Ruskin notices how repeatedly Turner,--the most imaginative of landscape painters,--introduced into his pictures, after a lapse of many years, memories of something which, however small and unimportant, had struck him in his earlier studies. He believes that all Turner's "composition" was an arrangement of remembrances summoned just as they were wanted, and each in its fittest place. His vision was primarily composed of strong memory of the place itself, and secondarily of memories of other places a.s.sociated in a harmonious, helpful way with the now central thought. He recalled and selected.

I am prepared to hear of many readers, especially young readers, protesting against the doctrine of this chapter as prosaic. They have been so long accustomed to consider imagination as peculiarly distinguished by its disdain of reality, and Invention as only admirable when its products are not simply new by selection and arrangement, but new in material, that they will reject the idea of involuntary remembrance of something originally experienced as the basis of all Art. Ruskin says of great artists, "Imagine all that any of these men had seen or heard in the whole course of their lives, laid up accurately in their memories as in vast storehouses, extending with the poets even to the slightest intonations of syllables heard in the beginning of their lives, and with painters down to minute folds of drapery and shapes of leaves and stones; and over all this unindexed and immeasurable ma.s.s of treasure, the imagination brooding and wandering, but dream-gifted, so as to summon at any moment exactly such a group of ideas as shall justly fit each other." This is the explanation of their genius, as far as it can be explained.

Genius is rarely able to give any account of its own processes. But those who have had ample opportunities of intimately knowing the growth of works in the minds of artists, will bear me out in saying that a vivid memory supplies the elements from a thousand different sources, most of which are quite beyond the power of localisation, the experience of yesterday being strangely intermingled with the dim suggestions of early years, the tones heard in childhood sounding through the diapason of sorrowing maturity; and all these kaleidoscopic fragments are recomposed into images that seem to have a corresponding reality of their own.

As all Art depends on Vision, so the different kinds of Art depend on the different ways in which minds look at things. The painter can only put into his pictures what he sees in Nature; and what he sees will be different from what another sees. A poetical mind sees n.o.ble and affecting suggestions in details which the prosaic mind will interpret prosaically. And the true meaning of Idealism is precisely this vision of realities in their highest and most affecting forms, not in the vision of something removed from or opposed to realities. t.i.tian's grand picture of "Peter the Martyr" is, perhaps, as instructive an example as could be chosen of successful Idealism; because in it we have a marvellous presentation of reality as seen by a poetic mind. The figure of the flying monk might have been equally real if it had been an ign.o.ble presentation of terror--the superb tree, which may almost be called an actor in the drama, might have been painted with even greater minuteness, though not perhaps with equal effect upon us, if it had arrested our attention by its details--the dying martyr and the n.o.ble a.s.sa.s.sin might have been made equally real in more vulgar types--but the triumph achieved by t.i.tian is that the mind is filled with a vision of poetic beauty which is felt to be real. An equivalent reality, without the enn.o.bling beauty, would have made the picture a fine piece of realistic art. It is because of this poetic way of seeing things that one painter will give a faithful representation of a very common scene which shall nevertheless affect all sensitive minds as ideal, whereas another painter will represent the same with no greater fidelity, but with a complete absence of poetry. The greater the fidelity, the greater will be the merit of each representation; for if a man pretends to represent an object, he pretends to represent it accurately: the only difference is what the poetical or prosaic mind sees in the object.

Of late years there has been a reaction against conventionalism which called itself Idealism, in favour of DETAILISM which calls itself Realism. As a reaction it has been of service; but it has led to much false criticism, and not a little false art, by an obtrusiveness of Detail and a preference for the Familiar, under the misleading notion of adherence to Nature. If the words Nature and Natural could be entirely banished from language about Art there would be some chance of coming to a rational philosophy of the subject; at present the excessive vagueness and shiftiness of these terms cover any amount of sophism. The pots and pans of Teniers and Van Mieris are natural; the pa.s.sions and humours of Shakspeare and Moliere are natural; the angels of Fra Angelico and Luini are natural; the Sleeping Fawn and Fates of Phidias are natural; the cows and misty marshes of Cuyp and the vacillations of Hamlet are equally natural. In fact the natural means TRUTH OF KIND. Each kind of character, each kind of representation, must be judged by itself. Whereas the vulgar error of criticism is to judge of one kind by another, and generally to judge the higher by the lower, to remonstrate with Hamlet for not having the speech and manner of Mr. Jones, to wish that Fra Angelico could have seen with the eyes of the Carracci, to wish verse had been prose, and that ideal tragedy were acted with the easy manner acceptable in drawing-rooms.

The rage for "realism," which is healthy in as far as it insists on truth, has become unhealthy, in as far as it confounds truth with familiarity, and predominance of unessential details. There are other truths besides coats and waistcoats, pots and pans, drawlng-rooms and suburban villas. Life has other aims besides these which occupy the conversation of "Society." And the painter who devotes years to a work representing modern life, yet calls for even more attention to a waistcoat than to the face of a philosopher, may exhibit truth of detail which will delight the tailor-mind, but he is defective in artistic truth, because he ought to be representing something higher than waistcoats, and because our thoughts on modern life fall very casually and without emphasis on waistcoats. In Piloty's much-admired picture of the "Death of Wallenstein" (at Munich), the truth with which the carpet, the velvet, and all other accessories are painted, is certainly remarkable; but the falsehood of giving prominence to such details in a picture representing the dead Wallenstein--as if they were the objects which could possibly arrest our attention and excite our sympathies in such a spectacle--is a falsehood of the realistic school.

If a man means to paint upholstery, by all means let him paint it so as to delight and deceive an upholsterer; but if he means to paint a human tragedy, the upholsterer must be subordinate, and velvet must not draw our eyes away from faces.

I have digressed a little from my straight route because I wish to guard the Principle of Vision from certain misconceptions which might arise on a simple statement of it. The principle insists on the artist a.s.suring himself that he distinctly sees what he attempts to represent.

WHAT he sees, and HOW he represents it, depend on other principles. To make even this principle of Vision thoroughly intelligible in its application to all forms of Literature and Art, it must be considered in connection with the two other principles--Sincerity and Beauty, which are involved in all successful works. In the next chapter we shall treat of Sincerity.

EDITOR.

CHAPTER IV.

THE PRINCIPLE OF SINCERITY.

It is always understood as an expression of condemnation when anything in Literature or Art is said to be done for effect; and yet to produce an effect is the aim and end of both.

There is nothing beyond a verbal ambiguity here if we look at it closely, and yet there is a corresponding uncertainty in the conception of Literature and Art commonly entertained, which leads many writers and many critics into the belief that what are called "effects" should be sought, and when found must succeed. It is desirable to clear up this moral ambiguity, as I may call it, and to show that the real method of securing the legitimate effect is not to aim at it, but to aim at the truth, relying on that for securing effect. The condemnation of whatever is "done for effect" obviously springs from indignation at a disclosed insincerity in the artist, who is self-convicted of having neglected truth for the sake of our applause; and we refuse our applause to the flatterer, or give it contemptuously as to a mountebank whose dexterity has amused us.

It is unhappily true that much insincere Literature and Art, executed solely with a view to effect, does succeed by deceiving the public. But this is only because the simulation of truth or the blindness of the public conceals the insincerity. As a maxim, the Principle of Sincerity is admitted. Nothing but what is true, or is held to be true, can succeed; anything which looks like insincerity is condemned. In this respect we may compare it with the maxim of Honesty the best policy. No far-reaching intellect fails to perceive that if all men were uniformly upright and truthful, Life would be more victorious, and Literature more n.o.ble. We find, however, both in Life and Literature, a practical disregard of the truth of these propositions almost equivalent to a disbelief in them. Many men are keenly alive to the social advantages of honesty--in the practice of others. They are also strongly impressed with the conviction that in their own particular case the advantage will sometimes lie in not strictly adhering to the rule. Honesty is doubtless the best policy in the long run; but somehow the run here seems so very long, and a short-cut opens such allurements to impatient desire. It requires a firm calm insight, or a n.o.ble habit of thought, to steady the wavering mind, and direct it away from delusive short-cuts: to make belief practice, and forego immediate triumph. Many of those who unhesitatingly admit Sincerity to be one great condition of success in Literature find it difficult, and often impossible, to resist the temptation of an insincerity which promises immediate advantage. It is not only the grocers who sand their sugar before prayers. Writers who know well enough that the triumph of falsehood is an unholy triumph, are not deterred from falsehood by that knowledge.

They know, perhaps, that, even if undetected, it will press on their own consciences; but the knowledge avails them little. The immediate pressure of the temptation is yielded to, and Sincerity remains a text to be preached to others. To gain applause they will misstate facts, to gain victory in argument they will misrepresent the opinions they oppose; and they suppress the rising misgivings by the dangerous sophism that to discredit error is good work, and by the hope that no one will detect the means by which the work is effected. The saddest aspect of this procedure is that in Literature, as in Life, a temporary success often does reward dishonesty. It would be insincere to conceal it. To gain a reputation as discoverers men will invent or suppress facts. To appear learned they will array their writings in the ostentation of borrowed citations. To solicit the "sweet voices" of the crowd they will feign sentiments they do not feel, and utter what they think the crowd will wish to hear, keeping back whatever the crowd will hear with disapproval. And, as I said, such men often succeed for a time; the fact is so, and we must not pretend that it is otherwise. But it no more disturbs the fundamental truth of the Principle of Sincerity, than the perturbations in the orbit of Mars disturb the truth of Kepler's law.

It is impossible to deny that dishonest men often grow rich and famous, becoming powerful in their parish or in parliament. Their portraits simper from shop windows; and they live and die respected. This success is theirs; yet it is not the success which a n.o.ble soul will envy.

Apart from the risk of discovery and infamy, there is the certainty of a conscience ill at ease, or if at ease, so blunted in its sensibilities, so given over to lower l.u.s.ts, that a healthy instinct recoils from such a state. Observe, moreover, that in Literature the possible rewards of dishonesty are small, and the probability of detection great. In Life a dishonest man is chiefly moved by desires towards some tangible result of money or power; if he get these he has got all. The man of letters has a higher aim: the very object of his toil is to secure the sympathy and respect of men; and the rewards of his toil may be paid in money, fame, or consciousness of earnest effort. The first of these may sometimes be gained without Sincerity.

Fame may also, for a time, be erected on an unstable ground, though it will inevitably be destroyed again. But the last and not least reward is to be gained by every one without fear of failure, without risk of change. Sincere work is good work, be it never so humble; and sincere work is not only an indestructible delight to the worker by its very genuineness, but is immortal in the best sense, for it lives for ever in its influence. There is no good Dictionary, not even a good Index, that is not in this sense priceless, for it has honestly furthered the work of the world, saving labour to others, setting an example to successors.

Whether I make a careful Index, or an inaccurate one, will probably in no respect affect the money-payment I shall receive. My sins will never fall heavily on me; my virtue will gain me neither extra pence nor praise. I shall be hidden by obscurity from the indignation of those whose valuable time is wasted over my pretence at accuracy, as from the silent grat.i.tude of those whose time is saved by my honest fidelity.

The consciousness of faithfulness even to the poor index maker may be a better reward than pence or praise; but of course we cannot expect the unconscientious to believe this. If I sand my sugar, and tell lies over my counter, I may gain the rewards of dishonesty, or I may be overtaken by its Nemesis. But if I am faithful in my work the reward cannot be withheld from me. The obscure workers who, knowing that they will never earn renown yet feel an honourable pride in doing their work faithfully, may be likened to the benevolent who feel a n.o.ble delight in performing generous actions which will never be known to be theirs, the only end they seek in such actions being the good which is wrought for others, and their delight being the sympathy with others.

I should be ashamed to insist on truths so little likely to be disputed, did they not point directly at the great source of bad Literature, which, as was said in our first chapter, springs from a want of proper moral guidance rather than from deficiency of talent.

The Principle of Sincerity comprises all those qualities of courage, patience, honesty, and simplicity which give momentum to talent, and determine successful Literature. It is not enough to have the eye to see; there must also be the courage to express what the eye has seen, and the steadfastness of a trust in truth. Insight, imagination, grace of style are potent; but their power is delusive unless sincerely guided. If any one should object that this is a truism, the answer is ready: Writers disregard its truth, as traders disregard the truism of honesty being the best policy. Nay, as even the most upright men are occasionally liable to swerve from the truth, so the most upright authors will in some pa.s.sages desert a perfect sincerity; yet the ideal of both is rigorous truth. Men who are never flagrantly dishonest are at times unveracious in small matters, colouring or suppressing facts with a conscious purpose; and writers who never stole an idea nor pretended to honours for which they had not striven, may be found lapsing into small insincerities, speaking a language which is not theirs, uttering opinions which they expect to gain applause rather than the opinions really believed by them. But if few men are perfectly and persistently sincere, Sincerity is nevertheless the only enduring strength.

The principle is universal, stretching from the highest purposes of Literature down to its smallest details. It underlies the labour of the philosopher, the investigator, the moralist, the poet, the novelist, the critic, the historian, and the compiler. It is visible in the publication of opinions, in the structure of sentences, and in the fidelity of citations. Men utter insincere thoughts, they express themselves in echoes and affectations, and they are careless or dishonest in their use of the labours of others, all the time believing in the virtue of sincerity, all the time trying to make others believe honesty to be the best policy.

Let us glance for a moment at the most important applications of the principle. A man must be himself convinced if he is to convince others.

The prophet must be his own disciple, or he will make none. Enthusiasm is contagious: belief creates belief. There is no influence issuing from unbelief or from languid acquiescence. This is peculiarly noticeable in Art, because Art depends on sympathy for its influence, and unless the artist has felt the emotions he depicts we remain unmoved: in proportion to the depth of his feeling is our sympathetic response; in proportion to the shallowness or falsehood of his presentation is our coldness or indifference. Many writers who have been fond of quoting the SI VIS ME FLERE of Horace have written as if they did not believe a word of it; for they have been silent on their own convictions, suppressed their own experience, and falsified their own feelings to repeat the convictions and fine phrases of another. I am sorry that my experience a.s.sures me that many of those who will read with complete a.s.sent all here written respecting the power of Sincerity, will basely desert their allegiance to the truth the next time they begin to write; and they will desert it because their misguided views of Literature prompt them to think more of what the public is likely to applaud than of what is worth applause; unfortunately for them their estimation of this likelihood is generally based on a very erroneous a.s.sumption of public wants: they grossly mistake the taste they pander to.

In all sincere speech there is power, not necessarily great power, but as much as the speaker is capable of. Speak for yourself and from yourself, or be silent. It can be of no good that you should tell in your "clever" feeble way what another has already told us with the dynamic energy of conviction. If you can tell us something that your own eyes have seen, your own mind has thought, your own heart has felt, you will have power over us, and all the real power that is possible for you. If what you have seen is trivial, if what you have thought is erroneous, if what you have felt is feeble, it would a.s.suredly be better that you should not speak at all; but if you insist on speaking Sincerity will secure the uttermost of power.

The delusions of self-love cannot be prevented, but intellectual misconceptions as to the means of achieving success may be corrected.

Thus although it may not be possible for any introspection to discover whether we have genius or effective power, it is quite possible to know whether we are trading upon borrowed capital, and whether the eagle's feathers have been picked up by us, or grow from our own wings. I hear some one of my young readers exclaim against the disheartening tendency of what is here said. Ambitious of success, and conscious that he has no great resources within his own experience, he shrinks from the idea of being thrown upon his naked faculty and limited resources, when he feels himself capable of dexterously using the resources of others, and so producing an effective work. "Why," he asks, "must I confine myself to my own small experience, when I feel persuaded that it will interest no one? Why express the opinions to which my own investigations have led me when I suspect that they are incomplete, perhaps altogether erroneous, and when I know that they will not be popular because they are unlike those which have hitherto found favour? Your restrictions would reduce two-thirds of our writers to silence!"

This reduction would, I suspect, be welcomed by every one except the gagged writers; but as the idea of its being operative is too chimerical for us to entertain it, and as the purpose of these pages is to expound the principles of success and failure, not to make Quixotic onslaughts on the windmills of stupidity and conceit, I answer my young interrogator: "Take warning and do not write. Unless you believe in yourself, only noodles will believe in you, and they but tepidly. If your experience seems trivial to you, it must seem trivial to us. If your thoughts are not fervid convictions, or sincere doubts, they will not have the power of convictions and doubts. To believe in yourself is the first step; to proclaim your belief the next. You cannot a.s.sume the power of another. No jay becomes an eagle by borrowing a few eagle feathers. It is true that your sincerity will not be a guarantee of power. You may believe that to be important and novel which we all recognise as trivial and old. You may be a madman, and believe yourself a prophet. You may be a mere echo, and believe yourself a voice. These are among the delusions against which none of us are protected. But if Sincerity is not necessarily a guarantee of power, it is a necessary condition of power, and no genius or prophet can exist without it."

"The highest merit we ascribe to Moses, Plato, and Milton," says Emerson, "is that they set at nought books and traditions, and spoke not what men thought, but what they thought. A man should learn to detect and watch that gleam of light which flashes across his mind from within; more than the l.u.s.tre of the firmament of bards and sages. Yet he dismisses without notice his thought because it is his. In every work of genius we recognise our own rejected thoughts; they come back to us with a certain alienated majesty." It is strange that any one who has recognised the individuality of all works of lasting influence, should not also recognise the fact that his own individuality ought to be steadfastly preserved. As Emerson says in continuation, "Great works of art have no more affecting lesson for us than this. They teach us to abide by our spontaneous impressions with good-humoured inflexibility, then most when the whole cry of voices is on the other side. Else tomorrow a stranger will say with masterly good sense, precisely what we have thought and felt all the time, and we shall be forced to take with shame our opinion from another." Accepting the opinions of another and the tastes of another is very different from agreement in opinion and taste. Originality is independence, not rebellion; it is sincerity, not antagonism. Whatever you believe to be true and false, that proclaim to be true and false; whatever you think admirable and beautiful, that should be your model, even if all your friends and all the critics storm at you as a crochet-monger and an eccentric. Whether the public will feel its truth and beauty at once, or after long years, or never cease to regard it as paradox and ugliness, no man can foresee; enough for you to know that you have done your best, have been true to yourself, and that the utmost power inherent in your work has been displayed.

An orator whose purpose is to persuade men must speak the things they wish to hear; an orator, whose purpose is to move men, must also avoid disturbing the emotional effect by any obtrusion of intellectual antagonism; but an author whose purpose is to instruct men, who appeals to the intellect, must be careless of their opinions, and think only of truth. It will often be a question when a man is or is not wise in advancing unpalateable opinions, or in preaching heresies; but it can never be a question that a man should be silent if unprepared to speak the truth as he conceives it. Deference to popular opinion is one great source of bad writing, and is all the more disastrous because the deference is paid to some purely hypothetical requirement. When a man fails to see the truth of certain generally accepted views, there is no law compelling him to provoke animosity by announcing his dissent. He may be excused if he shrink from the lurid glory of martyrdom; he may be justified in not placing himself in a position of singularity. He may even be commended for not helping to perplex mankind with doubts which he feels to be founded on limited and possibly erroneous investigation. But if allegiance to truth lays no stern command upon him to speak out his immature dissent, it does lay a stern command not to speak out hypocritical a.s.sent. There are many justifications of silence; there can be none of insincerity.

Nor is this less true of minor questions; it applies equally to opinions on matters of taste and personal feeling. Why should I echo what seem to me the extravagant praises of Raphael's "Transfiguration,"

when, in truth, I do not greatly admire that famous work ? There is no necessity for me to speak on the subject at all; but if I do speak, surely it is to utter my impressions, and not to repeat what others have uttered. Here, then, is a dilemma; if I say what I really feel about this work, after vainly endeavouring day after day to discover the transcendent merits discovered by thousands (or at least proclaimed by them), there is every likelihood of my incurring the contempt of connoisseurs, and of being reproached with want of taste in art. This is the bugbear which scares thousands. For myself, I would rather incur the contempt of connoisseurs than my own; the repreach of defective taste is more endurable than the reproach of insincerity. Suppose I am deficient in the requisite knowledge and sensibility, shall I be less so by pretending to admire what really gives me no exquisite enjoyment?

Will the pleasure I feel in pictures be enhanced because other men consider me right in my admlration, or diminished because they consider me wrong?

[I have never thoroughly understood the painful anxiety of people to be shielded against the dishonouring suspicion of not rightly appreciating pictures, even when the very phrases they use betray their ignorance and insensibility. Many will avow their indifference to music, and almost boast of their ignorance of science; will sneer at abstract theories, and profess the most tepid interest in history, who would feel it an unpardonable insult if you doubted their enthusiasm for painting and the "old masters" (by them secretly identified with the brown masters). It is an insincerity fostered by general pretence. Each man is afraid to declare his real sentiments in the presence of others equally timid. Ma.s.sive authority overawes genuine feeling].

The opinion of the majority is not lightly to be rejected; but neither is it to be carelessly echoed. There is something n.o.ble in the submission to a great renown, which makes all reverence a healthy att.i.tude if it be genuine. When I think of the immense fame of Raphael, and of how many high and delicate minds have found exquisite delight even in the "Transfiguration," and especially when I recall how others of his works have affected me, it is natural to feel some diffidence in opposing the judgment of men whose studies have given them the best means of forming that judgment--a diffidence which may keep me silent on the matter. To start with the a.s.sumption that you are right, and all who oppose you are fools, cannot be a safe method. Nor in spite of a conviction that much of the admiration expressed for the "Transfiguration" is lip-homage and tradition, ought the non-admiring to a.s.sume that all of it is insincere. It is quite compatible with modesty to be perfectly independent, and with sincerity to be respectful to the opinions and tastes of others. If you express any opinion, you are bound to express your real opinion; let critics and admirers utter what dithyrambs they please. Were this terror of not being thought correct in taste once got rid of, how many stereotyped judgments on books and pictures would be broken up! and the result of this sincerity would be some really valuable criticism. In the presence of Raphael's "Sistine Madonna," t.i.tian's "Peter the Martyr," or Masaccio's great frescoes in the Brancacci Chapel, one feels as if there had been nothing written about these mighty works, so little does any eulogy discriminate the elements of their profound effects, so little have critics expressed their own thoughts and feelings. Yet every day some wandering connoisseur stands before these pictures, and at once, without waiting to let them sink deep into his mind, discovers all the merits which are stereotyped in the criticisms, and discovers nothing else. He does not wait to feel, he is impatient to range himself with men of taste; he discards all genuine impressions, replacing them with vague conceptions of what he is expected to see.

Inasmuch as Success must be determined by the relation between the work and the public, the sincerity which leads a man into open revolt against established opinions may seem to be an obstacle. Indeed, publishers, critics, and friends are always loud in their prophecies against originality and independence on this very ground; they do their utmost to stifle every attempt at novelty, because they fix their eyes upon a hypothetical public taste, and think that only what has already been proved successful can again succeed; forgetting that whatever has once been done need not be done over again, and forgetting that what is now commonplace was once originality. There are cases in which a disregard of public opinion will inevitably call forth opprobrium or neglect; but there is no case in which Sincerity is not strength. If I advance new views in Philosophy or Theology, I cannot expect to have many adherents among minds altogether unprepared for such views; yet it is certain that even those who most fiercely oppose me will recognise the power of my voice if it is not a mere echo; and the very novelty will challenge attention, and at last gain adherents if my views have any real insight. At any rate the point to be considered is this, that whether the novel views excite opposition or applause, the one condition of their success is that they be believed in by the propagator. The public can only be really moved by what is genuine.

Even an error if believed in will have greater force than an insincere truth. Lip-advocacy only rouses lip-homage. It is belief which gives momentum.

Nor is it any serious objection to what is here said, that insincerity and timid acquiescence in the opinion and tastes of thc public do often gain applause and temporary success. Sanding the sugar is not immediately unprofitable. There is an unpleasant popularity given to falsehood in this world of ours; but we love the truth notwithstanding, and with a more enduring love. Who does not know what it is to listen to public speakers pouring forth expressions of hollow belief and sham enthusiasm, s.n.a.t.c.hing at commonplaces with a fervour as of faith, emphasising insincerities as if to make up by emphasis what is wanting in feeling, all the while saying not only what they do not believe, but what the listeners KNOW they do not believe, and what the listeners, though they roar a.s.sent, do not themselves believe--a turbulence of sham, the very noise of which stuns the conscience? Is such an orator really enviable, although thunders of applause may have greeted his efforts? Is that success, although the newspapers all over the kingdom may be reporting the speech? What influence remains when the noise of the shouts has died away? Whereas, if on the same occasion one man gave utterance to a sincere thought, even if it were not a very wise thought, although the silence of the public--perhaps its hisses--may have produced an impression of failure, yet there is success, for the thought will re-appear and mingle with the thoughts of men to be adopted or combated by them, and may perhaps in a few years mark out the speaker as a man better worth listening to than the noisy orator whose insincerity was so much cheered.

The same observation applies to books. An author who waits upon the times, and utters only what he thinks the world will like to hear, who sails with the stream, admiring everything which it is "correct taste"

to admire, despising everything which has not yet received that Hall-mark, sneering at the thoughts of a great thinker not yet accepted as such, and slavishly repeating the small phrases of a thinker who has gained renown, flippant and contemptuous towards opinions which he has not taken the trouble to understand, and never venturing to oppose even the errors of men in authority, such an author may indeed by dint of a certain dexterity in a.s.sorting the mere husks of opinion gain the applause of reviewers, who will call him a thinker, and of indolent men and women who will p.r.o.nounce him "so clever ;" but triumphs of this kind are like oratorical triumphs after dinner. Every autumn the earth is strewed with the dead leaves of such vernal successes.

I would not have the reader conclude that because I advocate plain-speaking even of unpopular views, I mean to imply that originality and sincerity are always in opposition to public opinion.

There are many points both of doctrine and feeling in which the world is not likely to be wrong. But in all cases it is desirable that men should not pretend to believe opinions which they really reject, or express emotions they do not feel. And this rule is universal. Even truthful and modest men will sometimes violate the rule under the mistaken idea of being eloquent by means of the diction of eloquence.

This is a source of bad Literature. There are certain views in Religion, Ethics, and Politics, which readily lend themselves to eloquence, because eloquent men have written largely on them, and the temptation to secure this facile effect often seduces men to advocate these views in preference to views they really see to be more rational.

That this eloquence at second-hand is but feeble in its effect, does not restrain others from repeating it. Experience never seems to teach them that grand speech comes only from grand thoughts, pa.s.sionate speech from pa.s.sionate emotions. The pomp and roll of words, the trick of phrase, the rhytlnn and the gesture of an orator, may all be imitated, but not his eloquence. No man was ever eloquent by trying to be eloquent, but only by being so. Trying leads to the vice of "fine writing"--the plague-spot of Literature, not only unhealthy in itself, and vulgarising the grand language which should be reserved for great thoughts, but encouraging that tendency to select only those views upon which a spurious enthusiasm can most readily graft the representative abstractions and stirring suggestions which will move public applause.

The "fine writer" will always prefer the opinion which is striking to the opinion which is true. He frames his sentences by the ear, and is only dissatisfied with them when their cadences are ill-distributed, or their diction is too familiar. It seldom occurs to him that a sentence should accurately express his meaning and no more; indeed there is not often a definite meaning to be expressed, for the thought which arose vanished while he tried to express it, and the sentence, instead of being determined by and moulded on a thought, is determined by some verbal suggestion. Open any book or periodical, and see how frequently the writer does not, cannot, mean what he says; and you will observe that in general the defect does not arise from any poverty in our language, but from the habitual carelessness which allows expressions to be written down unchallenged provided they are sufficiently harmonious, and not glaringly inadequate.

The slapdash insincerity of modern style entirely sets at nought the first principle of writing, which is accuracy. The art of writing is not, as many seem to imagine, the art of bringing fine phrases into rhythmical order, but the art of placing before the reader intelligible symbols of the thoughts and feelings in the writer's mind. Endeavour to be faithful, and if there is any beauty in your thought, your style will be beautiful; if there is any real emotion to express, the expression will be moving. Never rouge your style. Trust to your native pallor rather than to cosmetics. Try to make us see what you see and to feel what you feel, and banish from your mind whatever phrases others may have used to express what was in their thoughts, but is not in yours. Have you never observed what a light impression writers have produced, in spite of a profusion of images, ant.i.theses, witty epigrams, and rolling periods, whereas some simpler style, altogether wanting in such "brilliant pa.s.sage," has gained the attention and respect of thousands? Whatever is stuck on as ornament affects us as ornament; we do not think an old hag young and handsome because the jewels flash from her brow and bosom; if we envy her wealth, we do not admire her beauty.

What "fine writing" is to prosaists, insincere imagery is to poets: it is introduced for effect, not used as expression. To the real poet an image comes spontaneously, or if it comes as an afterthought, it is chosen because it expresses his meaning and helps to paint the picture which is in his mind, not because it is beautiful in itself. It is a symbol, not an ornament. Whether the image rise slowly before the mind during contemplation, or is seen in the same flash which discloses the picture, in each case it arises by natural a.s.sociation, and is SEEN, not SOUGHT. The inferior poet is dissatisfied with what he sees, and casts about in search after something more striking. He does not wait till an image is borne in upon the tide of memory, he seeks for an image that will be picturesque; and being without the delicate selective instinct which guides the fine artist, he generally chooses something which we feel to be not exactly in its right place. He thus--

"With gold and silver covers every part, And hides with ornament his want of art."

Be true to your own soul, and do not try to express the thought of another. "If some people," says Ruskin, "really see angels where others see only empty s.p.a.ce, let them paint angels: only let not anybody else think they can paint an angel too, on any calculated principles of the angelic." Unhappily this is precisely what so many will attempt, inspired by the success of the angelic painter. Nor will the failure of others warn them.

Whatever is sincerely felt or believed, whatever forms part of the imaginative experience, and is not simply imitation or hearsay, may fitly be given to the world, and will always maintain an infinite superiority over imitative splendour; because although it by no means follows that whatever has formed part of the artist's experience must be impressive, or can do without artistic presentation, yet his artistic power will always be greater over his own material than over another's. Emerson has well remarked "that those facts, words, persons which dwell in a man's memory without his being able to say why, remain because they have a relation to him not less real for being as yet unapprehended. They are symbols of value to him as they can interpret parts of his consciousness which he would vainly seek words for in the conventional images of books and other minds. What attracts my attention shall have it; as I will go to the man who knocks at my door while a thousand persons as worthy go by it to whom I give no regard.

It is enough that these particulars speak to me. A few anecdotes, a few traits of character, manners, faces, a few incidents have an emphasis in your memory out of all proportion to their apparent significance if you measure them by ordinary standards. They relate to your gift. Let them have their weight, and do not reject them, or cast about for ill.u.s.trations and facts more usual in literature."

In the notes to the last edition of his poems, Wordsworth specified the particular occasions which furnished him with particular images. It was the things he had SEEN which he put into his verses; and that is why they affect us. It matters little whether the poet draws his images directly from present experience, or indirectly from memory--whether the sight of the slow-sailing swan, that "floats double swan and shadow" be at once transferred to the scene of the poem he is writing, or come back upon him in after years to complete some picture in his mind; enough that the image be suggested, and not sought.

The sentence from Ruskin, quoted just now, will guard against the misconception that a writer, because told to rely on his own experience, is enjoined to forego the glory and delight of creation even of fantastic types. He is only told never to pretend to see what he has not seen. He is urged to follow Imagination in her most erratic course, though like a will-o'-wisp she lead over marsh and fen away from the haunts of mortals; but not to pretend that he is following a will-o'-wisp when his vagrant fancy never was allured by one. It is idle to paint fairies and goblins unless you have a genuine vision of them which forces you to paint them. They are poetical objects, but only to poetic minds. "Be a plain photographer if you possibly can,"

says Ruskin, "if Nature meant you for anything else she will force you to it; but never try to be a prophet; go on quietly with your hard camp work, and the spirit will come to you as it did to Eldad and Medad if you are appointed to it." Yes: if you are appointed to it; if your faculties are such that this high success is possible, it will come, provided the faculties are employed with sincerity. Otherwise it cannot come. No insincere effort can secure it.

If the advice I give to reject every insincerity in writing seem cruel, because it robs the writer of so many of his effects---if it seem disheartening to earnestly warn a man not to TRY to be eloquent, but only to BE eloquent when his thoughts move with an impa.s.sioned LARGO--if throwing a writer back upon his naked faculty seem especially distasteful to those who have a painful misgiving that their faculty is small, and that the uttermost of their own power would be far from impressive, my answer is that I have no hope of dissuading feeble writers from the practice of insincerity, but as under no circ.u.mstances can they become good writers and achieve success, my a.n.a.lysis has no reference to them, my advice has no aim at them. It is to the young and strong, to the ambitious and the earnest, that my words are addressed.

It is to wipe the film from their eyes, and make them see, as they will see directly the truth is placed before them, how easily we are all seduced into greater or less insincerity of thought, of feeling, and of style, either by reliance on other writers, from whom we catch the trick of thought and turn of phrase, or from some preconceived view of what the public will prefer. It is to the young and strong I say: Watch vigilantly every phrase you write, and a.s.sure yourself that it expresses what you mean; watch vigilantly every thought you express, and a.s.sure yourself that it is yours, not another's; you may share it with another, but you must not adopt it from him for the nonce. Of course, if you are writing humorously or dramatically, you will not be expected to write your own serious opinions. Humour may take its utmost licence, yet be sincere. The dramatic genius may incarnate itself in a hundred shapes, yet in each it will speak what it feels to be the truth. If you are imaginatively representing the feelings of another, as in some playful exaggeration or some dramatic personation, the truth required of you is imaginative truth, not your personal views and feelings. But when you write in your own person you must be rigidly veracious, neither pretending to admire what you do not admire, or to despise what in secret you rather like, nor surcharging your admiration and enthusiasm to bring you into unison with the public chorus. This vigilance may render Literature more laborious; but no one ever supposed that success was to be had on easy terms; and if you only write one sincere page where you might have written twenty insincere pages, the one page is worth writing--it is Literature.

Sincerity is not only effective and honourable, it is also much less difficult than is commonly supposed. To take a trifling example: If for some reason I cannot, or do not, choose to verify a quotation which may be useful to my purpose, what is to prevent my saying that the quotation is taken at second-hand? It is true, if my quotations are for the most part second-hand and are acknowledged as such, my erudition will appear scanty. But it will only appear what it is. Why should I pretend to an erudition which is not mine? Sincerity forbids it.

Prudence whispers that the pretence is, after all, vain, because those, and those alone, who can rightly estimate erudition will infallibly detect my pretence, whereas those whom I have deceived were not worth deceiving. Yet in spite of Sincerity and Prudence, how shamelessly men compile second-hand references, and display in borrowed footnotes a pretence of labour and of accuracy! I mention this merely to show how, even in the humbler cla.s.s of compilers, the Principle of Sincerity may find fit ill.u.s.trations, and how honest work, even in references, belongs to the same category as honest work in philosophy or poetry.

EDITOR.