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Гилберт Кит Честертон
Varied Types

BRET HARTE

There are more than nine hundred and ninety-nine excellent reasons which we could all have for admiring the work of Bret Harte. But one supreme reason stands not in a certain general superiority to them all – a reason which may be stated in three propositions united in a common conclusion: first, that he was a genuine American; second, that he was a genuine humourist; and, third, that he was not an American humourist. Bret Harte had his own peculiar humour, but it had nothing in particular to do with American humour. American humour has its own peculiar excellence, but it has nothing in particular to do with Bret Harte. American humour is purely exaggerative; Bret Harte's humour was sympathetic and analytical.

In order fully to understand this, it is necessary to realise, genuinely and thoroughly, that there is such a thing as an international difference in humour. If we take the crudest joke in the world – the joke, let us say, of a man sitting down on his hat – we shall yet find that all the nations would differ in their way of treating it humourously, and that if American humour treated it at all, it would be in a purely American manner. For example, there was a case of an orator in the House of Commons, who, after denouncing all the public abuses he could think of, did sit down on his hat. An Irishman immediately rose, full of the whole wealth of Irish humour, and said, "Should I be in order, Sir, in congratulating the honourable gentleman on the fact that when he sat down on his hat his head was not in it?" Here is a glorious example of Irish humour – the bull not unconscious, not entirely conscious, but rather an idea so absurd that even the utterer of it can hardly realise how abysmally absurd it is. But every other nation would have treated the idea in a manner slightly different. The Frenchman's humour would have been logical: he would have said, "The orator denounces modern abuses and destroys to himself the top-hat: behold a good example!" What the Scotchman's humour would have said I am not so certain, but it would probably have dealt with the serious advisability of making such speeches on top of someone else's hat. But American humour on such a general theme would be the humour of exaggeration. The American humourist would say that the English politicians so often sat down on their hats that the noise of the House of Commons was one crackle of silk. He would say that when an important orator rose to speak in the House of Commons, long rows of hatters waited outside the House with note-books to take down orders from the participants in the debate. He would say that the whole hat trade of London was disorganised by the news that a clever remark had been made by a young M. P. on the subject of the imports of Jamaica. In short, American humour, neither unfathomably absurd like the Irish, nor transfiguringly lucid and appropriate like the French, nor sharp and sensible and full of realities of life like the Scotch, is simply the humour of imagination. It consists in piling towers on towers and mountains on mountains; of heaping a joke up to the stars and extending it to the end of the world.

With this distinctively American humour Bret Harte had little or nothing in common. The wild, sky-breaking humour of America has its fine qualities, but it must in the nature of things be deficient in two qualities, not only of supreme importance to life and letters, but of supreme importance to humour – reverence and sympathy. And these two qualities were knit into the closest texture of Bret Harte's humour. Everyone who has read and enjoyed Mark Twain as he ought to be read and enjoyed will remember a very funny and irreverent story about an organist who was asked to play appropriate music to an address upon the parable of the Prodigal Son, and who proceeded to play with great spirit, "We'll all get blind drunk, when Johnny comes marching home." The best way of distinguishing Bret Harte from the rest of American humour is to say that if Bret Harte had described that scene, it would in some subtle way have combined a sense of the absurdity of the incident with some sense of the sublimity and pathos of the theme. You would have felt that the organist's tune was funny, but not that the Prodigal Son was funny. But America is under a kind of despotism of humour. Everyone is afraid of humour: the meanest of human nightmares. Bret Harte had, to express the matter briefly but more or less essentially, the power of laughing not only at things, but also with them. America has laughed at things magnificently, with Gargantuan reverberations of laughter. But she has not even begun to learn the richer lesson of laughing with them.

The supreme proof of the fact that Bret Harte had the instinct of reverence may be found in the fact that he was a really great parodist. This may have the appearance of being a paradox, but, as in the case of many other paradoxes, it is not so important whether it is a paradox as whether it is not obviously true. Mere derision, mere contempt, never produced or could produce parody. A man who simply despises Paderewski for having long hair is not necessarily fitted to give an admirable imitation of his particular touch on the piano. If a man wishes to parody Paderewski's style of execution, he must emphatically go through one process first: he must admire it, and even reverence it. Bret Harte had a real power of imitating great authors, as in his parodies on Dumas, on Victor Hugo, on Charlotte Brontë. This means, and can only mean, that he had perceived the real beauty, the real ambition of Dumas and Victor Hugo and Charlotte Brontë. To take an example, Bret Harte has in his imitation of Hugo a passage like this:

"M. Madeline was, if possible, better than M. Myriel. M. Myriel was an angel. M. Madeline was a good man." I do not know whether Victor Hugo ever used this antithesis; but I am certain that he would have used it and thanked his stars if he had thought of it. This is real parody, inseparable from admiration. It is the same in the parody of Dumas, which is arranged on the system of "Aramis killed three of them. Porthos three. Athos three." You cannot write that kind of thing unless you have first exulted in the arithmetical ingenuity of the plots of Dumas. It is the same in the parody of Charlotte Brontë, which opens with a dream of a storm-beaten cliff, containing jewels and pelicans. Bret Harte could not have written it unless he had really understood the triumph of the Brontës, the triumph of asserting that great mysteries lie under the surface of the most sullen life, and that the most real part of a man is in his dreams.

This kind of parody is for ever removed from the purview of ordinary American humour. Can anyone imagine Mark Twain, that admirable author, writing even a tolerable imitation of authors so intellectually individual as Hugo or Charlotte Brontë? Mark Twain would yield to the spirit of contempt which destroys parody. All those who hate authors fail to satirise them, for they always accuse them of the wrong faults. The enemies of Thackeray call him a worldling, instead of what he was, a man too ready to believe in the goodness of the unworldly. The enemies of Meredith call his gospel too subtle, instead of what it is, a gospel, if anything, too robust. And it is this vulgar misunderstanding which we find in most parody – which we find in all American parody – but which we never find in the parodies of Bret Harte.

 
"The skies they were ashen and sober,
The streets they were dirty and drear,
It was the dark month of October,
In that most immemorial year.
Like the skies, I was perfectly sober,
But my thoughts they were palsied and sear,
Yes, my thoughts were decidedly queer."
 

This could only be written by a genuine admirer of Edgar Allan Poe, who permitted himself for a moment to see the fun of the thing. Parody might indeed be defined as the worshipper's half-holiday.

The same general characteristic of sympathy amounting to reverence marks Bret Harte's humour in his better-known class of works, the short stories. He does not make his characters absurd in order to make them contemptible: it might almost be said that he makes them absurd in order to make them dignified. For example, the greatest creation of Bret Harte, greater even than Colonel Starbottle (and how terrible it is to speak of anyone greater than Colonel Starbottle!) is that unutterable being who goes by the name of Yuba Bill. He is, of course, the coach-driver in the Bret Harte district. Some ingenious person, whose remarks I read the other day, had compared him on this ground with old Mr. Weller. It would be difficult to find a comparison indicating a more completely futile instinct for literature. Tony Weller and Yuba Bill were both coach-drivers, and this fact establishes a resemblance just about as much as the fact that Jobson in "Rob Roy" and George Warrington in "Pendennis" were both lawyers; or that Antonio and Mr. Pickwick were both merchants; or that Sir Galahad and Sir Willoughby Patten were both knights. Tony Weller is a magnificent grotesque. He is a gargoyle, and his mouth, like the mouths of so many gargoyles, is always open. He is garrulous, exuberant, flowery, preposterously sociable. He holds that great creed of the convivial, the creed which is at the back of so much that is greatest in Dickens, the creed that eternity begins at ten o'clock at night, and that nights last forever. But Yuba Bill is a figure of a widely different character. He is not convivial; it might almost be said that he is too great ever to be sociable. A circle of quiescence and solitude such as that which might ring a saint or a hermit rings this majestic and profound humourist. His jokes do not flow upon him like those of Mr. Weller, sparkling, continual, and deliberate, like the play of a fountain in a pleasure garden; they fall suddenly and capriciously, like a crash of avalanches from a great mountain. Tony Weller has the noisy humour of London, Yuba Bill has the silent humour of the earth.

One of the worst of the disadvantages of the rich and random fertility of Bret Harte is the fact that it is very difficult to trace or recover all the stories that he has written. I have not within reach at the moment the story in which the character of Yuba Bill is exhibited in its most solemn grandeur, but I remember that it concerned a ride on the San Francisco stage coach, a difficulty arising from storm and darkness, and an intelligent young man who suggested to Yuba Bill that a certain manner of driving the coach in a certain direction might minimise the dangers of the journey. A profound silence followed the intelligent young man's suggestion, and then (I quote from memory) Yuba Bill observed at last:

"Air you settin' any value on that remark?"

The young man professed not fully to comprehend him, and Yuba Bill continued reflectively:

"'Cos there's a comic paper in 'Frisco pays for them things, and I've seen worse in it."

To be rebuked thus is like being rebuked by the Pyramids or by the starry heavens. There is about Yuba Bill this air of a pugnacious calm, a stepping back to get his distance for a shattering blow, which is like that of Dr. Johnson at his best. And the effect is inexpressively increased by the background and the whole picture which Bret Harte paints so powerfully; the stormy skies, the sombre gorge, the rocking and spinning coach, and high above the feverish passengers the huge dark form of Yuba Bill, a silent mountain of humour.

Another unrecovered and possibly irrecoverable fragment about Yuba Bill, I recall in a story about his visiting a lad who had once been his protége in the Wild West, and who had since become a distinguished literary man in Boston. Yuba Bill visits him, and on finding him in evening dress lifts up his voice in a superb lamentation over the tragedy of finding his old friend at last "a 'otel waiter." Then, vindictively pursuing the satire, he calls fiercely to his young friend, "Hi, Alphonse! bring me a patty de foy gras, damme." These are the things that make us love the eminent Bill. He is one of those who achieve the noblest and most difficult of all the triumphs of a fictitious character – the triumph of giving us the impression of having a great deal more in him than appears between the two boards of the story. Smaller characters give us the impression that the author has told the whole truth about them, greater characters give the impression that the author has given of them, not the truth, but merely a few hints and samples. In some mysterious way we seem to feel that even if Shakespeare was wrong about Falstaff, Falstaff existed and was real; that even if Dickens was wrong about Micawber, Micawber existed and was real. So we feel that there is in the great salt-sea of Yuba Bill's humour as good fish as ever came out of it. The fleeting jests which Yuba Bill throws to the coach passengers only give us the opportunity of fancying and deducing the vast mass of jests which Yuba Bill shares with his creator.

Bret Harte had to deal with countries and communities of an almost unexampled laxity, a laxity passing the laxity of savages, the laxity of civilised men grown savage. He dealt with a life which we in a venerable and historic society may find it somewhat difficult to realise. It was the life of an entirely new people, a people who, having no certain past, could have no certain future. The strangest of all the sardonic jests that history has ever played may be found in this fact: that there is a city which is of all cities the most typical of innovation and dissipation, and a certain almost splendid vulgarity, and that this city bears the name in a quaint old European language of the most perfect exponent of the simplicity and holiness of the Christian tradition; the city is called San Francisco. San Francisco, the capital of the Bret Harte country, is a city typifying novelty in a manner in which it is typified by few modern localities. San Francisco has in all probability its cathedrals, but it may well be that its cathedrals are less old and less traditional than many of our hotels. If its inhabitants built a temple to the most primal and forgotten god of whose worship we can find a trace, that temple would still be a modern thing compared with many taverns in Suffolk round which there lingers a faint tradition of Mr. Pickwick. And everything in that new gold country was new, even to the individual inhabitants. Good, bad, and indifferent, heroes and dastards, they were all men from nowhere.

Most of us have come across the practical problem of London landladies, the problem of the doubtful foreign gentleman in a street of respectable English people. Those who have done so can form some idea of what it would be to live in a street full of doubtful foreign gentlemen, in a parish, in a city, in a nation composed entirely of doubtful foreign gentlemen. Old California, at the time of the first rush after gold, was actually this paradox of the nation of foreigners. It was a republic of incognitos: no one knew who anyone else was, and only the more ill-mannered and uneasy even desired to know. In such a country as this, gentlemen took more trouble to conceal their gentility than thieves living in South Kensington would take to conceal their blackguardism. In such a country everyone is an equal, because everyone is a stranger. In such a country it is not strange if men in moral matters feel something of the irresponsibility of a dream. To plan plans which are continually miscarrying against men who are continually disappearing by the assistance of you know not whom, to crush you know not whom, this must be a demoralising life for any man; it must be beyond description demoralising for those who have been trained in no lofty or orderly scheme of right. Small blame to them indeed if they become callous and supercilious and cynical. And the great glory and achievement of Bret Harte consists in this, that he realised that they do not become callous, supercilious, and cynical, but that they do become sentimental and romantic, and profoundly affectionate. He discovered the intense sensibility of the primitive man. To him we owe the realisation of the fact that while modern barbarians of genius like Mr. Henley, and in his weaker moments Mr. Rudyard Kipling, delight in describing the coarseness and crude cynicism and fierce humour of the unlettered classes, the unlettered classes are in reality highly sentimental and religious, and not in the least like the creations of Mr. Henley and Mr. Kipling. Bret Harte tells the truth about the wildest, the grossest, the most rapacious of all the districts of the earth – the truth that, while it is very rare indeed in the world to find a thoroughly good man, it is rarer still, rare to the point of monstrosity, to find a man who does not either desire to be one, or imagine that he is one already.

ALFRED THE GREAT

The celebrations in connection with the millenary of King Alfred struck a note of sympathy in the midst of much that was unsympathetic, because, altogether apart from any peculiar historical opinions, all men feel the sanctifying character of that which is at once strong and remote; the ancient thing is always the most homely, and the distant thing the most near. The only possible peacemaker is a dead man, ever since by the sublime religious story a dead man only could reconcile heaven and earth. In a certain sense we always feel the past ages as human, and our own age as strangely and even weirdly dehumanised. In our own time the details overpower us; men's badges and buttons seem to grow larger and larger as in a horrible dream. To study humanity in the present is like studying a mountain with a magnifying glass; to study it in the past is like studying it through a telescope.

For this reason England, like every other great and historic nation, has sought its typical hero in remote and ill-recorded times. The personal and moral greatness of Alfred is, indeed, beyond question. It does not depend any more than the greatness of any other human hero upon the accuracy of any or all of the stories that are told about him. Alfred may not have done one of the things which are reported of him, but it is immeasurably easier to do every one of those things than to be the man of whom such things are reported falsely. Fable is, generally speaking, far more accurate than fact, for fable describes a man as he was to his own age, fact describes him as he is to a handful of inconsiderable antiquarians many centuries after. Whether Alfred watched the cakes for the neat-herd's wife, whether he sang songs in the Danish camp, is of no interest to anyone except those who set out to prove under considerable disadvantages that they are genealogically descended from him. But the man is better pictured in these stories than in any number of modern realistic trivialities about his favourite breakfast and his favourite musical composer. Fable is more historical than fact, because fact tells us about one man and fable tells us about a million men. If we read of a man who could make green grass red and turn the sun into the moon, we may not believe these particular details about him, but we learn something infinitely more important than such trivialities, the fact that men could look into his face and believe it possible. The glory and greatness of Alfred, therefore, is like that of all the heroes of the morning of the world, set far beyond the chance of that strange and sudden dethronement which may arise from the unsealing of a manuscript or the turning over of a stone. Men may have told lies when they said that he first entrapped the Danes with his song and then overcame them with his armies, but we know very well that it is not of us that such lies are told. There may be myths clustering about each of our personalities; local saga-men and chroniclers have very likely circulated the story that we are addicted to drink, or that we ferociously ill-use our wives. But they do not commonly lie to the effect that we have shed our blood to save all the inhabitants of the street. A story grows easily, but a heroic story is not a very easy thing to evoke. Wherever that exists we may be pretty certain that we are in the presence of a dark but powerful historic personality. We are in the presence of a thousand lies all pointing with their fantastic fingers to one undiscovered truth.

Upon this ground alone every encouragement is due to the cult of Alfred. Every nation requires to have behind it some historic personality, the validity of which is proved, as the validity of a gun is proved, by its long range. It is wonderful and splendid that we treasure, not the truth, but the very gossip about a man who died a thousand years ago. We may say to him, as M. Rostand says to the Austrian Prince:

 
"Dors, ce n'est pas toujours la Légende qui ment:
Une rêve est parfois moins trompeur qu'un document."
 

To have a man so simple and so honourable to represent us in the darkness of primeval history, binds all the intervening centuries together, and mollifies all their monstrosities. It makes all history more comforting and intelligible; it makes the desolate temple of the ages as human as an inn parlour.

But whether it come through reliable facts or through more reliable falsehoods the personality of Alfred has its own unmistakable colour and stature. Lord Rosebery uttered a profound truth when he said that that personality was peculiarly English. The great magnificence of the English character is expressed in the word "service." There is, perhaps, no nation so vitally theocratical as the English; no nation in which the strong men have so consistently preferred the instrumental to the despotic attitude, the pleasures of the loyal to the pleasures of the royal position. We have had tyrants like Edward I. and Queen Elizabeth, but even our tyrants have had the worried and responsible air of stewards of a great estate. Our typical hero is such a man as the Duke of Wellington, who had every kind of traditional and external arrogance, but at the back of all that the strange humility which made it physically possible for him without a gleam of humour or discomfort to go on his knees to a preposterous bounder like George IV. Across the infinite wastes of time and through all the mists of legend we still feel the presence in Alfred of this strange and unconscious self-effacement. After the fullest estimate of our misdeeds we can still say that our very despots have been less self-assertive than many popular patriots. As we consider these things we grow more and more impatient of any modern tendencies towards the enthronement of a more self-conscious and theatrical ideal. Lord Rosebery called up before our imaginations the picture of what Alfred would have thought of the vast modern developments of his nation, its immense fleet, its widespread Empire, its enormous contribution to the mechanical civilisation of the world. It cannot be anything but profitable to conceive Alfred as full of astonishment and admiration at these things; it cannot be anything but good for us that we should realise that to the childlike eyes of a great man of old time our inventions and appliances have not the vulgarity and ugliness that we see in them. To Alfred a steamboat would be a new and sensational sea-dragon, and the penny postage a miracle achieved by the despotism of a demi-god.

But when we have realised all this there is something more to be said in connection with Lord Rosebery's vision. What would King Alfred have said if he had been asked to expend the money which he devoted to the health and education of his people upon a struggle with some race of Visigoths or Parthians inhabiting a small section of a distant continent? What would he have said if he had known that that science of letters which he taught to England would eventually be used not to spread truth, but to drug the people with political assurances as imbecile in themselves as the assurance that fire does not burn and water does not drown? What would he have said if the same people who, in obedience to that ideal of service and sanity of which he was the example, had borne every privation in order to defeat Napoleon, should come at last to find no better compliment to one of their heroes than to call him the Napoleon of South Africa? What would he have said if that nation for which he had inaugurated a long line of incomparable men of principle should forget all its traditions and coquette with the immoral mysticism of the man of destiny?

Let us follow these things by all means if we find them good, and can see nothing better. But to pretend that Alfred would have admired them is like pretending that St. Dominic would have seen eye to eye with Mr. Bradlaugh, or that Fra Angelico would have revelled in the posters of Mr. Aubrey Beardsley. Let us follow them if we will, but let us take honestly all the disadvantages of our change; in the wildest moment of triumph let us feel the shadow upon our glories of the shame of the great king.