Finally at the bottom of all there is a much more subtle cause for our pleasure; nothing less in fact than that old wild dark Dionysian embracing of fate, of fate however monstrous and bizarre, simply because it is there--an integral part of the universe--and we ourselves with something of that ingredient in our own heathen hearts.

An imaginary symposium of modern writers upon the causes of human pleasure in the grosser elements of art lends itself to very free speculation. Personally I must confess to very serious limitations in my own capacity for such enjoyment. I have a sneaking sympathy with tender nerves. I can relish de Maupa.s.sant up to a certain point--and that point is well this side of idolatry--but I fancy I relish him because I discern in him a certain vibrant nerve of revolt against the brutality of things, a certain quivering irony of savage protest. When you get the brutality represented without this revolt and with a certain unction of sympathetic zest, as you do in the great eighteenth century novelists in England, I confess it becomes more than I can endure.

This is a most grievous limitation and I apologise to the reader most humbly for it. It is indeed a lamentable confession of weakness. But since the limitations of critics are, consciously or unconsciously, part of their contribution to the problems at issue, I offer mine without further comment.

It is an odd thing that while I can relish and even hugely enjoy ribaldry in a Latin writer, I cannot so much as tolerate vulgarity in an English or Scotch one. Perhaps it is their own hidden consciousness that, if they once let themselves go, they would go unpleasantly far, which gives this morbid uneasiness to the strictures of the Puritans. Or is it that the English-speaking races are born between the deep sea of undiluted coa.r.s.eness and the devil of a diseased conscience? Is this the reason why every artist in the world and every critic of art, feels himself essentially an exile everywhere except upon Latin soil?

Guy de Maupa.s.sant visualises human life as a thing completely and helplessly in the grip of animal appet.i.tes and instincts. He takes what we call l.u.s.t, and makes of it the main motive force in his vivid and terrible sketches. It is perhaps for this very reason that his stories have such an air of appalling reality.

But it is not only l.u.s.t or lechery which he exploits. He turns to his artistic purpose every kind of physiological desire, every sort of bodily craving. Many of these are quite innocent and harmless, and the denial of their satisfaction is in the deepest sense tragic. Perhaps it is in regard to what this word _tragic_ implies that we find the difference between the brutality of Guy de Maupa.s.sant and the coa.r.s.eness of the earlier English writers.

The very savagery in de Maupa.s.sant's humour is an indication of a clear intellectual consciousness of something monstrously, grotesquely, wrong; something mad and blind and devilish about the whole business, which we miss completely in all English writers except the great Jonathan Swift.

Guy de Maupa.s.sant had the easy magnanimity of the Latin races in regard to s.e.x matters, but in regard to the sufferings of men and of animals from the denial of their right to every sort of natural joy, there smouldered in him a deep black rage--a _saeva indignatio_ --which scorches his pages like a deadly acid.

In his constant preoccupation with the bodies of living creatures, it is natural enough that animals as well as men should come into the circle of his interest. He was a great huntsman and fisherman. He loved to wander over the frozen marshes, gun in hand, searching for strange wildfowl among the reeds and ditches. But though he slew these things in the savage pa.s.sion of the chase as his ancestors had done for ages, between his own fierce senses and theirs there was a singular magnetic sympathy.

As may be often noticed in other cases, as we go through the world, there was between the primitive earth-instincts of this hunter of wild things and the desperate creatures he pursued, a far deeper bond of kinship than exists between sedentary humanitarians and the objects of their philanthropy. It is good that there should be such a writer as this in the world.

In the sophisticated subtleties of our varnished and velvet-carpeted civilisation, it is well that we should be brought back to the old essential candours which forever underlie the frills and frippery. It is well that the stark bones of the aboriginal skeleton with its raw "unaccommodated" flesh should peep out through the embroideries.

It is, after all, the "thing itself" which matters--the thing which "owes the worm no silk, the cat no perfume." Forked straddling animals are we all, as the mad king says in the play, and it is mere effeminacy and affectation to cover up the truth.

Guy de Maupa.s.sant is never greater than when appealing to the primitive link of tragic affiliation that binds us to all living flesh and blood. A horse mercilessly starved in the fields; a wild bird wailing for its murdered mate; a tramp driven by hunger and primitive desire, and harried by the "insolence of office"; an old man denied the little luxuries of his senile greed; an old maid torn and rent in the flesh that is barren and the b.r.e.a.s.t.s that never gave suck; these are the natural subjects of his genius--the sort of "copy" that one certainly need not leave one's "home town" to find.

One is inclined to feel that those who miss the tragic generosity at the heart of the brutality of Guy de Maupa.s.sant, are not really aware of the bitter cry of this mad planet. Let them content themselves, these people, with their pretty little touching stories, their nice blobs of cheerful "local colour" thrown in here and there, and their sweet impossible endings. Sunday school literature for Sunday school children; but let there be at least one writer who writes for those who know what the world is.

The question of the legitimacy in art of the kind of realism which Guy de Maupa.s.sant practised, goes incalculably deep. Consider yourself at this moment, gentle reader, lightly turning over--as doubtless you are doing--the harmless pages of this academic book, as you drink your tea from a well appointed tray in a sunny corner of some friendly cake-shop. You are at this moment--come, confess it--hiding up, perhaps from yourself but certainly from the world, some outrageous annoyance, some grotesque resolution, some fear, some memory, some suspicion, that has--as is natural and proper enough, for your father was a man, your mother a woman--its physiological origin. You turn to this elegant book of mine, with its mild and persuasive thoughts, as if you turned away from reality into some pleasant arbour of innocent recreation. It is a sort of little lullaby for you amid the troubles of this rough world.

But suppose instead of the soothing cadences of this harmless volume, you had just perused a short story of Guy de Maupa.s.sant; would not your feelings be different? Would you not have the sensation of being fortified in your courage, in your humour, in your brave embracing of the fantastic truth? Would you not contemplate the most grotesque matters lightly, wisely, sanely and with a magnanimous heart?

The perverted moral training to which we have been all of us subjected, has "sicklied o'er with the pale cast" of a most evil scrupulousness our natural free enjoyment of the absurd contrasts and accidents and chances of life.

French humour may be savage--all the better--we need a humour with some gall in it to deal with the humour of the universe. But our humour, stopping short so timorously of stripping the world to its smock, is content to remain vulgar. That is the only definition of vulgarity that I recognise--a temptation to be coa.r.s.e without the spiritual courage to be outrageous! Coa.r.s.eness--our Anglo Saxon peculiarity--is due to temperamental insensitiveness. Outrageous grossness--with its ironical, beautiful blasphemy against the great mother's amazing tricks--is an intellectual and spiritual thing, worthy of all n.o.ble souls. The one is the rank breath of a bourgeois democracy, the other is the free laughter of civilised intelligences through all human history.

English and Americans find it difficult to understand each other's humour. One can well understand this difficulty. No one finds any obstacle--except Puritan prejudice--in understanding French humour; because French humour is universal; the humour of the human spirit contemplating the tragic comedy of the human body.

One very interesting thing must be noted here in regard to the method of Guy de Maupa.s.sant's writings; I mean the power of the short story to give a sense of the general stream of life which is denied to the long story.

Personally I prefer long stories; but that is only because I have an insatiable love of the story for its own sake, apart from its interpretation of life. I am not in the least ashamed to confess that when I read books, I do so to escape from the pinch of actual facts. I have a right to this little peculiarity as much as to any other as long as I don't let it invade the clarity of my reason. But in the short story--and I have no scruple about admitting it--one seems to get the flavour of the writer's general philosophy of life more completely than in any other literary form.

It is a s.n.a.t.c.h at the pa.s.sing procession, a dip into the flowing stream, and one gets from it the sort of sudden illumination that one gets from catching a significant gesture under the street lamp, or meeting a swift tale-telling glance beneath a crowded doorway.

Bitterly inspired as he is by the irony of the physiological tragedy of human life, Guy de Maupa.s.sant is at his greatest when he deals with the bizarre accidents that happen to the body; greatest of all when he deals with the last bizarre accident of all, the accident of death.

The appalling grotesqueness of death, its brutal and impious levity, its crushing finality, have never been better written of. The savage ferocity with which he tears off the mask which the sentimental piety of generations has thrown over the features of their dead is no sign of frivolousness in him. The gravity of the undertaker is not an indication of deep emotion; nor is the jesting of Hamlet, as he stands above Ophelia's grave, a sign of an inhuman heart.

The last insult of the scurrilous G.o.ds--their flinging us upon oblivion with so indecent, so lewd a disregard for every sort of seemliness--is answered in Guy de Maupa.s.sant by a ferocious irony almost equal to their own.

But it would be unfair to let this dark-browed Norman go, without at least a pa.s.sing allusion to the large and friendly manner in which he rakes up, out of brothel, out of gutter, out of tenement, out of sweat-shop, out of circus-tent, out of wharf shanty, out of barge cabin, every kind and species of human derelict to immortalise their vagrant humanity in the amber of his flawless style.

There is a s.p.a.cious hospitality about the man's genius which is a rare tonic to weary aesthetes, sick of the thin-spun theories of the schools.

The sun-burnt humour of many queer tatterdemalions warms us, as we read him, into a fine indifference to nice points of human distinction. All manner of ragged nondescripts blink at us out of their tragic resignation and hint at a ribald reciprocity of nature, making the whole world kin.

In his ultimate view of life, he was a drastic pessimist, and what we call materialism receives from his hands the clinching fiat of a terrific imprimatur. And this is well; this is as it should be. There are always literary persons to uphold the banners of mysticism and morality, idealism and good hope. There will always be plenty of talent "on the side of the angels" in these days, when it has become a kind of intellectual cant to cry aloud, "I am no materialist!

Materialism has been disproved by the latest scientific thinkers!"

To come back to the old, honest, downright, heathen recognition of the midnight, wherein all candles are put out, is quite a salutary experience. It is good that there should be a few great geniuses that are unmitigated materialists, and to whom the visible world is absolutely all there is. One is rendered more tolerant of the boisterousness of the players when one feels the play ends so finally and so soon. One is rendered less exacting towards the poor creatures of the earth when one recognises that their hour is so brief.

There will always be optimists in the countries where "the standards of living are high." There will always be writers--scientific or otherwise--to dispose of materialism. But meanwhile it is well that there should be at least one great modern among us for whom that _pulvis et umbra_ is the last word. At least, one, if only for the sake of those whom we mourn most; so that, beholding their lives, like torch-flames against black darkness, we shall not stint them of their remembrance.

ANATOLE FRANCE

Anatole France is probably the most disillusioned human intelligence which has ever appeared on the surface of this planet.

All the great civilised races tend to disillusion. Disillusion is the mark of civilised eras as opposed to barbaric ones and if the dream of the poets is ever realised and the Golden Age returns, such an age will be the supreme age of happy, triumphant disillusion.

This was seen long ago by Lucretius, who regarded the fear of the G.o.ds as the last illusion of the human race, and looked for its removal as the race's entrance into the earthly paradise.

Nietzsche's n.o.ble and austere call to seriousness and spiritual conflict is the sign of a temper quite opposite from this. Zarathustra frees himself from all other illusions, but he does not free himself from the most deadly one of all--the illusion namely, that the freeing oneself from illusion is a high and terrible duty.

The real disillusioned spirit is not the fierce Nietzschean one whose glacial laughter is an iconoclastic battle-cry and whose freedom is a freedom achieved anew every day by a strenuous and desperate struggle. The real disillusioned spirit plays with illusions, puts them on and takes them off, lightly, gaily, indifferently, just as it happens, just as the moment demands.

One feels that in spite of his cosmic persiflage and radiant attempt to Mediterraneanise into "sun-burnt mirth" the souls of the northern nations, Nietzsche was still at heart an ingrained hyperborean, still at heart a splendid and savage Goth.

As in every other instance, we may take it for granted that any popular idea which runs the gamut of the idealistic lecture-halls and pulpits of a modern democracy is false through and through. Among such false ideas is the almost universal one that what is called the decadence of a nation is a sign of something regrettable and deplorable. On the contrary, it is a sign of something admirable and excellent. Such "weakness," in a deeper than a popular sense, is "strength"; such decadence is simply wisdom.

The new cult of the "will to power" which Nietzsche originated is nothing more than the old demiurgic life-illusion breaking loose again, as it broke loose in the grave ecstasies of the early Christians and in the Lutheran reformation. Nietzsche rent and tore at the morality of Christendom, but he did so with the full intention of subst.i.tuting a morality of his own. One illusion for another illusion.

A Roland for an Oliver!

Nietzsche praised with desperate laudation a cla.s.sical equanimity which he was never able to reach. He would have us love fate and laugh and dance; but there were drops of scorching tears upon the page of his prophecy and the motif of his challenge was the terrible gravity of his own nature; though the conclusion of his seriousness was that we must renounce all seriousness. It is Nietzsche himself who teaches us that in estimating the value of a philosopher we have to consider the psychology of the motive-force which drove him.

The motive-force that drove Nietzsche was the old savage life-instinct, penetrated with illusion through and through, and praise as he might the cla.s.sical urbanity, no temper that has ever existed was less urbane than his own.

The history of the human race upon this planet may be regarded--in so far as its spiritual eruptions are concerned--as the pressure upwards, from the abysmal depths, of one scoriae tempest after another, rending and tearing their way from the dark centre fires where Demogorgon turns himself over in his sleep, and becoming as soon as they reach the surface and harden into rock, the great monumental systems of human thought, the huge fetters of our imaginations. The central life-fire which thus forces its path at cataclysmic intervals to the devastated surface is certainly no illusion. It is the one terrific cosmic fact.

Where illusion enters is where we, poor slaves of traditional ratiocination, seek to turn these explosions of eternal lava into eternal systems. The lava of life pours forth forever, but the systems break and crumble; each one overwhelmed in its allotted time by a new outrushing of abysmal energy.

The reiterated eruptions from the fathomless depths make up the shifting material with which human civilisations build themselves their illusive homes; but the wisest civilisations are the ones that erect a hard, clear, bright wall of sceptical "suspension of judgment," from the face of which the raging flood of primordial energy may be flung back before it can petrify into any further mischief.

Such a protective wall from the eruptive madness of primordial barbarism, the scepticism of cla.s.sical civilisation is forever polishing and fortifying. Through the pearl-like gla.s.s of its inviolable security we are able to mock the tempest-driven eagles and the swirling glacial storms. We can amuse ourselves with the illusions from which we are free. We can give the imagination unbounded scope and the fancy unrestricted licence. We have become happy children of our own self-created kingdom of heaven; the kingdom of heaven which is the kingdom of disillusion.

And of this kingdom, Anatole France is surely the reigning king.

From the Olympian disenchantment of his tolerant urbanity, all eruptive seriousness foams back spray-tossed and scattered. And yet such a master of the art of "suspended judgment" was he, that he permits himself to dally very pleasantly with the most pa.s.sionate illusions of the human race. He is too deep a sceptic even to remain at the point of taking seriously his own aesthetic epicureanism.

This is where he differs from Oscar Wilde, from Walter Pater, from Stendhal, from Remy de Gourmont, from Gabriele d'Annunzio. This is where he differs from Montaigne. These great men build up an egoism of grave subjectivity out of their suspicion of other people's cults. They laugh at humanity but they do not laugh at themselves.

With the help of meta-physic they destroy metaphysic; only to subst.i.tute for the gravity of idealism the gravity of Epicureanism.