Contents -BIBLIOGRAPHIC RECORD

T.S. Eliot (1888–1965). The Sacred Wood. 1921.

Imperfect Critics

THREE conclusions at least issue from the perusal of Swinburne’s critical essays: Swinburne had mastered his material, was more inward with the Tudor-Stuart dramatists than any man of pure letters before or since; he is a more reliable guide to them than Hazlitt, Coleridge, or Lamb; and his perception of relative values is almost always correct. Against these merits we may oppose two objections: the style is the prose style of Swinburne, and the content is not, in an exact sense, criticism. The faults of style are, of course, personal; the tumultuous outcry of adjectives, the headstrong rush of undisciplined sentences, are the index to the impatience and perhaps laziness of a disorderly mind. But the style has one positive merit: it allows us to know that Swinburne was writing not to establish a critical reputation, not to instruct a docile public, but as a poet his notes upon poets whom he admired. And whatever our opinion of Swinburne’s verse, the notes upon poets by a poet of Swinburne’s dimensions must be read with attention and respect.

In saying that Swinburne’s essays have the value of notes of an important poet upon important poets, we must place a check upon our expectancy. He read everything, and he read with the single interest in finding literature. The critics of the romantic period were pioneers, and exhibit the fallibility of discoverers. The selections of Lamb are a successful effort of good taste, but anyone who has referred to them after a thorough reading of any of the poets included must have found that some of the best passages—which must literally have stared Lamb in the face—are omitted, while sometimes others of less value are included. Hazlitt, who committed himself to the judgment that the Maid’s Tragedy is one of the poorest of Beaumont and Fletcher’s plays, has no connected message to deliver. Coleridge’s remarks—too few and scattered—have permanent truth; but on some of the greatest names he passes no remark, and of some of the best plays was perhaps ignorant or ill-informed. But compared with Swinburne, Coleridge writes much more as a poet might be expected to write about poets. Of Massinger’s verse Swinburne says:

It is more serviceable, more businesslike, more eloquently practical, and more rhetorically effusive—but never effusive beyond the bounds of effective rhetoric—than the style of any Shakespearean or of any Jonsonian dramatist.

It is impossible to tell whether Webster would have found the style of Massinger more “serviceable” than his own for the last act of the White Devil, and indeed difficult to decide what “serviceable” here means; but it is quite clear what Coleridge means when he says that Massinger’s style

is much more easily constructed [than Shakespeare’s], and may be more successfully adopted by writers in the present day.

Coleridge is writing as a professional with his eye on the technique. I do not know from what writing of Coleridge Swinburne draws the assertion that “Massinger often deals in exaggerated passion,” but in the essay from which Swinburne quotes elsewhere Coleridge merely speaks of the “unnaturally irrational passions,” a phrase much more defensible. Upon the whole, the two poets are in harmony upon the subject of Massinger; and although Coleridge has said more in five pages, and said it more clearly, than Swinburne in thirty-nine, the essay of Swinburne is by no means otiose: it is more stimulating than Coleridge’s, and the stimulation is never misleading. With all his superlatives, his judgment, if carefully scrutinized, appears temperate and just.

With all his justness of judgment, however, Swinburne is an appreciator and not a critic. In the whole range of literature covered, Swinburne makes hardly more than two judgments which can be reversed or even questioned: one, that Lyly is insignificant as a dramatist, and the other, that Shirley was probably unaffected by Webster. The Cardinal is not a cast of the Duchess of Malfi, certainly; but when Shirley wrote

the mist is risen, and there’s none

To steer my wandering bark.(Dies.)

he was probably affected by

My soul, like to a ship in a black storm,

Is driven, I know not whither.

Swinburne’s judgment is generally sound, his taste sensitive and discriminating. And we cannot say that his thinking is faulty or perverse—up to the point at which it is thinking. But Swinburne stops thinking just at the moment when we are most zealous to go on. And this arrest, while it does not vitiate his work, makes it an introduction rather than a statement.

We are aware, after the Contemporaries of Shakespeare and the Age of Shakespeare and the books on Shakespeare and Jonson, that there is something unsatisfactory in the way in which Swinburne was interested in these people; we suspect that his interest was never articulately formulated in his mind or consciously directed to any purpose. He makes his way, or loses it, between two paths of definite direction. He might as a poet have concentrated his attention upon the technical problems solved or tackled by these men; he might have traced for us the development of blank verse from Sackville to the mature Shakespeare, and its degeneration from Shakespeare to Milton. Or he might have studied through the literature to the mind of that century; he might, by dissection and analysis, have helped us to some insight into the feeling and thought which we seem to have left so far away. In either case, you would have had at least the excitement of following the movements of an important mind groping towards important conclusions. As it is, there are to be no conclusions, except that Elizabethan literature is very great, and that you can have pleasure and even ecstasy from it, because a sensitive poetic talent has had the experience. One is in risk of becoming fatigued by a hubbub that does not march; the drum is beaten, but the procession does not advance.

If, for example, Swinburne’s interest was in poetry, why devote an essay to Brome? “The opening scene of the Sparagus Garden,” says Swinburne, “is as happily humorous and as vividly natural as that of any more famous comedy.” The scene is both humorous and natural. Brome deserves to be more read than he is, and first of all to be more accessible than he is. But Swinburne ought to suggest or imply (I do not say impose) a reason for reading the Sparagus Garden or the Antipodes, more sufficient than any he has provided. No doubt such reason could be found.

When it is a matter of pronouncing judgment between two poets, Swinburne is almost unerring. He is certainly right in putting Webster above Tourneur, Tourneur above Ford, and Ford above Shirley. He weighs accurately the good and evil in Fletcher: he perceives the essential theatricality, but his comparison of the Faithful Shepherdess with Comus is a judgment no word of which can be improved upon:

The difference between this poem [i.e. the Faithful Shepherdess] and Milton’s exquisitely imitative Comus is the difference between a rose with a leaf or two faded or falling, but still fragrant and radiant, and the faultless but scentless reproduction of a rose in academic wax for the admiration and imitation of such craftsmen as must confine their ambition to the laurels of a college or the plaudits of a school.

In the longest and most important essay in the Contemporaries of Shakespeare, the essay on Chapman, there are many such sentences of sound judgment forcibly expressed. The essay is the best we have on that great poet. It communicates the sense of dignity and mass which we receive from Chapman. But it also illustrates Swinburne’s infirmities. Swinburne was not tormented by the restless desire to penetrate to the heart and marrow of a poet, any more than he was tormented by the desire to render the finest shades of difference and resemblance between several poets. Chapman is a difficult author, as Swinburne says; he is far more difficult than Jonson, to whom he bears only a superficial likeness. He is difficult beyond his obscurity. He is difficult partly through his possession of a quality comparatively deficient in Jonson, but which was nevertheless a quality of the age. It is strange that Swinburne should have hinted at a similarity to Jonson and not mentioned a far more striking affinity of Chapman’s—that is, Donne. The man who wrote

Guise, O my lord, how shall I cast from me

The bands and coverts hindering me from thee?

The garment or the cover of the mind

The humane soul is; of the soul, the spirit

The proper robe is; of the spirit, the blood;

And of the blood, the body is the shroud:

and

Nothing is made of nought, of all things made,

Their abstract being a dream but of a shade,

is unquestionably kin to Donne. The quality in question is not peculiar to Donne and Chapman. In common with the greatest—Marlowe, Webster, Tourneur, and Shakespeare—they had a quality of sensuous thought, or of thinking through the senses, or of the senses thinking, of which the exact formula remains to be defined. If you look for it in Shelley or Beddoes, both of whom in very different ways recaptured something of the Elizabethan inspiration, you will not find it, though you may find other qualities instead. There is a trace of it only in Keats, and, derived from a different source, in Rossetti. You will not find it in the Duke of Gandia. Swinburne’s essay would have been all the better if he had applied himself to the solution of problems like this.

He did not apply himself to this sort of problem because this was not the sort of problem that interested him. The author of Swinburne’s critical essays is also the author of Swinburne’s verse: if you hold the opinion that Swinburne was a very great poet, you can hardly deny him the title of a great critic. There is the same curious mixture of qualities to produce Swinburne’s own effect, resulting in the same blur, which only the vigour of the colours fixes. His great merit as a critic is really one which, like many signal virtues, can be stated so simply as to appear flat. It is that he was sufficiently interested in his subject-matter and knew quite enough about it; and this is a rare combination in English criticism. Our critics are often interested in extracting something from their subject which is not fairly in it. And it is because this elementary virtue is so rare that Swinburne must take a very respectable place as a critic. Critics are often interested—but not quite in the nominal subject, often in something a little beside the point; they are often learned—but not quite to the point either. (Swinburne knew some of the plays almost by heart.) Can this particular virtue at which we have glanced be attributed to Walter Pater? or to Professor Bradley? or to Swinburne’s editor?

It is impossible to overlook the merits of scholarship and criticism exhibited by George Wyndham’s posthumous book, and it is impossible to deal with the book purely on its merits of scholarship and criticism. To attempt to do so would in the first place be unfair, as the book is a posthumous work, and posthumous books demand some personal attention to their writers. This book is a collection of essays and addresses, arranged in their present order by Mr. Whibley; they were intended by their author to be remodelled into a volume on “romantic literature”; they move from an ingenious search for the date of the beginning of Romanticism, through the French and English Renaissance, to Sir Walter Scott. In the second place, these essays represent the literary work of a man who gained his chief distinction in political life. In the third place, this man stands for a type, an English type. The type is interesting and will probably become extinct. It is natural, therefore, that our primary interest in the essays should be an interest in George Wyndham.

Mr. Charles Whibley, in an introduction the tone of which is well suited to the matter, has several sentences which throw light on Wyndham’s personality. What issues with surprising clearness from Mr. Whibley’s sketch is the unity of Wyndham’s mind, the identity of his mind as it engaged in apparently unrelated occupations. Wyndham left Eton for the army; in barracks he “taught himself Italian, and filled his leisure with the reading of history and poetry.” After this Coldstream culture there was a campaign in Egypt; later, service in South Africa accompanied by a copy of Virgil. There was a career in the Commons, a conspicuous career as Irish Secretary. Finally, there was a career as a landowner—2400 acres. And throughout these careers George Wyndham went on not only accumulating books but reading them, and occasionally writing about them. He was a man of character, a man of energy. Mr. Whibley is quite credible when he says:

Literature was for him no parergon, no mere way of escape from politics. If he was an amateur in feeling, he was a craftsman in execution;

and, more significantly,

With the same zest that he read and discoursed upon A Winter’s Tale or Troilus and Cressida, he rode to hounds, or threw himself with a kind of fury into a “point to point,” or made a speech at the hustings, or sat late in the night talking with a friend.

From these and other sentences we chart the mind of George Wyndham, and the key to its topography is the fact that his literature and his politics and his country life are one and the same thing. They are not in separate compartments, they are one career. Together they made up his world: literature, politics, riding to hounds. In the real world these things have nothing to do with each other. But we cannot believe that George Wyndham lived in the real world. And this is implied in Mr. Whibley’s remark that:

George Wyndham was by character and training a romantic. He looked with wonder upon the world as upon a fairyland.

Here is the manifestation of type.

There must probably be conceded to history a few “many-sided” men. Perhaps Leonardo da Vinci was such. George Wyndham was not a man on the scale of Leonardo, and his writings give a very different effect from Leonardo’s notebooks. Leonardo turned to art or science, and each was what it was and not another thing. But Leonardo was Leonardo: he had no father to speak of, he was hardly a citizen, and he had no stake in the community. He lived in no fairyland, but his mind went out and became a part of things. George Wyndham was Gentry. He was chivalrous, the world was an adventure of himself. It is characteristic that on embarking as a subaltern for Egypt he wrote enthusiastically:

I do not suppose that any expedition since the days of Roman governors of provinces has started with such magnificence; we might have been Antony going to Egypt in a purple-sailed galley.

This is precisely the spirit which animates his appreciation of the Elizabethans and of Walter Scott; which guides him toward Hakluyt and North. Wyndham was enthusiastic, he was a Romantic, he was an Imperialist, and he was quite naturally a literary pupil of W. E. Henley. Wyndham was a scholar, but his scholarship is incidental; he was a good critic, within the range allowed him by his enthusiasms; but it is neither as Scholar nor as Critic that we can criticize him. We can criticize his writings only as the expression of this peculiar English type, the aristocrat, the Imperialist, the Romantic, riding to hounds across his prose, looking with wonder upon the world as upon a fairyland.

Because he belongs to this type, Wyndham wrote enthusiastically and well about North’s Plutarch. The romance of the ancient world becomes more romantic in the idiomatic prose of North; the heroes are not merely Greek and Roman heroes, but Elizabethan heroes as well; the romantic fusion allured Wyndham. The charms of North could not be expounded more delightfully, more seductively, with more gusto, than they are in Wyndham’s essay. He appreciates the battles, the torchlight, the “dead sound” of drums, the white, worn face of Cicero in his flight peering from his litter; he appreciates the sharp brusque phrase of North: “he roundly trussed them up and hung them by their necks.” And Wyndham is learned. Here, as in his essays on the Pléiade and Shakespeare, the man has read everything, with a labour that only whets his enjoyment of the best. There are two defects: a lack of balance and a lack of critical profundity. The lack of balance peeps through Wyndham’s condemnation of an obviously inferior translation of Plutarch: “He dedicated the superfluity of his leisure to enjoyment, and used his Lamia,” says the bad translator. North: “he took pleasure of Lamia.” Wyndham makes a set upon the bad translator. But he forgets that “dedicated the superfluity of his leisure” is such a phrase as Gibbon would have warmed to life and wit, and that a history, in the modern sense, could not be written in the style of North. Wyndham forgets, in short, that it is not, in the end, periods and traditions but individual men who write great prose. For Wyndham is himself a period and a tradition.

The lack of balance is to be suspected elsewhere. Wyndham likes the best, but he likes a good deal. There is no conclusive evidence that he realized all the difference, the gulf of difference between lines like:

En l’an trentiesme de mon aage

Que toutes mes hontes j’ay beues;

and even the very best of Ronsard or Bellay, such as:

Le temps s’en va, le temps s’en va, madame;

Las! le temps, non, mais nous nous en allons

Et tost serons estendus sous la lame.

We should not gather from Wyndham’s essay that the Phœnix and Turtle is a great poem, far finer than Venus and Adonis; but what he says about Venus and Adonis is worth reading, for Wyndham is very sharp in perceiving the neglected beauties of the second-rate. There is nothing to show the gulf of difference between Shakespeare’s sonnets and those of any other Elizabethan. Wyndham overrates Sidney, and in his references to Elizabethan writings on the theory of poetry omits mention of the essay by Campion, an abler and more daring though less common-sense study than Daniel’s. He speaks a few words for Drayton, but has not noticed that the only good lines (with the exception of one sonnet which may be an accident) in Drayton’s dreary sequence of “Ideas” occur when Drayton drops his costume for a moment and talks in terms of actuality:

Lastly, mine eyes amazedly have seen

Essex’ great fall; Tyrone his peace to gain;

The quiet end of that long-living queen;

The king’s fair entry, and our peace with Spain.

More important than the lack of balance is the lack of critical analysis. Wyndham had, as was indicated, a gusto for the Elizabethans. His essay on the Poems of Shakespeare contains an extraordinary amount of information. There is some interesting gossip about Mary Fitton and a good anecdote of Sir William Knollys. But Wyndham misses what is the cardinal point in criticizing the Elizabethans: we cannot grasp them, understand them, without some understanding of the pathology of rhetoric. Rhetoric, a particular form of rhetoric, was endemic, it pervaded the whole organism; the healthy as well as the morbid tissues were built up on it. We cannot grapple with even the simplest and most conversational lines in Tudor and early Stuart drama without having diagnosed the rhetoric in the sixteenth- and seventeenth-century mind. Even when we come across lines like:

There’s a plumber laying pipes in my guts, it scalds,

we must not allow ourselves to forget the rhetorical basis any more than when we read:

Come, let us march against the powers of heaven

And set black streamers in the firmament

To signify the slaughter of the gods.

An understanding of Elizabethan rhetoric is as essential to the appreciation of Elizabethan literature as an understanding of Victorian sentiment is essential to the appreciation of Victorian literature and of George Wyndham.

Wyndham was a Romantic; the only cure for Romanticism is to analyse it. What is permanent and good in Romanticism is curiosity—

…l’ ardore

Ch’ i’ ebbe a divenir del mondo esperto

E degli vizii umani e del valore—

a curiosity which recognizes that any life, if accurately and profoundly penetrated, is interesting and always strange. Romanticism is a short cut to the strangeness without the reality, and it leads its disciples only back upon themselves. George Wyndham had curiosity, but he employed it romantically, not to penetrate the real world, but to complete the varied features of the world he made for himself. It would be of interest to divagate from literature to politics and inquire to what extent Romanticism is incorporate in Imperialism; to inquire to what extent Romanticism has possessed the imagination of Imperialists, and to what extent it was made use of by Disraeli. But this is quite another matter: there may be a good deal to be said for Romanticism in life, there is no place for it in letters. Not that we need conclude that a man of George Wyndham’s antecedents and traditions must inevitably be a Romanticist writer. But this is the case when such a man plants himself firmly in his awareness of caste, when he says “The gentry must not abdicate.” In politics this may be an admirable formula. It will not do in literature. The Arts insist that a man shall dispose of all that he has, even of his family tree, and follow art alone. For they require that a man be not a member of a family or of a caste or of a party or of a coterie, but simply and solely himself. A man like Wyndham brings several virtues into literature. But there is only one man better and more uncommon than the patrician, and that is the Individual.

In a world which is chiefly occupied with the task of keeping up to date with itself, it is a satisfaction to know that there is at least one man who has not only read but enjoyed, and not only enjoyed but read, such authors as Petronius and Herondas. That is Mr. Charles Whibley, and there are two statements to make about him: that he is not a critic, and that he is something which is almost as rare, if not quite as precious. He has apparently read and enjoyed a great deal of English literature, and the part of it that he has most enjoyed is the literature of the great ages, the sixteenth and seventeenth centuries. We may opine that Mr. Whibley has not uttered a single important original judgment upon any of this literature. On the other hand, how many have done so? Mr. Whibley is not a critic of men or of books; but he convinces us that if we read the books that he has read we should find them as delightful as he has found them; and if we read them we can form our own opinions. And if he has not the balance of the critic, he has some other equipoise of his own. It is partly that his tastes are not puritanical, that he can talk about Restoration dramatists and others without apologizing for their “indecency”; it is partly his sense for the best local and temporal flavours; it is partly his healthy appetite.

A combination of non-critical, rather than uncritical, qualities made Mr. Whibley the most appropriate person in the world for the work by which he is best known. We should be more grateful for the “Tudor Translations Series” if we could find copies to be bought, and if we could afford to buy them when we found them. But that is not Mr. Whibley’s fault. The introductions which he wrote for some of the translators are all that such introductions should be. His Urquhart’s Rabelais contains all the irrelevant information about that writer which is what is wanted to stimulate a taste for him. After reading the introduction, to read Urquhart was the only pleasure in life. And therefore, in a country destitute of living criticism, Mr. Whibley is a useful person: for the first thing is that English literature should be read at all. The few people who talk intelligently about Stendhal and Flaubert and James know this; but the large number of people who skim the conversation of the former do not know enough of English literature to be even insular. There are two ways in which a writer may lead us to profit by the work of dead writers. One is by isolating the essential, by pointing out the most intense in various kinds and separating it from the accidents of environment. This method is helpful only to the more intelligent people, who are capable of a unique enjoyment of perfect expression, and it concentrates on the very best in any art. The other method, that of Mr. Whibley, is to communicate a taste for the period—and for the best of the period so far as it is of that period. That is not very easy either. For a pure journalist will not know any period well enough; a pure dilettante will know it too egotistically, as a fashion of his own. Mr. Whibley is really interested; and he has escaped, without any programme of revolt, from the present century into those of Tudor and Stuart. He escapes, and perhaps leads others, by virtue of a taste which is not exactly a literary taste.

The “Tudor Translations” form part of a pronounced taste. Some are better written than others. There is, of course, a world of difference—of which Mr. Whibley is perhaps unaware—between even Florio and his original. The French of Montaigne is a mature language, and the English of Florio’s living translation is not. Montaigne could be translated into the English of his time, but a similar work could not have been written in it. But as the English language matured it lost something that Florio and all his inferior colleagues had, and that they had in common with the language of Montaigne. It was not only the language, but the time. The prose of that age had life, a life to which later ages could not add, from which they could only take away. You find the same life, the same abundance, in Montaigne and Brantôme, the alteration in Rochefoucauld as in Hobbes, the desiccation in the classic prose of both languages, in Voltaire and in Gibbon. Only, the French was originally richer and more mature—already in Joinville and Commines—and we have no prose to compare with Montaigne and Rabelais. If Mr. Whibley had analysed this vitality, and told us why Holland and Underdowne, Nashe and Martin Marprelate are still worth reading, then he could have shown us how to recognize this quality when it, or something like it, appears in our own lifetime. But Mr. Whibley is not an analyst. His taste, even, becomes less certain as he fixes it on individuals within his period. On Surrey’s blank verse he is feeble; he does not even give Surrey the credit of having anticipated some of Tennyson’s best effects. He has no praise for Golding, quite one of the best of the verse translators; he apologizes for him by saving that Ovid demands no strength or energy! There is strength and energy, at least, in Marlowe’s Amores. And he omits mention of Gawain Douglas, who, though he wrote in Scots, was surely a “Tudor” translator. Characteristically, Mr. Whibley praises Chapman because

it gives proof of an abounding life, a quenchless energy. There is a grandeur and spirit in Chapman’s rendering, not unworthy the original…

This is commonplace, and it is uncritical. And a critic would not use so careless a phrase as “Tasso’s masterpiece.” The essay on Congreve does not add much to our understanding:

And so he set upon the boards a set of men and women of quick brains and cynical humours, who talked with the brilliance and rapidity wherewith the finished swordsman fences.

We have heard of this conversation like fencing before. And the suspicion is in our breast that Mr. Whibley might admire George Meredith. The essay on Ralegh gives still less. The reality of that pleasing pirate and monopolist has escaped, and only the national hero is left. And yet Ralegh, and Swift, and Congreve, and the underworld of sixteenth and seventeenth-century letters, are somehow kept alive by what Mr. Whibley says of them.

Accordingly, Mr. Whibley does not disappear in the jungle of journalism and false criticism; he deserves a “place upon the shelves” of those who care for English literature. He has the first requisite of a critic: interest in his subject, and ability to communicate an interest in it. His defects are both of intellect and feeling. He has no dissociative faculty. There were very definite vices and definite shortcomings and immaturities in the literature he admires; and as he is not the person to tell us of the vices and shortcomings, he is not the person to lay before us the work of absolutely the finest quality. He exercises neither of the tools of the critic: comparison and analysis. He has not the austerity of passion which can detect unerringly the transition from work of eternal intensity to work that is merely beautiful, and from work that is beautiful to work that is merely charming. For the critic needs to be able not only to saturate himself in the spirit and the fashion of a time—the local flavour—but also to separate himself suddenly from it in appreciation of the highest creative work.

And he needs something else that Mr. Whibley lacks: a creative interest, a focus upon the immediate future. The important critic is the person who is absorbed in the present problems of art, and who wishes to bring the forces of the past to bear upon the solution of these problems. If the critic consider Congreve, for instance, he will have always at the back of his mind the question: What has Congreve got that is pertinent to our dramatic art? Even if he is solely engaged in trying to understand Congreve, this will make all the difference; inasmuch as to understand anything is to understand from a point of view. Most critics have some creative interest—it may be, instead of an interest in any art, an interest (like Mr. Paul More’s) in morals. These remarks were introduced only to assist in giving the books of Mr. Whibley a place, a particular but unticketed place, neither with criticism, nor with history, nor with plain journalism; and the trouble would not have been taken if the books were not thought to be worth placing.

This gallery of critics is not intended to be in any sense complete. But having dealt with three English writers of what may be called critical prose, one’s mind becomes conscious of the fact that they have something in common, and, trying to perceive more clearly what this community is, and suspecting that it is a national quality, one is impelled to meditate upon the strongest contrast possible. Hence these comments upon two American critics and one French critic, which would not take exactly this form without the contrast at which I have hinted.

Mr. Paul More is the author of a number of volumes which he perhaps hopes will break the record of mass established by the complete works of Sainte-Beuve. The comparison with Sainte-Beuve is by no means trivial, for Mr. More, and Professor Irving Babbitt also, are admirers of the voluminous Frenchman. Not only are they admirers, but their admiration is perhaps a clue both to much of their merit and to some of their defects. In the first place, both of these writers have given much more attention to French criticism, to the study of French standards of writing and of thought, than any of the notable English critics since Arnold; they are therefore much nearer to the European current, although they exhibit faults which are definitely transatlantic and which definitely keep them out of it. The French influence is traceable in their devotion to ideas and their interest in problems of art and life as problems which exist and can be handled apart from their relations to the critic’s private temperament. With Swinburne, the criticism of Elizabethan literature has the interest of a passion, it has the interest for us of any writing by an intellectual man who is genuinely moved by certain poetry. Swinburne’s intelligence is not defective, it is impure. There are few ideas in Swinburne’s critical writings which stand forth luminous with an independent life of their own, so true that one forgets the author in the statement. Swinburne’s words must always be referred back to Swinburne himself. And if literature is to Swinburne merely a passion, we are tempted to say that to George Wyndham it was a hobby, and to Mr. Whibley almost a charming showman’s show (we are charmed by the urbanity of the showman). The two latter have gusto, but gusto is no equivalent for taste; it depends too much upon the appetite and the digestion of the feeder. And with one or two other writers, whom I have not had occasion to discuss, literature is not so much a collection of valuable porcelain as an institution—accepted, that is to say, with the same gravity as the establishments of Church and State. That is, in other words, the essentially uncritical attitude. In all of these attitudes the English critic is the victim of his temperament. He may acquire great erudition, but erudition easily becomes a hobby; it is useless unless it enables us to see literature all round, to detach it from ourselves, to reach a state of pure contemplation.

Now Mr. More and Mr. Babbitt have endeavoured to establish a criticism which should be independent of temperament. This is in itself a considerable merit. But at this point Mr. More particularly has been led astray, oddly enough, by his guide Sainte-Beuve. Neither Mr. More nor Sainte-Beuve is primarily interested in art. Of the latter M. Benda has well observed that

on sait—et c’est certainement un des grands éléments de son succès—combien d’études l’illustre critique consacre à des-auteurs dont l’importance littéraire est quasi nulle (femmes, magistrats, courtisans, militaires), mais dont les écrits lui sont une occasion de pourtraiturer une âme; combien volontiers, pour les maîtres, il s’attache à leurs productions secondaires, notes, brouillons, lettres intimes, plutôt qu’à leurs grandes œuvres, souvent beaucoup moins expressives, en effet, de leur psychologie.

Mr. More is not, like Sainte-Beuve, primarily interested in psychology or in human beings; Mr. More is primarily a moralist, which is a worthy and serious thing to be. The trouble with Mr. More is that you cannot disperse a theory or point of view of morals over a vast number of essays on a great variety of important figures in literature, unless you can give some more particular interest as well. Sainte-Beuve has his particularized interest in human beings; another critic—say Remy de Gourmont—may have something to say always about the art of a writer which will make our enjoyment of that writer more conscious and more intelligent. But the pure moralist in letters—the moralist is useful to the creator as well as the reader of poetry—must be more concise, for we must have the pleasure of inspecting the beauty of his structure. And here M. Julien Benda has a great advantage over Mr. More; his thought may be less profound, but it has more formal beauty.

Mr. Irving Babbitt, who shares so many of the ideals and opinions of Mr. More that their names must be coupled, has expressed his thought more abstractly and with more form, and is free from a mystical impulse which occasionally gets out of Mr. More’s hand. He appears, more clearly than Mr. More, and certainly more clearly than any critic of equal authority in America or England, to perceive Europe as a whole; he has the cosmopolitan mind and a tendency to seek the centre. His few books are important, and would be more important if he preached of discipline in a more disciplined style. Although he also is an admirer of Sainte-Beuve, he would probably subscribe to this admirable paragraph of Othenin d’Haussonville:

Il y a une beauté littéraire, impersonnelle en quelque sorte, parfaitement distincte de l’auteur lui-même et de son organisation, beauté qui a sa raison d’être et ses lois, dont la critique est tenue de rendre compte. Et si la critique considère cette tâche comme au-dessous d’elle, si c’est affaire à la rhétorique et à ce que Sainte-Beuve appelle dédaigneusement les Quintilien, alors la rhétorique a du bon et les Quintilien ne sont pas à dédaigner.

There may be several critics in England who would applaud this notion; there are very few who show any evidence of its apprehension in their writings. But Mr. More and Mr. Babbitt, whatever their actual tastes, and although they are not primarily occupied with art, are on the side of the artist. And the side of the artist is not the side which in England is often associated with critical writing. As Mr. More has pointed out in an interesting essay, there is a vital weakness in Arnold’s definition of criticism as “the disinterested endeavour to know the best that is known and thought in the world, irrespectively of practice, politics, and everything of the kind.” The “disinterested endeavour to know” is only a prerequisite of the critic, and is not criticism, which may be the result of such an endeavour. Arnold states the work of the critic merely in terms of the personal ideal, an ideal for oneself—and an ideal for oneself is not disinterested. Here Arnold is the Briton rather than the European.

Mr. More indicates his own attitude in praising those whom he elevates to the position of masters of criticism:

If they deal much with the criticism of literature, this is because in literature more manifestly than anywhere else life displays its infinitely varied motives and results; and their practice is always to render literature itself more consciously a criticism of life.

“Criticism of life” is a facile phrase, and at most only represents one aspect of great literature, if it does not assign to the term “criticism” itself a generality which robs it of precision. Mr. More has, it seems to me, in this sentence just failed to put his finger on the right seriousness of great literary art; the seriousness which we find in Villon’s Testament and which is conspicuously absent from In Memoriam; or the seriousness which controls Amos Barton and not The Mill on the Floss.

It is a pity that Mr. More does not write a little oftener about the great literary artists, it is a pity that he takes the reputations of the world too solemnly. This is probably due in part to remoteness in space from the European centre. But it must be observed that English solemnity and American solemnity are very different. I do not propose to analyse the difference (it would be a valuable chapter in social history); the American solemnity, it is enough to say, is more primitive, more academic, more like that of the German professor. But it is not the fault of Mr. More or Mr. Babbitt that the culture of ideas has only been able to survive in America in the unfavourable atmosphere of the university.

As the inspection of types of English irresistibly provoked a glance at two American critics, so the inspection of the latter leads our attention to the French. M. Julien Benda has the formal beauty which the American critics lack, and a close affinity to them in point of view. He restricts himself, perhaps, to a narrower field of ideas, but within that field he manipulates the ideas with a very exceptional cogency and clarity. To notice his last book (Belphégor: essai sur l’esthétique de la présente société française) would be to quote from it. M. Benda is not like Remy de Gourmont, the critical consciousness of a generation, he could not supply the conscious formulas of a sensibility in process of formation; he is rather the ideal scavenger of the rubbish of our time. Much of his analysis of the decadence of contemporary French society could be applied to London, although differences are observable from his diagnosis.

Quant à la société en elle-même, on peut prévoir que ce soin qu’elle met à éprouver de l’émoi par l’art, devenant cause à son tour, y rendra la soif de ce plaisir de plus en plus intense, l’application à la satisfaire de plus en plus jalouse et plus perfectionnée. On entrevoit le jour où la bonne société française repudiera encore le peu qu’elle supporte aujourd’hui d’idées et d’organisation dans l’art, et ne se passionera plus que pour des gestes de comédiens, pour des impressions de femmes ou d’enfants, pour des rugissements de lyriques, pour des extases de fanatiques.…

Almost the only person who has ever figured in England and attempted a task at all similar to that of M. Benda is Matthew Arnold. Matthew Arnold was intelligent, and by so much difference as the presence of one intelligent man makes, our age is inferior to that of Arnold. But what an advantage a man like M. Benda has over Arnold. It is not simply that he has a critical tradition behind him, and that Arnold is using a language which constantly tempts the user away from dispassionate exposition into sarcasm and diatribe, a language less fitted for criticism than the English of the eighteenth century. It is that the follies and stupidities of the French, no matter how base, express themselves in the form of ideas—Bergsonism itself is an intellectual construction, and the mondaines who attended lectures at the College de France were in a sense using their minds. A man of ideas needs ideas, or pseudo-ideas, to fight against. And Arnold lacked the active resistance which is necessary to keep a mind at its sharpest.

A society in which a mind like M. Benda’s can exercise itself, and in which there are persons like M. Benda, is one which facilitates the task of the creative artist. M. Benda cannot be attached, like Gourmont, to any creative group. He does not wholly partake in that “conscious creation of the field of the present out of the past” which Mr. More considers to be part of the work of the critic. But in analysing the maladies of the second-rate or corrupt literature of the time he makes the labour of the creative artist lighter. The Charles Louis Philippes of English literature are never done with, because there is no one to kill their reputations; we still hear that George Meredith is a master of prose, or even a profound philosopher. The creative artist in England finds himself compelled, or at least tempted, to spend much of his time and energy in criticism that he might reserve for the perfecting of his proper work: simply because there is no one else to do it.