The test is not so vague, nor so difficult, as might appear.
If a man is not thrilled by intimate contact with nature: with the sun, with the earth, which is his origin and the arouser of his acutest emotions—
If he is not troubled by the sight of beauty in many forms—
If he is devoid of curiosity concerning his fellow-men and his fellow-animals—
If he does not have glimpses of the unity of all things in an orderly progress—
If he is chronically "querulous, dejected, and envious"—
If he is pessimistic—
If he is of those who talk about "this age of shams," "this age without ideals," "this hysterical age," and this heaven-knows-what-age—
Then that man, though he reads undisputed classics for twenty hours a day, though he has a memory of steel, though he rivals Porson in scholarship and Sainte-Beuve in judgment, is not receiving from literature what literature has to give. Indeed, he is chiefly wasting his time. Unless he can read differently, it were better for him if he sold all his books, gave to the poor, and played croquet. He fails because he has not assimilated into his existence the vital essences which genius put into the books that have merely passed before his eyes; because genius has offered him faith, courage, vision, noble passion, curiosity, love, a thirst for beauty, and he has not taken the gift; because genius has offered him the chance of living fully, and he is only half alive, for it is only in the stress of fine ideas and emotions that a man may be truly said to live. This is not a moral invention, but a simple fact, which will be attested by all who know what that stress is.
What! You talk learnedly about Shakespeare's sonnets! Have you heard Shakespeare's terrific shout:
Full many a glorious morning have I seen Flatter the mountain-tops with sovereign eye, Kissing with golden face the meadows green, Gilding pale streams with heavenly alchemy.
And yet, can you see the sun over the viaduct at Loughborough Junction of a morning, and catch its rays in the Thames off Dewar's whisky monument, and not shake with the joy of life? If so, you and Shakespeare are not yet in communication. What! You pride yourself on your beautiful edition of Casaubon's translation of Marcus Aurelius, and you savour the cadences of the famous:
This day I shall have to do with an idle, curious man, with an unthankful man, a railer, a crafty, false, or an envious man. All these ill qualities have happened unto him, through ignorance of that which is truly good and truly bad. But I that understand the nature of that which is good, that it only is to be desired, and of that which is bad, that it only is truly odious and shameful: who know, moreover, that this transgressor, whosoever he be, is my kinsman, not by the same blood and seed, but by participation of the same reason and of the same divine particle— how can I be hurt?...
And with these cadences in your ears you go and quarrel with a cabman!
You would be ashamed of your literary self to be caught in ignorance of Whitman, who wrote:
Now understand me well—it is provided in the essence of things that from any fruition of success, no matter what, shall come forth something to make a greater struggle necessary.
And yet, having achieved a motor-car, you lose your temper when it breaks down half-way up a hill!
You know your Wordsworth, who has been trying to teach you about:
The Upholder of the tranquil soul That tolerates the indignities of Time And, from the centre of Eternity All finite motions over-ruling, lives In glory immutable.
But you are capable of being seriously unhappy when your suburban train selects a tunnel for its repose!
And the A. V. of the Bible, which you now read, not as your forefathers read it, but with an æsthetic delight, especially in the Apocrypha! You remember:
Whatsoever is brought upon thee, take cheerfully, and be patient when thou art changed to a low estate. For gold is tried in the fire and acceptable men in the furnace of adversity.
And yet you are ready to lie down and die because a woman has scorned you! Go to!
You think some of my instances approach the ludicrous? They do. They are meant to do so. But they are no more ludicrous than life itself. And they illustrate in the most workaday fashion how you can test whether your literature fulfils its function of informing and transforming your existence.
I say that if daily events and scenes do not constantly recall and utilise the ideas and emotions contained in the books which you have read or are reading; if the memory of these books does not quicken the perception of beauty, wherever you happen to be, does not help you to correlate the particular trifle with the universal, does not smooth out irritation and give dignity to sorrow—then you are, consciously or not, unworthy of your high vocation as a bookman. You may say that I am preaching a sermon. The fact is, I am. My mood is a severely moral mood. For when I reflect upon the difference between what books have to offer and what even relatively earnest readers take the trouble to accept from them, I am appalled (or should be appalled, did I not know that the world is moving) by the sheer inefficiency, the bland, complacent failure of the earnest reader. I am like yourself, the spectacle of inefficiency rouses my holy ire.
Before you begin upon another masterpiece, set out in a row the masterpieces which you are proud of having read during the past year. Take the first on the list, that book which you perused in all the zeal of your New Year resolutions for systematic study. Examine the compartments of your mind. Search for the ideas and emotions which you have garnered from that book. Think, and recollect when last something from that book recurred to your memory apropos of your own daily commerce with humanity. Is it history—when did it throw a light for you on modern politics? Is it science—when did it show you order in apparent disorder, and help you to put two and two together into an inseparable four? Is it ethics— when did it influence your conduct in a twopenny-halfpenny affair between man and man? Is it a novel—when did it help you to "understand all and forgive all"? Is it poetry—when was it a magnifying glass to disclose beauty to you, or a fire to warm your cooling faith? If you can answer these questions satisfactorily, your stocktaking as regards the fruit of your traffic with that book may be reckoned satisfactory. If you cannot answer them satisfactorily, then either you chose the book badly or your impression that you read it is a mistaken one.
When the result of this stocktaking forces you to the conclusion that your riches are not so vast as you thought them to be, it is necessary to look about for the causes of the misfortune. The causes may be several. You may have been reading worthless books. This, however, I should say at once, is extremely unlikely. Habitual and confirmed readers, unless they happen to be reviewers, seldom read worthless books. In the first place, they are so busy with books of proved value that they have only a small margin of leisure left for very modern works, and generally, before they can catch up with the age, Time or the critic has definitely threshed for them the wheat from the chaff. No! Mediocrity has not much chance of hoodwinking the serious student.
It is less improbable that the serious student has been choosing his books badly. He may do this in two ways—absolutely and relatively. Every reader of long standing has been through the singular experience of suddenly seeing a book with which his eyes have been familiar for years. He reads a book with a reputation and thinks: "Yes, this is a good book. This book gives me pleasure." And then after an interval, perhaps after half a lifetime, something mysterious happens to his mental sight. He picks up the book again, and sees a new and profound significance in every sentence, and he says: "I was perfectly blind to this book before." Yet he is no cleverer than he used to be. Only something has happened to him. Let a gold watch be discovered by a supposititious man who has never heard of watches. He has a sense of beauty. He admires the watch, and takes pleasure in it. He says: "This is a beautiful piece of bric-à-brac; I fully appreciate this delightful trinket." Then imagine his feelings when someone comes along with the key; imagine the light flooding his brain. Similar incidents occur in the eventful life of the constant reader.