Without Prejudice. Israel Zangwill

chance for a much-needed onslaught on our minor prophets! It might have been "English bards and Scotch reviewers" over again. But no! the Scotch reviewer's weapon is merely a rose-water squirt. The only thing that perturbates him (as Mr. Francis Thompson would say) is my assertion that a ray of hopefulness is stealing again into English poetry. Since the days of Jeffrey we have only had one really "first-class fighting man" (Henley); but even with him there is no real party fighting, for he is catholic in his antipathies, and those whom he chastises love him, and swear that his is the least jaded Pegasus of the day. You see, therefore, how well-balanced we are in this "happy isle, set in a silver sea." The Fogeys are respectful to the young men, and the young men actually admire the Fogeys. That the young men admire one another goes without saying. Here surely is "the atmosphere of praise" of Mr. Pinero's hortation.

      And while I do not believe that art is best nourished in this "atmosphere of praise," preferring to read instead "an atmosphere of appraisal," I believe that of this appraisal the more important element is "praise." Criticism with the praise left out savours of the counsel for the prosecution rather than of the judge—and indeed some critics assume that every author is guilty till he is proved good: if he is popular the presumption of his guilt is almost irresistible. A Henley young man once explained to me that the function of the critic was to guard the gates of literature, keeping at bay the bulk of print, for it would surely not be literature. This last is true enough; yet the watch-dog attitude generates a delight to bark and bite, and turns critic literally into cynic. Should not the true critic be an interpreter? For bad work let him award the damnation of silence. "It is better to fight for the good than to rail at the ill."

      It is a great privilege to praise. It is a great joy to give an artist the joy of being understood. Not every artist arrives at the divine standpoint: "And God saw all that He made, and behold it was very good." The human creator is not always content with the rapture of creation. He sits lonely amid his worlds. Neglect may be the nurse of strength, but as often it is the handmaid of idleness. The artist without an audience will smoke the enchanted cigarettes of Balzac. The rough labour of execution is largely the labour of conveying to others what the artist already feels and sees. Why should he toil thanklessly? It is sweeter to dream. Even the money that art produces may be a valuable incentive. Not, of course, if the artist aims at the money; but art wrought for love may bring in money, like a woman married for love. In so far as the lover has his eye on the dowry, in so far his love is vitiated; and in so far as the artist has his eye on the profits, in so far is he untrue to a mistress who demands undivided allegiance. Natheless, the auri sacra fames may be his salvation. What subtle sympathy connects fama with fames? The butcher's bill may drive him from the dreamland of luxurious meditation to the practical embodiment of his dreams. Only, while he is at work, the laws of art alone must be his masters; he must not alter or abate a jot by way of concession to the great cash question. When he has completed his work, then indeed he may sell it in the best market. But the least preliminary paltering with the spirit of commerce is a degradation. Does this seem an ideal demand? Let us remember, then, ideals are goads and goals, counsels of perfection. No one expects people to come quite up to them, but it is better for human nature that they should be there. For there is something in hero-worship, despite Carlyle's grandiosities, provided you choose your hero wisely. We do, in this valley of doubt and confusion, touched with false sparkles, follow men who speak from their souls sincerely, who work from their hearts. Instinctively we feel it degrading and disillusionising that inspiration shall be paid in hard cash, and genius entered on the credit side of a ledger. Does a man plead that he has to support his wife and children? Well, in the first place, he need not have got them. In the second, one may be admirable as a man, but as an artist abominable. Still it is better that a man should write Adelphi dramas than that his starving family should qualify for scenes in them. All honour to the artist who lives on bread and water in a garret rather than prostitute his art! but less honour to the man who lives on my bread, and adds somebody else's whisky to his water, rather than earn an honest living by dishonest books and plays. This was the question that split up the Bohemians of Murger. While the majority did odd jobs for the Philistines, to have the time for real art, the very poet consenting to write Alexandrines for a dentist at fifteen sous a dozen—vastly cheaper than oysters—there was an inner band of the faithful who preferred starvation to the desecration of their genius for the unsaleable. Even so among the vegetarians there is a holier circle that eats only nuts and fruits. The sensible artist will compromise. There is in political economy a region called "the margin of subsistence." It is a sort of purgatory. Above it, we enter the heaven of superfluities; below it, lies the dread Hades of hunger. It is here that the impecunious artist—with a family (and, alas! the artist is nearly always impecunious—with a family) should pitch his tent. He may be allowed to prostitute himself, if need be, sufficiently to pay the ground-rent. He must not be driven lower down by his devotion to the Muses: an artist who dies of starvation is simply a dead donkey. Rather than play a false note, he stops his music for ever. It is sublime—but silly. He had better black boots. There is no reason on earth why a shoeblack should not read Schiller, or moralise as he does in Bret Harte's parody of Bulwer Lytton. A bachelor artist might do worse than get locked up for some simple offence, and thus throw himself upon the nation. Remember what Sir Walter Raleigh did in prison. The poet can rise superior to the sordidness of skilly. Only he must be careful to preserve his seclusion. Leigh Hunt made his cell the artistic centre of London, but I doubt if he got through much work; and more recently, when Jokaï was in gaol, he was compelled to insist on two hours' privacy and confinement per day. To be a "first-class misdemeanant" seems to me the height of happiness for a literary man.

      Unfortunately there are few honest opportunities for going to gaol. The most honest way of all would be to write the truth about men and things; but this editors will not print. So one has to live at one's own expense. Nevertheless, the Hotel of the Black Maria remains an ideal.

IV

       Table of Contents

      BOHEMIA AND VERLAINE

      It is one of the pleasures of my life that I never saw Tennyson. Hence I am still able to think of him as a poet, for even his photograph is not disillusionising, and he dressed for the part almost as well as Beerbohm Tree would have done. Why one's idea of a poet is a fine frenzied being, I do not quite know. One seems to pick it up in the very nursery, and even the London gamin knows a poet when he doesn't see one. Probably it rests upon the ancient tradition of oracles and sibyls, foaming at the mouth like champagne bottles. Inspiration meant originally demoniac possession, and to "modern thought" prophecy and poetry are both epileptic. "Genius is a degenerative psychosis of the epileptoid order." A large experience of poets has convinced me as little of this as of the old view summed up in genus irritabile vatum. Poets seem to me the homeliest and most hardworking of mankind—'t is a man in possession, not a daimon nor a disease. Of course they have their mad moods, but they don't write in them. Writing demands serenity, steadiness, patience; and of all kinds of writing, poetry demands the steadiest pen. Complex metres and curious rhyme-schemes are not to be achieved without pain and patience. Prose is a path, but poetry is a tight-rope, and to walk on it demands the nicest dexterity. You may scribble off prose in the fieriest frenzy—who so fiery and frenzied as your journalist with the printer's devil at his elbow?—but if you would aspire to Parnassus, you must go slow and steady. Fancy inditing a sonnet with the compositors waiting for "copy"! Pegasus were more truly figured as a drayhorse than a steed with wings; he jogs along trot-trot, and occasionally he stands at an obstinate pause. The splendid and passionate lyrics of Swinburne, with their structural involutions and complicacies, must have been "a dem'd grind." The English language does not easily lend itself to so much "linked sweetness long drawn out." Even the manuscript of Pope's easy meandering verse is disfigured by ceaseless corrections. As he himself says:

      True ease in writing comes from art, not chance,

       As those move easiest who have learn'd to dance.

      Probably these very lines run in the original manuscript somewhat as follows:

      [Illustration: Handwriting sample]

      Shelley