Collected Essays

fancy and active intellect, incredibly difficult to be resisted. An image presents itself, glittering, iridescent; capture it, pin it down, however irrelevantly too brilliant for its context. A phrase, a situation suggests a whole train of striking or amusing ideas that fly off at a tangent, so to speak, from the round world on which the creator is at work; what an opportunity for saying something witty or profound! True, the ornament will be in the nature of a florid excrescence on the total work; but never mind. In goes the tangent—or rather, out into artistic irrelevancy. And in goes the effective phrase that is too effective, too highly colored for what it is to express; in goes the too emphatic irony, the too tragical scene, the too pathetic tirade, the too poetical description. If we succumb to all these delightful temptations, if we make welcome all these gaudy lice instead of squashing them at their first appearance, our work will soon glitter like a South American parvenu, dazzling with parasitic ornament, and vulgar. For a self-conscious artist, there is a most extraordinary pleasure in knowing exactly what the results of showing off and protesting too much must be and then (in spite of this knowledge, or because of it) proceeding, deliberately and with all the skill at his command, to commit precisely those vulgarities, against which his conscience warns him and which he knows he will afterwards regret. To the aristocratic pleasure of displeasing other people, the conscious offender against good taste can add the still more aristocratic pleasure of displeasing himself…

V

It is vulgar, in literature, to make a display of emotions which you do not naturally have, but think you ought to have, because all the best people do have them. It is also vulgar (and this is the more common case) to have emotions, but to express them so badly, with so many too many protestings, that you seem to have no natural feelings, but to be merely fabricating emotions by a process of literary forgery. Sincerity in art, as I have pointed out elsewhere, is mainly a matter of talent. Keats’s love letters ring true, because he had great literary gifts. Most men and women are capable of feeling passion, but not of expressing it; their love letters (as we learn from the specimens read aloud at inquests and murder trials, in the divorce court, during breach of promise cases) are either tritely flat or tritely bombastic. In either case manifestly insincere, and in the second case also vulgar—for to protest too much is always vulgar, when the protestations are so incompetent as not to carry conviction. And perhaps such excessive protestations can never be convincing, however accomplished the protester. D’Annunzio, for example—nobody could do a job of writing better than D’Annunzio. But when, as is too often the case, he makes much ado about nothing, we find it hard to be convinced either of the importance of the nothing, or of the sincerity of the author’s emotion about it—and this in spite of the incomparable splendor of D’Annunzio’s much ado. True, excessive pretestings may convince a certain public at a certain time. But when the circumstances, which rendered the public sensitive to the force and blind to the vulgarity of the too much protesting, have changed, the protests cease to convince. Mackenzie’s Man of Feeling, for example, protests its author’s sensibility with an extravagance that seems now, not merely vulgar, but positively ludicrous. At the time of its publication sentimentality was, for various reasons, extremely fashionable. Circumstances changed and The Man of Feeling revealed itself as vulgar to the point of ridiculousness; and vulgar and ridiculous it has remained ever since and doubtless will remain…

The case of Dickens is a strange one. The really monstrous emotional vulgarity, of which he is guilty now and then in all his books and almost continuously in The Old Curiosity Shop, is not the emotional vulgarity of one who stimulates feelings which he does not have. It is evident, on the contrary, that Dickens felt most poignantly for and with his Little Nell; that he wept over her sufferings, piously revered her goodness and exulted in her joys. He had an overflowing heart; but the trouble was that it overflowed with such curious and even rather repellent secretions. The creator of the later Pickwick and the Cheeryble Brothers, of Tim Linkinwater the bachelor and Mr. Garland and so many other gruesome old Peter Pans was obviously a little abnormal in his emotional reactions. There was something rather wrong with a man who could take this lachrymose and tremulous pleasure in adult infantility. He would doubtless have justified his rather frightful emotional taste by a reference to the New Testament. But the child-like qualities of character commended by Jesus are certainly not the same as those which distinguish the old infants in Dickens’s novels. There is all the difference in the world between infants and children. Infants are stupid and unaware and subhuman. Children are remarkable for their intelligence and ardor, for their curiosity, their intolerance of shams, the clarity and ruthlessness of their vision. From all accounts Jesus must have been child-like, not at all infantile. A childlike man is not a man whose development has been arrested; on the contrary, he is a man who has given himself a chance of continuing to develop long after most adults have muffled themselves in the cocoon of middle-aged habit and convention. An infantile man is one who has not developed at all, or who has regressed toward the womb, into a comfortable unawareness. So far from being attractive and commendable, an infantile man is really a most repulsive, because a truly monstrous and misshapen, being. A writer who can tearfully adore these stout or cadaverous old babies, snugly ensconced in their mental and economic womb-substitutes and sucking, between false teeth, their thumbs, must have something seriously amiss with his emotional constitution.

One of Dickens’s most striking peculiarities is that, whenever in his writing he becomes emotional, he ceases instantly to use his intelligence. The overflowing of his heart drowns his head and even dims his eyes; for, whenever he is in the melting mood, Dickens ceases to be able and probably ceases even to wish to see reality. His one and only desire on these occasions is just to overflow, nothing else. Which he does, with a vengeance and in an atrocious blank verse that is meant to be poetical prose and succeeds only in being the worst kind of fustian. “When Death strikes down the innocent and young, from every fragile form from which he lets the panting spirit free, a hundred virtues rise, in shapes of mercy, charity and love, to walk the world and bless it. Of every tear that sorrowing mortals shed on such green graves, some good is born, some gentler nature comes. In the Destroyer’s steps there spring up bright creations that defy his power, and his dark path becomes a way of light to Heaven.” And so on, a stanchless flux.

Mentally drowned and blinded by the sticky overflowings of his heart, Dickens was incapable, when moved, of re-creating, in terms of art, the reality which had moved him, was even, it would seem, unable to perceive that reality. Little Nelly’s sufferings and death distressed him as, in real life, they would distress any normally constituted man; for the suffering and death of children raise the problem of evil in its most unanswerable form. It was Dickens’s business as a writer to recreate in terms of his art this distressing reality. He failed. The history of Little Nell is distressing indeed, but not as Dickens presumably meant it to be distressing; it is distressing in its ineptitude and vulgar sentimentality.

A child, Ilusha, suffers and dies in Dostoevsky’s Brothers Karamazov. Why is this history so agonizingly moving, when the tale of Little Nell leaves us not merely cold, but derisive? Comparing the two stories, we are instantly struck by the incomparably greater richness in factual detail of Dostoevsky’s creation. Feeling did not prevent him from seeing and recording, or rather re-creating. All that happened round Ilusha’s deathbed he saw, unerringly. The emotion-blinded Dickens noticed practically nothing of what went on in Little Nelly’s neighborhood during the child’s last days. We are almost forced, indeed, to believe that he didn’t want to see anything. He wanted to be unaware himself and he wanted his readers to be unaware of everything except Little Nell’s sufferings on the one hand and her goodness and innocence on the other. But goodness and innocence and the undeservedness of suffering and even, to some extent, suffering itself are only significant in relation to the actual realities of human life. Isolated, they cease to mean anything, perhaps to exist. Even the classical writers surrounded their abstract and algebraical personages with at least the abstract and algebraical implication of the human realities, in relation to which virtues and vices are significant. Thanks to Dickens’s pathologically deliberate unawareness, Nell’s virtues are marooned, as it were, in the midst of a boundless waste of unreality; isolated, they fade and die. Even her sufferings and death lack significance because of this isolation. Dickens’s unawareness was the death of death itself. Unawareness, according to the ethics of Buddhism, is one of the deadly sins. The stupid are wicked. (Incidentally, the cleverest men can, sometimes and in certain circumstances, reveal themselves as profoundly—criminally—stupid. You can be an acute logician and at the same time an emotional cretin.) Damned in the realm of conduct, the unaware are also damned aesthetically. Their art is bad; instead of creating, they murder.

Art, as I have said, is also philosophy, is also science. Other things being equal, the work of art which in its own way “says” more about the universe will be better than the work of art which says less. (The “other things” which have to be equal are the forms of beauty, in terms of which the artist must express his philosophic