CHAPTER X

BROAD COUNSELS

I have now set down what appear to me to be the necessary considerations, recommendations, exhortations, and dehortations in aid of this delicate and arduous enterprise of forming the literary taste. I have dealt with the theory of literature, with the psychology of the author, and—quite as important—with the psychology of the reader. I have tried to explain the author to the reader and the reader to himself. To go into further detail would be to exceed my original intention, with no hope of ever bringing the constantly-enlarging scheme to a logical conclusion. My aim is not to provide a map, but a compass—two very different instruments. In the way of general advice it remains for me only to put before you three counsels which apply more broadly than any I have yet offered to the business of reading.

You have within yourself a touchstone by which finally you can, and you must, test every book that your brain is capable of comprehending. Does the book seem to you to be sincere and true? If it does, then you need not worry about your immediate feelings, or the possible future consequences of the book. You will ultimately like the book, and you will be justified in liking it. Honesty, in literature as in life, is the quality that counts first and counts last. But beware of your immediate feelings. Truth is not always pleasant. The first glimpse of truth is, indeed, usually so disconcerting as to be positively unpleasant, and our impulse is to tell it to go away, for we will have no truck with it. If a book arouses your genuine contempt, you may dismiss it from your mind. Take heed, however, lest you confuse contempt with anger. If a book really moves you to anger, the chances are that it is a good book. Most good books have begun by causing anger which disguised itself as contempt. Demanding honesty from your authors, you must see that you render it yourself. And to be honest with oneself is not so simple as it appears. One's sensations and one's sentiments must be examined with detachment. When you have violently flung down a book, listen whether you can hear a faint voice saying within you: "It's true, though!" And if you catch the whisper, better yield to it as quickly as you can. For sooner or later the voice will win. Similarly, when you are hugging a book, keep your ear cocked for the secret warning: "Yes, but it isn't true." For bad books, by flattering you, by caressing, by appealing to the weak or the base in you, will often persuade you what fine and splendid books they are. (Of course, I use the word "true" in a wide and essential significance. I do not necessarily mean true to literal fact; I mean true to the plane of experience in which the book moves. The truthfulness of Ivanhoe, for example, cannot be estimated by the same standards as the truthfulness of Stubbs's Constitutional History.) In reading a book, a sincere questioning of oneself, "Is it true?" and a loyal abiding by the answer, will help more surely than any other process of ratiocination to form the taste. I will not assert that this question and answer are all-sufficient. A true book is not always great. But a great book is never untrue.

My second counsel is: In your reading you must have in view some definite aim—some aim other than the wish to derive pleasure. I conceive that to give pleasure is the highest end of any work of art, because the pleasure procured from any art is tonic, and transforms the life into which it enters. But the maximum of pleasure can only be obtained by regular effort, and regular effort implies the organisation of that effort. Open-air walking is a glorious exercise; it is the walking itself which is glorious. Nevertheless, when setting out for walking exercise, the sane man generally has a subsidiary aim in view. He says to himself either that he will reach a given point, or that he will progress at a given speed for a given distance, or that he will remain on his feet for a given time. He organises his effort, partly in order that he may combine some other advantage with the advantage of walking, but principally in order to be sure that the effort shall be an adequate effort. The same with reading. Your paramount aim in poring over literature is to enjoy, but you will not fully achieve that aim unless you have also a subsidiary aim which necessitates the measurement of your energy. Your subsidiary aim may be æsthetic, moral, political, religious, scientific, erudite; you may devote yourself to a man, a topic, an epoch, a nation, a branch of literature, an idea—you have the widest latitude in the choice of an objective; but a definite objective you must have. In my earlier remarks as to method in reading, I advocated, without insisting on, regular hours for study. But I both advocate and insist on the fixing of a date for the accomplishment of an allotted task. As an instance, it is not enough to say: "I will inform myself completely as to the Lake School." It is necessary to say: "I will inform myself completely as to the Lake School before I am a year older." Without this precautionary steeling of the resolution the risk of a humiliating collapse into futility is enormously magnified.

My third counsel is: Buy a library. It is obvious that you cannot read unless you have books. I began by urging the constant purchase of books—any books of approved quality, without reference to their immediate bearing upon your particular case. The moment has now come to inform you plainly that a bookman is, amongst other things, a man who possesses many books. A man who does not possess many books is not a bookman. For years literary authorities have been favouring the literary public with wondrously selected lists of "the best books"—the best novels, the best histories, the best poems, the best works of philosophy—or the hundred best or the fifty best of all sorts. The fatal disadvantage of such lists is that they leave out large quantities of literature which is admittedly first-class. The bookman cannot content himself with a selected library. He wants, as a minimum, a library reasonably complete in all departments. With such a basis acquired, he can afterwards wander into those special byways of book-buying which happen to suit his special predilections. Every Englishman who is interested in any branch of his native literature, and who respects himself, ought to own a comprehensive and inclusive library of English literature, in comely and adequate editions. You may suppose that this counsel is a counsel of perfection. It is not. Mark Pattison laid down a rule that he who desired the name of book-lover must spend five per cent. of his income on books. The proposal does not seem extravagant, but even on a smaller percentage than five the average reader of these pages may become the owner, in a comparatively short space of time, of a reasonably complete English library, by which I mean a library containing the complete works of the supreme geniuses, representative important works of all the first-class men in all departments, and specimen works of all the men of the second rank whose reputation is really a living reputation to-day. The scheme for a library, which I now present, begins before Chaucer and ends with George Gissing, and I am fairly sure that the majority of people will be startled at the total inexpensiveness of it. So far as I am aware, no such scheme has ever been printed before.

CHAPTER XI

AN ENGLISH LIBRARY: PERIOD I

[For much counsel and correction in the matter of editions and prices I am indebted to my old and valued friend, Charles Young, head of the firm of Lamley & Co., booksellers, South Kensington.]

For the purposes of book-buying, I divide English literature, not strictly into historical epochs, but into three periods which, while scarcely arbitrary from the historical point of view, have nevertheless been calculated according to the space which they will occupy on the shelves and to the demands which they will make on the purse:

I. From the beginning to John Dryden, or roughly, to the end of the seventeenth century.

II. From William Congreve to Jane Austen, or roughly, the eighteenth century.

III. From Sir Walter Scott to the last deceased author who is recognised as a classic, or roughly, the nineteenth century.

Period III. will bulk the largest and cost the most; not necessarily because it contains more absolutely great books than the other periods (though in my opinion it does), but because it is nearest to us, and therefore fullest of interest for us.

I have not confined my choice to books of purely literary interest—that is to say, to works which are primarily works of literary art. Literature is the vehicle of philosophy, science, morals, religion, and history; and a library which aspires to be complete must comprise, in addition to imaginative works, all these branches of intellectual activity. Comprising all these branches, it cannot avoid comprising works of which the purely literary interest is almost nil.

On the other hand, I have excluded from consideration:—

i. Works whose sole importance is that they form a link in the chain of development. For example, nearly all the productions of authors between Chaucer and the beginning of the Elizabethan period, such as Gower, Hoccleve, and Skelton, whose works, for sufficient reason, are read only by professors and students who mean to be professors.

ii. Works not originally written in English, such as the works of that very great philosopher Roger Bacon, of whom this isle ought to be prouder than it is. To this rule, however, I have been constrained to make a few exceptions. Sir Thomas More's Utopia was written in Latin, but one does not easily conceive a library to be complete without it. And could one exclude Sir Isaac Newton's Principia, the masterpiece of the greatest physicist that the world has ever seen? The law of gravity ought to have, and does have, a powerful sentimental interest for us.

iii. Translations from foreign literature into English.

Here, then, are the lists for the first period:

PROSE WRITERS.

The principal omission from the above list is The Paston Letters, which I should probably have included had the enterprise of publishers been sufficient to put an edition on the market at a cheap price. Other omissions include the works of Caxton and Wyclif, and such books as Camden's Britannia, Ascham's Schoolmaster, and Fuller's Worthies, whose lack of first-rate value as literature is not adequately compensated by their historical interest. As to the Bible, in the first place it is a translation, and in the second I assume that you already possess a copy.

POETS.

There were a number of brilliant minor writers in the seventeenth century whose best work, often trifling in bulk, either scarcely merits the acquisition of a separate volume for each author, or cannot be obtained at all in a modern edition. Such authors, however, may not be utterly neglected in the formation of a library. It is to meet this difficulty that I have included the last three volumes on the above list. Professor Arber's anthologies are full of rare pieces, and comprise admirable specimens of the verse of Samuel Daniel, Giles Fletcher, Countess of Pembroke, James I., George Peele, Sir Walter Raleigh, Thomas Sackville, Sir Philip Sidney, Drummond of Hawthornden, Thomas Heywood, George Wither, Sir Henry Wotton, Sir William Davenant, Thomas Randolph, Frances Quarles, James Shirley, and other greater and lesser poets.

I have included all the important Elizabethan dramatists except John Marston, all the editions of whose works, according to my researches, are out of print.

In the Elizabethan and Jacobean periods talent was so extraordinarily plentiful that the standard of excellence is quite properly raised, and certain authors are thus relegated to the third, or excluded, class who in a less fertile period would have counted as at least second-class.

SUMMARY OF THE FIRST PERIOD.

In addition, scores of authors of genuine interest are represented in the anthologies.

The prices given are gross, and in many instances there is a 25 per cent. discount to come off. All the volumes can be procured immediately at any bookseller's.

CHAPTER XII

AN ENGLISH LIBRARY: PERIOD II

After dealing with the formation of a library of authors up to John Dryden, I must logically arrange next a scheme for the period covered roughly by the eighteenth century. There is, however, no reason why the student in quest of a library should follow the chronological order. Indeed, I should advise him to attack the nineteenth century before the eighteenth, for the reason that, unless his taste happens to be peculiarly "Augustan," he will obtain a more immediate satisfaction and profit from his acquisitions in the nineteenth century than in the eighteenth. There is in eighteenth-century literature a considerable proportion of what I may term "unattractive excellence," which one must have for the purposes of completeness, but which may await actual perusal until more pressing and more human books have been read. I have particularly in mind the philosophical authors of the century.

PROSE WRITERS.

The principal omissions here are Jeremy Collier, whose outcry against the immorality of the stage is his slender title to remembrance; Richard Bentley, whose scholarship principally died with him, and whose chief works are no longer current; and "Junius," who would have been deservedly forgotten long ago had there been a contemporaneous Sherlock Holmes to ferret out his identity.

POETS.

SUMMARY OF THE PERIOD.

CHAPTER XIII

AN ENGLISH LIBRARY: PERIOD III

The catalogue of necessary authors of this third and last period being so long, it is convenient to divide the prose writers into Imaginative and Non-imaginative.

In the latter half of the period the question of copyright affects our scheme to a certain extent, because it affects prices. Fortunately it is the fact that no single book of recognised first-rate general importance is conspicuously dear. Nevertheless, I have encountered difficulties in the second rank; I have dealt with them in a spirit of compromise. I think I may say that, though I should have included a few more authors had their books been obtainable at a reasonable price, I have omitted none that I consider indispensable to a thoroughly representative collection. No living author is included.

Where I do not specify the edition of a book the original copyright edition is meant.

PROSE WRITERS: IMAGINATIVE.