H. G. Wells

"I came slowly, stepping very carefully because of those drugged, feebly awakening things, through the barley to the hedge. It was a very glorious hedge, so that it held my eyes. It flowed along and interlaced like splendid music. It was rich with lupin, honeysuckle, campions and ragged robin; bed straw, hops and wild clematis twined and hung among its branches, and all along its ditch border the starry stitchwort lifted its childish faces and chorused in lines and masses. Never had I seen such a symphony of note-like flowers and tendrils and leaves. And suddenly, in its depths, I heard a chirrup and the whir of startled wings.

"Nothing was dead, but everything had changed to beauty! And I stood for a time with clean and happy eyes looking at the intricate delicacy before me and marvelling how richly God has made his worlds...."

And not only the writer but also every other person on the earth had been miraculously cured of their myopia and astigmatism. They saw beauty and the means to still more perfect beauty, and, seeing, they had but to believe and the old miseries vanished. In the old days men preached a furious denial of self that led to the fatuity of an asceticism such as that of St Simon Stylites. The lesson—I cannot deny that the book is didactic—of the change wrought by the comet is that man should find the full expression of his personality in sympathy and understanding. The egotism remains, but it works to a collective end....

War is necessarily touched upon in this book as an inevitable corollary to the problems of personal and a fortiori of national property; but the real counterblast against wholesale fratricide was reserved for the following romance, published in 1908.

The War in the Air definitely disclosed a change of method that was adumbrated in its predecessor. The agent of experience is still retained in the person of Bert Smallways, but the restrictions imposed by the report of an eye-witness have become too limiting, and, like Hardy in The Dynasts, Mr Wells alternates between a near and a distant vision. The Welt-Politik could not be explained through the intelligence of a "little Cockney cad," even though he was "by no means a stupid person and up to a certain limit not badly educated"; and the general development of the world-war, the account of the collapse of the credit system and all such large and general effects necessitated the broad treatment of the historian. So the intimate, personal narrative of Smallways' adventures is occasionally dropped for a few pages; Mr Wells shuts off his magic-lantern and fills the interval with an analysis of larger issues.

And the issues are so vital, the dénouement so increasingly probable, that, despite all the exaggerations necessary in a fiction of this kind, the warning contained in this account of a world-war is one that must remain in the minds of any thoughtful reader. Smallways' pert reflection on the causes of the immense downfall represents the wisdom that comes of bitter experience, and the application of it is very pertinent to present conditions. "There was us in Europe all at sixes and sevens with our silly flags and our silly newspapers raggin' us up against each other and keepin' us apart," says Smallways, and for the briefest analysis of causes that continually threaten us with all the useless horrors of war, the summary could scarcely be bettered.

Indeed, I think that The War in the Air is the greatest of Mr Wells' achievements in fantasy that has a deeper purpose than mere amusement. The story is absorbing and Smallways a perfectly conceived character, recommendations that serve to popularise the book as a romance; but all the art of the construction is relevant to the theme, and to the logical issue which is faced unflinchingly. In the many wild prophecies that have been incorporated in various stories of a great European war, there has been discoverable now and again some hint of insight into the real dangers that await mankind. But such stories as these degenerate into some accidental, but inferentially glorious, victory of British arms, and any value in the earlier comments is swamped in the sentimentality of the fortuitous, and designedly popular, sequel. In the book now under consideration the conception is too wide for any such lapses into the maudlin. British interests play an insignificant part in the drama. We have to consider war not as an incident in the history of a nation, but as a horrible disgrace in the history of humanity.

And war is the theme also of The World Set Free (1914), but it leads here to a theory of reconstruction of which we have no sight in the earlier work. The opening chapters describe the inception of the means, the discovery of the new source of energy—a perfectly reasonable conception—that led to the invention of the "atomic bomb," a thing so terribly powerful and continuous in its action that after the first free use of it in a European outbreak, war became impossible. As a romance, the book fails. The interest is not centred in a single character, and we are given somewhat disconnected glimpses of various phases in the discovery of the new energy, in its application, and of the catastrophes that follow its use as an instrument of destruction. The essay form has almost dominated the method of the novelist, and consequently the essential parable has not the same force as in The War in the Air. Nevertheless, the vision is there, obscured by reason of its more personal expression; and before I return to consider the three less pertinent romances interposed between those that have a more recognisable critical tendency, I wish to sum up the distinctive attitude of the four just considered.

And in this thing I claim that the conscious purpose of the artist is of comparatively small account. I may be doing Mr Wells an injustice, either by robbing him of the credit of a clearly conceived intention, or by reading into his books a deliberation which he might wish to disclaim. But my business is not justice to the author in this sense, but an interpretation—necessarily personal—of the message his books have conveyed to a particular reader. And the plain message that all these romances—including those that follow—have conveyed to me is the necessity for ridding the mind of traditions of the hypnotic suggestions of parents and early teachers, of the parochial influences of immediate surroundings, of the prejudices and self-interested dogmatisms and hyperboles of common literature, especially of the daily and weekly press; in order that we may, if only for an exercise in simple reason, dissociate ourselves for a moment from all those intimate forces, and regard life with the calmness of one detached from personal interests and desires. No human being who has not thus stood apart from life can claim to have realised himself; and in so far as he is unable thus to separate himself temporarily from his circumstances he confesses that he is less a personality than a bundle of reactions to familiar stimuli. But given that power of detachment, the reader may find in these four books matter for the reconsideration of the whole social problem. Whether he accept such tentative reconstructions as those suggested in The World Set Free or In the Days of the Comet is relatively unimportant, the essential thing is that he should view life with momentarily undistracted eyes; and see both the failures of our civilisation and its potentialities for a finer and more gracious existence....

The First Men in the Moon (1901) is little more than a piece of sheer exuberance. The theory of the means to the adventure and the experience itself are both plausible. There are a few minor discrepancies, but when the chief assumption is granted the deductions will all stand examination. The invention of cavorite, the substance that is impervious to the force—whatever it may be—of gravitation, as other substances are impervious to light, heat, sound or electricity, is not a priori impossible, nor is the theory that the moon is hollow, that the "Selenites" live below the surface, or that evolution has produced on our satellite an intelligent form which, anatomically, is more nearly allied to the insect than to the vertebrate type as we know it. The exposition of lunar social conditions cannot be taken very seriously. Specialisation is the key-note; the production by education and training, of minds, and, as far as possible, bodies, adapted to a particular end, and incapable of performing other technical functions. The picture of this highly developed state, however, is not such as would tempt us to emulation. As a machine it works; as an ideal it lacks any presentation of the thing we call beauty. The apotheosis of intelligence in the concrete example leaves us unambitious in that direction.

One chapter, however, stands apart and elaborates once more that detachment for space and time which I have so particularly emphasised as the more important feature of these particular books. Mr Bedford, alone in his Cavorite sphere between the Earth and the Moon, experiences this sensation of aloofness. "I became, if I may go express it, dissociate from Bedford," he writes. "I looked down on Bedford as a trivial, incidental thing with which I chanced to be connected," Bedford, unfortunately for my moral, was a poor creature who got no benefit from his privilege, who flouted it indeed and regretted his inability "to recover the full-bodied self-satisfaction of his early days." Possibly the fact that in his case the knowledge was thrust upon him may account for his failure. It is only the knowledge we seek that has any influence upon us.

The Sea Lady (1902) stands alone among Mr Wells' romances. The realistic method remains, but the conception is touched with a poetic fancy of a kind that I have not found elsewhere in these books. The Venus Annodomini who came out of the sea at Folkestone in the form of an authentic mermaid was something more than a mere critic of our civilised conventions. She was that, too; she asked why people walked on the Leas "with little to talk about and nothing to look at, and bound not to do all sorts of natural things, and bound to do all sorts of preposterous things." But she was also the personification of "other dreams." She had "the quality of the open sky, of deep tangled places, of the flight of birds … of the high sea." She represented to one man, at least, "the Great Outside." And, if we still find a repetition of the old statement in that last description, it is, nevertheless, surrounded with a glamour that is not revealed in such books as In the Days of the Comet. The ideal that is faintly shadowed in The Sea Lady is more ethereal, less practical; the story, despite the naturalistic, half-cynical manner of its recountal, has the elements of romance. The closing scene describes the perplexity of a practical Kentish policeman "who in the small hours before dawn came upon the wrap the Sea Lady had been wearing, just as the tide overtook it," He stands there on the foreshore with a foolish bewilderment, wondering chiefly "what people are up to." He is the "simple citizen of a plain and obvious world." And Mr Wells concludes: "I picture the interrogation of his lantern going out for a little way, a stain of faint pink curiosity upon the mysterious vast serenity of the night." And I make an application of the parable for my own purposes, and wonder how far the curiosity of Mr Wells' readers will carry them into the great mystery that lies behind the illusion of this apparently obvious world.

We come, finally, without any suggestion of climax, to The Food of the Gods (1904). The food was produced, casually in the first instance, by two experimenters who served no cause but that of their own inquisitive science. One of them, Redwood, had become intrigued by the fact that the growth of all living things proceeded with bursts and intermissions; it was as if they had "to accumulate force to grow, grew with vigour only for a time, and then had to wait for a space before they could go on growing again." And Bensington, the other experimenter, succeeded in separating a food that produced regular instead of intermittent growth. It was universal in its effects, influencing vegetable as well as animal life; and in the course of twenty years it produced human giants, forty feet high. This is a theme for Mr Wells to revel in, and he does, treating the detail of the first two-thirds of the book with a fine realism. Like Bensington, he saw, "behind the grotesque shapes and accidents of the present, the coming world of giants and all the mighty things the future has in store—vague and splendid, like some glittering palace seen suddenly in the passing of a sunbeam far away." The parable is plain enough, but the application of it weakens when we realise that so far as the merely physical development goes, the food of the gods is only bringing about a change of scale. If we grant that this "insurgent bigness" must conquer the world, the final result is only humanity in the same relation to life that it now occupies, and we are left to reflect with Bensington, after the vision had faded, on "sinister shadows, vast declivities and darknesses, inhospitable immensities, cold, wild and terrible things."

The change of scale, however, so long as it was changing, presents in another metaphor the old contrasts. The young giants, the Cossars and Redwood, looking down on common humanity from a vantage-point some thirty to forty feet higher than the "little people," are critical by force of circumstances; and they are at the same time handicapped by an inability to comprehend the thing criticised. They are too differentiated; and for the purpose of the fable none of them is gifted with the power to study these insects with the sympathy of a Henri Fabre. We may find some quality of blundering stupidity in the Cossars and in young Redwood, they were too prejudiced by their physical scale; but the simple Caddles, born of peasant parents, uneducated and set to work in a chalk quarry, is the true enquirer. He walked up to London to solve his problem, and his fundamental question: "What's it all for?" remained unanswered. The "little people" could not exchange ideas with him, and he never met his brother giants. It is, however, exceedingly doubtful whether they could have offered him any satisfactory explanation of the purpose of the universe. Their only ambition seemed to be reconstruction on a larger scale.

I think the partial failure of The Food of the Gods to furnish any ethical satisfaction is due to the fact that in this romance Mr Wells has identified himself too closely with the giants; a fault that indicates a slight departure from normality. The inevitable contrast between great and little lacks a sympathy and appreciation we find elsewhere. "Endless conflict. Endless misunderstanding. All life is that. Great and little cannot understand one another" is the true text of the book; and it implies a weakness in the great not less than in the little; a weakness that is hardly exonerated by the closing sentence: "But in every child born of man lurks some seed of greatness—waiting for the food." I find a quality of reasonableness in the little people's antagonism to the blundering superiority of those giants.

To the tail of these romances I may pin the majority of Mr Wells' short stories. The best of them are all included in the collection published under the title of The Country of the Blind. In this form Mr Wells displays nothing but the exuberance of his invention. In the Preface to the collection he defines his conception of short-story writing as "the jolly art of making something very bright and moving; it may be horrible or pathetic or funny, or beautiful, or profoundly illuminating, having only this essential, that it should take from fifteen to twenty minutes to read aloud." I can add nothing to that description, and would only take away from it so much as is implied by the statement that I cannot call to mind any one of these stories which is "profoundly illuminating" in the same sense that I would certainly apply the phrase to some of the romances. Jolly and bright they undoubtedly are, but when they are moving, they provide food for wonder rather than for enlightenment....

I cannot leave these romances without a comment on Mr Wells' justification as preacher and prophet. Writing in the midst of the turmoil of war, I am vividly conscious of having had my mind prepared for it by the material I have here so inadequately described. All the misunderstandings, the weaknesses, the noisy, meaningless ambitions, the tepid acceptance of traditional standards, have been exposed by Mr Wells in these fantasies of his. And in The War in the Air, with just such exaggerations as are necessary for a fiction of this kind, he has forecast the conditions which have now overtaken us. We know—or we might know if we had the capacity for any sort of consequent consideration of our conditions—that in a reasonably conducted civilisation no such awful catastrophe as this senseless conflagration could have been possible. No doubt we shall profit by the lesson, but it is one that any individual might have learned for himself from these romances, without paying the fearful price that is now necessary. And because humanity is apt to forget its most drastic punishments, to revert to its original inertia as soon as the smart is healed, I feel that when the worst is over, these books will have a greater value than ever before. I believe that in them may be found just those essentials of detachment and broad vision which might serve to promote a higher and more stable civilisation.

III

THE NOVELS

I am willing to maintain that H.G. Wells is second to none as a writer of romances of the type I have just examined. I am less certain of his position as a novelist. He brings to his fiction the open-eyed recognition of realities, the fine analysis of modern conditions, the lucid consequent thought and the clean, graphic style that mark the qualities of his other method; he has that "poetic gift, the gift of the creative and illuminating phrase," which, he has said, "alone justifies writing"; but he has not the power of creating characters that stand for some essential type of humanity. On the one hand he is inclined to idealise the engineer and the scientific researcher, on the other to satirise and, in effect, to group into one sloppy-thinking mass every other kind of Englishman, not excepting philosophers, politicians and social reformers. This broad generalisation omits any consideration of the merely uneducated, such as Hoopdriver or Kipps, and the many women he has drawn. But the former, however sympathetically treated, are certainly not idealised; and among the latter, the only real creation, in my opinion, is Susan Ponderevo in Tono-Bungay; although there is a possible composite of various women in the later books that may represent the general insurgent character of recent young womanhood. But now that I have made this too definite statement I want to go back over it, touch it up and smooth it out. For if I have found Mr Wells' character types too few and too specialised; and as if, with regard to his more or less idealised males—such as Capes, George Ponderevo, Remington, Trafford, Stafford—he had modelled and re-modelled them in the effort to build up one finally estimable figure of masculine ability; there still remains an enormous gallery of subsidiary portraits, for the most part faintly caricatured, of men and women who do stand for something in modern life; portraits that are valuable, interesting and memorable. Nevertheless, I submit that Mr Wells' novels will not live by reason of their characterisation.

The desire to write essays in this class of fiction does not seem to have overcome Wells until the last few years. Before 1909, he had written all his sociology and all his romances, with the exception of The World Set Free, but only three novels—namely, The Wheels of Chance, Love and Mr Lewisham and Kipps; and none of them gives any indication of the characteristic method of the later work.

The first of the three, published in 1896, is in one respect a splendid answer to the objection against what has been called the episodical novel. The story deals only with ten glorious days in the life of Hoopdriver, a callow assistant in a draper's "emporium" at Putney. He learnt to ride a bicycle, set out to tour the south coast for his short summer holiday and rode into romance. One section of the book is a trifle too hilarious, coming perilously near to farce, but underlying the steady humour of it all is a perfectly consistent, even saddening, criticism of the Hoopdriver type. He has imagination without ability; life is made bearable for him chiefly by the means of his poor little dreams and poses; he sees himself momentarily in the part of a detective, a journalist, a South African millionaire, any assumption to disguise the horrible reality of the draper's assistant; and yet there is fine stuff in him. (Perhaps the suggested antithesis is hardly justified!) We leave him at the door of the Putney shop full of resolution to read, to undertake his own education, in some way, no doubt, to better himself, as he might have phrased it. But we doubt the quality of his determination and of the lasting influence of the "more wonderful desires and ambitions replacing those discrepant dreams." We have only followed Hoopdriver through a ten-day episode, but all his story has been told.

We are in quite a different position with regard to Lewisham. The history of his encounter with love and the world, published in 1900, covers a period of four or five years, but while we leave him down-at-heel, with a wife and a mother-in-law dependent upon him, and the prospect of fatherhood adding to his responsibilities, we are uncertain whither his career will take him. Lewisham is the first sketch for the type that was to be elaborated in five subsequent books. The allurements of his love for Ethel Henderson spoilt his chances at the science school, but he has the quality that is so conspicuously lacking in the Hoopdriver-Kipps-Polly succession. Lewisham had some resolution, undoubted energy, and the beginnings of that larger vision which was the gift of the later protagonists. But he is not idealised; he comes nearer to the average of humanity than the later pictures of his like; although they share with him that tendency to sudden irascibility, to outbursts of a somewhat petty temper against the obvious limitations of life—a common tendency observable in nearly all Mr Wells' dominant male characters. Those few years of Lewisham's life were so well done, so consistently developed, that I have regretted the absence of a sequel. Indeed, I still regret it, although I realise very well that Mr Wells' steady progress in the conception of his own purpose as a writer has absolutely precluded any return to an older method. Lewisham was not quite strong enough to portray the further development of the dominant idea, not a sufficiently tempered tool for the dissection of the modern world.

I have said little about the story of this fragment of Lewisham's career; I have not even mentioned that deliciously plausible and able rogue, Chaffery, the fraudulent medium; but in this essay I am more concerned to trace the meaning of Mr Wells' books than to criticise or praise the detail. With regard to the latter, the reader may always feel so perfectly safe. He need have no doubt that description of action, of mood, or of place will be vivid and convincing, true to life and essential to the story. I do not pass this detail by because I have found it better done in other contemporary writers; I have not; but because I find a pregnancy and a growing force behind these minutiæ that is strangely lacking from any other works of fiction in which I can find any comparison.

There are, however, still two more novels to be disposed of before I can examine the full expression of Mr Wells' purpose as I find it in his later books. One of these novels, Kipps (1905), is the next in chronological order; the other, The History of Mr Polly, was published in 1910, interpolated between Ann Veronica and The New Machiavelli. Both Kipps and Polly began active life in a draper's shop. The former is explicitly labelled "a simple soul." He is at once sillier and sharper than Hoopdriver, but, like that "dear fool" (the phrase is Mr Wells'), Kipps has some very sterling qualities. He had the good fortune to come into money—I cannot but count it good fortune in his case—and was just wise enough to avoid a marriage with Helen Walshingham—"County family. Related to the Earl of Beauprés"—and if he shirked that match rather from sheer funk than from any clear realisation of the futility of what he was avoiding, he did, at least, run away with and marry that very charming little housemaid, Ann Pornick, whom he had loved in his early boyhood. After his marriage he lost the greater part of his money, and later recovered it again; but all these shocks of fortune left him the same simple soul, untroubled by any urgent problems outside the range of his personal experience. His brief contact with the dreamer, Masterman, and his friendship with the capable young engineer-socialist, Sid Pornick, Ann's brother, only roused Kipps to a momentary wonder, and his final enunciation of the great question was representative. "I was thinking just what a Rum Go everything is," he says. That question, to quote Mr Wells, "never reached the surface of his mind, it never took to itself substance or form; it looked up merely as the phantom of a face might look, out of deep waters, and sank again into nothingness."