How It Strikes a Contemporary
In the first place a contemporary can scarcely fail to be struck by the fact that two critics at the same table at the same moment will pronounce completely different opinions about the same book. Here, on the right, it is declared a masterpiece of English prose; on the left, simultaneously, a mere mass of waste-paper which, if the fire could survive it, should be thrown upon the flames. Yet both critics are in agreement about Milton and about Keats. They display an exquisite sensibility and have undoubtedly a genuine enthusiasm. It is only when they discuss the work of contemporary writers that they inevitably come to blows. The book in question, which is at once a lasting contribution to English literature and a mere farrago of pretentious mediocrity, was published about two months ago. That is the explanation; that is why they differ.
The explanation is a strange one. It is equally disconcerting to the reader who wishes to take his bearings in the chaos of contemporary literature and to the writer who has a natural desire to know whether his own work, produced with infinite pains and in almost utter darkness, is likely to burn for ever among the fixed luminaries of English letters or, on the contrary,
[319]
