THE ART OF FICTION. Virginia WoolfЧитать онлайн книгу.
of their eyes. So we haunt the old bookshops and drag home folios and quartos, Euripides in wooden boards, and Voltaire in eighty-nine volumes octavo.
But these lists are curious documents, in that they seem to include scarcely any of the contemporary writers. Meredith and Hardy and Henry James were of course alive when this reader came to them, but they were already accepted among the classics. There is no man of his own generation who influences him as Carlyle, or Tennyson, or Ruskin influenced the young of their day. And this we believe to be very characteristic of youth, for unless there is some admitted giant he will have nothing to do with the smaller men, although they deal with the world he lives in. He will rather go back to the classics, and consort entirely with minds of the very first order. For the time being he holds himself aloof from all the. activities of men, and, looking at them from a distance, judges them with superb severity.
Indeed, one of the signs of passing youth is the birth of a sense of fellowship with other human beings as we take our place among them. We should like to think that we keep our standard as high as ever; but we certainly take more interest in the writings of our contemporaries and pardon their lack of inspiration for the sake of something that brings them nearer to us. It is even arguable that we get actually more from the living, although they may be much inferior, than from the dead. In the first place there can be no secret vanity in reading our contemporaries, and the kind of admiration which they inspire is extremely warm and genuine because in order to give way to our belief in them we have often to sacrifice some very respectable prejudice which does us credit. We have also to find our own reasons for what we like and dislike, which acts as a spur to our attention, and is the best way of proving that we have read the classics with understanding.
Thus to stand in a great bookshop crammed with books so new that their pages almost stick together, and the gilt on their backs is still fresh, has an excitement no less delightful than the old excitement of the second-hand bookstall. It is not perhaps so exalted. But the old hunger to know what the immortals thought has given place to a far more tolerant curiosity to know what our own generation is thinking. What do living men and women feel, what are their houses like and what clothes do they wear, what money have they and what food do they eat, what do they love and hate, what do they see of the surrounding world, and what is the dream that fills the spaces of their active lives? They tell us all these things in their books. In them we can see as much both of the mind and of the body of our time as we have eyes for seeing.
When such a spirit of curiosity has fully taken hold of us, the dust will soon lie thick upon the classics unless some necessity forces us to read them. For the living voices are, after all, the ones we understand the best. We can treat them as we treat our equals; they are guessing our riddles, and, what is perhaps more important, we understand their jokes. And we soon develop another taste, unsatisfied by the great—not a valuable taste, perhaps, but certainly a very pleasant possession—the taste for bad books. Without committing the indiscretion of naming names we know which authors can be trusted to produce yearly (for happily they are prolific) a novel, a book of poems or essays, which affords us indescribable pleasure. We owe a great deal to bad books; indeed, we come to count their authors and their heroes among those figures who play so large a part in our silent life. Something of the same sort happens in the case of the memoir writers and autobiographers, who have created almost a fresh branch of literature in our age. They are not all of them important people, but strangely enough, only the most important, the dukes and the statesmen, are ever really dull. The men and women who set out, with no excuse except perhaps that they saw the Duke of Wellington once, to confide to us their opinions, their quarrels, their aspirations, and their diseases, generally end by becoming, for the time at least, actors in those private dramas with which we beguile our solitary walks and our sleepless hours. Refine all this out of our consciousness and we should be poor indeed. And then there are the books of facts and history, books about bees and wasps and industries and gold mines and Empresses and diplomatic intrigues, about rivers and savages, trade unions, and Acts of Parliament, which we always read and always, alas! forget. Perhaps we are not making out a good case for a bookshop when we have to confess that it gratifies so many desires which have apparently nothing to do with literature. But let us remember that here we have a literature in the making. From these new books our children will select the one or two by which we shall be known for ever. Here, if we could recognize it, lies some poem, or novel, or history which will stand up and speak with other ages about our age when we lie prone and silent as the crowd of Shakespeare’s day is silent and lives for us only in the pages of his poetry.
This we believe to be true; and yet it is oddly difficult in the case of new books to know which are the real books and what it is that they are telling us, and which are the stuffed books which will come to pieces when they have lain about for a year or two. We can see that there are many books, and we are frequently told that every one can write nowadays. That may be true; yet we do not doubt that at the heart of this immense volubility, this flood and foam of language, this irreticence and vulgarity and triviality, there lies the heat of some great passion which only needs the accident of a brain more happily turned than the rest to issue in a shape which will last from age to age. It should be our delight to watch this turmoil, to do battle with the ideas and visions of our own time, to seize what we can use, to kill what we consider worthless, and above all to realize that we must be generous to the people who are giving shape as best they can to the ideas within them. No age of literature is so little submissive to authority as ours, so free from the dominion of the great; none seems so wayward with its gift of reverence, or so volatile in its experiments. It may well seem, even to the attentive, that there is no trace of school or aim in the work of our poets and novelists. But the pessimist is inevitable, and he shall not persuade us that our literature is dead, or prevent us from feeling how true and vivid a beauty flashes out as the young writers draw together to form their new vision, the ancient words of the most beautiful of living languages. Whatever we may have learnt from reading the classics we need now in order to judge the work of our contemporaries, for whenever there is life in them they will be casting their net out over some unknown abyss to snare new shapes, and we must throw our imaginations after them if we are to accept with understanding the strange gifts they bring back to us.
But if we need all our knowledge of the old writers in order to follow what the new writers are attempting, it is certainly true that we come from adventuring among new books with a far keener eye for the old. It seems that we should now be able to surprise their secrets; to look deep down into their work and see the parts come together, because we have watched the making of new books, and with eyes clear of prejudice can judge more truly what it is that they are doing, and what is good and what bad. We shall find, probably, that some of the great are less venerable than we thought them. Indeed, they are not so accomplished or so profound as some of our own time. But if in one or two cases this seems to be true, a kind of humiliation mixed with joy overcomes us in front of others. Take Shakespeare, or Milton, or Sir Thomas Browne. Our little knowledge of how things are done does not avail us much here, but it does lend an added zest to our enjoyment. Did we ever in our youngest days feel such amazement at their achievement as that which fills us now that we have sifted myriads of words and gone along uncharted ways in search of new forms for our new sensations? New books may be more stimulating and in some ways more suggestive than the old, but they do not give us that absolute certainty of delight which breathes through us when we come back again to Comus, or Lycidas, Urn Burial, or Antony and Cleopatra. Far be it from us to hazard any theory as to the nature of art. It may be that we shall never know more about it than we know by nature, and our longer experience of it teaches us this only—that of all our pleasures those we get from the great artists are indisputably among the best; and more we may not know. But, advancing no theory, we shall find one or two qualities in such works as these which we can hardly expect to find in books made within the span of our lifetime. Age itself may have an alchemy of its own. But this is true: you can read them as often as you will without finding that they have yielded any virtue and left a meaningless husk of words; and there is a complete finality about them. No cloud of suggestions hangs about them teasing us with a multitude of irrelevant ideas. But all our faculties are summoned to the task, as in the great moments of our own experience; and some consecration descends upon us from their hands which we return to life, feeling it more keenly and understanding it more deeply than before.
[Times Literary