but drifting phantoms. When he walked the sunlit streets, his grotesque shadow pursued by laughter, he hurried to mythical appointments, moved in shadowy markets, and trafficked in thin air. At the end of the day, after being urged here and there by his lively fancy, doubtless he returned home as tired and as well-content with his day’s unsubstantial labour as any sober man of business; sometimes maybe he would return elated, at others mortified, for there must be triumphs and grievous losses even in this matter of pursuing phantoms. Then, in the evening, his crook laid aside, perhaps he would make his plans for the next day; but what such plans could be, no man can imagine, for they must be dreams within a dream and shadows of a shadow. So he would pass his time, hurting no man, his life, like that of all such quaint fellows, only marred by loneliness. Nor would he lack a companion, supposing his present whimsy holds, if I had my way; for somewhere in a large and dirty city there is a sheepdog that I once knew, a dog that had never known the life it was meant to lead, never seen the hills with the sheep scattered upon them, and yet, in the yard of a warehouse, it spent its days herding invisible sheep, running round bales and barking furiously at barrels. Were that dog mine, the crazy shepherd should have him, so that the two might walk the streets together, happily pursuing their mythical flocks and otherwise busying themselves in their dream-pastures.

The maggots of the brain are not to be enumerated and labelled: what led this harmless fellow to such fantasies, no man can know. Perhaps after the sudden stroke of fortune sent his wits wandering he had been mastered by some old thought, some half-forgotten protest against the drab formlessness of labour in our day, against the absence of any marks of distinction between men of one trade and men of another; he had reverted to a more ordered clear-cut time, when every man was stamped with the sign of one or other of the ancient industries. Only in some such way, can one attempt to explain this strange masquerade of his. He has his own vision of life, his own idea of that poetry which transfigures the mechanism of blood and bone; and I trust that he will be left to himself to go his own way, for when he is weary of a shepherd’s life, there are still many time-old tradesmen, from tinker to tailor, that he can personate. Nor will it be long before I see him again, caring little whether he is still a shepherd or metamorphosed into a fisherman or cobbler, so long as he is still with us, going his own fantastic gait.

AUDACITY IN AUTHORSHIP

THERE is one certain characteristic of contemporary literature which everyone must have remarked, but to which it is very difficult to give a name. It is straining language to call it this or that quality; yet a name it must have, and Audacity will do as well as another. At the worst, it is more than audacity, it is downright impudence; at the best, it becomes engaging sauciness, youth pirouetting to the breakfast-table, or rises to magnificent unwisdom and shows us, once again, the bright fool darting before the van of the angels. It must not, however, be confused with stark originality, which presents us with the strange shape of some creature new to this world, and which is far above mere audacity. There are many ways in which a writer may approach his audience: he may seem to let us overhear him, may seem to meditate aloud, in the manner of Pater; he may take us into a corner and pour out a stream of confessions and confidences, in the manner of Hazlitt; or thrust us into the darkness and belabour us back again into the light, in the manner of Carlyle; there are these and a score of other ways, but the most of them are going out of fashion. It is all ‘Boot, Saddle and Away!’ with so many of our writers now, and we, as unoffending readers, are continually harassed by the sallies of these wild horsemen. No longer are we to be soothed, cajoled, fascinated or awed; unless we are shocked or irritated, the trick fails. We must be surprised by one or two great blows, or goaded into admiration by a thousand pinpricks. We must all play the part of poor, elderly, disapproving relatives, while our authors strut about as wild young nephews, who expect nothing from us but unwilling admiration and envious side-glances. Never was there such bravery at the end of a pen.

What then, one asks, are the signs and marks of audacity in literature by which it can be recognised in this place or that. They are countless. The ramifications of this fantastic growth cannot be traced; it blossoms so wantonly, drops such strange fruit, that a man has already seen it everywhere, or almost everywhere, or is by nature blind to it, having perhaps been nourished upon it, and knowing nothing else. It comes out in so many different ways that only a few can be noticed here. When a writer shows undisguised contempt for his readers, as so many writers do, then audacity is degenerating into sheer impudence. This sort of contempt is usually shown in two ways: firstly, by supreme carelessness in matter, as if to suggest that the very dregs of our author’s mind are good enough for his particular audience, and perhaps better than the best of his fellow authors’ brains; secondly, by supreme carelessness in manner, as if one were to receive callers in a greasy dressing-gown. Persistently to attack the cherished illusions of the reading public or to run athwart the accepted morals of the time, are tricks that will bring their own rewards while audacity is in the ascendant; but they are not lasting. A modern dramatist who has made much capital out of these tricks must be puzzling his brains now to know what to do with a generation that has no illusions left. Again, one of our novelists who has played the naughty young man from Paris for some thirty-odd years, now finds himself regarded as a respectable elderly man-of-letters. To many, Bernard Shaw’s Life-Force seems a sentimental crotchet, and George Moore’s earlier works seem more fatuous than disreputable. If, however, there are enough of the disillusioned to make an audience, a writer who knows the value of audacity will not hesitate to swing back the pendulum by defending the old prejudices with all the force at his command. This may be the clue to the audacity of G. K. Chesterton, who has spent his time declaiming against the only people who can understand and enjoy him. Again, the characteristic may take other unwelcome forms that bring it near to impudence, as for example in the work of men who gain the ear of the public in one capacity, and then insist upon acting in another, as when a good teller of tales turns without warning into a philosopher or prophet: it is as if M. Pachmann were to ignore the piano before him and treat his audience to a few fumbling conjuring tricks. Moreover, to pronounce judgment on matters about which one knows nothing is to carry audacity to doubtful lengths. Criticism offers, and has always offered, a good field for the audacious, but a great many of us now tend to abuse our freedom. Without knowing a word of Italian and Portuguese, a man will undertake to write twenty essays proving that Camoens was a better poet than Tasso. And of late it seems that audacity of the baser sort has invaded the realm of verse; every day, our poets are more startling, though not so startling as their friends and critics.

Looking about then, with no unfriendly eye, we shall discover that audacity, not of the worst kind, is to be found in much of the best known work of to-day. It is not everywhere: there is little or no trace of it in the work of Hardy, Bridges, Henry James, Conrad, W. H. Hudson, Galsworthy, Maurice Hewlett, to name only a few. But elsewhere, though mingled with other finer qualities, there is no lack of it. It takes many strange shapes, and can be discovered