Talks on the study of literature. - Bates Arlo

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is impossible to read "Helen of Kirconnel," or Browning's "Prospice," or Wordsworth's poems to Lucy, without being sure that the poet meant that which he said in his song with all the fervor of heart and imagination. A reader need not be very critical to feel that the novels of the "Duchess" and her tribe are made by a process as mechanical as that of making paper flowers; he will not be able to advance far in literary judgment without coming to suspect that fiction like the pleasant pot-boilers of William Black and W. Clark Russell, if hand-made, is yet manufactured according to an arbitrary pattern; but what reader can fail to feel that to Hawthorne "The Scarlet Letter" was utterly true, that to Thackeray Colonel Newcome was a creature warm with human blood and alive with a vigorous humanity? Theoretically we may doubt our power to judge of the sincerity of an author, but we do not find this so impossible practically.

      Critics sometimes say of a book that it is or is not "convincing." What they mean is that the author has or has not been able to make what he has written seem true to the imagination of the reader. The man who in daily life attempts to act a part is pretty sure sooner or later to betray himself to the observant eye. His real self will shape the disguise under which he has hidden it; he may hold out the hands and say the words of Esau, but the voice with which he speaks will perforce be the voice of Jacob. It is so in literature, and especially in literature which arouses the perceptions by an appeal to the imagination. The writer must be in earnest himself or he cannot convince the reader. To the man who invents a fiction, for instance, the story which he has devised must in his imagination be profoundly true or it will not be true to the audience which he addresses. To the novelist who is "convincing," his characters are as real as the men he meets in his walks or sits beside at table. It is for this reason that every novelist with imagination is likely to find that the fictitious personages of his story seem to act independently of the will of the author. They are so real that they must follow out the laws of their character, although that character exists only in imagination. For the author to feel this verity in what he writes is of course not all that is needed to enable him to convince his public; but it is certain that he is helpless without it, and that he cannot make real to others what is not real to himself.

      In emotion we express the difference between the genuine and the counterfeit by the words "sentiment" and "sentimentality." Sentiment is what a man really feels; sentimentality is what he persuades himself that he feels. The Bad Boy as a "blighted being" is the type of sentimentalists for all time. There is about the same relation between sentimentality and sentiment that there is between a paper doll and the lovely girl that it represents. There are fashions in emotions as there are fashions in bonnets; and foolish mortals are as prone to follow one as another. It is no more difficult for persons of a certain quality of mind to persuade themselves that they thrill with what they conceive to be the proper emotion than it is for a woman to convince herself of the especial fitness to her face of the latest device in utterly unbecoming headgear. Our grandmothers felt that proper maidenly sensibility required them to be so deeply moved by tales of broken hearts and unrequited affection that they must escape from the too poignant anguish by fainting into the arms of the nearest man. Their grandchildren to-day are neither more nor less sincere, neither less nor more sensible in following to extremes other emotional modes which it might be invidious to specify. Sentimentality will not cease while the power of self-deception remains to human beings.

      With sentimentality genuine literature has no more to do than it has with other human weaknesses and vices, which it may picture but must not share. With sentiment it is concerned in every line. Of sentiment no composition can have too much; of sentimentality it has more than enough if there be but the trace shown in a single affectation of phrase, in one unmeaning syllable or unnecessary accent.

      There are other tests of the genuineness of the emotion expressed in literature which are more tangible than those just given; and being more tangible they are more easily applied. I have said that sham sentiment is sure to ring false. This is largely due to the fact that it is inevitably inconsistent. Just as a man has no difficulty in acting out his own character, whereas in any part that is assumed there are sure sooner or later to be lapses and incongruities, so genuine emotion will be consistent because it is real, while that which is feigned will almost surely jar upon itself. The fictitious personage that the novelist actually shapes in his imagination, that is more real to him than if it stood by his side in solid flesh, must be consistent with itself because it is in the mind of its creator a living entity. It may not to the reader seem winning or even human, but it will be a unit in its conception and its expression, a complete and consistent whole. The poem which comes molten from the furnace of the imagination will be a single thing, not a collection of verses more or less ingeniously dovetailed together. The work which has been felt as a whole, which has been grasped as a whole, which has as a whole been lived by that inner self which is the only true producer of art, will be so consistent, so unified, so closely knit, that the reader cannot conceive of it as being built up of fortuitous parts, or as existing at all except in the beautiful completeness which genius has given it.

      What I mean may perhaps be more clear to you if you take any of the little tinkling rhymes which abound, and examine them critically. Even some of more merit easily afford example. Take that pleasant rhyme so popular in the youth of our fathers, "The Old Oaken Bucket," and see how one stanza or another might be lost without being missed, how one thought or another has obviously been put in for the rhyme or to fill out the verse, and how the author seems throughout always to have been obliged to consider what he might say next, putting his work together as a joiner matches boards for a table-top. Contrast this with the absolute unity of Wordsworth's "Daffodils," Keats' "Ode on a Grecian Urn," Shelley's "Stanzas Written in Dejection," or any really great lyric. You will perceive the difference better than any one can say it. It is true that the quality of which we are speaking is sufficiently subtile to make examples unsatisfactory and perhaps even dangerous; but it seems to me that it is not too much to say that any careful and intelligent reader will find little difficulty in feeling the unity of the masterpieces of literature.

      This lack of consistency is most easily appreciated, perhaps, in the drawing of character. Those modern writers who look upon literature as having two functions, first, to advance extravagant theories, and second, – and more important, – to advertise the author, are constantly putting forward personages that are so inconsistent that it is impossible not to see that they are mere embodied arguments or sensationalism incarnate, and not in the least creatures of a strong and wholesome imagination. When in "The Doll's House" Ibsen makes Nora Helma an inconsequent, frivolous, childish puppet, destitute alike of moral and of common sense, and then in the twinkling of an eye transforms her into an indignant woman, full of moral purpose, furnished not only with a complete set of advanced views but with an entire battery of modern arguments with which to support them, – when, in a word, the author, for the sake of his theory, works a visible miracle, we cease to believe in his imaginative sincerity. We know that he is dogmatizing, not creating; that this is artifice, not art.

      Another test of the genuineness of what is expressed in literature is its truth to life. Here again we tread upon ground somewhat uncertain, since truth is as elusive as a sunbeam, and to no two human beings the same. Yet while the meaning of life is not the same to any two who walk under the heavens, there are certain broad principles which all men recognize. The eternal facts of life and of death, of love and of hate, the instinct of self-preservation, the fear of pain, the respect for courage, and the enthrallment of passion, – these are laws of humanity so universal that we assume them to be known to all mankind. We cannot believe that any mortal can find that true to his imagination which ignores these unvarying conditions of human existence. He who writes what is untrue to humanity cannot persuade us that he writes what is true to himself. We are sure that those impossible heroes of Ouida, with their superhuman accomplishments, those heroines of beauty transcendently incompatible with their corrupt hearts, base lives, and entire defiance of all sanitary laws, were no more real to their author than they are to us. Conviction springs from the imagination, and imagination is above all else the realizing faculty. It is idle to say that a writer imagines every extravagant and impossible whimsy which comes into his head. He imagines those things, and those things only, which are real to his inner being; so that in judging literature the question to be settled is: Does this thing which the author tells, this emotion which he expresses, impress us as having been to him when he wrote actual, true, and absolutely real? To unimaginative persons it might seem that

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