No doubt, if the English continue to descend the moral Avernus at their present rate of speed, Mr. Symons will become, by sheer process of time, the representative poet of the nation. It is part of a poet's duty to look into the future, and Mr. Symons appears to have taken the next two or three generations of Englishmen by the forelock. May he have the reward which is his due!
For the rest, they all mean well, and they all aim high; but one is afraid that nothing will come of them. There are Francis Thompson, and Laurence Housman, and Henry Newbolt, and Laurence Binyon, and F.B. Money-Coutts, and Arthur Christopher Benson, and Victor Plarr—amiable performers all, but each a standing example of poetical shortcoming. Perhaps one ought not to mention Mr. John Davidson and Mr. W.B. Yeats, because Mr. Davidson is a Scot, and Mr. Yeats, putatively, at any rate, an Irishman. In some respects these twain may be considered the pick of the basket. I am constrained to admit, however, that neither of them has as yet fulfilled his earlier promise.
So that, on the whole, England is practically without poets of marked or extraordinary attainments. The reason is not far to seek. She is losing the breed of noble bloods; her greed, her luxuriousness, her excesses, her contempt for all but the material, are beginning to find her out. Her youths, who should be fired by the brightest emotions, are bidden not to be fools, and taught that the whole duty of man is to be washed and combed and financially successful. Consequently that section of English adolescence which, in the nature of things, begins with poetry and gladness very speedily throws up the sponge. Consecration to the muse is no longer thought of among Englishmen. They cannot be content to be published and take their chance. The dismal shibboleth, "Poetry does not pay," wears them all down. What is the good of writing verses which bring you neither reputation nor emolument? One must live, and to live like a gentleman by honest toil, and devote one's leisure instead of one's life to poetry, is the better part. Meanwhile, England jogs along quite comfortably. She can get Keats for a shilling, and Shakespeare for sixpence. Why should she worry herself for a moment with the new men?
FICTION
After much patient thinking, the English have come to the conclusion that there is but one branch of literary art, and that its name is Fiction. And by fiction the English really mean the six-shilling novel. I do not think it is too much to say, that since the six-shilling novel was first thrust upon our delighted attention it has never brought within its covers six shillings' worth of reading. The high priest and the high priestess who serve to the right and left of the altar of six-shillingism are, as every one knows, Mr. Hall Caine and Miss Marie Corelli. Each of them wears a golden ephod, with a breastplate of jewels arranged to spell out the magic figures, One Hundred Thousand. All the other priests of the Tabernacle look with awe and envy upon these two, because the other priests' breastplates have hard work to spell out fifty thousand, and some of them do not even achieve one thousand five hundred. Burnt-offerings of Caine and Corelli therefore fill the place with savour. A pair of sorrier writers never was on sea or land. Everybody knows it, nobody denies it, and nobody seems sad about it. The six-shilling novel is an established English institution. Caine and Corelli are its prop and stay, and the rest do their best to keep in the running and pick up the minor money-bags.
The perusal of six-shilling fiction is practically a sort of mania. It has seized in its grip the fairest England has to show, particularly matrons, the younger women, and stockbrokers. For the Englishwoman the daily round would lose its saltness did she not have handy the newest six-shilling novel by Mr. Caine, Miss Corelli, or the next literary bawler in the market-place. There are shops called "libraries," to which the Englishwoman repairs for her supplies of literary pabulum. Here the six-shilling novel has a great time. Strapped together in sixes, or packed in boxes of dozens, it is handed forth to the carriages of its fair devourers, and taken right away to its repose in the cultured homes of Bayswater and Kensington. From morning till night many Englishwomen do little but read this precious stuff. What they get out of it amounts in the long run to hysteria and anæmia. It brings about a general deadening of the mind and a general jaggedness of the emotions, coupled with an utter incapacity to take any save an exaggerated view of the facts of life. Discontent, disillusionment, ennui, boredom, ill-temper, a sharp tongue, and a cynical spirit are other symptoms which the six-shilling novel is prone to evoke. The habit is worse than opium or haschisch or tea cigarettes. It is just the devil, and that is all you need say about it. The persons employed in the opium traffic are supposed to be very wicked. To my mind, the persons employed in the fiction traffic are as wicked as wicked can be. When the foul disease began first to make its ravages obvious, there were not wanting persons who would have checked it and provided remedies for it. These persons squeaked somewhat, and nothing more has been heard of them. So the thing goes on unrestrained, and even applauded by press and pulpit alike; and the Englishwoman has become a confirmed, inveterate, and incurable fiction-reader. If a man have an enemy to whom he would do an abiding injury, let him persuade that enemy to obtain the six more popular six-shilling novels of the moment, and read them through. If the man's enemy sticks to his bargain—at which, however, he will probably shy in the middle of the second volume—the chances are that he gets up from that reading a broken and spiritless man. His brain will be as saggy as a sponge full of treacle, and his vision as unreliable as that of the alcoholist who always saw two cabs, and invariably got into the one that was not there.
Seriously, however, what is there about this English fiction—or, for that matter, about Scottish fiction—that men and women should buy it and devour it to the exclusion of all other literary fare? It is ill-written, it is not original, it is not like life, it is not beautiful, it is not inspiring, it does not touch the profound emotions, it means nothing, and it ends nowhere. The reason of its popularity is, that it appeals to an indolent habit of mind, and, as a general rule, is calculated to excite the passions, and particularly to open up questions which experience has shown to be best left alone. In nine cases out of ten, where a popular work of fiction is concerned, it is always possible to put one's finger on the chapter or passages on which its popularity is based; and in nine cases out of ten that chapter or those passages have to do with sexual matters. The questions which arise out of the relation of man and woman are no doubt vitally important and most interesting; but that they should be discussed in an unscientific, irresponsible, and catch-penny way by everybody who can trail a pen is something of a scandal. If an author can succeed in inventing a sexual situation which could not by any possible chance exist for a moment in real life, or if he can put a glow and a gloss on the tritenesses of love and lust, his success as a fictionist is to all intents and purposes assured. What is sometimes spoken of as wholesome fiction scarcely exists—anyway, nobody reads it. It is the carefully constructed book about sex that sells and is read. Such a book need not be flagrant, as was once thought to be the case; it can be "a work of art"—a thing of veiled suggestion, delicate, unobjectionable, and seemingly meet to be read.