The English Novel and the Principle of its Development. Sidney Lanier
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only were my suspicions confirmed: but it is perfectly fair to say that nine out of ten, even of those which most generously treated the book in hand, treated it upon the general theory that a work on the science of verse must necessarily be a collection of rules for making verses. Now, not one of these writers would have treated a work on the science of geology as a collection of rules for making rocks; or a work on the science of anatomy as a collection of rules for making bones or for procuring cadavers. In point of fact, a book of rules for making verses might very well be written; but then it would be a hand-book of the art of verse, and would take the whole science of verse for granted,—like an instruction-book for the piano, or the like.
If we should find the whole critical body of a continent treating (say) Prof. Huxley's late work on the crayfish as really a cookery-book, intended to spread intelligent ideas upon the best methods of preparing shell-fish for the table, we should certainly suspect something wrong; but this is precisely parallel with the mistake already mentioned.
But even when the functions of form, of science, in literary art have been comprehended, one is amazed to find among literary artists themselves a certain apprehension of danger in knowing too much of the forms of art. A valued friend who has won a considerable place in contemporary authorship in writing me not long ago said, after much abstract and impersonal admission of a possible science of verse—in the way that one admits there may be griffins, but feels no great concern about it—"as for me I would rather continue to write verse from pure instinct."
This fallacy—of supposing that we do a thing by instinct simply because we learned to do it unsystematically and without formal teaching—seems a curious enough climax to the misconceptions of literary science. You have only to reflect a moment in order to see that not a single line of verse was ever written by instinct alone since the world began. For—to go no farther—the most poetically instinctive child is obliged at least to learn the science of language—the practical relation of noun and verb and connective—before the crudest line of verse can be written; and since no child talks by instinct, since every child has to learn from others every word it uses,—with an amount of diligence and of study which is really stupendous when we think of it—what wild absurdity to forget these years passed by the child in learning even the rudiments of the science of language which must be well in hand, mind you, before even the rudiments of the science of verse can be learned—what wild absurdity to fancy that one is writing verse by instinct when even the language of verse, far from being instinctive, had to be painfully, if unsystematically, learned as a science.
Once, for all, remembering the dignity of form as we have traced it, remembering the relations of Science as the knowledge of forms, of Art as the creator of beautiful forms, of Religion as the aspiration towards unknown forms and the unknown Form-giver, let us abandon this unworthy attitude towards form, towards science, towards technic, in literary art, which has so long sapped our literary endeavor.
The writer of verse is afraid of having too much form, of having too much technic; he dreads it will interfere with his spontaneity.
No more decisive confession of weakness can be made. It is only cleverness and small talent which is afraid of its spontaneity; the genius, the great artist, is forever ravenous after new forms, after technic; he will follow you to the ends of the earth if you will enlarge his artistic science, if you will give him a fresh form. For indeed genius, the great artist, never works in the frantic vein vulgarly supposed; a large part of the work of the poet, for example, is reflective; a dozen ideas in a dozen forms throng to his brain at once; he must choose the best; even in the extremest heat and sublimity of his raptus, he must preserve a god-like calm, and order thus and so, and keep the rule so that he shall to the end be master of his art and not be mastered by his art.
Charlotte Cushman used often to tell me that when she was, as the phrase is, carried out of herself, she never acted well: she must have her inspiration, she must be in a true raptus, but the raptus must be well in hand, and she must retain the consciousness, at once sublime and practical, of every act.
There is an old aphorism—it is twelve hundred years old—which covers all this ground of the importance of technic, of science, in the literary art, with such completeness and compactness that it always affects one like a poem. It was uttered, indeed, by a poet—and a rare one he must have been—an old Armorican named Hervé, of whom all manner of beautiful stories have survived. This aphorism is, "He who will not answer to the rudder, must answer to the rocks." If any of you have read that wonderful description of shipwreck on these same Armorican rocks which occurs in the autobiography of Millet, the painter, and which was recently quoted in a number of Scribner's Magazine, you can realize that one who lived in that old Armorica—the modern Brittany from which Millet comes—knew full well what it meant to answer to the rocks.
Now, it is precisely this form, this science, this technic, which is the rudder of the literary artist, whether he work at verse or novels. I wish it were everywhere written, even in the souls of all our young American writers, that he who will not answer to the rudder shall answer to the rocks. This was the belief of the greatest literary artist our language has ever produced.
We have direct contemporary testimony that Shakspeare was supremely solicitous in this matter of form. Ben Jonson, in that hearty testimonial, "To the Memory of My Beloved, the Author, Mr. William Shakspeare, and What He Hath Left Us," which was prefixed to the edition of 1623, says, after praises which are lavish even for an Elizabethan eulogy:
Yet must I not give Nature all: thy art,
(Meaning here thy technic, thy care of form, thy science),
My gentle Shakspeare, must enjoy a part;
For though the poet's matter Nature be,
His art doth give the fashion; and that he
Who casts to write a living line must sweat,
(Such as thine are) and strike the second heat
Upon the Muses' anvil; turn the same
(And himself with it) that he thinks to frame;
Or for the laurel he may gain a scorn,
For a good poet's made as well as born, And such wert thou. Look how the father's face Lives in his issue, even so the race. Of Shakespeare's mind and manners brightly shines In his well-turned and true-filed lines, In each of which he seems to shake a lance, As brandished at the eyes of Ignorance.
No fear with Shakspeare of damaging his spontaneity; he shakes a lance at the eyes of Ignorance in every line.
With these views of the progress of forms in general, of the relations of Science—or the knowledge of all forms—to Art, or the creation of beautiful forms, we are prepared, I think, to maintain much equilibrium in the midst of the discordant cries, already mentioned, (1) of those who believe that Science will destroy all literary art; (2) of those who believe that art is to advance by becoming democratic and formless; (3) and lastly, of those who think that the future novelist is to enter the service of science as a police-reporter in ordinary for the information of current sociology.
Let us, therefore, inquire if it is really true—as I am told is much believed in Germany, and as I have seen not unfrequently hinted in the way of timorous apprehension in our own country—that science is to abolish the poet and the novel-writer and all imaginative literature. It is surprising that in all the discussions upon this subject the matter has been treated as belonging solely to the future. But surely life is too short for the folly of arguing from prophecy when we can argue from history; and it seems to me this question is determined. As matter of fact, science (to confine our view to English science) has been already advancing with prodigious strides for two hundred and fifty years, and side by side with it English poetry has been advancing for the same period. Surely, whatever effect science has upon poetry can be traced during this long companionship. While Hooke and Wilkins and Newton and Horrox and the Herschels and Franklin and Davy and Faraday and the Darwins and Dalton and Huxley and many more have been penetrating into physical nature, Dryden, Pope, Byron, Burns, Wordsworth, Keats, Tennyson, Longfellow, have been singing; while gravitation, oxygen, electro-magnetism, the atomic theory, the spectroscope,