A. R. Orage

“ Finally, as a parodist he is without a superior in contemporary literature. But when one has said this, one has said all; for Mr. Squire is not a great or even a sound critic, he is not an impressive writer, and he is not a distinguished or original thinker. Time and Mr. Squire may prove my judgment wrong, but I do not think, either, that he will make a great or an inspiring editor. Great editorship is a form of creation, and the great editor is measured by the number and quality of the writers he brings to birth—or to ripeness. ”

“ Simplicity is a sign of decadence when it sacrifices profundity of thought to simplicity of expression—as in the classical case of Voltaire, who positively dared not think deeply lest he should be unable to write clearly, clarity of expression being more to him (and often to the French genius generally) than depth of thought. And writers like Mr. Clutton Brock are just as certainly symptoms of the decadence of simplicity in our own time and place. On the other hand, I still dream of a profound simplicity, the style of which is transparent over depths ”

“ Ever since I read the following sentence in Coleridge’s Biographia Literaria: “The highest perfection of natural philosophy would consist in the perfect spiritualisation of all the laws of nature into laws of intuition and intellect,” it has been at the back of my mind as an aim to keep before philosophy. Whether or not there is a drummer in every age with whom the active thinkers keep in step, even without being aware of the fact, I can only say that more and more evidence of this tendency of thought is coming to light. ”

“ But the process of acquiring this knowledge is for the most part, indeliberate, unaware of any other aim than that of the satisfaction of curiosity; utility is remote from its mind. This is what I have called disinterested interest, and it is this free intelligence of which it appears to me that there is a diminishing amount in our day. Were it not the case, the fortunes of the really free Press would be much brighter than they are. An organ of free opinion would not need to discover a utilitarian attraction for its free opinions, but would be able to command a sale on its own merits. ”

“ Addressing the Copyright Act as it now exists, I should say to it: “In discouraging the free importation of foreign books, and in alienating the good-will of foreign authors and publishers, you are robbing foreign authors (that is true) , but, much worse, you are depriving my public of the stimulus necessary to its demand for my books. Since we authors in America have a vital interest in increasing literary demand, and the more books the more demand is created, our real protection lies in freely importing books, and not in placing any impediment in their way. ”

“ We are indifferent to the existence of the bourgeoisie! Our aim is simply to write freely as artists, and to be at liberty to publish our work for such as can understand it. Publishing, however, is a public act; and I agree with the bourgeoisie that the art of an intimate circle or group is not of necessity a public art. Between private and public morality, personal and public policy, individual and communal art, there is all the difference of two differing scales of value. ”

“ We have the gaff blown on us all too seldom, and usually by men whose idiosyncrasies and abnormalities allow us to ignore them. Mark Twain was such a normal man that his blowing of the gaff could not possibly have been attributed to a neurotic complex derived from infantile suppression: it would have been the judgment of man upon Man. His failure to bestow this inestimable gift upon America and the world we owe to America, and if, as I have said, a nation suffers the fate of its great men, we may be sure that America will pay for it. ”

“ Bertrand Russell, for example, manages by means of an excellent style to make philosophy as easy to understand and as entrancing to follow as certain writers have made the equally difficult subject of economics. It is, in fact, the business of professional thinkers to popularise their subject and to procure for their Muse as many devotees as possible. In the case of Mr. Bertrand Russell, his admirable style has been put into the service of the most abominable philosophy ever formulated. He is an accidentalist of the most thorough-going kind who denies that life has any meaning or purpose. ”

“ A “final” judgment is as possible of a work of art as of any other manifestation of the spirit of man; there is nothing in the nature of things to prevent men arriving at a universally valid (that is, universally accepted) judgment of a book, a picture, a sonata, a statue or a building, any more than there is to prevent a legal judge from arriving at a right judgment concerning any other human act; and, what is more, such judgments of art are not only made daily, but in the end they actually prevail and constitute in their totality the tradition of art. ”

“ American literary editors are more and more aiming to interest the world of readers rather than a mere province of them. I need scarcely say that the world of readers is not the same thing as a world of readers. A world of readers connotes large numbers, consisting chiefly of readers in search of amusement; but the world of readers consists of the few in every country who really read for their living, or rather, for their lives. To appeal to the latter class is to be “of the centre,” for the centre of every movement of life is not only the most vital, it is the smallest element, of the whole. ”

“ In a single week every literary form and tendency may find itself illustrated, with the consequence that any attempt to set the week’s doings in a relation of significant development is bound to fall under the suspicion of impressionism or arbitrariness. I have no other defence against these charges than Plato’s appeal to good judges, of whom the best because the last is Time. Time will pronounce as only those living critics can whose present judgments are an anticipation of Time’s. Time will show what has been right and what wrong. ”

“ If, for example, all the English classics were re-spelled in conformity with phonetic rules, and their use made general, very soon, we are told, we should forget their original idiosyncrasies, and love them in their new spelling as much as ever. But people who argue in this way must have been blinded in their taste in their pursuit of rationalistic uniformity. Literature employs words not for their rational meaning alone, not even for their sound alone, but for their combined qualities of meaning, sound, sight, association, history, and a score of other attributes. ”

“ Hence the transcendent importance of criticism next to creation in both spheres: criticism of personalities and criticism of “works.” The mistaking of a little man for a great man, or the reverse, may easily mean the delay of the work of culture for whole generations. And, equally, the confusion of the objects of culture with the objects of civilisation may spell the ruin of a nation. ”

“ The rest of us, however, have a very different conception of the perfect English prose. The perfect English prose will be anything but a sedative after a full meal of action. It will be not only action itself, but the cause of action, and its deliberate aim will be to intensify and refine action and to raise action to the level of a fine art. ”

“ Things, again, are so and so, and not otherwise, let Youth interpret them as it will. Europe is the responsible mind of the world, and the be-all and end-all of history is the fulfilment of a world-purpose whose objective is more than merely human sociology. If the “nursery of the nation” has a different interpretation, the nursery of the nation is wrong.
The Cocoon is under the impression that there is something valuable in Youth in years; that Youth in years is the only kind of Youth; that Youth in years is Youth indeed. ”

“ The English vernacular is the most powerful and simple language that was ever written, but the danger always lies in wait for it of slipping into the English colloquial, which, by the same token, is one of the worst of languages. The difference between them is precisely the difference between Ariel and Caliban; and I am not sure that “Shakespeare” had not this, among other things, in mind when he dreamed his myth. Caliban is a direct enough creature to be English, and there are writers who imagine his style to be the mirror of perfection. ”

“ Too much newspaper not only spoils one’s style, it [83] takes off the edge of one’s taste, so that I know not what grindstones are necessary to put it on again. Indulgent readers, I have been compelled for some weeks to read too much newspaper, with the consequence that at the end of my task I was not only certain that my little of style was gone, but I was indifferent in my taste. The explanation of the reductio ad absurdum to which an overdose of newspaper leads is to be found, I think, in the uniformity, mass and collectivity of newspaper literature. ”

“ The character of a great man is so complex that a genius for grasping essentials must be assumed in his perfect biographer: at the same time, it is so tedious in the analysis that the narrative must be condensed to represent it. Between the subtlety to be described, and the simplicity with which it must be described, the character of a man is likely to fall in his portrait into the distortion of over-elaboration or into the sketch. ”

“ Whoever makes a boast of writing for a coterie sooner or later finds himself writing for a coterie of a coterie, and at last for himself alone. It cannot be otherwise. As the progress of the classic is from the one to the many, the progress of the [47] romantic is from the many to the one; and the more sincerely the latter is a romantic, the sooner he arrives at his journey’s end. The involution of aim thus brought about is obvious already in the succession of works of the chief writers of the Little Review. They grow cleverer and cleverer, and, at the same time, more and more unintelligible. ”

“ A public meeting does not like to be addressed as if it were a party of personal friends. The introduction of personal considerations into public policy is felt to be an intrusion; and to treat your friends as if you were legislating on their behalf is an impertinence. From all this it follows that to thrust all private art into the public eye is to mix the two worlds. Only that part of private art that is in good public taste ought to be exhibited in public ”

“ Modern as I am, and hopeful as I am of modernity, I cannot think that the predominance of fiction, even of such fiction as is written to-day, is a good sign; and when we see that it leads nowhere, that the people who read much of it never read anything else, and that it is an intellectual cul-de-sac, our alarm at the phenomenon is the greater. ”

“ But it is less gratifying when one reflects that Sterne was the last person in the world to have the right to talk about Love at all. What should a genuine as well as a professed sentimentalist have to say of Love more than that in its practice the French were not sentimental enough for him? But it is not the defect of sentimentality that stamps Love as understood in France with the mark of inferiority, but the presence of too much egoism—a fault Sterne would never have observed. ”

“ Instead of appealing to commercial publishers, however, is it not possible to appeal to the Guild of Authors, to the fraternity whose function and responsibility are the creation and encouragement of literature? Who should be patrons of literature if not men of letters themselves? And whose duty should it be, if not that of novelists as a guild, to secure the succession and to provide for the future princes? If [143] publishers are willing to assume the burdens of literature—always heavy in proportion to the ignorance of the public—let them by all means. ”

“ Our age is one of prose, and the passion of prose is justice—reasonable and regulated justice. Terrible beauty, earth-shaking humour, tragic passion, and so on—the stuff of epic poetry—are relegated nowadays to the police court. Moreover, the Norse mythology is not only “pagan” in the sense of being non-Christian, it is pagan in the sense of being sub- as much as pre-Christian, differing in this respect from the Indian mythology of the Mahabharata, or the Egyptian mythology of the Book of the Dead. ”

“ But the Press proprietors and editors know very well. They know whether the news they expose is true, or the views they vend are sound. They know also that in a large degree they are neither the one nor the other. Yet they continue to sell them, and even to expect public honours for their fraudulent dealings. The excuses made for them are such as could be made for any other fraudulent industry; that it pays, that the public swallows it, that honesty would not pay, that the public does not want truth and sincerity, that the public must learn to discriminate for itself. ”