The Greatest Essays of Virginia Woolf. Virginia Woolf
neither earth nor hell can break, and I feel an assurance of the endless and shadowless hereafter—the eternity they have entered—where life is boundless in its duration, and love in its sympathy and joy in its fulness.” It is this suggestion of power underlying the apparitions of human nature and lifting them up into the presence of greatness that gives the book its huge stature among other novels. But it was not enough for Emily Brontë to write a few lyrics, to utter a cry, to express a creed. In her poems she did this once and for all, and her poems will perhaps outlast her novel. But she was novelist as well as poet. She must take upon herself a more laborious and a more ungrateful task. She must face the fact of other existences, grapple with the mechanism of external things, build up, in recognisable shape, farms and houses and report the speeches of men and women who existed independently of herself. And so we reach these summits of emotion not by rant or rhapsody but by hearing a girl sing old songs to herself as she rocks in the branches of a tree; by watching the moor sheep crop the turf; by listening to the soft wind breathing through the grass. The life at the farm with all its absurdities and its improbability is laid open to us. We are given every opportunity of comparing WUTHERING HEIGHTS with a real farm and Heathcliff with a real man. How, we are allowed to ask, can there be truth or insight or the finer shades of emotion in men and women who so little resemble what we have seen ourselves? But even as we ask it we see in Heathcliff the brother that a sister of genius might have seen; he is impossible we say, but nevertheless no boy in literature has a more vivid existence than his. So it is with the two Catherines; never could women feel as they do or act in their manner, we say. All the same, they are the most lovable women in English fiction. It is as if she could tear up all that we know human beings by, and fill these unrecognisable transparences with such a gust of life that they transcend reality. Hers, then, is the rarest of all powers. She could free life from its dependence on facts; with a few touches indicate the spirit of a face so that it needs no body; by speaking of the moor make the wind blow and the thunder roar.
THE PATRON AND THE CROCUS
Young men and women beginning to write are generally given the plausible but utterly impracticable advice to write what they have to write as shortly as possible, as clearly as possible, and without other thought in their minds except to say exactly what is in them. Nobody ever adds on these occasions the one thing needful: “And be sure you choose your patron wisely”, though that is the gist of the whole matter. For a book is always written for somebody to read, and, since the patron is not merely the paymaster, but also in a very subtle and insidious way the instigator and inspirer of what is written, it is of the utmost importance that he should be a desirable man.
But who, then, is the desirable man—the patron who will cajole the best out of the writer’s brain and bring to birth the most varied and vigorous progeny of which he is capable? Different ages have answered the question differently. The Elizabethans, to speak roughly, chose the aristocracy to write for and the playhouse public. The eighteenth-century patron was a combination of coffee-house wit and Grub Street bookseller. In the nineteenth century the great writers wrote for the half-crown magazines and the leisured classes. And looking back and applauding the splendid results of these different alliances, it all seems enviably simple, and plain as a pikestaff compared with our own predicament—for whom should we write? For the present supply of patrons is of unexampled and bewildering variety. There is the daily Press, the weekly Press, the monthly Press; the English public and the American public; the best-seller public and the worst-seller public; the highbrow public and the red-blood public; all now organised self-conscious entities capable through their various mouthpieces of making their needs known and their approval or displeasure felt. Thus the writer who has been moved by the sight of the first crocus in Kensington Gardens has, before he sets pen to paper, to choose from a crowd of competitors the particular patron who suits him best. It is futile to say, “Dismiss them all; think only of your crocus”, because writing is a method of communication; and the crocus is an imperfect crocus until it has been shared. The first man or the last may write for himself alone, but he is an exception and an unenviable one at that, and the gulls are welcome to his works if the gulls can read them.
Granted, then, that every writer has some public or other at the end of his pen, the high-minded will say that it should be a submissive public, accepting obediently whatever he likes to give it. Plausible as the theory sounds, great risks are attached to it. For in that case the writer remains conscious of his public, yet is superior to it—an uncomfortable and unfortunate combination, as the works of Samuel Butler, George Meredith, and Henry James may be taken to prove. Each despised the public; each desired a public; each failed to attain a public; and each wreaked his failure upon the public by a succession, gradually increasing in intensity, of angularities, obscurities, and affectations which no writer whose patron was his equal and friend would have thought it necessary to inflict. Their crocuses, in consequence, are tortured plants, beautiful and bright, but with something wry-necked about them, malformed, shrivelled on the one side, overblown on the other. A touch of the sun would have done them a world of good. Shall we then rush to the opposite extreme and accept (if in fancy alone) the flattering proposals which the editors of the Times and the Daily News may be supposed to make us—“Twenty pounds down for your crocus in precisely fifteen hundred words, which shall blossom upon every breakfast table from John o’ Groats to the Land’s End before nine o’clock to-morrow morning with the writer’s name attached”?
But will one crocus be enough, and must it not be a very brilliant yellow to shine so far, to cost so much, and to have one’s name attached to it?
The Press is undoubtedly a great multiplier of crocuses. But if we look at some of these plants, we shall find that they are only very distantly related to the original little yellow or purple flower which pokes up through the grass in Kensington Gardens early in March every year. The newspaper crocus is an amazing but still a very different plant. It fills precisely the space allotted to it. It radiates a golden glow. It is genial, affable, warm-hearted. It is beautifully finished, too, for let nobody think that the art of “our dramatic critic” of the Times or of Mr. Lynd of the Daily News is an easy one. It is no despicable feat to start a million brains running at nine o’clock in the morning, to give two million eyes something bright and brisk and amusing to look at. But the night comes and these flowers fade. So little bits of glass lose their lustre if you take them out of the sea; great prima donnas howl like hyenas if you shut them up in telephone boxes; and the most brilliant of articles when removed from its element is dust and sand and the husks of straw. Journalism embalmed in a book is unreadable.
The patron we want, then, is one who will help us to preserve our flowers from decay. But as his qualities change from age to age, and it needs considerable integrity and conviction not to be dazzled by the pretensions or bamboozled by the persuasions of the competing crowd, this business of patron-finding is one of the tests and trials of authorship.
To know whom to write for is to know how to write. Some of the modern patron’s qualities are, however, fairly plain. The writer will require at this moment, it is obvious, a patron with the book-reading habit rather than the play-going habit. Nowadays, too, he must be instructed in the literature of other times and races. But there are other qualities which our special weaknesses and tendencies demand in him. There is the question of indecency, for instance, which plagues us and puzzles us much more than it did the Elizabethans. The twentieth-century patron must be immune from shock. He must distinguish infallibly between the little clod of manure which sticks to the crocus of necessity, and that which is plastered to it out of bravado. He must be a judge, too, of those social influences which inevitably play so large a part in modern literature, and able to say which matures and fortifies, which inhibits and makes sterile. Further, there is emotion for him to pronounce on, and in no department can he do more useful work than in bracing a writer against sentimentality on the one hand and a craven fear of expressing his feeling on the other. It is worse, he will say, and perhaps more common, to be afraid of feeling than to feel too much. He will add, perhaps, something about language, and point out how many words Shakespeare used and how much grammar Shakespeare violated, while we, though we keep our fingers so demurely to the black notes on the piano, have not appreciably improved upon ANTONY AND CLEOPATRA. And if you can forget your sex altogether, he will say, so much the better; a writer has none. But all this is by the way—elementary and disputable.