Books and Persons, Arnold Bennett [no david read aloud .TXT] 📗
- Author: Arnold Bennett
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to it. I like it. I will only add that I have been speaking of the solid _bloc_ of the caste; I admit the existence of a broad fringe of exceptions. And I truly sympathize with the _bloc_. I do not blame the _bloc_. I know that the members of the _bloc_ are, like me, the result of evolutionary forces now spent. My hostility to the _bloc_ is beyond my control, an evolutionary force gathering way. Upon my soul, I love the _bloc_. But when I sit among it, clothed in correctness, and reflect that the _bloc_ maintains me and mine in a sort of comfort, because I divert its leisure, the humour of the situation seems to me enormous.
* * * * *
[_11 Feb '09_]
I continue my notes on the great, stolid, comfortable class which forms the backbone of the novel-reading public. The best novelists do not find their material in this class. Thomas Hardy never. H.G. Wells, almost never; now and then he glances at it ironically, in an episodic manner. Hale White (Mark Rutherford), never. Rudyard Kipling, rarely; when he touches it, the reason is usually because it happens to embrace the military caste, and the result is usually such mawkish stories as "William the Conqueror" and "The Brushwood Boy." J.M. Barrie, never. W.W. Jacobs, never. Murray Gilchrist, never. Joseph Conrad, never. Leonard Merrick, very slightly. George Moore, in a "Drama in Muslin," wrote a masterpiece about it twenty years ago; "Vain Fortune" is also good; but for a long time it had ceased to interest the artist in him, and his very finest work ignores it. George Meredith was writing greatly about it thirty years ago. Henry James, with the chill detachment of an outlander, fingers the artistic and cosmopolitan fringe of it. In a rank lower than these we have William de Morgan and John Galsworthy. The former does not seem to be inspired by it. As for John Galsworthy, the quality in him which may possibly vitiate his right to be considered a major artist is precisely his fierce animosity to this class. Major artists are seldom so cruelly hostile to anything whatever as John Galsworthy is to this class. He does in fiction what John Sargent does in paint; and their inimical observation of their subjects will gravely prejudice both of them in the eyes of posterity. I think I have mentioned all the novelists who have impressed themselves at once on the public and genuinely on the handful of persons whose taste is severe and sure. There may be, there are, other novelists alive whose work will end by satisfying the tests of the handful. Whether any of these others deal mainly with the superior stolid comfortable, I cannot certainly say; but I think not. I am ready to assert that in quite modern English fiction there exists no large and impartial picture of the superior stolid comfortable which could give pleasure to a reader of taste. Rather hard on the class that alone has made novel-writing a profession in which a man can earn a reasonable livelihood!
* * * * *
The explanation of this state of affairs is obscure. True, that distinguished artists are very seldom born into the class. But such an explanation would be extremely inadequate. Artists often move creatively with ease far beyond the boundaries of their native class. Thomas Hardy is not a peasant, nor was Stendhal a marquis. I could not, with any sort of confidence, offer an explanation. I am, however, convinced that only a supreme artist could now handle successfully the material presented by the class in question. The material itself lacks interest, lacks essential vitality, lacks both moral and spectacular beauty. It powerfully repels the searcher after beauty and energy. It may be in a decay. One cannot easily recall a great work of art of which the subject is decadence.
The backbone of the novel-reading public is excessively difficult to please, and rarely capable of enthusiasm. Listen to Mudie subscribers on the topic of fiction, and you will scarcely ever hear the accent of unmixed pleasure. It is surprising how even favourites are maltreated in conversation. Some of the most successful favourites seem to be hated, and to be read under protest. The general form of approval is a doubtful "Ye-es!" with a whole tail of unspoken "buts" lying behind it. Occasionally you catch the ecstatic note, "Oh! _Yes_; a _sweet_ book!" Or, with masculine curtness: "Fine book, that!" (For example, "The Hill," by Horace Annesley Vachell!) It is in the light of such infrequent exclamations that you may judge the tepid reluctance of other praise. The reason of all this is twofold; partly in the book, and partly in the reader. The backbone dislikes the raising of any question which it deems to have been decided: a peculiarity which at once puts it in opposition to all fine work, and to nearly all passable second-rate work. It also dislikes being confronted with anything that it considers "unpleasant," that is to say, interesting. It has a genuine horror of the truth neat. It quite honestly asks "to be taken out of itself," unaware that to be taken out of itself is the very last thing it really desires. What it wants is to be confirmed in itself. Its religion is the _status quo_. The difficulties of the enterprise of not offending it either in subject or treatment are, perhaps, already sufficiently apparent. But incomparably the greatest obstacle to pleasing it lies in the positive fact that it prefers not to be pleased. It undoubtedly objects to the very sensations which an artist aims to give. If I have heard once, I have heard fifty times resentful remarks similar to: "I'm not going to read any more bosh by _him_! Why, I simply couldn't put the thing down!" It is profoundly hostile to art, and the empire of art. It will not willingly yield. Its attitude to the magic spell is its attitude to the dentist's gas-bag. This is the most singular trait that I have discovered in the backbone.
* * * * *
Why, then, does the backbone put itself to the trouble of reading current fiction? The answer is that it does so, not with any artistic, spiritual, moral, or informative purpose, but simply in order to pass time. Lately, one hears, it has been neglecting fiction in favour of books of memoirs, often scandalous, and historical compilations, for the most part scandalous sexually. That it should tire of the fiction offered to it is not surprising, seeing that it so seldom gets the fiction of its dreams. The supply of good, workmanlike fiction is much larger to-day than ever it was in the past. The same is to be said of the supply of genuinely distinguished fiction. But the supply of fiction which really appeals to the backbone of the fiction-reading public is far below the demand. The backbone grumbles, but it continues to hire the offensive stuff, because it cannot obtain sufficient of the inoffensive--and time hangs so heavy! The caprice for grape-nut history and memoirs cannot endure, for it is partially a pose. Besides, the material will run short. After all, Napoleon only had a hundred and three mistresses, and we are already at Mademoiselle Georges. The backbone, always loyal to its old beliefs, will return to fiction with a new gusto, and the cycle of events will recommence.
* * * * *
But it is well for novelists to remember that, in the present phase of society and mechanical conditions of the literary market their professional existence depends on the fact that the dullest class in England takes to novels merely as a refuge from its own dullness. And while it is certain that no novelist of real value really pleases that class, it is equally certain that without its support (willing or unwilling--usually the latter) no novelist could live by his pen. Remove the superior stolid comfortable, and the circulating libraries would expire. And exactly when the circulating libraries breathed their last sigh the publishers of fiction would sympathetically give up the ghost. If you happen to be a literary artist, it makes you think--the reflection that when you dine you eat the bread unwillingly furnished by the enemies of art and of progress!
THE POTENTIAL PUBLIC
[_18 Feb. '09_]
I want to dig a little deeper through the strata of the public. Below the actual fiction-reading public which I have described there is a much vaster potential public. It exists in London, and it exists also in the provinces. I will describe it as I have found it in the industrial midlands and north. Should the picture seem black, let me say that my picture of a similar public in London would be even blacker. In all essential qualities I consider the lower middle-class which regards, say, Manchester as its centre, to be superior to the lower middle-class which regards Charing Cross as its centre.
* * * * *
All around Manchester there are groups of municipalities which lie so close to one another that each group makes one town. Take a medium group comprising a quarter of a million inhabitants, with units ranging from sixty down to sixteen thousand. I am not going to darken my picture with a background of the manual workers, the immense majority of whom never read anything that costs more than a penny--unless it be "Gale's Special." I will deal only with the comparatively enlightened crust--employers, clerks, officials, and professional men, and their families--which has formed on the top of the mass, with an average income of possibly two hundred per annum per family. This crust is the elite of the group. It represents its highest culture, and in bulk it is the "lower middle-class" of Tory journalism. In London some of the glitter of the class above it is rubbed on to it by contact. One is apt to think that because there are bookshops in the Strand and large circulating libraries in Oxford Street, and these thoroughfares are thronged with the lower middle-class, therefore the lower middle-class buys or hires books. In my industrial group the institutions and machinery perfected by the upper class for itself do not exist at all, and one may watch the lower without danger of being led to false conclusions by the accidental propinquity of phenomena that have really nothing whatever to do with it.
* * * * *
Now in my group of a quarter of a million souls there is not a single shop devoted wholly or principally to the sale of books. Not one. You might discover a shop
* * * * *
[_11 Feb '09_]
I continue my notes on the great, stolid, comfortable class which forms the backbone of the novel-reading public. The best novelists do not find their material in this class. Thomas Hardy never. H.G. Wells, almost never; now and then he glances at it ironically, in an episodic manner. Hale White (Mark Rutherford), never. Rudyard Kipling, rarely; when he touches it, the reason is usually because it happens to embrace the military caste, and the result is usually such mawkish stories as "William the Conqueror" and "The Brushwood Boy." J.M. Barrie, never. W.W. Jacobs, never. Murray Gilchrist, never. Joseph Conrad, never. Leonard Merrick, very slightly. George Moore, in a "Drama in Muslin," wrote a masterpiece about it twenty years ago; "Vain Fortune" is also good; but for a long time it had ceased to interest the artist in him, and his very finest work ignores it. George Meredith was writing greatly about it thirty years ago. Henry James, with the chill detachment of an outlander, fingers the artistic and cosmopolitan fringe of it. In a rank lower than these we have William de Morgan and John Galsworthy. The former does not seem to be inspired by it. As for John Galsworthy, the quality in him which may possibly vitiate his right to be considered a major artist is precisely his fierce animosity to this class. Major artists are seldom so cruelly hostile to anything whatever as John Galsworthy is to this class. He does in fiction what John Sargent does in paint; and their inimical observation of their subjects will gravely prejudice both of them in the eyes of posterity. I think I have mentioned all the novelists who have impressed themselves at once on the public and genuinely on the handful of persons whose taste is severe and sure. There may be, there are, other novelists alive whose work will end by satisfying the tests of the handful. Whether any of these others deal mainly with the superior stolid comfortable, I cannot certainly say; but I think not. I am ready to assert that in quite modern English fiction there exists no large and impartial picture of the superior stolid comfortable which could give pleasure to a reader of taste. Rather hard on the class that alone has made novel-writing a profession in which a man can earn a reasonable livelihood!
* * * * *
The explanation of this state of affairs is obscure. True, that distinguished artists are very seldom born into the class. But such an explanation would be extremely inadequate. Artists often move creatively with ease far beyond the boundaries of their native class. Thomas Hardy is not a peasant, nor was Stendhal a marquis. I could not, with any sort of confidence, offer an explanation. I am, however, convinced that only a supreme artist could now handle successfully the material presented by the class in question. The material itself lacks interest, lacks essential vitality, lacks both moral and spectacular beauty. It powerfully repels the searcher after beauty and energy. It may be in a decay. One cannot easily recall a great work of art of which the subject is decadence.
The backbone of the novel-reading public is excessively difficult to please, and rarely capable of enthusiasm. Listen to Mudie subscribers on the topic of fiction, and you will scarcely ever hear the accent of unmixed pleasure. It is surprising how even favourites are maltreated in conversation. Some of the most successful favourites seem to be hated, and to be read under protest. The general form of approval is a doubtful "Ye-es!" with a whole tail of unspoken "buts" lying behind it. Occasionally you catch the ecstatic note, "Oh! _Yes_; a _sweet_ book!" Or, with masculine curtness: "Fine book, that!" (For example, "The Hill," by Horace Annesley Vachell!) It is in the light of such infrequent exclamations that you may judge the tepid reluctance of other praise. The reason of all this is twofold; partly in the book, and partly in the reader. The backbone dislikes the raising of any question which it deems to have been decided: a peculiarity which at once puts it in opposition to all fine work, and to nearly all passable second-rate work. It also dislikes being confronted with anything that it considers "unpleasant," that is to say, interesting. It has a genuine horror of the truth neat. It quite honestly asks "to be taken out of itself," unaware that to be taken out of itself is the very last thing it really desires. What it wants is to be confirmed in itself. Its religion is the _status quo_. The difficulties of the enterprise of not offending it either in subject or treatment are, perhaps, already sufficiently apparent. But incomparably the greatest obstacle to pleasing it lies in the positive fact that it prefers not to be pleased. It undoubtedly objects to the very sensations which an artist aims to give. If I have heard once, I have heard fifty times resentful remarks similar to: "I'm not going to read any more bosh by _him_! Why, I simply couldn't put the thing down!" It is profoundly hostile to art, and the empire of art. It will not willingly yield. Its attitude to the magic spell is its attitude to the dentist's gas-bag. This is the most singular trait that I have discovered in the backbone.
* * * * *
Why, then, does the backbone put itself to the trouble of reading current fiction? The answer is that it does so, not with any artistic, spiritual, moral, or informative purpose, but simply in order to pass time. Lately, one hears, it has been neglecting fiction in favour of books of memoirs, often scandalous, and historical compilations, for the most part scandalous sexually. That it should tire of the fiction offered to it is not surprising, seeing that it so seldom gets the fiction of its dreams. The supply of good, workmanlike fiction is much larger to-day than ever it was in the past. The same is to be said of the supply of genuinely distinguished fiction. But the supply of fiction which really appeals to the backbone of the fiction-reading public is far below the demand. The backbone grumbles, but it continues to hire the offensive stuff, because it cannot obtain sufficient of the inoffensive--and time hangs so heavy! The caprice for grape-nut history and memoirs cannot endure, for it is partially a pose. Besides, the material will run short. After all, Napoleon only had a hundred and three mistresses, and we are already at Mademoiselle Georges. The backbone, always loyal to its old beliefs, will return to fiction with a new gusto, and the cycle of events will recommence.
* * * * *
But it is well for novelists to remember that, in the present phase of society and mechanical conditions of the literary market their professional existence depends on the fact that the dullest class in England takes to novels merely as a refuge from its own dullness. And while it is certain that no novelist of real value really pleases that class, it is equally certain that without its support (willing or unwilling--usually the latter) no novelist could live by his pen. Remove the superior stolid comfortable, and the circulating libraries would expire. And exactly when the circulating libraries breathed their last sigh the publishers of fiction would sympathetically give up the ghost. If you happen to be a literary artist, it makes you think--the reflection that when you dine you eat the bread unwillingly furnished by the enemies of art and of progress!
THE POTENTIAL PUBLIC
[_18 Feb. '09_]
I want to dig a little deeper through the strata of the public. Below the actual fiction-reading public which I have described there is a much vaster potential public. It exists in London, and it exists also in the provinces. I will describe it as I have found it in the industrial midlands and north. Should the picture seem black, let me say that my picture of a similar public in London would be even blacker. In all essential qualities I consider the lower middle-class which regards, say, Manchester as its centre, to be superior to the lower middle-class which regards Charing Cross as its centre.
* * * * *
All around Manchester there are groups of municipalities which lie so close to one another that each group makes one town. Take a medium group comprising a quarter of a million inhabitants, with units ranging from sixty down to sixteen thousand. I am not going to darken my picture with a background of the manual workers, the immense majority of whom never read anything that costs more than a penny--unless it be "Gale's Special." I will deal only with the comparatively enlightened crust--employers, clerks, officials, and professional men, and their families--which has formed on the top of the mass, with an average income of possibly two hundred per annum per family. This crust is the elite of the group. It represents its highest culture, and in bulk it is the "lower middle-class" of Tory journalism. In London some of the glitter of the class above it is rubbed on to it by contact. One is apt to think that because there are bookshops in the Strand and large circulating libraries in Oxford Street, and these thoroughfares are thronged with the lower middle-class, therefore the lower middle-class buys or hires books. In my industrial group the institutions and machinery perfected by the upper class for itself do not exist at all, and one may watch the lower without danger of being led to false conclusions by the accidental propinquity of phenomena that have really nothing whatever to do with it.
* * * * *
Now in my group of a quarter of a million souls there is not a single shop devoted wholly or principally to the sale of books. Not one. You might discover a shop
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