Letters to Dead Authors E-Book

Andrew Lang

• Herausgeber: E-BOOKARAMA
• Kategorie: Geisteswissenschaft
• Sprache: Englisch
• Veröffentlichungsjahr: 2023

Beschreibung

First published in 1886, "Letters to Dead Authors" contains twenty-two letters written by Andrew Lang to bards, poets, and novelists from Homer to Rabelais to Austen. Lang discusses literary subjects with his usual humour and acidity. 

The impulse for the writing of the letters came, almost as a joke, from the editor of the 'St. James's Gazette,' and sixteen of the letters collected in the volume appeared first in that journal.

As a literary critic, Lang inspired love, fear, respect, and laughter. He was sometimes acerbic, sometimes reverential, and usually witty. However, there is more glowing praise in "Letters to Dead Authors" than scathing criticism. In fact he expresses a very, very high opinion of most of his correspondents. 

Leseprobe

Table of contents

LETTERS TO DEAD AUTHORS

Preface

1. To W. M. Thackeray

2. To Charles Dickens

3. To Pierre De Ronsard (Prince Of Poets.)

4. To Herodotus

5. Epistle To Mr. Alexander Pope

6. To Lucian Of Samosata

7. To Maitre Francoys Rabelais

8. To Jane Austen

9. To Master Isaak Walton

9. To Sir John Manndeville, Kt

12. To Alexandre Dumas

13. To Theocritus

14. To Edgar Allan Poe

15. To Sir Walter Scott, Bart

16. To Eusebius Of Caesarea

17. To Percy Bysshe Shelley

18. To Monsieur De Moliére, Valet De Chambre Du Roi

19. To Robert Burns

20. To Lord Byron

21. To Omar Kha'yya'm

22. To Q. Horatius Flaccus

LETTERS TO DEAD AUTHORS

Andrew Lang

Preface

Sixteen of these Letters, which were written at the suggestion of the editor of the 'St. James's Gazette,' appeared in that journal, from which they are now reprinted, by the editor's kind permission. They have been somewhat emended, and a few additions have been made. The Letters to Horace, Byron, Isaak Walton, Chapelain, Ronsard, and Theocritus have not been published before.

The gem published for the first time on the title-page is a red cornelian in the British Museum, probably Graeco-Roman, and treated in an archaistic style. It represents Hermes Psychogogos, with a Soul, and has some likeness to the Baptism of Our Lord, as usually shown in art. Perhaps it may be post-Christian. The gem was selected by Mr. A. S. Murray.

It is, perhaps, superfluous to add that some of the Letters are written rather to suit the Correspondent than to express the writer's own taste or opinions. The Epistle to Lord Byron, especially, is 'writ in a manner which is my aversion.'

1. To W. M. Thackeray

Sir,—There are many things that stand in the way of the critic when he has a mind to praise the living. He may dread the charge of writing rather to vex a rival than to exalt the subject of his applause. He shuns the appearance of seeking the favour of the famous, and would not willingly be regarded as one of the many parasites who now advertise each movement and action of contemporary genius. 'Such and such men of letters are passing their summer holidays in the Val d'Aosta,' or the Mountains of the Moon, or the Suliman Range, as it may happen. So reports our literary 'Court Circular,' and all our Précieuses read the tidings with enthusiasm. Lastly, if the critic be quite new to the world of letters, he may superfluously fear to vex a poet or a novelist by the abundance of his eulogy. No such doubts perplex us when, with all our hearts, we would commend the departed; for they have passed almost beyond the reach even of envy; and to those pale cheeks of theirs no commendation can bring the red.

You, above all others, were and remain without a rival in your many-sided excellence, and praise of you strikes at none of those who have survived your day. The increase of time only mellows your renown, and each year that passes and brings you no successor does but sharpen the keenness of our sense of loss. In what other novelist, since Scott was worn down by the burden of a forlorn endeavour, and died for honour's sake, has the world found so many of the fairest gifts combined? If we may not call you a poet (for the first of English writers of light verse did not seek that crown), who that was less than a poet ever saw life with a glance so keen as yours, so steady, and so sane? Your pathos was never cheap, your laughter never forced; your sigh was never the pulpit trick of the preacher. Your funny people—your Costigans and Fokers—were not mere characters of trick and catch-word, were not empty comic masks. Behind each the human heart was beating; and ever and again we were allowed to see the features of the man.

Thus fiction in your hands was not simply a profession, like another, but a constant reflection of the whole surface of life: a repeated echo of its laughter and its complaint. Others have written, and not written badly, with the stolid professional regularity of the clerk at his desk; you, like the Scholar Gipsy, might have said that 'it needs heaven-sent moments for this skill.' There are, it will not surprise you, some honourable women and a few men who call you a cynic; who speak of 'the withered world of Thackerayan satire;' who think your eyes were ever turned to the sordid aspects of life—to the mother-in-law who threatens to 'take away her silver bread-basket;' to the intriguer, the sneak, the termagant; to the Beckys, and Barnes Newcomes, and Mrs. Mackenzies of this world. The quarrel of these sentimentalists is really with life, not with you; they might as wisely blame Monsieur Buffon because there are snakes in his Natural History. Had you not impaled certain noxious human insects, you would have better pleased Mr. Ruskin; had you confined yourself to such performances, you would have been more dear to the Neo-Balzacian school in fiction.

You are accused of never having drawn a good woman who was not a doll, but the ladies that bring this charge seldom remind us either of Lady Castlewood or of Theo or Hetty Lambert. The best women can pardon you Becky Sharp and Blanche Amory; they find it harder to forgive you Emmy Sedley and Helen Pendennis. Yet what man does not know in his heart that the best women—God bless them—lean, in their characters, either to the sweet passiveness of Emmy or to the sensitive and jealous affections of Helen? 'Tis Heaven, not you, that made them so; and they are easily pardoned, both for being a very little lower than the angels and for their gentle ambition to be painted, as by Guido or Guercino, with wings and harps and haloes. So ladies have occasionally seen their own faces in the glass of fancy, and, thus inspired, have drawn Romola and Consuelo. Yet when these fair idealists, Mdme. Sand and George Eliot, designed Rosamund Vincy and Horace, was there not a spice of malice in the portraits which we miss in your least favourable studies?

That the creator of Colonel Newcome and of Henry Esmond was a snarling cynic; that he who designed Rachel Esmond could not draw a good woman: these are the chief charges (all indifferent now to you, who were once so sensitive) that your admirers have to contend against. A French critic, M. Taine, also protests that you do preach too much. Did any author but yourself so frequently break the thread (seldom a strong thread) of his plot to converse with his reader and moralise his tale, we also might be offended. But who that loves Montaigne and Pascal, who that likes the wise trifling of the one and can bear with the melancholy of the other, but prefers your preaching to another's playing!

Your thoughts come in, like the intervention of the Greek Chorus, as an ornament and source of fresh delight. Like the songs of the Chorus, they bid us pause a moment over the wider laws and actions of human fate and human life, and we turn from your persons to yourself, and again from yourself to your persons, as from the odes of Sophocles or Aristophanes to the action of their characters on the stage. Nor, to my taste, does the mere music and melancholy dignity of your style in these passages of meditation fall far below the highest efforts of poetry. I remember that scene where Clive, at Barnes Newcome's Lecture on the Poetry of the Affections, sees Ethel who is lost to him. 'And the past and its dear histories, and youth and its hopes and passions, and tones and looks for ever echoing in the heart and present in the memory—these, no doubt, poor Clive saw and heard as he looked across the great gulf of time, and parting and grief, and beheld the woman he had loved for many years.'

For ever echoing in the heart and present in the memory: who has not heard these tones, who does not hear them as he turns over your books that, for so many years, have been his companions and comforters? We have been young and old, we have been sad and merry with you, we have listened to the mid-night chimes with Pen and Warrington, have stood with you beside the death-bed, have mourned at that yet more awful funeral of lost love, and with you have prayed in the inmost chapel sacred to our old and immortal affections, a' léal souvenir!

And whenever you speak for yourself, and speak in earnest, how magical, how rare, how lonely in our literature is the beauty of your sentences! 'I can't express the charm of them' (so you write of George Sand; so we may write of you): 'they seem to me like the sound of country bells, provoking I don't know what vein of music and meditation, and falling sweetly and sadly on the ear.'

Surely that style, so fresh, so rich, so full of surprises—that style which stamps as classical your fragments of slang, and perpetually astonishes and delights—would alone give immortality to an author, even had he little to say. But you, with your whole wide world of fops and fools, of good women and brave men, of honest absurdities and cheery adventurers: you who created the Steynes and Newcomes, the Beckys and Blanches, Captain Costigan and F. B., and the Chevalier Strong—all that host of friends imperishable—you must survive with Shakespeare and Cervantes in the memory and affection of men.

2. To Charles Dickens

Sir,—It has been said that every man is born a Platonist or an Aristotelian, though the enormous majority of us, to be sure, live and die without being conscious of any invidious philosophic partiality whatever. With more truth (though that does not imply very much) every Englishman who reads may be said to be a partisan of yourself or of Mr. Thackeray. Why should there be any partisanship in the matter; and why, having two such good things as your novels and those of your contemporary, should we not be silently happy in the possession? Well, men are made so, and must needs fight and argue over their tastes in enjoyment. For myself, I may say that in this matter I am what the Americans do not call a 'Mugwump,' what English politicians dub a 'superior person'—that is, I take no side, and attempt to enjoy the best of both.

It must be owned that this attitude is sometimes made a little difficult by the vigour of your special devotees. They have ceased, indeed, thank Heaven! to imitate you; and even in 'descriptive articles' the touch of Mr. Gigadibs, of him whom 'we almost took for the true Dickens,' has disappeared. The young lions of the Press no longer mimic your less admirable mannerisms—do not strain so much after fantastic comparisons, do not (in your manner and Mr. Carlyle's) give people nick-names derived from their teeth, or their complexion; and, generally, we are spared second-hand copies of all that in your style was least to be commended. But, though improved by lapse of time in this respect, your devotees still put on little conscious airs of virtue, robust manliness, and so forth, which would have irritated you very much, and there survive some press men who seem to have read you a little (especially your later works), and never to have read anything else. Now familiarity with the pages of 'Our Mutual Friend'and 'Dombey and Son' does not precisely constitute a liberal education, and the assumption that it does is apt (quite unreasonably) to prejudice people against the greatest comic genius of modern times.

On the other hand, Time is at last beginning to sift the true admirers of Dickens from the false. Yours, Sir, in the best sense of the word, is a popular success, a popular reputation. For example, I know that, in a remote and even Pictish part of this kingdom, a rural household, humble and under the shadow of a sorrow inevitably approaching, has found in 'David Copperfield' oblivion of winter, of sorrow, and of sickness. On the other hand, people are now picking up heart to say that 'they cannot read Dickens,' and that they particularly detest 'Pickwick.' I believe it was young ladies who first had the courage of their convictions in this respect. 'Tout sied aux belles,' and the fair, in the confidence of youth, often venture on remarkable confessions. In your 'Natural History of Young Ladies' I do not remember that you describe the Humorous Young Lady (1). She is a very rare bird indeed, and humour generally is at a deplorably low level in England.

(1) I am informed that the Natural History of Young Ladies is attributed, by some writers, to another philosopher, the author of The Art of Pluck.

Hence come all sorts of mischief, arisen since you left us; and, it may be said, that inordinate philanthropy, genteel sympathy with Irish murder and arson, Societies for Badgering the Poor, Esoteric Buddhism, and a score of other plagues, including what was once called Aestheticism, are all, primarily, due to want of humour. People discuss, with the gravest faces, matters which properly should only be stated as the wildest paradoxes. It naturally follows that, in a period almost destitute of humour, many respectable persons 'cannot read Dickens,' and are not ashamed to glory in their shame. We ought not to be angry with others for their misfortunes; and yet when one meets the crétins who boast that they cannot read Dickens, one certainly does feel much as Mr. Samuel Weller felt when he encountered Mr. Job Trotter.

How very singular has been the history of the decline of humour. Is there any profound psychological truth to be gathered from consideration of the fact that humour has gone out with cruelty? A hundred years ago, eighty years ago—nay, fifty years ago—we were a cruel but also a humorous people. We had bull-baitings, and badger-drawings, and hustings, and prize-fights, and cock-fights; we went to see men hanged; the pillory and the stocks were no empty 'terrors unto evil-doers,' for there was commonly a malefactor occupying each of these institutions. With all this we had a broad blown comic sense. We had Ho-garth, and Bunbury, and George Cruikshank, and Gilray; we had Leech and Surtees, and the creator of Tittlebat Titmouse; we had the Shepherd of the 'Noctes,' and, above all, we had you.

From the old giants of English fun—burly persons delighting in broad caricature, in decided colours, in cockney jokes, in swashing blows at the more prominent and obvious human follies—from these you derived the splendid high spirits and unhesitating mirth of your earlier works. Mr. Squeers, and Sam Weller, and Mrs. Gamp, and all the Pickwickians, and Mr. Dowler, and John Browdie—these and their immortal companions were reared, so to speak, on the beef and beer of that naughty, fox-hunting, badger-baiting old England, which we have improved out of existence. And these characters, assuredly, are your best; by them, though stupid people cannot read about them, you will live while there is a laugh left among us. Perhaps that does not assure you a very prolonged existence, but only the future can show.

The dismal seriousness of the time cannot, let us hope, last for ever and a day. Honest old Laughter, the true lutin of your inspiration, must have life left in him yet, and cannot die; though it is true that the taste for your pathos, and your melodrama, and plots constructed after your favourite fashion ('Great Expectations' and the 'Tale of Two Cities' are exceptions) may go by and never be regretted. Were people simpler, or only less clear-sighted, as far as your pathos is concerned, a generation ago? Jeffrey, the hard-headed shallow critic, who declared that Wordsworth 'would never do,' cried, 'wept like anything,' over your Little Nell. One still laughs as heartily as ever with Dick Swiveller; but who can cry over Little Nell?

Ah, Sir, how could you—who knew so intimately, who remembered so strangely well the fancies, the dreams, the sufferings of childhood—how could you 'wallow naked in the pathetic,' and massacre holocausts of the Innocents? To draw tears by gloating over a child's death-bed, was it worthy of you? Was it the kind of work over which our hearts should melt? I confess that Little Nell might die a dozen times, and be welcomed by whole legions of Angels, and I (like the bereaved fowl mentioned by Pet Marjory) would remain unmoved.

She was more than usual calm,

She did not give a single dam,

wrote the astonishing child who diverted the leisure of Scott. Over your Little Nell and your Little Dombey I remain more than usual calm; and probably so do thousands of your most sincere admirers. But about matter of this kind, and the unsealing of the fountains of tears, who can argue? Where is taste? where is truth? What tears are 'manly, Sir, manly,' as Fred Bayham has it; and of what lamentations ought we rather to be ashamed? Sunt lacrymae rerum; one has been moved in the cell where Socrates tasted the hemlock; or by the river-banks where Syracusan arrows slew the parched Athenians among the mire and blood; or, in fiction, when Colonel Newcome said Adsum, or over the diary of Clare Doria Forey, or where Aramis laments, with strange tears, the death of Porthos. But over Dombey (the Son), or Little Nell, one declines to snivel.