His proceeding was not to group expressive words, that mean nothing, around misty and mysterious shapes dear to muddled intellects and belonging neither to earth nor to heaven. His vision by a more scrupulous, prolonged and devoted attention to the aspects of the visible world, discovered at last the right words as if miraculously impressed for him upon the face of things and events.
That, no doubt, is how Mr. Conrad learned the art of writing, and we may read autobiography into his praise of Maupassant again when he says: “He stoops to no littleness in his art—least of all to the miserable vanity of a catchy phrase.” But his appreciation of Maupassant, though admirable in so far as it defines certain qualities in his own and Maupassant’s work, is worded in a manner that savours of intolerance of the work of many other good writers, from Shakespeare to Dickens and, if one may include a more Lilliputian artist, Stevenson. Thus he observes:
He will not be led into perdition by the seductions of sentiment, of eloquence, of humour, pathos; of all that splendid pageant of faults that pass between the writer and his probity on the blank sheet of paper, like the glittering cortège of deadly sins before the austere anchorite in the desert air of the Thebaïde.
Maupassant’s austerity may have been an excellent thing for Maupassant, but to write like this is surely to reduce austerity to the level of a formula. That “splendid pageant of faults” may well be the salvation of another writer. We may admit that they remain faults unless they fit in as organic parts of a writer’s work. But Maupassant was a smaller, not a greater, writer in so far as he was unable so to fit them in.
It would be going too far to suggest, however, that Mr. Conrad merely emphasises in other writers those qualities which he himself either possesses or desires to possess. Most good portraits are double portraits: they portray both the painter and the sitter. Mr. Conrad always does justice to his sitter, as when he writes: “Henry James is the historian of fine consciences,” or as when he says of Maupassant: “It cannot be denied that he thinks very little. In him extreme energy of perception achieves great results, as in men of action the energy of force and desire.” At the same time, we read Notes on Life and Letters for the light it throws, not on this or that author or the Polish question or the question of unsinkable ships, but on Mr. Conrad himself. The essay on Anatole France, for instance, interests us mainly because it reminds us that Mr. Conrad is as impatient of political panaceas as of literary formulas. Remembering that Anatole France is a Socialist, he observes characteristically: “He will disregard the stupidity of the dogma and the unlovely form of the ideal. His art will find its own beauty in the imaginative presentation of wrongs, of errors, and miseries that call aloud for redress.” He commands the artist to hope, but he clearly forbids anybody to hope too much. His “Note on the Polish Problem” shows that during the war the most he hoped for his country was an Anglo-French protectorate. Humanitarians horrify him with their dreams. He hates impossibilism as he hates the talk about unsinkable ships. But what he really hates most, both in politics and in ships, is the blind worship of machinery. He looks on Socialism, I fancy, as an attempt on the part of machine-worshippers to build an unsinkable State—a monstrous political Titanic, defiant of the facts of nature and fore-doomed to catastrophe. And how this old master of a sailing-ship hates the Titanic! He has little that is good to say, indeed, of any steam vessels, at least of cargo steam vessels—“a suggestion of a low parody directed at noble predecessors by an improved generation of dull mechanical toilers, conceited and without grace.” Progress? He retorts: “The tinning of salmon was ‘progress.’” And yet, when he met the men of the merchant service during the war, he had to admit that “men don’t change.” That is a fact at once reassuring and depressing. It is reassuring to know that human beings, if they avoid the sin of idolaters, can make use of machines with reasonable safety. The machine, like the literary formula, is a convenience. Even the Socialist State would be only a convenience. It would in all probability be very little more alarming than a button-hook or a lead pencil.
IV
MR. WELLS AND THE WORLD
Mr. Wells is in love with the human race. It is one of the rarest of passions. It is a passion of which not even all imaginative men are capable. It was, perhaps, the grandest of Shelley’s grand passions, and it was the demon in William Morris’s breast. On the other hand, it played a small part if any, in the lives of Shakespeare and Dickens. Their kaleidoscopic sympathy with human beings was at the antipodes from Shelley’s angelic infatuation with the human race. The distinction has often been commented on. It is the difference between affection and prophecy. There is no reason, I suppose, why the two things should not be combined, and, indeed, there have been affectionate prophets both among the religious teachers and among men of letters. But, as a rule, one element flourishes at the expense of the other, and Charles Lamb would have been as incapable of even wishing to write the Outline of History as Mr. Wells would be of attempting to write the Essays of Elia.
Not that Mr. Wells gives us the impression that he loves men in general more than Charles Lamb did. It seems almost as if he loved the destiny of man more than he loves man himself. His hero is an anonymous two-legged creature who was born thousands of years ago and has been reincarnated innumerable times and who will go on being re-born until he has established the foundations of order amid the original slime of things. That is the character in history whom Mr. Wells most sincerely loves. He means more to him than Moses or any of Plutarch’s men. Plutarch’s men, indeed, are for the most part men who might have served man but preferred to take advantage of him. Compare Plutarch’s and Mr. Wells’s treatment of Cato the Elder and Julius Cæsar, and you will see the difference between sympathy with individual men and passion for the purpose of man. You will see the same difference if you compare the Bible we possess with the new Bible of which Mr. Wells draws up a syllabus in The Salvaging of Civilisation. The older book at the outset hardly pauses to deal with man as a generalisation, but launches almost at once into the story of one man called Adam and one woman called Eve. Mr. Wells, on the other hand, would begin the human part of his narrative with “the story of our race”:
How through hundreds of thousands of years it won power over nature, hunted and presently sowed and reaped. How it learnt the secrets of metals, mastered the riddle of the seasons, and took to the seas. That story of our common inheritance and of our slow upward struggle has to be taught throughout our entire community in the city slums and in the out-of-the-way farmsteads most of all. By teaching it, we restore again to our people the lost basis of a community, a common idea of their place in space and time.
Mr. Wells’s attitude to men, it is clear, is primarily that of a philosopher, while the attitude of the Bible is primarily that of a poet. It remains to be seen whether a philosopher’s Bible can move the common imagination as the older Bible has moved it. That it can move and excite it in some degree we know. We have only to read the glowing pages with which The Salvaging of Civilisation opens in order to realise this. Mr. Wells’s passion for the human group is infectious. He expresses it with the vehemence of a great preacher. He plays, like many great preachers, not on our sympathy so much as on our hopes and fears. His book is a book of salvation and damnation—of warnings to flee from the wrath to come, of prophecies of swords turned into ploughshares and spears into pruning-hooks. He loves his ideal group-man almost as Bunyan loved Christian. He offers him, it is true, at the end of his journey, not Paradise, but the World-State. He offers it to him, moreover, not as an individual but as a type. He bids men be ready to perish in order that man may arrive at the goal. His book is a call to personal sacrifice to the end, not of personal, but of general salvation. That, however, is an appeal that has again and again been proved effective in history. It is of the same kind as the appeal of patriotism in time of war. “Who dies if England lives?” sang Mr. Kipling. “Who dies if the World-State lives?” Mr. Wells retorts.