Hazlitt may be found grappling with this subject, and, as usual, ‘punishing’ it severely in his own inimitable style. ‘I hate,’ says he, in the second volume of ‘The Plain Speaker’—in the essay entitled ‘On Reading Old Books’—‘to read new books;’ and he continues, a page further on, ‘Contemporary writers may generally be divided into two classes—one’s friends or one’s foes. Of the first we are compelled to think too well, and of the last we are disposed to think too ill, to receive much genuine pleasure from the perusal, or to judge fairly of the merit of either. One candidate for literary fame who happens to be of our acquaintance writes finely and like a man of genius, but unfortunately has a foolish face, which spoils a delicate passage; another inspires us with the highest respect for his personal talents and character, but does not come up to our expectations in print. All these contradictions and petty details interrupt the calm current of our reflections.’
Hazlitt was no doubt a good hater. We are now of milder mood. It ought not to be difficult for any of us, if we but struggle a little, to keep a man’s nose out of his novel. But, for all that, it is certain that true literary sway is borne but by the dead. Living authors may stir and stimulate us, provoke our energies, and excite our sympathy, but it is the dead who rule us from their urns.
Authority has no place in matters concerning books and reading, else it would be well were some proportion fixed between the claims of living and dead authors.
There is no sillier affectation than that of old-worldism. To rave about Sir Thomas Browne and know nothing of William Cobbett is foolish. To turn your back upon your own time is simply to provoke living wags, with rudimentary but effective humour, to chalk opprobrious epithets upon your person. But, on the other hand, to depend upon your contemporaries for literary sustenance, to be reduced to scan the lists of ‘Forthcoming Works’ with a hungry eye, to complain of a dearth of new poems, and new novels, and new sermons, is worse than affectation—it is stupidity.
There was a time when old books were hard to procure and difficult to house. With the exception of a few of the greatest, it required as much courage to explore the domains of our old authors as it did to visit Wast Water or Loch Maree before the era of roads and railways. The first step was to turn the folios into octavos, and to publish complete editions; the second was to cheapen the price of issue. The first cheap booksellers were, it is sometimes alleged, men of questionable character in their trade. Yet their names should be cherished. They made many young lives happy, and fostered better taste than either or both the Universities. Hogg, Cooke, Millar, Donaldson, Bell, even Tegg, the ‘extraneous Tegg’ of Carlyle’s famous Parliamentary petition, did good work in their day. Somehow or another the family libraries of the more respectable booksellers hung fire. They did not find their way about. Perhaps their authors were selected with too much care.
‘He wales a portion with judicious care.’
The pious Cottar did well, but the world is larger than the family; besides which it is not always ‘Saturday Night.’ Cooke had no scruples. He published ‘Tom Jones’ in fortnightly, and (I think) sixpenny parts, embellished with cuts, and after the same appetising fashion proceeded right through the ‘British Novelists.’ He did the same with the ‘British Poets.’ It was a noble enterprise. You never see on a stall one of Cooke’s books but it is soiled by honest usage; its odour speaks of the thousand thumbs that have turned over its pages with delight. Cooke made an immense fortune, and deserved to do so. He believed both in genius and his country. He gave the people cheap books, and they bought them gladly. He died at an advanced age in 1810. Perhaps when he came to do so he was glad he had published a series of ‘Sacred Classics,’ as well as ‘Tom Jones.’
We are now living in an age of handsome reprints. It is possible to publish a good-sized book on good paper and sell it at a profit for fourpence halfpenny. But of course to do this, as the profit is too small to bear division, you must get the Authors out of the way. Our admirable copyright laws and their own sedentary habits do this on the whole satisfactorily and in due course. Consequently dead authors are amazingly cheap. Not merely Shakespeare and Milton, Bunyan and Burns, but Scott and Macaulay, Thackeray and Dickens. Living authors are deadly dear. You may buy twenty books by dead men at the price of one work by a living man. The odds are fearful. For my part, I hope a modus vivendi may be established between the publishers of the dead and those of the living; but when you examine the contents of the ‘Camelot Classics,’ the ‘Carisbrooke Library,’ the ‘Chandos Classics,’ the ‘Canterbury Poets,’ the ‘Mermaid Series of the Old Dramatists,’ and remember, or try to remember, the publishing lists of Messrs. Routledge, Mr. Black, Messrs Warne, and Messrs. Cassell, it is easy for the reader to snap his fingers at Fate. It cannot touch him—he can dine for many a day. Even were our ‘lyrical cry’ to be stifled for half a century, what with Mr. Bullen’s ‘Elizabethan Lyrics,’ and ‘More Elizabethan Lyrics,’ and ‘Lyrics from the Dramatists,’ and ‘Lyrics from the Romances,’ and Mr. Palgrave’s ‘Golden Treasury,’ ‘a man,’ as Mr. Markham observes in ‘David Copperfield,’ ‘might get on very well here,’ even though that man were, as Markham asserted himself to be, ‘hungry all day long.’ A British poet does not cease to be a poet because he is dead, nor is he, for that matter, any the better a poet for being alive.
As for a scarcity of living poets proving national decadence, it would be hard to make out that case. Who sang Chatham’s victories by sea and land?