At Large, Arthur Christopher Benson [buy e reader TXT] 📗

present conditions, it represents an impossible and even undesirable ideal. A man who tried to know something about everything would end in knowing very little about anything; and the most exhaustive programme that could be laid down for the most erudite of savants nowadays would be that he should know anything about anything, while the most resolute of specialists must be content with knowing something about something.

A well-informed friend told me, the other day, the name and date of a man who, he said, could be described as the last person who knew practically everything at his date that was worth knowing. I have forgotten both the name and the date and the friend who told me, but I believe that the learned man in question was a cardinal in the sixteenth century. At the present time, the problem of the accumulation of knowledge and the multiplication of books is a very serious one indeed. It is, however, morbid to allow it to trouble the mind. Like all insoluble problems, it will settle itself in a way so obvious that the people who solve it will wonder that any one could ever have doubted what the solution would be, just as the problem of the depletion of the world's stock of coal will no doubt be solved in some perfectly simple fashion.

The dictum in question is generally quoted as an educational formula in favour of giving every one what is called a sound general education. And it is probably one of the contributory causes which account for the present chaos of curricula. All subjects are held to be so important, and each subject is thought by its professors to be so peculiarly adapted for educational stimulus, that a resolute selection of subjects, which is the only remedy, is not attempted; and accordingly the victim of educational theories is in the predicament of the man described by Dr. Johnson who could not make up his mind which leg of his breeches he would put his foot into first. Meanwhile, said the Doctor, with a directness of speech which requires to be palliated, the process of investiture is suspended.

But the practical result of the dilemma is the rise of specialism. The savant is dead and the specialist rules. It is interesting to try to trace the effect of this revolution upon our national culture.

Now, I have no desire whatever to take up the cudgels against the specialists: they are a harmless and necessary race, so long as they are aware of their limitations. But the tyranny of an oligarchy is the worst kind of tyranny, because it means the triumph of an average over individuals, whereas the worst that can be said of a despotism is that it is the triumph of an individual over an average. The tyranny of the specialistic oligarchy is making itself felt to-day, and I should like to fortify the revolutionary spirit of liberty, whose boast it is to detest tyranny in all its forms, whether it is the tyranny of an enlightened despot, or the tyranny of a virtuous oligarchy, or the tyranny of an intelligent democracy.

The first evil which results from the rule of the specialist is the destruction of the AMATEUR. So real a fact is the tyranny of the specialist that the very word "amateur," which means a leisurely lover of fine things, is beginning to be distorted into meaning an inefficient performer. As an instance of its correct and idiomatic use, I often think of the delightful landlord whom Stevenson encountered somewhere, and upon whom he pressed some Burgundy which he had with him. The generous host courteously refused a second glass, saying, "You see I am an amateur of these things, and I am capable of leaving you not sufficient." Now, I shall concern myself here principally with literature, because, in England at all events, literature plays the largest part in general culture. It may be said that we owe some of the best literature we have to amateurs. To contrast a few names, taken at random, Shakespeare, Dryden, Pope, Dr. Johnson, De Quincey, Tennyson, and Carlyle were professionals, it is true; but, on the other hand, Milton, Gray, Boswell, Walter Scott, Charles Lamb, Shelley, Browning, and Ruskin were amateurs. It is not a question of how much a man writes or publishes, it is a question of the spirit in which a man writes. Walter Scott became a professional in the last years of his life, and for the noblest of reasons; but he also became a bad writer. A good pair to contrast are Southey and Coleridge. They began as amateurs. Southey became a professional writer, and his sun set in the mists of valuable information. Coleridge, as an amateur, enriched the language with a few priceless poems, and then got involved in the morass of dialectical metaphysics. The point is whether a man writes simply because he cannot help it, or whether he writes to make an income. The latter motive does not by any means prevent his doing first-rate artistic work--indeed, there are certain persons who seem to have required the stimulus of necessity to make them break through an initial indolence of nature. When Johnson found fault with Gray for having times of the year when he wrote more easily, from the vernal to the autumnal equinox, he added that a man could write at any time if he set himself doggedly to it. True, no doubt! But to write doggedly is not to court favourable conditions for artistic work. It may be a finer sight for a moralist to see a man performing an appointed task heavily and faithfully, with grim tenacity, than it is to see an artist in a frenzy of delight dashing down an overpowering impression of beauty; but what has always hampered the British appreciation of literature is that we cannot disentangle the moral element from it: we are interested in morals, not in art, and we require a dash of optimistic piety in all writing that we propose to enjoy.

The real question is whether, if a man sets himself doggedly to work, the appetite comes with eating, and whether the caged bird begins to flutter its wings and to send out the song that it learnt in the green heart of the wood. When Byron said that easy writing made damned hard reading, he meant that careless conception and hasty workmanship tend to blur the pattern and the colour of work. The fault of the amateur is that he can make the coat, but he cannot be bothered to make it fit. But it is not by any means true that hard writing makes easy reading. The spirit of the amateur is the spirit of the lover, who trembles at the thought that the delicate creature he loves may learn to love him in return, if he can but praise her worthily. The professional spirit is the spirit in which a man carefully and courteously woos an elderly spinster for the sake of her comfortable fortune. The amateur has an irresponsible joy in his work; he is like the golfer who dreams of mighty drives, and practises "putting" on his back lawn: the professional writer gives his solid hours to his work in a conscientious spirit, and is glad in hours of freedom to put the tiresome business away. Yet neither the amateur nor the professional can hope to capture the spirit of art by joy or faithfulness. It is a kind of divine felicity, when all is said and done, the kindly gift of God.

Now into this free wild world of art and literature and music comes the specialist and pegs out his claim, fencing out the amateur, who is essentially a rambler, from a hundred eligible situations. In literature this is particularly the case: the amateur is told by the historian that he must not intrude upon history; that history is a science, and not a province of literature; that the time has not come to draw any conclusions or to summarise any tendencies; that picturesque narrative is an offence against the spirit of Truth; that no one is as black or as white as he is painted; and that to trifle with history is to commit a sin compounded of the sin of Ananias and Simon Magus. The amateur runs off, his hands over his ears, and henceforth hardly dares even to read history, to say nothing of writing it. Perhaps I draw too harsh a picture, but the truth is that I did, as a very young man, with no training except that provided by a sketchy knowledge of the classics, once attempt to write an historical biography. I shudder to think of my method and equipment; I skipped the dull parts, I left all tiresome documents unread. It was a sad farrago of enthusiasm and levity and heady writing. But Jove's thunder rolled and the bolt fell. A just man, whom I have never quite forgiven, to tell the truth, told me with unnecessary rigour and acrimony that I had made a pitiable exhibition of myself. But I have thanked God ever since, for I turned to literature pure and simple.

Then, too, it is the same with art-criticism; here the amateur again, who, poor fool, is on the look-out for what is beautiful, is told that he must not meddle with art unless he does it seriously, which means that he must devote himself mainly to the study of inferior masterpieces, and schools, and tendencies. In literature it is the same; he must not devote himself to reading and loving great books, he must disentangle influences; he must discern the historical importance of writers, worthless in themselves, who form important links. In theology and in philosophy it is much the same: he must not read the Bible and say what he feels about it; he must unravel Rabbinical and Talmudic tendencies; he must acquaint himself with the heretical leanings of a certain era, and the shadow cast upon the page by apocryphal tradition. In philosophy he is still worse off, because he must plumb the depths of metaphysical jargon and master the criticism of methods.

Now, this is in a degree both right and necessary, because the blind must not attempt to lead the blind; but it is treating the whole thing in too strictly scientific a spirit for all that. The misery of it is that the work of the specialist in all these regions tends to set a hedge about the law; it tends to accumulate and perpetuate a vast amount of inferior work. The result of it is, in literature, for instance, that an immense amount of second-rate and third-rate books go on being reprinted; and instead of the principle of selection being applied to great authors, and their inferior writings being allowed to lapse into oblivion, they go on being re-issued, not because they have any direct value for the human spirit, but because they have a scientific importance from the point of view of development. Yet for the ordinary human being it is far more important that he should read great masterpieces in a spirit of lively and enthusiastic sympathy than that he should wade into them through a mass of archaeological and philological detail. As a boy I used to have to prepare, on occasions, a play of Shakespeare for a holiday task. I have regarded certain plays with a kind of horror ever since, because one ended by learning up the introduction, which concerned itself with the origin of the play, and the notes which illustrated the meaning of such words as "kerns and gallowglasses," and left the action and the poetry and the emotion of the play to take care of themselves. This was due partly to the blighting influence of examination-papers set by men of sterile, conscientious brains, but