I have dwelt so far chiefly upon political journalism, because it is so characteristic a part of modern literature, and illustrates so clearly some obvious tendencies of the time. I must say something, however, of another department of literature, which is sometimes said to have nothing at all to do with morality. The poet or the novelist, it is suggested, has no duties except that duty which Scheherazade discharged at the risk of her neck,—the duty of keeping her master amused. If, instead of telling him stories about genii, she had read him every morning an orthodox sermon or an ethical discourse, the one thousand and one nights would have been diminished by one thousand. Am I to tell our modern Scheherazades to forget the Arabian Nights, and adopt for our use passages from the homilies of Tillotson? Some religious persons have taken that horn of the dilemma, and perhaps with some plausibility. When the world is heaving with the throes of a social earthquake, what right have you or I to be lounging on sofas, telling silly stories about young ladies' and gentlemen's billings and cooings? Perhaps the condemnation should be extended to recreations less obviously frivolous. Your philosopher who tries to distinguish or to identify "is" and "is not," and to draw the true line between object and subject, has a very fascinating plaything, but is perhaps as far from influencing the world. Judging from the history of past philosophical cobwebs, he might as well be framing conundrums, or learning how to throw grain through the eye of a needle.
I only refer to this to say that I am not in favour of suppressing either art or philosophy. I have a kind of hankering after them in some forms myself. I assume, without further argument, that Shakespeare, and Milton, and Wordsworth, and Fielding, and Scott, and Dickens, did well in devoting themselves to literature, and probably did more to make the world happier and better than if they had composed sermons or systems of philosophy. I must, as I said, refrain from pronouncing any set eulogy upon the services rendered by authors. This only I take for granted. No one, I think, of any intellectual capacity can remember the early days when his faculties were ripening, when he wandered, for the pure delight of wandering, in the enchanted world of the great imaginative writers, saw through their eyes, and unconsciously caught the contagion of their sympathies, without feeling a deep gratitude to the men who not only gave him so much innocent pleasure, but who incidentally refined his taste and roused his enthusiasm, and quickened his perception of whatever is beautiful, or heroic, or pathetic, in the moral or the natural world. The highest literature embodies the instincts by which a cultivated people differs from the barbarous, and the classes are in a true sense civilised, which enjoy and appreciate the ennobling as distinguished from the coarser pleasures, and rise above the merely brutal life. One who aspires to be a leader, or to follow the steps of the leaders, in this band of crusaders against barbarism, must surely have some corresponding duties. I am here upon the edge of certain troublesome controversies which I shall refrain from discussing at length. This only I need say. Some great authors explicitly accept the function of preaching. Milton, and, in later days, Wordsworth, identified the offices of the prophet and the poet, and set themselves deliberately to expound an ideal of life, and justify the ways of God to man. And Milton gave the principle in his famous saying, that he who would write well hereafter of laudable things must be himself a true poem. Yet men equally great have impressed readers by their apparent indifference to such considerations. They accept the new commandment which, as Emerson tells us, the Muse gave to her darling son, "Thou shalt not preach". Shakespeare and Scott did not consciously and deliberately write to set forth any ideal; they even wrote, more or less, to make money; they were magnificent opulent geniuses, who poured out their imaginative wealth liberally and spontaneously, without a thought of any particular moral, simply because their minds were full to overflowing of great thoughts and vivid images, which they diffused as liberally as the rose gives its scent. Are we to say that they were wrong or morally inferior, even if artistically superior, to those who wrote, like Milton or Dante, with a more definite aim? Must I condemn Scott because he did not write, like the excellent Miss Edgeworth, or even like Dickens in some of his stories, to preach consciously that honesty is the best policy, or that selfishness is a vice; and, if so, must I not condemn a man from whom I have not only received an incalculable amount of innocent enjoyment, but imbibed—it is my own fault if I have not imbibed—many thoughts that have strengthened and stimulated the best elements of my nature? If I insist upon the moral influences, am I not confounding the poet and the preacher, and falling under the lash of I know not how many critical connoisseurs? If I renounce the preachers, I am renouncing some of the greatest artists, and indirectly sanctioning even such art as is worthy only of Holywell Street, and panders to the worst passions.
I will say what I think. Great writers, it seems to me, may be great in two ways; and the greatest is he who combines them most thoroughly. The first-rate writer, in the first place, must—to use a frequently misapplied word—be a thorough realist. He is great in proportion to the width and depth of the truths which he grasps, and to which he gives the most perfect expression. When we read Shakespeare at his best, what strikes us is that he has expressed once for all some home-truth about human nature and the world, round which all inferior writers seem to have been blundering without ever achieving a complete utterance. More generally, every great period of our literature has been marked in one shape or other by a fresh realism, or what is called the desire to return to Nature: to get rid of the phrases which have become conventional and unreal, and express the real living ultimate truth. Shakespeare and the great men of his time were inspired by such a passion; they were animated by the desire to "hold the mirror up to Nature" and to portray real vivid human passion, for they had burst through the old mediæval chains of theological dogma, and were aroused to a sudden fresh perception of the beauties which had been unrecognised and misconceived by ascetic monks. The men of Pope's time, again, believed in what they, too, called the "religion of Nature," and tried to hasten the day when enlightened reason should finally crush what Berkeley called the "pedantry of courts and schools". Wordsworth and his followers inaugurated a new era by proposing a return to "Nature," because the language, which with Pope expressed a real meaning, had again become the conventional language of a narrow class of critics and the town. It is in all ages one great function of the imaginative writers to get rid of mere survivals; to forego the spectacles used by their ancestors as helps, which have now become encumbrances; to destroy the formulas employed only to save the trouble of thinking, and make us see facts directly, instead of being befooled by words. In that sense it is their great service that they break up the old frost of dreary commonplace, and give life and power, in place of an acceptance of mere ossified or fossilised remnants of what once was thought. Briefly, they teach us to see what is before us. So far the function of the poet resembles that of the scientific and philosophic observer. He differs radically in method, because he proceeds by intuition instead of analysis; shows us the type, instead of cataloguing the attributes of a class; and gives us a real living man—a Falstaff or a Hamlet—instead of propounding a psychological theory as to the relations of the will, the intellect, and the emotions.
I take it, therefore, that realism in this sense is one essential characteristic of great imaginative power. I hold it to be more than ever necessary; more necessary because scientific methods of thought are more developed. It is less possible for a serious writer to make use of the merely fanciful symbols which were perfectly legitimate as long as they represented real beliefs, but are now fitter for only the lighter moods. The greatest writers have to dispense with fairies and fighting gods and goddesses, and the muses, and to show us a direct portraiture of the forces by which society is actually moved. But the functions of the great writer, though they involve a perception of truth, are not adequately defined by the simple condition of truthfulness. He has to be—may I say it?—a preacher; he cannot help it; and, so far as he cannot help it, his preaching will be elevating in proportion as it is truthful. He does not preach in the sense in which a moralist preaches, by arguing in favour of this or that doctrine, or expounding the consequences of opinions. It is not his business to prove, but to see, and to make you see. But, in another sense, he cannot help preaching, because his power over you is founded upon sympathy, upon his personal charms, upon the clearness with which he sees and the vividness with which he portrays the real nature of the instincts which make men lovable or hateful. What are really the most fascinating books in the language? I was impressed the other day by discovering that perhaps the most popular of all English books, judging by the number of editions, is Goldsmith's Vicar of Wakefield. To what does it owe its popularity? Obviously to the exquisite keenness of Goldsmith's perception of the moral beauty of a simple character, which is always saved from the charge of being unctuous or sentimental by the constant play of gentle and yet penetrative humour. Do we not love Charles Lamb for a similar reason? Why, again, do we love Scott, as all men ought to love him? Is it not because his Jeanie Deans and his Dandie Dinmont, and a hundred more characters, show the geniality, the manliness as well as the shrewd common-sense of their creator, and his vivid perception of the elements which ennoble the national character which he loved so well? Why does the British public love Dickens so well? For his incomparable fun, no doubt; but also because the fun is always associated with a keen perception of certain moral qualities which they regard with, it may be, excessive admiration. But to give no more examples, I am content to say that the enduring power of every great writer depends not merely on his intellectual forces, but upon the charm of his character—the clear recognition of what it really is that makes life beautiful and desirable, and of what are the baser elements that fight against the elevating forces. We are under intellectual obligations to the man of science who will tell us, for example, how mountain chains have been raised and carved into their present shape. But we are grateful to the great poets and prose writers, to Wordsworth and Mr. Ruskin, for interpreting and stimulating the emotions which make the vision of the great peaks a source of pure delight. We may, in the same way, thank the psychologist who can make more intelligible the principle of association of ideas, or trace the development of the moral sense or the social affections. But we love the man who, like Goldsmith, and Lamb, and Scott, and Wordsworth, has revealed to us by actual portraits of typical characters, the sweetness and tenderness and truthfulness which may be embodied in humble characters. Love, says Wordsworth, of his shepherd lord—
Love had he found in huts where poor men lie,
His daily teachers had been woods and rills;
The silence that is in the starry sky,
The sleep that is among the comely hills.
The power of discovering and of making us discover such thoughts in the huts of poor men and in natural scenery is the true prerogative of the poet, and it is to that power that he owes his enduring place in our hearts.
I have said this much because I think that it is in a perversion of these principles that we shall find some of the temptations to which the author is in these days most liable. I can only glance at them briefly. One perversion, for example, is indicated by the common use of the phrase "realism". This word has various meanings; but the commonest, perhaps, would not be misrepresented by saying that it involves a confusion between the functions of the man of science and the poet. In a scientific sense, it is a sufficient reason for setting forth any theory that you believe it to be true. The facts which you describe may be hideous and revolting: it is not the less desirable that they should be accurately known. The poet and novelist may be equally justified in taking hideous and revolting facts into account. That, for example, is the duty of a satirist; and I am not at all concerned to say that satire is illegitimate—I think it perfectly legitimate. I should be the last to assert that a writer should confine himself to such facts as can be discussed with decency in presence of a young ladies' school. On the contrary, I think that, if not the most enviable privilege, it is sometimes a duty of the novelist to set forth vice and crime, and even, it may be, to set them forth in impressive and startling shapes. It is his duty to represent them truly and to make them intelligible; to show how they may be natural, and not to misrepresent even a villain. All I say is, that he should also recognise the fact that they are hideous and revolting. And, therefore, this is no excuse for the man who really dwells upon such facts, not because they are facts, but because he knows that such descriptions are the easiest way of attracting morbid tastes; and that he can get a readier market by being irreverent and indecent than by other expedients. To defend such work on the excuse of realism is simply to indulge in a bit of contemptible humbug, too transparent to need exposure. The purpose of an artist, you say, is to give pleasure, not to preach. That is perfectly true; but to give pleasure to whom? If it is to give pleasure to the prurient, to the cynical, to the debauchee, to give the kind of pleasure which, to a pure-minded man, is pain, and of which even the blackguard is ashamed, then I will not quarrel over words, and ask whether it can be truly artistic, but I will simply reply that I should have a greater respect for a man who lived by picking pockets. But, you reply, it requires a great deal of skill. So does picking pockets, and so do some other kinds of human energy which I need not particularise. If the ethical judgment be really irrelevant æsthetically, the æsthetic judgment must be irrelevant ethically. If that doctrine be true, we are, therefore, quite at liberty to say that a thing may be beautiful and at the same time blackguardly and beastly. I will, however, express my own conviction, that what is disgusting to a right-minded man cannot be really beautiful, and that the sentiments which it offends cannot be put out of court simply because they are called moral. They have as good a right to be considered as any others.