Freely and sportively bombinating

A month ago I finished Charlotte Brontë’s vastly underrated first novel The Professor, which she completed at 31 but could never get published; her husband Arthur Bell Nichols finally got it out two years after her death, in 1857.

This week I happened to pick up Aldous Huxley’s first, Crome Yellow (1921), which he published at 27. It is just as forgotten and just as brilliant, and the critics have been just as wrong about both.

Each is dense with learning, psychological insight, and piercing characterization. (Each taught me several new words—indurated comes to mind in Brontë, pullulation in Huxley. At least 5% of The Professor is in French.) Both fell out of favor in part due to the facile charge of plotlessness—as if all the talking and thinking and feeling at work in them were not forms of action. Both feature intelligent men in their twenties who take a special interest in language and, of course, fall in love. And both partake of the satirical, but not relentlessly so; the authors clearly see something of themselves in their protagonists, though even they are not spared. I winced in self-recognition at several moments in each.

Brontë’s prose is purpler, more earnest and romantic: it frequently climbs to high and impassioned registers, but never loses contact with its undertone of intelligence. Writing on the other side of the Great War, Huxley, of course, would blush at such rapturous profusion, though I’d like to think he would admire its freshness. He is instead tersely witty, more straightforwardly and charmingly comic, at times virtually slapstick. (Chapter 1 ends, “He would take them by surprise.” Chapter 2 begins, “He took nobody by surprise; there was nobody to take.” [I’m not sure there’s a six-word sentence anywhere in Brontë.] In probably the funniest scene in the novel, our hero waxes romantic and at length about the beauty of the word carminative, only to have his ego—quite aptly—deflated, when he finally learns what it means. It is the most alembicated fart joke that has ever been told.) His monikers evoke Saki and Wodehouse: there is a Priscilla Whimbush, a Mr. Barbecue-Smith. But most of his humor operates quietly, by the irony of rhythm and understatement—as tight-lipped and corseted as the aristocrats he spoofs. The joke is all the richer because we are proud to have noticed it.

An unsigned review in the Times Literary Supplement, November 10, 1921, reprinted in Aldous Huxley: The Critical Heritage, edited by Donald Watt:

“I am tired of seeing the human mind bogged in a social plenum; I prefer to paint it in a vacuum, freely and sportively bombinating.” The plan was ascribed to a fabulous author in Crome Yellow, by Mr. Aldous Huxley. A vacuum is suggested by the rarefied seclusion of his fantastic coutnry house, where a small group of human beings reveal their amusingly simplified traits. But the void is, judiciously, not quite complete. The tone of Mr. Huxley’s story matches the title and the covers; it is a rich, full yellow, which suggests the exhilarating glow of summer and the answering temperature of mind. In this atmosphere the characters bombinate, so far as the heat allows. On the high towers of Crome by starlight (Mr. Huxley will explain in whimsical fashion why they were so absurdly tall), in the cool shadows of the granary, along the deep yew alleys by the swimming pool, the transitory action passes; while the things that are not done (so often more important than those that are) bubble in the mind, betray themselves in spontaneous gestures, or float down the stream of talk.

Mr. Huxley’s personages are drawn with an extreme verve of crispness; in fact the merit of his comedy is that it becomes always more amusing as it grows. Little Mary Bracegirdle, with the earnest blue eyes and bell of short hold hair, would be very tiresome if she talked much of her “repressions”; so she is confined, for the most part, to simple and fatal acts. Mr. Scogan, on the other hand, whose forte is a dry, racy monologue which drones at intervals beneath the bombination, is enlivening for just so long as he would naturally be; only near the end is he revealed in the full colours of a bore. The way in which Mr. Huxley manoeuvres his party, displaying them by adroitly contrasted little scenes, has a good deal of Anatole France’s touch; and it is quite in the manner of that master to stay the narrative which a choice extract from the family records or a fuliginous sermon on the Second Advent by the vicar. Mr. Huxley suggests the same tone, too, by his rich converse with books, and by the “direct action” of the younger members of the party, which puts ideas to rout. But then the master himself, though he is steeped in knowledge and plays with contemporary follies, never leaves us with a notion that he limited by fashions or by culture. Of Mr. Huxley we do not feel quite so sure; like his Henry Wimbush, who remarks at a village dance that “if all these people were dead this festivity would be extremely agreeable”—for then one could simply romantically read about them—he almost invites us to believe that the proper study of mankind is books. Almost; but not quite; for in Denis, the hero of this little story, through whose eyes we see most of it, the tragi-comedy of adolescence becomes really poignant at the end. The stroke which ruined Denis’s hopes and chances was something that went deeper than his love-affair; it was the discovery, in a humiliating form, that there was a real world of remorseless and self-centered persons which impinged on his own crystal world of illusions and ideas. This shock gives the point to Mr. Huxley’s fantasy, which is so engaging that we hardly wish it other than it is; all we miss is a certain feeling of assurance that he is using his imagination freely for himself.

From Watt’s introduction to The Critical Heritage:

For Aldous Huxley (1894–1963) life and music shared a common quality: they could each be described as a simultaneity of co-existing incompatibles. The same description may be applied to the critical reception of Huxley’s work. He was hailed as an emancipator of the modern mind and condemned as an irresponsible free-thinker; celebrated as a leading intelligence of his age and denounced as an erudite show-off; admired as the wittiest man of his generation and dismissed as a clever misanthrope. A few pages of his writing or half a career served equally to evoke the incompatible opinions. Opening the cover of Point Counter Point, Wyndham Lewis objected to a “tone of vulgar complicity with the dreariest of suburban library-readers,” while André Maurois discovered in the same opening pages scenes “worth of the great Russians.” In 1933 C. P. Snow claimed that Huxley “ought to seem the most significant English novelist of his day”, while G. K. Chesterton quipped: “[He] is ideally witty; but he is at his wit’s end.”

Huxley’s writing, both the fiction and the nonfiction, provoked controversy at almost every stage. Those very features of his work which drew most praise—the scientific contexts, the detached irony, the panoply of startling ideas—provided as often as not evidence which his critics felt could be used against him. The Huxley critical heritage is a history of vigorous contention spurred by not always equal shares of insight and misunderstanding.

At the center of that history was Huxley’s own peculiar approach to fiction, what George Catlin called “that strange mutt of literature,” the “novel of ideas.” The term provided at most a sketchy description of Huxley’s books, but his critics were at a loss to suggest anything better. His attitude toward fiction seemed to casual and iconoclastic. “There aren’t any divinely laid down canons of the novel,” he asserted. “All you need is to be interesting.” Huxley’s novels flaunted those conventions of logical realism followed faithfully by older writers, such as John Galsworthy and Arnold Bennett. Accordingly, his younger audience in the 1920s found him refreshing: “By comparison, most other contemporary writers seemed stuffy, unenlightened, old-fashioned.” But at the same time his writing appeared to defy the new authoritative view of fiction as an organic art form which had evolved through the influence of Flaubert and Henry James. Developing standards of criticism in the earlier twentieth century were deeply affected by Jamesian aesthetics, by Bloomsbury’s belief in the autonomy of art, and by a severely formalist approach to literature. Huxley’s practice of the novel ran counter to these trends: “From a Jamesian perspective that insisted on rigidly delimiting a fictional world through a filtering consciousness with which the reader was asked to identify but could never wholly rely on, Huxley the novelist was inevitably unsatisfactory” (Firchow). To many observers the failure of Huxley’s fiction either to adopt a traditional posture or to adhere to a formalist criterion meant that he was stuck in an untenable sort of writing which hovered indecisively between the novel and the essay.

Huxley’s critics were slow to realize that he held a different concept of fiction. Like Quarles in Point Counter Point, he readily admitted the problems he had in creating conventional plots: “I don’t think of myself as a congenital novelist—no. For example, I have great difficulty in inventing plots. Some people are born with an amazing gift for storytelling; it’s a gift which I’ve never had at all” (Paris Review interview). But the telling of stories, for Huxley, was only a small part of what fiction could accomplish. He wrote to Eugene Saxton on 24 May 1933: “I probably have an entirely erroneous view about fiction. For I feel about fiction as Nurse Cavell felt about patriotism: that it is not enough.” The popular style of fiction written by Dumas, Scott, or Stevenson could not satisfy Huxley. Also, as much as he appreciated Arnold Bennett’s friendship and advice, he recoiled from the elaborate realism of books like Riceyman Steps. Throughout his life Huxley sought to write another kind of fiction. “My own aim,” he told an early interviewer, “is to arrive, technically, at a perfect fusion of the novel and the essay, a novel in which one can put all one’s ideas, a novel like a hold-all” (Maraini). The drive to synthesize multifarious attitudes towards life moved Huxley to develop an integrative approach to fiction which in its breadth, he hoped, would transcend the limits of purist art. In this radically charged sense Huxley believed that fiction, along with biography and history, “are the forms”:

My goodness, Dostoevski is six times as profound as Kierkegaard, because he writes fiction. In Kierkegaard you have this Abstract Man going on and on—like Coleridge—why, it’s nothing compared with the really profound Fictional Man, who has always to keep these tremendous ideas alive in a concrete form. In fiction you have the reconciliation of the absolute and the relative, so to speak, the expression of the general in the particular. And this, it seems to me, is the exciting thing—both in life and in art.

A dozen things at once

H. L. Mencken on Brahms, from A Mencken Chrestomathy:

More than any other art, perhaps, music demands brains. It is full of technical complexities. It calls for a capacity to do a dozen things at once. But most of all it is revelatory of what is called character. When a trashy man writes it, it is trashy music. Here is where the immense superiority of such a man as Brahms becomes manifest. There is less trashiness in his music than there is in the music of any other man ever heard of, which the sole exception, perhaps, of Johann Sebastian Bach. It was simply impossible for him, at least after he had learned his trade, to be obvious or banal. He could not write even the baldest tune without getting into it something of his own high dignity and profound seriousness; he could not play with that tune, however light his mood, without putting an austere and noble stateliness into it. Hearing Brahms, one never gets any sense of being entertained by a clever mountebank. One is facing a superior man, and the fact is evident from the first note. I give you his “Deutches Requiem” as an example. There is no hint of what is commonly regarded as religious feeling in it. Brahms, so far as I know, was not a religious man. Nor is there the slightest sign of the cheap fustian of conventional patriotism. Nevertheless, a superb emotion is there—nay, an overwhelming emotion. The thing is irresistibly moving. It is moving because a man of the highest intellectual dignity, a man of exalted feelings, a man of brains, put into it his love for and pride in his country.

But in music emotion is only half the story. Mendelssohn had it, and yet he belongs to the second table. Nor is it a matter of mere beauty—that is, of mere sensuous loveliness. If it were, then Dvorak would be greater than Beethoven, whose tunes are seldom inspired, and who not infrequently does without them altogether. What makes great music is simply the thing I have mentioned: brains. The greatest musician is a man whose thoughts and feelings are above the common level, and whose language matches them. What he has to say comes out of a wisdom that is not ordinary. Platitude is impossible to him. Above all, he is master of his craft, as opposed to his art. He gets his effects in new, difficult and ingenious ways—and they convince one instantly that they are inevitable. One can easily imagine improvements in the human eye, and in the Alps, and in the art of love, and even in the Constitution, but one cannot imagine improvement in the first movement of the Eroica.

On music’s “technical complexities,” compare C. P. E. Bach’s foreword to the Part One of Versuch über die wahre Art das Clavier zu spielen:

Keyboard instruments have many merits, but are beset by just as many difficulties. Were it necessary, their excellence would be easy to prove, for in them are combined all the individual features of many other instruments. Full harmony, which requires three, four, or more other instruments, can be expressed by the keyboard alone. And there are many similar advantages. At the same time, who is not aware of the many demands that are made upon it; how it is considered insufficient for the keyboardist merely to discharge the normal task of every executant, namely, to play in accordance with the rules of good performance compositions written for his instrument? How, beyond this, he must be able to improvise fantasias in all styles, to work out extemporaneously any requested setting after the strictest rules of harmony and melody; how we must be at home in all keys and transpose instantly and faultlessly; and play everything at sight whether designed for his instrument or not; how he must have at his command a comprehensive knowledge of thorough bass which he must play with discrimination, often departing from the notation, sometimes in many voices, again in few, strictly as well as in the galant manner, from both excessive and insufficient symbols, or unfigured and incorrectly figured bases; how he must often extract this thorough bass from large scores with unfigured or even pausing basses (when other voices serve as harmonic fundament) and with it reinforce the ensemble; and who knows how many other things? All this must be done competently, often on an unfamiliar instrument which has not been tested to determine whether it is good or bad, whether it is playable or not, in which latter case extenuation is but rarely granted. On the contrary, it can be expected that, normally, improvisations will be solicited without anyone’s being concerned whether the performer is in the proper mood, and if he is not, without any effort being made to create or maintain the proper disposition by providing a good instrument.

Notwithstanding these demands, the keyboard has always found its admirers, as well it might. Its difficulties are not enough to discourage the study of an instrument whose superior charms are ample compensation for attendant time and trouble. Moreover, not all amateurs feel obliged to fulfill all of the requirements. They satisfy as many of them as they care to or as their innate talents permit.

And on the relation between art and character (and the characteristically judgmental flair of Mencken’s prose), compare Auden’s remarks in “De Droite et de Gauche,” translated by Richard Howard:

Judging a work of art is virtually the same mental operation as judging human beings, and requires the same aptitudes: first, a real love of works of art, an inclination to praise rather than blame, and regret when a complete rejection is required; second, a vast experience of all artistic activities; and last, an awareness, openly and happily accepted, of one’s own prejudices. Some critics fail because they are pedants whose ideal of perfection is always offended by a concrete realization. Others fail because they are insular and hostile to what is alien to them; these critics, yielding to their prejudices without knowing they have them and sincerely offering judgments they believe to be objective, are more excusable than those who, aware of their prejudices, lack the courage to enter the lists to defend their personal tastes.

The best literary critic is not the one whose judgments are always right but the one whose essays compel you to read and reread the works he discusses; even when he is hostile, you feel that the work attacked is important enough to be worth the effort. There are other critics who, even when they praise a book, cancel any desire you might have to read it.

There are so many words!

Tim Parks on Ann Goldstein’s new translation of Elsa Morante’s L’isola di Arturo, in the London Review of Books (August 15, 2019):

In the interview with Publishers Weekly Goldstein explains that she came to translate Arturo’s Island because her publisher had so enjoyed collaborating with her on the complete works of Primo Levi that he wanted to work with her again. ‘He looked into the Morante situation and this was the one that was available.’ Coming after ‘“Ferrante fever”, it seemed like this was a good time for translating Italian women writers.’ Perhaps she wasn’t aware of Morante’s complaint that ‘the generic concept of women writers as a separate category harks back to the society of the harem.’ In short, translator and writer were not matched by elective affinity. Goldstein found the novel ‘astonishing and difficult’. ‘Morante’s sentences are very complicated and full of words – there are so many words!’ Indeed. Putting her version down, one’s feeling is that many of them eluded her, and that this fine novel is yet to be captured in English.

Writings, which are endless

From the translators’ eleven-page preface to the authorized, 1611 version of the King James Bible, surely the finest such preface ever penned—as fiercely defensive as it is consummately learned, and as beautiful as it is radical; it is impossible to imagine a more urgent or eloquent plea for translation:

Zeal to promote the common good, whether it be by devising any thing ourselves, or revising that which hath been labored by others, deserveth certainly much repect and esteem, but yet findeth but cold entertainment in the world. It is welcomed with suspicion instead of love, and with emulation in stead of thanks: and if there be any hole left for cavil to enter, (and cavil, if it do not find an hole, will make one) it is sure to be misconstrued, and in danger to be condemned. This will easily be granted by as many as know story, or have experience. For was there ever any thing projected, that favoured any way of newness or renewing but the same endured many a storm of gainsaying or opposition? A man would think that civility, wholesome laws, learning and eloquence, synods, and Church maintenance, (that we speak of no more things of this kind) should be as safe as a sanctuary, and out of shot, as they say, that no man would lift up his heel, no, nor dog move his tongue against the motioners of them. For by the first we are distinguished from brute beasts led with sensuality: by the second we are bridled and restrained from outrageous behaviour, and from doing of injuries, whether by fraud or by violence: by the third we are enabled to inform and reform others by the light and feeling that we have attained unto ourselves: briefly, by the fourth, being brought together to a parley face to face, we sooner compose our differences, than by writings, which are endless: and lastly that the Church be sufficiently provided for is so agreeable to good reason and conscience, that those mothers are holden to be less cruel, that kill their children as soon as they are born, than those nursing fathers and mothers, (wheresoever they be) that withdraw from them who hang upon their breasts (and upon whose breasts again themselves do hang to receive the spiritual and sincere milk of the word) livelihood and support fit for their estates. Thus it is apparent, that these things which we speak of are of most necessary use, and therefore that none, either without absurdity can speak against them, or without note of wickedness can spurn against them.


But now what piety without truth? What truth, what saving truth, without the word of God? What word of God whereof we may be sure, without the Scripture? The Scriptures we are commanded to search, John v. 39. Isai. viii. 20. They are commended that searched and studied them, Acts xvii. n . and viii. 28, 29. They are reproved that were unskilful in them, or slow to believe them, Matt. xxii. 29. Luke xxiv. 25. They can make us wise unto salvation, 2 Tim. iii. 15. If we be ignorant, they will instruct us; if out of the way, they will bring us home; if out of order, they will reform us; if in heaviness, comfort us; if dull, quicken us; if cold, inflame us. Tolle, lege; tolle, lege. Take up and read, take up and read the Scriptures, (for unto them was the direction,) it was said unto St Augustine by a supernatural voice. Whatsoever is in the Scriptures, believe me, saith the same St  Augustine, is high and divine; there is verily truth, and a doctrine most fit for the refreshing and renewing of men’s minds, and truly so tempered, that every one may draw from thence that which is sufficient for him, if he come to draw with a devout and pious mind, as true religion requireth. Thus St Augustine. And St Hierome, Ama Scripturas, et amabit te sapientia, &c. Love the Scriptures, and wisdom will love thee. And St Cyrill against Julian, Even boys that are bred up in the Scriptures become most religious, &c. But what mention we three or four uses of the Scripture, whereas whatsoever is to be believed, or practised, or hoped for, is contained in them? or three or four sentences of the Fathers, since whosoever is worthy the name of a Father, from Christ’s time downward, hath likewise written not only of the riches, but also of the perfection of the Scripture? I adore the fulness of the Scripture, saith Tertullian against Hermogenes. And again, to Apelles an heretick of the like stamp he saith, I do not admit that which thou bringest in (or concludest) of thine own (head or store, de tuo) without Scripture. So St Justin Martyr before him; We must know by all means (saith he) that it is not lawful (or possible) to learn (any thing) of God or of right piety, save only out of the Prophets, who teach us by divine inspiration. So St Basil after Tertullian, It is a manifest falling away from the faith, and a fault of presumption, either to reject any of those things that are written, or to bring in (upon the head of them, ἐ εισάγεῖν) any of those things that are not written. We omit to cite to the same effect St Cyrill Bishop of Jerusalem in his 4. Catech. St Hierome against Helvidius, St Augustine in his third book against the letters of Petilian, and in very many other places of his works. Also we forbear to descend to later Fathers, because we will not weary the reader. The Scriptures then being acknowledged to be so full and so perfect, how can we excuse ourselves of negligence, if we do not study them? of curiosity, if we be not content with them? Men talk much of εἰρεσιώνη, how many sweet and goodly things it had hanging on it; of the Philosopher’s stone, that it turneth copper into gold; of Cornu-copia, that it had all things necessary for food in it; of Panaces the herb, that it was good for all diseases; of Catholicon the drug, that it is instead of all purges; of Vulcan’s armour, that it was an armour of proof against all thrusts and all blows, &c. Well, that which they falsely or vainly attrib- uted to these things for bodily good, we may justly and with full measure ascribe unto the Scripture for spiritual. It is not only an armour, but also a whole armoury of weapons, both offensive and defensive; whereby we may save ourselves, and put the enemy to flight. It is not an herb, but a tree, or rather a whole paradise of trees of life, which bring forth fruit every month, and the fruit thereof is for meat, and the leaves for medicine. It is not a pot of Manna, or a cruse of oil, which were for memory only, or for a meal’s meat or two; but, as it were, a shower of heavenly bread sufficient for a whole host, be it never so great, and, as it were, a whole cellar full of oil vessels; whereby all our necessities may be provided for, and our debts discharged. In a word, it is a panary of wholesome food against fenowed traditions; a physician’s shop (as St Basil calls it) of preservatives against poisoned heresies; a pandect of profitable laws against rebellious spirits; a treasury of most costly jewels against beggarly rudiments; finally, a fountain of most pure water springing up unto everlasting life. And what marvel? the original thereof being from heaven, not from earth; the author being God, not man; the inditer, the Holy Spirit, not the wit of the Apostles or Prophets; the penmen, such as were sanctified from the womb, and endued with a principal portion of God’s Spirit; the matter, verity, piety, purity, uprightness; the form, God’s word, God’s testimony. God’s oracles, the word of truth, the word of salvation, &c., the effects, light of under- standing, stableness of persuasion, repentance from dead works, newness of life, holiness, peace, joy in the Holy Ghost; lastly, the end and reward of the study thereof, fellowship with the saints, participation of the heavenly nature, fruition of an inheritance immortal, undefiled, and that never shall fade away. Happy is the man that delighteth in the Scripture, and thrice happy that meditateth in it day and night.

But how shall men meditate in that which they cannot understand? How shall they understand that which is kept close in an unknown tongue? as it is written, Except I know the power of the voice, I shall be to him that speaketh a barbarian, and he that speaketh shall be a barbarian to me. The Apostle excepteth no tongue; not Hebrew the ancientest, not Greek the most copious, not Latin the finest. Nature taught a natural man to confess, that all of us in those tongues which we do not understand are plainly deaf; we may turn the deaf ear unto them. The Scythian counted the Athenian, whom he did not understand, barbarous: so the Roman did the Syrian, and the Jew: (even St Hierome himself calleth the Hebrew tongue barbarous; belike, because it was strange to so many:) so the Emperor of Constantinople calleth the Latin tongue barbarous, though Pope Nicolas do storm at it: so the Jews long before Christ called all other nations Lognasim, which is little better than barbarous. Therefore as one complaineth that always in the Senate of Rome there was one or other that called for an interpreter; so lest the Church be driven to the like exigent, it is necessary to have translations in a readiness. Translation it is that openeth the window, to let in the light; that breaketh the shell, that we may eat the kernel; that putteth aside the curtain, that we may look into the most holy place; that removeth the cover of the well, that we may come by the water; even as Jacob rolled away the stone from the mouth of the well, by which means the flocks of Laban were watered. Indeed without translation into the vulgar tongue, the unlearned are but like children at Jacob’s well (which was deep) without a bucket or something to draw with: or as that person mentioned by Esay, to whom when a sealed book was delivered with this motion, Read this, I pray thee, he was fain to make this answer, I cannot, for it is sealed.

Where earth is forgotten

The opening of Thomas de Quincey’s review of The Works of Alexander Pope, Esquire in the North British Review (August 1848):

Every great classic in our native language should from time to time be reviewed anew; and especially if he belongs in any considerable extent to that section of the literature which connects itself with manners; and if his reputation originally, or his style of composition, is likely to have been much influenced by the transient fashions of his own age. The withdrawal, for instance, from a dramatic poet, or a satirist, of any false luster which he has owed to his momentary connection with what we may call the personalities of a fleeting generation, or of any undue shelter to his errors which may have gathered round them from political bias, or from intellectual infirmities amongst his partisans, will sometimes seriously modify, after a century or so, the fairest original appreciation of a fine writer. A window composed of Claude Lorraine glasses spreads over the landscape outside a disturbing effect, which not the most practiced eye can evade. The eidola theatri affect us all. No man escapes the contagion from his contemporary bystanders.

As books multiply to an unmanageable excess, selection becomes more and more a necessity for readers, and the power of selection more and more a desperate problem for the busy part of readers. The possibility of selecting wisely is becoming continually more hopeless as the necessity for selection is becoming continually more pressing. Exactly as the growing weight of books overlays and stifles the power of comparison, pari passu is the call for comparison the more clamorous; and thus arises a duty correspondingly more urgent of searching and revising until everything spurious has been weeded out from amongst the Flora of our highest literature, and until the waste of time for those who have so little at their command is reduced to a minimum. For, where the good cannot be read in its twentieth part, the more requisite it is that no part of the bad should steal an hour of the available time; and it is not to be endured that people without a minute to spare should be obliged first of all to read a book before they can ascertain whether in fact it is worth reading. The public cannot read by proxy as regards the good which it is to appropriate, but it can as regards the poison which it is to escape. And thus, as literature expands, becoming continually more of a household necessity, the duty resting upon critics (who are the vicarious readers for the public) becomes continually more urgent — of reviewing all works that may be supposed to have benefited too much or too indiscriminately by the superstition of a name. The praegustatores should have tasted of every cup, and reported its quality, before the public call for it; and, above all, they should have done this in all cases of the higher literature — that is, of literature properly so called.

What is it that we mean by literature? Popularly, and amongst the thoughtless, it is held to include everything that is printed in a book. Little logic is required to disturb that definition. The most thoughtless person is easily made aware that in the idea of literature one essential element is some relation to a general and common interest of man — so that what applies only to a local, or professional, or merely personal interest, even though presenting itself in the shape of a book, will not belong to literature. So far the definition is easily narrowed; and it is as easily expanded. For not only is much that takes a station in books not literature; but inversely, much that really is literature never reaches a station in books. The weekly sermons of Christendom, that vast pulpit literature which acts so extensively upon the popular mind — to warn, to uphold, to renew, to comfort, to alarm — does not attain the sanctuary of libraries in the ten-thousandth part of its extent. The drama again — as, for instance, the finest of Shakespeare’s plays in England, and all leading Athenian plays in the noontide of the Attic stage — operated as a literature on the public mind, and were (according to the strictest letter of that term) published through the audiences that witnessed their representation some time before they were published as things to be read; and they were published in this scenical mode of publication with much more effect than they could have had as books during ages of costly copying or of costly printing.

Books, therefore, do not suggest an idea coextensive and interchangeable with the idea of literature; since much literature, scenic, forensic, or didactic (as from lecturers and public orators) , may never come into books, and much that does come into books may connect itself with no literary interest. But a far more important correction, applicable to the common vague idea of literature is to be sought not so much in a better definition of literature as in a sharper distinction of the two functions which it fulfils. In that great social organ which, collectively, we call literature, there may be distinguished two separate offices that may blend and often do so, but capable, severally, of a severe insulation, and naturally fitted for reciprocal repulsion. There is, first, the Literature of Kowledge; and, secondly, the Literature of Power. The function of the first is — to teach; the function of the second is — to move: the first is a rudder; the second, an oar or a sail. The first speaks to the mere discursive understanding; the second speaks ultimately, it may happen, to the higher understanding or reason, but always through affections of pleasure and sympathy. Remotely, it may travel towards an object seated in what Lord Bacon calls dry light; but, proximately, it does and must operate — else it ceases to be a Literature of Power — on and through that humid light which clothes itself in the mists and glittering iris of human passions, desires, and genial emotions. Men have so little reflected on the higher functions of literature as to find it a paradox if one should describe it as a mean or subordinate purpose of books to give information. But this is a paradox only in the sense which makes it honorable to be paradoxical. Whenever we talk in ordinary language of seeking information or gaining knowledge, we understand the words as connected with something of absolute novelty. But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds: it exists eternally by way of germ or latent principle in the lowest as in the highest, needing to be developed, but never to be planted. To be capable of transplantation is the immediate criterion of a truth that ranges on a lower scale. Besides which, there is a rarer thing than truth — namely, power, or deep sympathy with truth. What is the effect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration, which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven — the frailty, for instance, which appeals to forbearance, the innocence which symbolizes the heavenly, and the simplicity which is most alien from the worldly — are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz. the Literature of Power. What do you learn from Paradise Lost? Nothing at all. What do you learn from a cookery-book? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level; what you owe is power — that is, exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upwards, a step ascending as upon a Jacob’s ladder from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth: whereas the very first step in power is a flight — is an ascending movement into another element where earth is forgotten.

Were it not that human sensibilities are ventilated and continually called out into exercise by the great phenomena of infancy, or of real life as it moves through chance and change, or of literature as it recombines these elements in the mimicries of poetry, romance, &c., it is certain that, like any animal power or muscular energy falling into disuse, all such sensibilities would gradually droop and dwindle. It is in relation to these great moral capacities of man that the Literature of Power, as contradistinguished from that of knowledge, lives and has its field of action. It is concerned with what is highest in man; for the Scriptures themselves never condescended to deal by suggestion or cooperation with the mere discursive understanding: when speaking of man in his intellectual capacity, the Scriptures speak not of the understanding, but of “the understanding heart” — making the heart, i.e. the great intuitive (or non-discursive) organ, to be the interchangeable formula for man in his highest state of capacity for the infinite. Tragedy, romance, fairy tale, or epopee, all alike restore to man’s mind the ideals of justice, of hope, of truth, of mercy, of retribution, which else (left to the support of daily life in its realities) would languish for want of sufficient illustration. What is meant, for instance, by poetic justice? — It does not mean a justice that differs by its object from the ordinary justice of human jurisprudence; for then it must be confessedly a very bad kind of justice; but it means a justice that differs from common forensic justice by the degree in which it attains its object, a justice that is more omnipotent over its own ends, as dealing — not with the refractory elements of earthly life, but with the elements of its own creation, and with materials flexible to its own purest preconceptions. It is certain that, were it not for the Literature of Power, these ideals would often remain amongst us as mere arid notional forms; whereas, by the creative forces of man put forth in literature, they gain a vernal life of restoration, and germinate into vital activities. The commonest novel, by moving in alliance with human fears and hopes, with human instincts of wrong and right, sustains and quickens those affections. Calling them into action, it rescues them from torpor. And hence the pre-eminency over all authors that merely teach of the meanest that moves, or that teaches, if at all, indirectly by moving. The very highest work that has ever existed in the Literature of Knowledge is but a provisional work: a book upon trial and sufferance, and quamdiu bene se gesserit. Let its teaching be even partially revised, let it be but expanded — nay, even let its teaching be but placed in a better order — and instantly it is superseded. Whereas the feeblest works in the Literature of Power, surviving at all, survive as finished and unalterable amongst men. For instance, the Principia of Sir Isaac Newton was a book militant on earth from the first. In all stages of its progress it would have to fight for its existence: first, as regards absolute truth; secondly, when that combat was over, as regards its form or mode of presenting the truth. And as soon as a Laplace, or anybody else, builds higher upon the foundations laid by this book, effectually he throws it out of the sunshine into decay and darkness; by weapons won from this book he superannuates and destroys this book, so that soon the name of Newton remains as a mere nominis umbra, but his book, as a living power, has transmigrated into other forms. Now, on the contrary, the Iliad, the Prometheus of Aeschylus, the Othello or King Lear, the Hamlet or Macbeth, and the Paradise Lost, are not militant, but triumphant for ever as long as the languages exist in which they speak or can be taught to speak. They never can transmigrate into new incarnations. To reproduce these in new forms, or variations, even if in some things they should be improved, would be to plagiarize. A good steam-engine is properly superseded by a better. But one lovely pastoral valley is not superseded by another, nor a statue of Praxiteles by a statue of Michelangelo. These things are separated not by imparity, but by disparity. They are not thought of as unequal under the same standard, but as different in kind, and, if otherwise equal, as equal under a different standard. Human works of immortal beauty and works of nature in one respect stand on the same footing; they never absolutely repeat each other, never approach so near as not to differ; and they differ not as better and worse, or simply by more and less: they differ by undecipherable and incommunicable differences, that cannot be caught by mimicries, that cannot be reflected in the mirror of copies, that cannot become ponderable in the scales of vulgar comparison.

All works in this class, as opposed to those in the Literature of Knowledge, first, work by far deeper agencies, and, secondly, are more permanent; in the strictest sense they are χτηματα εσ αει: and what evil they do, or what good they do, is commensurate with the national language, sometimes long after the nation has departed. At this hour, five hundred years since their creation, the tales of Chaucer, never equaled on this earth for their tenderness, and for life of picturesqueness, are read familiarly by many in the charming language of their natal day, and by others in the modernizations of Dryden, of Pope, and Wordsworth. At this hour, one thousand eight hundred years since their creation, the Pagan tales of Ovid, never equaled on this earth for the gaiety of their movement and the capricious graces of their narrative, are read by all Christendom. This man’s people and their monuments are dust; but he is alive: he has survived them, as he told us that he had it in his commission to do, by a thousand years; “and shall a thousand more.”

All the Literature of Knowledge builds only ground nests, that are swept away by floods, or confounded by the plough; but the Literature of Power builds nests in aerial altitudes of temples sacred from violation, or of forests inaccessible to fraud. This is a great prerogative of the power literature; and it is a greater which lies in the mode of its influence. The knowledge literature, like the fashion of this world, passeth away. An encyclopedia is its abstract; and, in this respect, it may be taken for its speaking symbol — that before one generation has passed an encyclopedia is superannuated; for it speaks through the dead memory and unimpassioned understanding, which have not the repose of higher faculties, but are continually enlarging and varying their phylacteries. But all literature properly so called — literature χατ εξοχην — for the very same reason that it is so much more durable than the Literature of Knowledge, is (and by the very same proportion it is) more intense and electrically searching in its impressions. The directions in which the tragedy of this planet has trained our human feelings to play, and the combinations into which the poetry of this planet has thrown our human passions of love and hatred, of admiration and contempt, exercise a power for bad or good over human life that cannot be contemplated, when stretching through many generations, without a sentiment allied to awe. And of this let every one be assured — that he owes to the impassioned books which he has read many a thousand more of emotions than he can consciously trace back to them. Dim by their origination, these emotions yet arise in him, and mould him through life, like forgotten incidents of his childhood.

A refuge of absolute technique

Glenn Gould’s introductory remarks before playing the last movement of Hindemith’s third piano sonata, in The Anatomy of Fugue, broadcast by Canadian Broadcasting Corporation on March 4, 1963:

In more recent times one often notices that the most prolific fugue writers are the composers who have the greatest difficulty in being direct and lucid in a freer compositional style. One thinks of composers like Max Reger or the extraordinary Russian Nikolai Myaskovsky. Perhaps this is due to the fact that the artistic climate of the early years of this century was more hospitable to the concept of the stargazing composer who received lightning bolts of inspiration than to the image of the hardworking academic burning the midnight oil over his fugues and canons. And in such times those composers who for one reason or another find the philosophical liberties of free form frightening or embarrassing tend to use the fugue as a refuge of absolute technique: one can prove one’s mastery of the material more readily in a fugue than one can prove it in a less self-conscious form. There’s less room for arguments to whether or not one has been successful. One need only suggest certain fundamental propositions of aesthetic right and wrong, and one’s colleagues will have to agree that a particular fugal inspiration has been a happy one, or a successful one, or maybe a slightly too risky one. And so in generations in which fewer marks are given for ingenuity, for contrapuntal dexterity, than for vivid imagination, for dramatic flair, the invention of fugue has often attracted composers temperamentally unsuited to larger forms—composers perhaps of a particularly logical mind, who find it difficult to believe unquestioningly in their own subconscious impulses.

In our century, composers have continued writing fugues, particularly those whose style shows a neoclassic influence. But almost every idiom has seen its share of fugues. The Canadian composer Harry Summers has composed fugues in a style which uses the controversial twelve-tone technique. The brilliant American Lukas Foss has taught some of his colleagues to improvise on some fugues out of chart patterns which he draws on paper. And various jazz groups have attempted to improvise fugues, too. But most of these, because of one basic omission, have negated the main source of discipline inherent in the fugue. The harmonic criteria of most of the contemporary musical language shies away from tonality, and they’ve been unable to develop their linear designs into a system which would produce real demands of chord tension and relaxation. And because of this, fugal technique in their work is little more than a respectful bow to the past, really—it’s, it’s not a living tradition.

Paul Hindemith is one of the few composers of our own time who can undeniably be called a fuguist to the manner born. Hindemith has developed a very special language of his own, a language which is contemporary in the best sense of the word but which in its attempt to provide harmonic logic uses what you might call a substitute tonality. It neatly sidesteps the basic confrontations of tonic and dominant chords of conventional tonality, but it has nonetheless a very strong sense of relative tension. And so since he uses a language in which this structure of fugue can be helped along by the exchange of subject and answer at clearly related harmonic levels, Hindemith already has the edge on fugue writers in the tonal idiom. Besides which, he’s quite at home in an idiom which employs a minimum of what you could call textural irregularities: he’s quite able to continue a structure in three or four or five real voices over a period of some minutes’ duration. In fact for most of his career he’s been writing in a style which rather makes us think of an early Renaissance contrapuntal jamboree. The fugue I’m going to play now by Hindemith is actually the concluding movement of a piano sonata, and it doesn’t pretend to the highly romantic connection of Beethoven’s finale, where the concept of fugue is welded into the structure of the sonata, but it happily provides an assurance that the magic of fugue, however rare it may be nowadays, isn’t yet forgotten.

The dream of an inaccessible eloquence

from Julie K. Ellison’s Emerson’s Romantic Style (1984):

Our exploration of the motives of Emerson’s development starts with his youthful journals, roughly from 1820 to 1824. These documents exhibit a severe case of literary over influence. Emerson would later say, quite accurately, “I have served my apprenticeship of bows & blushes, of fears & references, of excessive admiration” (JMN.IV.278). Awed by the glory of classical and English literature, he expressed his own literary ambitions mimetically. “What we ardently love we learn to imitate,” he writes in the well-known “robe of eloquence” passage (JMN.II.239; April 18, 1824). At the same time, he treats his imitations as proof of his inability to match his models. The intensity of his fantasies of identification with great authors of the past is directly proportionate to his contempt for himself as their critic. His gloomy meditations on history and historical awareness express the Romantic sense that self-consciousness is a belated, sentimental condition. His judgments about history, religion, and literature are manifestations of his first vocational crisis, precipitated by the conflict between the dream of an inaccessible eloquence and the habit of criticism. In his late teens and early twenties, he is plagued with uneasiness that leads eventually to the discovery of self-delighting powers.

What it has become

Adorno, Aesthetic Theory (1970), translated by Robert Hullot-Kentor:

Posed from on high, the question whether something such as film is or is no longer art leads nowhere. Because art is what it has become, its concept refers to what it does not contain. The tension between what motivates art and art’s past circumscribes the so-called questions of aes­ thetic constitution. Art can be understood only by its laws of movement, not ac­ cording to any set of invariants. It is defined by its relation to what it is not. The specifically artistic in art must be derived concretely from its other; that alone would fulfill the demands of a materialistic-dialectical aesthetics. Art acquires its specificity by separating itself from what it developed out of; its law of movement is its law of form. It exists only in relation to its other; it is the process that tran­ spires with its other. Nietzsche’s late insight, honed in opposition to traditional philosophy, that even what has become can be true, is axiomatic for a reoriented aesthetic. The traditional view, which he demolished, is to be turned on its head: Truth exists exclusively as that which has become.

A community of the ear

The final paragraph from the preface of Frank Kermode’s The Genesis of Secrecy (1979):

This book consists, then, of a number of approaches to general problems of interpretation. They seem to be problems of importance, for broadly conceived, the power to make interpretations is an indispensable instrument of survival in the world, and it works there as it works on literary texts. In all the works of interpretation there are insiders and outsiders, the former having, or professing to have, immediate access to the mystery, the latter randomly scattered across space and time, and excluded from the elect who mistrust or despise their unauthorized divinations, which may indeed, for all the delight they give, be without absolute value. The world, to the outsider, is obscurely organized and it is a blessing, though possibly a delusive one, that the world is also, to use Whitehead’s expression, “patient of interpretation in terms of whatever happens to interest us.” What always interests us is the sense concealed in the proclamation. If we cannot agree about the nature of secret, we are nevertheless compelled to agree the secrecy exists, the source of the interpreter’s pleasures, but also of his necessary disappointment.

From the first chapter, “Carnal and Spiritual Senses”:

It is of course true that individual acts of interpretation are rarely if ever performed in full consciousness of these meta-interpretive considerations. And although we are aware how much any interpretation must depend on a tacit form of knowing acquired from institutional training, we tend to reserve our highest praise for those interpretations that seem most intuitive, most theory-free, seeming to proceed from some untrammeled divinatory impulse, having the gratuity, the fortuity of genius.The possibility of such divinations may explain why Hermes once laid claim to a share in the lyre of Apollo. We admire their natural violence or cunning, or their lyric force, and only later do we reason about them, and see how, in spite of everything, the institution helped to shape them. The best psychoanalysts are admired by their colleagues not for their theoretical mastery or correctness, but for their powers of divination, for the acuteness of their third ear. That these powers were partly created by, remain under the control of, and derive their high value from, the historical institution of psychoanalysis is a truth that emerges in subsequent discussion. So it is with the interpretation of written texts. The discovery of latent senses may appear to be a spontaneous, individual achievement; but it is privileged and constrained by the community of the ear, whether tertiary or circumscribed.

You can get some way towards the secret

Coleridge’s “Metrical Feet: Lessons for a Boy” (1834), written for his sons:

Trochee trips from long to short;
From long to long in solemn sort
Slow Spondee stalks; strong foot! yet ill able
Ever to come up with Dactyl’s trisyllable.
Iambics march from short to long;—
With a leap and a bound the swift Anapests throng.
One syllable long, with one short at each side,
Amphibrachys hastes with a stately stride;—
First and last being long, middle short, Amphimacer
Strikes his thundering hoofs like a proud high-bred racer.

A taxonomy of metrical feet from George Sainsbury’s A History of English Prose Rhythm (1912):

From Sainsbury’s preface, a little too tortured by classical learning, in the manner of Shaw:

As I approach, contemplating it still from whatever distance, the end of these studies of metre and rhythm which I may never reach, that sense of the unending endless quest,” which I suppose all but very self-satisfied and self-sufficient persons feel, impresses itself more and more upon me. An, I suppose, youthful reviewer of some different but kindred work of mine not very long ago, reproached me with ignorance or neglect of the fact that he and his generation had quite given up positive deliverances in criticism. They regarded it (I think he said) as hopeless and wrong and to “pin” something or other “to the rainbow beauty of what was really a miracle of incrustation.” The proceeding appeared to me to be difficult, if not impossible, and the phrase to be really a miracle of galimatias. But, as a fact, I hope that almost all who have read me will acquit me of the impudence or the folly of thinking that I could say even an interim last word on the secrets of rhythmical charm, whether in the slightly more tangible form of verse, or the far more intangible one of prose. Here, as everywhere, and almost more than anywhere, beauty incipit in mysterio as well as exit in mysterium. Here, and almost more also, it is as when you see a face and say to it with Browning—

Lie back; could thought of mine improve you?

and decide that, if improvement is possible, the interpretation of the actual charm is equally so. You can get some way towards the secret. The spring of the wing of the nostril; the plunge into the clear pool of the eyes, with its impenetrable background of agate or lapis lazuli, of chrysoprase or avanturine; the sweep of the cheek-edge from ear to chin; the straight descent, or curved and recurved wave, of the profile; the azure net-work of the closed eyelids; “the fringed curtains” at their juncture; the infinite intricacies of the mouth and hair,—ask yourself about any one of these, and you cannot tell why it is beautiful, why the combination of the whole makes a beautiful face. But you can, to some extent, fix for yourself the character of those parts and the composition of that whole, and, so far at least, you are ahead of the mere gaper who stares and “likes grossly.”

So it is with literature. You can never get at the final entelechy which differentiates Shelley and Shakespeare from the average versifier, Cluvienus and myself from Pater or from Browne. But you can attend to the feature-composition of the beautiful face, to the quality of the beautiful features, in each of these masters, and so you can dignify and intensify your appreciation of them. That this is best to be done in prose, as in verse, by the application of the foot-system—that is to say, by studying the combinations of the two great sound-qualities which, for my part, I call, as my fathers called them from the beginning, “long” and “short,” but which you may call anything you like, so long as you observe the difference and respect the grouping—I may almost say I know; having observed the utter practical failure of all other systems in verse, and the absence even of any attempt to apply any other to prose.

With this I may leave the present essay to its chances; only repeating my acquaintance with two quotations which I made thirty-six years ago when touching, for the first time, the subject of Prose Style generally. One was Nicholas Breton’s warning “not to talk too much of it, having so little of it,” and the other, Diderot’s epigram on Beccaria’s ouvrage sur le style où il n’y a point de style. These are, of course, “palpable hits” enough. But you may criticise without being able to create, and you may love beauty, and to the possible extent understand it, without being beautiful.

from Paul Fussell’s Poetic Meter and Poetic Form (1965):

Because the concept of the foot is an abstraction, we will never encounter a pure example of any of the standard feet. “For that matter,” as Hugh Kenner says, “you will never encounter a round face, though the term is helpful; and if the idea of a circle had never been defined for you, you might not be clearly aware of how a round face differs from a long one, even though the existence of some sort of difference is evident to the eye. The term ‘iambic foot’ has the same sort of status as the term ’round face.'” Although we will probably never meet a really pure spondee or pyrrhic, in which the two syllables are of exactly the same weight, there would seem to be no need for such over scrupulous formulations as the terms “pseudo-spondee” or “false spondee,” which suggest that our work as scansionists and critics ought to be more objective and accurate than of course it ever can be. The goal of what we are doing is enjoyment: an excessive refinement of terms and categories may impress others but it will probably not help us very much to appreciate English poetic rhythms.

Sainsbury’s remark on “the combinations of the two great sound-qualities” reminds me of Quine, “Universal Library,” in Quiddities (1987):

There is a melancholy fantasy, propounded a century and more ago by the psychologist Theodor Fechner and taken up by Kurt Lassiwitz, Theodor Wolff, Jorge Luis Borges, George Gamow, and Willy Ley, of a complete library. The library is strictly complete, boasting as it does all possible books within certain rather reasonable limits. It admits no books in alien alphabets, nor any beyond the reasonable length say of the one you are now reading, but within those restrictions it boasts all possible books. There are books in all languages, transliterated where necessary. There are coherent books and incoherent, predominantly the latter. The principle of accession is simple, if uneconomical: every combinatorially possible sequence of letters, punctuation, and spaces, up to the prescribed book length, uniformly bound in half calf.

Other writers have sufficiently belabored the numbing combinatorial statistics. At 2,000 characters to the page we get 500,000 to the 250-page volume, so with say eighty capitals and smalls and other marks to choose from we arrive at the 500,000th power of eighty as the number of books in the library. I gather that there is not room in the present phase of our expanding universe, on present estimates, for more than a negligible fraction of the collection. Numbers are cheap.

It is interesting, still, that the collection is finite. The entire and ultimate truth about everything is printed in full in that library, after all, insofar as it can be put in words at all. The limited size of each volume is no restriction, for there is always another volume that takes up the tale—any tale, true or false—where any other volume leaves off. In seeking the truth we have no way of knowing which volume to pick up nor which to follow it with, but it is all right there.

We could narrow down the choice by weeding out the gibberish, which makes up the bulk of the library. We could insist on English, and we could program a computer with English syntax and lexicon to do the scanning and discarding. The residue would be an infinitesimal fraction of the original, but still hyperastronomic.

There is an easier and cheaper way of cutting down. Some of us first learned from Samuel Finley Breese Morse what others of more mathematical bent knew before this time: that a font of two characters, dot and dash, can do all the work of our font of eighty. Morse actually used three characters, namely dot, dash and space; but two will suffice. We could use two dots for the space and then admit no initial or consecutive dots in encoding any of the other old characters.
If we retain the old format and page count for our volumes, this move reduces the size of the library’s collection to the 500,000th power of two. It is still a big number. Written out it would fill a hundred pages in standard digits, or two volumes in dots and dashes. The volumes are skimpier in thought content than before, taken one by one, because our new Morse is more than six times as long-winded as our old eighty-character font of type; but there is no loss in content over all, since for each cliff-hanging volume there is still every conceivable sequel on some shelf or other.

This last reflection—that a diminution in the coverage of each single volume does not affect the cosmic completeness of the collection—points the way to the ultimate economy: a cutback in the size of the volumes. Instead of admitting 500,000 occurrences of characters to each volume, we might settle for say seventeen. We have no longer to do with volumes, but with two-inch strips of text, and no call for half-calf bindings. In our two-character code the number of strips is 2^17, or 131,072. The totality of truth is now reduced to a manageable compass. Getting a substantial account of anything will require extensive concatenation of out two-inch strips, and re-use of strips here and there. But we have everything to work with.

The ultimate absurdity is now staring us in the face: a universal library of two volumes, one containing a single dot and the other a dash. Persistent repetition and alternation of the two is sufficient, we well know, for spelling out any and every truth. The miracle of the finite but universal library is a mere inflation of the miracle of binary notation: everything worth saying, and everything else as well, can be said with two characters. It is a letdown befitting the Wizard of Oz, but it has been a boon to computers.