I have often thought that a boat running snug and properly reefed to suit the wind is a model of the virtue which the theologians called temperance, and which has nothing to do with the historical dread of wine bred in those who have themselves suffered from, or have seen in their families, the disease called dipsomania. For temperance does not mean doing things half-heartedly, still less does it mean doing or not doing things extremely. It means suiting your implements to your motive power, and not carrying on at a risk. It is not unconnected with dignity, and there is something profound about it; I will call it the contralto among the virtues, and leave it at that.
We sped on (the stream against us, very slight now that we were inside the Ness); we saw before us the broomstick, or whatever you like to call it, which marks (or does not mark) the entry into Rye Haven, and the last bare remnant of what was once the crowded fairway, a market for the nations—the harbour of Rye.
The little town stood up inland, neat and beautiful, red and grey, a pyramid thrown up towards its squat steeple; for under that keen northeasterly air all was clear and well cut. The pilot book gave us no comfort; it only told us that the deep changes with every gale, and, as for the lead, there was no use for it, the shore would come too steep; what we had to do was to look out for the outer buoy, and round it, hoping that as we turned we should neither touch nor get into irons, but still have the wind easterly enough to round to take us in.
On the plan I had by me the fairway was marked dangerously near the point from which the wind was coming, but I trusted to luck, and still kept her to her course.
Any man making Rye Haven must first resign himself to the will of God, and consider, especially if the boat is running and a little over-canvassed, that death is but a mighty transition; that it is all sand hereabouts, with no cruel rocks to tear the tender body with their horrid fangs; that nothing is worth calculating in life, because things happen by fate anyhow, or by chance, but certainly not by our direction; and that if, or when, she strikes, it will not be his fault. There is no man living that can ever tell you the deep into Rye Harbour, for it shifts with every wind, and at the best it is of the narrowest. As for me, I have made it four times in my life, each time I have touched and never have I struck, and how the thing was done no one knows. Nevertheless, they still build ships in Rye, and the tradition of the sea is all about it, though what used to be the old haven is now a field.
I remember sitting up to a very late and clear sunset of a Whit-Monday, gazing, under the sharp northeast breeze (the Nona moored at last to the wooden quay), at the pyramid of red roofs, and the highly successful walls and battlements of Rye, and considering within my mind many things.
First I considered within my own dear mind how marvellously this place had been preserved, seeing what modern England is, and what modern travel is. It is, of course, a stage-scenery town, such as I have heard that Rothenburg is in Germany, and, therefore, there is an interest in preserving it; but I never heard that any such pains were taken to prevent its destruction by increase or rebuilding, or by any of those courses which bring death to beauty, such as a good train service, clubs, large and torturing hotels. Rye manages to live on. I suppose there is a spell. At any moment it may be broken, and the flood will pour in.
Being what it is, you cannot begin thinking about Rye without finding yourself dragged on to consider preciosity, and from that to the business of letters is but half a step.
Here at Rye did I meet and speak with Henry James, who was in the very heart of letters. Here also did I meet his brother, William James, whose business in life it was to write about philosophy, but whose conversation when I met him turned principally upon the subtle diplomatic genius of the King of England then reigning; upon the stability of English institutions; the excellence of the English police, and the singular faculty shown by our institutions of permitting differences without conflict. Also the piercing wit of the paper ‘Punch,’ and the profound wisdom of ‘The Times.’ I had just come back with a companion from foreign parts; I had been sleeping rough, and I was in no condition to take part in polite conversation, so I did all the listening, and, as I listened, I still considered how literary was Rye. And so now, years after, looking at Rye from my boat, was I led on to consider the trade or business of letters.
When a writing man approaches that subject, he feels—at least I feel—like a man before a jumbled heap of material of all kinds—one of those refuse-heaps in which you may pick up stray bits of machinery, or salve a little fuel, or find what you will. Or again, it is like being in one of those shops—there are few of them left, alas!—where an old half-wit has collected all manner of things, so that one knows not whether to begin by the furniture, or the glass, or the pictures, or the second-hand telescopes, or the books. For there is an indefinite number of ways of considering letters.
To those who have had to pursue letters as a trade (and to this I have been condemned all my life since my twenty-fifth year) it certainly is the hardest and the most capricious, and, indeed, the most abominable of trades, for the simple reason that it was never meant to be a trade.
A man is no more meant to live by writing than he is meant to live by conversation, or by dressing, or by walking about and seeing the world. For there is no relation between the function of letters and the economic effect of letters; there is no relation between the goodness and the badness of the work, or the usefulness of the work, or the magnitude of the work, and the sums paid for the work. It would not be natural that there should be such a relation, and, in fact, there is none.
This truth is missed by people who say that good writing has no market. That is not the point. Good writing sometimes has a market, and very bad writing sometimes has a market. Useful writing sometimes has a market, and writing of no use whatsoever, even as recreation, sometimes has a market. Writing important truths sometimes has a market. Writing the most ridiculous errors and false judgments sometimes has a market. The point is that the market has nothing to do with the qualities attached to writing. It never had and it never will. There is no injustice about it, any more than there is an injustice in the survival of beauty or ugliness in human beings, or the early death of the beautiful or the ugly. There is no more injustice about it than there is in a dry year hurting a root crop, and a wet harvest hurting a corn crop. The relationship between the excellence or the usefulness of a piece of literature, and the number of those who will buy it in a particular form, is not a causal relationship, it is a purely capricious one; and I, for my part, have never complained of the absence of a market, nor flattered myself upon the presence of one when a market turned up, though I have certainly been astonished at the way the market would behave.
For some few months thousands upon thousands—at one moment sixty thousand a week—of the articles I wrote upon the war were demanded by the public. Some months later the same articles, of the same value, or lack of value, were no longer demanded. There was no particular reason, the articles were clear, and based upon such insufficient knowledge as I shared with all my fellow citizens. I had no private information save upon the point of numbers, and that was the very point upon which the public grew most easily fatigued, and were at last most sceptical.
Mr. Hutchinson, for whose work I personally have (though I am afraid my judgment is not worth much in these things) a great liking, wrote among other books a book called ‘Once Aboard the Lugger.’ It was exceedingly amusing, fresh, and, as I should have said, well worth anybody’s buying. I do not know how many copies he sold of it, but I should imagine nothing very astonishing. A little while after he wrote a book called ‘If Winter Comes,’ and it sold by the stack, and by the ton. One could see it piled up man-high upon the counters of shops in America, and it sold, and it sold, and it sold.
Mr. Wells wrote a book which is most remarkable, and will probably make a mark in English literature. It was called ‘The Time Machine.’ When Henley (I think it was) was bringing it out by instalments, the appearance of each was, for me at least, and for very many others, the chief event of the month. I do not know how many copies he sold, but there again I will swear nothing comparable to the numbers he has sold of later books which certainly will not stand out in English literature. That one which I hear has sold most largely has always seemed to me to be a mere repetition of what his audience already thought they knew, and of a philosophy which they already held: I mean his ‘Outline of History.’ It was mainly a repetition of the popular mythology of to-day, of antiquated scientific jargon, full of the popular errors, but it was clear, well-proportioned and vivacious, showing a rare economy in the use and placing of words. It was also (and that is high minor praise for any book purporting to deal with history) astonishingly accurate in details. The names were properly spelt; south was never written for north, nor east for west; the dates were all right. Any one who has attempted the writing of history will not belittle such a feat: I, least of all, because I am constitutionally inaccurate in such things, and I will write left for right and north for south as a matter of course, and the word ‘Tyre’ for the word ‘Acre,’ and so on. At any rate, the book, with all its good and bad qualities, is obviously not of the first class, and equally obviously is not destined to endure, while ‘The Time Machine’ is quite certainly of the first class, and is quite likely to endure. But I believe that the huge ephemeral demand for the ‘Outline of History’ created no special, certainly no very great, demand for the more permanent ‘The Time Machine.’ In general, I am assured by publishers, that when there is a sudden boom in a writer’s work, they hardly ever manage to float on that boom a resale of earlier works; while if these earlier works are unknown, it is almost impossible to give them a popular fame on the strength of the later works. Witness the late Mr. Hudson’s ‘Crystal Age.’ I came across it as a young man in a bookshop in the Euston Road on a winter evening. I took it up and began reading it, and I read it so long that the bookseller told me I must buy it, which I did. Now, towards the end of Mr. Hudson’s life, he became deservedly famous as a writer upon the things of the natural world, and especially upon animals. But what made him famous was not his subject, though he was both accurate and learned; it was his manner of writing. One would have expected, therefore, that the ‘Crystal Age’ would, upon his fame tardily arising, have a quiet and equal fame. It did not. I say that there are no laws governing these movements. They are capricious and incalculable.