Young men and women beginning to write are generally given the plausible but utterly impracticable advice to write what they have to write as shortly as possible, as clearly as possible, and without other thought in their minds except to say exactly what is in them. Nobody ever adds on these occasions the one thing needful: “And be sure you choose your patron wisely”, though that is the gist of the whole matter. For a book is always written for somebody to read, and, since the patron is not merely the paymaster, but also in a very subtle and insidious way the instigator and inspirer of what is written, it is of the utmost importance that he should be a desirable man.
But who, then, is the desirable man – the patron who will cajole the best out of the writer’s brain and bring to birth the most varied and vigorous progeny of which he is capable? Different ages have answered the question differently. The Elizabethans, to speak roughly, chose the aristocracy to write for and the playhouse public. The eighteenth-century patron was a combination of coffee-house wit and Grub Street bookseller. In the nineteenth century the great writers wrote for the half-crown magazines and the leisured classes. And looking back and applauding the splendid results of these different alliances, it all seems enviably simple, and plain as a pikestaff compared with our own predicament – for whom should we write? For the present supply of patrons is of unexampled and bewildering variety. There is the daily Press, the weekly Press, the monthly Press; the English public and the American public; the best-seller public and the worst-seller public; the high-brow public and the red-blood public; all now organised self-conscious entities capable through their various mouthpieces of making their needs known and their approval or displeasure felt. Thus the writer who has been moved by the sight of the first crocus in Kensington Gardens has, before he sets pen to paper, to choose from a crowd of competitors the particular patron who suits him best. It is futile to say, “Dismiss them all; think only of your crocus”, because writing is a method of communication; and the crocus is an imperfect crocus until it has been shared. The first man or the last may write for himself alone, but he is an exception and an unenviable one at that, and the gulls are welcome to his works if the gulls can read them.
Granted, then, that every writer has some public or other at the end of his pen, the high-minded will say that it should be a submissive public, accepting obediently whatever he likes to give it. Plausible as the theory sounds, great risks are attached to it. For in that case the writer remains conscious of his public, yet is superior to it – an uncomfortable and unfortunate combination, as the works of Samuel Butler, George Meredith, and Henry James may be taken to prove. Each despised the public; each desired a public; each failed to attain a public; and each wreaked his failure upon the public by a succession, gradually increasing in intensity, of angularities, obscurities, and affectations which no writer whose patron was his equal and friend would have thought it necessary to inflict. Their crocuses, in consequence, are tortured plants, beautiful and bright, but with something wry-necked about them, malformed, shrivelled on the one side, overblown on the other. A touch of the sun would have done them a world of good. Shall we then rush to the opposite extreme and accept (if in fancy alone) the flattering proposals which the editors of the Times and the Daily News may be supposed to make us – “Twenty pounds down for your crocus in precisely fifteen hundred words, which shall blossom upon every breakfast table from John o’ Groats to the Land’s End before nine o’clock to-morrow morning with the writer’s name attached”?