The Selected Works of Arnold Bennett: Essays, Personal Development Books & Articles. Arnold BennettЧитать онлайн книгу.
obstinate perseverance of the few. They could not leave him alone; they would not. They kept on savouring him, and talking about him, and buying him, and they generally behaved with such eager zeal, and they were so authoritative and sure of themselves, that at last the majority grew accustomed to the sound of his name and placidly agreed to the proposition that he was a genius; the majority really did not care very much either way.
And it is by the passionate few that the renown of genius is kept alive from one generation to another. These few are always at work. They are always rediscovering genius. Their curiosity and enthusiasm are exhaustless, so that there is little chance of genius being ignored. And, moreover, they are always working either for or against the verdicts of the majority. The majority can make a reputation, but it is too careless to maintain it. If, by accident, the passionate few agree with the majority in a particular instance, they will frequently remind the majority that such and such a reputation has been made, and the majority will idly concur: "Ah, yes. By the way, we must not forget that such and such a reputation exists." Without that persistent memory-jogging the reputation would quickly fall into the oblivion which is death. The passionate few only have their way by reason of the fact that they are genuinely interested in literature, that literature matters to them. They conquer by their obstinacy alone, by their eternal repetition of the same statements. Do you suppose they could prove to the man in the street that Shakespeare was a great artist? The said man would not even understand the terms they employed. But when he is told ten thousand times, and generation after generation, that Shakespeare was a great artist, the said man believes—not by reason, but by faith. And he too repeats that Shakespeare was a great artist, and he buys the complete works of Shakespeare and puts them on his shelves, and he goes to see the marvellous stage-effects which accompany King Lear or Hamlet, and comes back religiously convinced that Shakespeare was a great artist. All because the passionate few could not keep their admiration of Shakespeare to themselves. This is not cynicism; but truth. And it is important that those who wish to form their literary taste should grasp it.
What causes the passionate few to make such a fuss about literature? There can be only one reply. They find a keen and lasting pleasure in literature. They enjoy literature as some men enjoy beer. The recurrence of this pleasure naturally keeps their interest in literature very much alive. They are for ever making new researches, for ever practising on themselves. They learn to understand themselves. They learn to know what they want. Their taste becomes surer and surer as their experience lengthens. They do not enjoy to-day what will seem tedious to them to-morrow. When they find a book tedious, no amount of popular clatter will persuade them that it is pleasurable; and when they find it pleasurable no chill silence of the street-crowds will affect their conviction that the book is good and permanent. They have faith in themselves. What are the qualities in a book which give keen and lasting pleasure to the passionate few? This is a question so difficult that it has never yet been completely answered. You may talk lightly about truth, insight, knowledge, wisdom, humour, and beauty. But these comfortable words do not really carry you very far, for each of them has to be defined, especially the first and last. It is all very well for Keats in his airy manner to assert that beauty is truth, truth beauty, and that that is all he knows or needs to know. I, for one, need to know a lot more. And I never shall know. Nobody, not even Hazlitt nor Sainte-Beuve, has ever finally explained why he thought a book beautiful. I take the first fine lines that come to hand—The woods of Arcady are dead, And over is their antique joy—and I say that those lines are beautiful, because they give me pleasure. But why? No answer! I only know that the passionate few will, broadly, agree with me in deriving this mysterious pleasure from those lines. I am only convinced that the liveliness of our pleasure in those and many other lines by the same author will ultimately cause the majority to believe, by faith, that W. B. Yeats is a genius. The one reassuring aspect of the literary affair is that the passionate few are passionate about the same things. A continuance of interest does, in actual practice, lead ultimately to the same judgments. There is only the difference in width of interest. Some of the passionate few lack catholicity, or, rather, the whole of their interest is confined to one narrow channel; they have none left over. These men help specially to vitalise the reputations of the narrower geniuses: such as Crashaw. But their active predilections never contradict the general verdict of the passionate few; rather they reinforce it.
A classic is a work which gives pleasure to the minority which is intensely and permanently interested in literature. It lives on because the minority, eager to renew the sensation of pleasure, is eternally curious and is therefore engaged in an eternal process of rediscovery. A classic does not survive for any ethical reason. It does not survive because it conforms to certain canons, or because neglect would not kill it. It survives because it is a source of pleasure, and because the passionate few can no more neglect it than a bee can neglect a flower. The passionate few do not read "the right things" because they are right. That is to put the cart before the horse. "The right things" are the right things solely because the passionate few like reading them. Hence—and I now arrive at my point— the one primary essential to literary taste is a hot interest in literature. If you have that, all the rest will come. It matters nothing that at present you fail to find pleasure in certain classics. The driving impulse of your interest will force you to acquire experience, and experience will teach you the use of the means of pleasure. You do not know the secret ways of yourself: that is all. A continuance of interest must inevitably bring you to the keenest joys. But, of course, experience may be acquired judiciously or injudiciously, just as Putney may be reached via Walham Green or via St. Petersburg.
Chapter IV
Where to Begin
I wish particularly that my readers should not be intimidated by the apparent vastness and complexity of this enterprise of forming the literary taste. It is not so vast nor so complex as it looks. There is no need whatever for the inexperienced enthusiast to confuse and frighten himself with thoughts of "literature in all its branches." Experts and pedagogues (chiefly pedagogues) have, for the purpose of convenience, split literature up into divisions and sub-divisions— such as prose and poetry; or imaginative, philosophic, historical; or elegiac, heroic, lyric; or religious and profane, etc., ad infinitum. But the greater truth is that literature is all one—and indivisible. The idea of the unity of literature should be well planted and fostered in the head. All literature is the expression of feeling, of passion, of emotion, caused by a sensation of the interestingness of life. What drives a historian to write history? Nothing but the overwhelming impression made upon him by the survey of past times. He is forced into an attempt to reconstitute the picture for others. If hitherto you have failed to perceive that a historian is a being in strong emotion, trying to convey his emotion to others, read the passage in the Memoirs of Gibbon, in which he describes how he finished the Decline and Fall. You will probably never again look upon the Decline and Fall as a "dry" work.
What applies to history applies to the other "dry" branches. Even Johnson's Dictionary is packed with emotion. Read the last paragraph of the preface to it: "In this work, when it shall be found that much is omitted, let it not be forgotten that much likewise is performed.... It may repress the triumph of malignant criticism to observe that if our language is not here fully displayed, I have only failed in an attempt which no human powers have hitherto completed...." And so on to the close: "I have protracted my work till most of those whom I wish to please have sunk into the grave, and success and miscarriage are empty sounds: I therefore dismiss it with frigid tranquillity, having little to fear or hope from censure or from praise." Yes, tranquillity; but not frigid! The whole passage, one of the finest in English prose, is marked by the heat of emotion. You may discover the same quality in such books as Spencer's First Principles. You may discover it everywhere in literature, from the cold fire of Pope's irony to the blasting temperatures of Swinburne. Literature does not begin till emotion has begun.
There is even no essential, definable difference between those two great branches, prose and poetry. For prose may have rhythm. All that can be said is that verse will scan, while prose will not. The difference is purely formal. Very few poets have succeeded in being so poetical as Isaiah, Sir Thomas Browne,