The House of Quiet: An AutobiographyBenson, Arthur Christopher
General
The House of Quiet: An Autobiography
Benson, Arthur Christopher
Country life -- England -- Fiction; English fiction -- 20th century; Invalids -- Fiction
Still, in other ways this period was most valuable—it made me practical
instead of fanciful; alert instead of dreamy; it made me feel what I had
never known before, the necessity for grasping the _exact_ point of a
matter, and not losing oneself among side issues. It helped me out of the
entirely amateurish condition of mind into which I had been drifting—and,
moreover, it taught me one thing which I had never realised, a lesson
for which I am profoundly grateful, namely that literature and art play
a very small part in the lives of the majority of people; that most men
have no sort of an idea that they are serious matters, but look upon
them as more or less graceful amusements; that in such regions they have
no power of criticism, and no judgment; but that these are not nearly
such serious defects as the defect of vision which the artist and the
man of letters suffer from and encourage—the defect, I mean, of treating
artistic ideals as matters of pre-eminent national, even of moral
importance. They must be content to range themselves frankly with other
craftsmen; they may sustain themselves by thinking that they may help, a
very little, to ameliorate conditions, to elevate the tone of morality
and thought, to provide sources of recreation, to strengthen the sense
of beauty; but they must remember that they cannot hope to belong to
the primal and elemental things of life. Not till the primal needs are
satisfied does the work of the poet and artist begin—“After the banquet,
the minstrel.”
The poet and the artist too often live, like the Lady of Shalott,
weaving a magic web of fair and rich colour, but dealing not with life
itself, and not even with life viewed _ipsis oculis_, but in the magic
mirror. The Lady of Shalott is doubly secluded from the world; she does
not mingle with it, she does not even see it; so the writer sometimes
does not even see the life which he describes, but draws his knowledge
secondhand, through books and bookish secluded talk. I do not think that
I under-rate the artistic vocation; but it is only one of many, and,
though different in kind, certainly not superior to the vocations of
those who do the practical work of the world.
From this dangerous heresy I was saved just at the moment when it
was waiting to seize upon me, and at a time when a man’s convictions
are apt to settle themselves for life, by contact with the prosaic,
straightforward and commonplace world.
Public-domain text, read in full here on John Shaqi.
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