"'The mind is its own place, and of itself
Can make a heaven of hell, a hell of heaven—'"
"That's good too," cried Oxenden. "That reminds me of the German commentators who find in the Agamemnon of AEschylus or the OEdipus of Sophocles or the Hamlet of Shakespeare motives and purposes of which the authors could never have dreamed, and give us a metaphysical, beer-and-tobacco, High-Dutch Clytemnestra or Antigone or Lady Macbeth. No, my boy, More was a simple sailor, and had no idea of satirizing anything."
"How, then, do you account for the perpetual undercurrent of meaning and innuendo that may be found in every line?"
"I deny that there is anything of the sort," said Oxenden. "It is a plain narrative of facts; but the facts are themselves such that they give a new coloring to the facts of our own life. They are in such profound antithesis to European ways that we consider them as being written merely to indicate that difference. It is like the Germania of Tacitus, which many critics still hold to be a satire on Roman ways, while as a matter of fact it is simply a narrative of German manners and customs."
"I hope," cried Melick, "that you do not mean to compare this awful rot and rubbish to the Germania of Tacitus?"
"By no means," said Oxenden; "I merely asserted that in one respect they were analogous. You forced on the allusion to the Germania by calling this 'rot and rubbish' a satirical romance."
"Oh, well," said Melick, "I only referred to the intention of the writer. His plan is one thing and his execution quite another. His plan is not bad, but he fails utterly in his execution. The style is detestable. If he had written in the style of a plain seaman, and told a simple unvarnished tale, it would have been all right. In order to carry out properly such a plan as this the writer should take Defoe as his model, or, still better, Dean Swift. Gulliver's Travels and Robinson Crusoe show what can be done in this way, and form a standard by which all other attempts must be judged. But this writer is tawdry; he has the worst vices of the sensational school—he shows everywhere marks of haste, gross carelessness, and universal feebleness. When he gets hold of a good fancy, he lacks the patience that is necessary in order to work it up in an effective way. He is a gross plagiarist, and over and over again violates in the most glaring manner all the ordinary proprieties of style. What can be more absurd, for instance, than the language which he puts into the mouth of Layelah? Not content with making her talk like a sentimental boarding-school, bread-and-butter English miss, he actually forgets himself so far as to put in her mouth a threadbare joke, which everyone has heard since childhood."
"What is that?"
"Oh, that silly speech about the athaleb swallowing its victuals whole."
"What's the matter with that?" asked Oxenden. "It's merely a chance resemblance. In translating her words into English they fell by accident into that shape. No one but you would find fault with them. Would it have been better if he had translated her words into the scientific phraseology which the doctor made use of with regard to the ichthyosaurus? He might have made it this way: 'Does it bite?' 'No; it swallows its food without mastication.' Would that have been better? Besides, it's all very well to talk of imitating Defoe and Swift; but suppose he couldn't do it?"