The Principles of Success in Literature

㇌The Principles of Success in Literature, by

George Henry Lewes
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Title: The Principles of Success in Literature
Author: George Henry Lewes
Release Date: December 9, 2003 [eBook #10420]
Language: English
Character set encoding: US-ASCII
***START OF THE PROJECT GUTENBERG EBOOK THE PRINCIPLES OF SUCCESS IN LITERATURE***
THE PRINCIPLES OF SUCCESS IN LITERATURE
by
George Henry Lewes
This eBook was prepared by Roland Cheney.
In the development of the great series of animal organisms, the Nervous System assumes more and more of an imperial character. The rank held by any animal is determined by this character, and not at all by its bulk, its strength, or even its utility. In like manner, in the development of the social organism, as the life of nations becomes more complex, Thought assumes a more imperial character; and Literature, in its widest sense, becomes a delicate index of social evolution. Barbarous societies show only the germs of literary life. But advancing civilisation, bringing with it increased conquest over material agencies, disengages the mind from the pressure of immediate wants, and the loosened energy finds in leisure both the demand and the means of a new activity: the demand, because long unoccupied hours have to be rescued from the weariness of inaction; the means, because this call upon the energies nourishes a greater ambition and furnishes a wider arena.
Literature is at once the cause and the effect of social progress. It deepens our natural sensibilities, and strengthens by exercise our intellectual capacities. It stores up the accumulated experience of the race, connecting Past and Present into a conscious unity; and with this store it feeds successive generations, to be fed in turn by them. As its importance emerges into more general recognition, it necessarily draws after it a larger crowd of servitors, filling noble minds with a noble ambition.
There is no need in our day to be dithyrambic on the glory of Literature. Books have become our dearest companions, yielding exquisite delights and inspiring lofty aims. They are our silent instructors, our solace in sorrow, our relief in weariness. With what enjoyment we linger over the pages of some well-loved author! With what gratitude we regard every honest book! Friendships, prefound and generous, are formed with men long dead, and with men whom we may never see. The lives of these men have a quite personal interest for us. Their homes become as consecrated shrines. Their little ways and familiar phrases become endeared to us, like the little ways and phrases of our wives and children.
It is natural that numbers who have once been thrilled with this delight should in turn aspire to the privilege of exciting it. Success in Literature has thus become not only the ambition of the highest minds, it has also become the ambition of minds intensely occupied with other means of influencing their fellow--with statesmen, warriors, and rulers. Prime ministers and emperors have striven for distinction as poets, scholars, critics, and historians. Unsatisfied with the powers and privileges of rank, wealth, and their conspicuous position in the eyes of men, they have longed also for the nobler privilege of exercising a generous sway over the minds and hearts of readers. To gain this they have stolen hours from the pressure of affairs, and disregarded the allurements of luxurious ease, labouring steadfastly, hoping eagerly. Nor have they mistaken the value of the reward. Success in Literature is, in truth, the blue ribbon of nobility.
There is another aspect presented by Literature. It has become a profession; to many a serious and elevating profession; to many more a mere trade, having miserable trade-aims and trade-tricks. As in every other profession, the ranks are thronged with incompetent aspirants, without seriousness of aim, without the faculties demanded by their work. They are led to waste powers which in other directions might have done honest service, because they have failed to discriminate between aspiration and inspiration, between the desire for greatness and the consciousness of power. Still lower in the ranks are those who follow Literature simply because they see no other opening for their incompetence; just as forlorn widows and ignorant old maids thrown suddenly on their own resources open a school--no other means of livelihood seeming to be within their reach. Lowest of all are those whose esurient vanity, acting on a frivolous levity of mind, urges them to make Literature a plaything for display. To write for a livelihood, even on a complete misapprehension of our powers, is at least a respectable impulse. To play at Literature is altogether inexcusable: the motive is vanity, the object notoriety, the end contempt.
I propose to treat