Masters of Prose - H. G. Wells. H. G. Wells

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СКАЧАТЬ need have no doubt that description of action, of mood, or of place will be vivid and convincing, true to life and essential to the story. I do not pass this detail by because I have found it better done in other contemporary writers; I have not; but because I find a pregnancy and a growing force behind these minutiæ that is strangely lacking from any other works of fiction in which I can find any comparison.

      There are, however, still two more novels to be disposed of before I can examine the full expression of Mr Wells' purpose as I find it in his later books. One of these novels, Kipps (1905), is the next in chronological order; the other, The History of Mr Polly, was published in 1910, interpolated between Ann Veronica and The New Machiavelli. Both Kipps and Polly began active life in a draper's shop. The former is explicitly labelled "a simple soul." He is at once sillier and sharper than Hoopdriver, but, like that "dear fool" (the phrase is Mr Wells'), Kipps has some very sterling qualities. He had the good fortune to come into money—I cannot but count it good fortune in his case—and was just wise enough to avoid a marriage with Helen Walshingham—"County family. Related to the Earl of Beauprés"—and if he shirked that match rather from sheer funk than from any clear realisation of the futility of what he was avoiding, he did, at least, run away with and marry that very charming little housemaid, Ann Pornick, whom he had loved in his early boyhood. After his marriage he lost the greater part of his money, and later recovered it again; but all these shocks of fortune left him the same simple soul, untroubled by any urgent problems outside the range of his personal experience. His brief contact with the dreamer, Masterman, and his friendship with the capable young engineer-socialist, Sid Pornick, Ann's brother, only roused Kipps to a momentary wonder, and his final enunciation of the great question was representative. "I was thinking just what a Rum Go everything is," he says. That question, to quote Mr Wells, "never reached the surface of his mind, it never took to itself substance or form; it looked up merely as the phantom of a face might look, out of deep waters, and sank again into nothingness."

      Mr Polly is a third variant of the Hoopdriver-Kipps genus. He had more initiative, although he still presents a problem in inertia, and he is the only one of the three who had a feeling for literature, and read persistently, if vagariously. And Mr Polly did at last take his fate into his own hands, commit arson, desert his wife and wander off, an "exploratious adventurer," as he might have put it, to discover some joy and poetry in life after a heroic battle that he funked most horribly and might have avoided. This may sound rather a criminal record, and even so I have taken no account of his fraud on the Life Assurance Company, but no one could ever condemn Mr Polly—or wish him a happier employment than that he finally achieved partly by luck and partly by his own effort. He was the sport of the forces that break out so ungovernably in this haphazard world. As the "high-browed gentleman living at Highbury" explains: "Nothing can better demonstrate the collective dullness of our community, the crying need for a strenuous, intellectual renewal, than the consideration of that vast mass of useless, uncomfortable, under-educated, under-trained, and altogether pitiable people we contemplate when we use that inaccurate and misleading term, the Lower Middle Class. A great proportion of the lower middle class should properly be assigned to the unemployed and the unemployable." And that is the moral we may lay to heart from the presentation of these three quite lovable and quite futile draper's assistants. Their stories are told without didacticism; the method displays at its brightest Mr Wells' intimate knowledge and understanding of the life and speech of the class portrayed; the developments are natural and absorbing enough to hold the interest of the most idle reader; and here and there, perhaps, an intelligent man or woman may be stirred to realise that he or she is in part responsible for the futility of a Hoopdriver or a Kipps, or for the jovial crimes of Mr Polly....

      I come now to the six novels which represent most truly the striving, persistent idealism of the mature Wells. In these books he has come to the mastery of his own technique—so far as a man may ever master it. He admits that there remain inexpressible visions, he is apt at times to be overtaken by his own mannerisms (a fault that in no way affects the enjoyment or enlightenment of the average reader), but he has wrought and perfected a delicate instrument of style that is finely adapted to his purpose. I cannot avoid speaking of "purpose" in relation to these five books, and yet the word is misleading. I do not mean by it that Mr Wells has ever sat down to write a novel with the deliberate intention of converting an honest reader or so. But I do mean that he has tried very deliberately to express his own attitude in these books, and that whether or not he was intentionally a propagandist, he has done his utmost to explain and to glorify that attitude of his. Perhaps I shrink from that word "purpose" too sensitively, because it is so naturally associated in the mind with all that is clumsy and didactic in fiction. The "novel with a purpose," as the dreadful phrase has it, is a horrible thing, and none of this five could be so misdescribed. Nevertheless it is very plain that Mr Wells has deliberately selected his stories and his characters to illustrate certain points of view. The characters are consistent, and the story growing out of their influences and reactions is never distorted in order to score a point for the maintainer of a theory. But the preliminary selection cannot be overlooked. It has, without question, been made in each case to illustrate a thesis.

      Ann Veronica (1909) opens an aspect of the sex question that has been amplified in later novels. The chief person in the story illustrates for us the revolt of young women against the limitations of a certain, the most representative, type of home discipline. Ann Veronica was a well-educated young woman with that leaning towards biological science which seems an almost necessary element in the make-up of Mr Wells' exemplars of the open mind. She came to an open quarrel with her father on the question of attending a somewhat Bohemian fancy-dress ball, and she had the courage and determination to uphold her declaration of independence. She ran away, came up to London from her father's suburb, took lodgings and essayed quite unsuccessfully to make her own living. She failed in this endeavour because she had not been educated or trained for any of those few and specialised occupations that women may attempt in modern conditions. She learned by experience various essentials that had been omitted from any teaching she had received at home, and ended that phase of her life by falling in love with Capes, demonstrator at the Westminster Imperial College, a man who was living apart from his wife. Ann Veronica's story is the first serious essay in feminism—a term that takes a much wider meaning in Mr Wells' definition than is commonly attributed to it. The novel presents the claim of the woman to free herself from the restrictions that once almost necessarily limited her sphere of action, restrictions that are ever becoming more meaningless in a civilisation that has enforced new economic conditions. But Mr Wells goes far beyond that elementary proposition. He has tried in Ann Veronica—and again with a more delicate probe in Marriage and The Passionate Friends—to touch the hidden thing that is causing all this surface inflammation. He has analysed and diagnosed the exposed evil, always it seems with a certain tentativeness, and we are left to carry on his line of research; many of the difficulties of the problem are indicated, but no sovereign specific for the malady.

      Tono-Bungay (1909) touches only casually on the sex question. The involved love affairs of George Ponderevo are less essential than the career of his uncle, the inventor of the patent medicine that gives a title to the book. In many ways Tono-Bungay is the best novel that Mr Wells has given us. It is written in the first person, a narrative form that afterwards served to convey Mr Wells' interpolated criticisms of the bodies social and politic in something nearly approaching the shape of an essay, but in Tono-Bungay there are no important divagations from the development of the story. The framework of the book is provided by the life history of the narrator from early boyhood to middle age, matter interesting enough in itself even if it had not provided the means for revealing the inwardness of Edward Ponderevo's character and career. He was not a bad little man, this plump little chemist; a Lombroso or a Ferri would have found difficulty in classifying him as a "criminal type," however eager those investigators might have been to confirm their pet theories. Ponderevo's wife—the inimitable Aunt Susan—called him "Teddy" and his nephew endorses the appropriateness of that diminutive; he affirms that there was a characteristic "teddiness" about Uncle Ponderevo. He failed as a retail chemist in Wimblehurst. He was not naturally dishonest, but he had windy ideas about finance, and he was careless in the matter of certain trust monies. He was "imaginative, erratic, inconsistent, recklessly inexact," and his imagination led him by way of a СКАЧАТЬ