[The following discussion of obscurity, which owes somethinng to Oscar Wilde's comments on Meredith in “The Decay of Lying,” appears in Beerbohm's essay on the popular novelist Ouida.]
Mr. Meredith, the only living novelist in England who rivals Ouida in sheer vitality, packs tight all his pages with wit, philosophy, poetry, and psychological analysis. His obscurity, like that of Carlyle and Browning, is due less to extreme subtlety than to the plethoric abundance of his ideas. He cannot stop to express himself. If he could, he might be more popular. The rhapsodies of Mr. Swinburne, again, are so overwhelmingly exuberant in their expression that no ordinary reader can cope with them; the ordinary reader is stunned by them before he is impressed. When he lays down the book and regains consciousness, he has forgotten entirely what it was all about. On the other hand reticence, economy, selection, and all the artistic means may be carried too far. Too much art is, of course, as great an obstacle as too little art; and Pater, in his excessive care for words, is as obscure to most people as are Carlyle and Browning, in their carelessness. It is to him who takes the mean of these two extremes, to that author who expresses himself simply, without unnecessary expansion or congestion, that appreciation is most readily and spontaneously granted. [116-17]
Beerbohm, Max. “Ouida.” More (1899). New York: Dodd, Mead, and Company, 1922.
Last modified 5 December 2011