LITMIR.BIZ

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am uttering nonsense. It is not possible for a man without imagination to see how things which are invented by the mind should by that same mind, in all sanity, be received as real. Yet that is precisely what happens. No one, I believe, produces real or permanent literature who is not capable of performing this miracle; who does not feel to be true that which has no other being, no other place, no other significance save that which it derives from the creative power of his own inner sense, working upon the material furnished by his perception of the world around him. This is the daily miracle of genius; but it is a miracle shared to some extent by every mortal who has the faintest glimmer of genuine imagination.

      To be convincing literature must express emotion which is genuine; to commend itself to the best sense of mankind, and thus to take its place in the front rank, it must deal with emotion which is wholesome and normal. A work phrasing morbid emotion may be art, and it may be lasting; but it is not the highest art, and it does not approve itself to the best and sanest taste. Mankind looks to literature for the expression of genuine, strong, healthy human emotion; emotion passionate, tragic, painful, the exhilaration of joy or the frenzy of grief, as it may be; but always the emotion which under the given conditions would be felt by the healthy heart and soul, by the virile man and the womanly woman. No amount of insane power flashing here and there amid the foulness of Tolstoi's "Kreutzer Sonata," can reconcile the world to the fact that the book embodies the broodings of a mind morbid and diseased. Even to concede that the author of such a work had genius could not avail to conceal the fact that his muse was smitten from head to feet with the unspeakable corruption of leprosy. Morbid literature may produce a profound sensation, but it is incapable of creating a permanent impression.

      The principles of which we are speaking are strikingly illustrated in the tales of Edgar Allan Poe. He was possessed of an imagination narrow, but keen; uncertain and wayward, but alert and swift; individual and original, though unhappily lacking any ethical stability. In his best work he is sincere and convincing, so that stories like "The Cask of Amontillado," "The Gold Bug," or "The Purloined Letter," are permanently effective, each in its way and degree. Poe's masterpiece, "The Fall of the House of Usher," is a study of morbid character, but it is saved by the fact that this is viewed in its effect upon a healthy nature. The reader looks at everything through the mind of the imaginary narrator, so that the ultimate effect is that of an exhibition of the feelings of a wholesome nature brought into contact with madness; although even so the ordinary reader is still repelled by the abnormal elements of the theme. There is in all the work of Poe a good deal that is fantastic and not a little that is affected. He is rarely entirely sincere and sane. He shared with Byron an instinctive fondness for the rôle of a "blighted being," and a halo of inebriety too often encircles his head; yet at his best he moves us by the mysterious and incommunicable power of genius. Many of his tales, on the other hand, are mere mechanical tasks, and as such neither convincing nor permanent. There is a great deal of Poe which is not worth anybody's reading because he did not believe it, did not imagine it as real, when he wrote it. Other stories of his illustrate the futility of self-deception on the part of the author. "Lygeia" Poe always announced as his masterpiece. He apparently persuaded himself that he felt its turgid sentimentality, that he thrilled at its elaborately theatrical setting, and he flattered himself that he could cheat the world as he had cheated himself. Yet the reader is not fooled. Every man of judgment realizes that, however the author was able to deceive himself, "Lygeia" is rubbish, and sophomoric rubbish at that.

      There has probably never before been a time which afforded so abundant illustrations of morbid work as to-day. We shall have occasion later to speak of Verlaine, Zola, Ibsen, and the rest, with their prurient prose and putrescent poetry; and here it is enough to note that the diseased and the morbid are by definition excluded from literature in the best sense of the word. Good art is not only sincere; it is human, and wholesome, and sound.

      II

      LITERARY EXPRESSION

      So much, then, for what literature must express; it is well now to examine for a little the manner of expression. To feel genuine emotion is not all that is required of a writer. Among artists cannot be reckoned

      One born with poet's heart in sad eclipse

      Because unmatched with poet's tongue;

      Whose song impassioned struggles to his lips,

      Yet dies, alas! unsung.

      He must be able to sing the song; to make the reader share the throbbing of his heart. All men feel; the artist is he who can by the use of conventions impart his feelings to the world. The musician uses conventions of sound, the painter conventions of color, the sculptor conventions of form, and the writer must employ the means most artificial of all, the conventions of language.

      Here might be considered, if there were space, the whole subject of artistic technique; but it is sufficient for our purposes to notice that the test of technical excellence is the completeness with which the means are adapted to the end sought. The crucial question in regard to artistic workmanship is: "Does it faithfully and fully convey the emotion which is the essence of the work?" A work of art must make itself felt as well as intellectually understood; it must reach the heart as well as the brain. If a picture, a statue, a piece of music, or a poem provokes your admiration without touching your sensibilities, there is something radically wrong with the work – or with you.

      First of all, then, expression must be adequate. If it is slovenly, incomplete, unskillful, it fails to impart the emotion which is its purpose. We have all sat down seething with excitement and endeavored to get our feelings upon paper, only to discover that our command of ourselves and of technical means was not sufficient to allow us to phrase adequately that which yet we felt most sincerely. It is true that style is in a sense a subordinate matter, but it is none the less an essential one. It is manifestly of little consequence to the world what one has to say if one cannot say it. We cannot be thrilled by the song which the dumb would sing had he but voice.

      Yet it is necessary to remember that although expression must be adequate, it must also be subordinate. It is a means and not an end, and the least suspicion of its having been put first destroys our sense of the reality of the feeling it embodies. If an actress in moments of impassioned declamation is detected arranging her draperies, her art no longer carries conviction. Nobody feeling the heart-swelling words of Queen Katharine, for instance, could while speaking them be openly concerned about the effective disposition of her petticoats. The reader of too intricate and elaborate verse, such as the French forms of triolet, rondeau, rondel, and so on, has an instinctive perception that a poet whose attention was taken up with the involved and artfully difficult versification could not have been experiencing any deep passion, no matter how strongly the verse protests that he has. Expression obviously artful instantly arouses suspicion that it has been wrought for its own sake only.

      Technical excellence which displays the cleverness of the artist rather than imparts the emotion which is its object, defeats its own end. A book so elaborated that we feel that the author was absorbed in perfection of expression rather than in what he had to express leaves us cold and unmoved, if it does not tire us. The messenger has usurped the attention which belonged to the message. It is not impossible that I shall offend some of you when I say that Walter Pater's "Marius the Epicurean" seems to me a typical example of this sort of book. The author has expended his energies in exquisite excesses of language; he has refined his style until it has become artfully inanimate. It is like one of the beautiful glass flowers in the Harvard Museum. It is not a living rose. It is no longer a message spoken to the heart of mankind; it is a brilliant exercise in technique.

      Literature, then, is genuine emotion, adequately expressed. To be genuine it must come from the imagination; and adequate expression is that which in turn reaches the imagination. If it were not that the phrase seems forbiddingly cumbersome, we might, indeed, define literature as being such writings as are able to arouse emotion by an appeal to the imagination.

      A sensational story, what the English call a "penny dreadful" or a "shilling shocker" according to the cost of the bundle of cheap excitement, may be an appeal to the emotions, but it aims to act upon the senses or the nerves. Its endeavor is to work by the grossest and most palpable means. It is an assault, so to say, upon the perceptions. Books of this sort have nothing to do with imagination, either in reader or writer.

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