He will at least aim at the right thing, and, even if he fails, his work will be all the higher for that aim.
I do not propose to speak in general of great books, but only of great literature. Literature proper is not simply writing. You may tell in writing the most important and unimpeachable truths concerning science and history, concerning nature and man, without being in the least literary. You may argue and teach and describe in books which are of immense vogue and repute, without pretending to be a figure in literature. But, on the other hand, you may be very wrong; logically, scientifically, historically, ethically altogether wrong; and yet you may exercise an irresistible literary fascination over your own generation and all that follow. Charles Lamb speaks disdainfully of books which are no books, things in books' clothing. He had in mind Adam Smith's Wealth of Nations, essays on population, treatises on moral philosophy, and so forth. He meant that such works are works, but no literature. Mill's Logic, geographical descriptions, guidebooks, the Origin of Species, whatever may be the value of such volumes for thought or knowledge, they are not literature. There is only one test to apply to such books as those. If their statements are true, if their reasoning is accurate, if their exposition is clear, such works are good of their kind. Nevertheless, it is scarcely literary judgment which judges them. You might as well apply "architectural" criticism to our rows of tin-roofed cottages or to the average warehouse or wool-store or tramshed. These are buildings, but they are not architecture.
Meanwhile Herodotus, with all his superstitions, his credulity and mistakes; Plato, with all his blunders in elementary logic; Homer, with all his naïve ignorance of science and the wide world; Dante, despite his cramped outlook; Milton, in spite of his perverse theologizing—these and their like are, and will always be, literature. No matter if Carlyle's French Revolution be in reality as far from the literal truth as the work of Froude, yet Carlyle and Froude are literature, along with Herodotus and Livy and Froissart, while the most scrupulously exact of chronicles may be but books.
The charm of supreme literature is independent of its date or country. The current literary taste varies, we know, at different periods and in different places. There are successive fashions and schools of literature and literary principle—an Attic, an Alexandrian, an Augustan, a Renaissance Italian, an Elizabethan, a Louis Quatorze, a Queen Anne, a nineteenth century Romantic. And yet from each and all of these there will stand out one or two writers, sometimes more, whom we have enthroned in the literary Pantheon, and whose place there among the gods seems only to grow the more assured as time goes on.
Now, what is it that is left, the common residuum, to all these literary masters; to Homer, Sappho, Æschylus, Plato, Theocritus, Juvenal; to Dante, Chaucer, Shakespeare, Molière; to Goethe, Shelley, Victor Hugo, Carlyle, in spite of all their manifest differences in subject, and style, in ideas and ideals, in range of thought and knowledge? When we have got behind all the varying and often contradictory criticism of their several epochs; when we have stripped away the characteristics which mark a special era; what is there essentially and everlastingly good—in the true sense "classic"—in virtue of which these particular writers renew for themselves with every generation the suffrages of understanding humanity? If there is a "survival of the fittest" anywhere, it is assuredly in art, and especially in the art of literature. Seeing then that writer is so unlike to writer, both in what he says and the way in which he says it, what is that cardinal literary virtue, that quintessential x, in virtue of which both alike are masters in their craft?
The answer is very elusive. Let us seek it, in the Socratic spirit, together.
But first let me remind you that in order to find the answer, the seeker must possess both literary cultivation and also breadth of mind. Unless we have read widely in literature of many sorts and kinds; unless we have developed a generous catholicity of taste and appreciation, a many-sidedness of sympathy and interest; unless we have corrected our natural idiosyncrasies by what Matthew Arnold, after Goethe, calls a "harmonious expansion of all our powers," we cannot see clearly; we cannot distinguish between the impressions which we derive from literary power and art, and the impressions which we derive from something else to which we happen to be partial, but which is quite irrelevant to the question. Any one who belongs to a particular "school," whether of style or thought; any one who approaches literature with a spirit overweighted by political bias, scientific bias, or religious bias, is disqualified. He cannot hope to stand equally away from, or equally near to, Homer, Dante, Shakespeare and Goethe, and, after setting aside their elements of disagreement, distinguish and admire that which is definitely and for ever admirable in their creations. Do we lack sympathy with the tragic feeling? Do we shrink from it? Then we can be no judges of tragic art, of King Lear or the Œdipus. Have we no sense of humour, or only a gross and vulgar sense of humour? Then we can be no judges of the writings of Cervantes or of Sterne. Are we incapable of ardent idealism? Then we cannot be just to Shelley. Is a capacity for profound reverence and adoration not ours? Then we must not claim to say the last word on Dante. The uncongenial subject prevents us from feeling with the writer, and we therefore fancy a defect of literary power or charm in him, while the defect is all the time in ourselves. We will, for the moment, suppose ourselves to be the ideal critics. And let us first see what the supreme literary gift is not.