Sec. 3 In the present armament competition there are certain considerations that appear to be almost universally overlooked, and which tend to modify our views profoundly of what should be done. Ultimately they will affect our entire expenditure upon war preparation.
Expenditure upon preparation for war falls, roughly, into two classes: there is expenditure upon things that have a diminishing value, things that grow old-fashioned and wear out, such as fortifications, ships, guns, and ammunition, and expenditure upon things that have a permanent and even growing value, such as organised technical research, military and naval experiment, and the education and increase of a highly trained class of war experts.
I want to suggest that we are spending too much money in the former and not enough in the latter direction We are buying enormous quantities of stuff that will be old iron in twenty years' time, and we are starving ourselves of that which cannot be bought or made in a hurry, and upon which the strength of nations ultimately rests altogether; we are failing to get and maintain a sufficiency of highly educated and developed men inspired by a tradition of service and efficiency.
No doubt we must be armed to-day, but every penny we divert from men-making and knowledge-making to armament beyond the margin of bare safety is a sacrifice of the future to the present. Every penny we divert from national wealth-making to national weapons means so much less in resources, so much more strain in the years ahead. But a great system of laboratories and experimental stations, a systematic, industrious increase of men of the officer-aviator type, of the research student type, of the engineer type, of the naval-officer type, of the skilled sergeant-instructor type, a methodical development of a common sentiment and a common zeal among such a body of men, is an added strength that grows greater from the moment you call it into being. In our schools and military and naval colleges lies the proper field for expenditure upon preparation for our ultimate triumph in war. All other war preparation is temporary but that.
This would be obvious in any case, but what makes insistence upon it peculiarly urgent is the manifestly temporary nature of the present European situation and the fact that within quite a small number of years our war front will be turned in a direction quite other than that to which it faces now.
For a decade and more all Western Europe has been threatened by German truculence; the German, inflamed by the victories of 1870 and 1871, has poured out his energy in preparation for war by sea and land, and it has been the difficult task of France and England to keep the peace with him. The German has been the provocator and leader of all modern armaments. But that is not going on. It is already more than half over. If we can avert war with Germany for twenty years, we shall never have to fight Germany. In twenty years' time we shall be talking no more of sending troops to fight side by side on the frontier of France; we shall be talking of sending troops to fight side by side with French and Germans on the frontiers of Poland.
And the justification of that prophecy is a perfectly plain one. The German has filled up his country, his birth-rate falls, and the very vigour of his military and naval preparations, by raising the cost of living, hurries it down. His birth-rate falls as ours and the Frenchman's falls, because he is nearing his maximum of population It is an inevitable consequence of his geographical conditions. But eastward of him, from his eastern boundaries to the Pacific, is a country already too populous to conquer, but with possibilities of further expansion that are gigantic. The Slav will be free to increase and multiply for another hundred years. Eastward and southward bristle the Slavs, and behind the Slavs are the colossal possibilities of Asia.
Even German vanity, even the preposterous ambitions that spring from that brief triumph of Sedan, must awaken at last to these manifest facts, and on the day when Germany is fully awake we may count the Western European Armageddon as "off" and turn our eyes to the greater needs that will arise beyond Germany. The old game will be over and a quite different new game will begin in international relations.
During these last few years of worry and bluster across the North Sea we have a little forgotten India in our calculations. As Germany faces round eastward again, as she must do before very long, we shall find India resuming its former central position in our ideas of international politics. With India we may pursue one of two policies: we may keep her divided and inefficient for war, as she is at present, and hold her and own her and defend her as a prize, or we may arm her and assist her development into a group of quasi-independent English-speaking States – in which case she will become our partner and possibly at last even our senior partner. But that is by the way. What I am pointing out now is that whether we fight Germany or not, a time is drawing near when Germany will cease to be our war objective and we shall cease to be Germany's war objective, and when there will have to be a complete revision of our military and naval equipment in relation to those remoter, vaster Asiatic possibilities.
Now that possible campaign away there, whatever its particular nature may be, which will be shaping our military and naval policy in the year 1933 or thereabouts, will certainly be quite different in its conditions from the possible campaign in Europe and the narrow seas which determines all our preparations now. We cannot contemplate throwing an army of a million British conscripts on to the North-West Frontier of India, and a fleet of Super-Dreadnoughts will be ineffective either in Thibet or the Baltic shallows. All our present stuff, indeed, will be on the scrap-heap then. What will not be on the scrap-heap will be such enterprise and special science and inventive power as we have got together. That is versatile. That is good to have now and that will be good to have then.
Everyone nowadays seems demanding increased expenditure upon war preparation. I will follow the fashion. I will suggest that we have the courage to restrain and even to curtail our monstrous outlay upon war material and that we begin to spend lavishly upon military and naval education and training, upon laboratories and experimental stations, upon chemical and physical research and all that makes knowledge and leading, and that we increase our expenditure upon these things as fast as we can up to ten or twelve millions a year. At present we spend about eighteen and a half millions a year upon education out of our national funds, but fourteen and a half of this, supplemented by about as much again from local sources, is consumed in merely elementary teaching. So that we spend only about four millions a year of public money on every sort of research and education above the simple democratic level. Nearly thirty millions for the foundations and only a seventh for the edifice of will and science! Is it any marvel that we are a badly organised nation, a nation of very widely diffused intelligence and very second-rate guidance and achievement? Is it any marvel that directly we are tested by such a new development as that of aeroplanes or airships we show ourselves in comparison with the more braced-up nations of the Continent backward, unorganised unimaginative, unenterprising?
Our supreme want to-day, if we are to continue a belligerent people, is a greater supply of able educated men, versatile men capable of engines, of aviation, of invention, of leading and initiative. We need more laboratories, more scholarships out of the general mass of elementary scholars, a quasi-military discipline in our colleges and a great array of new colleges, a much readier access to instruction in aviation and military and naval practice. And if we are to have national service let us begin with it where it is needed most and where it is least likely to disorganise our social and economic life; let us begin at the top. Let us begin with the educated and propertied classes and exact a couple of years' service in a destroyer or a waterplane, or an airship, or a, research laboratory, or a training camp, from the sons of everybody who, let us say, pays income tax without deductions. Let us mix with these a big proportion – a proportion we may increase steadily – of keen scholarship men from the elementary schools. Such a braced-up class as we should create in this way would give us the realities of military power, which are enterprise, knowledge, and invention; and at the same time it would add to and not subtract from the economic wealth of the community Make men; that is the only sane, permanent preparation for war. So we should develop a strength and create a tradition that would not rust nor grow old-fashioned in all the years to come.
THE CONTEMPORARY NOVEL
Circumstances have made me think a good deal at different times about the business of writing novels, and what it means, and is, and may be; and I was a professional critic of novels long before I wrote them. I have been writing novels, or writing about novels, for the last twenty years. It seems only yesterday that I wrote a review – the first long and appreciative review he had – of Mr. Joseph Conrad's "Almayer's Folly" in the Saturday Review. When a man has focussed so much of his life upon the novel, it is not reasonable to expect him to take too modest or apologetic a view of it. I consider the novel an important and necessary thing indeed in that complicated system of uneasy adjustments and readjustments which is modern civilisation I make very high and wide claims for it. In many directions I do not think we can get along without it.
Now this, I know, is not the usually received opinion. There is, I am aware, the theory that the novel is wholly and solely a means of relaxation. In spite of manifest facts, that was the dominant view of the great period that we now in our retrospective way speak of as the Victorian, and it still survives to this day. It is the man's theory of the novel rather than the woman's. One may call it the Weary Giant theory. The reader is represented as a man, burthened, toiling, worn. He has been in his office from ten to four, with perhaps only two hours' interval at his club for lunch; or he has been playing golf; or he has been waiting about and voting in the House; or he has been fishing; or he has been disputing a point of law; or writing a sermon; or doing one of a thousand other of the grave important things which constitute the substance of a prosperous man's life. Now at last comes the little precious interval of leisure, and the Weary Giant takes up a book. Perhaps he is vexed: he may have been bunkered, his line may have been entangled in the trees, his favourite investment may have slumped, or the judge have had indigestion and been extremely rude to him. He wants to forget the troublesome realities of life. He wants to be taken out of himself, to be cheered, consoled, amused – above all, amused. He doesn't want ideas, he doesn't want facts; above all, he doesn't want —Problems. He wants to dream of the bright, thin, gay excitements of a phantom world – in which he can be hero – of horses ridden and lace worn and princesses rescued and won. He wants pictures of funny slums, and entertaining paupers, and laughable longshoremen, and kindly impulses making life sweet. He wants romance without its defiance, and humour without its sting; and the business of the novelist, he holds, is to supply this cooling refreshment. That is the Weary Giant theory of the novel. It ruled British criticism up to the period of the Boer war – and then something happened to quite a lot of us, and it has never completely recovered its old predominance. Perhaps it will; perhaps something else may happen to prevent its ever doing so.
Both fiction and criticism to-day are in revolt against that tired giant, the prosperous Englishman. I cannot think of a single writer of any distinction to-day, unless it is Mr. W.W. Jacobs, who is content merely to serve the purpose of those slippered hours. So far from the weary reader being a decently tired giant, we realise that he is only an inexpressibly lax, slovenly and under-trained giant, and we are all out with one accord resolved to exercise his higher ganglia in every possible way. And so I will say no more of the idea that the novel is merely a harmless opiate for the vacant hours of prosperous men. As a matter of fact, it never has been, and by its nature I doubt if it ever can be.
I do not think that women have ever quite succumbed to the tired giant attitude in their reading. Women are more serious, not only about life, but about books. No type or kind of woman is capable of that lounging, defensive stupidity which is the basis of the tired giant attitude, and all through the early 'nineties, during which the respectable frivolity of Great Britain left its most enduring marks upon our literature, there was a rebel undertow of earnest and aggressive writing and reading, supported chiefly by women and supplied very largely by women, which gave the lie to the prevailing trivial estimate of fiction. Among readers, women and girls and young men at least will insist upon having their novels significant and real, and it is to these perpetually renewed elements in the public that the novelist must look for his continuing emancipation from the wearier and more massive influences at work in contemporary British life.
And if the novel is to be recognised as something more than a relaxation, it has also, I think, to be kept free from the restrictions imposed upon it by the fierce pedantries of those who would define a general form for it. Every art nowadays must steer its way between the rocks of trivial and degrading standards and the whirlpool of arbitrary and irrational criticism. Whenever criticism of any art becomes specialised and professional whenever a class of adjudicators is brought into existence, those adjudicators are apt to become as a class distrustful of their immediate impressions, and anxious for methods of comparison between work and work, they begin to emulate the classifications and exact measurements of a science, and to set up ideals and rules as data for such classification and measurements. They develop an alleged sense of technique, which is too often no more than the attempt to exact a laboriousness of method, or to insist upon peculiarities of method which impress the professional critic not so much as being merits as being meritorious. This sort of thing has gone very far with the critical discussion both of the novel and the play. You have all heard that impressive dictum that some particular theatrical display, although moving, interesting, and continually entertaining from start to finish, was for occult technical reasons "not a play," and in the same way you are continually having your appreciation of fiction dashed by the mysterious parallel condemnation, that the story you like "isn't a novel." The novel has been treated as though its form was as well-defined as the sonnet. Some year or so ago, for example, there was a quite serious discussion, which began, I believe, in a weekly paper devoted to the interests of various nonconformist religious organisations, about the proper length for a novel. The critic was to begin his painful duties with a yard measure. The matter was taken up with profound gravity by the Westminster Gazette, and a considerable number of literary men and women were circularised and asked to state, in the face of "Tom Jones," "The Vicar of Wakefield," "The Shabby-Genteel Story," and "Bleak House," just exactly how long the novel ought to be. Our replies varied according to the civility of our natures, but the mere attempt to raise the question shows, I think, how widespread among the editorial, paragraph-writing, opinion-making sort of people is this notion of prescribing a definite length and a definite form for the novel. In the newspaper correspondence that followed, our friend the weary giant made a transitory appearance again. We were told the novel ought to be long enough for him to take up after dinner and finish before his whisky at eleven.
That was obviously a half-forgotten echo of Edgar Allan Poe's discussion of the short story. Edgar Allan Poe was very definite upon the point that the short story should be finished at a sitting. But the novel and short story are two entirely different things, and the train of reasoning that made the American master limit the short story to about an hour of reading as a maximum, does not apply to the longer work. A short story is, or should be, a simple thing; it aims at producing one single, vivid effect; it has to seize the attention at the outset, and never relaxing, gather it together more and more until the climax is reached. The limits of the human capacity to attend closely therefore set a limit to it; it must explode and finish before interruption occurs or fatigue sets in. But the novel I hold to be a discursive thing; it is not a single interest, but a woven tapestry of interests; one is drawn on first by this affection and curiosity, and then by that; it is something to return to, and I do not see that we can possibly set any limit to its extent. The distinctive value of the novel among written works of art is in characterisation, and the charm of a well-conceived character lies, not in knowing its destiny, but in watching its proceedings. For my own part, I will confess that I find all the novels of Dickens, long as they are, too short for me. I am sorry they do not flow into one another more than they do. I wish Micawber and Dick Swiveller and Sairey Gamp turned up again in other novels than their own, just as Shakespeare ran the glorious glow of Falstaff through a group of plays. But Dickens tried this once when he carried on the Pickwick Club into "Master Humphrey's Clock." That experiment was unsatisfactory, and he did not attempt anything of the sort again. Following on the days of Dickens, the novel began to contract, to subordinate characterisation to story and description to drama; considerations of a sordid nature, I am told, had to do with that; something about a guinea and a half and six shillings with which we will not concern ourselves – but I rejoice to see many signs to-day that that phase of narrowing and restriction is over, and that there is every encouragement for a return towards a laxer, more spacious form of novel-writing. The movement is partly of English origin, a revolt against those more exacting and cramping conceptions of artistic perfection to which I will recur in a moment, and a return to the lax freedom of form, the rambling discursiveness, the right to roam, of the earlier English novel, of "Tristram Shandy" and of "Tom Jones"; and partly it comes from abroad, and derives a stimulus from such bold and original enterprises as that of Monsieur Rolland in his "Jean Christophe." Its double origin involves a double nature; for while the English spirit is towards discursiveness and variety, the new French movement is rather towards exhaustiveness. Mr. Arnold Bennett has experimented in both forms of amplitude. His superb "Old Wives' Tale," wandering from person to person and from scene to scene, is by far the finest "long novel" that has been written in English in the English fashion in this generation, and now in "Clayhanger" and its promised collaterals, he undertakes that complete, minute, abundant presentation of the growth and modification of one or two individual minds, which is the essential characteristic of the Continental movement towards the novel of amplitude. While the "Old Wives' Tale" is discursive, "Clayhanger" is exhaustive; he gives us both types of the new movement in perfection.
I name "Jean Christophe" as a sort of archetype in this connection, because it is just at present very much in our thoughts by reason of the admirable translation Mr. Cannan is giving us; but there is a greater predecessor to this comprehensive and spectacular treatment of a single mind and its impressions and ideas, or of one or two associated minds, that comes to us now via Mr. Bennett and Mr. Cannan from France. The great original of all this work is that colossal last unfinished book of Flaubert, "Bouvard et Pécuchet." Flaubert, the bulk of whose life was spent upon the most austere and restrained fiction – Turgenev was not more austere and restrained – broke out at last into this gay, sad miracle of intellectual abundance. It is not extensively read in this country; it is not yet, I believe, translated into English; but there it is – and if it is new to the reader I make him this present of the secret of a book that is a precious wilderness of wonderful reading. But if Flaubert is really the Continental emancipator of the novel from the restrictions of form, the master to whom we of the English persuasion, we of the discursive school, must for ever recur is he, whom I will maintain against all comers to be the subtlest and greatest artist– I lay stress upon that word artist – that Great Britain has ever produced in all that is essentially the novel, Laurence Sterne…
The confusion between the standards of a short story and the standards of the novel which leads at last to these – what shall I call them? —Westminster Gazettisms?– about the correct length to which the novelist should aspire, leads also to all kinds of absurd condemnations and exactions upon matters of method and style. The underlying fallacy is always this: the assumption that the novel, like the story, aims at a single, concentrated impression. From that comes a fertile growth of error. Constantly one finds in the reviews of works of fiction the complaint that this, that or the other thing in a novel is irrelevant. Now it is the easiest thing, and most fatal thing, to become irrelevant in a short story. A short story should go to its point as a man flies from a pursuing tiger: he pauses not for the daisies in his path, or to note the pretty moss on the tree he climbs for safety. But the novel by comparison is like breakfasting in the open air on a summer morning; nothing is irrelevant if the waiter's mood is happy, and the tapping of the thrush upon the garden path, or the petal of apple-blossom that floats down into my coffee, is as relevant as the egg I open or the bread and butter I bite. And all sorts of things that inevitably mar the tense illusion which is the aim of the short story – the introduction, for example, of the author's personality – any comment that seems to admit that, after all, fiction is fiction, a change in manner between part and part, burlesque, parody, invective, all such thing's are not necessarily wrong in the novel. Of course, all these things may fail in their effect; they may jar, hinder, irritate, and all are difficult to do well; but it is no artistic merit to evade a difficulty any more than it is a merit in a hunter to refuse even the highest of fences. Nearly all the novels that have, by the lapse of time, reached an assured position of recognised greatness, are not only saturated in the personality of the author, but have in addition quite unaffected personal outbreaks. The least successful instance the one that is made the text against all such first-personal interventions, is, of course, Thackeray. But I think the trouble with Thackeray is not that he makes first-personal interventions, but that he does so with a curious touch of dishonesty. I agree with the late Mrs. Craigie that there was something profoundly vulgar about Thackeray. It was a sham thoughtful, sham man-of-the-world pose he assumed; it is an aggressive, conscious, challenging person astride before a fire, and a little distended by dinner and a sense of social and literary precedences, who uses the first person in Thackeray's novels. It isn't the real Thackeray; it isn't a frank man who looks you in the eyes and bares his soul and demands your sympathy. That is a criticism of Thackeray, but it isn't a condemnation of intervention.
I admit that for a novelist to come in person in this way before his readers involves grave risks; but when it is done without affectations, starkly as a man comes in out of the darkness to tell of perplexing things without – as, for instance, Mr. Joseph Conrad does for all practical purposes in his "Lord Jim" – then it gives a sort of depth, a sort of subjective reality, that no such cold, almost affectedly ironical detachment as that which distinguishes the work of Mr. John Galsworthy, for example, can ever attain. And in some cases the whole art and delight of a novel may lie in the author's personal interventions; let such novels as "Elizabeth and her German Garden," and the same writer's "Elizabeth in Rügen," bear witness.
Now, all this time I have been hacking away at certain hampering and limiting beliefs about the novel, letting it loose, as it were, in form and purpose; I have still to say just what I think the novel is, and where, if anywhere, its boundary-line ought to be drawn. It is by no means an easy task to define the novel. It is not a thing premeditated. It is a thing that has grown up into modern life, and taken upon itself uses and produced results that could not have been foreseen by its originators. Few of the important things in the collective life of man started out to be what they are. Consider, for example, all the unexpected aesthetic values, the inspiration and variety of emotional result which arises out of the cross-shaped plan of the Gothic cathedral, and the undesigned delight and wonder of white marble that has ensued, as I have been told, through the ageing and whitening of the realistically coloured statuary of the Greeks and Romans. Much of the charm of the old furniture and needlework, again, upon which the present time sets so much store, lies in acquired and unpremeditated qualities. And no doubt the novel grew up out of simple story-telling, and the universal desire of children, old and young alike, for a story. It is only slowly that we have developed the distinction of the novel from the romance, as being a story of human beings, absolutely credible and conceivable as distinguished from human beings frankly endowed with the glamour, the wonder, the brightness, of a less exacting and more vividly eventful world. The novel is a story that demands, or professes to demand, no make-believe. The novelist undertakes to present you people and things as real as any that you can meet in an omnibus. And I suppose it is conceivable that a novel might exist which was just purely a story of that kind and nothing more. It might amuse you as one is amused by looking out of a window into a street, or listening to a piece of agreeable music, and that might be the limit of its effect. But almost always the novel is something more than that, and produces more effect than that. The novel has inseparable moral consequences. It leaves impressions, not simply of things seen, but of acts judged and made attractive or unattractive. They may prove very slight moral consequences, and very shallow moral impressions in the long run, but there they are, none the less, its inevitable accompaniments. It is unavoidable that this should be so. Even if the novelist attempts or affects to be impartial, he still cannot prevent his characters setting examples; he still cannot avoid, as people say, putting ideas into his readers' heads. The greater his skill, the more convincing his treatment the more vivid his power of suggestion. And it is equally impossible for him not to betray his sense that the proceedings of this person are rather jolly and admirable, and of that, rather ugly and detestable. I suppose Mr. Bennett, for example, would say that he should not do so; but it is as manifest to any disinterested observer that he greatly loves and admires his Card, as that Richardson admired his Sir Charles Grandison, or that Mrs. Humphry Ward considers her Marcella a very fine and estimable young woman. And I think it is just in this, that the novel is not simply a fictitious record of conduct, but also a study and judgment of conduct, and through that of the ideas that lead to conduct, that the real and increasing value – or perhaps to avoid controversy I had better say the real and increasing importance – of the novel and of the novelist in modern life comes in.
It is no new discovery that the novel, like the drama, is a powerful instrument of moral suggestion. This has been understood in England ever since there has been such a thing as a novel in England. This has been recognised equally by novelists, novel-readers, and the people who wouldn't read novels under any condition whatever. Richardson wrote deliberately for edification, and "Tom Jones" is a powerful and effective appeal for a charitable, and even indulgent, attitude towards loose-living men. But excepting Fielding and one or two other of those partial exceptions that always occur in the case of critical generalisations, there is a definable difference between the novel of the past and what I may call the modern novel. It is a difference that is reflected upon the novel from a difference in the general way of thinking. It lies in the fact that formerly there was a feeling of certitude about moral values and standards of conduct that is altogether absent to-day. It wasn't so much that men were agreed upon these things – about these things there have always been enormous divergences of opinion – as that men were emphatic, cocksure, and unteachable about whatever they did happen to believe to a degree that no longer obtains. This is the Balfourian age, and even religion seeks to establish itself on doubt. There were, perhaps, just as many differences in the past as there are now, but the outlines were harder – they were, indeed, so hard as to be almost, to our sense, savage. You might be a Roman Catholic, and in that case you did not want to hear about Protestants, Turks, Infidels, except in tones of horror and hatred. You knew exactly what was good and what was evil. Your priest informed you upon these points, and all you needed in any novel you read was a confirmation, implicit or explicit, of these vivid, rather than charming, prejudices. If you were a Protestant you were equally clear and unshakable. Your sect, whichever sect you belonged to, knew the whole of truth and included all the nice people. It had nothing to learn in the world, and it wanted to learn nothing outside its sectarian convictions. The unbelievers you know, were just as bad, and said their creeds with an equal fury – merely interpolating nots. People of every sort – Catholic, Protestant, Infidel, or what not – were equally clear that good was good and bad was bad, that the world was made up of good characters whom you had to love, help and admire, and of bad characters to whom one might, in the interests of goodness, even lie, and whom one had to foil, defeat and triumph over shamelessly at every opportunity. That was the quality of the times. The novel reflected this quality of assurance, and its utmost charity was to unmask an apparent villain and show that he or she was really profoundly and correctly good, or to unmask an apparent saint and show the hypocrite. There was no such penetrating and pervading element of doubt and curiosity – and charity, about the rightfulness and beauty of conduct, such as one meets on every hand to-day.