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Bredimaster Directory 10
Page 04
What, again, is one to make of Dickens, with his love of private theatricals, his florid waistcoats and watch-chains, his sentimental radicalism, his kindly, convivial, gregarious life? He, again, did his work in a rapture of solitary creation, and seemed to have no taste for discussing his ideas or methods. Then, too, Dickens's later desertion of his work in favour of public readings and money-making is curious to note. He was like Shakespeare in this, that the passion of his later life seemed to be to realise an ideal of bourgeois prosperity. Dickens seems to have regarded his art partly as a means of social reform, and partly as a method of making money. The latter aim is to a great extent accounted for by the miserable and humiliating circumstances of his early life, which bit very deep into him. Yet his art was hardly an end in itself, but something through which he made his way to other aims.
It is probably a wholly false antithesis to speak of life as a contrast to literature; one might as well draw a distinction between eating and drinking. What is meant as a rule is that if a man devotes himself to imaginative creation, to the perception and expression of beauty, he must be prepared to withdraw from other activities. But the imagination is a function of life, after all, and precisely the same holds good of stockbroking. The real fact is that we Anglo-Saxons, by instinct and inheritance, think of the acquisition of property as the most obvious function of life. As long as a man is occupied in acquiring property, we ask no further questions; we take for granted that he is virtuously employed, as long as he breaks no social rules: while if he succeeds in getting into his hands an unusual share of the divisible goods of the world, we think highly of him. Indeed, our ideals have altered very little since barbarous times, and we still are under the impression that resourcefulness is the mark of the hero. I imagine that leisure as an occupation is much more distrusted and disapproved of in America than in England; but even in England, where the power to be idle is admired and envied, a man who lives as heroic a life as can be attained by playing golf and shooting pheasants is more trusted and respected than a rich man who paints or composes music for his amusement. Field sports are intelligible enough; the pursuit of art requires some explanation, and incurs a suspicion of effeminacy or eccentricity. Only when authorship becomes a source of profit is it thoroughly respectable.
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