<span class="pagenum"><SPAN name="page127" id="page127"></SPAN></span>
<h2>CHAPTER XIV</h2>
<h2>MENTAL STOCKTAKING</h2>
<p>Great books do not spring from something accidental in the great men who wrote
them. They are the effluence of their very core, the expression of the life itself of
the authors. And literature cannot be said to have served its true purpose until it
has been translated into the actual life of him who reads. It does not succeed until
it becomes the vehicle of the vital. Progress is the gradual result of the unending
battle between human reason and human instinct, in which the former slowly but surely
wins. The most powerful engine in this battle is literature. It is the vast reservoir
of true ideas and high emotions—and life is constituted of ideas and emotions.
In a world deprived of literature, the intellectual and emotional <span class="pagenum"><SPAN name="page128" id="page128"></SPAN></span> activity of all
but a few exceptionally gifted men would quickly sink and retract to a narrow circle.
The broad, the noble, the generous would tend to disappear for want of accessible
storage. And life would be correspondingly degraded, because the fallacious idea and
the petty emotion would never feel the upward pull of the ideas and emotions of
genius. Only by conceiving a society without literature can it be clearly realised
that the function of literature is to raise the plain towards the top level of the
peaks. Literature exists so that where one man has lived finely ten thousand may
afterwards live finely. It is a means of life; it concerns the living essence.</p>
<p>Of course, literature has a minor function, that of passing the time in an
agreeable and harmless fashion, by giving momentary faint pleasure. Vast multitudes
of people (among whom may be numbered not a few habitual readers) utilise only this
minor function of literature; by implication they class it with golf, bridge, or
soporifics. Literary genius, however, had no intention of <span class="pagenum"><SPAN name="page129" id="page129"></SPAN></span> competing with these devices for
fleeting the empty hours; and all such use of literature may be left out of
account.</p>
<p>You, O serious student of many volumes, believe that you have a sincere passion
for reading. You hold literature in honour, and your last wish would be to debase it
to a paltry end. You are not of those who read because the clock has just struck nine
and one can't go to bed till eleven. You are animated by a real desire to get out of
literature all that literature will give. And in that aim you keep on reading, year
after year, and the grey hairs come. But amid all this steady tapping of the
reservoir, do you ever take stock of what you have acquired? Do you ever pause to
make a valuation, in terms of your own life, of that which you are daily absorbing,
or imagine you are absorbing? Do you ever satisfy yourself by proof that you are
absorbing anything at all, that the living waters, instead of vitalising you, are not
running off you as though you were a duck in a storm? Because, if you omit this mere
business <span class="pagenum"><SPAN name="page130" id="page130"></SPAN></span>
precaution, it may well be that you, too, without knowing it, are little by little
joining the triflers who read only because eternity is so long. It may well be that
even your alleged sacred passion is, after all, simply a sort of drug-habit. The
suggestion disturbs and worries you. You dismiss it impatiently; but it returns.</p>
<p>How (you ask, unwillingly) can a man perform a mental stocktaking? How can he put
a value on what he gets from books? How can he effectively test, in cold blood,
whether he is receiving from literature all that literature has to give him?</p>
<p>The test is not so vague, nor so difficult, as might appear.</p>
<p>If a man is not thrilled by intimate contact with nature: with the sun, with the
earth, which is his origin and the arouser of his acutest emotions—</p>
<p>If he is not troubled by the sight of beauty in many forms—</p>
<p>If he is devoid of curiosity concerning his fellow-men and his
fellow-animals—</p>
<p>If he does not have glimpses of the nuity of all things in an orderly
progress—</p>
<span class="pagenum"><SPAN name="page131" id="page131"></SPAN></span>
<p>If he is chronically "querulous, dejected, and envious"—</p>
<p>If he is pessimistic—</p>
<p>If he is of those who talk about "this age of shams," "this age without ideals,"
"this hysterical age," and this heaven-knows-what-age—</p>
<p>Then that man, though he reads undisputed classics for twenty hours a day, though
he has a memory of steel, though he rivals Porson in scholarship and Sainte Beuve in
judgment, is not receiving from literature what literature has to give. Indeed, he is
chiefly wasting his time. Unless he can read differently, it were better for him if
he sold all his books, gave to the poor, and played croquet. He fails because he has
not assimilated into his existence the vital essences which genius put into the books
that have merely passed before his eyes; because genius has offered him faith,
courage, vision, noble passion, curiosity, love, a thirst for beauty, and he has not
taken the gift; because genius has offered him the chance of living fully, and he is
only half alive, for it is only in the stress of fine ideas and emotions that a man
may <span class="pagenum"><SPAN name="page132" id="page132"></SPAN></span> be truly
said to live. This is not a moral invention, but a simple fact, which will be
attested by all who know what that stress is.</p>
<p>What! You talk learnedly about Shakespeare's sonnets! Have you heard Shakespeare's
terrific shout:</p>
<div class="poem">
<div class="stanza">
<p>Full many a glorious morning have I seen</p>
<p class="i2">Flatter the mountain-tops with sovereign eye,</p>
<p>Kissing with golden face the meadows green,</p>
<p class="i2">Gilding pale streams with heavenly alchemy.</p>
</div>
</div>
<p>And yet, can you see the sun over the viaduct at Loughborough Junction of a
morning, and catch its rays in the Thames off Dewar's whisky monument, and not shake
with the joy of life? If so, you and Shakespeare are not yet in communication. What!
You pride yourself on your beautiful edition of Casaubon's translation of <i>Marcus
Aurelius</i>, and you savour the cadences of the famous:</p>
<blockquote>
<p>This day I shall have to do with an idle, curious man, with an unthankful man, a
railer, a crafty, false, or an envious man. All these ill qualities have happened
unto him, through ignorance of that which is truly good and truly bad. But I that
understand <span class="pagenum"><SPAN name="page133" id="page133"></SPAN></span>
the nature of that which is good, that it only is to be desired, and of that which
is bad, that it only is truly odious and shameful: who know, moreover, that this
transgressor, whosoever he be, is my kinsman, not by the same blood and seed, but
by participation of the same reason and of the same divine particle—how can I
be hurt?...</p>
</blockquote>
<p>And with these cadences in your ears you go and quarrel with a cabman!</p>
<p>You would be ashamed of your literary self to be caught in ignorance of Whitman,
who wrote:</p>
<blockquote>
<p>Now understand me well—it is provided in the essence of things that from
any fruition of success, no matter what, shall come forth something to make a
greater struggle necessary.</p>
</blockquote>
<p>And yet, having achieved a motor-car, you lose your temper when it breaks down
half-way up a hill!</p>
<p>You know your Wordsworth, who has been trying to teach you about:</p>
<div class="poem">
<div class="stanza">
<p class="i4">The Upholder of the tranquil soul</p>
<p>That tolerates the indignities of Time</p>
<p>And, from the centre of Eternity</p>
<p>All finite motions over-ruling, lives</p>
<p>In glory immutable.</p>
</div>
</div>
<span class="pagenum"><SPAN name="page134" id="page134"></SPAN></span> But you are
capable of being seriously unhappy when your suburban train selects a tunnel for its
repose!<br/>
<br/>
<p>And the A.V. of the Bible, which you now read, not as your forefathers read it,
but with an æsthetic delight, especially in the Apocrypha! You remember:</p>
<blockquote>
<p>Whatsoever is brought upon thee, take cheerfully, and be patient when thou art
changed to a low estate. For gold is tried in the fire and acceptable men in the
furnace of adversity.</p>
</blockquote>
<p>And yet you are ready to lie down and die because a woman has scorned you! Go
to!</p>
<p>You think some of my instances approach the ludicrous? They do. They are meant to
do so. But they are no more ludicrous than life itself. And they illustrate in the
most workaday fashion how you can test whether your literature fulfils its function
of informing and transforming your existence.</p>
<p>I say that if daily events and scenes do not constantly recall and utilise the
ideas and emotions contained in the <span class="pagenum"><SPAN name="page135" id="page135"></SPAN></span> books which you have read or are reading; if the
memory of these books does not quicken the perception of beauty, wherever you happen
to be, does not help you to correlate the particular trifle with the universal, does
not smooth out irritation and give dignity to sorrow—then you are, consciously
or not, unworthy of your high vocation as a bookman. You may say that I am preaching
a sermon. The fact is, I am. My mood is a severely moral mood. For when I reflect
upon the difference between what books have to offer and what even relatively earnest
readers take the trouble to accept from them, I am appalled (or should be appalled,
did I not know that the world is moving) by the sheer inefficiency, the bland,
complacent failure of the earnest reader. I am like yourself, the spectacle of
inefficiency rouses my holy ire.</p>
<p>Before you begin upon another masterpiece, set out in a row the masterpieces which
you are proud of having read during the past year. Take the first on the list, that
book which you perused <span class="pagenum"><SPAN name="page136" id="page136"></SPAN>[pg
136]</span> in all the zeal of your New Year resolutions for systematic study.
Examine the compartments of your mind. Search for the ideas and emotions which you
have garnered from that book. Think, and recollect when last something from that book
recurred to your memory apropos of your own daily commerce with humanity. Is it
history—when did it throw a light for you on modern politics? Is it
science—when did it show you order in apparent disorder, and help you to put
two and two together into an inseparable four? Is it ethics—when did it
influence your conduct in a twopenny-halfpenny affair between man and man? Is it a
novel—when did it help you to "understand all and forgive all"? Is it
poetry—when was it a magnifying glass to disclose beauty to you, or a fire to
warm your cooling faith? If you can answer these questions satisfactorily, your
stocktaking as regards the fruit of your traffic with that book may be reckoned
satisfactory. If you cannot answer them satisfactorily, then either you chose the
book badly or your impression that you <i>read</i> it is a mistaken one.</p>
<span class="pagenum"><SPAN name="page137" id="page137"></SPAN></span>
<p>When the result of this stocktaking forces you to the conclusion that your riches
are not so vast as you thought them to be, it is necessary to look about for the
causes of the misfortune. The causes may be several. You may have been reading
worthless books. This, however, I should say at once, is extremely unlikely. Habitual
and confirmed readers, unless they happen to be reviewers, seldom read worthless
books. In the first place, they are so busy with books of proved value that they have
only a small margin of leisure left for very modern works, and generally, before they
can catch up with the age, Time or the critic has definitely threshed for them the
wheat from the chaff. No! Mediocrity has not much chance of hood-winking the serious
student.</p>
<p>It is less improbable that the serious student has been choosing his books badly.
He may do this in two ways—absolutely and relatively. Every reader of long
standing has been through the singular experience of suddenly <i>seeing</i> a book
with which his eyes have been <span class="pagenum"><SPAN name="page138" id="page138"></SPAN></span> familiar for years. He reads a book with a
reputation and thinks: "Yes, this is a good book. This book gives me pleasure." And
then after an interval, perhaps after half a lifetime, something mysterious happens
to his mental sight. He picks up the book again, and sees a new and profound
significance in every sentence, and he says: "I was perfectly blind to this book
before." Yet he is no cleverer than he used to be. Only something has happened to
him. Let a gold watch be discovered by a supposititious man who has never heard of
watches. He has a sense of beauty. He admires the watch, and takes pleasure in it. He
says: "This is a beautiful piece of bric-à-brac; I fully appreciate this
delightful trinket." Then imagine his feelings when someone comes along with the key;
imagine the light flooding his brain. Similar incidents occur in the eventful life of
the constant reader. He has no key, and never suspects that there exists such a thing
as a key. That is what I call a choice absolutely bad.</p>
<p>The choice is relatively bad when, <span class="pagenum"><SPAN name="page139" id="page139"></SPAN></span> spreading over a number of books, it pursues no
order, and thus results in a muddle of faint impressions each blurring the rest.
Books must be allowed to help one another; they must be skilfully called in to each
other's aid. And that this may be accomplished some guiding principle is necessary.
"And what," you demand, "should that guiding principle be?" How do I know? Nobody,
fortunately, can make your principles for you. You have to make them for yourself.
But I will venture upon this general observation: that in the mental world what
counts is not numbers but co-ordination. As regards facts and ideas, the great
mistake made by the average well-intentioned reader is that he is content with the
names of things instead of occupying himself with the causes of things. He seeks
answers to the question What? instead of to the question Why? He studies history, and
never guesses that all history is caused by the facts of geography. He is a botanical
expert, and can take you to where the <i>Sibthorpia europæa</i> grows, and
never troubles to wonder what the earth would be without <span class="pagenum"><SPAN name="page140" id="page140"></SPAN></span> its cloak of plants. He wanders forth
of starlit evenings and will name you with unction all the constellations from
Andromeda to the Scorpion; but if you ask him why Venus can never be seen at
midnight, he will tell you that he has not bothered with the scientific details. He
has not learned that names are nothing, and the satisfaction of the lust of the eye a
trifle compared to the imaginative vision of which scientific "details" are the
indispensable basis.</p>
<p>Most reading, I am convinced, is unphilosophical; that is to say, it lacks the
element which more than anything else quickens the poetry of life. Unless and until a
man has formed a scheme of knowledge, be it a mere skeleton, his reading must
necessarily be unphilosophical. He must have attained to some notion of the
inter-relations of the various branches of knowledge before he can properly
comprehend the branch in which he specialises. If he has not drawn an outline map
upon which he can fill in whatever knowledge comes to him, as it comes, and on which
he can trace the <span class="pagenum"><SPAN name="page141" id="page141"></SPAN>[pg
141]</span> affinity of every part with every other part, he is assuredly frittering
away a large percentage of his efforts. There are certain philosophical works which,
once they are mastered, seem to have performed an operation for cataract, so that he
who was blind, having read them, henceforward sees cause and effect working in and
out everywhere. To use another figure, they leave stamped on the brain a chart of the
entire province of knowledge.</p>
<p>Such a work is Spencer's <i>First Principles</i>. I know that it is nearly useless
to advise people to read <i>First Principles</i>. They are intimidated by the sound
of it; and it costs as much as a dress-circle seat at the theatre. But if they would,
what brilliant stocktakings there might be in a few years! Why, if they would only
read such detached essays as that on "Manners and Fashion," or "The Genesis of
Science" (in a sixpenny volume of Spencer's <i>Essays</i>, published by Watts and
Co.), the magic illumination, the necessary power of "synthetising" things, might be
vouch-safed to them. In any case, the lack <span class="pagenum"><SPAN name="page142" id="page142"></SPAN></span> of some such disciplinary, co-ordinating measure
will amply explain many disastrous stocktakings. The manner in which one single ray
of light, one single precious hint, will clarify and energise the whole mental life
of him who receives it, is among the most wonderful and heavenly of intellectual
phenomena. Some men search for that light and never find it. But most men never
search for it.</p>
<p>The superlative cause of disastrous stocktakings remains, and it is much more
simple than the one with which I have just dealt. It consists in the absence of
meditation. People read, and read, and read, blandly unconscious of their effrontery
in assuming that they can assimilate without any further effort the vital essence
which the author has breathed into them. They cannot. And the proof that they do not
is shown all the time in their lives. I say that if a man does not spend at least as
much time in actively and definitely thinking about what he has read as he has spent
in reading, he is simply insulting his author. If he does not submit himself <span class="pagenum"><SPAN name="page143" id="page143"></SPAN></span> to intellectual
and emotional fatigue in classifying the communicated ideas, and in emphasising on
his spirit the imprint of the communicated emotions—then reading with him is a
pleasant pastime and nothing else. This is a distressing fact. But it is a fact. It
is distressing, for the reason that meditation is not a popular exercise. If a friend
asks you what you did last night, you may answer, "I was reading," and he will be
impressed and you will be proud. But if you answer, "I was meditating," he will have
a tendency to smile and you will have a tendency to blush. I know this. I feel it
myself. (I cannot offer any explanation.) But it does not shake my conviction that
the absence of meditation is the main origin of disappointing stocktakings.</p>
<br/>
<br/>
<hr />
<br/>
<br/>
<span class="pagenum"><SPAN name="pageii" id="pageii"></SPAN>[pg ii]</span>
<h2>BY THE SAME AUTHOR</h2>
<h3>NOVELS</h3>
<div class="poem">
<div class="stanza">
<p>A MAN FROM THE NORTH</p>
<p>ANNA OF THE FIVE TOWNS</p>
<p>LEONORA</p>
<p>A GREAT MAN</p>
<p>SACRED AND PROFANE LOVE</p>
<p>WHOM GOD HATH JOINED</p>
<p>BURIED ALIVE</p>
<p>THE OLD WIVES' TALE</p>
<p>THE GLIMPSE</p>
<p>HELEN WITH THE HIGH HAND</p>
<p>CLAYHANGER</p>
<p>THE CARD</p>
</div>
</div>
<h3>FANTASIAS</h3>
<div class="poem">
<div class="stanza">
<p>THE GRAND BABYLON HOTEL</p>
<p>THE GATES OF WRATH</p>
<p>TERESA OF WATLING STREET</p>
<p>THE LOOT OF CITIES</p>
<p>HUGO</p>
<p>THE GHOST</p>
<p>THE CITY OF PLEASURE</p>
</div>
</div>
<h3>SHORT STORIES</h3>
<div class="poem">
<div class="stanza">
<p>TALES OF THE FIVE TOWNS</p>
<p>THE GRIM SMILE OF THE FIVE TOWNS</p>
</div>
</div>
<h3>BELLES-LETTRES</h3>
<div class="poem">
<div class="stanza">
<p>JOURNALISM FOR WOMEN</p>
<p>FAME AND FICTION</p>
<p>HOW TO BECOME AN AUTHOR</p>
<p>THE TRUTH ABOUT AN AUTHOR</p>
<p>THE REASONABLE LIFE</p>
<p>HOW TO LIVE ON TWENTY-FOUR HOURS A DAY</p>
<p>THE HUMAN MACHINE</p>
<p>LITERARY TASTE</p>
<p>MENTAL EFFICIENCY</p>
</div>
</div>
<h3>DRAMA</h3>
<div class="poem">
<div class="stanza">
<p>POLITE FARCES</p>
<p>CUPID AND COMMONSENSE</p>
<p>WHAT THE PUBLIC WANTS</p>
</div>
</div>
<hr />
<h3>(IN COLLABORATION WITH EDEN PHILLPOTTS)</h3>
<div class="poem">
<div class="stanza">
<p>THE SINEWS OF WAR: A ROMANCE</p>
<p>THE STATUE: A ROMANCE</p>
</div>
</div>
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