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Old and New Masters by Robert Lynd

OLD AND NEW MASTERS

BY ROBERT LYND

1919

TO SYLVIA LYND

CONTENTS

I. DOSTOEVSKY THE SENSATIONALIST II. JANE AUSTEN: NATURAL HISTORIAN III. MR. G.K. CHESTERTON AND MR. HILAIRE BELLOC (1) THE HEAVENLY TWINS (2) THE COPIOUSNESS OF MR. BELLOC (3) THE TWO MR. CHESTERTONS IV. WORDSWORTH (1) HIS PERSONALITY AND GENIUS (2) HIS POLITICS V. KEATS (1) THE BIOGRAPHY (2) THE MATTHEW ARNOLD VIEW VI. HENRY JAMES (1) THE NOVELIST OF GRAINS AND SCRUPLES (2) THE ARTIST AT WORK (3) HOW HE WAS BORN AGAIN VII. BROWNING: THE POET OF LOVE VIII. THE FAME OF J.M. SYNGE IX. VILLON: THE GENIUS OF THE TAVERN X. POPE XI. JAMES ELROY FLECKER XII. TURGENEV XIII. THE MADNESS OF STRINDBERG XIV. "THE PRINCE OF FRENCH POETS" XV. ROSSETTI AND RITUAL XVI. MR. BERNARD SHAW XVII. MR. MASEFIELD'S SECRET XVIII. MR. W.B. YEATS (1) HIS OWN ACCOUNT OF HIMSELF (2) HIS POETRY XIX. TCHEHOV: THE PERFECT STORY-TELLER XX. LADY GREGORY XXI. MR. CUNNINGHAME GRAHAM XXII. SWINBURNE (1) THE EXOTIC BIRD (2) GENIUS WITHOUT EYES XXIII. THE WORK OF T.M. KETTLE XXIV. MR. J.C. SQUIRE XXV. MR. JOSEPH CONRAD (1) THE MAKING OF AN AUTHOR (2) TALES OF MYSTERY XXVI. MR. RUDYARD KIPLING (1) THE GOOD STORY-TELLER (2) THE POET OF LIFE WITH A CAPITAL HELL XXVII. MR. THOMAS HARDY (1) HIS GENIUS AS A POET (2) A POET IN WINTER

OLD AND NEW MASTERS

I

DOSTOEVSKY THE SENSATIONALIST

Mr. George Moore once summed up _Crime and Punishment_ as "Gaboriau with psychological sauce." He afterwards apologized for the epigram, but he insisted that all the same there is a certain amount of truth in it. And so there is.

Dostoevsky's visible world was a world of sensationalism. He may in the last analysis be a great mystic or a great psychologist; but he almost always reveals his genius on a stage crowded with people who behave like the men and women one reads about in the police news. There are more murders and attempted murders in his books than in those of any other great novelist. His people more nearly resemble madmen and wild beasts than normal human beings.

He releases them from most of the ordinary inhibitions. He is fascinated by the loss of self-control--by the disturbance and excitement which this produces, often in the most respectable circles. He is beyond all his rivals the novelist of "scenes." His characters get drunk, or go mad with jealousy, or fall in epileptic fits, or rave hysterically. If Dostoevsky had had less vision he would have been Strindberg. If his vision had been aesthetic and sensual, he might have been D'Annunzio.

Like them, he is a novelist of torture. Turgenev found in his work something Sadistic, because of the intensity with which he dwells on cruelty and pain. Certainly the lust of cruelty--the lust of destruction for destruction's sake--is the most conspicuous of the deadly sins in Dostoevsky's men and women. He may not be a "cruel author." Mr. J. Middleton Murry, in his very able "critical study," _Dostoevsky_, denies the charge indignantly. But it is the sensational drama of a cruel world that most persistently haunts his imagination.



 

 

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