From such a past the world is set free. The people of that past day might have set themselves free, but they were too stupid; the workmen were debased, timid and without imagination, the capitalists had to be intent on property and dividends lest they fall to the unpropertied condition of workmen; lawyers, clergymen, popular novelists like Mr. Wells, editors, journalists, and other professional parasites did not dare utter even such vision as they had, or did it for money under convenient restrictions. It was an unthinkably rotten period in the history of the world. Only a few kickers knew how rotten it was, or had courage to express their sense of the prevalent putrescence.
The account of what used to be is just enough, and the account of what "is" does not strain the intelligence even of one who sees things from the point of view of 1914. The only unconvincing part of Mr. Wells's history is that which narrates how we ceased to be what we were and became what we are. He wipes the old world out with an atomic bomb, so destructive that it annihilates all the capitals of the earth, makes war impossible and compels mankind to federate. Mr. Wells has a penchant for "fishy" science. He knows a good deal about chemistry, biology, mechanics, and he knows that novel readers know less, as a rule, than he knows. So with the finest air of conviction he shatters the world with a new explosive, which has a kind of laboratory-veracity not claimed for the comet whose tail brushed us to revolution in an earlier of his engaging romances. The clever man secures plausibility by rather cheekily dedicating the book to "Frederick Soddy's interpretation of radium," to which this story "owes long passages." Neat, isn't it? It inspires in the ignorant reader a confidence that those atomic bombs are approved by the most advanced science—though, of course, Mr. Wells does not say so. The cataclysmic revolution is splendidly narrated, and is even better than Mr. Wells's earlier mechanical and astronomical romances. The trouble with it is that it is not a fitting transition from a state of society which is seriously conceived to a better state of society which is described with all the earnestness of a sociologist. The two things are discordant. If we are to be taken from one civilization to another we must move along a social highway. The atomic bombs are out of key with the prelude and the last two chapters.
Mr. Wells is fond of mixing fake chemistry and social reality. He has succeeded in two kinds of fiction, which he should keep distinct, the Jules Verne romance and the novel of present-day life. He persists in putting the two in the same book, and they simply will not blend even under his skilful stirring-spoon. In "Tono-Bungay" he gave us a good picture of a quack millionaire, full of the spirit of the living age. It was set in a realistic scene and was true to life. Then for no reason at all he sent his hero in search of a mysterious metal called "quap," which does not exist and so never burnt the bottom out of the ship. "Quap" destroys the illusion of the book. About the time that quap begins to do its work, the book ceases to be a novel. "Marriage" almost ceases to be a novel when the couple go to Labrador. The introduction of love business into the comet story is an impertinence, as Mr. Bernard Shaw has complained. Mr. Wells's incurable taste for romantic adventure on a plane removed from life—usually an aeroplane that does what no aeroplane has done yet—vitiates his realism; and his concessions to the "love interest" do not help his experiments in scientific "futurism." He is best when he keeps separate the two sides of his genius.
On the other hand, his extraordinary skill in feathering social truth with romance, and his equally extraordinary skill in making a monster of romance eat real hay are the virtues of his vices. His tracts read like novels, and his novels often carry shrewdly concealed tracts. He is, next to Bernard Shaw, the most irritating and the most widely read revolutionary economist who writes our language. Like Mr. Shaw, he is a rather tame revolutionist; he has never got free from the middle-class, emancipated clerk view of life, and his romantic sense sometimes corrupts his sense of social fact as it does his sense of scientific fact. But he always thinks in ambush behind his most trivial narrative. And when he comes forth avowedly as a thinker and theorist, he has the vivacity of phrase, the sparkle of manner which serve him when he is making fiction. Moreover, in spite of his intense modernity and his contempt for ancient elegancies and traditional beauties, he can write fine, rhythmic, luminously visual prose; like all imaginative men who deal in words, he is a bit of a poet. His account of "the last war" has in it something of the quality of the epic: "Men rode upon the whirlwind that night and slew and fell like archangels. The sky rained heroes upon the astonished earth. Surely the last fights of mankind were the best. What was the heavy pounding of Homeric swordsmen, what was the creaking charge of chariots, beside this swift rush, this crash, this giddy triumph, this headlong swoop to death?"
JOHN MASEFIELD
The first version of Mr. Masefield's "Pompey the Great" was published before "The Everlasting Mercy" and "The Widow of the Bye Street," those virile narratives that made us wake to find him famous. "Pompey" is vigorous and dramatic, yet it lacks the note that announces a new poet. The earlier poems, "Salt Water Ballads" are good, but do not rise above the chorus of minor lyrists. The short stories in "A Mainsail Haul" do not distinguish Masefield from a score of sturdy spinners of sea yarns. It was "The Widow in the Bye Street" that told us that a great new ship was in port. After that splendid arrival came "The Daffodil Fields" and "Dauber." Meanwhile the man who had found, if not created, a form of poetry so individual as to invite the final tribute of parody, showed himself in "The Tragedy of Nan," master of dramatic realism.
It is likely and logical, even if the dates do not fall into line, that "Pompey" is the work of a young ambitious literary man who in the hour of conceiving the work had not yet discovered his course. He had to a large extent discovered his style and his attitude toward life and the speech of men. He makes the Romans talk in a sharp bold staccato, which is good English and excellent Masefield; as for its Latinity, well, the Romans are dead and we do not know just how they talked. Pompey says: "We were happy there, that year." Cornelia answers: "Very happy. And that day the doves came, picking the spilled grain. And at night there was a moon." Pompey's next speech is: "All the quiet valley. And the owls were calling. Those little grey owls. Make eight bells, captain."
It is a question whether a modern dramatist is not misdirecting his genius when he makes plays of Greek or Roman legends and characters. To be sure, a man of genius is not to be limited in his subjects or his style. He is free by virtue of his genius. He may make an Iliad if it pleases him to try it. Mr. Bernard Shaw put a new wrinkle in the stiffened parchment of Caesar's biography. Ibsen at the age of 43, after he had hit upon his "later" manner, that is after he had made the simple discovery that universal tragedy grins in the small houses of small people in small Norwegian towns, produced his "Julian the Apostate." Poets of all nations during the last three hundred years have retold Greek and Roman stories and made new poetry of them. But on the whole the Greeks and Romans handled their own subjects, their own lives and legends fairly well. The task of the modern is to render our times or to interpret timeless and spaceless subjects from our point of view. The widow who lived in the bye street and the painter who was killed at sea are not as important persons as the Hon. Cneius Pompeius Magnus, but Mr. Masefield's poems about living (or recently killed) obscure folk are more important than his drama about the ancient illustrious dead.
"Pompey" is a good play, that is, it is good to read; I do not know whether it has been acted. It has one characteristic of Mr. Masefield's other work, a direct incisive speech, poetry of the naked fact, the brief metaphor which might come out in any man's talk and which has the "unliterary" flavor of reality—a cunningly literary mode of writing. Mr. Masefield makes Pompey say: "Five minutes ago I had Rome's future in my hand. She was wax to my seal. I was going to free her. Now is the time to free her. You can tear the scales and the chains from her." Did the Romans talk in this clipped hurried fashion? Probably they did when they were excited, for it is human to talk in short sentences; even Germans do it.