INTRODUCTORY NOTE

I WAS MONSTROUSLY ATTRACTED BY a suggestion that these essays should bear the general title of “Joking Apart.” It seemed to me a simple and sensible way of saying that the reader of these pages must not look for many jokes, certainly not merely for jokes, because these are controversial essays, covering all subjects on which a controversialist is challenged, and not particular subjects chosen as they are chosen by an essayist. It is an awful revelation of the world of unreason into which we have wandered, that people more practical than I are convinced that if I say that this is apart from joking, everyone will think it is a joke. To my simple mind it seems very much as if I wanted to call a book, “Away from Jericho,” and everybody assumed that I had accepted a very general recommendation to go to Jericho. Many essays could be written on this strange modern sensibility to mere verbal allusion, or the introduction of certain words, even to repudiate them. But the only point here involved is that these essays are all under the conditions of controversy, which involve the absolute necessity of disgusting those with whom we disagree on any subject, and boring those who are indifferent to that subject. I have had, if I may say so, a very happy and lucky literary life; and have often felt rather the indulgence than the impatience of critics; and it is in a perfectly amiable spirit that I note that it has involved a certain transition or change. Up to a certain point, I was charitably chaffed for saying what I could not possibly mean; and I was then rather more sharply criticised, when it was discovered that I did really mean it. Now anybody driven to the defence of what he does really mean must cover all the strategic field of the fight, and must fight at many points which he would not have chosen in fancy, but only in relation to fact. He cannot hope to deal only with heresies that amuse him; he must, in common fairness, deal seriously with heresies that bore him. He must settle down to stating his real reasons for contradicting real statements, which are not made by him as statements, and not chosen by him as subjects. All this seems to me, with my mild rationalistic mind, excellently summarised in the words, “Joking Apart.”

Anyhow, this is why I have opened this series with an essay called “An Apology for Buffoons,” because it is in some sense, I will not say a swan-song (that ornithological metaphor would not occur to me in relation to myself), but at least a sort of summary of my more frivolous mode of writing, and all that I still think may be fairly advanced for it. Unfortunately, a man fighting what he honestly believes to be false can hardly preserve the glorious immunity of a buffoon. He is forced to be serious, and even those who despise him most are driven desperately to take him seriously. But there is one other reason for adding this preliminary note, in connection with the preliminary essay. Since I wrote it, I have come to appreciate much more warmly the admirable work of Mr. T. S. Eliot; and I should like to offer an apology to him for some errors that occurred accidentally in the article itself. It was not he, but another critic, with whom I confused him, who made the particular point against alliteration; and the quotation from him was made from memory; and I have not been able to trace it so as to reproduce the exact order of words, the inaccuracy, if any, does not affect the argument; but the article which I had already planned to put in the same magazine, called “Apology to T S Eliot” would have gone far beyond any such verbal point. It would be adding impudence to injury to dedicate a book to an author merely on the claim of having misquoted him; but I should be proud to dedicate this book to T. S. Eliot, and the return of true logic and a luminous tradition to the world.

AN APOLOGY FOR BUFFOONS

THERE was a time when I appeared in the Mercury, covered with blushes, to acknowledge a friendly criticism which asked if my journalism held enough of autobiography; and I attempted with great embarrassment to give thanks for the criticism—and the compliment. My blush has faded; my sense of decency has departed; and I appear now with the shameless purpose of being, not merely autobiographical, but grotesquely egotistical. In a spirit of brazen contradiction, I even propose to be egotistical in disproving the charge of egotism. Nay, in a yet wilder illogicality, I claim to be egotistical in the interests of other people. It is a contradiction in terms; but as the higher mathematics, the higher morality, the higher religion and the rest now entirely consist of contradictions in terms, I go on with a ghastly calm. And I do it because I cannot think of any other way of drawing attention to a real problem of literature, and especially of popular literature (if I may dare to dream of that contradiction also) except this particular line of argument, which inevitably involves the mention of my own case— let us hope along with more amusing ones.

It is commonly alleged of writers that they resent mild criticisms as infamous personal imputations, taking them as seriously as slanders. Without affectation, I fancy my own case to be rather different and even opposite. Most of the adverse criticisms written about me strike me as quite true. Where I am in invincible ignorance, I suppose, is in a proper sense of the importance of the things thus rightly reproved. For instance, a very sympathetic reviewer said that I used too much alliteration; and quoted Mr. T. S. Eliot (see apology in Introduction) as saying that such a style maddened him to the point of unendurance; and a similar criticism of my English was made, I think, by another American writer, Mr. Cuthbert Wright. Now I think, on fair consideration, that it is perfectly true that I do use a great deal too much alliteration. The only question on which these gentlemen and I would probably differ is a question of degree; a question of the exact importance or necessity of avoiding alliteration. For I do strongly maintain that it is a question of avoiding alliteration—and even that phrase does not avoid it! If an English writer does not avoid it, he is perpetually dragged into it when speaking rapidly or writing a great deal, by the whole trend and current of the English speech; perhaps that is why the Anglo-Saxon poetry even down to Piers Plowman (which I enjoy hugely) was all alliteration. Anyhow, the tendency in popular and unconscious speech is quite obvious, in phrases and proverbs and rhymes and catchwords and a thousand things. Time and tide, wind and water, fire and flood, waste not, want not, bag and baggage, spick and span, black and blue, deaf and dumb, the devil and the deep sea, when the wine is in the wit is out, in for a penny, in for a pound, a pig in a poke, a bee in a bonnet, a bat in a belfry, and so on through a myriad fantastic changes of popular imagery. What elaborate art, what sleepless cunning even, must these more refined writers employ to dodge this rush of coincidences; and run between the drops of this deluge! It must be a terrible strain on the presence of mind to be always ready with a synonym. I can imagine Mr. T. S. Eliot just stopping himself in time, and saying with a refined cough, “Waste not, require not.” I like to think of Mr. Cuthbert Wright, in some headlong moment of American hustle, still having the self-control to cry, “Time and Fluctuation wait for no man!” I can imagine his delicate accent when speaking of a pig in a receptacle or of bats in the campanile. It is a little difficult perhaps to image the latter critic apparently confining himself to the isolated statement, “Mr. Smith is spick,” while his mind hovered in momentary hesitation about how to vary the corresponding truth that Mr. Smith is span. But it is quite easy to conceive an advanced modern artist of this school, looking for some sharp and graphic variation in the old colour scheme of black and blue. Indeed, we might almost invent a sort of colour test, like that which somebody suggested about red grass and green sky as a test of different schools of painting. We might suggest that Decadents beat people black and yellow, Futurists beat them black and orange, Neo-Victorians beat them black and magenta; but all recoil from the vulgar alliteration of beating them black and blue. Nor indeed is the reference to these new and varied styles irrelevant. Some of the more bizarre modern methods seem to me to make it rather difficult to have any fixed criticism at all, either of their style or mine. Take, for instance, the case of Mr. T. S. Eliot himself. I recently saw a poem of his praised very highly and doubtless very rightly; though to some extent (it seemed) because it was a poem of profound “disillusionment and melancholy.” But the passage specially quoted for commendation ran, if I remember right:

“the smell of steak in passages.”

That quotation is enough to indicate the difficulty I mean. For even style of this severe and classic sort is after all to some extent a matter of taste. It is not a subject for these extreme controversial passions. If I were to say that the style of that line maddened me to the point of unendurance, I should be greatly exaggerating its effect on the emotions. I should not like everything to be written in that style; I should not like to wander for ever in passages stuffy with steak (there we go again!) but I cannot think these questions of style are quite so important as these pure stylists suppose. We must be moderate in our reactions; as in that verse specially...