I say it is pitiable that people should need to read these things in print. Let me apply this method to some district of south-west London--say the Old Brompton Road:--

"Here and there along the street Grocery Stores and shops of Italian Warehous.e.m.e.n may be observed, opened here as branches of bigger establishments in the City. Three gilt b.a.l.l.s may occasionally be seen hanging out under the first-floor windows of a 'p.a.w.nbroker's' residence. House-agents, too, are not uncommon along the line of route.

"The appearance of a winkle, when extracted from its sh.e.l.l with the aid of a pin, is extremely curious. There is a winkle-stall by the South Kensington Station of the Underground Railway.

Underneath the stall the pavement is strewn with sh.e.l.ls, where they have fallen and continue to lie. Close to the stall is a cab-stand, paved with a few cobbles, lest the road be worn overmuch by the restless trampling of cab-horses, who stand here because it is a cab-stand. The thick woollen goods which appear in the haberdashers' windows through the winter--generally _inside_ the plate gla.s.s--give way to garments of a lighter texture as the summer advances, and are put away or exhibited at decreased prices. But collars continue to be shown, quite white and circular in form; they will probably remain, turning grey as the dust settles on them, until they are sold."

This is no travesty. It is a hasty, but I believe a pretty exact application of Jefferies' method. And I ask how it would look in a book. If the critics really enjoy, as they profess to, all this trivial country lore, why on earth don't they come into the fresh air and find it out for themselves? There is no imperative call for their presence in London. Ink will stain paper in the country as well as in town, and the Post will convey their articles to their editors. As it is, they do but overheat already overheated clubs. Mr. Henley has suggested concerning Jefferies' works that

"in years to be, when the whole island is one vast congeries of streets, and the fox has gone down to the bustard and the dodo, and outside museums of comparative anatomy the weasel is not, and the badger has ceased from the face of the earth, it is not doubtful that the _Gamekeeper_ and _Wild Life_ and the _Poacher_--epitomising, as they will, the rural England of certain centuries before--will be serving as material authority for historical descriptions, historical novels, historical epics, historical pictures, and will be honoured as the most useful stuff of their kind in being."

Let me add that the movement has begun. These books are already supplying the club-novelist with his open-air effects: and, therefore, the club-novelist worships them. From them he gathers that "wild apple-trees, too, are not uncommon in the hedges," and straightway he informs the public of this wonder. But it is hard on the poor countryman who, for the benefit of a street-bred reading public, must cram his books with solemn recitals of his A, B, C, and impressive announcements that two and two make four and a hedge-sparrow's egg is blue.

Aug. 18, 1894. A Defence of "Local Fiction."

Under the t.i.tle "Three Years of American Copyright" the _Daily Chronicle_ last Tuesday published an account of an interview with Mr.

Brander Matthews, who holds (among many t.i.tles to distinction) the Professorship of Literature in Columbia College, New York. Mr.

Matthews is always worth listening to, and has the knack of speaking without offensiveness even when chastising us Britons for our national peculiarities. His conversation with the _Daily Chronicle's_ interviewer contained a number of good things; but for the moment I am occupied with his answer to the question "What form of literature should you say is at present in the ascendant in the United States?"

"Undoubtedly," said Mr. Matthews, "what I may call local fiction."

"Every district of the country is finding its 'sacred poet.' Some of them have only a local reputation, but all possess the common characteristic of starting from fresh, original, and loving study of local character and manners. You know what Miss Mary E.

Wilkins has done for New England, and you probably know, too, that she was preceded in the same path by Miss Sarah Orne Jewett and the late Mrs. Rose Terry Cooke. Mr. Harold Frederic is performing much the same service for rural New York, Miss Murfree (Charles Egbert Craddock) for the mountains of Tennessee, Mr.

James Lane Allen for Kentucky, Mr. Joel Chandler Harris for Georgia, Mr. Cable for Louisiana, Miss French (Octave Thanet) for Iowa, Mr. Hamlin Garland for the western prairies, and so forth.

Of course, one can trace the same tendency, more or less clearly, in English fiction...."

And Mr. Matthews went on to instance several living novelists, Scotch, Irish, and English to support this last remark.

The matter, however, is not in doubt. With Mr. Barrie in the North, and Mr. Hardy in the South; with Mr. Hall Caine in the Isle of Man, Mr. Crockett in Galloway, Miss Barlow in Lisconnell; with Mr. Gilbert Parker in the territory of the H.B.C., and Mr. Hornung in Australia; with Mr. Kipling scouring the wide world, but returning always to India when the time comes to him to score yet another big artistic success; it hardly needs elaborate proof to arrive at the conclusion that 'locality' is playing a strong part in current fiction.

The thing may possibly be overdone. Looking at it from the artistic point of view as dispa.s.sionately as I may, I think we are overdoing it. But that, for the moment, is not the point of view I wish to take.

If for the moment we can detach ourselves from the prejudice of fashion and look at the matter from the historical point of view--if we put ourselves into the position of the conscientious gentleman who, fifty or a hundred years hence, will be surveying us and our works--I think we shall find this elaboration of "locality" in fiction to be but a swing-back of the pendulum, a natural revolt from the thin-spread work of the "carpet-bagging" novelist who takes the whole world for his province, and imagines he sees life steadily and sees it whole when he has seen a great deal of it superficially.

The "carpet-bagger" still lingers among us. We know him, with his "tourist's return" ticket, and the ready-made "plot" in his head, and his note-book and pencil for jotting down "local color." We still find him working up the scenery of Bolivia in the Reading Room of the British Museum. But he is going rapidly out of fashion; and it is as well to put his features on record and pigeon-hole them, if only that we may recognize him on that day when the pendulum shall swing him triumphantly back into our midst, and "locality" shall in its turn pa.s.s out of vogue.

I submit this simile of the pendulum with some diffidence to those eager theorists who had rather believe that their art is advancing steadily, but at a fair rate of speed, towards perfection. My own less cheerful--yet not altogether cheerless view--is that the various fashions in art swing to and fro upon intersecting curves. Some of the points of intersection are fortunate points--others are obviously the reverse; and generally the fortunate points lie near the middle of each arc, or the mean; while the less fortunate ones lie towards the ends, that is, towards excess upon one side or another. I have already said that, in the amount of attention they pay to locality just now, the novelists seem to be running into excess. If I must choose between one excess and the other--between the carpet-bagger and the writer of "dialect-stories," each at his worst--I unhesitatingly choose the latter. But that is probably because I happened to be born in the 'sixties.

Let us get back (I hear you implore) to the historical point of view, if possible: anywhere, anywhere, out of the _Poetics!_ And I admit that a portion of the preceding paragraph reads like a bad parody of that remarkable work. Well, then, I believe that our imaginary historian--I suppose he will be a German: but we need not let our imagination dwell upon _that_--will find a dozen reasons in contemporary life to account for the attention now paid by novelists to "locality." He will find one of them, no doubt, in the development of locomotion by steam. He will point out that any cause which makes communication easier between two given towns is certain to soften the difference in the characteristics of their inhabitants: that the railway made communication easier and quicker year by year; and its tendency was therefore to obliterate local peculiarities. He will describe how at first the carpet-bagger went forth in railway-train and steamboat, rejoicing in his ability to put a girdle round the world in a few weeks, and disposed to ignore those differences of race and region which he had no time to consider and which he was daily softening into uniformity. He will then relate that towards the close of the nineteenth century, when these differences were rapidly perishing, people began to feel the loss of them and recognize their scientific and romantic value; and that a number of writers entered into a struggle against time and the carpet-bagger, to study these differences and place them upon record, before all trace of them should disappear. And then I believe our historian, though he may find that in 1894 we paid too much attention to the _minutiae_ of dialect, folk-lore and ethnic differences, and were inclined to overlay with these the more catholic principles of human conduct, will acknowledge that in our hour we did the work that was most urgent. Our hour, no doubt, is not the happiest; but, since this is the work it brings, there can be no harm in going about it zealously.

CLUB TALK

Nov. 12, 1892. Mr. Gilbert Parker.

Mr. Gilbert Parker's book of Canadian tales, "Pierre and His People"

(Methuen and Co.), is delightful for more than one reason. To begin with, the tales themselves are remarkable, and the language in which they are told, though at times it overshoots the mark by a long way and offends by what I may call an affected virility, is always distinguished. You feel that Mr. Parker considers his sentences, not letting his bolts fly at a venture, but aiming at his effects deliberately. It is the trick of promising youth to shoot high and send its phrases in parabolic curves over the target. But a slight wildness of aim is easily corrected, and to see the target at all is a more conspicuous merit than the public imagines. Now Mr. Parker sees his target steadily; he has a thoroughly good notion of what a short story ought to be: and more than two or three stories in his book are as good as can be.

Open Air v. Clubs.

But to me the most pleasing quality in the book is its open-air flavor. Here is yet another young author, and one of the most promising, joining the healthy revolt against the workshops. Though for my sins I have to write criticism now and then, and use the language of the workshops, I may claim to be one of the rebels, having chosen to pitch a small tent far from cities and to live out of doors: and it rejoices me to see the movement growing, as it undoubtedly has grown during the last few years, and find yet one more of the younger men refusing, in Mr. Stevenson's words, to cultivate restaurant fat, to fall in mind "to a thing perhaps as low as many types of _bourgeois_--the implicit or exclusive artist." London is an alluring dwelling-place for an author, even for one who desires to write about the country. He is among the paragraph-writers, and his reputation swells as a cuc.u.mber under gla.s.s. Being in sight of the newspaper men, he is also in their mind. His prices will stand higher than if he go out into the wilderness. Moreover, he has there the stimulating talk of the masters in his profession, and will be apt to think that his intelligence is developing amazingly, whereas in fact he is developing all on one side; and the end of him is--the Exclusive Artist:--

"_When the flicker of London sun falls faint on the Club-room's green and gold The sons of Adam sit them down and scratch with their pens in the mould-- They scratch with their pens in the mould of their graves and the ink and the anguish start, For the Devil mutters behind the leaves: 'It's pretty, but is it Art?'_"

The spirit of our revolt is indicated clearly enough on that page of Mr. Stevenson's "Wrecker," from which I have already quoted a phrase:--

"That was a home word of Pinkerton's, deserving to be writ in letters of gold on the portico of every School of Art: 'What I can't see is why you should want to do nothing else.' The dull man is made, not by the nature, but by the degree of his immersion in a single business. And all the more if that be sedentary, uneventful, and ingloriously safe. More than half of him will then remain unexercised and undeveloped; the rest will be distended and deformed by over-nutrition, over-cerebration and the heat of rooms. And I have often marvelled at the impudence of gentlemen who describe and pa.s.s judgment on the life of man, in almost perfect ignorance of all its necessary elements and natural careers. Those who dwell in clubs and studios may paint excellent pictures or write enchanting novels. There is one thing that they should not do: they should pa.s.s no judgment on man's destiny, for it is a thing with which they are unacquainted.

Their own life is an excrescence of the moment, doomed, in the vicissitude of history, to pa.s.s and disappear. The eternal life of man, spent under sun and rain and in rude physical effort, lies upon one side, scarce changed since the beginning."

A few weeks ago our novelists were discussing the reasons why they were novelists and not playwrights. The discussion was sterile enough, in all conscience: but one contributor--it was "Lucas Malet"--managed to make it clear that English fiction has a character to lose. "If there is one thing," she said, "which as a nation we understand, it is _out-of-doors_ by land and sea." Heaven forbid that, with only one Atlantic between me and Mr. W.D. Howells, I should enlarge upon any merit of the English novel: but I do suggest that this open-air quality is a characteristic worth preserving, and that nothing is so likely to efface it as the talk of workshops. It is worth preserving because it tends to keep us in sight of the elemental facts of human nature. After all, men and women depend for existence on the earth and on the sky that makes earth fertile; and man's last act will be, as it was his first, to till the soil. All empires, cities, tumults, civil and religious wars, are transitory in comparison. The slow toil of the farm-laborer, the endurance of the seaman, outlast them all.

Open Air in Criticism.

That studio-talk tends to deaden this sense of the open-air is just as certain. It runs not upon Nature, but upon the presentation of Nature. I am almost ready to a.s.sert that it injures a critic as surely as it spoils a creative writer. Certainly I remember that the finest appreciation of Carlyle--a man whom every critic among English-speaking races had picked to pieces and discussed and reconstructed a score of times--was left to be uttered by an inspired loafer in Camden, New Jersey. I love to read of Whitman dropping the newspaper that told him of Carlyle's illness, and walking out under the stars--

"Every star dilated, more vitreous, larger than usual. Not as in some clear nights when the larger stars entirely outshine the rest. Every little star or cl.u.s.ter just as distinctly visible and just as high. Berenice's hair showing every gem, and new ones. To the north-east and north the Sickle, the Goat and Kids, Ca.s.siopeia, Castor and Pollux, and the two Dippers. While through the whole of this silent indescribable show, inclosing and bathing my whole receptivity, ran the thought of Carlyle dying."

In such a mood and place--not in a club after a dinner unearned by exercise--a man is likely, if ever, to utter great criticism as well as to conceive great poems. It is from such a mood and place that we may consider the following fine pa.s.sage fitly to issue:--

"The way to test how much he has left his country were to consider, or try to consider, for a moment the array of British thought, the resultant _ensemble_ of the last fifty years, as existing to-day, _but with Carlyle left out._ It would be like an army with no artillery. The show were still a gay and rich one--Byron, Scott, Tennyson, and many more--hors.e.m.e.n and rapid infantry, and banners flying--but the last heavy roar so dear to the ear of the trained soldier, and that settles fate and victory, would be lacking."

For critic and artist, as for their fellow-creatures, I believe an open-air life to be the best possible. And that is why I am glad to read in certain newspaper paragraphs that Mr. Gilbert Parker is at this moment on the wide seas, and bound for Quebec, where he starts to collect material for a new series of short stories. His voyage will loose him, in all likelihood, from the little he retains of club art.

Of course, a certain proportion of our novelists must write of town life: and to do this fitly they must live in town. But they must study in the town itself, not in a club. Before anyone quotes d.i.c.kens against me, let him reflect, first on the immensity of d.i.c.kens'

genius, and next on the conditions under which d.i.c.kens studied London.

If every book be a part of its writer's autobiography I invite the youthful author who now pa.s.ses his evenings in swapping views about Art with his fellow c.o.c.kneys to pause and reflect if he is indeed treading in d.i.c.kens' footsteps or stands in any path likely to lead him to results such as d.i.c.kens achieved.

EXCURSIONISTS IN POETRY

Nov. 5, 1892. An Itinerary.

Besides the glorious exclusiveness of it, there is a solid advantage just now, in not being an aspirant for the Laureateship. You can go out into the wilderness for a week without troubling to leave an address. A week or so back I found with some difficulty a friend who even in his own judgment has no claim to the vacant office, and we set out together across Dartmoor, Exmoor, the Quantocks, by eccentric paths over the southern ranges of Wales to the Wye, and homewards by canoe between the autumn banks of that river. The motto of the voyage was Verlaine's line--

"Et surtout ne parlons pas litterature"

--especially poetry. I think we felt inclined to congratulate each other after pa.s.sing the Quantocks in heroic silence; but were content to read respect in each other's eyes.

The Return to Literature.

On our way home we fell across a casual copy of the _Globe_ newspaper, and picked up a sc.r.a.p of information about the Blorenge, a mountain we had climbed three days before. It is (said the _Globe_) the only thing in the world that rhymes with orange. From this we inferred that the Laureate had not been elected during our wanderings, and that the Anglo-Saxon was still taking an interest in poetry. It was so.