Yet after all, come to think of it, there is a good deal of an assumption in the assertion that our five feet of immortals are all going to perch upon that last library shelf. There have been immortals of the past who failed to reach even our days; had they all fulfilled their promise and the prophecies of their friends, the publishers would not be willing to let us buy our modest set of unquestionable classics on monthly payments without the guarantee of our great grandchildren. Paradoxical as it may seem, many immortals have proved mortal, and the deathless have died. We must lay this troublesome fact to the loose speech of our forefathers. They were hyperbolic now and then, and they dubbed a volume immortal without stopping to think whether the twentieth century A. D. would also find it interesting, and so, of course, really immortal. Humanity has been fallible in the past, and the result is that we are forced most unscientifically to accept contradictory ideas with gravity—in short, to speak of “relative immortality.” The work that outlives its contemporaries is, we may admit, relatively deathless. Such a statement makes no prophecy, however, as to the remote future. Relative immortality merely means that a work goes on interesting for a few years, a generation or two, a century or more. It is only the simon pure immortal who will not have to get up at the sound of Gabriel’s trump. Blessed relief—the final shelf of unforgettable classics may be only five feet long after all, and may be even shorter!
Naturally, your enduring work must have a strong constitution; it must have all the characteristics of a live creature except the power of growth within itself, and, alas, of propagating its kind. Perhaps one might liken it to the Leyden jar which we of the older generation used to read of in our physics—I do not know whether it is remembered now-a-days. It has a charge of electricity of more or less strength, and it has a retaining capacity of more or less endurance, so that to touch it as the ages pass, is to receive a spark of life.
Many a work has started out with a tremendous appeal to its first audience, but has not been able to hold its second or third. The first night is not always a sure test of the length of a “run.” Such a work had a momentary word to speak which was appropriate, which came as pat as Vice in the old comedy; but like a jest called out by a passing event, it raised its crackle of laughter and died. One need not go far to find examples. Mrs. Radcliffe’s Mysteries of Udolpho is pigeonholed here; and Uncle Tom’s Cabin and The Jungle are tied by the same tape, in spite of a certain uncanny habit of reappearance of Mrs. Stowe’s painful tale. Much literature of this sort is, of course, temporarily valuable; but Time promptly and wisely puts it into the wallet at his back. Without endurance, fame is as the fire of thorns under the pot; without vitality, naught can endure.
As a matter of fact a work need not be brutally vital to have a fair chance at long life. It must interest somebody very much indeed. Of course, the great immortals start out in life popular in the best sense; but there are lesser immortals too. One does not have to be Dante or Shakespeare to win out. So long as the second class passengers persist in interesting a few hearers on the various stages of the road, they will not be forgotten. They may be, as they usually are, caviare to the general, but they find from age to age fit audience. Poets like Horace and Spenser and Blake, the authors of Emma or Cranford may cross the final line side by side with their great competitors. And some of us who venture diffident prophecy, expect greater endurance for Mr. Robert Frost and his shy North of Boston than for the dramatic anachronisms of the late Stephen Phillips, or the epic longueurs of Mr. Alfred Noyes. Long life in literature concerns itself with the length of Clotho’s thread, and not at all with the question as to whether it be labelled “No. 60” or “No. 90.”
But to have transcended its own time by a generation or so is no promise of immortality. Every work if not hopelessly tangled in the perishabilities of its own age, is liable to be so tangled in those of its own century or epoch. How often have men watched with exultation the endurance of a work, and jumped to conclusions, when wisdom would have recognized that it could last only while certain ideals or moods prevailed. Was not Byron a god for a generation? But, alas, as the waters of time rose, he found himself caught in the eel-grass of romanticism, and pulled under. And did not the Romance of the Rose hold men bound by its myriad lines for centuries—and where is it now? Dusty upon dusty shelves. Its voice was that of Mediævalism, not of humanity. It perished with the conventions and provincialism of its era.
The time never was when a new work appeared to the world without some external circumstance to modify for good or ill its early reputation. Even the “anonymous” early ballads must have depended at first in some measure upon the impression of “good time” which lingered in the minds of the junketers among whom they sprang up. Even the Iliad or the Song of Roland must have gained or lost according to the effectiveness of the reciter or the social status of the patron. And to-day it is a thousand times truer than ever before, that at the start the genuine fame which endures is bound up with much that is purely factitious.
A new book comes to birth and finds a waiting world to welcome, but not impartial in its attitude. Have not the friends and family announced the arrival in joyful and ringing tones? Advertiser and advance reviewer have been busy; the publisher now-a-days is preëminently efficient. The result is a sort of pre-natal notoriety built up regardless of real worth. The advertising campaign may be likened to an attack by gas-bombs on the reading public; but fortunately from long experience a large part of the public has provided itself with a tolerably good supply of masks to receive the assault, and—to finish the figure with all possible despatch—“waits till the clouds roll by.”
Then for the first time, the work gradually emerges for what it is worth. The public reads and judges; recommends it to its friends, or warns them off; and speaks the fateful word, which if it is favorable, leads others to read, and at least makes strangers admit that the book is “well spoken of.” Here is real fame, still struggling for existence, yet independent of the handicaps of early puffing. Yet it must be said in all fairness that the early puffing, with its manufactured audience, hastens for the good book the chance for genuine fame; and makes more decisive the collapse of the poor book, by bringing sooner to proof the pinchbeck prophecies.
But even then the new book has got to stand up against convictions and prejudices, conventions and dogmas. The public at large—and incidentally the professional critic—wants more of “the same thing,” more like that of its earlier loves and admirations. Figures of previous experience rise in the readers’ minds with malicious menaces against the upstart—Dickens, Austen or Trollope; Ward, Sinclair or Tarkington; perhaps Fielding or Goldsmith—figures moribund or vigorous still, all are alert to impose “has been” upon “to be.” Let the new book differ at its peril; it becomes easily “revolutionary,” “decadent,” “not art”—is damned, in short, unless, by a curious freak of the moment, it takes the world by storm through its very “freshness.” And even then Kipling joins the ring, and henceforth struggles to impose the Kiplingesque. Such dangers, such threats—mostly unreal when brought to the proof—the new book must live through. The vigorous and vital book will be unabashed, for its claims to long life must rest on stronger virtues than conformity or non-conformity.
The ages confirm with Jovian nod the trite fact that every period has a general cast of opinion about any literary work. San Francisco may not accept the same order among “the best sellers” as New York, nor New York as London; yet we accept the unity of age in our use of older epithets, such as “Elizabethan” and “Victorian,” even while we overlook it in the hurlyburly of the present. It is a complicated and, perhaps, ultimately, an inexplicable phenomenon; but strong leadership plays its part in clarifying and fixing the momentary appraisement. Let Dr. Johnson or the Edinburgh Review utter a critical judgment, and society follows like the traditional flock of sheep. If such notorious dictatorship is rare in our larger world, there are yet many smaller Judges and Prophets scattered abroad, apparent mouthpieces of the Zeitgeist. We are all familiar with the small theatre party. One or two members have definite ideas about the play and its presentation, and the rest experience all the sensations but are more or less neutral. The neutrals inevitably fall in behind the leaders, and the whole party is easily unanimous. Such in miniature is the working of the critical leadership at large. The only requirement is, that the leader must not be too far ahead or behind his time. Thus it would have taken more than Dryden to make Whitman a success in the days of the Restoration; and we can hardly fancy Jeffreys forcing The Widow in the Bye Street upon the Edinburgh subscribers. But as all real leadership is moderate, neat unity seems to be fairly easy to the backward look.