Delphi collected works o.., p.1045
Delphi Collected Works of Grant Allen, page 1045
What a strange population who toil thus at night for our pleasure and instruction, and who reverse the order of ordinary people’s lives! They are worth knowing, these swift, dexterous, laborious people. First of all comes the great personage — the editor. In old days simple persons imagined the conductor of the Times perched upon a majestic throne, whence he hurled his bolts in the most light-hearted manner. We know better now; yet it must be owned that the editor of a great journal is a very important personage indeed. The true editor is born to his function; if he has not the gift, no amount of drilling will ever make him efficient. Many of the outside public still picture the editor as wielding his pen valiantly, and stabbing enemies or heartening friends with his own hands. As a matter of fact, the editor’s function is not to write; the best of the profession never touch a pen, excepting to write a brief note of instruction or to send a private letter. The editor is the brain of the journal; and, in the case of a daily paper, his business is not so much to instruct the public as to find out what the public want to say, and say it for them in the clearest and most forcible way possible. Imagine a general commanding amid the din of a great battle. He must remember the number of his forces, the exact disposition of every battalion, the peculiar capabilities of his principal subordinates, and he must also note every yard of the ground. He hears that a battalion has been repulsed with heavy slaughter at a point one mile away, and the officer in command cannot repeat his assault without reinforcements. He must instantly decide as to whether the foiled battalion is merely to hold its ground or to advance once more. Orderlies reach him from all points of the compass; he must note where the enemy’s fire slackens or gains power; he must be ready to use the field-telegraph with unhesitating decision, for a minute’s hesitation may lose the battle and ruin his force. In short, the general plays a vast game which makes the complications of chess seem simple. The editor, in his peaceful way, has to perform daily a mental feat almost equal in complexity to that of the warrior. Public opinion usually has strong general tendencies; but there are hundreds of cross-currents, and the editor must allow for all. Suppose that a public agitation is begun, and that a great national movement seems to be in progress; then the editor must be able to tell instinctively how far the movement is likely to be strong and lasting. If he errs seriously, and regards an agitation as trivial which is really momentous, then his journal receives a blow which may cripple its influence during months. One great paper was ruined some twenty years ago by a blunder, and about one hundred thousand pounds were deliberately thrown away through obstinate folly. The perfect editor, like the great general, seizes every clue that can guide him, and makes his final movement with alert decision. No wonder that the work of editing wears men out early. The great Times editor, Mr. Delane, went about much in society; he always appeared to be calm, untroubled, inscrutable, though the factions were warring fiercely and bitterness had reached its height. He scarcely ever missed his mark; and, when he strolled into his office late in the evening, his plan was ready for the morrow’s battle. At five the next morning his well-known figure, wrapped in the queer long coat, was to be seen coming from the square; he might have destroyed a government, or altered a war policy, or ruined a statesman — all was one to him; and he went away ready to lay his plans for the next day’s conflict. Delane’s power at one time was almost incalculable, and he gained it by unerringly finding out exactly what England wanted. England might be wrong or right — that was none of Delane’s business; he cared only to discover what his country wished for from day to day. An amazing function is that of an editor.
Then we have the leader-writer. The British public have decided that their newspaper shall furnish them daily with three or four little addresses on various topics of current interest; and these grave or gay sermons are composed by practised hands who must be ready to write on almost any subject under the sun at a minute’s notice. In a certain class of old-fashioned literature the newspaper-writer is represented as a careless, dissipated Bohemian, who lived with rackety inconsequence. That tribe of writers has long vanished from the face of the earth. The last of the sort that I remember was a miserable old man who haunted the British Museum. No one knew where he lived; but his work, such as it was, usually went in with punctuality, and he drank the proceeds. He died in a stall of a low public-house, and was buried by the parish. No one but his editor and one or two cronies knew his real name, and he appeared to be utterly friendless. But the modern leader-writer must beware of strong liquors. Usually he is a keen, reposeful man who has his brain cool at all hours. The immense drinking-bouts of old times could never be indulged in now; and indeed, if a journalist once begins to take stimulants as stimulants, his end is not far off. Let us mention the kind of feats which must be performed. A powerful minister makes a speech after eleven o’clock at night; the leader-writer receives proof-sheets; he must grasp the whole scope of the speech in a flash, and then proceed with the mere mechanical work of writing. Twelve hundred words will take about an hour and twenty minutes to set down, and then the MS. must be rushed piece by piece to the composing-room. Again, supposing that news of some great disaster arrives late. An article must be swiftly done, and the writer must have a theory ready that will hold water. Work like this needs a quick wit, a copious vocabulary, and an absolutely steady hand. Moreover, the leader-writer must unhappily be invariably ready to write “nothings” so that they may look like “somethings.” News is scarce, foreign nations show a culpable lack of desire to kill each other, no moving accident has occurred — and the paper must be filled. Then the leader-writer must take some trivial subject and weave round it a web of graceful and amusing phrases. One brilliant scholar once wrote a most charming and learned article about pigs; and I have seen a column of grave nonsense spun out on the subject of an unhappy cat which fixed its head in a salmon-tin!
This hurried writing on trifling matters brings on a certain looseness of style and thought; but the public will have it, and the demand creates the supply of a flimsy, pleasant, literary article. The best leaders are now written by fine scholars. In travelling over the country I have been amused by simple people who imagined that the articles in a journal were produced by one secret and utterly mysterious being. These good folk are mightily surprised on finding that the admired leaders are done by a troop of men who are not exactly commonplace, but who are not much wiser or better than their fellows.
The Autobiography
Hindhead Common, Haslemere, Surrey — Allen spent his final years in Hindhead
Hindhead in the 1900’s
My First Book
THE story of my first book is a good deal mixed, and, like many other stories, cannot be fully understood without some previous allusion to what historians call ‘the causes which led to it.’ For my first book was not my first novel, and it is the latter, I take it, not the former, that an expectant world, as represented by the readers of this volume, is anxious to hear about. I first blossomed into print with ‘Physiological Æsthetics’ in 1877 — the title alone will be enough for most people — and it was not till seven years later that I wrote and published my earliest long work of fiction, which I called ‘Philistia.’ I wasn’t born a novelist, I was only made one. Philosophy and science were the first loves of my youth. I dropped into romance as many men drop into drink, or opium-eating, or other bad practices, not of native perversity, but by pure force of circumstances. And this is how fate (or an enterprising publisher) turned me from an innocent and impecunious naturalist into a devotee of the muse of shilling shockers.
When I left Oxford in 1870, with a decent degree and nothing much else in particular to brag about, I took perforce to that refuge of the destitute, the trade of schoolmaster. To teach Latin and Greek verse at Brighton College, Cheltenham College, Reading Grammar School, successively, was the extremely uncongenial task imposed upon me by the chances of the universe. But in 1873, Providence, disguised as the Colonial Office, sent me out in charge of a new Government College at Spanish Town, Jamaica. I had always been psychological, and in the space and leisure of the lazy Tropics I began to excogitate by slow degrees various expansive works on the science of mind, the greater number FICTION of which still remain unwritten. Returning to England in ‘76 I found myself out of work, and so committed to paper some of my views on the origin of the higher pleasure we derive from natural or artistic products; and I called my book ‘Physiological Æsthetics.’ It was not my very first attempt at literature; already I had produced about a hundred or more magazine articles on various philosophical and scientific subjects, every one of which I sent to the editors of leading reviews, and every one of which was punctually ‘Declined with thanks,’ or committed without even that polite formality to the editorial waste paper basket. Nothing daunted by failure, however, I wrote on and on, and made up my mind, in my interval of forced idleness, to print a book of my own at all hazards.
I wrote ‘Physiological Æsthetics’ in lodgings at Oxford. When it was finished and carefully revised, I offered it to Messrs. Henry S. King & Co., who were then leading publishers of philosophical literature. Mr. Kegan Paul, their reader, reported doubtfully of the work. It was not likely to pay, he said, but it contained good matter, and the firm would print it for me on the usual commission. I was by no means rich — for fear of exaggeration I am stating the case mildly — but I believed somehow in ‘Physiological Æsthetics.’ I was young then, and I hope the court of public opinion will extend to me, on that ground, the indulgence usually shown to juvenile offenders. But I happened to possess a little money just at that moment, granted me as compensation for the abolition of my office in Jamaica. Messrs. King reported that the cost of production (that mysterious entity so obnoxious to the soul of the Society of Authors) would amount to about a hundred guineas. A hundred guineas was a lot of money then; but, being young, I risked it. It was better than if I had taken it to Monte Carlo, anyway. So I wrote to Mr. Paul with heedless haste to publish away right off, and he published away right off accordingly. When the bill came in, it was, if I recollect aright, somewhere about 120l. I paid it without a murmur; I got my money’s worth. The book appeared in a stately green cover, with my name in front, and looked very philosophical, and learned, and psychological.
SCIENCE
Poor ‘Physiological Æsthetics’ had a very hard fate. When I come to look back upon the circumstances calmly and dispassionately now, I’m not entirely surprised at its unhappy end. It was a good book in its way, to be sure, though it’s me that says it as oughtn’t to say it, and it pleased the few who cared to read it; but it wasn’t the sort of literature the public wanted. The public, you know, doesn’t hanker after philosophy. Darwin, and Herbert Spencer, and the Editor of Mind, and people of that sort, tried my work and liked it; in point of fact, my poor little venture gained me at once, an unknown man, the friendship of not a few whose friendship was worth having. But financially, ‘Physiological Æsthetics’ was a dead failure; it wasn’t the sort of work to sell briskly at the bookstalls. Mr. Smith would have none of it. The reviews, indeed, were, almost without exception, favourable; the volume went off well for a treatise of its kind — that is to say, we got rid of nearly 300 copies; but even so, it left a deficit of some forty or fifty pounds to the bad against me. Finally, the remaining stock fell a victim to the flames in Mr. Kegan Paul’s historical fire, when many another stout volume perished: and that was the end of my magnum opus. Peace to its ashes! Mr. Paul gave me 15l. as compensation for loss sustained, and I believe I came out some 30l. a loser by this, my first serious literary venture. In all these matters, however, I speak from memory alone, and it is possible I may be slightly wrong in my figures.
But though ‘Physiological Æsthetics’ was a financial failure, it paid me in the end, both scientifically and commercially. Not only did it bring me into immediate contact with several among the leaders of thought in London, but it also made my name known in a very modest way, and induced editors — those arbiters of literary fate — to give a second glance at my unfortunate manuscripts. Almost immediately after its appearance, Leslie Stephen (I omit the Mr., honoris causa) accepted two papers of mine for publication in the Cornhill. ‘Carving a Cocoanut’ was the first, and it brought me in twelve guineas. That was the very first money I earned in literature. I had been out of work for months, the abolition of my post in Jamaica having thrown me on my beam-ends, and I was overjoyed at so much wealth poured suddenly in upon me. Other magazine articles followed in due course, and before long I was earning a modest — a very modest — and precarious income, yet enough to support myself and my family. Moreover, Sir William Hunter, who was then engaged on his gigantic ‘Gazetteer of India,’ gave me steady employment in his office at Edinburgh, and I wrote with my own hand the greater part of the articles on the North-West Provinces, the Punjaub, and Sind, in those twelve big volumes.
Meanwhile, I was hard at work in my leisure moments (for I have sometimes some moments which I regard as leisure) on another ambitious scientific work, which I called ‘The Colour-Sense.’ This book I published on the half-profits system with Trübner. Compared with my first unhappy venture, ‘The Colour-Sense’ might be counted a distinct success. It brought me in, during the course of about ten years, something like 25l. or 30l. As it only took me eighteen months to write, and involved little more than five or six thousand references, this result may be regarded as very fair pay for an educated man’s time and labour. I have sometimes been reproached by thoughtless critics for deserting the noble pursuit of science in favour of fiction and filthy lucre. If those critics think twenty pounds a year a sufficient income for a scientific writer to support himself and a growing family upon — well, they are perfectly at liberty to devote their own pens to the instruction of their kind without the slightest remonstrance or interference on my part.
I won’t detail in full the history of my various intermediate books, most of which were published first as newspaper articles, and afterwards collected and put forth on a small royalty. Time is short, and art is long, so I’ll get on at once to my first novel. I drifted into fiction by the sheerest accident. My friend, Mr. Chatto, most generous of men, was one of my earliest and staunchest literary supporters. From the outset of my journalistic days, he printed my articles in Belgravia and the Gentleman’s Magazine with touching fidelity; and I take this opportunity of saying in public that to his kindness and sympathy I owe as much as to anyone in England. Some people will have it there is no such thing as ‘generosity’ in publishers. I beg leave to differ from them. I know the commercial value of literary work as well as any man, and I venture to say that both from Mr. Chatto and from Mr. Arrowsmith, of Bristol, I have met, time and again, with what I cannot help describing as most generous treatment. One day it happened that I wanted to write a scientific article on the impossibility of knowing one had seen a ghost, even if one saw one. For convenience sake, and to make the moral clearer, I threw the argument into narrative form, but without the slightest intention of writing a story. It was published in Belgravia under the title of ‘Our Scientific Observations on a Ghost,’ and was reprinted later in my little volume of ‘Strange Stories.’ A little while after, to my immense surprise, Mr. Chatto wrote to ask me whether I could supply him with another story, like the last I had written, for the Belgravia Annual. I was rather taken aback at this singular request, as I hadn’t the slightest idea I could do anything at all in the way of fiction. Still, like a good journalist, I never refuse an order of any sort; so I sat down at once and wrote a tale about a mummy on the ghastliest and most approved Christmas number pattern. Strange to say, Mr. Chatto again printed it, and, what was still more remarkable, asked for more of the same description. From that time forth, I went on producing short stories for Belgravia; but I hardly took them seriously, being immersed at the time in biological study. I looked upon my own pretensions in the way of fiction as an amiable fad of my kind friend Chatto; and not to prejudice any little scientific reputation I might happen to have earned, I published them all under the carefully veiled pseudonym of ‘J. Arbuthnot Wilson.’
