Literary Taste: How to Form It | Page 7

emotion. Read the last paragraph of the preface to it: "In this work, when it shall be found that much is omitted, let it not be forgotten that much likewise is performed.... It may repress the triumph of malignant criticism to observe that if our language is not here fully displayed, I have only failed in an attempt which no human powers have hitherto completed...." And so on to the close: "I have protracted my work till most of those whom I wish to please have sunk into the grave, and success and miscarriage are empty sounds: I therefore dismiss it with frigid tranquillity, having little to fear or hope from censure or from praise." Yes, tranquillity; but not frigid! The whole passage, one of the finest in English prose, is marked by the heat of emotion. You may discover the same quality in such books as Spencer's First Principles. You may discover it everywhere in literature, from the cold fire of Pope's irony to the blasting temperatures of Swinburne. Literature does not begin till emotion has begun.
There is even no essential, definable difference between those two great branches, prose and poetry. For prose may have rhythm. All that can be said is that verse will scan, while prose will not. The difference is purely formal. Very few poets have succeeded in being so poetical as Isaiah, Sir Thomas Browne, and Ruskin have been in prose. It can only be stated that, as a rule, writers have shown an instinctive tendency to choose verse for the expression of the very highest emotion. The supreme literature is in verse, but the finest achievements in prose approach so nearly to the finest achievements in verse that it is ill work deciding between them. In the sense in which poetry is best understood, all literature is poetry--or is, at any rate, poetical in quality. Macaulay's ill-informed and unjust denunciations live because his genuine emotion made them into poetry, while his Lays of Ancient Rome are dead because they are not the expression of a genuine emotion. As the literary taste develops, this quality of emotion, restrained or loosed, will be more and more widely perceived at large in literature. It is the quality that must be looked for. It is the quality that unifies literature (and all the arts).
It is not merely useless, it is harmful, for you to map out literature into divisions and branches, with different laws, rules, or canons. The first thing is to obtain some possession of literature. When you have actually felt some of the emotion which great writers have striven to impart to you, and when your emotions become so numerous and puzzling that you feel the need of arranging them and calling them by names, then--and not before--you can begin to study what has been attempted in the way of classifying and ticketing literature. Manuals and treatises are excellent things in their kind, but they are simply dead weight at the start. You can only acquire really useful general ideas by first acquiring particular ideas, and putting those particular ideas together. You cannot make bricks without straw. Do not worry about literature in the abstract, about theories as to literature. Get at it. Get hold of literature in the concrete as a dog gets hold of a bone. If you ask me where you ought to begin, I shall gaze at you as I might gaze at the faithful animal if he inquired which end of the bone he ought to attack. It doesn't matter in the slightest degree where you begin. Begin wherever the fancy takes you to begin. Literature is a whole.
There is only one restriction for you. You must begin with an acknowledged classic; you must eschew modern works. The reason for this does not imply any depreciation of the present age at the expense of past ages. Indeed, it is important, if you wish ultimately to have a wide, catholic taste, to guard against the too common assumption that nothing modern will stand comparison with the classics. In every age there have been people to sigh: "Ah, yes. Fifty years ago we had a few great writers. But they are all dead, and no young ones are arising to take their place." This attitude of mind is deplorable, if not silly, and is a certain proof of narrow taste. It is a surety that in 1959 gloomy and egregious persons will be saying: "Ah, yes. At the beginning of the century there were great poets like Swinburne, Meredith, Francis Thompson, and Yeats. Great novelists like Hardy and Conrad. Great historians like Stubbs and Maitland, etc., etc. But they are all dead now, and whom have we to take their place?" It is not until an age has receded into history, and all