Books and Persons by Arnold Bennett (english reading book .TXT) 📕

benignity, the mellowed precision, the happy, distinguished melancholy sometimes united in a good-looking judge.... You watched the weighing of each word at its exit from the shaved, working lips, and the closure of their inexorable adamant behind its heels. As the last commonplace of club gossip, smoke-room heroics, and music-hall sentiment issued from these portals, transfigured by the moderate discount that made it twice itself, you not only saw it was final truth, or virility's quintessential emotion; you felt he had done something decisive, even gallant, and that you were in it--a fine fellow, too, in your way; and you quickened; you lived back and forward, back to the blithe days at school when they first taught you never to think your own thoughts or take what came in a way of your own, but to pool your brains with the rest and 'throw yourself into the life of the school,' and on to your early manhood's deeper training in resemblance to others, and so to the good day, always coming and always here, always to be had by him who wills it with his might, when the imitative shall inherit the earth."

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I quote this, the very essence of the work, in order to choke off the feeble, the kind, and the altruistic. I would not hawk this book. If I had foreknown what it was I would never have mentioned it. I would have mentioned it to none, sure that, by the strange force of gravity which inevitably draws together a book and its fit reader, the novel would in the end reach the only audience worthy of it. I say no more about it.


PUBLISHERS AND AUTHORS

[_10 Mar. '10_]

Authentic documents are always precious to the student, and here is one which strikes me as precious beyond the ordinary. It is a letter received from a well-known publisher by a correspondent of mine who is a journalist:

"I am awfully sorry that we cannot take your novel, which is immensely clever, and which interested my partner more than anything he has read in a good while. He agrees with me, however, that it has not got the qualities that make for a sale, and you know that this is the great desideratum with the publisher. Now don't get peevish, and send us nothing else. I know you have a lot of talent, and your difficulty is in applying this talent to really practical problems rather than to the more attractive products of the imagination. Get down to facts, my son, and study your market. Find out what the people like to read and then write a story along those lines. This will bring you success, for you have a talent for success. Above all things, don't follow the lead of our headstrong friend who insists upon doing exactly what you have done in this novel, namely, neglecting the practical market and working out the fanciful dictates of imagination. Remember that novel-writing is as much of a business as making calico. If you write the novels that people want, you are going to sell them in bales. When you have made your name and your market, _then_ you can afford to let your imagination run riot, and _then_ people will look at you admiringly, and say, 'I don't understand this genius at all, but isn't he great?' Do you see the point? You must do this AFTER you have won your market, not before, and you can only win your market in the first place by writing what folks want to buy.--Sincerely yours--"

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The writer is American. But the attitude of the average pushing English publisher could not have been more accurately expressed than in this letter sent by one New Yorker to another. The only thing that puzzles me is why the man originally chose books instead of calico. He would have sold more bales and made more money in calico. He would have understood calico better. In my opinion many publishers would have understood calico better than books. There are two things which a publisher ought to know about novel-producers--things which do not, curiously enough, apply to calico-producers, and which few publishers have ever grasped. I have known publishers go into the bankruptcy court and come out again safely and yet never grasp the significance of those two things. The first is that it is intensely stupid to ask a novelist to study the market with a view to obtaining large circulations. If he does not write to please himself--if his own taste does not naturally coincide with the taste of the million--he will never reach the million by taking thought. The Hall Caines, the Miss Corellis, and the Mrs. Humphry Wards are born, not made. It may seem odd, even to a publisher, that they write as they do write--by sheer glad instinct. But it is so. The second thing is that when a novelist has made "his name and his market" by doing one kind of thing he can't successfully go off at a tangent and do another kind of thing. To make the largest possible amount of money out of an artist the only way is to leave him alone. When will publishers grasp this? To make the largest possible amount of money out of an imitative hack, the only way is to leave him alone. When will publishers grasp that an imitative hack knows by the grace of God forty times more about the public taste than a publisher knows?


TOURGENIEV AND DOSTOIEVSKY

[_31 Mar. '10_]

I have read with very great interest Mr. Maurice Baring's new volume about Russia, "Landmarks in Russian Literature" (Methuen, 6s. net). It deals with Gogol, Tourgeniev, Dostoievsky, Tolstoy, and Tchehkoff. It is unpretentious. It is not "literary." I wish it had been more literary. Mr. Baring seems to have a greater love for literature than an understanding knowledge of it. He writes like a whole-hearted amateur, guided by common sense and enthusiasm, but not by the delicate perceptions of an artist. He often says things, or says things in a manner, which will assuredly annoy the artist. Thus his curt, conventional remarks about Zola might have been composed for a leading article in the _Morning Post_, instead of for a volume of literary criticism. Nevertheless, I cannot be cross with him. In some ways his book is illuminating. I mean that it has illuminated my darkness. His chapters on Russian characteristics and on realism in Russian literature are genuinely valuable. In particular he makes me see that even French realism is an artificial and feeble growth compared with the spontaneous, unconscious realism of the Russians. If you talked to Russians about realism they probably would not know quite what you meant. And when you had at length made them understand they would certainly exclaim: "Well, of course! But why all this fuss about a simple matter?" Only a man who knows Russia very well, and who has a genuine affection for the Russian character, could have written these chapters. And I am ready to admit that they are more useful than many miles of appreciation in the delicate balancing manner of, say, an Arthur Symons.

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Mr. Baring raises again the vexed question of Tourgeniev's position. It is notorious that Tourgeniev is much more highly appreciated outside Russia than in it. One is, of course, tempted to say that Russians cannot judge their own authors, for there is a powerful and morally overwhelming cult for Tourgeniev in France, Germany, and England. I have myself said, sworn, and believed that "On the Eve" is the most perfect example of the novel yet produced in any country. And I am not sure that I am yet prepared to go back on myself. However, it is absurd to argue that Russians cannot judge their own authors. The best judges of Russian authors must be Russians. Think of the ridiculous misconceptions about English literature by first-class foreign critics!... But I am convinced that Mr. Baring goes too far in his statement of the Russian estimate of Tourgeniev. He says that educated Russian opinion would no more think of comparing Tourgeniev with Dostoievsky than educated English opinion would think of comparing Charlotte Yonge with Charlotte Bronte. This is absurd. Whatever may be Tourgeniev's general inferiority (and I do not admit it), he was a great artist and a complete artist. And he was a realist. There is all earth and heaven between the two Charlottes. One was an artist, the other was an excellent Christian body who produced stories that have far less relation to life than Frith's "Derby Day" has to the actual fact and poetry of Epsom. If Mr. Baring had bracketed Tourgeniev with Charlotte Bronte and Dostoievsky with the lonely Emily, I should have credited him with a subtle originality.

About half of the book is given to a straightforward, detailed, homely account of Dostoievsky, his character, genius, and works. It was very much wanted in English. I thought I had read all the chief works of the five great Russian novelists, but last year I came across one of Dostoievsky's, "The Brothers Karamazov," of which I had not heard. It was a French translation, in two thick volumes. I thought it contained some of the greatest scenes that I had ever encountered in fiction, and I at once classed it with Stendhal's "Chartreuse de Parme" and Dostoievsky's "Crime and Punishment" as one of the supreme marvels of the world. Nevertheless, certain aspects of it puzzled me. When I mentioned it to friends I was told that I had gone daft about it, and that it was not a major work. Happening to meet Mrs. Garnett, the never-to-be-sufficiently-thanked translator of Tourgeniev and of Tolstoy, I made inquiries from her about it, and she said: "It is his masterpiece." We were then separated by a ruthless host, with my difficulties unsolved. I now learn from Mr. Baring that the French translation is bad and incomplete, and that the original work, vast as it is, is only a preliminary fragment of a truly enormous novel which death prevented Dostoievsky from finishing. Death, this is yet another proof of your astonishing clumsiness! The scene with the old monk at the beginning of "The Brothers Karamazov" is in the very grandest heroical manner. There is nothing in either English or French prose literature to hold a candle to it. And really I do not exaggerate! There is probably nothing in Russian literature to match it, outside Dostoievsky. It ranks, in my mind, with the scene towards the beginning of "Crime and Punishment," when in the inn the drunken father relates his daughter's "shame." These pages are unique. They reach the highest and most terrible pathos that the novelist's art has ever reached. And if an author's reputation among people of taste depended solely on his success with single scenes Dostoievsky would outrank all other novelists, if not all poets. But it does not. Dostoievsky's works--all of them--have grave faults. They have especially the grave fault of imperfection, that fault which Tourgeniev and Flaubert avoided. They are tremendously unlevel, badly constructed both in large outline and in detail. The fact is that the difficulties