Talks on the study of literature.

The mood of Dante seems sometimes more difficult for the modern reader than that of the Greeks. The high spiritual severity, the passionate austerity of the Florentine, are certainly far removed from the busy, practical temper of to-day. Far away as they are in time, the Greeks were after all men of tangible deeds, of practical affairs; they knew the taste of ginger hot i' the mouth, and took hold upon life with a zest thoroughly to be appreciated in this materialistic age. Dante, on the other hand, has the burning solemnity of the prophets of the Old Testament, so that the point of view of the "Divine Comedy" is not far removed from that of Isaiah. Of all the greatest classics the "Divine Comedy" is probably the least read to-day, at any rate in this country. The translations of it are for the most part hopelessly unsatisfactory, the impossibility of setting poetry over from the honeyed Italian into a language of a genius so different as the English being painfully obvious even to those little critical. There is a great deal that is obscure, and yet more which cannot be understood without a good deal of special historical information; so that it is impossible to read Dante for the first time without that frequent reference to the notes which is so unfortunate and undesirable in a first reading. It is practically necessary to go over the notes with care once or twice before attempting the poem. Get the information first, and then plunge into the poetry. It is a plunge into a sea whereof the brine is bitter, the waters piercingly cold, and where not infrequently the waves roll high; but it is a plunge invigorating and life-giving. The man who has once read Dante with sympathy and delight can never again be wholly common and unclean, no matter into what woful faults and follies he may thereafter fall.

To come nearer home, readers are somewhat foolishly apt to feel that it is about as difficult to read Chaucer as it is to read Homer or Dante. As a matter of fact any intelligent and educated person should be able to master the theories of the pronunciation of Chaucerian English in a couple of mornings, and to read him with ease and pleasure in a week or two at most. It is a pity that there is not a good complete edition of Chaucer pointed and accented, so that the reader might not be troubled with any consciousness of effort; but after all, the difficulty lies more in the idea than in the fact. When one has mastered the language of the thirteenth century, in company how enchanting does he find himself! The sweetness, the wholesomeness, the kindliness, the sincerity, the humor, and the humanity of Chaucer can hardly be over-praised.

Of Shakespeare, – "our myriad-minded Shakespeare," – it seems almost needless to speak. Concerning his poetry one may be silent because the theme is so wide, and because writers so many and so able have already discoursed upon the subject so eloquently. To attempt to-day to explain why men should read Shakespeare is like entering into an argument to prove that men should delight in the sunshine or to explain that the sea is beautiful and wonderful. If readers to-day neglect this supreme classic it is not from ignorance of its importance. It may be from a want of realization of the pleasure and inspiration which the poet affords. Those who have not tested it may doubt as one heart-whole doubts the joys of love, and in either case only experience can make wise.

Dryden's words may suffice here and stand for all the quotations which might be made: —

To begin with Shakespeare. He was the man who of all modern and perhaps ancient poets had the largest and most comprehensive soul. All the images of nature were still present to him, and he drew them not laboriously, but luckily: when he describes anything you more than see it, you feel it.

The man who does not read and delight in this poet is scarcely to be considered intellectually alive at all, as far as there is any connection between the mind and literature; and the highest intellectual crime of which an English-speaking man is capable is to leave his Shakespeare to gather dust upon his shelves unread.

In all this I do not wish to be understood as holding that we are always to read the classics, or that we are to read nothing else. To live up to the requirements of the society of Apollo continuously would be too fatiguing even for the Muses. We cannot be always in a state of exaltation; but we cannot in any high sense live at all without becoming familiar with what exalted living is. The study of the classics calls for conscious and often for strong endeavor. We do not put ourselves thoroughly into the mood of other times and of remote conditions without effort. Indeed, it requires effort to lift our less buoyant imaginations to the level of any great work. The sympathetic reading of any supremely imaginative author is like climbing a mountain, – it is not to be accomplished without strain, but it rewards one with the breath of an upper air and a breadth of view impossible in the valley. For him who prefers the outlook of the earth-worm to that of the eagle the classics have no message and no meaning. For him who is not content with any view save the widest, these are the mountain peaks which lift to the highest and noblest sight.

XII

CONTEMPORARY LITERATURE

We speak of the classics, of ancient literature, and of contemporary literature, but in reality all literature is one. We divide it into sections for convenience of study, but it is a notable error to forget that it is consecutive from the dawn of civilization to the present. It is true that in applying the term to works of our own time it is both customary and necessary to employ the word with a meaning wider than that which it has elsewhere. It is often difficult to distinguish in contemporary productions that which is of genuine and lasting merit from that which is simply meretricious and momentary, and still harder to force others to recognize such distinction when made. It is therefore inevitable that the name literature should have a broader signification than when applied to work which has been tested and approved by time.

There are few things more perplexing than the attempt to choose from the all but innumerable books of our own day those which are to be considered as genuine. If we are able to keep vividly in mind what qualities make a thing literature, it is possible to have some not inadequate idea of what contemporary writings most completely fulfill the given conditions. We are able to speak with assurance of the work of a Tennyson or a Browning; and to feel that we have witnessed the birth of classics of the future. Beside these, however, stand the enormous multitude of books which are widely read, much talked about, and voluminously advertised; books which we cannot openly dispraise without the risk of being sneered at as captious or condemned as conceited. There are the poems which publishers inform the public in column-long advertisements, bristling with the testimonials of men and women who make writing their business, are the finest productions since Shakespeare; there are the novels which prove themselves to be works of genius by selling by the hundreds of thousands of copies and very likely being given to the purchasers of six bars of some patent soap; there are the thin and persecuted looking volumes of "prose poems" or rhyming prose which are looked upon by small bands of devoted followers as the morsel of leaven which is to leaven the whole lump; there are, in short, all those perplexing writings which have merit of some kind and in some degree, yet to decide the genuine and lasting merit of which might tax the wisdom and the patience of a Solomon of Solomons.

I have already spoken of the effect which temporary qualities are sure to have in determining the success of an author. The history of books is full of instances of works which have in their brief day filled the reading world with noisy admiration, but which have in the end been found destitute of enduring merit. While transient fame is at its height, while enthusiastically injudicious admirers are praising and judiciously enthusiastic publishers are reëchoing their plaudits, it is a well-trained mind that is able to form a sound and rational judgment, and to distinguish between the ephemeral and the abiding. The only hope lies in a careful and discriminating application of standards deduced from the classics. He who desires to judge the books of to-day must depend upon comparison with the books of yesterday. He must be able to feel toward the literature of the past as if it were of the present, and toward that of the present as if it were of the past.

It is not to the popular verdict upon a work that one can look for aid in deciding upon real merit. In time the general public accepts the verdict of the few, but at first it is the noisy opinion of the many, voluble and undiscriminating, which is heard. The general public is always affected more by the accidental than by the permanent qualities of a work, and it is more often imposed upon by shams than touched by real feeling. It is easy to recognize conventional signs for sentiment, and it is not difficult for the ordinary reader to persuade himself that he experiences emotions which are explicitly set forth for him. Popular taste and popular power of appreciation are not inaccurately represented by those eminently successful journals which in one column give the fashions and receipts for cake and in the next detailed directions for experiencing all the sensations of culture. Sentimentality is always more instantly and more widely effective than sentiment. Sentimentality finds a ready response from the fact that it only calls upon us to seem, while sentiment demands that for the time being at least we shall be.

It is necessary here to say that I do not wish to be misunderstood. I do not mean in the least to speak with scorn or contempt of the lack of power justly to discriminate and to appreciate which comes from either natural disability or lack of opportunities of cultivation. Narrowness of comprehension and appreciation is a misfortune, but it is not necessarily a fault. I mean only to point out that it is a thing to be outgrown if possible. Of the pathos of lives which are denied their desire in this I am too keenly aware to speak of such otherwise than tenderly. For the young women who put their sentiments up in curl-papers and the young men who wax the mustaches of their minds I have no patience whatever; but for those who are seeking that which seems to them the best, even though they blunder and mistakenly fall prostrate before Dagon, the great god of the Philistines, it is impossible not to feel sympathy and even admiration. In what I have been saying of the fallibility of popular opinion I have not meant to cast scorn on any sincerity, no matter where it is to be found; but merely to point out that the general voice of the public, even when sincere, is greatly to be distrusted.

Whatever contemporary literature may be, however mistaken may be the popular verdict, and however difficult it may be for the most careful criticism to determine what is of lasting and what of merely ephemeral merit, the fact remains that it is the voice of our own time, and as such cannot be disregarded. To devote attention exclusively to the classics is to get out of sympathy with the thought of our own generation. It is idle to expend energy in learning how to live if one does not go on to live. The true use of literature is not to make dreamers; it is not to make the hold upon actual existence less firm. In the classics one learns what life is, but one lives in his own time. It follows that no man can make his intellectual life full and round who does not keep intelligently in touch with what is thought and what is written by the men who are alive and working under the same conditions.

Contemporary literature is the expression of the convictions of the time in which it is written. The race having advanced so far, this is the conclusion to which thinkers have come in regard to the meaning of life. Contemporary literature is like news from the front in war-time. It is sometimes cheering, sometimes depressing, often enough inaccurate, but continually exciting. It is the word which comes to us of the progress of the eternal combat against the unknown forces of darkness which compass humanity around. There are many men who make a good deal of parade of never reading books of their own time. They are sometimes men of no inconsiderable powers of intellect and of much cultivation; but it is hardly possible to regard them as of greater contemporary interest than are the mummies of the Pharaohs. They may be excellent in their day and generation, but they have deliberately chosen that their generation shall be one that is gone and their day a day that is ended. They may be interesting relics, but relics they are. It is often wise to wait a time for the subsiding of the frenzy of applause which greets a book that is clever or merely startling. It is not the lover of literature who reads all the new books because they are new, any more than it is he who neglects the old because they are old; but if we are alive and in sympathy with our kind, we cannot but be eager to know what the intellectual world is thinking, what are the fresh theories of life, born of added experience, what are the emotions of our own generation. We cannot, in a word, be in tune with our time without being interested in contemporary literature.

It is here that the intellectual character of a man is most severely tested. Here he is tried as by fire, and if there be in him anything of sham or any flaw in his cultivation it is inevitably manifest. It is easy to know what to read in the classics; they are all explicitly labeled by the critics of succeeding generations. When it comes to contemporary work a reader is forced largely to depend upon himself. Here he must judge by his individual standards; and here he both must and will follow his own inclinations. It is not always possible for a man accurately to appraise his mental advancement by the classics he reads, because his choice may there be influenced by conventional rather than by personal valuation; but if he will compare with the established classics the books which he genuinely likes and admires among the writings of his own time, he may come at an estimate of his mental state as fair as a man is ever likely to form of himself.

It is, then, easy to see that there is a good deal of danger in dealing with current work. It is necessary to be in sympathy with the thought of the day, but it is only too common to pay too dear for this. It is extremely hard, for instance, to distinguish between genuine literary taste and curiosity when writings are concerned which have the fresh and lively interest which attaches to those things about which our fellows are actually talking and thinking. It is of course allowable to gratify a healthy curiosity, but it is well to recognize that such reading is hardly likely to promote mental growth. There is no law, civil or moral, against indulging the desire to know what is in any one of those books which are written to be talked about at ladies' luncheons; and it is not impossible that the readers who give their time to this unwholesome stuff would be doing something worse if they were not reading it. The only point upon which I wish to insist is that such amusement is neither literary nor intellectual.

There is, moreover, the danger of allowing the mind to become fixed upon the accidental instead of the permanent. I have spoken of the fact that the temporary interest of a book may be so great as to blind the reader to all else. When "Uncle Tom's Cabin" was new, it was practically impossible for the readers of that day to see in it anything but a fiery tract against slavery. To-day who reads "Ground Arms" without being chiefly impressed with its arguments against war? It is as controversial documents that these books were written. If they have truth to life, if they adequately express human emotion, they will be of permanent value after this temporary interest has passed. The danger is that the passing interest, which is natural and proper in itself, shall blind us to false sentiment, to unjust views of life, to sham emotion. We are constantly led to forget the important principle that books of our own time must be judged by the standards which are afforded by the books which are of all time.

There has never been a time when self-possession and sound judgment in dealing with contemporary literature were more important than they are to-day. The immeasurably prolific press of the nineteenth century is like a fish-breeding establishment where minnows are born by the million a minute. There are so many books that the mind becomes bewildered. The student who might have the strength of mind to form an intelligent opinion of five books is utterly incapable of doing the same by five thousand. We are all constantly led on to read too many things. It has been again and again remarked that our grandfathers were better educated than their grandsons because they knew thoroughly the few works which came in their way. We have become the victims of over-reading until the modern mind seems in danger of being destroyed by literary gluttony.

It is well in dealing with contemporary work to be especially self-exacting in insisting that a book is not to be read once which is not to be read a second time. This may seem to be a rule made merely for the sake of having a proper theory, yet it is to be taken literally and observed exactly. It is true that the temptation is so great to read books which are talked about, that we are all likely to run through a good many things which we know to be really unworthy of a single perusal, and of course to go over them again would be a waste of more time. Where to draw the line between the permanent and the ephemeral is a point which each must settle for himself. If, on the whole, it seem to a man well to pay the price in time and in the risk of forming bad mental habits, it is his right to do this, but pay the price he must and will.

It is hardly possible to discuss contemporary literature without speaking of that which is not literature, – the periodicals. One of the conditions of the present time which most strongly affects the relations of ordinary readers to reading in general is the part which periodicals of one sort or another play in modern life. The newspaper enters so intimately into existence to-day that no man can escape it if he would, and with innumerable readers it is practically the sole mental food. It is hardly necessary to say that there is no more relation between the newspaper and literature than there would be between two persons because they both wear hats. Both books and journals are expressed in printed words, and that is about all that there is in common. It is necessary to use the daily paper, but its office is chiefly a mechanical one. It is connected with the purely material side of life. This is not a fault, any more than it is the fault of a spade that it is employed to dig the earth instead of being used to serve food with. It is not the function of the newspapers to minister to the intellect or the imagination in any high sense. They fulfill their mission when they are clean and reliable in material affairs. What is beyond this is a pretense at literature under impossible conditions, assumed to beguile the unwary, and harmless or vicious, according to circumstances. It is seen at its worst in the Sunday editions, with their sheets as many

– as autumnal leaves that strow the brooks
In Vallombrosa.

It is safe to say that for the faithful reader of the Sunday newspaper there is no intellectual salvation. Like the Prodigal Son, he is fain to fill his belly with the husks which the swine do eat, and he has not the grace even to long for the more dignified diet of fatted calf.

The newspaper habit is pretty generally recognized as demoralizing, and in so far it may be in a literary point of view less dangerous than the magazine habit. The latter is often accompanied by a self-righteous conviction that it is a virtue. There is a class who take on airs of being of the intellectual elect on the strength of reading all the leading magazines; who are as proud of having four serials in hand at once as is a society belle of being able to drive as many horses; who look with a sort of pitying contempt upon persons so old-fashioned as to neglect the magazines in favor of books, and who in general are as proudly patronizing in their attitude toward literature as they are innocent of any connection with it. This is worse than too great a fondness for journalism, and of course this is an extreme type; but it is to be feared that at their best the magazines represent mental dissipation.

It is true that genuine literature is often published in periodicals; and there are many editors who deeply regret that the public will not allow them to print a great deal more. As things are, real literature in the magazines is the exception rather than the rule. The general standard of magazine excellence is the taste of the intellectually nouveaux riches– for persons who have entered upon an intellectual heritage which they are not fitted rightly to understand or employ are as common as those who come to material wealth under the same conditions. It is to this class, which is one of the most numerous, and still more one of the most conspicuous in our present civilization, that most of the magazines address themselves. The genuinely cultivated reader finds in the monthlies many papers which he looks through as he looks through the newspaper, for the sake of information, and less often he comes upon imaginative work. The serials which are worth reading at all are worthy of being read as a whole, and not in the distorted and distorting fashion of so many words a month, according to the size of the page of a particular periodical. Reading a serial is like plucking a rose petal by petal; the whole of the flower may be gathered, but its condition is little likely to be satisfactory. While the magazines, moreover, are not to be looked to for a great deal of literature of lasting value, they not only encourage the habit of reading indifferent imitations, but they foster a dangerous and demoralizing inability to fix the attention for any length of time. The magazine-mind is a thing of shreds and patches at best; incapable of grasping as a whole any extended work. Literature holds the mirror up to nature, but the magazine is apt to show the world through a toy multiplying-glass, which gives to the eye a hundred minute and distorted images.

It may seem that I do scant justice to the magazines. It is certainly to be remembered that in the less thickly settled parts of this great inchoate country, where libraries are not, the magazine is often a comfort and even an inspiration. It is to be acknowledged that, with the enormous mass of half-educated but often earnest and sincere souls, the periodical has done and may still do a great deal of good. The child must play with toys before it is fitted to grasp the tools of handicraft, and enjoyment of the chromo may be a healthy and legitimate stage on the way to an appreciation of the masters of painting. It is not a reproach to call a man a toy-vender or a maker of chromos; nor do I see that what I have been saying is to be interpreted as reflecting on the makers of periodicals. It must be remembered that the publication of a magazine is a business enterprise in the same sense that the selling of carpets or calicoes is a business enterprise. The manufacturer of magazines must please the general public with what he prints, as the manufacturer must satisfy the ordinary buyer by the designs of his fabrics. In either case it is the taste of the intellectual bourgeoisie which is the standard of success. The maker of periodicals can no more afford to appeal to the taste of the cultivated few than can the thrifty maker of stuffs. What is sold in open market must be adapted to the demands of the open market. It is simply legitimate business prudence which keeps most magazines from attempting to print literature. They publish, as a rule, all the literature that the public will have, – modified, unhappily, by the difficulty of getting it to publish in a world where literature cannot be made to order. A book, it is to be remembered, is a venture; a magazine is an enterprise. The periodical must pay or it must be discontinued.

The moral of the whole matter is that the only thing to do is to accept magazines for what they are; neither to neglect them completely, nor to give to them that abundant or exclusive attention which they cannot even aim under existing conditions at deserving. They may easily be dangerous intellectual snares; but the wise student will often find them enjoyable, and sometimes useful.

XIII

NEW BOOKS AND OLD

The quality of "timeliness" is one of the things which makes it especially difficult to distinguish among new books. There is in this day an ever increasing tendency to treat all topics of popular discussion in ways which profess to be imaginative, and especially in the narrative form. The novel with a theory and the poem with a purpose are so enveloped with the glamour of immediate interest that they appear to be of an importance far beyond that which belongs to their real merit. Curiosity to know what these books have to say upon the questions which most deeply interest or most vitally affect humanity is as natural as it is difficult to resist. The desire to see what a book which is talked about is like is doubly hard to overcome when it is so easily excused under the pretense of gaining light on important questions. Time seems to be proving, however, that the amount of noise made over these theory-mongering romances is pretty nearly in adverse ratio to their worth. We are told in Scripture that wisdom calleth in the streets, and no man regardeth, but the opposite seems to be true of the clamors of error. The very vehemence of these books is the quality which secures to them attention; and it is impossible wholly to ignore them, and yet to keep in touch with the time.

It is the more difficult to evade pretentious and noisily worthless writings because of the great ingenuity of the advertising devices which force them upon the attention. The student of genuine literature naturally does not allow himself to be led by these, no matter how persuasive they may be. The man who bases his choice of books upon the advertisements is like him who regulates the health of his family by the advice of a patent-medicine almanac. It is not easy, however, to escape entirely from the influence of advertising. If we have seen a book talked about in print, been confronted with its title on a dazzling poster, if it has been recommended by the chief prize-fighter in the land, or damned by the admiration of Mr. Gladstone, we are any of us inclined to read it, just to see what it is like. The ways by which new publications are insinuated upon the attention are, too, so impalpably effective, so cunningly unexpected, that we take our opinion from them without realizing that we have not originated it. The inspiration and stress of soul which in Greece begot art, bring forth in our day advertising, and no man can wholly escape its influence.

Innumerable are the methods by which authors, whose sole claim to genius is this skill in advertising, keep themselves and their books before the public. Eccentricities of manner and of matter are so varied as to provoke wonder that mental fertility of resource so remarkable should not produce results really great and lasting. Some writers claim to be founders of schools, and talk a good deal about their "modernity," a word which really means stale sensationalism revamped; others insist in season and out of season that they have discovered the only true theory of art, and that literature is only possible upon the lines which they lay down. It is unfortunately to be observed that the theory invariably follows the practice; that they first produce queer books, and then formulate a theory which excuses them. Still others call attention to themselves by a variety of artifices, from walking down Piccadilly mooning over a sunflower to driving through the Bois de Boulogne in brocade coat, rose-pink hat, and cravat of gold-lace, like Barbey d'Aurevilly. No man ever produced good art who worked to advertise himself, and fortunately the day of these charlatans is usually short. I have spoken in another place of the danger of confounding an author and his work; and of course this peril is especially great in the case of writers of our own time. I may add that the parading of authors is a vice especially prevalent in the nineteenth century. Mrs. Leo Hunter advertises herself, and incidentally the celebrities whom she captures, and the publishers not infrequently show a disposition to promote the folly for the sake of their balance-sheet. If Apollo and the Muses returned to earth they would be bidden instantly to one of Mrs. Hunter's Saturday five o'clocks, and a list of the distinguished guests would be in the Sunday papers. That is what many understand by the encouragement of literature.

Another method of securing notice, which is practiced by not a few latter-day writers, is that of claiming startling originality. Many of the authors who are attempting to take the kingdom of literary distinction by violence lay great stress upon the complete novelty of their views or their emotions. Of these, it is perhaps sufficient to say that the men who are genuine insist that what they say is true, not that they are the first to say it. In all art that is of value the end sought is the work and not the worker. Perhaps most vicious of all these self-advertisers are those who force themselves into notice by thrusting forward whatever the common consent of mankind has hitherto kept concealed. It is chiefly to France that we owe this development of recent literature so-called. If a French writer wishes to be effective, it is apparently his instant instinct to be indecent. The trick is an easy one. It is as if the belle who finds herself a wall-flower at a ball should begin loudly to swear. She would be at once the centre of observation.

Of books of these various classes Max Nordau has made a dismal list in "Degeneration," a book itself discouragingly bulky, discouragingly opinionated, discouragingly prejudiced and illogical, and yet not without much rightness both of perception and intention. He says of the books most popular with that portion of society which is most in evidence, that they

diffuse a curious perfume, yielding distinguishable odors of incense, eau de Lubin, and refuse, one or the other preponderating alternately… Books treating of the relations of the sexes, with no matter how little reserve, seem too dully moral. Elegant titillation only begins where normal sexual relations leave off… Ghost-stories are very popular, but they must come on in scientific disguise, as hypnotism, telepathy, or somnambulism. So are marionette plays, in which seemingly naïve but knowing rogues make used-up old ballad dummies babble like babies or idiots. So are esoteric novels in which the author hints that he could say a deal about magic, fakirism, kabbala, astrology, and other white and black arts if he chose. Readers intoxicate themselves in the hazy word-sequences of symbolic poetry. Ibsen dethrones Goethe; Maeterlinck ranks with Shakespeare; Nietzsche is pronounced by German and even French critics to be the leading German writer of the day; the "Kreutzer Sonata" is the Bible of ladies, who are amateurs in love, but bereft of lovers; dainty gentlemen find the street ballads and gaol-bird songs of Jules Jouy, Bruant, MacNab, and Xanroff very distingué on account of "the warm sympathy pulsing in them," as the phrase runs; and society persons, whose creed is limited to baccarat and the money market, make pilgrimages to the Oberammergau Passion-Play, and wipe away a tear over Paul Verlaine's invocations to the Virgin. —Degeneration, ii.

This is a picture true of only a limited section of modern society, a section, moreover, much smaller in America than abroad. Common sense and a sense of humor save Americans from many of the extravagances to be observed across the ocean. There are too many fools, however, even in this country. To secure immediate success with these readers a writer need do nothing more than to produce erotic eccentricities. There are many intellectually restless persons who suppose themselves to be advancing in culture when they are poring over the fantastic imbecilities of Maeterlinck, or the nerve-rasping unreason of Ibsen; when they are sailing aloft on the hot-air balloons of Tolstoi's extravagant theories, or wallowing in the blackest mud of Parisian slums with Zola. Dull and jaded minds find in these things an excitement, as the jaded palate finds stimulation in the sting of fiery sauces. There are others, too, who believe that these books are great because they are so impressive. The unreflective reader measures the value of a book not by its permanent qualities but by its instantaneous effect, and an instantaneous effect is very apt to be simple sensationalism.

It is not difficult to see the fallacy of these amazing books. A blackguard declaiming profanely and obscenely in a drawing-room can produce in five minutes more sensation than a sage discoursing learnedly, delightfully, and profoundly could cause in years. Because a book makes the reader cringe it by no means follows that the author is a genius. In literature any writer of ordinary cleverness may gain notoriety if he is willing to be eccentric enough, extravagant enough, or indecent enough. An ass braying attracts more attention than an oriole singing. The street musician, scraping a foundling fiddle, vilely out of tune, compels notice; but the master, freeing the ecstasy enchanted in the bosom of a violin of royal lineage, touches and transports. All standards are confounded if notoriety means excellence.

There is a sentence in one of the enticing and stimulating essays of James Russell Lowell which is applicable to these writers who gain reputation by setting on edge the reader's teeth.

There is no work of genius which has not been the delight of mankind. —Rousseau and the Sentimentalists.

Notice: the delight of mankind; not the sensation, the pastime, the amazement, the horror, or the scandal of mankind, – but the delight. This is a wise test by which to try a good deal of the best advertised literature of the present day. Do not ask whether the talked-of book startles, amuses, shocks, or even arouses simply; but inquire, if you care to estimate its literary value, whether it delights.

It is necessary, of course, to understand that Mr. Lowell uses the word here in its broad signification. He means more than the simple pleasure of smooth and sugary things. He means the delight of tragedy as well as of comedy; of "King Lear" and "Othello" as well as of "Midsummer Night's Dream;" but he does not mean the nerve-torture of "Ghosts" or the mental nausea of "L'Assommoir." By delight he means that persuasion which is an essential quality of all genuine art. The writer who makes his readers shrink and quiver may produce a transient sensation. His notoriety is noisily proclaimed by the trumpets of to-day; but the brazen voice of to-morrow will as lustily roar other fleeting successes, and all alike be forgotten in a night.

I insisted in the first of these talks upon the principle that good art is "human and wholesome and sane." We need to keep these characteristics constantly in mind; and to make them practical tests of the literature upon which we feed our minds and our imaginations. We are greatly in need of some sort of an artistic quarantine. Literature should not be the carrier of mental or emotional contagion. A work which swarms with mental and moral microbes should be as ruthlessly disinfected by fire as if it were a garment contaminated with the germs of fever or cholera. It is manifestly impossible that this shall be done, however, in the present state of society; and it follows that each reader must be his own health-board in the choice of books.

The practical question which instantly arises is how one is to know good books from bad until one has read them. How to distinguish between what is worthy of attention and what is ephemeral trash has perplexed many a sincere and earnest student. This is a duty which should devolve largely upon trained critics, but unhappily criticism is not to-day in a condition which makes it reliable or practically of very great assistance where recent publications are concerned. The reader is left to his own judgment in choosing among writings hot from the press. Fortunately the task of discriminating is not impossible. It is even far less difficult than it at first appears. The reader is seldom without a pretty clear idea of the character of notorious books before he touches them. Where the multitude of publications is so great, the very means of advertising which are necessary to bring them into notice show what they are. Even should a man make it a rule to read nothing until he has a definite estimate of its merit, he will find in the end that he has lost little. For any purposes of the cultivation of the mind or the imagination the book which is good to read to-day is good to read to-morrow, so that there is not the haste about reading a real book that there is in getting through the morning paper, which becomes obsolete by noon. When one considers, too, how small a portion of the volumes published it is possible to have time for, and how important it is to make the most of life by having these of the best, one realizes that it is worth while to take a good deal of trouble, and if need be to sacrifice the superficial enjoyment of keeping in the front rank of the mad mob of sensation seekers whose only idea of literary merit is noise and novelty. It is a trivial and silly vanity which is unhappy because somebody – or because everybody – has read new books first.

There is, moreover, nothing more stupid than the attempt to deceive ourselves, – especially if the attempt succeeds. Of all forms of lying this is at once the most demoralizing and the most utterly useless. If we read poor books from puerile or unworthy motives, let us at least be frank about it in our own minds. If we have taken up with unwholesome writers from idle curiosity, or, worse, from prurient hankering after uncleanness, what do we gain by assuring ourselves that we did not know what we were doing, or by pretending that we have unwillingly been following out a line of scientific investigation? Fine theories make but flimsy coverings for unhealthy desires.

Of course this whole matter lies within the domain of individual liberty and individual responsibility. The use or the abuse of reading is determined by each man for himself. To gloat over scorbutic prose and lubricious poetry, to fritter the attention upon the endless repetition of numberless insignificant details, to fix the mind upon phonographic reports of the meaningless conversations of meaningless characters, to lose rational consciousness in the confusion of verbal eccentricities which dazzle by the cunning with which words are prevented from conveying intelligence, – and the writings of to-day afford ample opportunity for doing all of these things! – is within the choice of every reader. It is to be remembered, however, that no excuse evades the consequence. He who wastes life finds himself bankrupt, and there is no redress.

Always it is to be remembered that the classics afford us the means of measuring the worth of what we read. He who pauses to consider a little will see at once something of what is meant by this. He will realize the wide difference there is between familiarity with the permanent literature of the world and acquaintance with the most sensational and widely discussed books of to-day. A man may be a virtuous citizen and a good husband and father, with intelligence in his business and common sense in the affairs of life, and yet be utterly ignorant of how Achilles put the golden tress into the hand of dead Patroclus, or of the stratagem by which Iphigenia saved the life of Orestes at Tauris, or of the love of Palamon and Arcite for Emilie the fair, or of whom Gudrun married and whom she loved, or of how Sancho Panza governed his island, or of the ill-fated loves of Romeo and Juliet, or of the agony of Othello, or of Hamlet, or Lear, or Perdita, or Portia. The knowledge of none of these is necessary to material existence, and it is possible to make a creditable figure in the world without it. Yet we are all conscious that the man who is not aware of these creations which are so much more real than the majority of the personages that stalk puppet-like across the pages of history, has missed something of which the loss makes his life definitely poorer. We cannot but feel the enrichment of mind and feeling which results from our having in classic pages made the acquaintance with these gracious beings and shared their adventures and their emotions. Suppose that the books most noisily lauded to-day were to be tried by the same test. Is a man better for knowing with Zola all the diseased genealogy of the Rougon-Macquart family, morbid, criminal, and foul? Is not the mind cleaner and saner if it has never been opened to the entertainment of Poznyscheff, Hedda Gabler, Dr. Rank, Mademoiselle de Maupin, Oswald Alving, or any of this unclean tribe? It is not that a strong or well-developed man will ignore the crime or the criminals of the world; but it is not necessary to gloat over either. It is not difficult to learn all that it is necessary to know about yellow fever, cholera, or leprosy, without passing days and nights in the pest hospitals.

These unwholesome books, however, are part of the intellectual history of our time. He who would keep abreast of modern thought and of life as it is to-day, we are constantly reminded, must take account of the writers who are most loudly lauded. Goethe has said: "It is in her monstrosities that nature reveals herself;" and the same is measurably true in the intellectual world. The madness, the eccentricity, the indecencies of these books, are so many indications by which certain tendencies of the period betray themselves. It seems to me, however, that this is a consideration to which it is extremely easy to give too much weight. To mistake this noisy and morbid class of books, these self-parading and sensational authors, for the most significant signs of the intellectual condition of the time is like mistaking a drum-major for the general, because the drum-major is most conspicuous and always to the fore, – except in action. The mind is nourished and broadened, moreover, by the study of sanity. It is the place of the physician to concern himself with disease; but as medical treatises are dangerous in the hands of laymen, so are works of morbid psychology in the hands of the ordinary reader.

Fortunately contemporary literature is not confined to books of the unwholesome sort, greatly as these are in evidence. We have a real literature as well as a false one. Time moves so swiftly that we have begun to regard the works of Thackeray and Dickens and Hawthorne, and almost of Browning and Tennyson, as among the classics. They are so, however, by evident merit rather than by age, and have not been in existence long enough to receive the suffrages of generations. The names of these authors remind us how many books have been written in our time which endure triumphantly all tests that have been proposed; books to miss the knowledge of which is to lose the opportunity of making life richer. Certainly we should be emotionally and spiritually poorer without the story of Hester Prynne and Arthur Dimmesdale, between whom the Scarlet Letter glowed balefully; without Hilda in her tower and poor Miriam bereft of her Faun below. To have failed to share the Fezziwigs' ball, or the trial of Mr. Pickwick for breach of promise; to have lived without knowing the inimitable Sam Weller and the juicy Micawbers, the amiable Quilp and the elegant Mrs. Skewton, philanthropic Mrs. Jellyby and airy Harold Skimpole, is to have failed of acquaintances that would have brightened existence; to be ignorant of Becky Sharp and Colonel Newcome, of Arthur Pendennis and George Warrington, of Beatrix and Colonel Esmond, is to have neglected one of the blessings, and not of the lesser blessings either. No man is without a permanent and tangible gain who has comprehendingly read Emerson's "Rhodora," or the "Threnody," or "Days," or "The Problem." Whoever has been sympathetically through the "Idylls of the King" not only experienced a long delight but has gained a fresh ideal; while to have gone to the heart of "The Ring and the Book," – that most colossal tour-de-force in all literature, – to have heard the tender confidences of dying Pompilia, the anguished confession of Caponsacchi, the noble soliloquy of the Pope, is to have lived through a spiritual and an emotional experience of worth incalculable. In the age of Thackeray and Dickens, of Hawthorne and Emerson and Tennyson and Browning, we cannot complain that there is any lack of genuine literature.

Nor are we obliged to keep to what seems to some a high and breathless altitude of reading. There are many readers who are of so little natural imagination, or who have cultivated it so little, that it is a conscious and often a fatiguing effort to keep to the mood of these greater authors. Beside these works to the keen enjoyment of which imagination is necessary, there are others which are genuine without being of so high rank. It is certainly on the whole a misfortune that one should be deprived of a knowledge of Mrs. Proudie and the whole clerical circle in which she moved, and especially of Mr. Harding, the delightful "Warden;" he is surely to be pitied who has not read the story of "Silas Marner," who does not feel friendly and intimate with shrewd and epigrammatic Mrs. Poyser, with spiritual Dinah Morris, and with Maggie Tulliver and her family. No intelligent reader can afford to have passed by in neglect the pleasant sweetness of Longfellow or the wholesome soundness of Whittier, the mystic sensuousness of Rossetti or the voluptuous melodiousness of Swinburne.