第2章 FOREWORD(2)

Do we realize how far our town life and culture have got away from things that really matter; how instead of making civilization our handmaid to freedom we have set her heel on our necks, and under it bite dust all the time? Hudson, whether he knows it or not, is now the chief standard-bearer of another faith. Thus he spake in The Purple Land: "Ah, yes, we are all vainly seeking after happiness in the wrong way. It was with us once and ours, but we despised it, for it was only the old common happiness which Nature gives to all her children, and we went away from it in search of another grander kind of happiness which some dreamer--Bacon or another--assured us we should find. We had only to conquer Nature, find out her secrets, make her our obedient slave, then the Earth would be Eden, and every man Adam and every woman Eve. We are still marching bravely on, conquering Nature, but how weary and sad we are getting! The old joy in life and gaiety of heart have vanished, though we do sometimes pause for a few moments in our long forced march to watch the labours of some pale mechanician, seeking after perpetual motion, and indulge in a little, dry, cackling laugh at his expense." And again: "For here the religion that languishes in crowded cities or steals shamefaced to hide itself in dim churches flourishes greatly, filling the soul with a solemn joy.

Face to face with Nature on the vast hills at eventide, who does not feel himself near to the Unseen?

"Out of his heart God shall not passHis image stamped is on every grass."All Hudson's books breathe this spirit of revolt against our new enslavement by towns and machinery, and are true oases in an age so dreadfully resigned to the "pale mechanician."But Hudson is not, as Tolstoi was, a conscious prophet; his spirit is freer, more willful, whimsical--almost perverse--and far more steeped in love of beauty. If you called him a prophet he would stamp his foot at you--as he will at me if he reads these words; but his voice is prophetic, for all that, crying in a wilderness, out of which, at the call, will spring up roses here and there, and the sweet-smelling grass. I would that every man, woman, and child in England were made to read him; and Iwould that you in America would take him to heart. He is a tonic, a deep refreshing drink, with a strange and wonderful flavour; he is a mine of new interests, and ways of thought instinctively right. As a simple narrator he is well-nigh unsurpassed; as a stylist he has few, if any, living equals. And in all his work there is an indefinable freedom from any thought of after- benefit- -even from the desire that we should read him.

He puts down what he sees and feels, out of sheer love of the thing seen, and the emotion felt; the smell of the lamp has not touched a single page that he ever wrote. That alone is a marvel to us who know that to write well, even to write clearly, is a wound business, long to learn, hard to learn, and no gift of the angels. Style should not obtrude between a writer and his reader; it should be servant, not master. To use words so true and simple that they oppose no obstacle to the flow of thought and feeling from mind to mind, and yet by juxtaposition of word-sounds set up in the recipient continuing emotion or gratification--this is the essence of style; and Hudson's writing has pre-eminently this double quality. From almost any page of his books an example might be taken. Here is one no better than a thousand others, a description of two little girls on a beach:

"They were dressed in black frocks and scarlet blouses, which set off their beautiful small dark faces; their eyes sparkled like black diamonds, and their loose hair was a wonder to see, a black mist or cloud about their heads and necks composed of threads fine as gossamer, blacker than jet and shining like spun glass--hair that looked as if no comb or brush could ever tame its beautiful wildness. And in spirit they were what they seemed: such a wild, joyous, frolicsome spirit, with such grace and fleetness, one does not look for in human beings, but only in birds or in some small bird-like volatile mammal--a squirrel or a spider-monkey of the tropical forest, or the chinchilla of the desolate mountain slopes; the swiftest, wildest, loveliest, most airy, and most vocal of small beauties." Or this, as the quintessence of a sly remark: "After that Mantel got on to his horse and rode away. It was black and rainy, but he had never needed moon or lantern to find what he sought by night, whether his own house, or a fat cow--also his own, perhaps." So one might go on quoting felicity for ever from this writer. He seems to touch every string with fresh and uninked fingers; and the secret of his power lies, I suspect, in the fact that his words:

"Life being more than all else to me . . ." are so utterly true.

I do not descant on his love for simple folk and simple things, his championship of the weak, and the revolt against the cagings and cruelties of life, whether to men or birds or beasts, that springs out of him as if against his will; because, having spoken of him as one with a vital philosophy or faith, I don't wish to draw red herrings across the main trail of his worth to the world. His work is a vision of natural beauty and of human life as it might be, quickened and sweetened by the sun and the wind and the rain, and by fellowship with all the other forms of life--the truest vision now being given to us, who are more in want of it than any generation has ever been. A very great writer;and--to my thinking--the most valuable our age possesses.

JOHN GALSWORTHY