to treat him as if he were stylist first, and novelist afterward, as Flaubert might almost be said to be. Meredith is a conscious artist always—as conscious as Goncourt, with whom he may be compared for his experimental treatment of language, his attempt to express what has never been expressed before by forcing words to say more than they are used to say. Sometimes they give his message, but ungraciously, like beaten slaves; sometimes the message seems to go astray. That is why Englishmen, forgetting triumph after splendid triumph of style, will sometimes tell you that Meredith can not write English, just as Frenchmen gravely assure one another that the novels of the Goncourts are written in any language but French.
That astonishing little volume, Modern Love and Poems of the English Roadside, published in 1862, has never received anything like justice except at the hands of such a fellow-craftsman as Swinburne. While I for one can not but feel that Meredith works more naturally, with a freer hand, in prose than in verse, that poem of Modern Love seems to me among the masterpieces of contemporary poetry. It is the most distinctly modern poem ever written. There has been nothing like it in English poetry: it brings into our literature something fundamentally new, essentially modern. Side by side with this super-subtle study of passion and sensation, we have the homely realism of "Juggling Jerry"—a poem which can only be compared with Burns' "Jolly Beggars" for triumphant success in perhaps the most difficult kind of literature.
So far I quote from an old article of mine, which was answered by William Watson. Here is part of his answer, printed in The Academy:
Now I should like to ask, what has the British Philistine done that he should have a book shied at his head in the way Mr. Symons thinks desirable? As regards Meredith, it seems to me that the British Philistine has been most exemplary in what he would call the discharge of his duty. He has tried his very best to read Meredith, and has failed; or he has read Meredith, but has failed in the attempt to enjoy him. I fancy, however, that when Meredith's devotees speak of the British Philistine, they really mean the vast majority of the public, and it seems to me a little absurd, that because there is an author whose writings the public are comparatively indifferent to, it should be constantly assured that the only person not in the least responsible for such indifference is the author. Other writers have achieved popularity before Meredith. Perhaps the best proof of the futility of trying to convert people into an attitude of admiration by "aiming" a book at them is afforded by Meredith's novels themselves. They are, in Mr. Symons' sense of the word, "aimed" at the British Philistine, if ever novels were. He has been pelted through, I do not know how many, volumes—but have the missiles converted him?
I leave all these questions unanswered, as they deserve no answer, after Time's verdict on Meredith. Now, what was, and is, the place of Sir William Watson in literature? The difference between literature and what is preeminently literary may be clearly illustrated on examination of his poems. No poems written in our time are more literary. They come to us asking to be received on account of their legitimate lineal descent from earlier poets, from Wordsworth and from Matthew Arnold for instance. "If," says the writer, frankly—
If I be indeed
Their true descendant, as the veriest hind
May yet be sprung of kings, their lineaments
Will out, the signature of ancestry
Leap unobscured, and somewhat of themselves
In me, their lowly scion, live once more.
Many of the poems are about poets, or about books; some are purely critical. And they are indeed, as they profess to be, in the tradition; they strike no unfamiliar note to any ears acquainted with the music of English poetry. Their range is limited, but within it they exhibit an unquestionable mastery of a particular kind of technique. Few lines are bad, all are careful, many are felicitous. Every poem has a certain neatness and order about it. The spirit of the whole work is orderly, reticent and dignified. Nothing has been left to chance, or to the appeal of lawless splendors. An artist has been at work. At work on what? At all events, not on the only really satisfactory material for the poet—himself. Watson tells us that he has chosen the best of himself for giving to the world: