_Billy Budd_ is a remote unearthly episode, but it is a song not without words, and should be read both for its own beauty and as an introduction to more difficult works. Evil is labelled and personified instead of slipping over the ocean and round the world, and Melville's mind can be observed more easily. What one notices in him is that his apprehensions are free from personal worry, so that we become bigger not smaller after sharing them. He has not got that tiresome little receptacle, a conscience, which is often such a nuisance in serious writers and so contracts their effects--the conscience of Hawthorne or of Mark Rutherford. Melville--after the initial roughness of his realism--reaches straight back into the universal, to a blackness and sadness so transcending our own that they are undistinguishable from glory. He says, "in certain moods no man can weigh this world without throwing in a something somehow like Original Sin to strike the uneven balance." He threw it in, that undefinable something, the balance righted itself, and he gave us harmony and temporary salvation. It is no wonder that D. H. Lawrence should have written two penetrating studies of Melville, for Lawrence himself is, as far as I know, the only prophetic novelist writing today--all the rest are fantasists or preachers: the only living novelist in whom the song predominates, who has the rapt bardic quality, and whom it is idle to criticize. He invites criticism because he is a preacher also--it is this minor aspect of him which makes him so difficult and misleading--an excessively clever preacher who knows how to play on the nerves of his congregation. Nothing is more disconcerting than to sit down, so to speak, before your prophet, and then suddenly to receive his boot in the pit of your stomach. "I'm damned if I'll be humble after that," you cry, and so lay yourself open to further nagging. Also the subject matter of the sermon is agitating--hot denunciations or advice--so that in the end you cannot remember whether you ought or ought not to have a body, and are only sure that you are futile. This bullying, and the honeyed sweetness which is a bully's reaction, occupy between them the foreground of Lawrence's work; his greatness lies far, far back, and rests, not like Dostoevsky's upon Christianity, nor like Melville's upon a contest, but upon something æsthetic. The voice is Balder's voice, though the hands are the hands of Esau. The prophet is irradiating nature from within, so that every colour has a glow and every form a distinctness which could not otherwise be obtained. Take a scene that always stays in the memory: that scene in _Women in Love_ where one of the characters throws stones into the water at night to shatter the image of the moon. Why he throws, what the scene symbolizes, is unimportant. But the writer could not get such a moon and water otherwise; he reaches them by his special path which stamps them as more wonderful than any we can imagine.