The great part of the controversy seems to be conducted in the spirit of highly irrelevant realism. Sudbury cannot be Eatanswill, because there was a fancy-dress shop at Eatanswill, and there is no record of a fancy-dress shop at Sudbury. Sudbury must be Eatanswill because there were heavy roads outside Eatanswill, and there are heavy roads outside Sudbury. Ipswich cannot be Eatanswill, because Mrs. Leo Hunter’s country seat would not be near a big town. Ipswich must be Eatanswill because Mrs. Leo Hunter’s country seat would be near a large town. Really, Dickens might have been allowed to take liberties with such things as these, even if he had been mentioning the place by name. If I were writing a story about the town of Limerick, I should take the liberty of introducing a bun-shop without taking a journey to Limerick to see whether there was a bun-shop there. If I wrote a romance about Torquay, I should hold myself free to introduce a house with a green door without having studied a list of all the coloured doors in the town. But if, in order to make it particularly obvious that I had not meant the town for a photograph either of Torquay or Limerick, I had gone out of my way to give the place a wild, fictitious name of my own, I think that in that case I should be justified in tearing my hair with rage if the people of Limerick or Torquay began to argue about bun-shops and green doors. No reasonable man would expect Dickens to be so literal as all that even about Bath or Bury St. Edmunds, which do exist; far less need he be literal about Eatanswill, which didn’t exist.

  I must confess, however, that I incline to the Sudbury side of the argument. This does not only arise from the sympathy which all healthy people have for small places as against big ones; it arises from some really good qualities in this particular Sudbury publication. First of all, the champions of Sudbury seem to be more open to the sensible and humorous view of the book than the champions of Ipswich — at least, those that appear in this discussion. Even the Sudbury champion, bent on finding realistic clothes, rebels (to his eternal honour) when Mr. Percy Fitzgerald tries to show that Bob Sawyer’s famous statement that he was neither Buff nor Blue, “but a sort of plaid,” must have been copied from some silly man at Ipswich who said that his politics were “half and half.” Anybody might have made either of the two jokes. But it was the whole glory and meaning of Dickens that he confined himself to making jokes that anybody might have made a little better than anybody would have made them.

  FAIRY TALES

  Some solemn and superficial people (for nearly all very superficial people are solemn) have declared that the fairy tales are immoral; they base this upon some accidental circumstances or regrettable incidents in the war between giants and boys, some cases in which the latter indulged in unsympathetic deceptions or even in practical jokes. The objection, however, is not only false, but very much the reverse of the facts. The fairy tales are at root not only moral in the sense of being innocent, but moral in the sense of being didactic, moral in the sense of being moralising. It is all very well to talk of the freedom of fairyland, but there was precious little freedom in fairyland by the best official accounts. Mr. W.B. Yeats and other sensitive modern souls, feeling that modern life is about as black a slavery as ever oppressed mankind (they are right enough there), have especially described elfland as a place of utter ease and abandonment — a place where the soul can turn every way at will like the wind. Science denounces the idea of a capricious God; but Mr. Yeats’s school suggests that in that world every one is a capricious god. Mr. Yeats himself has said a hundred times in that sad and splendid literary style which makes him the first of all poets now writing in English (I will not say of all English poets, for Irishmen are familiar with the practice of physical assault), he has, I say, called up a hundred times the picture of the terrible freedom of the fairies, who typify the ultimate anarchy of art —

  “Where nobody grows old or weary or wise,

  Where nobody grows old or godly or grave.”

  But, after all (it is a shocking thing to say), I doubt whether Mr. Yeats really knows the real philosophy of the fairies. He is not simple enough; he is not stupid enough. Though I say it who should not, in good sound human stupidity I would knock Mr. Yeats out any day. The fairies like me better than Mr. Yeats; they can take me in more. And I have my doubts whether this feeling of the free, wild spirits on the crest of hill or wave is really the central and simple spirit of folk-lore. I think the poets have made a mistake: because the world of the fairy tales is a brighter and more varied world than ours, they have fancied it less moral; really it is brighter and more varied because it is more moral. Suppose a man could be born in a modern prison. It is impossible, of course, because nothing human can happen in a modern prison, though it could sometimes in an ancient dungeon. A modern prison is always inhuman, even when it is not inhumane. But suppose a man were born in a modern prison, and grew accustomed to the deadly silence and the disgusting indifference; and suppose he were then suddenly turned loose upon the life and laughter of Fleet Street. He would, of course, think that the literary men in Fleet Street were a free and happy race; yet how sadly, how ironically, is this the reverse of the case! And so again these toiling serfs in Fleet Street, when they catch a glimpse of the fairies, think the fairies are utterly free. But fairies are like journalists in this and many other respects. Fairies and journalists have an apparent gaiety and a delusive beauty. Fairies and journalists seem to be lovely and lawless; they seem to be both of them too exquisite to descend to the ugliness of everyday duty. But it is an illusion created by the sudden sweetness of their presence. Journalists live under law; and so in fact does fairyland.

  If you really read the fairy tales, you will observe that one idea runs from one end of them to the other — the idea that peace and happiness can only exist on some condition. This idea, which is the core of ethics, is the core of the nursery-tales. The whole happiness of fairyland hangs upon a thread, upon one thread. Cinderella may have a dress woven on supernatural looms and blazing with unearthly brilliance; but she must be back when the clock strikes twelve. The king may invite fairies to the christening, but he must invite all the fairies or frightful results will follow. Bluebeard’s wife may open all doors but one. A promise is broken to a cat, and the whole world goes wrong. A promise is broken to a yellow dwarf, and the whole world goes wrong. A girl may be the bride of the God of Love himself if she never tries to see him; she sees him, and he vanishes away. A girl is given a box on condition she does not open it; she opens it, and all the evils of this world rush out at her. A man and woman are put in a garden on condition that they do not eat one fruit: they eat it, and lose their joy in all the fruits of the earth.

  This great idea, then, is the backbone of all folk-lore — the idea that all happiness hangs on one thin veto; all positive joy depends on one negative. Now, it is obvious that there are many philosophical and religious ideas akin to or symbolised by this; but it is not with them I wish to deal here. It is surely obvious that all ethics ought to be taught to this fairy tale tune; that, if one does the thing forbidden, one imperils all the things provided. A man who breaks his promise to his wife ought to be reminded that, even if she is a cat, the case of the fairy-cat shows that such conduct may be incautious. A burglar just about to open some one else’s safe should be playfully reminded that he is in the perilous posture of the beautiful Pandora: he is about to lift the forbidden lid and loosen evils unknown. The boy eating some one’s apples in some one’s apple tree should be a reminder that he has come to a mystical moment of his life, when one apple may rob him of all others. This is the profound morality of fairy tales; which, so far from being lawless, go to the root of all law. Instead of finding (like common books of ethics) a rationalistic basis for each Commandment, they find the great mystical basis for all Commandments. We are in this fairyland on sufferance; it is not for us to quarrel with the conditions under which we enjoy this wild vision of the world. The vetoes are indeed extraordinary, but then so are the concessions. The idea of property, the idea of some one else’s apples, is a rum idea; but then the idea of there being any apples is a rum idea. It is strange and weird that I cannot with safety drink ten bottles of champagne; but then the champagne itself is strange and weird, if you come to that. If I have drunk of the fairies’ drink it is but just I should drink by the fairies’ rules. We may not see the direct logical connection between three beautiful silver spoons and a large ugly policeman; but then who in fairy tales ever could see the direct logical connection between three bears and a giant, or between a rose and a roaring beast? Not only can these fairy tales be enjoyed because they are moral, but morality can be enjoyed because it puts us in fairyland, in a world at once of wonder and of war.

  TOM JONES AND MORALITY

  The two hundredth anniversary of Henry Fielding is very justly celebrated, even if, as far as can be discovered, it is only celebrated by the newspapers. It would be too much to expect that any such merely chronological incident should induce the people who write about Fielding to read him; this kind of neglect is only another name for glory. A great classic means a man whom one can praise without having read. This is not in itself wholly unjust; it merely implies a certain respect for the realisation and fixed conclusions of the mass of mankind. I have never read Pindar (I mean I have never read the Greek Pindar; Peter Pindar I have read all right), but the mere fact that I have not read Pindar, I think, ought not to prevent me and certainly would not prevent me from talking of “the masterpieces of Pindar,” or of “great poets like Pindar or Æschylus.” The very learned men are angularly unenlightened on this as on many other subjects; and the position they take up is really quite unreasonable. If any ordinary journalist or man of general reading alludes to Villon or to Homer, they consider it a quite triumphant sneer to say to the man, “You cannot read mediæval French,” or “You cannot read Homeric Greek.” But it is not a triumphant sneer — or, indeed, a sneer at all. A man has got as much right to employ in his speech the established and traditional facts of human history as he has to employ any other piece of common human information. And it is as reasonable for a man who knows no French to assume that Villon was a good poet as it would be for a man who has no ear for music to assume that Beethoven was a good musician. Because he himself has no ear for music, that is no reason why he should assume that the human race has no ear for music. Because I am ignorant (as I am), it does not follow that I ought to assume that I am deceived. The man who would not praise Pindar unless he had read him would be a low, distrustful fellow, the worst kind of sceptic, who doubts not only God, but man. He would be like a man who could not call Mount Everest high unless he had climbed it. He would be like a man who would not admit that the North Pole was cold until he had been there.

  But I think there is a limit, and a highly legitimate limit, to this process. I think a man may praise Pindar without knowing the top of a Greek letter from the bottom. But I think that if a man is going to abuse Pindar, if he is going to denounce, refute, and utterly expose Pindar, if he is going to show Pindar up as the utter ignoramus and outrageous impostor that he is, then I think it will be just as well perhaps — I think, at any rate, it would do no harm — if he did know a little Greek, and even had read a little Pindar. And I think the same situation would be involved if the critic were concerned to point out that Pindar was scandalously immoral, pestilently cynical, or low and beastly in his views of life. When people brought such attacks against the morality of Pindar, I should regret that they could not read Greek; and when they bring such attacks against the morality of Fielding, I regret very much that they cannot read English.

  There seems to be an extraordinary idea abroad that Fielding was in some way an immoral or offensive writer. I have been astounded by the number of the leading articles, literary articles, and other articles written about him just now in which there is a curious tone of apologising for the man. One critic says that after all he couldn’t help it, because he lived in the eighteenth century; another says that we must allow for the change of manners and ideas; another says that he was not altogether without generous and humane feelings; another suggests that he clung feebly, after all, to a few of the less important virtues. What on earth does all this mean? Fielding described Tom Jones as going on in a certain way, in which, most unfortunately, a very large number of young men do go on. It is unnecessary to say that Henry Fielding knew that it was an unfortunate way of going on. Even Tom Jones knew that. He said in so many words that it was a very unfortunate way of going on; he said, one may almost say, that it had ruined his life; the passage is there for the benefit of any one who may take the trouble to read the book. There is ample evidence (though even this is of a mystical and indirect kind), there is ample evidence that Fielding probably thought that it was better to be Tom Jones than to be an utter coward and sneak. There is simply not one rag or thread or speck of evidence to show that Fielding thought that it was better to be Tom Jones than to be a good man. All that he is concerned with is the description of a definite and very real type of young man; the young man whose passions and whose selfish necessities sometimes seemed to be stronger than anything else in him.

  The practical morality of Tom Jones is bad, though not so bad, spiritually speaking, as the practical morality of Arthur Pendennis or the practical morality of Pip, and certainly nothing like so bad as the profound practical immorality of Daniel Deronda. The practical morality of Tom Jones is bad; but I cannot see any proof that his theoretical morality was particularly bad. There is no need to tell the majority of modern young men even to live up to the theoretical ethics of Henry Fielding. They would suddenly spring into the stature of archangels if they lived up to the theoretic ethics of poor Tom Jones. Tom Jones is still alive, with all his good and all his evil; he is walking about the streets; we meet him every day. We meet with him, we drink with him, we smoke with him, we talk with him, we talk about him. The only difference is that we have no longer the intellectual courage to write about him. We split up the supreme and central human being, Tom Jones, into a number of separate aspects. We let Mr. J. M. Barrie write about him in his good moments, and make him out better than he is. We let Zola write about him in his bad moments, and make him out much worse than he is. We let Maeterlinck celebrate those moments of spiritual panic which he knows to be cowardly; we let Mr. Rudyard Kipling celebrate those moments of brutality which he knows to be far more cowardly. We let obscene writers write about the obscenities of this ordinary man. We let puritan writers write about the purities of this ordinary man. We look through one peephole that makes men out as devils, and we call it the new art. We look through another peephole that makes men out as angels, and we call it the New Theology. But if we pull down some dusty old books from the bookshelf, if we turn over some old mildewed leaves, and if in that obscurity and decay we find some faint traces of a tale about a complete man, such a man as is walking on the pavement outside, we suddenly pull a long face, and we call it the coarse morals of a bygone age.

  The truth is that all these things mark a certain change in the general view of morals; not, I think, a change for the better. We have grown to associate morality in a book with a kind of optimism and prettiness; according to us, a moral book is a book about moral people. But the old idea was almost exactly the opposite; a moral book was a book about immoral people. A moral book was full of pictures like Hogarth’s “Gin Lane” or “Stages of Cruelty,” or it recorded, like the popular broadsheet, “God’s dreadful judgment” against some blasphemer or murderer. There is a philosophical reason for this change. The homeless scepticism of our time has reached a subconscious feeling that morality is somehow merely a matter of human taste — an accident of psychology. And if goodness only exists in certain human minds, a man wishing to praise goodness will naturally exaggerate the amount of it that there is in human minds or the number of human minds in which it is supreme. Every confession that man is vicious is a confession that virtue is visionary. Every book which admits that evil is real is felt in some vague way to be admitting that good is unreal. The modern instinct is that if the heart of man is evil, there is nothing that remains good. But the older feeling was that if the heart of man was ever so evil, there was something that remained good — goodness remained good. An actual avenging virtue existed outside the human race; to that men rose, or from that men fell away. Therefore, of course, this law itself was as much demonstrated in the breach as in the observance. If Tom Jones violated morality, so much the worse for Tom Jones. Fielding did not feel, as a melancholy modern would have done, that every sin of Tom Jones was in some way breaking the spell, or we may even say destroying the fiction of morality. Men spoke of the sinner breaking the law; but it was rather the law that broke him. And what modern people call the foulness and freedom of Fielding is generally the severity and moral stringency of Fielding. He would not have thought that he was serving morality at all if he had written a book all about nice people. Fielding would have considered Mr. Ian Maclaren extremely immoral; and there is something to be said for that view. Telling the truth about the terrible struggle of the human soul is surely a very elementary part of the ethics of honesty. If the characters are not wicked, the book is.