Kitabı oku: «Aspects and Impressions», sayfa 18

FAIRYLAND AND A BELGIAN ARIOSTO

IT has often been said – it was said in a well-known passage by the elder Disraeli – that in order to appreciate the beauty of fairyland we must make ourselves as little children listening to the wondrous tales of a nurse. But there seems to be a fallacy contained in this explanation of the spell. It cannot be contrived. No sedate, crafty, timid old man of the world can make himself as a little child merely that he may enjoy certain ancient poetry in a melodious stanza. Nor, on the other hand, is it obvious that real children, especially children of the modern sort, possess that ductile naïveté, that breathless and delicious credulity, which fairyland demands. I believe, and I speak not without observation, that children, as a rule, like stories best which deal with such themes as dogs that run after ducks, and grown up people that tumble out of motors. They like their tales to be realistic, rather hard, entirely within their experience. Hans Christian Andersen, in his eventyr– so falsely translated "fairy-tales" – took advantage of this fact and made a world-wide success by inventing stories in which play-things and articles of furniture and animals come to life and act on the conventional principles of society. That is what children like. They have been so short a time among us that the banalities of experience are still fresh to them, and nothing so amusing as what is pure matter-of-fact.

We may be quite sure that The Faerie Queene, which is the main classic of this sort of art in the world's literature, was not written for children. The ordinary infant would be unspeakably bewildered and bored by the visit of Duessa to the Lady of Night, and by the exploits of Arthegal and Talus. It might take a faint pleasure in Una being followed by the Lion, as Mary was by the little Lamb; and the fight between St. George and the Dragon (where Spenser appears almost at his worst) might arrest wondering attention. But what is incomparable in Spenser is exactly what would fail to amuse a child. We may be quite sure that it was no audience from the nursery which the poet sought to fascinate. Yet it is true that his poetry appeals only to the child at heart. What we have to do is to define for ourselves what we mean by a child at heart, and we shall soon perceive that the object of our thoughts is not, in the literal sense, a child at all.

Perhaps youth rather than childhood is the image we require. With the advance out of infancy into adolescence, the mystery of existence first becomes palpable and visible to the fingers and the eyes of those who are born to enjoy it. We fall into an error, however, if we imagine that it is given to every one who pleases to arrive at this blissful condition of wonder. The world is very old, and it is troubled about many things; it is full of tiresome exigencies and solemn frivolities. The denizens of it are, as a rule, incapable of seeing or conceiving wonders. If the Archangel Michael appeared at noonday to an ordinary member of the House of Commons, the legislator would mistake his celestial visitant for an omnibus conductor. He would rejoice at having sufficient common sense and knowledge of the world to make so intelligent an error. But those who are privileged to walk within the confines of fairyland are not of this class. They are members of a little clan who still share the adolescence of the world; for, as this world is, in the main, dusty, dry, old, and given to fussing about questions of finance, and yet has nooks where the air is full of dew and silence, so among men there are still always a few who bear no mark upon their foreheads, and move undistinguished in the crowd, in whom, nevertheless, the fairies still confide.

It will be a surprise to many, and it may be a painful surprise, to learn that there are fathers of families, persons "engaged in the City," and holding reputable appointments, who faithfully believe in magical princesses and in fays that dance by moonlight. These persons form the audience in whom Spenser – as, in other times and other climes, such poets as Ariosto and Camoens – seek and find their devotees. It is a fact that there are people of a later age who are still what we call "children in heart," whose hearts are bold, whose judgment is free, whose inner eye is limpid and bright. These men and women are sensitive still, although the searching, grinding wave of the world has gone over them. They live, in spite of all conventional experience, in a state of suspended credulity. They are ready for any amazement. They nourish, persistently, a desire to wander forth beyond the possibilities of experience, to enjoy the impossible, and to invade the inaccessible. Life for them, in spite of the geographers and the disenchanting encyclopædias, and that general suffusion of knowledge (upon all of which we congratulate ourselves) – life, in spite of all these, is still the vast forest, mapped out, indeed, but by them and theirs untraced.

Persons of this fortunate temperament store up an endless stock of good faith wherewith to face the teller of wonderful tales. And of all those to whom they listen, still, after three hundred years, Spenser is the most irresistible enchanter. It has always been admitted that his poetry is the most "poetical" that can be met with; that is to say, that it is the least mingled with elements which are not of the very essence of poetry. More than all other writers, Spenser takes us out of our everyday atmosphere into a state of things which could not be foreseen by any cleverness of our own reflection. He is easily supreme in the cosmogony of his enchantments. He confessed that his verse was no "matter of just memory," and it is evident that he did not wish it to be. He simply resigned himself to the exquisite pleasure of being lost in the mazes of a mysterious and fabulous woodland.

The poets, in successive ages, have delighted in bearing witness to this witchery of The Faerie Queene. There is no instance of this more pleasingly expressed, nor more appropriate to our argument, than that of Cowley, who says, in his delicious essay Of Myself: "There was wont to lie in my mother's parlour (I know not by what accident, for she herself never in her life read any book but of devotion), but there was wont to lie Spenser's Works. This I happened to fall upon (before I was twelve years old), and was infinitely delighted with the stories of the knights and giants and monsters and brave houses, which I found everywhere there – though my understanding had little to do with all this – and by degrees with the tinkling of the rhyme and dance of the numbers." We may doubt whether the child Cowley had not more of a man's taste than the man Cowley had of the heart of a child; but, at all events, he entered with exactly the proper spirit into that miraculous country where "birds, voices, instruments, winds, waters, all agree." And it is in this spirit that hundreds of the elect have read the marvellous poem in successive ages, and will continue to read it until time itself has passed away.

The Faerie Queene is not "about" any thing. There is nothing of serious import to be deduced from its line of argument. The subject wanders hither and thither, awakening fitful melodies in the brain of its creator, as the wind does on the strings of an Æolian harp. The music swells and declines, the harmonies gather to a loud ecstasy or dwindle to a melancholy murmur, under the caprices of a spirit that cannot be discerned and that seems to be under no intellectual control. In saying this, I am not ignorant of Spenser's protestation of a moral purpose, nor do I charge him with the smallest insincerity for having written that apologetic letter to Sir Walter Raleigh, in which he makes what he calls "a pleasing analysis" of the way in which the poem illustrates "the twelve private moral virtues, as Aristotle hath devised." It was necessary that he should have a skeleton of meaning underneath his elaborate dream, not merely for the sake of contemporary decency, lest in that strenuous age he should be cast forth as one that cumbered the ground, but for the sake of his art as well, which needed a steady basis of material as much as a picture needs its canvas or a statue its marble.

Moreover, The Faerie Queene must celebrate Queen Elizabeth, just as "Orlando Furioso" must praise the House of Este. It was in feudal societies, under the protection of princes, that these romantic enterprises had to be conducted, if they were conducted at all. There was a pleasant confusion, like that of coloured strands in a solemn tapestry, between the laudation of the Sovereign and the celebration of the virtues. Sometimes the monarch was not so virtuous as the poet could have wished; sometimes his Court was as little like fairyland as was humanly possible. That only added to the skill of the poet; that only added rainbow colours to the fabric of the invention.

Then there was always the allegory, with which, in fact, anything on earth could be connected, in the course of which not only could no compliment be excessive, but no attribution could be so certain that it was not able, under pressure, to be denied. Positive persons, in our rash age, do much profane the allegory, which, nevertheless, is essential to all fairy poetry. Without it, what would become of The Romaunt of the Rose, or of The Dream of Poliphile; what, even, of the Divine Comedy? Hazlitt merrily says that people "are afraid of allegory, as if it would bite them… If they do not meddle with the allegory, the allegory will not meddle with them." The fact is, persons who hate fairy poetry make the allegory an excuse for their aversion, which is like saying that you hate the flavour of olives because they have stones in them.

It is a peculiarity of the romance of fairyland that it never introduces us to fairies. Nothing is so prosaic as a fairy, seen in the broad light of Early Victorian illustration. A little being in short skirts and sandals, standing on one toe on the tip of a rosebud, with a spangle in her sleek hair and a wand in her taper fingers – nothing is more repulsive to the Muses. But the whole secret of the great fairy poets is that they are engaged in searching for fairies without ever suffering the disenchantment of finding them. There are none, I think, in the broad pages of Spenser; even, by a beautiful pleasantry, the Fairie Queene herself being entirely absent throughout the poem, at all events as we now possess it.

The personages in The Faerie Queene, noble and miraculous as they are, are not of the fairy persuasion at all. They wander through the forests in the hope of coming upon these supernatural denizens, but they never succeed in doing so. The Holy Grail appeared far oftener to the Knights of the Round Table than a real fairy was perceived by Paradel or Blandamour. These men of chivalry were much interested in the subject, but, as a rule, they were poorly instructed. It was in the House of Temperance that Sir Guyon found the book, that hight Antiquity of Faeryland, which seems to have been a sort of Who's Who, or Complete Peerage of the supernatural world. He flew to the perusal of it, and wherever in it

 
"he greedily did look,
Offspring of Elves and Fairies there he found,"
 

but he found no examples on the

 
"island, waste and void,
That floated in the midst of that great lake,"
 

(where it is impossible not to believe that Mr. W. B. Yeats would have been more successful).

A critic has said that nothing is closer to an intensely lyrical song than a violently burlesque story. The sense of beauty immediately evoked by the one is suggested, conversely, or in the way of topsy-turvy, by the other. This principle had been introduced into literature – or at least into modern literature, for the Greeks had it illustrated in Aristophanes – a hundred years before the time of Spenser, by the Morgante Maggiore of Pulci, where Orlando, the pink of romantic chivalry, comes into collision with certain "immeasurable giants" and other wild absurdities. The atmosphere of that poem is perfectly heroic:

 
Twelve Paladins had Charles in court, of whom
The wisest and most famous was Orlando;
Him traitor Gan conducted to the tomb
In Roncesvalles, as the villain planned to,
While the horn rang so loud, and knelled the doom
Of their sad rout, though he did all knight can do;
And Dante in his Comedy has given
To him a happy seat with Charles in heaven.
 

But, in another turn, we find this splendid Orlando lifting his sword to give his beautiful lady, Aldabelle, a smack on the face with the flat of it. This is burlesque, and Pulci seems to have been the inventor of the genre. He was followed by Boiardo, who wrote of Orlando in love, and by Ariosto, who described the madness of Orlando, and by a multitude of other sixteenth century poets, who described, in this epic mixture of lyricism and burlesque, various other episodes in the life of the hero. It was from them, from these Italian precursors, whom Spenser had read so carefully, that he borrowed the ugly and violent elements which he introduces, so much to the scandal of some critics, into the embroidered texture of The Faerie Queene.

In all this, however, which is very characteristic of the romance of fairy poetry, we do wrong to be scandalized. The ugly things, like the misfortunes of Braggadochio and his Squire (in The Faerie Queene), and the fantastic things, like the journey of Alstolfo to the Moon to recover the wits of Orlando (in Ariosto), are just as necessary to our pleasure as the description of the Bower of Bliss, or of Angelica's flight from Rinaldo. They are all part of that desire to escape from the obvious and the commonplace features of life which inspires this whole class of poetry. Those who are naturally conscious that life runs at a dead level desire to heighten it, and whether this is done in the lyric spirit or in the burlesque, or in both at once, matters very little. The essential thing is to lift the spirit and quicken the pulse.

The only consolation which comes to people of this fatigued and wistful temperament is that which they receive from a persuasion of the reality of what is marvellous and incredible. Like the theologians, such readers believe certain things to be true because it is impossible that they should be true. They do not ask why, or where, or when, the incidents happened; they are satisfied with the vision and with all its chimerical wonders. In their dreams they see Belphœbe hurrying through the woodland, her hair starred as thick as snow by the petals of the wild roses her tempestuous flight has shaken down upon it, and they do not ask what she represents, nor whither she hastens, nor her relation to fact and history:

 
And in her hand a sharp boar-spear she held,
And at her back a bow and quiver gay,
Stuft with steel-headed darts, wherewith she quelled
The savage beasts in her victorious play,
Knit with a golden bauldrick, which forelay
Athwart her snowy breast.
 

Who needs to ask whither Belphœbe goes, or what she means? She is a vision created for the deep contentment of those in whom the longing for noble images and uplifted desires and generous, childlike dreams is perennial.

Critics like to assume that the enthusiasm which breeds this kind of chivalrous poetry is dead and buried in the classics. They no more expect to see a new Faerie Queene published than to hear of a new dodo inhabiting the plantations of the interior of Madagascar. But in literature it is always unsafe to say that a door is closed for ever; if we are rash enough to make such an assertion, it is sure to fly open in our faces. It was a commonplace of criticism ten years ago that the epic would never reappear in literature, and behold Mr. Doughty presents us with a Dawn in Britain which is as long as the Lusiads would be if Paradise Lost were tacked on to the tail of it. Last week I read in a very positive volume that the Pastoral can never revisit the cold glimpses of a world that has exchanged its interest in shepherds for a solicitude about miners and chauffeurs. My instant reflection on reading that opinion was to wonder how soon a young poet would publish a fresh set of Bucolics, with the contest of Damaetas and Menalcas set forth to a new tune upon the Pans' pipes.

For this reason I cannot say that I was astonished, although much interested, to find a young man – and, I venture to think, a young man of some genius – reviving the old music of the magic woodland, which had seemed to be dead, or closed, since the seventeenth century. It is a wish to make his work a little known to English readers which has led me to venture on some remarks to-day about the Romance of Fairyland. M. Albert Mockel is a Fleming, and if M. Octave Mirbeau, in a celebrated article in the Paris Figaro, had not called M. Maeterlinck the Belgian Shakespeare, I should have been tempted to describe M. Mockel as the Belgian Spenser. I may go so far as to call him a Belgian Ariosto. M. Mockel has not enjoyed the same popularity as his eminent countryman; perhaps he had no Octave Mirbeau to immortalize him with a gorgeous paradox. But in 1891 M. Mockel, who must then have been very youthful, published a poem, entitled Chantefable, which was enough to inspire great hopes of his future among not a few judicious readers. He has done nothing, in my judgment, to justify those hopes so fully as he now has in the volume he has published, called, Contes pour les Enfants d'hier, with ingenious illustrations by M. Auguste Donnay. These illustrations are very clever, although they would never have been drawn had it not been for Aubrey Beardsley's Morte d'Arthur (1893). M. Donnay is skilful, and he emulates Beardsley's wonderful, pure line, without always perfectly attaining to it.

But the book itself is of a more classic cast, and deserves longer attention. Here, to quite a remarkable extent, we find the old stateliness of the fabulous society, the old ceremonial procession of wonderful events and incredible people. Here, once more, we enter a world as audaciously designed as Ariosto's, as intricately splendid as Spenser's. Here, again, is what a critic of The Faerie Queene has called "the inexhaustible succession of circumstance, fantasy, and incident." The vulgarity of present existence is buried under such a panoply and magnificence of fable that the grown-up children, the blessed enfants d'hier, can forget and ignore it.

It would be tedious to retell briefly, in poor words, the brilliant stories which owe so much to the solemn and highly-coloured language in which they are deliberately narrated. But I cannot refrain from giving an outline of the last of them, The Island of Rest. In M. Mockel's gallery there is no more magnificent figure than that of Jerzual, Prince of Urmonde. We may call him the Roland of our Belgian Boiardo. All the world is aware of the mysterious end of Prince Jerzual; he went away over the waves of the sea, and nothing was ever heard of him again. But only M. Mockel knows what happened, and he has now consented to reveal it.

Jerzual had loved the ineffable Alise, Princess of Avigorre, and to secure her love he had vowed that he would offer her the suzerainty of the Heights, a mysterious country surrounded by peaks of silver and crystal. Unfortunately, though he searched the habitable globe, the whereabouts of this marvellous region escaped him. One day, in despair, as he rode his magic horse, Bellardian, he came to the edge of a cliff, where the ocean stretched at his feet. Tired of his vain adventures, Jerzual flung the reins on the mane of Bellardian, and spurred him onward. The obedient steed leaped the cliff, and descended on the surface of the waters, which undulated gently beneath him, but bore up both horse and rider. They galloped over the calm sea for hours and hours, for days and days, until at last a fairy island appeared on the horizon, and displayed, as they approached, a silver zone of pure peaks, lifted like a tiara high over the ring of green and golden verdure. This was the land of Jerzual's desire, but neither the white Bellardian nor his incomparable master succeeded in landing upon that exquisite shore without prolonged adventures, which it is not my business to recount. Suffice to say, that they sank in safety on the sands at last.

How they were discovered there by Aigueline, the cruel daughter of the Sea, and sole inhabitant of the island; how the heart of Jerzual fluctuated in the terrible dilemma between his present good fortune and his duty to the Princess; how staunch and uplifted poor Bellardian was, and how strange and pitiful his fate; how the enchantments of Aigueline were broken at last; and how, when the disillusioned Jerzual walked in frenzy upon the sands of the island shore, he saw the shallop of the Princess of Avigorre sail by, with banners flying from it which were not his, but those of his rival, Ellerion, Prince of Argilea; this, and much more, and all of it equally gorgeous and convincing, must be read in the delightful pages of M. Mockel's Contes pour les Enfants d'hier.