Arthur Compton-Rickett

“ Borrow seemed to know exactly how to approach people, what to say, and how to say it. Sometimes he may have preferred to stand aloof in moody reserve; that is another matter. But given the inclination, he had a genius for companionship, as some men have a genius for friendship. As a rule it will be found that the Vagabond, the Wanderer, is far better as a companion than as friend. What he cares for is to smile, chatter, and pass on. Loyal he may be to those who have done him service, but he is not ready to encroach upon his own comfort and convenience for any man. ”

“ Behind joy and laughter there may be a temperament coarse, hard, and callous. But behind sorrow there is always sorrow. Pain, unlike pleasure, wears no mask. Truth in Art is . . . no echo coming from a hollow hill, any more than it is a silver well of water in the valley that shows the moon to the moon, and Narcissus to Narcissus. Truth in Art is the unity of a thing with itself—the soul made incarnate, the body instinct with spirit. ”

“ Why try to prove that Thoreau was really a most sociable character, that Whitman was the profoundest philosopher of his day, that Jefferies was—deep down—a conventionally religious man? Why, oh why, may we not leave them in their pleasant wildness without trying to make out that they were the best company in the world for five-o’clock teas and chapel meetings?
For—and it is well to admit it frankly—the Vagabond loses as well as gains by his deliberate withdrawal from the world. No man can live to himself without some injury to his character. ”

“ And dreamers like Borrow are not content to see visions and dream dreams, their bodies must participate no less than their minds. They must needs set forth in quest of the unknown. Hardships and privations deter them not. Change, variety, the unexpected, these things are to them the very salt of life.
This untiring restlessness keeps a Richard Burton rambling over Eastern lands, turns a Borrow into the high-road and dingle. This bright-eyed Norfolk giant took more kindly to the roughnesses of life than did Hazlitt and De Quincey. ”

“ But although he may not always talk of the Earth, there is the flavour of the Earth, the sweetness and naturalness of the Earth, about his finest utterances.
Jefferies, feverish, excitable, passionate, alive to the glorious plenitude of the Earth, has seized upon the exceeding beauty, and the healing beauty of natural things. No scholar like Thoreau, he brings no system of thought, as did the American, for Nature to put into shape. Outside of Nature all is arid and profitless to him. ”

“ Romance must be large and generous enough to comprehend the full-blooded geniality of a Scott, the impalpable mystery of a Coleridge or Shelley, to extend a hand to the sun-tanned William Morris, and the lover of twilight, Nathaniel Hawthorne.
Borrow was a Romantic, so is Stevenson. Scott was a Romantic, likewise Edgar Allan Poe. If Romance be not a twin, then it must change its form and visage wondrously to appeal to temperaments so divergent. But if Romance be a twin (the conceit will serve our purpose) then one may realize how Scott and Borrow followed in the brother’s wake ”

“ I would fain deem Romance a twin—a brother and sister. The one fair and radiant with the sunlight, strong and clean-fibred, warm of blood and joyous of spirit; a creature of laughter and delight. I would fancy him regarding the world with clear, shining eyes, faintly parted lips, a buoyant expectancy in every line of his tense figure. Ready for anything and everything; the world opening up before him like a white, alluring road; tasting curiously every adventure, as a man plucks fruit by the wayside, knowing no horizon to his outlook, no end to his journey, no limit to his enterprise. ”

“ Finally, despite the tenderness and kindliness he can show, the egotistic elements absorb too much of his nature. A great egotist can never be a great lover.
This may seem a singularly ungracious prelude to a consideration of Richard Jefferies; but whatever it may seem it is quite consistent with a hearty admiration for his genius, and a warm appreciation of the man. Passion he had of a kind, but it was the rapt, self-centred passion of the mystic.
He interests us both as an artist and as a thinker. ”

“ It is not usual to find them coexisting as they did in Stevenson, and their dual existence gives an added piquancy and interest to his work. It is the Vagabond Romantic in him that leads him into so many byways and secret places, that sends him airily dancing over the wide fields of literature; ever on the move, making no tabernacle for himself in any one grove. And it is the Artist who gives that delicacy of finish, that exquisitive nicety of touch, to the veriest trifle that he essays. ”

“ It has, I know, been urged by some of Whitman’s admirers that his power as a writer does not depend upon his artistic methods or non-artistic methods, and he himself protested against his Leaves being judged merely as literature. And so there has been a tendency to glorify his very inadequacies, to hold him up as a poet who has defied successfully the unwritten laws of Art.
This is to do him an ill service. If Whitman’s work be devoid of Art, then it possesses no durability. Literature is an art just as much as music, painting, or sculpture. ”

“ That Whitman entertained a genuine affection for men and women is, of course, too obvious to be gainsaid. His noble work in the hospitals, his tenderness towards criminals and outcasts—made known to us through the testimony of friends—show him to be a man of comprehensive sympathies. No man of a chill and calculating nature could have written as he did, and, although his writings are not free of affectation, the strenuous, fundamental sincerity of the man impresses every line. ”

“ It is because to most of us the world of imagination is the world that matters. We live in the “might be’s” and “peradventures.” Fate may have cast our lot in prosaic places; have predetermined our lives on humdrum lines; but it cannot touch our dreams. There we are princes, princesses—possessed of illimitable wealth, wielding immeasurable power. Our bodies may traverse the same dismal streets day after day; but our minds rove luxuriantly through all the kingdoms of the earth. ”

“ Prodigal in his charities, riotous in his very austerities, his tenderness towards the animals seems like the overflowing of a finely sensitive and artistic nature. With Thoreau one feels in the presence of a more tranquil, more self-contained spirit; his affection is the affection of a kindly scientist who is intensely interested in the ways and habits of birds, beasts, and fishes; one who does not give them the surplus of the love he bears towards his fellow-men so much as a care and love which he does not extend so freely towards his fellows. ”

“ Stevenson had many sides, but there were two especially that reappear again and again, and were the controlling forces in his nature. One was the Romantic element, the other the Artistic. It may be thought that these twain have much in common; but it is not so. In poetry the first gives us a Blake, a Shelley; the second a Keats, a Tennyson. Variety, fresh points of view, these are the breath of life to the Romantic. But for the Artist there is one constant, unchanging ideal. The Romantic ventures out of sheer love of the venture, the other out of sheer love for some definite end in view. ”

“ Without denying for a moment that Whitman was capable of genuine affection, I cannot help feeling, from the impression left upon me by his writings, and by accounts given by those who knew him, that what I must call an absence of human passion—not necessarily affection—which seems to characterize more or less the Vagabond generally, may be detected in Whitman, no less than in Thoreau and Borrow. It would seem that the passion for the earth, which made them—to use one of Mr. Watts-Dunton’s happy phrases—“Children of the Open Air,” took the place of a passion for human kind. ”

“ Taken on the whole, the English literary Vagabond is a man of joy, not necessarily a cheerful man. There is a deeper quality about joy than about cheerfulness. Cheerfulness indeed is almost entirely a physical idiosyncrasy. It lies on the surface. A man, serious and silent, may be a joyful man; he can scarcely be a cheerful man. Moody as he was at times, sour-tempered and whimsical as he could be, yet there was a fine quality of joy about Hazlitt. It is this quality of joy that gives the sparkle and relish to his essays. ”

“ By the wary independence and aloofness of his dim forest-life he preserves his intercourse with his native gods, and is admitted from time to time to a rare and peculiar society with Nature. He has glances of starry recognition to which our salons are strangers. The steady illumination of his genius, dim only because distant, is like the faint but satisfying light of the stars compared with the dazzling but ineffectual and short-lived blaze of candles. ”

“ It is comparatively an easy matter to deal with the mysticism of the night. The possibilities of darkness readily impress the imagination. But the mysticism of the sunlight—the mysticism not of strange shapes, but of familiar things of every day, this, though felt by many, is the most difficult thing in the world to suggest in words.
The “visions” of Jefferies, his moods of emotional exaltation, recall not only the opium dream of De Quincey, but the ecstasies of the old Mystics. ”

“ All life is akin to man.” The oneness of life is realized by the Eastern as it seldom is by the p. 105Western. The love that stirs in your heart kindled the flower into beauty, and broods in the great silent pools of the forest.
But Nature is not always kind. That he cannot help feeling. She inspires fear as well as love. She scatters peace and consolation, but can scatter also pain and death. All forms of life are more or less sacred. The creatures of the forest whose ferocity and cunning are manifest, may they not be inhabited by some human spirit that has misused his opportunities in life? ”

“ And if a man, however fine, however inspiring his ideas may be, has no power to shape them—to express them in colour, in sound, in form, in words—to seize upon the essentials and use no details save as suffice to illustrate these essentials, then his work will not last. For it has no vitality.
In other words, Whitman must be judged ultimately as an artist, for Art alone endures. ”

“ Far too much has been made of the Walden episode. It has been written upon as if it had represented the totality of Thoreau’s life, instead of being merely an interesting episode. Critics have animadverted upon it, as if the time had been spent in brooding, self-pity, and sentimental affectations, as if Thoreau had gone there to escape from his fellow-men. All this seems to me wide of the mark. Thoreau was always keenly interested in men and manners; his essays abound in a practical sagacity, too frequently overlooked. ”

“ Every great Russian writer has more or less of the Vagabond about him. Tolstoy, it is true, wears the robe of the Moralist, and Tolstoy the Ascetic cries down Tolstoy the Artist. But I always feel that the most enduring part of Tolstoy’s work is the work of the Vagabond temperament that lurks beneath the stern preacher. Political and social exigencies have driven him to take up a position which is certainly not in harmony with many traits in his nature. ”

“ There is no necessity to weigh Wilde’s experiences of “Our Ladies of Sorrow” beside those of De Quincey. All we need ask is which impresses us the more keenly with the actuality of sorrow. And I think there can be no doubt that it is not De Quincey.
“The Dream Kingdom that rose like a vapour” from his brain, this it was—this Vagabond imagination of his—that was the one great reality in life. It is a mistake to assume, as some have done, that this faculty for daydreaming was a legacy of the opium-eating. The opium gave an added brilliance to the dream-life, but it did not create it. ”

“ No ancient sorceress of Eastern story can touch his imagination more deeply than can an old gypsy woman. A skirmish with a publisher is fully as exciting as a tilt in a medieval tourney; while the stories told him by a rural landlord promise as much relish as any of the tales recounted by Oriental barbers and one-eyed Calenders.
Thus it is that while the pervasive egotism of the man bewitches us, we yield readily to the spell of his splendid garrulity. It is of no great moment that he should take an occasional drink to quench his thirst when passing along the London streets. ”

“ The average literary artist is always seeking for the loveliness, aiming after beauty of form, without a care whether what he is saying has the ring of sincerity and truth, whether it is in touch with the realities of Nature. And in his super-refinements he misses the beauty that flashes forth from the rough, savage songs of Whitman. ”

“ Lavengro and The Romany Rye are fine specimens of romantic autobiography. His life was varied enough, abounding in colour; but the Vagabond is never satisfied with things that merely happen. He is equally concerned with the things that might happen, with the things that ought to happen. And so Borrow added to his own personal record from the storehouse of dreams. Some have blamed him for not adhering to the actual facts. But does any autobiographer adhere to actual facts? Can any man, even with the most sensitive feeling for accuracy, confine himself to a record of what happened? ”