By-ways in Book-land: Short Essays on Literary Subjects. Adams William Henry Davenport
port Adams
By-ways in Book-land: Short Essays on Literary Subjects
PAPER-KNIFE PLEASURES
One is for ever hearing enough and to spare about old books and those who love them. There is a whole literature of the subject. The men themselves, from Charles Lamb downwards, have over and over again described their ecstasies – with what joy they have pounced upon some rare edition, and with what reverence they have ever afterwards regarded it. It is some time since Mr. Buchanan drew his quasi-pathetic picture of the book-hunter, bargaining for his prize,
‘With the odd sixpence in his hand,
And greed in his gray eyes;’
having, moreover, in his mind’s eye as he walked
‘Vistas of dusty libraries
Prolonged eternally.’
Mr. Andrew Lang, too, has sung to us of the man who ‘book-hunts while the loungers fly,’ who ‘book-hunts though December freeze,’ for whom
‘Each tract that flutters in the breeze
Is charged with hopes and fears,’
while
‘In mouldy novels fancy sees
Aldines, Bodonis, Elzevirs.’
There are periodicals which cater solely for old-book adorers; and while on the one hand your enthusiast will publish his ‘Pleasures’ and ‘Diversions,’ on the other a contemporary will devote a volume to the subjects which attract and interest ‘the Book Fancier.’
Meanwhile, is there nothing to be said of, or by, the admirer of new books – the man or woman who rejoices in the pleasant act of turning over new leaves? At a time when volumes are issuing by the dozen from the publishers’ counters, shall not something be chronicled of the happiness which lies in the contemplation, the perusal, of the literary product which comes hot from the press? For, to begin with, the new books have at least this great advantage over the old – that they are clean. It is not everybody who can wax dithyrambic over the ‘dusty’ and the ‘mouldy.’ It is possible for a volume to be too ‘second-hand.’ Your devotee, to be sure, thinks fondly of the many hands, dead and gone, through which his ‘find’ has passed; he loves to imagine that it may have been held between the fingers of some person or persons of distinction; he is in the seventh heaven of exaltation if he can be quite certain it has had that honour. But suppose this factitious charm is really wanting? Suppose a volume is dirty, and ignobly so? Must one necessarily delight in dogs’ ears, bask in the shadow of beer-stains, and ‘chortle’ at the sign of cheese-marks? Surely it is one of the merits of new leaves that they come direct from the printer and the binder, though they, alas! may have left occasional impressions of an inky thumb.
It might possibly be argued that a new volume is, if anything, ‘too bright and good’ – too beautiful and too resplendent – for ‘base uses.’ There is undoubtedly an amari aliquid about them. They certainly do seem to say that we ‘may look but must not touch.’ Talk about the awe with which your book-hunter gazes upon an ancient or infrequent tome; what is it when compared with the respect which another class of book-lover feels for a volume which reaches them ‘clothed upon with’ virtual spotlessness? Who can have the heart to impair that innocent freshness? Do but handle the book, and the harm is done – unless, indeed, the handling be achieved with hands delicately gloved. The touch of the finger is, in too many cases, fatal. On the smooth cloth or the vellum or the parchment, some mark, alas! must needs be made. The lover of new books will hasten, oftentimes, to enshrine them in paper covers; but a book in such a guise is, for many, scarcely a book at all; it has lost a great deal of its charm. Better, almost, the inevitable tarnishing. All that’s bright must fade; the new book cannot long maintain its lustre. But it has had it, to begin with. And that is much. We feel at least the first fine careless rapture. Whatever happens, no one can deprive us of that – of the first fond glimpse of the immaculate.
But the matter is not, of course, one of exterior only. Some interest, at least, attaches to the contents, however dull the subject, however obscure the author. A new book is a new birth, not only to the æsthetic but to the literary sense. It contains within it boundless possibilities. There are printed volumes which are books only in form – which are mere collections of facts or figures, or what not, and which do not count. But if a volume be a genuine specimen of the belles lettres, the imagination loves to play upon it. What will it be like? What treasures lie concealed in it? What delights has it in store for us? In our curiosity we are like the boy in Mr. Pinero’s farcical comedy: ‘It is the ’orrible uncertainty wot we craves after.’ No one can tell what may nestle in the recesses of new leaves. Not even in reference to well-known writers can we be positively sure. They may belie their reputation. The illustrious Smith may make a failure; the obscurer Brown may score a hit. For once in a way Robinson may have produced something we can read; to everybody’s surprise, the great Jones has dropped into the direst twaddle. And if this uncertainty exists in respect to those we know, how much more auspicious is it in the case of those who are quite new to us? What gems of purest ray serene may repose within the pages of the unopened book before us!
And, talking of unopened books, how much of the pleasure we derive from newly-published volumes lies in the process by which we first make their acquaintance. There are those who would have all books issued with the edges of the pages cut. The reasons why are obvious. To begin with, some labour is thereby saved to the purchaser; a certain measure of time, too, is saved. The reviewer, who has no moments to spare, may anathematize the leaves he has to separate with the paper-knife; the traveller by rail may condemn to Hades the producers of the work which he cannot cut open – because he has not the wherewithal about him. Everywhere there are eager and hasty readers who chafe at the delay which an uncut book imposes upon their impatient spirit. On the other hand, your genuine book-adorer, your enthusiast, who loves to extract from a volume all which it is capable of yielding, cannot but approve a habit which enables him to linger delightedly over his new possession. What special sweets may not be hidden within just those very pages which are at present closed to him! Omne ignotum is, for him, pro magnifico– here may be the very cream of the cream. And so the adorer dallies with his prize. First he peeps within the leaves, and gleans a sentence here and there. And then he begins to use the cutter – slowly, slowly – dwelling with enraptured tardiness upon each page which he reveals.
Who shall say that new leaves have no drawbacks? Verily, they have them. It cannot be supposed, for instance, that they are always wholly acceptable to the aforesaid professional censor. The reviewer, sitting surrounded by them, tier on tier, may rail at the productiveness of the age, and wish that there might not be more than one new book each week. And the omnivorous reader, anxious to keep up with the literature of the day, might fairly re-echo the aspiration. Who, indeed, can hope to turn over a tithe of the new leaves which are issued daily? Nor can an unlimited consumption of them be recommended. Mr. Lowell is to a certain extent justified when he says that
‘Reading new books is like eating new bread;
One can bear it at first, but by gradual steps he
Is brought to death’s door of a mental dyspepsy.’
Assuredly new books are so far like new bread, that we should not consume them in too rapid succession. At the same time, let us be thankful for them, inasmuch as they have the unquestionable gift of novelty. Lord Beaconsfield’s Lady Montfort said she preferred a new book, even if bad, to a classic. That was a strong saying, but there are points of view from which it is perfectly defensible.
RUSKIN AS POET
It was lately rumoured that Mr. Ruskin was about to issue a volume of poems, consisting mainly of pieces already published. The statement was probably the first intimation received by many that the author of ‘Modern Painters’ had ever written anything in the shape of verse. That he has always been, like Sidney, a ‘warbler of poetic prose,’ has lately been emphasized by a magazine-writer; but it is not at all universally known that between the years 1835 and 1845 Mr. Ruskin figured somewhat largely as a poet, in the popular sense of that much abused word. During that time he produced a good deal of verse, in addition to