The Upton Letters, Arthur Christopher Benson [red seas under red skies txt] 📗

prose, the prose of Jeremy Taylor, of Pater, even of Stevenson; but this is a slow and elaborate construction, pinched and pulled this way and that; and it is like some gorgeous picture, of stately persons in seemly and resplendent dress, with magnificently wrought backgrounds of great buildings and curious gardens. But the work of Newman and of Ruskin is a white art, like the art of sculpture.

I find myself every year desiring and admiring this kind of lucidity and purity more and more. It seems to me that the only function of a writer is to express obscure, difficult, and subtle thoughts easily. But there are writers, like Browning and George Meredith, who seem to hold it a virtue to express simple thoughts obscurely. Such writers have a wide vogue, because so many people do not value a thought unless they can feel a certain glow of satisfaction in having grasped it; and to have disentangled a web of words, and to find the bright thing lying within, gives them a pleasing feeling of conquest, and, moreover, stamps the thought in their memory. But such readers have not the root of the matter in them; the true attitude is the attitude of desiring to apprehend, to progress, to feel. The readers who delight in obscurity, to whom obscurity seems to enhance the value of the thing apprehended, are mixing with the intellectual process a sort of acquisitive and commercial instinct very dear to the British heart. These bewildering and bewildered Browning societies who fling themselves upon Sordello, are infected unconsciously with a virtuous craving for "taking higher ground." Sordello contains many beautiful things, but by omitting the necessary steps in argument, and by speaking of one thing allusively in terms of another, and by a profound desultoriness of thought, the poet produces a blurred and tangled impression. The beauties of Sordello would not lose by being expressed coherently and connectedly.

This is the one thing that I try with all my might to impress on boys; that the essence of all style is to say what you mean as forcibly as possible; the bane of classical teaching is that the essence of successful composition is held to be to "get in" words and phrases; it is not a bad training, so long as it is realised to be only a training, in obtaining a rich and flexible vocabulary, so that the writer has a choice of words and the right word comes at call. But this is not made clear in education, and the result on many minds is that they suppose that the essence of good writing is to search diligently for sparkling words and sonorous phrases, and then to patch them into a duller fabric.

But I stray from my point: all paths in a schoolmaster's mind lead out upon the educational plain.

All that you tell me of your new surroundings is intensely interesting. I am thankful that you feel the characteristic charm of the place, and that the climate seems to suit you. You say nothing of your work; but I suppose that you have had no time as yet. The mere absorbing of new impressions is a fatiguing thing, and no good work can be done until a scene has become familiar. I will discharge your commissions punctually; don't hesitate to tell me what you want. I don't do it from a sense of duty, but it is a positive pleasure for me to have anything to do for you. I long for letters; as soon as possible send me photographs, and not merely inanimate photographs of scenes and places, but be sure that you make a part of them yourself. I want to see you standing, sitting, reading in the new house; and give me an exact and detailed account of your day, please; the food you eat, the clothes you wear; you know my insatiable appetite for trifles.--Ever yours,

T. B.


UPTON, March 5, 1904.


MY DEAR HERBERT,--I have been thinking over your last letter: and by the merest chance I stumbled yesterday on an old diary; it was in 1890--a time, do you remember, when our paths had drifted somewhat apart; you had just married, and I find a rather bitter entry, which it amuses me to tell you of now, to the effect that the marriage of a friend, which ought to give one a new friend, often simply deprives one of an old one--"nec carus aeque nec superstes integer," I add. Then I was, I suppose, hopelessly absorbed in my profession; it was at the time when I had just taken a boarding-house, and suffered much from the dejection which arises from feeling unequal to the new claims.

It amuses me now to think that I could ever have thought of losing your friendship; and it was only temporary; it was only that we were fully occupied; you had to learn camaraderie with your wife, for want of which one sees dryness creep into married lives, when the first divine ardours of passion have died away, and when life has to be lived in the common light of day. Well, all that soon adjusted itself; and then I, too, found in your wife a true and congenial friend, so that I can honestly say that your marriage has been one of the most fortunate events of my life.

But that was not what I meant to write to you about; the point is this. You say that personality is a stubborn thing. It is indeed. I find myself reflecting and considering how much one's character really changes as life goes on; in reading this diary of fourteen years ago, though I have altered in some superficial respects, I was confronted with my unalterable self. I have acquired certain aptitudes; I have learnt, for instance, to understand boys better, to sympathise with them, to put myself in their place, to manage them. I don't think I could enunciate my technique, such as it is. If a young master, just entering upon the work of a boarding-house, asked my advice, I could utter several maxims which he would believe (and rightly) to be the flattest and most obvious truisms; but the value of them to me is that they are deduced from experience, and not stated as assumptions. The whole secret lies in the combination of them, the application of them to a particular case; it is not that one sees a thing differently, but that one knows instinctively the sort of thing to say, the kind of line to pursue, the kind of statement that appeals to a boy as sensible and memorable, the sort of precautions to take, the delicate adjustment of principles to a particular case, and so forth. It is, I suppose, something like the skill of an artist; he does not see nature more clearly, if indeed as clearly, as he did when he began, but he knows better what kind of stroke and what kind of tint will best produce the effect which he wishes to record. Of course both artist and schoolmaster get mannerised; and I should be inclined to say in the latter case that a schoolmaster's success (in the best sense) depends almost entirely upon his being able to arrive at sound principles and at the same time to avoid mannerism in applying them. For instance, it is of no use to hold up for a boy's consideration a principle which is quite outside his horizon; what one has to do is to try and give him a principle which is just a little ahead of his practice, which he can admire and also believe to be within his reach.

Besides this experience which I have acquired, I have acquired a similar experience in the direction of teaching--I know now the sort of statement which arrests the attention and arouses the interest of boys; I know how to put a piece of knowledge so that it appears both intelligible and also desirable to acquire.

Then I have learnt, in literary matters, the art of expression to a certain extent. I can speak to you with entire frankness and unaffectedness, and I will say that I am conscious that I can now express lucidly, and to a certain extent attractively, an idea. My deficiency is now in ideas and not in the power of expressing them. I have quality though not quantity. It amuses me to read this old diary and see how impossible I found it to put certain thoughts into words.

But apart from these definite acquirements, I cannot see that my character has altered in the smallest degree. I detect the same little, hard, repellent core of self, sitting enthroned, cold, unchanging, and unchanged, "like a toad within a stone," to borrow Rossetti's great simile. I see exactly the same weaknesses, the same pitiful ambitions, the same faults. I have learnt, I think, to conceal them a little better; but they are not eradicated, nor even modified. Even with regard to their concealment, I have a terrible theory. I believe that the faults of which one is conscious, which one admits, and even the faults of which one faintly suspects oneself, and yet supposes that one conceals from the world at large, are the very faults that are absolutely patent to every one else. If one dimly suspects that one is a liar, a coward, or a snob, and gratefully believes that one has not been placed in a position which inevitably reveals these characteristics in their full nakedness, one may be fairly certain that other people know that one is so tainted.

The discouraging point is that one is not similarly conscious of one's virtues. I take for granted that I have some virtues, because I see that most of the people whom I meet have some sprinkling of them, but I declare that I am quite unable to say what they are. A fault is patent and unmistakable. The old temptation comes upon one, and one yields as usual; but with one's virtues, if they ever manifest themselves, one's own feeling is that one might have done better. Moreover, if one tries deliberately to take stock of one's good points, they seem to be only natural and instinctive ways of behaving; to which no credit can possibly attach, because by temperament one is incapable of acting otherwise.

Another melancholy fact which I believe to be true is this--that the only good work one does is work which one finds easy and likes. I have one or two patiently acquired virtues which are not natural to me, such as a certain methodical way of dealing with business; but I never find myself credited with it by others, because it is done, I suppose, painfully and with effort, and therefore unimpressively.

I look round, and the same phenomenon meets me everywhere. I do not know any instance among my friends where I can trace any radical change of character. "Sicut erat in principio et nunc et semper et in saecula saeculorum."

Indeed the only line upon which improvement is possible seems to me to be this--that a man shall definitely commit himself to a course of life in which he shall be compelled to exercise virtues which are foreign to his character, and any lapses of which will be penalised in a straightforward, professional way. If a man, for instance, is irritable, impatient, unpunctual, let him take up some line where he is bound to be professionally bland, patient, methodical. That would be the act of a philosopher; but, alas, how few of us choose our profession from philosophical motives!

And even so I should fear that the tendencies of temperament are only temporarily imprisoned, and not radically cured; after all, it fits in with the Darwinian theory.