'I always turn out of my way to walk through a country churchyard; these rural resting-places are as attractive to me as a town cemetery is repugnant. I read the names upon the stones and find a deep solace in thinking that for all these the fret and the fear of life are over. There comes to me no touch of sadness; whether it be a little child or an aged man, I have the same sense of happy accomplishment; the end having come, and with it the eternal peace, what matter if it came late or soon? There is no such gratulation as Hic jacet. There is no such dignity as that of death. In the path trodden by the noblest of mankind these have followed; that which of all who live is the utmost thing demanded, these have achieved. I cannot sorrow for them, but the thought of their vanished life moves me to a brotherly tenderness. The dead amid this leafy silence seem to whisper encouragement to him whose fate yet lingers: As we are, so shalt thou be; and behold our quiet!'(p. 183.)
And in this deeply moving and beautiful passage we get a foretaste, it may be, of the euthanasia, following a brief summer of St. Martin, for which the scarred and troublous portions of Gissing's earlier life had served as a preparation. Some there are, no doubt, to whom it will seem no extravagance in closing these private pages to use the author's own words, of a more potent Enchanter: 'As I close the book, love and reverence possess me.'
* * * * *Whatever the critics may determine as to the merit of the stories in the present volume, there can be no question as to the interest they derive from their connection with what had gone before. Thus Topham's Chance is manifestly the outcome of material pondered as early as 1884. The Lodger in Maze Pond develops in a most suggestive fashion certain problems discussed in 1894. Miss Rodney is a re-incarnation of Rhoda Nunn and Constance Bride. Christopherson is a delicious expansion of a mood indicated in Ryecroft (Spring xii.), and A Capitalist indicates the growing interest in the business side of practical life, the dawn of which is seen in The Town Traveller and in the discussion of Dickens's potentialities as a capitalist. The very artichokes in The House of Cobwebs (which, like the kindly hand that raised them, alas! fell a victim to the first frost of the season) are suggestive of a charming passage detailing the retired author's experience as a gardener. What Dr. Furnivall might call the 'backward reach' of every one of these stories will render their perusal delightful to those cultivated readers of Gissing, of whom there are by no means a few, to whom every fragment of his suave and delicate workmanship 'repressed yet full of power, vivid though sombre in colouring,' has a technical interest and charm. Nor will they search in vain for Gissing's incorrigible mannerisms, his haunting insistence upon the note of 'Dort wo du nicht bist ist das Glück,' his tricks of the brush in portraiture, his characteristic epithets, the dusking twilight, the decently ignoble penury, the not ignoble ambition, the not wholly base riot of the senses in early manhood. In my own opinion we have here in The Scrupulous Father, and to a less degree, perhaps, in the first and last of these stories, and in A Poor Gentleman and Christopherson, perfectly characteristic and quite admirable specimens of Gissing's own genre, and later, unstudied, but always finished prose style.
* * * * *But a few words remain to be said, and these, in part at any rate, in recapitulation. In the old race, of which Dickens and Thackeray were representative, a successful determination to rise upon the broad back of popularity coincided with a growing conviction that the evil in the world was steadily diminishing. Like healthy schoolboys who have worked their way up to the sixth form, they imagined that the bullying of which they had had to complain was become pretty much a thing of the past. In Gissing the misery inherent in the sharp contrasts of modern life was a far more deeply ingrained conviction. He cared little for the remedial aspect of the question. His idea was to analyse this misery as an artist and to express it to the world.
One of the most impressive elements in the resulting novels is the witness they bear to prolonged and intense suffering, the suffering of a proud, reserved, and over-sensitive mind brought into constant contact with the coarse and brutal facts of life. The creator of Mr. Biffen suffers all the torture of the fastidious, the delicately honourable, the scrupulously high-minded in daily contact with persons of blunt feelings, low ideals, and base instincts. 'Human cattle, the herd that feed and breed, with them it was well; but the few born to a desire for ever unattainable, the gentle spirits who from their prisoning circumstance looked up and afar, how the heart ached to think of them!' The natural bent of Gissing's talent was towards poetry and classical antiquity. His mind had considerable natural affinity with that of Tennyson.26 He was passionately fond of old literature, of the study of metre and of historical reverie. The subtle curiosities of Anatole France are just of the kind that would have appealed irresistibly to him. His delight in psychological complexity and feats of style are not seldom reminiscent of Paul Bourget. His life would have gained immeasurably by a transference to less pinched and pitiful surroundings: but it is more than doubtful whether his work would have done so.
The compulsion of the twin monsters Bread and Cheese forced him to write novels the scene of which was laid in the one milieu he had thoroughly observed, that of either utterly hideous or shabby genteel squalor in London. He gradually obtained a rare mastery in the delineation of his unlovely mise en scène. He gradually created a small public who read eagerly everything that came from his pen, despite his economy of material (even of ideas), and despite the repetition to which a natural tendency was increased by compulsory over-production. In all his best books we have evidence of the savage and ironical delight with which he depicted to the shadow of a hair the sordid and vulgar elements by which he had been so cruelly depressed. The aesthetic observer who wanted material for a picture of the blank desolation and ugliness of modern city life could find no better substratum than in the works of George Gissing. Many of his descriptions of typical London scenes in Lambeth Walk, Clerkenwell, or Judd Street, for instance, are the work of a detached, remorseless, photographic artist realising that ugly sordidness of daily life to which the ordinary observer becomes in the course of time as completely habituated as he does to the smoke-laden air. To a cognate sentiment of revolt I attribute that excessive deference to scholarship and refinement which leads him in so many novels to treat these desirable attributes as if they were ends and objects of life in themselves. It has also misled him but too often into depicting a world of suicides, ignoring or overlooking a secret hobby, or passion, or chimaera which is the one thing that renders existence endurable to so many of the waifs and strays of life. He takes existence sadlytoo sadly, it may well be; but his drabs and greys provide an atmosphere that is almost inseparable to some of us from our gaunt London streets. In Farringdon Road, for example, I look up instinctively to the expressionless upper windows where Mr. Luckworth Crewe spreads his baits for intending advertisers. A tram ride through Clerkenwell and its leagues of dreary, inhospitable brickwork will take you through the heart of a region where Clem Peckover, Pennyloaf Candy, and Totty Nancarrow are multiplied rather than varied since they were first depicted by George Gissing. As for the British Museum, it is peopled to this day by characters from New Grub Street.
There may be a perceptible lack of virility, a fluctuating vagueness of outline about the characterisation of some of his men. In his treatment of crowds, in his description of a mob, personified as 'some huge beast purring to itself in stupid contentment,' he can have few rivals. In tracing the influence of women over his heroes he evinces no common subtlety; it is here probably that he is at his best. The odor di femmina, to use a phrase of Don Giovanni's, is a marked characteristic of his books. Of the kisses
'by hopeless fancy feigned On lips that are for others'
there are indeed many to be discovered hidden away between these pages. And the beautiful verse has a fine parallel in the prose of one of Gissing's later novels. 'Some girl, of delicate instinct, of purpose sweet and pure, wasting her unloved life in toil and want and indignity; some man, whose youth and courage strove against a mean environment, whose eyes grew haggard in the vain search for a companion promised in his dreams; they lived, these two, parted perchance only by the wall of neighbour houses, yet all huge London was between them, and their hands would never touch.' The dream of fair women which occupies the mood of Piers Otway in the opening passage of the same novel, was evidently no remotely conceived fancy. Its realisation, in ideal love, represents the author's Crown of Life. The wise man who said that Beautiful Woman[27] was a heaven to the eye, a hell to the soul, and a purgatory to the purse of man, could hardly find a more copious field of illustration than in the fiction of George Gissing.
[Footnote 27: With unconscious recollection, it may be, of Pope's notable phrase in regard to Shakespeare, he speaks in his last novel of woman appearing at times as 'a force of Nature rather than an individual being' (Will Warburton, p. 275).]
Gissing was a sedulous artist; some of his books, it is true, are very hurried productions, finished in haste for the market with no great amount either of inspiration or artistic confidence about them. But little slovenly work will be found bearing his name, for he was a thoroughly trained writer; a suave and seductive workmanship had become a second nature to him, and there was always a flavour of scholarly, subacid and quasi-ironical modernity about his style. There is little doubt that his quality as a stylist was better adapted to the studies of modern London life, on its seamier side, which he had observed at first hand, than to stories of the conventional dramatic structure which he too often felt himself bound to adopt. In these his failure to grapple with a big objective, or to rise to some prosperous situation, is often painfully marked. A master of explanation and description rather than of animated narrative or sparkling dialogue, he lacked the wit and humour, the brilliance and energy of a consummate style which might have enabled him to compete with the great scenic masters in fiction, or with craftsmen such as Hardy or Stevenson, or with incomparable wits and conversationalists such as Meredith. It is true, again, that his London-street novels lack certain artistic elements of beauty (though here and there occur glints of rainy or sunset townscape in a half-tone, consummately handled and eminently impressive); and his intense sincerity cannot wholly atone for this loss. Where, however, a quiet refinement and delicacy of style is needed as in those sane and suggestive, atmospheric, critical or introspective studies, such as By the Ionian Sea, the unrivalled presentment of Charles Dickens, and that gentle masterpiece of softened autobiography, The Private Papers of Henry Ryecroft (its resignation and autumnal calm, its finer note of wistfulness and wide human compassion, fully deserve comparison with the priceless work of Silvio Pellico) in which he indulged himself during the last and increasingly prosperous years of his life, then Gissing's style is discovered to be a charmed instrument. That he will sup late, our Gissing, we are quite content to believe. But that a place is reserved for him, of that at any rate we are reasonably confident. The three books just named, in conjunction with his short stories and his New Grub Street (not to mention Thyrza or The Nether World), will suffice to ensure him a devout and admiring group of followers for a very long time to come; they accentuate profoundly the feeling of vivid regret and almost personal loss which not a few of his more assiduous readers experienced upon the sad news of his premature death at St. Jean de Luz on the 28th December 1903, at the early age of forty-six.
ACTON, February 1906.A CHRONOLOGICAL RECORD
1880. Workers in the Dawn. 1884. The Unclassed. 1886. Isabel Clarendon. 1886. Demos. 1887. Thyrza. 1888. A Life's Morning. 1889. The Nether World. 1890. The Emancipated. 1891. New Grub Street. 1892. Born in Exile. 1892. Denzil Quarrier. 1893. The Odd Women. 1894. In the Year of Jubilee. 1895. The Paying Guest. 1895. Sleeping Fires. 1895. Eve's Ransom. 1897. The Whirlpool. 1898. Human Odds and Ends: Stories and Sketches. 1898. The Town Traveller. 1898. Charles Dickens: a Critical Study. 1899. The Crown of Life. 1901. Our Friend the Charlatan. 1901. By the Ionian Sea. Notes of a Ramble in Southern Italy. 1903. Forster's Life of DickensAbridgement. 1903. The Private Papers of Henry Ryecroft. 1904. Veranilda: a Romance. 1905. Will Warburton: a Romance of Real Life. 1906. The House of Cobwebs, and other Stories.
[Of notices and reviews of George Gissing other than those mentioned in the foregoing notes the following is a selection:Times, 29 Dec. 1903; Guardian, 6 Jan. 1904; Outlook, 2 Jan. 1904; Sphere, 9 Jan. 1904; Athenaeum, 2 and 16 Jan. 1904; Academy, 9 Jan. 1904 (pp. 40 and 46); New York Nation, 11 June 1903 (an adverse but interesting paper on the anti-social side of Gissing); The Bookman (New York), vol. xviii.; Independent Review, Feb. 1904; Fortnightly Review, Feb. 1904; Contemporary Review, Aug. 1897; C.F.G. Masterman's In Peril of Change, 1905, pp. 68-73; Atlantic Monthly, xciii. 280; Upton Letters, 1905, p. 206.]
THE HOUSE OF COBWEBS
It was five o'clock on a June morning. The dirty-buff blind of the lodging-house bedroom shone like cloth of gold as the sun's unclouded rays poured through it, transforming all they illumined, so that things poor and mean seemed to share in the triumphant glory of new-born day. In the bed lay a young man who had already been awake for an hour. He kept stirring uneasily, but with no intention of trying to sleep again. His eyes followed the slow movement of the sunshine on the wall-paper, and noted, as they never had done before, the details of the flower pattern, which represented no flower wherewith botanists are acquainted, yet, in this summer light, turned the thoughts to garden and field and hedgerow. The young man had a troubled mind, and his thoughts ran thus:
'I must have three months at least, and how am I to live? Fifteen shillings a weeknot quite that, if I spread my money out. Can one live on fifteen shillings a weekrent, food, washing? I shall have to leave these lodgings at once. They're not luxurious, but I can't live here under twenty-five, that's clear. Three months to finish my book. It's good; I'm hanged if it isn't! This time I shall find a publisher. All I have to do is to stick at my work and keep my mind easy. Lucky that it's summer; I don't need fires. Any corner would do for me where I can be quiet and see the sun. Wonder whether some cottager in Surrey would house and feed me for fifteen shillings a week? No use lying here. Better get up and see how things look after an hour's walk.'