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The Author's Craft, essay(s) by Arnold Bennett |
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Part 4. The Artist And The Public |
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_ PART IV. THE ARTIST AND THE PUBLIC I I can divide all the imaginative writers I have ever met into two classes--those who admitted and sometimes proclaimed loudly that they desired popularity; and those who expressed a noble scorn or a gentle contempt for popularity. The latter, however, always failed to conceal their envy of popular authors, and this envy was a phenomenon whose truculent bitterness could not be surpassed even in political or religious life. And indeed, since (as I have held in a previous chapter) the object of the artist is to share his emotions with others, it would be strange if the normal artist spurned popularity in order to keep his emotions as much as possible to himself. An enormous amount of dishonest nonsense has been and will be written by uncreative critics, of course in the higher interests of creative authors, about popularity and the proper attitude of the artist thereto. But possibly the attitude of a first-class artist himself may prove a more valuable guide. The _Letters of George Meredith_ (of which the first volume is a magnificent unfolding of the character of a great man) are full of references to popularity, references overt and covert. Meredith could never--and quite naturally--get away from the idea of popularity. He was a student of the English public, and could occasionally be unjust to it. Writing to M. Andre Raffalovich (who had sent him a letter of appreciation) in November, 1881, he said: "I venture to judge by your name that you are at most but half English. I can consequently believe in the feeling you express for the work of an unpopular writer. Otherwise one would incline to be sceptical, for the English are given to practical jokes, and to stir up the vanity of authors who are supposed to languish in the shade amuses them." A remark curiously unfair to the small, faithful band of admirers which Meredith then had. The whole letter, while warmly and touchingly grateful, is gloomy. Further on in it he says: "Good work has a fair chance to be recognised in the end, and if not, what does it matter?" But there is constant proof that it did matter very much. In a letter to William Hardman, written when he was well and hopeful, he says: "Never mind: if we do but get the public ear, oh, my dear old boy!" To Captain Maxse, in reference to a vast sum of L8,000 paid by the _Cornhill_ people to George Eliot (for an unreadable novel), he exclaims: "Bon Dieu! Will aught like this ever happen to me?" And to his son he was very explicit about the extent to which unpopularity "mattered": "As I am unpopular I am ill-paid, and therefore bound to work double tides, hardly ever able to lay down the pen. This affects my weakened stomach, and so the round of the vicious circle is looped." (Vol. I., p. 322.) And in another letter to Arthur Meredith about the same time he sums up his career thus: "As for me, I have failed, and I find little to make the end undesirable." (Vol. I., p. 318.) This letter is dated June 23rd, 1881. Meredith was then fifty-three years of age. He had written _Modern Love_, _The Shaving of Shagpat_, _The Ordeal of Richard Feverel_, _Rhoda Fleming_, _The Egoist_ and other masterpieces. He knew that he had done his best and that his best was very fine. It would be difficult to credit that he did not privately deem himself one of the masters of English literature and destined to what we call immortality. He had the enthusiastic appreciation of some of the finest minds of the epoch. And yet, "As for me, I have failed, and I find little to make the end undesirable." But he had not failed in his industry, nor in the quality of his work, nor in achieving self-respect and the respect of his friends. He had failed only in one thing--immediate popularity.
II Assuming then that an author is justified in desiring immediate popularity, instead of being content with poverty and the unheard plaudits of posterity, another point presents itself. Ought he to limit himself to a mere desire for popularity, or ought he actually to do something, or to refrain from doing something, to the special end of obtaining popularity? Ought he to say: "I shall write exactly what and how I like, without any regard for the public; I shall consider nothing but my own individuality and powers; I shall be guided solely by my own personal conception of what the public ought to like"? Or ought he to say: "Let me examine this public, and let me see whether some compromise between us is not possible"? Certain authors are never under the necessity of facing the alternative. Occasionally, by chance, a genius may be so fortunately constituted and so brilliantly endowed that he captures the public at once, prestige being established, and the question of compromise never arises. But this is exceedingly rare. On the other hand, many mediocre authors, exercising the most complete sincerity, find ample appreciation in the vast mediocrity of the public, and are never troubled by any problem worse than the vagaries of their fountain-pens. Such authors enjoy in plenty the gewgaw known as happiness. Of nearly all really original artists, however, it may be said that they are at loggerheads with the public--as an almost inevitable consequence of their originality; and for them the problem of compromise or no-compromise acutely exists. George Meredith was such an artist. George Meredith before anything else was a poet. He would have been a better poet than a novelist, and I believe that he thought so. The public did not care for his poetry. If he had belonged to the no-compromise school, whose adherents usually have the effrontery to claim him, he would have said: "I shall keep on writing poetry, even if I have to become a stockbroker in order to do it." But when he was only thirty-three--a boy, as authors go--he had already tired of no-compromise. He wrote to Augustus Jessopp: "It may be that in a year or two I shall find time for a full sustained Song.... The worst is that having taken to prose delineations of character and life, one's affections are divided.... And in truth, being a servant of the public, _I must wait till my master commands before I take seriously to singing_." (Vol. I., p. 45.) Here is as good an example as one is likely to find of a first-class artist openly admitting the futility of writing what will not be immediately read, when he can write something else, less to his taste, that will be read. The same sentiment has actuated an immense number of first-class creative artists, including Shakspere, who would have been a rare client for a literary agent.... So much for refraining from doing the precise sort of work one would prefer to do because it is not appreciated by the public. There remains the doing of a sort of work against the grain because the public appreciates it--otherwise the pot-boiler. In 1861 Meredith wrote to Mrs Ross: "I am engaged in extra potboiling work which enables me to do this," i.e., to write an occasional long poem. (Vol. I., p. 52.) Oh, base compromise! Seventeen years later he wrote to R.L. Stevenson: "Of potboilers let none speak. Jove hangs them upon necks that could soar above his heights but for the accursed weight." (Vol. I., p. 291.) It may be said that Meredith was forced to write potboilers. He was no more forced to write potboilers than any other author. Sooner than wallow in that shame, he might have earned money in more difficult ways. Or he might have indulged in that starvation so heartily prescribed for authors by a plutocratic noble who occasionally deigns to employ the English tongue in prose. Meredith subdued his muse, and Meredith wrote potboilers, because he was a first-class artist and a man of profound common sense. Being extremely creative, he had to arrive somehow, and he remembered that the earth is the earth, and the world the world, and men men, and he arrived as best he could. The great majority of his peers have acted similarly. The truth is that an artist who demands appreciation from the public on his own terms, and on none but his own terms, is either a god or a conceited and impractical fool. And he is somewhat more likely to be the latter than the former. He wants too much. There are two sides to every bargain, including the artistic. The most fertile and the most powerful artists are the readiest to recognise this, because their sense of proportion, which is the sense of order, is well developed. The lack of the sense of proportion is the mark of the _petit maitre_. The sagacious artist, while respecting himself, will respect the idiosyncrasies of his public. To do both simultaneously is quite possible. In particular, the sagacious artist will respect basic national prejudices. For example, no first-class English novelist or dramatist would dream of allowing to his pen the freedom in treating sexual phenomena which Continental writers enjoy as a matter of course. The British public is admittedly wrong on this important point--hypocritical, illogical and absurd. But what would you? You cannot defy it; you literally cannot. If you tried, you would not even get as far as print, to say nothing of library counters. You can only get round it by ingenuity and guile. You can only go a very little further than is quite safe. You can only do one man's modest share in the education of the public. In Valery Larbaud's latest novel, _A.O. Barnabooth,_ occurs a phrase of deep wisdom about women: "_La femme est une grande realite, comme la guerre_." It might be applied to the public. The public is a great actuality, like war. If you are a creative and creating artist, you cannot ignore it, though it can ignore you. There it is! You can do something with it, but not much. And what you do not do with it, it must do with you, if there is to be the contact which is essential to the artistic function. This contact may be closened and completed by the artist's cleverness--the mere cleverness of adaptability which most first-class artists have exhibited. You can wear the fashions of the day. You can tickle the ingenuous beast's ear in order to distract his attention while you stab him in the chest. You can cajole money out of him by one kind of work in order to gain leisure in which to force him to accept later on something that he would prefer to refuse. You can use a thousand devices on the excellent simpleton.... And in the process you may degrade yourself to a mere popularity-hunter! Of course you may; as you may become a drunkard through drinking a glass of beer. Only, if you have anything to say worth saying, you usually don't succumb to this danger. If you have anything to say worth saying, you usually manage somehow to get it said, and read. The artist of genuine vocation is apt to be a wily person. He knows how to sacrifice inessentials so that he may retain essentials. And he can mysteriously put himself even into a potboiler. _Clarissa Harlowe_, which influenced fiction throughout Europe, was the direct result of potboiling. If the artist has not the wit and the strength of mind to keep his own soul amid the collisions of life, he is the inferior of a plain, honest merchant in stamina, and ought to retire to the upper branches of the Civil Service.
III When the author has finished the composition of a work, when he has put into the trappings of the time as much of his eternal self as they will safely hold, having regard to the best welfare of his creative career as a whole, when, in short, he has done all that he can to ensure the fullest public appreciation of the essential in him--there still remains to be accomplished something which is not unimportant in the entire affair of obtaining contact with the public. He has to see that the work is placed before the public as advantageously as possible. In other words, he has to dispose of the work as advantageously as possible. In other words, when he lays down the pen he ought to become a merchant, for the mere reason that he has an article to sell, and the more skilfully he sells it the better will be the result, not only for the public appreciation of his message, but for himself as a private individual and as an artist with further activities in front of him. Now this absolutely logical attitude of a merchant towards one's finished work infuriates the dilettanti of the literary world, to whom the very word "royalties" is anathema. They apparently would prefer to treat literature as they imagine Byron treated it, although as a fact no poet in a short life ever contrived to make as many pounds sterling out of verse as Byron made. Or perhaps they would like to return to the golden days when the author had to be "patronised" in order to exist; or even to the mid-nineteenth century, when practically all authors save the most successful--and not a few of the successful also--failed to obtain the fair reward of their work. The dilettanti's snobbishness and sentimentality prevent them from admitting that, in a democratic age, when an author is genuinely appreciated, either he makes money or he is the foolish victim of a scoundrel. They are fond of saying that agreements and royalties have nothing to do with literature. But agreements and royalties have a very great deal to do with literature. Full contact between artist and public depends largely upon publisher or manager being compelled to be efficient and just. And upon the publisher's or manager's efficiency and justice depend also the dignity, the leisure, the easy flow of coin, the freedom, and the pride which are helpful to the full fruition of any artist. No artist was ever assisted in his career by the yoke, by servitude, by enforced monotony, by overwork, by economic inferiority. See Meredith's correspondence everywhere. Nor can there be any satisfaction in doing badly that which might be done well. If an artist writes a fine poem, shows it to his dearest friend, and burns it--I can respect him. But if an artist writes a fine poem, and then by sloppiness and snobbishness allows it to be inefficiently published, and fails to secure his own interests in the transaction, on the plea that he is an artist and not a merchant, then I refuse to respect him. A man cannot fulfil, and has no right to fulfil, one function only in this complex world. Some, indeed many, of the greatest creative artists have managed to be very good merchants also, and have not been ashamed of the double _role_. To read the correspondence and memoirs of certain supreme artists one might be excused for thinking, indeed, that they were more interested in the _role_ of merchant than in the other _role_; and yet their work in no wise suffered. In the distribution of energy between the two _roles_ common sense is naturally needed. But the artist who has enough common sense--or, otherwise expressed, enough sense of reality--not to disdain the _role_ of merchant will probably have enough not to exaggerate it. He may be reassured on one point--namely, that success in the _role_ of merchant will never impair any self-satisfaction he may feel in the _role_ of artist. The late discovery of a large public in America delighted Meredith and had a tonic effect on his whole system. It is often hinted, even if it is not often said, that great popularity ought to disturb the conscience of the artist. I do not believe it. If the conscience of the artist is not disturbed during the actual work itself, no subsequent phenomenon will or should disturb it. Once the artist is convinced of his artistic honesty, no public can be too large for his peace of mind. On the other hand, failure in the _role_ of merchant will emphatically impair his self-satisfaction in the _role_ of artist and his courage in the further pursuance of that _role_. But many artists have admittedly no aptitude for merchantry. Not only is their sense of the bindingness of a bargain imperfect, but they are apt in business to behave in a puerile manner, to close an arrangement out of mere impatience, to be grossly undiplomatic, to be victimised by their vanity, to believe what they ought not to believe, to discredit what is patently true, to worry over negligible trifles, and generally to make a clumsy mess of their affairs. An artist may say: "I cannot work unless I have a free mind, and I cannot have a free mind if I am to be bothered all the time by details of business." Apart from the fact that no artist who pretends also to be a man can in this world hope for a free mind, and that if he seeks it by neglecting his debtors he will be deprived of it by his creditors--apart from that, the artist's demand for a free mind is reasonable. Moreover, it is always a distressing sight to see a man trying to do what nature has not fitted him to do, and so doing it ill. Such artists, however--and they form possibly the majority--can always employ an expert to do their business for them, to cope on their behalf with the necessary middleman. Not that I deem the publisher or the theatrical manager to be by nature less upright than any other class of merchant. But the publisher and the theatrical manager have been subjected for centuries to a special and grave temptation. The ordinary merchant deals with other merchants--his equals in business skill. The publisher and the theatrical manager deal with what amounts to a race of children, of whom even arch-angels could not refrain from taking advantage. When the democratisation of literature seriously set in, it inevitably grew plain that the publisher and the theatrical manager had very humanly been giving way to the temptation with which heaven in her infinite wisdom had pleased to afflict them,--and the Society of Authors came into being. A natural consequence of the general awakening was the self-invention of the literary agent. The Society of Authors, against immense obstacles, has performed wonders in the economic education of the creative artist, and therefore in the improvement of letters. The literary agent, against obstacles still more immense, has carried out the details of the revolution. The outcry--partly sentimental, partly snobbish, but mainly interested--was at first tremendous against these meddlers who would destroy the charming personal relations that used to exist between, for example, the author and the publisher. (The less said about those charming personal relations the better. Documents exist.) But the main battle is now over, and everyone concerned is beautifully aware who holds the field. Though much remains to be done, much has been done; and today the creative artist who, conscious of inability to transact his own affairs efficiently, does not obtain efficient advice and help therein, stands in his own light both as an artist and as a man, and is a reactionary force. He owes the practice of elementary common sense to himself, to his work, and to his profession at large.
IV The same dilettante spirit which refuses to see the connection between art and money has also a tendency to repudiate the world of men at large, as being unfit for the habitation of artists. This is a still more serious error of attitude--especially in a storyteller. No artist is likely to be entirely admirable who is not a man before he is an artist. The notion that art is first and the rest of the universe nowhere is bound to lead to preciosity and futility in art. The artist who is too sensitive for contacts with the non-artistic world is thereby too sensitive for his vocation, and fit only to fall into gentle ecstasies over the work of artists less sensitive than himself. The classic modern example of the tragedy of the artist who repudiates the world is Flaubert. At an early age Flaubert convinced himself that he had no use for the world of men. He demanded to be left in solitude and tranquillity. The morbid streak in his constitution grew rapidly under the fostering influences of peace and tranquillity. He was brilliantly peculiar as a schoolboy. As an old man of twenty-two, mourning over the vanished brio of youth, he carried morbidity to perfection. Only when he was travelling (as, for example, in Egypt) do his letters lose for a time their distemper. His love-letters are often ignobly inept, and nearly always spoilt by the crass provincialism of the refined and cultivated hermit. His mistress was a woman difficult to handle and indeed a Tartar in egotism, but as the recipient of Flaubert's love-letters she must win universal sympathy. Full of a grievance against the whole modern planet, Flaubert turned passionately to ancient times (in which he would have been equally unhappy had he lived in them), and hoped to resurrect beauty when he had failed to see it round about him. Whether or not he did resurrect beauty is a point which the present age is now deciding. His fictions of modern life undoubtedly suffer from his detestation of the material; but considering his manner of existence it is marvellous that he should have been able to accomplish any of them, except _Un Coeur Simple_. The final one, _Bouvard et Pecuchet_, shows the lack of the sense of reality which must be the inevitable sequel of divorce from mankind. It is realism without conviction. No such characters as Bouvard and Pecuchet could ever have existed outside Flaubert's brain, and the reader's resultant impression is that the author has ruined a central idea which was well suited for a grand larkish extravaganza in the hands of a French Swift. But the spectacle of Flaubert writing in _mots justes_ a grand larkish extravaganza cannot be conjured up by fancy. There are many sub-Flauberts rife in London. They are usually more critical than creative, but their influence upon creators, and especially the younger creators, is not negligible. Their aim in preciosity would seem to be to keep themselves unspotted from the world. They are for ever being surprised and hurt by the crudity and coarseness of human nature, and for ever bracing themselves to be not as others are. They would have incurred the anger of Dr. Johnson, and a just discipline for them would be that they should be cross-examined by the great bully in presence of a jury of butchers and sentenced accordingly. The morbid Flaubertian shrinking from reality is to be found to-day even in relatively robust minds. I was recently at a provincial cinema, and witnessed on the screen with a friend a wondrously ingenuous drama entitled "Gold is not All." My friend, who combines the callings of engineer and general adventurer with that of serving his country, leaned over to me in the darkness amid the violent applause, and said: "You know, this kind of thing always makes me ashamed of human nature." I answered him as Johnsonially as the circumstances would allow. Had he lived to the age of fifty so blind that it needed a cinema audience to show him what the general level of human nature really is? Nobody has any right to be ashamed of human nature. Is one ashamed of one's mother? Is one ashamed of the cosmic process of evolution? Human nature _is_. And the more deeply the creative artist, by frank contacts, absorbs that supreme fact into his brain, the better for his work. There is a numerous band of persons in London--and the novelist and dramatist are not infrequently drawn into their circle--who spend so much time and emotion in practising the rites of the religion of art that they become incapable of real existence. Each is a Stylites on a pillar. Their opinion on Leon Bakst, Francis Thompson, Augustus John, Cyril Scott, Maurice Ravel, Vuillard, James Stephens, E.A. Rickards, Richard Strauss, Eugen d'Albert, etc., may not be without value, and their genuine feverish morbid interest in art has its usefulness; but they know no more about reality than a Pekinese dog on a cushion. They never approach normal life. They scorn it. They have a horror of it. They class politics with the differential calculus. They have heard of Lloyd George, the rise in the price of commodities, and the eternal enigma, what is a sardine; but only because they must open a newspaper to look at the advertisements and announcements relating to the arts. The occasional frequenting of this circle may not be disadvantageous to the creative artist. But let him keep himself inoculated against its disease by constant steady plunges into the cold sea of the general national life. Let him mingle with the public, for God's sake! No phenomenon on this wretched planet, which after all is ours, is meet for the artist's shrinking scorn. And the average man, as to whom the artist's ignorance is often astounding, must for ever constitute the main part of the material in which he works. Above all, let not the creative artist suppose that the antidote to the circle of dilettantism is the circle of social reform. It is not. I referred in the first chapter to the prevalent illusion that the republic has just now arrived at a crisis, and that if something is not immediately done disaster will soon be upon us. This is the illusion to which the circle of social reforms is naturally prone, and it is an illusion against which the common sense of the creative artist must mightily protest. The world is, without doubt, a very bad world; but it is also a very good world. The function of the artist is certainly concerned more with what is than with what ought to be. When all necessary reform has been accomplished our perfected planet will be stone-cold. Until then the artist's affair is to keep his balance amid warring points of view, and in the main to record and enjoy what is.... But is not the Minimum Wage Bill urgent? But when the minimum wage is as trite as the jury-system, the urgency of reform will still be tempting the artist too far out of his true path. And the artist who yields is lost. [THE END] _ |
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