There are many reasons which should prevent one from criticizing the work of contemporaries. Besides the obvious uneasiness — the fear of hurting feelings — there is too the difficulty of being just. Coming out one by one, their books seem like parts of a design which is slowly uncovered. Our appreciation may be intense, but our curiosity is even greater. Does the new fragment add anything to what went before? Does it carry out our theory of the author’s talent, or must we alter our forecast? Such questions ruffle what should be the smooth surface of our criticism and make it full of argument and interrogation. With a novelist like Mr. Forster this is specially true, for he is in any case an author about whom there is considerable disagreement. There is something baffling and evasive in the very nature of his gifts. So, remembering that we are at best only building up a theory which may be knocked down in a year or two by Mr. Forster himself, let us take Mr. Forster’s novels in the order in which they were written, and tentatively and cautiously try to make them yield us an answer.
The order in which they were written is indeed of some importance, for at the outset we see that Mr. Forster is extremely susceptible to the influence of time. He sees his people much at the mercy of those conditions which change with the years. He is acutely conscious of the bicycle and of the motor car; of the public school and of the university; of the suburb and of the city. The social historian will find his books full of illuminating information. In 1905 Lilia learned to bicycle, coasted down the High Street on Sunday evening, and fell off at the turn by the church. For this she was given a talking to by her brother-in-law which she remembered to her dying day. It is on Tuesday that the housemaid cleans out the drawing-room at Sawston. Old maids blow into their gloves when they take them off. Mr. Forster is a novelist, that is to say, who sees his people in close contact with their surroundings. And therefore the colour and constitution of the year 1905 affect him far more than any year in the calendar could affect the romantic Meredith or the poetic Hardy. But we discover as we turn the page that observation is not an end in itself; it is rather the goad, the gadfly driving Mr. Forster to provide a refuge from this misery, an escape from this meanness. Hence we arrive at that balance of forces which plays so large a part in the structure of Mr. Forster’s novels. Sawston implies Italy; timidity, wildness; convention, freedom; unreality, reality. These are the villains and heroes of much of his writing. In WHERE ANGELS FEAR TO TREAD the disease, convention, and the remedy, nature, are provided if anything with too eager a simplicity, too simple an assurance, but with what a freshness, what a charm! Indeed it would not be excessive if we discovered in this slight first novel evidence of powers which only needed, one might hazard, a more generous diet to ripen into wealth and beauty. Twenty-two years might well have taken the sting from the satire and shifted the proportions of the whole. But, if that is to some extent true, the years have had no power to obliterate the fact that, though Mr. Forster may be sensitive to the bicycle and the duster, he is also the most persistent devotee of the soul. Beneath bicycles and dusters, Sawston and Italy, Philip, Harriet, and Miss Abbott, there always lies for him — it is this which makes him so tolerant a satirist — a burning core. It is the soul; it is reality; it is truth; it is poetry; it is love; it decks itself in many shapes, dresses itself in many disguises. But get at it he must; keep from it he cannot. Over brakes and byres, over drawing-room carpets and mahogany sideboards, he flies in pursuit. Naturally the spectacle is sometimes comic, often fatiguing; but there are moments — and his first novel provides several instances — when he lays his hands on the prize.