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The Uses of Perversity
By
Laurence Jerrold

THE USES OF PERVERSITY

HERE French must lend its subtler and more penetrating aroma. A stronger spice must brace the good old English toned-down flavor. The word must be supposed invigorated, for the thing it is to mean is forcible. Waywardness is not the humor of this perversity, and it has more of the perverted than of the perverse. Surface hits at cussedness, facile thrusts at contrariness, leave it unscathed; for it goes deeper than whimsicality and underlies the quaintness sharp wit picks out of little things gone wrong. Perversity, thus for a space restored to its unemasculated meaning, is a twisted distortion of root and branch, not a gentle deflection of airy twigs. To paint a French thing the word must assume a Gallic hue, and as the thing is deep-dyed, so the word must borrow for the nonce a fuller tone.

Words, indeed, are but things. The names on which French thought has thrived have been true tokens of its moods, and word-changes have meant revolutions of fact, for the facts here are the words. Realism worsting Romanticism, the newest Decadence undoing Realism, are evolutions in speech which cover a progression in life. The sentimentality of Art meant gush in practice and the attitudes of literature were struck in reality. Dissection in fiction argued an actual habit of analysis, and materiality was most lived for when it was most written about. The reaction in words has ushered in a revolution of fact, or, what comes to the same, the new literature has sprung from the new life. From paroxysm to anti-climax has been the way of this parallel progression, as it is of every change. The pendulum has swayed from Realism and struck the opposite beam. But the earth turned while we swung, and we have landed, not on Romance again, whence we had leaped to Realism, but on Perversity, whence a lucky spring may eventually set us down on something wiser and better. Yet there are books in the running brooks, and there may be sermons in even the troubled streams that water this new land of our discovery. The inner reaction in men and things which the outer anti-climax of names and words betokens is no barren waste, and yields experience a plentiful harvest. The fruits are not seldom ill-flavored, but the flavor is strong, and the uses of this new perversity are not insipid, though they be but bittersweet.

Idealism is our perversion, and the Soul depraves us. We are drinking the dregs of the immaterial and have touched the dingiest bottoms of purity. The relativity of the object has turned our heads, and we are soul-mad. Apotheosis of soul and annihilation of body, the only seemly pegs on which well-thinking “jeunes” can now hang their periods, which once the bait-hook of “analytical observation” alone could catch, are the principles of our disintegration. Their work is swift, for the fear of lagging in the race for modernity speeds it, and it is wholesale. Nature and common-sense crumble, and sincerity has long since withered away. Cabaret conversations are of the stupidity of sex, and small-talk in drawing-rooms runs on the idiocy of love. Mating is a platitude, begetting an absurdity, and motherhood has the quaintness of things obsolete. The abolition of sex is the new crusade, and the last religion is of the future, when the aristocracy of the intellect shall, Jupiter-like, eschew animality, and engender its children in a thought. Literature foretells the time, and art paints the soul with daring straightforwardness on canvas, using microscopic brushes dipped in gold and devoting years to the task, for psychic delineation is minute and precious.

Soul gives form, and the ethereal must take outward shape. Hence the new attitude. A virginal appearance and the candor of an “enfant de chœur” are its necessary conditions. The hair, dark for women, preferably golden for men, is long, forlorn, and parted. Complexions are of wax when feminine; when masculine, of pale peach-blossom! A cherub’s smile plays on the lips, and eyes must, within the bounds of feasibility, show the vacuity of an infant’s. In voice and gesture, being more easily practised, is the new puerility most felicitously expressed. The secret lies in the suppression of both. The voice must be “white,” and every accent, every shade of tone that gives but the faint image of a color, is a flaw. A still grosser imperfection would be aught of hasty or unmeasured in gesture or movement. In small-talk anent the Soul, as in the impressive elocution of nursery rhymes, carnal oblivion must be insured by immovableness of limb, and further than the uplifting of a finger the soulful do not venture. The golden-haired youth, lisping with the “voix blanche” of white-robed “premières communiantes,” pictures the perversion of purity.

As at once a sign of health and a stigma of decay there comes amid this struggling for a Soul the fitful yet eventual triumph of the flesh. The trampled body turns and fells its oppressors, and this is Nature’s victory, claiming, after all, her own. But it is also Nature’s revenge, for she bestows not of her best on those who have spurned the boon, and her gifts are cruel to her prodigal sons. Passion is vouchsafed generously anew to some few who abjured it, but it has to pay its penalty. The actress who (not for respectability’s sake – this care is unknown in her Bohemia – but as a tribute to the new perversion) had renounced the flesh, and the poet who had made dying all the rage and relegated mere living to the lumber-room, have to screen the simplest of idyls, not from the stare of the Puritan, but from the prying of the last decadence. More often a yet heavier penalty is paid. The flesh will out, and, stifled by the perversion of purity, breaks impurely forth. The fat little Marseillais poet who may be heard of an evening in his popular part of the prophet of the new renunciation anathematizing the scurrility of sex and execrating the ugliness of love, the golden-haired painter whose boast is his choir-boy appearance, are rivals in innuendo and salaciousness when the work of life is over and play-hours begin. In the day-time even the test of a bottle of champagne or of but a half pint of beer is one the new purity will hardly stand. The slender youth whom you have heard preaching the gospel of asceticism amid a circle of amused and half-deceived ladies goes with you to sip a “quart” at the Café de la Place Blanche, upstairs, and shows surprising intimacy with the feminine element of that particular world, and no little experience of fleshly doctrines.

The uses of perversity wander wide in seriousness and in theory, and return to Nature in practice and at play. But the return is by a yet muddier way than the digression, and a cleaner and wholesomer path must be opened up before the straight line can be struck again.

A Comment on Some Recent Books
By
Hamilton Wright Mabie

A COMMENT ON SOME RECENT BOOKS

SITTING in slippered ease before the fire, in that ripe hour when the violence of flame has given place to a calm and penetrating glow, one hears the wind without as if it were a tumult in some other world. The great waves of sound follow each other in swift succession, but they break and wreck themselves on a shore so remote that one meditates unconcerned in the warmth of the wide-throated chimney. The sense of repose and ease within is too deep to be disturbed by the roar that fills the wintry night without. And yet how fragile are the walls that guard our glowing comfort from the storm of the vast world, and how small a space of light and heat is ours in the great sweep of elemental forces!

The policing of the world and the suppression of the cut-throat and the savage secure, at times, an order so pervasive and so stable that we forgot the possibilities of revolt and tragedy which underlie human society in its most serene as in its most agitated moments. The elemental forces which plant the seeds of tragedy in every human life, play as freely and powerfully through society to-day as in those turbulent periods when strong natures made laws for themselves and gave full vent to individual impulse. As a rule, these forces expend themselves in well-defined and orderly channels; but they have lost nothing of their old destructiveness if for any reason they leave these channels or overflow their narrow courses. Conventions are more rigidly enforced and more widely accepted to-day than ever before; but the tide of life is as deep and full and swift as of old, and when its current is set it sweeps conventions before it as fragile piers are torn up and washed out by furious seas.

In our slippered ease, protected by orderly government, by written constitutions, by a police who are always in evidence, we sometimes forget of what perilous stuff we are made, and how inseparable from human life are those elements of tragedy which from time to time startle us in our repose, and make us aware that the most awful pages of history may be rewritten in the record of our own day. It will be a dull day if the time ever comes when uncertainty and peril are banished from the life of men. When the seas are no longer tossed by storms, the joy and the training of eye, hand, and heart in seamanship will go out. The antique virtues of courage, endurance, and high-hearted sacrifice cannot perish without the loss of that which makes it worth while to live; but these qualities, which give heroic fibre to character, cannot be developed if danger and uncertainty are to be banished from human experience. A stable world is essential to progress, but a world without the element of peril would comfort the body and destroy the soul. In some form the temper of the adventurer, the explorer, the sailor, and the soldier must be preserved in an orderly and peaceful society; that sluggish stability for which business interests are always praying would make money abundant, but impoverish the money-getters. There would be nothing worth buying in a community in which men were no longer tempted and life had no longer that interest which grows out of its dramatic possibilities.

That order ought to grow, and will grow, is the conviction of all who believe in progress; but society will be preserved from stagnation by the fact that every man who comes into the world brings with him all the possibilities which the first man brought. For men are born, not made, in spite of all our superior mechanism; and although a man is born to-day into conditions more favorable to acceptance and growth than to rejection and revolt, he must still solve his personal problem as in the stormier ages, and make his own adjustment to his time. And in the making of that adjustment lie all the elements of the human tragedy. The policing of the world will grow more complete from age to age, but every man born into this established order will bring with him the perilous stuff of revolt and revolution. Without this background of tragic possibility life would lose that perpetual spell which it casts upon the artistic spirit in every generation; it would cease to be the drama to which a thousand pens have striven to give form, before which a thousand thousand spectators have sat in a silence more affecting than the most rapturous tumult of applause.

In these “piping times of peace” perhaps the artist renders no greater service to his kind than by keeping the tragic background of life in clear view. Men sorely need to be reminded of the immeasurable space which surrounds them and the bottomless gulfs which open beneath them. In this trafficking age, when so many slowly or swiftly coin strength, time, and joy into money, the constant vision of the human drama, with its deep and fruitful suggestiveness, is a necessity, and it can hardly be a matter of coincidence that the tragic side of the drama has so strongly appealed to men of artistic temper in recent years. Whatever may be said about the sanity of view and of art of Flaubert, Zola, and De Maupassant; of Ibsen and Maeterlinck; of George Moore, William Sharp, and the group of younger writers who, with varying degrees of success, are breaking from the beaten paths, it is certain that they have laid bare the primitive elements in the human problem. The dramas of Ibsen and Maeterlinck have brought not peace but a sword into recent discussion of the province and nature of art; but whatever may be our judgment of the truth and quality of these end-of-the-century readings and renderings of the great drama, there is no question about their departure from the conventional point of view. They may be partial, even misleading, in the interpretation of life and its meaning which they suggest, but they disturb and agitate us; they make us realize how fragile are the structures which so many men and women build over the abysses. If they do nothing more than irritate us, they render us a service; for irritation is better than the repose of unconsciousness; it brings us back to the sense of life; it makes us aware of the deeper realities.

Mr. Sharp’s “Vistas” seems at first reading a book out of another century, so dominant is its tragic note, so remote its themes, so elemental its consciousness. It is a book of glimpses only; but these glimpses open up the recesses and obscurities where destiny is swiftly or slowly shaped. Lawmaking and the police seem very superficial assurances and guardians of order in a world in which, beyond their ken or reach, such tremendous forces of good and evil are slumbering; traffic and finance seem matters of secondary interest or occupation when such passions are stirring and striving. And yet “Vistas” is peculiarly a book of our time; it registers the revolt which the man of insight and artistic temper always makes when conventions begin to cut to the quick, and the air becomes close and heavy. The human spirit must have room and sweep; it must feel continually the great forces which play through it; it must carry with it the continual consciousness of its possibilities of good and evil. And the more orderly society becomes the greater will be the need of keeping alive the sense of peril and uncertainty from forces which may be quiescent but which are never dead; of remembering that there must be freedom as well as restraint, and that the policeman must represent an order which is accepted as well as enforced.

The dramatists and the novelists continually shatter our sense of security by reminding us that if Arthur Dimmesdale is dead, Philip Christian survives; that if Isolde has perished, Anna Karenina still lives; that if Francesca da Rimini is no longer swept by the relentless blasts, Tess is not less tragically borne on to her doom. The commonplace man sees the commonplace so constantly that he needs in every age his kinsman of keener sight and finer spirit to remind him that life is not in things; and that neither peace for traffic nor order for quietness of mind is its supreme end. And, after all, the singing of the open fire is the sweeter for the tumult beyond the walls.

One Word More
By
Hamilton Wright Mabie

ONE WORD MORE

THE contemporary writing which is commonly called “decadent” has one quality which is likely to be fatal to its permanence, – it wears out the reader’s interest. On the first reading it has a certain newness of manner, a certain unconventionality of form and idea, which catch the attention; but these qualities catch the attention, they do not hold it; with each successive reading the spell weakens until it is largely spent. We discover that the manner which caught us, so to speak, at the start, is either self-conscious or tricky; and both qualities are fatal to permanence. There is nothing so inimical to the highest success in art as self-consciousness, and nothing is so soon discovered as a trick of style. It is, of course, both unintelligent and idle to characterize a considerable mass of writing in general terms; but, even with such differences of insight and ability as the decadent literature reveals, it has certain characteristics in common, and these characteristics disclose its essential qualities. They are significant enough to furnish a basis for a dispassionate opinion.

With the revolt against the conventional and the commonplace, especially on the part of the youngest men, every lover of sound writing must be heartily in sympathy. In a time when Edwin Arnold, Alfred Austin, and Lewis Morris are gravely brought forward as fit candidates for the laureateship which Wordsworth and Tennyson held in succession, it is not surprising that young men with a real feeling for literature fall to cursing and take refuge in eccentricity of all kinds. It must frankly be confessed that a great deal of current writing, while uncommonly good as regards form and taste, is devoid of anything approaching freshness of feeling or originality of idea. Its prime characteristic is well-bred, well-dressed, and well-mannered mediocrity; of contact with life it gives no faintest evidence; of imagination, passion, and feeling – those prime qualities out of which great literature is compounded – it is as innocent as the average Sunday-School publication. It is not without form, but it is utterly void.

That men who are conscious, even in a blind way, of the tragic elements of life should revolt against this widespread dominion of the commonplace is matter neither for astonishment nor regret; if they have blood in their veins and vitality in their brains, they cannot do otherwise. The responsibility for excesses and eccentricities generally rests with the conditions which have set the reaction in motion. When men begin to suffocate, windows are likely to be broken as well as opened; when Philistia waxes prosperous and boastful, Bohemia receives sudden and notable accessions of population.

Among English-speaking people at least, it is chiefly as a reaction that decadent literature is significant. It is an attempt to get away from the mortal dulness of the mass of contemporary writing, – an effort to see life anew and feel it afresh. In many cases, it is, however, mistaken not only in morals, but in method: it confuses mannerism with originality, and unconventionality with power. A manner may be novel and, at the same time, bad; one may be unconventional and, at the same time, essentially weak. In moments of hot and righteous indignation a little cursing of the right sort may be pardonable; but cursing has no lasting quality.

A revolt against too many clothes, or against a deadly uniformity of cut and style, is always justifiable; but nudity is not the only alternative; there is an intermediate position in which one may be both clothed and in his right mind.

Now, there is nothing more certain than that the originality of the greater and more enduring books is free from self-consciousness, mannerism, and eccentricity in any form. As a rule, the greater the work the greater the difficulty of classifying it, of putting one’s hand on the secret of its charm, of describing it in a phrase. The contrast between Shakespeare and Maeterlinck is, in this respect, so striking that one wonders how the admirers of the gifted Belgian were led into the blunder of forcing it upon contemporary readers. Maeterlinck has unmistakable power; his skill in introducing atmospheric effects, in assailing the senses of his readers without awakening their consciousness that powerful influences are in the air, his genius in the use of suggestion, are evident almost at a glance. But when one has read “The Intruder” or “The Princess Maleine” one has, in a way, read all these powerful and intensely individual dramas. They are all worked out by a single method, and that method is instantly detected. Maeterlinck’s manner is so obvious that no one can overlook or mistake it. With Shakespeare, on the other hand, there is the greatest difficulty in discovering any manner at all. At his best Shakespeare is magical; there is no getting at his way of doing things. His method is so free, so natural, so varied, and moves along such simple lines that we take it for granted, as if it were a part of the order of things. There is a kind of elemental unconsciousness in him which gives his artistic processes the apparent ease, the fulness, and range of the processes of nature.

“The great merit, it seems to me,” writes Mr. Lowell to Professor Norton, “of the old painters was that they did not try to be original. ‘To say a thing,’ says Goethe, ‘that everybody else has said before, as quietly as if nobody had ever said it, that is originality.’” In other words, originality consists not in saying new things, but in saying true things. It is for this reason that the great writers have no surprises for us; they lift into the light of clear expression things that have lain silent at the bottom of our natures; things profoundly felt, but never spoken. In like manner, originality in form and style is not a matter of novelty, but of deeper feeling and surer touch. A piece of work which, like a popular song, has a rhythm or manner which catches the senses, may have a lusty life, but is certain to have a brief one. There is nothing “catching” or striking, in the superficial sense, in the greater works of art. Their very simplicity hides their superiority, and the world makes acquaintance with them very slowly.

A genuine reaction, of the kind which predicts a true liberation of the imagination, is only momentarily a revolt against outgrown methods and the feebleness of a purely imitative art; it is essentially a return to the sources of power. It begins in revolt, but it does not long rest in that negative stage; it passes on to reconstruction, to creative work in a new and independent spirit. Goethe and Schiller went through the Sturm and Drang period; they did not stay in it. “The Sorrows of Werther” and “Goetz” were followed by “Tasso” and “Faust;” and “The Robbers” soon gave place to “William Tell.” The Romanticists who made such an uproar when “Hernani” was put on the stage, did not long wear red waistcoats and flowing locks; they went to work and brought forth the solid fruits of genius.

The man on the barricade is a picturesque figure, but he must not stay too long or he becomes ridiculous; the insurrection, if it means anything, must issue in a permanent social or political order. Even genius will not redeem perpetual revolt from monotony, as the case of Byron clearly shows. Revolt is inspiring if it is the prelude to a new and better order; if it falls short of this achievement, it is only a disturbance of the peace. It means, in that case, that there is dissatisfaction, but that the reaction has no more real power than the tyranny or stupidity against which it takes up arms. The new impulse in literature, when it comes, will evidence its presence neither by indecency nor by eccentricity; but by a certain noble simplicity, by the sanity upon which a great authority always ultimately rests, by the clearness of its insight, and the depth of its sympathy with that deeper life of humanity, in which are the springs of originality and productiveness.