Aspects and Impressions. Gosse Edmund

be patent, whether liked or disliked.

      Borrow affected a certain disdain for the laudation which would not come his way, and in later life seemed to have relinquished any desire to move in the mouths of men. But Butler never ceased to long for fame, and probably to expect it. Towards the close of his life, whenever he was asked what new work might be expected from his ingenious pen, he used to look demure and answer, "I am editing my remains; I wish 'to leave everything in order for my executors.'" This was looked upon as a joke, but it turns out to have been strictly true. No one ever laboured more to appear at his best – in strict accordance with truth, but still, at his best – to the world after his decease. His assiduities were like those of the dying Narcissa —

      And Betty, give those cheeks a little red,

      One wouldn't, sure, look horrid when one's dead!

      He recovered as many of his own letters as he could and annotated them; he arranged the letters of his friends; he copied, edited, indexed, and dated all this mass of correspondence, and he prepared those "Notes" which have since his death provided his admirers with their choicest repast. In doing all this he displayed an equal naïveté and enthusiasm. Mr. Festing Jones, to whom all this industry has of course been invaluable, puts the matter in a nutshell when he says that Butler "was not contemplating publication, but neither was he contemplating oblivion." He was simply putting the rouge-pot within Betty's reach.

      Here is Butler's own account of the matter, and it throws a strong light upon his character:

      People sometimes give me to understand that it is a piece of ridiculous conceit on my part to jot down so many notes about myself, since it implies a confidence that I shall one day be regarded as an interesting person. I answer that neither I nor they can form any idea as to whether I shall be wanted when I am gone or no. The chances are that I shall not.

      But he was not inclined to take any risks. He was the residuary of his own temperament, and if by chance posterity were to wake up and take a violent interest in him, he personally would be to blame, and would incur a very serious responsibility, if there were no documents forthcoming to satisfy the curiosity of the new generation. It is to his frank response to this instinct of self-preservation that we owe the very exhaustive and faithful narrative of Mr. Festing Jones, as we did the precious "Note-books" of 1912.

      In consideration of the eagerness and sympathy with which Butler is followed by an active group of admirers among the young writers of to-day, it may be doubtful whether the extraordinary minuteness of Butler's observation, continued as it is with an equally extraordinary fullness by his biographer, may not have an evil effect in encouraging a taste for excessive discursiveness in authorship of this class. There have been very distinguished examples lately of abandonment to an unchecked notation of detail. It is scarcely necessary to refer to the texture of the later novels of Henry James, or to the amazing Côté de chez Swann of M. Marcel Proust, which latter is one of the most characteristic successes of the moment. This widespread tendency to consider every slight observation, whether phenomenal or emotional, worthy of the gravest and tenderest analysis, develops at an epoch when the world is becoming congested with printed matter, and when one might imagine that conciseness and selection would be the qualities naturally in fashion. Neither Samuel Butler nor his biographer conceives it possible that anything can be negligible; to them the meanest flower that blows by the wayside of experience gives thoughts that cannot be brought to lie within one or even within ten pages. The complacency with which Butler annotates his own childish letters to his mother is equalled only by the gravity with which Mr. Jones examines those very annotations.

      Not without a qualm, however, do I note this redundancy, since it is a source of pleasure to all but the hasty reader, who, indeed, should be advised not to approach Butler at all. The charm of his mind lies in its divagations, its inconsistencies, its puerile and lovable self-revelations, and all these are encouraged by the wandering style common to the author and to his biographer. One of the most clear-sighted of his friends, trying to sum up his character at his death, said that "he was too versatile a genius ever to be in the front rank of one particular line, and he had too much fun in him to be really serious when he ought to have been." But why ought he to have been "really serious," and why should he have sought "front rank" in one particular line? This is the inevitable way in which a man of ingenious originality is misjudged by those who have loved him most and who think they understood him best. Butler was not remarkable, and does not now deserve the reputation which his name enjoys, on account of the subjects about which he chose to write, nor on account of the measure of decorum with which he approached those themes, but in consequence of the sinuous charm, the irregular and arresting originality of his approach itself, his fame having been indeed rather delayed, and the purgatory of his obscurity prolonged, by the want of harmony between most of the subjects he selected and the manner in which it was native to himself to treat those subjects. In other words, what makes Butler a difficult theme for analysis is that, unlike most authors, his genius is not illuminated, but positively obscured for a student of to-day, by the majority of his controversial writings. He was not a prophet; he was an inspired "crank." He is most characteristic, not when he is discussing Evolution, or Christianity, or the Sonnets of Shakespeare, or the Trapanese Origin of the "Odyssey," but when he is meandering along, endlessly, paradoxically, in the act of written conversation about everything at large and nothing in particular, with himself as the central theme.

      The most valuable of Butler's imaginative writings, and indeed the most important from almost every point of view, are the two romances which stand respectively at the opening and at the close of his career, like two golden pillars supporting the roof of his reputation. His earliest publication (for the slight and brief budget of letters from New Zealand was not published by himself) was Erewhon – or "Nowhere" – a fantastic Utopia of the class started a century and a half ago by Paltock in his fascinating adventures of Peter Wilkins. Like Wilkins, the hero of Erewhon flies from civilization, and discovers in the Antarctic world a race of semi-human beings, who obey a strict code of morals consistent in itself, but in complete divergence from ours on many important points. I discover no evidence that Butler ever saw Paltock's romance, and he would probably have been scornful of the Glums and Gowries, and of the gentle winged people wrapped in throbbing robes of their own substance. But I think some dim report of an undiscovered country where ethics were all turned topsy-turvy may have started him on Erewhon. The other novel, that which closes Butler's career as a writer, is The Way of All Flesh, without a careful consideration of which, by the light of information now supplied by Mr. Festing Jones, no sketch of Butler's career can, for the future, be attempted.

      As early as 1873, Butler confided to Miss Savage – of whose place in his life and influence upon his genius I shall presently have to speak – that he was contemplating the composition of an autobiographical novel. She read the opening, and wrote, "as far as it goes it is perfect, and if you go on as you have begun, it will be a beautiful book." In case he got tired of it, what he had already written might make "a very nice finished sketch for a magazine." Evidently Miss Savage, who had an almost uncanny penetration into Butler's nature, had little confidence in his perseverance in the conduct of so large a design. She urged him on, however, and it very early occurred to her that the value of the story would consist in its complete veracity as an autobiography. She faced Butler with the charge that he was not being faithful to himself in this matter, and she said, "Is the narrator of the story to be an impartial historian or a special pleader?" Butler wriggled under her strictures, but failed to escape from them. Finally she faced him with a direct question:

      You have chosen the disguise of an old man of seventy-three [exactly double Butler's real age at that time], and must speak and act as such. An old man of seventy-three would scarcely talk as you do, unless he was constantly in your company, and was a very docile old man indeed – and I don't think the old man who is telling the story is at all docile.

      Young or old, Butler was never "docile," and he was not inclined to give up his idealism without a struggle. But Miss Savage was indomitable. She continued to undermine what she called "the special pleader," on the ground that "I prefer an advocate in flesh and blood." Under this pressure, and stimulated by Miss Savage's ingenuous annotations, Butler adopted more and more a realistic tone, and kept the story more and more closely on autobiographic lines. It was progressing