James Anthony Froude
Essays in Literature and History
Published by Good Press, 2019
EAN 4057664600196
Table of Contents
INTRODUCTION
Froude had this merit—a merit he shared with Huxley alone of His contemporaries—that he imposed his convictions. He fought against resistance. He excited (and still excites) a violent animosity. He exasperated the surface of his time and was yet too strong for that surface to reject him. This combative and aggressive quality in him, which was successful in that it was permanent and never suffered a final defeat should arrest any one who may make a general survey of the last generation in letters.
It was a period with a vice of its own which yet remains to be detected and chastised. In one epoch lubricity, in another fanaticism, in a third dulness and a dead-alive copying of the past, are the faults which criticism finds to attack. None of these affected the Victorian era. It was pure—though tainted with a profound hypocrisy; it was singularly free from violence in its judgments; it was certainly alive and new: but it had this grievous defect (a defect under which we still labour heavily) that thought was restrained upon every side. Never in the history of European letters was it so difficult for a man to say what he would and to be heard. A sort of cohesive public spirit (which was but one aspect of the admirable homogeneity of the nation) glued and immobilised all individual expression. One could float imprisoned as in a stream of thick substance: one could not swim against it.
It is to be carefully discerned how many apparent exceptions to this truth are, if they be closely examined, no exceptions at all. A whole series of national defects were exposed and ridiculed in the literature as in the oratory of that day; but they were defects which the mass of men secretly delighted to hear denounced and of which each believed himself to be free.
They loved to be told that they were of a gross taste in art, for they connected such a taste vaguely with high morals and with successful commerce. There was no surer way to a large sale than to start a revolution in appreciation every five years, and from Ruskin to Oscar Wilde a whole series of Prophets attained eminence and fortune by telling men how something new and as yet unknown was Beauty and something just past was to be rejected, and how they alone saw truth while the herd around them were blind. But no one showed us how to model, nor did any one remark that we alone of all Europe had preserved a school of water-colour.
So in politics our blunders were a constant theme; but no one marked with citation, document, and proof the glaring progress of corruption, or that, for all our enthusiasm, we never once in that generation defended the oppressed against the oppressor. There was a vast if unrecognised conspiracy, by which whatever might have prevented those extreme evils from which we now suffer was destroyed as it appeared. Efforts at a thorough purge were dull, were libellous, were not of the "form" which the Universities and the public schools taught to be sacred. They were rejected as unreadable, or if printed, were unread. The results are with us to-day.
In such a time Froude maintained an opposing force, which was not reforming nor constructive in any way, but which will obtain the attention of the future historian, simply because it was an opposition.
It was an opposition of manner rather than of matter. The matter of it was common enough even in Froude's chief decade of power. The cause to which he gave allegiance was already winning when he proceeded to champion it, and many a better man, one or two greater men, were saying the same things as he; but they said such things in a fashion that suggested no violent effort nor any demand for resistance: it was the peculiar virtue of Froude that he touched nothing without the virile note of a challenge sounding throughout his prose. On this account, though he will convince our posterity even less than he does ourselves, the words of persuasion, the writings themselves will remain: for he chose the hardest wood in which to chisel, knowing the strength of his hand.
What was it in him which gave him that strength, and which permitted him, in an age that would tolerate no formative grasp upon itself, to achieve a permanent fame? I will not reply to this question by pointing to the popularity of his History of England; the essays that follow will afford sufficient material to answer it. He produced the effect he did and remained in the eminence to which he had climbed, first because his manner of thought was rigid and of a hard edge; secondly, because he could use that steel tool of a brain in a fashion that was general; he could use it upon subjects and with a handling that was comprehensible to great masses of his fellow-countrymen.
It is not certain that such a man with such interests would have made his voice heard in any other society. It is doubtful whether he will be translated with profit. His field was very small, the points of his attack might all be found contained in one suburban villa. But in our society his grip and his intensity did fall, and fall of choice, upon such matters as his contemporaries either debated or were ready to debate. He therefore did the considerable thing we know him to have done.
I say that his mind was rigid and of a close fibre: it was a mind (to repeat the metaphor) out of which a strong graying-tool could be forged. Its blade would not be blunted: it could deal with its material. Of this character, which I take to be the first essential in his achievement, the few essays before us preserve an ample evidence.
Thus you will find throughout their pages the presence of that dogmatic assertion which invariably proceeds from such a mind, and coupled with such assertion is a continual consciousness that his dogmas are dogmas: that he is asserting unprovable things and laying down his axioms before he begins his process of reasoning.
The contrary might be objected by some foreign observer, or by some one who had a larger acquaintance with European history than had he. I can imagine a French or an Irish critic pointing to a mass of assertion with no corresponding admission that it is assertion only: such a critic might quote even from these few pages phrase after phrase in which Froude poses as certain what are still largely matters of debate. Thus upon page 144 he takes it for granted that no miracles have been worked by contact with the bodies of saints. He takes it for granted on page 161 that the checking of monastic disorders, and the use of strong language in connection with them, was peculiar to the generation which saw at its close the dissolution of the monasteries. He takes it for granted on page 125 that what we call "manifestations" or what not—spirit rappings, table-turnings, and the rest—are deceptions of the senses to which superstition alone would give credence.
He ridicules (upon p. 128) the tradition of St. Patrick which all modern research has come to accept. He says downright (upon pp. 186–187) that the Ancient world did not inquire into the problem of evil. On p. 214 he will have it that the ordinary man rejects, "without hesitation," the interference of will with material causes. In other words, he asserts that the ordinary man is a fatalist—for Froude knew very well that between the fatalist and the believer in a possibility of miracle there is no conceivable position. He will have it (on p. 216) that a modern doctor always regards a "vision" as an hallucination. On p. 217 he denies by implication the stigmata of St. Francis—and so forth—one might multiply the instances indefinitely. All Froude's works are full of them, they are part and parcel of his method—but their number is to no purport. One example may stand for all, and their special value to our purpose is not that they are mere assertions, but that they