THE ART OF FICTION. Virginia WoolfЧитать онлайн книгу.
Impassioned Prose.
When he was still a boy, his own discrimination led De Quincey to doubt whether ‘his natural vocation lay towards poetry’. He wrote poetry, eloquently and profusely, and his poetry was praised; but even so he decided that he was no poet, and the sixteen volumes of his collected works are written entirely in prose. After the fashion of his time, he wrote on many subjects—on political economy, on philosophy, on history; he wrote essays and biographies and confessions and memoirs. But as we stand before the long row of his books and make, as we are bound to make after all these years, our own selection, the whole mass and range of these sixteen volumes seems to reduce itself to one sombre level in which hang a few splendid stars. He dwells in our memory because he could make phrases like ‘trepidations of innumerable fugitives’, because he could compose scenes like that of the laurelled coach driving into the midnight market-place, because he could tell stories like that of the phantom woodcutter heard by his brother on the desert island. And, if we examine our choice and give a reason for it, we have to confess that, prose writer though he is, it is for his poetry that we read him and not for his prose.
What could be more damaging, to him as writer, to us as readers, than this confession? For if the critics agree on any point it is on this, that nothing is more reprehensible than for a prose writer to write like a poet. Poetry is poetry and prose is prose—how often have we not heard that! Poetry has one mission and prose another. Prose, Mr. Binyon wrote the other day, ‘is a medium primarily addressed to the intelligence, poetry to feeling and imagination’. And again, ‘the poetical prose has but a bastard kind of beauty, easily appearing overdressed’. It is impossible not to admit, in part at least, the truth of these remarks. Memory supplies but too many instances of discomfort, of anguish, when in the midst of sober prose suddenly the temperature rises, the rhythm changes, we go up with a lurch, come down with a bang, and wake, roused and angry. But memory supplies also a number of passages—in Browne, in Landor, in Carlyle, in Ruskin, in Emily Brontë—where there is no such jerk, no such sense (for this perhaps is at the root of our discomfort) of something unfused, unwrought, incongruous, and casting ridicule upon the rest. The prose writer has subdued his army of facts; he has brought them all under the same laws of perspective. They work upon our minds as poetry works upon them. We are not woken; we reach the next point—and it may well be highly commonplace—without any sense of strain.
But, unfortunately for those who would wish to see a great many more things said in prose than are now thought proper, we live under the rule of the novelists. If we talk of prose we mean in fact prose fiction. And of all writers the novelist has his hands fullest of facts. Smith gets up, shaves, has his breakfast, taps his egg, reads The Times. How can we ask the panting, the perspiring, the industrious scribe with all this on his hands to modulate beautifully off into rhapsodies about Time and Death and what the hunters are doing at the Antipodes? It would upset the whole proportions of his day. It would cast grave doubt upon his veracity. Moreover, the greatest of his order seem deliberately to prefer a method which is the antithesis of prose poetry. A shrug of the shoulders, a turn of the head, a few words spoken in a hurry at a moment of crisis—that is all. But the train has been laid so deep beneath page after page and chapter after chapter that the single word when it is spoken is enough to start an explosion. We have so lived and thought with these men and women that they need only raise a finger and it seems to reach the skies. To elaborate that gesture would be to spoil it. The whole tendency therefore of fiction is against prose poetry. The lesser novelists are not going to take risks which the greater deliberately avoid. They trust that, if only the egg is real and the kettle boils, stars and nightingales will somehow be thrown in by the imagination of the reader. And therefore all that side of the mind which is exposed in solitude they ignore. They ignore its thoughts, its rhapsodies, its dreams, with the result that the people of fiction bursting with energy on one side are atrophied on the other; while prose itself, so long in service to this drastic master, has suffered the same deformity, and will be fit, after another hundred years of such discipline, to write nothing but the immortal works of Bradshaw and Baedeker.
But happily there are in every age some writers who puzzle the critics, who refuse to go in with the herd. They stand obstinately across the boundary lines, and do a greater service by enlarging and fertilizing and influencing than by their actual achievement, which, indeed, is often too eccentric to be satisfactory. Browning did a service of this kind to poetry. Peacock and Samuel Buder have both had an influence upon novelists which is out of all proportion to their own popularity. And one of De Quincey’s claims to our gratitude, one of his main holds upon our interest, is that he was an exception and a solitary. He made a class for himself. He widened the choice for others. Faced with the usual problem of what to write, since write he must, he decided that with all his poetic sensibility he was not a poet. He lacked the fire and the concentration. Nor, again, was he a novelist. With immense powers of language at his command, he was incapable of a sustained and passionate interest in the affairs of other people. It was his disease, he said, ‘to meditate too much and to observe too little’. He would follow a poor family who went marketing on a Saturday night, sympathetically, but at a distance. He was intimate with no one. Then, again, he had an extraordinary gift for the dead languages, and a passion for acquiring knowledge of all kinds. Yet there was some quality in him which forbade him to shut himself up alone with his books, as such gifts seemed to indicate. The truth was that he dreamed—he was always dreaming. The faculty was his long before he took to eating opium. When he was a child he stood by his sister’s dead body and suddenly a vault seemed to open in the zenith of the far blue sky, a shaft which ran up for ever. I, in spirit, rose as on billows that also ran up the shaft for ever; and the billows seemed to pursue the throne of God; but that also ran before us and fled away continually.
The visions were of extreme vividness; they made life seem a little dull in comparison; they extended it, they completed it. But in what form was he to express this that was the most real part of his own existence? There was none ready made to his hand. He invented, as he claimed, ‘modes of impassioned prose’. With immense elaboration and art he formed a style in which to express these ‘visionary scenes derived from the world of dreams’. For such prose there were no precedents, he believed; and he begged the reader to remember ‘the perilous difficulty’ of an attempt where ‘a single false note, a single word in a wrong key, ruins the whole music’.
Added to that ‘perilous difficulty’ was another which is often forced upon the reader’s attention. A prose writer may dream dreams and see visions, but they cannot be allowed to lie scattered, single, solitary upon the page. So spaced out they die. For prose has neither the intensity nor the self-sufficiency of poetry. It rises slowly off the ground; it must be connected on this side and on that. There must be some medium in which its ardours and ecstasies can float without incongruity, from which they receive support and impetus. Here was a difficulty which De Quincey often faced and often failed to solve. Many of his most tiresome and disfiguring faults are the result of the dilemma into which his genius plunged him. There was something in the story before him which kindled his interest and quickened his powers. For example, the Spanish Military Nun, as she descends half starved and frozen from the Andes, sees before her a belt of trees which promises safety. As if De Quincey had himself reached that shelter and could breathe in safety, he broadens out—
Oh! verdure of dark olive foliage, offered suddenly to fainting eyes, as if by some winged patriarchal herald of wrath relenting—solitary Arab’s tent, rising with saintly signals of peace in the dreadful desert, must Kate indeed die even yet, whilst she sees but cannot reach you? Outpost on the frontier of man’s dominions, standing within life, but looking out upon everlasting death, wilt thou hold up the anguish of thy mocking invitation only to betray?
Alas, how easy it is to rise, how dangerous to fall! He has Kate on his hands; he is half-way through with her story; he must rouse himself, he must collect himself, he must descend from these happy heights to the levels of ordinary existence. And, again and again, it is in returning to earth that De Quincey is undone. How is he to bridge the horrid transition? How is he to turn from an angel with wings of flame and eyes of fire to a gentleman in black who talks sense? Sometimes he makes a joke—it