Ex pede Herculem. This bedrummed and betrumpeted man of genius cannot read the A B ab of the human emotions. ‘Here!’ says the subtle tempter, ‘I’ll give you twopence if you’ll put your baby on the fire!’ The god-like hero thunders: ‘No! He is my flesh and blood. He is the sacred trust of Heaven. He is innocent, he is helpless. I’ll show you to the door!’ Oh! what emotions stir within the heart when a master’s hand awakes a chord like this!
There is, of course, a certain angry pleasure in this necessary work; but it does not endure, and it is followed rapidly by a reaction of pain and pity. But we have a right to ask—we have a right to insist—that undeserved reputations shall not be manufactured for us by any clique. We have a right to protest when the offence is open and flagrant. Let it be said, if it be not too late to say it, that Mr. Crockett, if left alone by his indiscreet admirers, or only puffed within the limits of the reasonable, might have been regarded as an honest workman as times go, when everybody, more or less, writes fiction.
If his pages had come before me as the work of an unknown man, seeking his proper place in the paper republic, it is certain that I could have found some honest and agreeable things to say about him. But, unfortunately, he, more than any other writer of his day, has been signalled out for those uncostly extravagances of praise which are fast discrediting us in our own eyes, and are making what should be the art of criticism a mockery, and something of a shame. In what I have written I have dealt less with his work than with the false estimate of it which, for a year or two, has been thrust upon the public by a certain band of writers who are either hopelessly incompetent to assess our labours or incurably dishonest, It is very possible indeed that Mr. Crockett is wholly undeserving of censure in this regard, that he has not in any way asked or aided the manufacture of this balloon of a reputation in which he has been floated to such heights. Apart from the pretensions of his claque, there is no earthly reason why a critic should hold him up to ridicule. It is not he who is ridiculous, but at its best his position is respectable, and he holds his place (like the mob of us who write for a living) for the moment only. To pretend that he is a man of genius, to talk about him in the same breath with Sir Walter Scott, to chronicle his comings and his goings as if he were the embodiment of a new revelation, is to provoke a natural and just resentment The more plainly that resentment is expressed—the more it is seen that a false adulation is the seed of an open contempt—the less likely writers of middling faculty will be to encourage a bloated estimate of themselves.
[Since the above was written and printed Mr. Crockett has
published his story of ‘Lads’ Love,’ the final chapter of
which is so good that in reading it I experienced a twinge
of regret for the onslaught I had made. But after all it is
not the author who is attacked in what goes before, and if,
in the fray with the critics, he is, incidentally, as it
were, somewhat roughly handled, the over-enthusiasm of his
professional admirers must bear the blame. There is much
prentice work in ‘Lads’ Love,’ some strenuously enforced
emotion, which is not genuine, and a congenital
misunderstanding of the essential difference between tedium
and humour; but if the whole of Mr. Crockett’s work had
reached its level, the protest against his reviewers would
have stood in need of modification.]
Mr. Ian Maclaren, though he is distinctly an imitator, and may be said to owe his literary existence to Mr. J. M. Barrie, is both artistic and sympathetic. His work conveys to the reader the impression of an encounter with Barrie in a dream. The keen edges of the original are blurred and partly lost, but the author of ‘Beside the Bonnie Brier Bush’ has many excellent qualities, and if he had had the good fortune or the initiative to be first in the field, his work would have been almost wholly charming. As it is, he still shows much faculty of intuition and of heart, and his work is all sympathetically honest His emotions are genuine, and this in the creation of emotional fiction is the first essential to success. Here is another case where the hysteric overpraise of the critics has done a capable workman a serious injustice, and but for it a candid reviewer could have no temptation towards blame. His inspiration is from the outside, but that is the harshest word that can honestly be spoken, and in days when literature has become a trade such a judgment is not severe.
IX.—DR. MACDONALD AND MR. J. M. BARRIE
When one calls to mind the rapid and extensive popularity achieved by the latest school of Scottish dialect writers, one is tempted to wonder a little at the comparative neglect which has befallen a real master of that genre, who is still living and writing, and who began his work within the memory of the middle-aged. With the single exception of ‘A Window in Thrums,’ none of the new books of this school are worthy to be compared with ‘David Elginbrod,’ or ‘Alec Forbes of Howglen,’ or ‘Robert Falconer.’ Yet not one of them has failed to find a greater vogue or to bring to its author a more swelling reputation than Dr. Mac-donald achieved. Perhaps the reasons for these facts are not far to seek. To begin at the beginning, Sir Walter, who created the Scottish character novel, had made, in other fields, a reputation quite unparalleled in the history of fiction before he took broadly to the use of Scottish rural idiom, and the depiction of Scottish character in its peculiarly local aspects. The magic of his name compelled attention, and his genius gave a classic flavour to dialects until then regarded as barbarous and ugly. The flame of Burns had already eaten all grossness out of the rudest rusticities, and in the space of twenty years at most the Auld Braid Scots wore the dignity of a language and was decorated with all the honours of a literature. But this, in spite of the transcendent genius of the two men to whom northern literature owes its greatest debt, brought about very little more than a local interest and a local pride. Scott was accepted in spite of the idiom which he sometimes employed, and not because of it, and one can only laugh at the fancy presented to the mind by the picture of an English or a foreign reader who for the first time found himself confronted by Mrs. Bartlemy Saddletree’s query to her maid: ‘What gart ye busk your cockernony that gait?’ To this hour, indeed, there are thousands of Scott’s admirers for whom the question might just as well be framed in Sanscrit.
In Sir Walters own day and generation he had one considerable imitator in Galt, whose ‘Andrew Wylie of that Ilk’ and ‘The Entail’ can still afford pleasure to the reader. Then for a time the fiction of Scottish character went moribund. The prose Muse of the North was silent, or spoke in ineffectual accents. After a long interregnum came George Macdonald, unconsciously paving the way for the mob of northern gentlemen who now write with ease. He brought to his task an unusual fervour, a more than common scholarship, a more than common richness, purity, and flexibility in style, a truly poetic endowment of imagination, and a truly human endowment of sympathy, intuition, and insight. It would be absurd to say that he failed, but it is certain that he scarcely received a tithe either of the praise or the pudding which have fallen to the share of Mr. S. R. Crockett, for example, who is no more to be compared with him than I to Hercules. Such readers as were competent to judge of him ranked him high, but, south of the Tweed, such readers were few and far between, for he employed the idiomatic Scotch in which he chose to work with a remorseless accuracy, and in this way set up for himself a barrier against the average Englishman. His genius, charming as it was, was not of that tremendous and compulsive sort which lays a hand on every man, and makes the breaking down of such a barrier an essential to intellectual happiness. There was a tacit admission that he was, in his measure, a great man, but that the average reader could afford to let him alone. And then, things were very different with the press. The northern part of this island, though active in press life, had nothing like its influence of to-day. To-day the press of Great Britain swarms with Scotchmen, and the ‘boom’ which has lately filled heaven and earth with respect to the achievements of the new Scotch school has given ample and even curious evidence of that fact. The spoils to the victor, by all means. We folk from over the border are a warlike and a self-approving race, with a strong family instinct, and a passionate love for the things which pertain to our own part of the world. If Scotchmen had been as numerous amongst pressmen as they are to-day, and as certain of their power, they would have boomed Dr. Macdonald beyond a doubt. Such recognition as he received came mainly from them. But if only the present critical conditions had existed in his early day, with what garlands would he have been wreathed, what sacrifices would have been made before him!
Apart from that rugged inaccessibility of dialect (to the merely English reader) which so often marks Dr. Macdonald’s work, there is in the main theme of his best books a reason why he should not be widely popular. The one issue in which he is most passionately interested is theological. He has been to many a Moses in the speculative desert, leading to a land of promise. He has preached with a tender and persuasive fire the divine freedom of the soul, and its essential oneness with the Fatherhood of God. He has expended many beautiful faculties on this work, and his influence in the broadening and deepening of religious thought in Scotland is not to be denied. But his insistence on this great theme has naturally scared away the empty-headed and the shallow-hearted, and many also of the careless clever. There must be somewhere a fund of sincerity and of reason in the reader to whom he appeals. There is a public which is prepared to encounter thought, which can be genuinely stirred by a high intellectual passion, which is athirst indeed for that highest and best enjoyment, but it is numerically small, and the writer who deals mainly with spiritual problems, and who, in doing so, is reticent and reverent, can scarcely hope to draw the mob at his wheels. In each of his three best books, Dr. Macdonald has traced the growth of a soul towards freedom. His conception of freedom is a reasoned but absolute submission to a Divine Will; a sense of absorption in the manifest intent of a guiding Power which is wholly loving and wholly wise. To all who are able to read him he is exquisitely interesting and delightful, and to some he appeals with the authority of a prophet and divinely-appointed guide. Along with this experience of abiding faith in him goes a dash of mysticism, of pantheism. He is essentially a poet, and had he chosen to expend more labour upon his verse he might have risen to high rank on that side. But with him the thing to be said has seemed vastly more important than the way of saying it, and he has, perhaps rightly, disdained to be laborious in the mere texture of his verse. It is rational to argue that if the poetic, inspiration is not vital enough to find an immediate expression it is not true enough to make it worth while to remould and recast it. It would seem—judging by results—that Dr. Macdonald’s conception of a lyric is of something wholly spontaneous. Be this as it may, the poetic cast of his mind is revealed in his prose with greater freedom and a completer charm than in his verse. The best of him is the atmosphere he carries. It is not possible to read his books and not to know him for a brave, sincere, and loyal man, large both in heart and brain, and they purify and tone the mind in just such fashion as the air of mountain, moor, or sea purifies and tones the body.