Essays Concerning Letters

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STUDIES AND ESSAYS

By John Galsworthy

"Je vous dirai que l'exces est toujours un mal."
--ANATOLE FRANCE



CONCERNING LETTERS



TABLE OF CONTENTS:
A NOVELIST'S ALLEGORY
SOME PLATITUDES CONCERNING DRAMA
MEDITATION ON FINALITY
WANTED--SCHOOLING
ON OUR DISLIKE OF THINGS AS THEY ARE
THE WINDLESTRAW




A NOVELIST'S ALLEGORY

Once upon a time the Prince of Felicitas had occasion to set forth on a
journey. It was a late autumn evening with few pale stars and a moon no
larger than the paring of a finger-nail. And as he rode through the
purlieus of his city, the white mane of his amber-coloured steed was all
that he could clearly see in the dusk of the high streets. His way led
through a quarter but little known to him, and he was surprised to find
that his horse, instead of ambling forward with his customary gentle
vigour, stepped carefully from side to side, stopping now and then to
curve his neck and prick his ears--as though at some thing of fear
unseen in the darkness; while on either hand creatures could be heard
rustling and scuttling, and little cold draughts as of wings fanned the
rider's cheeks.

The Prince at last turned in his saddle, but so great was the darkness
that he could not even see his escort.

"What is the name of this street?" he said.

"Sire, it is called the Vita Publica."

"It is very dark." Even as he spoke his horse staggered, but, recovering
its foothold with an effort, stood trembling violently. Nor could all the
incitements of its master induce the beast again to move forward.

"Is there no one with a lanthorn in this street?" asked the Prince.

His attendants began forthwith to call out loudly for any one who had a
lanthorn. Now, it chanced that an old man sleeping in a hovel on a
pallet of straw was, awakened by these cries. When he heard that it was
the Prince of Felicitas himself, he came hastily, carrying his lanthorn,
and stood trembling beside the Prince's horse. It was so dark that the
Prince could not see him.

"Light your lanthorn, old man," he said.

The old man laboriously lit his lanthorn. Its pale rays fled out on
either hand; beautiful but grim was the vision they disclosed. Tall
houses, fair court-yards, and a palm grown garden; in front of the
Prince's horse a deep cesspool, on whose jagged edges the good beast's
hoofs were planted; and, as far as the glimmer of the lanthorn stretched,
both ways down the rutted street, paving stones displaced, and smooth
tesselated marble; pools of mud, the hanging fruit of an orange tree, and
dark, scurrying shapes of monstrous rats bolting across from house to
house. The old man held the lanthorn higher; and instantly bats flying
against it would have beaten out the light but for the thin protection of
its horn sides.

The Prince sat still upon his horse, looking first at the rutted space
that he had traversed and then at the rutted space before him.

"Without a light," he said, "this thoroughfare is dangerous. What is
your name, old man?"

"My name is Cethru," replied the aged churl.

"Cethru!" said the Prince. "Let it be your duty henceforth to walk with
your lanthorn up and down this street all night and every night,"--and he
looked at Cethru: "Do you understand, old man, what it is you have to
do?"

The old man answered in a voice that trembled like a rusty flute:

"Aye, aye!--to walk up and down and hold my lanthorn so that folk can see
where they be going."

The Prince gathered up his reins; but the old man, lurching forward,
touched his stirrup.

"How long be I to go on wi' thiccy job?"

"Until you die!"

Cethru held up his lanthorn, and they could see his long, thin face, like
a sandwich of dried leather, jerk and quiver, and his thin grey hairs
flutter in the draught of the bats' wings circling round the light.

"'Twill be main hard!" he groaned; "an' my lanthorn's nowt but a poor
thing."

With a high look, the Prince of Felicitas bent and touched the old man's
forehead.

"Until you die, old man," he repeated; and bidding his followers to light
torches from Cethru's lanthorn, he rode on down the twisting street. The
clatter of the horses' hoofs died out in the night, and the scuttling and
the rustling of the rats and the whispers of the bats' wings were heard
again.

Cethru, left alone in the dark thoroughfare, sighed heavily; then,
spitting on his hands, he tightened the old girdle round his loins, and
slinging the lanthorn on his staff, held it up to the level of his waist,
and began to make his way along the street. His progress was but slow,
for he had many times to stop and rekindle the flame within his lanthorn,
which the bats' wings, his own stumbles, and the jostlings of footpads or
of revellers returning home, were for ever extinguishing. In traversing
that long street he spent half the night, and half the night in
traversing it back again. The saffron swan of dawn, slow swimming up the
sky-river between the high roof-banks, bent her neck down through the
dark air-water to look at him staggering below her, with his still
smoking wick. No sooner did Cethru see that sunlit bird, than with a
great sigh of joy he sat him down, and at once fell asleep.

Now when the dwellers in the houses of the Vita Publica first gained
knowledge that this old man passed every night with his lanthorn up and
down their street, and when they marked those pallid gleams gliding over
the motley prospect of cesspools and garden gates, over the sightless
hovels and the rich-carved frontages of their palaces; or saw them stay
their journey and remain suspended like a handful of daffodils held up
against the black stuffs of secrecy--they said:

"It is good that the old man should pass like this--we shall see better
where we're going; and if the Watch have any job on hand, or want to put
the pavements in order, his lanthorn will serve their purpose well
enough." And they would call out of their doors and windows to him
passing:

"Hola! old man Cethru! All's well with our house, and with the street
before it?"

But, for answer, the old man only held his lanthorn up, so that in the
ring of its pale light they saw some sight or other in the street. And
his silence troubled them, one by one, for each had expected that he
would reply:

"Aye, aye! All's well with your house, Sirs, and with the street before
it!"

Thus they grew irritated with this old man who did not seem able to do
anything but just hold his lanthorn up. And gradually they began to
dislike his passing by their doors with his pale light, by which they
could not fail to see, not only the rich-carved frontages and scrolled
gates of courtyards and fair gardens, but things that were not pleasing
to the eye. And they murmured amongst themselves: "What is the good of
this old man and his silly lanthorn? We can see all we want to see
without him; in fact, we got on very well before he came."

So, as he passed, rich folk who were supping would pelt him with
orange-peel and empty the dregs of their wine over his head; and poor
folk, sleeping in their hutches, turned over, as the rays of the lanthorn
fell on them, and cursed him for that disturbance. Nor did revellers or
footpads treat the old man, civilly, but tied him to the wall, where he
was constrained to stay till a kind passerby released him. And ever the
bats darkened his lanthorn with their wings and tried to beat the flame
out. And the old man thought: "This be a terrible hard job; I don't seem
to please nobody." But because the Prince of Felicitas had so commanded
him, he continued nightly to pass with his lanthorn up and down the
street; and every morning as the saffron swan came swimming overhead, to
fall asleep. But his sleep did not last long, for he was compelled to
pass many hours each day in gathering rushes and melting down tallow for
his lanthorn; so that his lean face grew more than ever like a sandwich
of dried leather.

Now it came to pass that the Town Watch having had certain complaints
made to them that persons had been bitten in the Vita Publica by rats,
doubted of their duty to destroy these ferocious creatures; and they held
investigation, summoning the persons bitten and inquiring of them how it
was that in so dark a street they could tell that the animals which had
bitten them were indeed rats. Howbeit for some time no one could be
found who could say more than what he had been told, and since this was
not evidence, the Town Watch had good hopes that they would not after all
be forced to undertake this tedious enterprise. But presently there came
before them one who said that he had himself seen the rat which had
bitten him, by the light of an old man's lanthorn. When the Town Watch
heard this they were vexed, for they knew that if this were true they
would now be forced to prosecute the arduous undertaking, and they said:

"Bring in this old man!"

Cethru was brought before them trembling.

"What is this we hear, old man, about your lanthorn and the rat? And in
the first place, what were you doing in the Vita Publica at that time of
night?"

Cethru answered: "I were just passin' with my lanthorn!"

"Tell us--did you see the rat?"

Cethru shook his head: "My lanthorn seed the rat, maybe!" he muttered.

"Old owl!" said the Captain of the Watch: "Be careful what you say! If
you saw the rat, why did you then not aid this unhappy citizen who was
bitten by it--first, to avoid that rodent, and subsequently to slay it,
thereby relieving the public of a pestilential danger?"

Cethru looked at him, and for some seconds did not reply; then he said
slowly: "I were just passin' with my lanthorn."

"That you have already told us," said the Captain of the Watch; "it is no
answer."

Cethru's leathern cheeks became wine-coloured, so desirous was he to
speak, and so unable. And the Watch sneered and laughed, saying:

"This is a fine witness."

But of a sudden Cethru spoke:

"What would I be duin'--killin' rats; tidden my business to kill rats."

The Captain of the Watch caressed his beard, and looking at the old man
with contempt, said:

"It seems to me, brothers, that this is an idle old vagabond, who does no
good to any one. We should be well advised, I think, to prosecute him
for vagrancy. But that is not at this moment the matter in hand. Owing
to the accident--scarcely fortunate--of this old man's passing with his
lanthorn, it would certainly appear that citizens have been bitten by
rodents. It is then, I fear, our duty to institute proceedings against
those poisonous and violent animals."

And amidst the sighing of the Watch, it was so resolved.

Cethru was glad to shuffle away, unnoticed, from the Court, and sitting
down under a camel-date tree outside the City Wall, he thus reflected:

"They were rough with me! I done nothin', so far's I can see!"

And a long time he sat there with the bunches of the camel-dates above
him, golden as the sunlight. Then, as the scent of the lyric-flowers,
released by evening, warned him of the night dropping like a flight of
dark birds on the plain, he rose stiffly, and made his way as usual
toward the Vita Publica.

He had traversed but little of that black thoroughfare, holding his
lanthorn at the level of his breast, when the sound of a splash and cries
for help smote his long, thin ears. Remembering how the Captain of the
Watch had admonished him, he stopped and peered about, but owing to his
proximity to the light of his own lanthorn he saw nothing. Presently he
heard another splash and the sound of blowings and of puffings, but still
unable to see clearly whence they came, he was forced in bewilderment to
resume his march. But he had no sooner entered the next bend of that
obscure and winding avenue than the most lamentable, lusty cries assailed
him. Again he stood still, blinded by his own light. Somewhere at hand
a citizen was being beaten, for vague, quick-moving forms emerged into
the radiance of his lanthorn out of the deep violet of the night air.
The cries swelled, and died away, and swelled; and the mazed Cethru moved
forward on his way. But very near the end of his first traversage, the
sound of a long, deep sighing, as of a fat man in spiritual pain, once
more arrested him.

"Drat me!" he thought, "this time I will see what 'tis," and he spun
round and round, holding his lanthorn now high, now low, and to both
sides. "The devil an' all's in it to-night," he murmured to himself;
"there's some'at here fetchin' of its breath awful loud." But for his
life he could see nothing, only that the higher he held his lanthorn the
more painful grew the sound of the fat but spiritual sighing. And
desperately, he at last resumed his progress.

On the morrow, while he still slept stretched on his straw pallet, there
came to him a member of the Watch.

"Old man, you are wanted at the Court House; rouse up, and bring your
lanthorn."

Stiffly Cethru rose.

"What be they wantin' me fur now, mester?"

"Ah!" replied the Watchman, "they are about to see if they can't put an
end to your goings-on."

Cethru shivered, and was silent.

Now when they reached the Court House it was patent that a great affair
was forward; for the Judges were in their robes, and a crowd of
advocates, burgesses, and common folk thronged the careen, lofty hall of
justice.

When Cethru saw that all eyes were turned on him, he shivered still more
violently, fixing his fascinated gaze on the three Judges in their
emerald robes.

"This then is the prisoner," said the oldest of the Judges; "proceed with
the indictment!"

A little advocate in snuff-coloured clothes rose on little legs, and
commenced to read:

"Forasmuch as on the seventeenth night of August fifteen hundred years
since the Messiah's death, one Celestine, a maiden of this city, fell
into a cesspool in the Vita Publica, and while being quietly drowned, was
espied of the burgess Pardonix by the light of a lanthorn held by the old
man Cethru; and, forasmuch as, plunging in, the said Pardonix rescued
her, not without grave risk of life and the ruin, of his clothes, and
to-day lies ill of fever; and forasmuch as the old man Cethru was the
cause of these misfortunes to the burgess Pardonix, by reason of his
wandering lanthorn's showing the drowning maiden, the Watch do hereby
indict, accuse, and otherwise place charge upon this Cethru of
'Vagabondage without serious occupation.'

"And, forasmuch as on this same night the Watchman Filepo, made aware, by
the light of this said Cethru's lanthorn, of three sturdy footpads, went
to arrest them, and was set on by the rogues and well-nigh slain, the
Watch do hereby indict, accuse, and otherwise charge upon Cethru
complicity in this assault, by reasons, namely, first, that he discovered
the footpads to the Watchman and the Watchman to the footpads by the
light of his lanthorn; and, second, that, having thus discovered them, he
stood idly by and gave no assistance to the law.

"And, forasmuch as on this same night the wealthy burgess Pranzo, who,
having prepared a banquet, was standing in his doorway awaiting the
arrival of his guests, did see, by the light of the said Cethru's
lanthorn, a beggar woman and her children grovelling in the gutter for
garbage, whereby his appetite was lost completely; and, forasmuch as he,
Pranzo, has lodged a complaint against the Constitution for permitting
women and children to go starved, the Watch do hereby indict, accuse, and
otherwise make charge on Cethru of rebellion and of anarchy, in that
wilfully he doth disturb good citizens by showing to them without
provocation disagreeable sights, and doth moreover endanger the laws by
causing persons to desire to change them.

"These be the charges, reverend Judges, so please you!"

And having thus spoken, the little advocate resumed his seat.

Then said the oldest of the Judges:

"Cethru, you have heard; what answer do you make?"

But no word, only the chattering of teeth, came from Cethru.

"Have you no defence?" said the Judge: "these are grave accusations!"

Then Cethru spoke:

"So please your Highnesses," he said, "can I help what my lanthorn sees?"

And having spoken these words, to all further questions he remained more
silent than a headless man.

The Judges took counsel of each other, and the oldest of them thus
addressed himself to Cethru:

"If you have no defence, old man, and there is no one will say a word for
you, we can but proceed to judgment."

Then in the main aisle of the Court there rose a youthful advocate.

"Most reverend Judges," he said in a mellifluous voice, clearer than the
fluting of a bell-bird, "it is useless to look for words from this old
man, for it is manifest that he himself is nothing, and that his lanthorn
is alone concerned in this affair. But, reverend Judges, bethink you
well: Would you have a lanthorn ply a trade or be concerned with a
profession, or do aught indeed but pervade the streets at night, shedding
its light, which, if you will, is vagabondage? And, Sirs, upon the
second count of this indictment: Would you have a lanthorn dive into
cesspools to rescue maidens? Would you have a lanthorn to beat footpads?
Or, indeed, to be any sort of partisan either of the Law or of them that
break the Law? Sure, Sirs, I think not. And as to this third charge of
fostering anarchy let me but describe the trick of this lanthorn's flame.
It is distilled, most reverend Judges, of oil and wick, together with
that sweet secret heat of whose birth no words of mine can tell. And
when, Sirs, this pale flame has sprung into the air swaying to every
wind, it brings vision to the human eye. And, if it be charged on this
old man Cethru that he and his lanthorn by reason of their showing not
only the good but the evil bring no pleasure into the world, I ask, Sirs,
what in the world is so dear as this power to see whether it be the
beautiful or the foul that is disclosed? Need I, indeed, tell you of the
way this flame spreads its feelers, and delicately darts and hovers in
the darkness, conjuring things from nothing? This mechanical summoning,
Sirs, of visions out of blackness is benign, by no means of malevolent
intent; no more than if a man, passing two donkeys in the road, one lean
and the other fat, could justly be arraigned for malignancy because they
were not both fat. This, reverend Judges, is the essence of the matter
concerning the rich burgess, Pranzo, who, on account of the sight he saw
by Cethru's lanthorn, has lost the equilibrium of his stomach. For, Sirs,
the lanthorn did but show that which was there, both fair and foul, no
more, no less; and though it is indeed true that Pranzo is upset, it was
not because the lanthorn maliciously produced distorted images, but
merely caused to be seen, in due proportions, things which Pranzo had not
seen before. And surely, reverend Judges, being just men, you would not
have this lanthorn turn its light away from what is ragged and ugly
because there are also fair things on which its light may fall; how,
indeed, being a lanthorn, could it, if it would? And I would have you
note this, Sirs, that by this impartial discovery of the proportions of
one thing to another, this lanthorn must indeed perpetually seem to cloud
and sadden those things which are fair, because of the deep instincts of
harmony and justice planted in the human breast. However unfair and
cruel, then, this lanthorn may seem to those who, deficient in these
instincts, desire all their lives to see naught but what is pleasant,
lest they, like Pranzo, should lose their appetites--it is not consonant
with equity that this lanthorn should, even if it could, be prevented
from thus mechanically buffeting the holiday cheek of life. I would
think, Sirs, that you should rather blame the queazy state of Pranzo's
stomach. The old man has said that he cannot help what his lanthorn
sees. This is a just saying. But if, reverend Judges, you deem this
equipoised, indifferent lanthorn to be indeed blameworthy for having
shown in the same moment, side by side, the skull and the fair face, the
burdock and the tiger-lily, the butterfly and toad, then, most reverend
Judges, punish it, but do not punish this old man, for he himself is but
a flume of smoke, thistle down dispersed--nothing!"

So saying, the young advocate ceased.

Again the three Judges took counsel of each other, and after much talk
had passed between them, the oldest spoke:

"What this young advocate has said seems to us to be the truth. We
cannot punish a lanthorn. Let the old man go!"

And Cethru went out into the sunshine . . . .

Now it came to pass that the Prince of Felicitas, returning from his
journey, rode once more on his amber-coloured steed down the Vita
Publica.

The night was dark as a rook's wing, but far away down the street burned
a little light, like a red star truant from heaven. The Prince riding by
descried it for a lanthorn, with an old man sleeping beside it.

"How is this, Friend?" said the Prince. "You are not walking as I bade
you, carrying your lanthorn."

But Cethru neither moved nor answered:

"Lift him up!" said the Prince.

They lifted up his head and held the lanthorn to his closed eyes. So
lean was that brown face that the beams from the lanthorn would not rest
on it, but slipped past on either side into the night. His eyes did not
open. He was dead.

And the Prince touched him, saying: "Farewell, old man! The lanthorn is
still alight. Go, fetch me another one, and let him carry it!"
1909.




SOME PLATITUDES CONCERNING DRAMA

A drama must be shaped so as to have a spire of meaning. Every grouping
of life and character has its inherent moral; and the business of the
dramatist is so to pose the group as to bring that moral poignantly to
the light of day. Such is the moral that exhales from plays like 'Lear',
'Hamlet', and 'Macbeth'. But such is not the moral to be found in the
great bulk of contemporary Drama. The moral of the average play is now,
and probably has always been, the triumph at all costs of a supposed
immediate ethical good over a supposed immediate ethical evil.

The vice of drawing these distorted morals has permeated the Drama to its
spine; discoloured its art, humanity, and significance; infected its
creators, actors, audience, critics; too often turned it from a picture
into a caricature. A Drama which lives under the shadow of the distorted
moral forgets how to be free, fair, and fine--forgets so completely that
it often prides itself on having forgotten.

Now, in writing plays, there are, in this matter of the moral, three
courses open to the serious dramatist. The first is: To definitely set
before the public that which it wishes to have set before it, the views
and codes of life by which the public lives and in which it believes.
This way is the most common, successful, and popular. It makes the
dramatist's position sure, and not too obviously authoritative.

The second course is: To definitely set before the public those views and
codes of life by which the dramatist himself lives, those theories in
which he himself believes, the more effectively if they are the opposite
of what the public wishes to have placed before it, presenting them so
that the audience may swallow them like powder in a spoonful of jam.

There is a third course: To set before the public no cut-and-dried codes,
but the phenomena of life and character, selected and combined, but not
distorted, by the dramatist's outlook, set down without fear, favour, or
prejudice, leaving the public to draw such poor moral as nature may
afford. This third method requires a certain detachment; it requires a
sympathy with, a love of, and a curiosity as to, things for their own
sake; it requires a far view, together with patient industry, for no
immediately practical result.

It was once said of Shakespeare that he had never done any good to any
one, and never would. This, unfortunately, could not, in the sense in
which the word "good" was then meant, be said of most modern dramatists.
In truth, the good that Shakespeare did to humanity was of a remote, and,
shall we say, eternal nature; something of the good that men get from
having the sky and the sea to look at. And this partly because he was,
in his greater plays at all events, free from the habit of drawing a
distorted moral. Now, the playwright who supplies to the public the
facts of life distorted by the moral which it expects, does so that he
may do the public what he considers an immediate good, by fortifying its
prejudices; and the dramatist who supplies to the public facts distorted
by his own advanced morality, does so because he considers that he will
at once benefit the public by substituting for its worn-out ethics, his
own. In both cases the advantage the dramatist hopes to confer on the
public is immediate and practical.

But matters change, and morals change; men remain--and to set men, and
the facts about them, down faithfully, so that they draw for us the moral
of their natural actions, may also possibly be of benefit to the
community. It is, at all events, harder than to set men and facts down,
as they ought, or ought not to be. This, however, is not to say that a
dramatist should, or indeed can, keep himself and his temperamental
philosophy out of his work. As a man lives and thinks, so will he write.
But it is certain, that to the making of good drama, as to the practice
of every other art, there must be brought an almost passionate love of
discipline, a white-heat of self-respect, a desire to make the truest,
fairest, best thing in one's power; and that to these must be added an
eye that does not flinch. Such qualities alone will bring to a drama the
selfless character which soaks it with inevitability.