Kitabı oku: «Letters to Dead Authors», sayfa 5

XIII.
To Theocritus

“Sweet, methinks, is the whispering sound of yonder pine-tree,” so, Theocritus, with that sweet word ἁδύ, didst thou begin and strike the keynote of thy songs. “Sweet,” and didst thou find aught of sweet, when thou, like thy Daphnis, didst “go down the stream, when the whirling wave closed over the man the Muses loved, the man not hated of the Nymphs”? Perchance below those waters of death thou didst find, like thine own Hylas, the lovely Nereids waiting thee, Eunice, and Malis, and Nycheia with her April eyes. In the House of Hades, Theocritus, doth there dwell aught that is fair, and can the low light on the fields of asphodel make thee forget thy Sicily? Nay, methinks thou hast not forgotten, and perchance for poets dead there is prepared a place more beautiful than their dreams. It was well for the later minstrels of another day, it was well for Ronsard and Du Bellay to desire a dim Elysium of their own, where the sunlight comes faintly through the shadow of the earth, where the poplars are duskier, and the waters more pale than in the meadows of Anjou.

There, in that restful twilight, far remote from war and plot, from sword and fire, and from religions that sharpened the steel and lit the torch, there these learned singers would fain have wandered with their learned ladies, satiated with life and in love with an unearthly quiet. But to thee, Theocritus, no twilight of the Hollow Land was dear, but the high suns of Sicily and the brown cheeks of the country maidens were happiness enough. For thee, therefore, methinks, surely is reserved an Elysium beneath the summer of a far-off system, with stars not ours and alien seasons. There, as Bion prayed, shall Spring, the thrice desirable, be with thee the whole year through, where there is neither frost, nor is the heat so heavy on men, but all is fruitful, and all sweet things blossom, and evenly meted are darkness and dawn. Space is wide, and there be many worlds, and suns enow, and the Sun-god surely has had a care of his own. Little didst thou need, in thy native land, the isle of the three capes, little didst thou need but sunlight on land and sea. Death can have shown thee naught dearer than the fragrant shadow of the pines, where the dry needles of the fir are strewn, or glades where feathered ferns make “a couch more soft than Sleep.” The short grass of the cliffs, too, thou didst love, where thou wouldst lie, and watch, with the tunny watcher till the deep blue sea was broken by the burnished sides of the tunny shoal, and afoam with their gambols in the brine. There the Muses met thee, and the Nymphs, and there Apollo, remembering his old thraldom with Admetus, would lead once more a mortal’s flocks, and listen and learn, Theocritus, while thou, like thine own Comatas, “didst sweetly sing.”

There, methinks, I see thee as in thy happy days, “reclined on deep beds of fragrant lentisk, lowly strewn, and rejoicing in new stript leaves of the vine, while far above thy head waved many a poplar, many an elm-tree, and close at hand the sacred waters sang from the mouth of the cavern of the nymphs.” And when night came, methinks thou wouldst flee from the merry company and the dancing girls, from the fading crowns of roses or white violets, from the cottabos, and the minstrelsy, and the Bibline wine, from these thou wouldst slip away into the summer night. Then the beauty of life and of the summer would keep thee from thy couch, and wandering away from Syracuse by the sandhills and the sea, thou wouldst watch the low cabin, roofed with grass, where the fishing-rods of reed were leaning against the door, while the Mediterranean floated up her waves, and filled the waste with sound. There didst thou see thine ancient fishermen rising ere the dawn from their bed of dry seaweed, and heardst them stirring, drowsy, among their fishing gear, and heardst them tell their dreams.

Or again thou wouldst wander with dusty feet through the ways that the dust makes silent, while the breath of the kine, as they were driven forth with the morning, came fresh to thee, and the trailing dewy branch of honeysuckle struck sudden on thy cheek. Thou wouldst see the Dawn awake in rose and saffron across the waters, and Etna, grey and pale against the sky, and the setting crescent would dip strangely in the glow, on her way to the sea. Then, methinks, thou wouldst murmur, like thine own Simaetha, the love-lorn witch, “Farewell, Selene, bright and fair; farewell, ye other stars, that follow the wheels of the quiet Night.” Nay, surely it was in such an hour that thou didst behold the girl as she burned the laurel leaves and the barley grain, and melted the waxen image, and called on Selene to bring her lover home. Even so, even now, in the islands of Greece, the setting Moon may listen to the prayers of maidens. ‘Bright golden Moon, that now art near the waters, go thou and salute my lover, he that stole my love, and that kissed me, saying “Never will I leave thee.” And lo, he hath left me as men leave a field reaped and gleaned, like a church where none cometh to pray, like a city desolate.’

So the girls still sing in Greece, for though the Temples have fallen, and the wandering shepherds sleep beneath the broken columns of the god’s house in Selinus, yet these ancient fires burn still to the old divinities in the shrines of the hearths of the peasants. It is none of the new creeds that cry, in the dirge of the Sicilian shepherds of our time, “Ah, light of mine eyes, what gift shall I send thee, what offering to the other world? The apple fadeth, the quince decayeth, and one by one they perish, the petals of the rose. I will send thee my tears shed on a napkin, and what though it burneth in the flame, if my tears reach thee at the last.”

Yes, little is altered, Theocritus, on these shores beneath the sun, where thou didst wear a tawny skin stripped from the roughest of he-goats, and about thy breast an old cloak buckled with a plaited belt. Thou wert happier there, in Sicily, methinks, and among vines and shadowy lime-trees of Cos, than in the dust, and heat, and noise of Alexandria. What love of fame, what lust of gold tempted thee away from the red cliffs, and grey olives, and wells of black water wreathed with maidenhair?

 
The music of thy rustic flute
Kept not for long its happy country tone;
Lost it too soon, and learned a stormy note
Of men contention tost, of men who groan,
Which tasked thy pipe too sore, and tired thy throat —
It failed, and thou wast mute!
 

What hadst thou to make in cities, and what could Ptolemies and Princes give thee better than the goat-milk cheese and the Ptelean wine? Thy Muses were meant to be the delight of peaceful men, not of tyrants and wealthy merchants, to whom they vainly went on a begging errand. “Who will open his door and gladly receive our Muses within his house, who is there that will not send them back again without a gift? And they with naked feet and looks askance come homewards, and sorely they upbraid me when they have gone on a vain journey, and listless again in the bottom of their empty coffer they dwell with heads bowed over their chilly knees, where is their drear abode, when portionless they return.” How far happier was the prisoned goat-herd, Comatas, in the fragrant cedar chest where the blunt-faced bees from the meadow fed him with food of tender flowers, because still the Muse dropped sweet nectar on his lips!

Thou didst leave the neat-herds and the kine, and the oaks of Himera, the galingale hummed over by the bees, and the pine that dropped her cones, and Amaryllis in her cave, and Bombyca with her feet of carven ivory. Thou soughtest the City, and strife with other singers, and the learned write still on thy quarrels with Apollonius and Callimachus, and Antagoras of Rhodes. So ancient are the hatreds of poets, envy, jealousy, and all unkindness.

Not to the wits of Courts couldst thou teach thy rural song, though all these centuries, more than two thousand years, they have laboured to vie with thee. There has come no new pastoral poet, though Virgil copied thee, and Pope, and Phillips, and all the buckram band of the teacup time; and all the modish swains of France have sung against thee, as the sow challenged Athene. They never knew the shepherd’s life, the long winter nights on dried heather by the fire, the long summer days, when over the parched grass all is quiet, and only the insects hum, and the shrunken burn whispers a silver tune. Swains in high-heeled shoon, and lace, shepherdesses in rouge and diamonds, the world is weary of all concerning them, save their images in porcelain, effigies how unlike thy golden figures, dedicate to Aphrodite, of Bombyca and Battus! Somewhat, Theocritus, thou hast to answer for, thou that first of men brought the shepherd to Court, and made courtiers wild to go a Maying with the shepherds.

XIV.
To Edgar Allan Poe

Sir, – Your English readers, better acquainted with your poems and romances than with your criticisms, have long wondered at the indefatigable hatred which pursues your memory. You, who knew the men, will not marvel that certain microbes of letters, the survivors of your own generation, still harass your name with their malevolence, while old women twitter out their incredible and unheeded slanders in the literary papers of New York. But their persistent animosity does not quite suffice to explain the dislike with which many American critics regard the greatest poet, perhaps the greatest literary genius, of their country. With a commendable patriotism, they are not apt to rate native merit too low; and you, I think, are the only example of an American prophet almost without honour in his own country.

The recent publication of a cold, careful, and in many respects admirable study of your career (“Edgar Allan Poe,” by George Woodberry: Houghton, Mifflin and Co., Boston) reminds English readers who have forgotten it, and teaches those who never knew it, that you were, unfortunately, a Reviewer. How unhappy were the necessities, how deplorable the vein, that compelled or seduced a man of your eminence into the dusty and stony ways of contemporary criticism! About the writers of his own generation a leader of that generation should hold his peace. He should neither praise nor blame nor defend his equals; he should not strike one blow at the buzzing ephemeræ of letters. The breath of their life is in the columns of “Literary Gossip;” and they should be allowed to perish with the weekly advertisements on which they pasture. Reviewing, of course, there must needs be; but great minds should only criticise the great who have passed beyond the reach of eulogy or fault-finding.

Unhappily, taste and circumstances combined to make you a censor; you vexed a continent, and you are still unforgiven. What “irritation of a sensitive nature, chafed by some indefinite sense of wrong,” drove you (in Mr. Longfellow’s own words) to attack his pure and beneficent Muse we may never ascertain. But Mr. Longfellow forgave you easily; for pardon comes easily to the great. It was the smaller men, the Daweses, Griswolds, and the like, that knew not how to forget. “The New Yorkers never forgave him,” says your latest biographer; and one scarcely marvels at the inveteracy of their malice. It was not individual vanity alone, but the whole literary class that you assailed. “As a literary people,” you wrote, “we are one vast perambulating humbug.” After that declaration of war you died, and left your reputation to the vanities yet writhing beneath your scorn. They are writhing and writing still. He who knows them need not linger over the attacks and defences of your personal character; he will not waste time on calumnies, tale-bearing, private letters, and all the noisome dust which takes so long in settling above your tomb.

For us it is enough to know that you were compelled to live by your pen, and that in an age when the author of “To Helen” and “The Cask of Amontillado” was paid at the rate of a dollar a column. When such poverty was the mate of such pride as yours, a misery more deep than that of Burns, an agony longer than Chatterton’s, were inevitable and assured. No man was less fortunate than you in the moment of his birth —infelix opportunitate vitæ. Had you lived a generation later, honour, wealth, applause, success in Europe and at home, would all have been yours. Within thirty years so great a change has passed over the profession of letters in America; and it is impossible to estimate the rewards which would have fallen to Edgar Poe, had chance made him the contemporary of Mark Twain and of “Called Back.” It may be that your criticisms helped to bring in the new era, and to lift letters out of the reach of quite unlettered scribblers. Though not a scholar, at least you had a respect for scholarship. You might still marvel over such words as “objectional” in the new biography of yourself, and might ask what is meant by such a sentence as “his connection with it had inured to his own benefit by the frequent puffs of himself,” and so forth.

Best known in your own day as a critic, it is as a poet and a writer of short tales that you must live. But to discuss your few and elaborate poems is a waste of time, so completely does your own brief definition of poetry, “the rhythmic creation of the beautiful,” exhaust your theory, and so perfectly is the theory illustrated by the poems. Natural bent, and reaction against the example of Mr. Longfellow, combined to make you too intolerant of what you call the “didactic” element in verse. Even if morality be not seven-eighths of our life (the exact proportion as at present estimated), there was a place even on the Hellenic Parnassus for gnomic bards, and theirs in the nature of the case must always be the largest public.

“Music is the perfection of the soul or the idea of poetry,” so you wrote; “the vagueness of exaltation aroused by a sweet air (which should be indefinite and never too strongly suggestive) is precisely what we should aim at in poetry.” You aimed at that mark, and struck it again and again, notably in “Helen, thy beauty is to me,” in “The Haunted Palace,” “The Valley of Unrest,” and “The City in the Sea.” But by some Nemesis which might, perhaps, have been foreseen, you are, to the world, the poet of one poem – “The Raven:” a piece in which the music is highly artificial, and the “exaltation” (what there is of it) by no means particularly “vague.” So a portion of the public know little of Shelley but the “Skylark,” and those two incongruous birds, the lark and the raven, bear each of them a poet’s name, vivu’ per ora virum. Your theory of poetry, if accepted, would make you (after the author of “Kubla Khan”) the foremost of the poets of the world; at no long distance would come Mr. William Morris as he was when he wrote “Golden Wings,” “The Blue Closet,” and “The Sailing of the Sword;” and, close up, Mr. Lear, the author of “The Yongi Bongi Bo,” an the lay of the “Jumblies.”

On the other hand Homer would sink into the limbo to which you consigned Molière. If we may judge a theory by its results, when compared with the deliberate verdict of the world, your æsthetic does not seem to hold water. The “Odyssey” is not really inferior to “Ulalume,” as it ought to be if your doctrine of poetry were correct, nor “Le Festin de Pierre” to “Undine.” Yet you deserve the praise of having been constant, in your poetic practice, to your poetic principles – principles commonly deserted by poets who, like Wordsworth, have published their æsthetic system. Your pieces are few; and Dr. Johnson would have called you, like Fielding, “a barren rascal.” But how can a writer’s verses be numerous if with him, as with you, “poetry is not a pursuit but a passion.. which cannot at will be excited with an eye to the paltry compensations or the more paltry commendations of mankind!” Of you it may be said, more truly than Shelley said it of himself, that “to ask you for anything human, is like asking at a gin-shop for a leg of mutton.”

Humanity must always be, to the majority of men, the true stuff of poetry; and only a minority will thank you for that rare music which (like the strains of the fiddler in the story) is touched on a single string, and on an instrument fashioned from the spoils of the grave. You chose, or you were destined

To vary from the kindly race of men;

and the consequences, which wasted your life, pursue your reputation.

For your stories has been reserved a boundless popularity, and that highest success – the success of a perfectly sympathetic translation. By this time, of course, you have made the acquaintance of your translator, M. Charles Baudelaire, who so strenuously shared your views about Mr. Emerson and the Transcendentalists, and who so energetically resisted all those ideas of “progress” which “came from Hell or Boston.” On this point, however, the world continues to differ from you and M. Baudelaire, and perhaps there is only the choice between our optimism and universal suicide or universal opium-eating. But to discuss your ultimate ideas is perhaps a profitless digression from the topic of your prose romances.

An English critic (probably a Northerner at heart) has described them as “Hawthorne and delirium tremens.” I am not aware that extreme orderliness, masterly elaboration, and unchecked progress towards a predetermined effect are characteristics of the visions of delirium. If they be, then there is a deal of truth in the criticism, and a good deal of delirium tremens in your style. But your ingenuity, your completeness, your occasional luxuriance of fancy and wealth of jewel-like words, are not, perhaps, gifts which Mr. Hawthorne had at his command. He was a great writer – the greatest writer in prose fiction whom America has produced. But you and he have not much in common, except a certain mortuary turn of mind and a taste for gloomy allegories about the workings of conscience.

I forbear to anticipate your verdict about the latest essays of American fiction. These by no means follow in the lines which you laid down about brevity and the steady working to one single effect. Probably you would not be very tolerant (tolerance was not your leading virtue) of Mr. Roe, now your countrymen’s favourite novelist. He is long, he is didactic, he is eminently uninspired. In the works of one who is, what you were called yourself, a Bostonian, you would admire, at least, the acute observation, the subtlety, and the unfailing distinction. But, destitute of humour as you unhappily but undeniably were, you would miss, I fear, the charm of “Daisy Miller.” You would admit the unity of effect secured in “Washington Square,” though that effect is as remote as possible from the terror of “The House of Usher” or the vindictive triumph of “The Cask of Amontillado.”

Farewell, farewell, thou sombre and solitary spirit: a genius tethered to the hack-work of the press, a gentleman among canaille, a poet among poetasters, dowered with a scholar’s taste without a scholar’s training, embittered by his sensitive scorn, and all unsupported by his consolations.

XV.
To Sir Walter Scott, Bart

Rodono, St. Mary’s Loch:

Sept. 8, 1885.

Sir, – In your biography it is recorded that you not only won the favour of all men and women; but that a domestic fowl conceived an affection for you, and that a pig, by his will, had never been severed from your company. If some Circe had repeated in my case her favourite miracle of turning mortals into swine, and had given me a choice, into that fortunate pig, blessed among his race, would I have been converted! You, almost alone among men of letters, still, like a living friend, win and charm us out of the past; and if one might call up a poet, as the scholiast tried to call Homer, from the shades, who would not, out of all the rest, demand some hours of your society? Who that ever meddled with letters, what child of the irritable race, possessed even a tithe of your simple manliness, of the heart that never knew a touch of jealousy, that envied no man his laurels, that took honour and wealth as they came, but never would have deplored them had you missed both and remained but the Border sportsman and the Border antiquary?

Were the word “genial” not so much profaned, were it not misused in easy good-nature, to extenuate lettered and sensual indolence, that worn old term might be applied, above all men, to “the Shirra.” But perhaps we scarcely need a word (it would be seldom in use) for a character so rare, or rather so lonely, in its nobility and charm as that of Walter Scott. Here, in the heart of your own country, among your own grey round-shouldered hills (each so like the other that the shadow of one falling on its neighbour exactly outlines that neighbour’s shape), it is of you and of your works that a native of the Forest is most frequently brought in mind. All the spirits of the river and the hill, all the dying refrains of ballad and the fading echoes of story, all the memory of the wild past, each legend of burn and loch, seem to have combined to inform your spirit, and to secure themselves an immortal life in your song. It is through you that we remember them; and in recalling them, as in treading each hillside in this land, we again remember you and bless you.

It is not, “Sixty Years Since” the echo of Tweed among his pebbles fell for the last time on your ear; not sixty years since, and how much is altered! But two generations have passed; the lad who used to ride from Edinburgh to Abbotsford, carrying new books for you, and old, is still vending, in George Street, old books and new. Of politics I have not the heart to speak. Little joy would you have had in most that has befallen since the Reform Bill was passed, to the chivalrous cry of “burke Sir Walter.” We are still very Radical in the Forest, and you were taken away from many evils to come. How would the cheek of Walter Scott, or of Leyden, have blushed at the names of Majuba, The Soudan, Maiwand, and many others that recall political cowardice or military incapacity! On the other hand, who but you could have sung the dirge of Gordon, or wedded with immortal verse the names of Hamilton (who fell with Cavagnari), of the two Stewarts, of many another clansman, brave among the bravest! Only he who told how

 
The stubborn spearmen still made good
Their dark impenetrable wood
 

could have fitly rhymed a score of feats of arms in which, as at M’Neill’s Zareba and at Abu Klea,

 
Groom fought like noble, squire like knight,
As fearlessly and well.
 

Ah, Sir, the hearts of the rulers may wax faint, and the voting classes may forget that they are Britons; but when it comes to blows our fighting men might cry, with Leyden,

 
My name is little Jock Elliot,
And wha daur meddle wi’ me!
 

Much is changed, in the countryside as well as in the country; but much remains. The little towns of your time are populous and excessively black with the smoke of factories – not, I fear, at present very flourishing. In Galashiels you still see the little change-house and the cluster of cottages round the Laird’s lodge, like the clachan of Tully Veolan. But these plain remnants of the old Scotch towns are almost buried in a multitude of “smoky dwarf houses” – a living poet, Mr. Matthew Arnold, has found the fitting phrase for these dwellings, once for all. All over the Forest the waters are dirty and poisoned: I think they are filthiest below Hawick; but this may be mere local prejudice in a Selkirk man. To keep them clean costs money; and, though improvements are often promised, I cannot see much change – for the better. Abbotsford, luckily, is above Galashiels, and only receives the dirt and dyes of Selkirk, Peebles, Walkerburn, and Innerleithen. On the other hand, your ill-omened later dwelling, “the unhappy palace of your race,” is overlooked by villas that prick a cockney ear among their larches, hotels of the future. Ah, Sir, Scotland is a strange place. Whisky is exiled from some of our caravanserais, and they have banished Sir John Barleycorn. It seems as if the views of the excellent critic (who wrote your life lately, and said you had left no descendants, le pauvre homme!) were beginning to prevail. This pious biographer was greatly shocked by that capital story about the keg of whisky that arrived at the Liddesdale farmer’s during family prayers. Your Toryism also was an offence to him.

Among these vicissitudes of things and the overthrow of customs, let us be thankful that, beyond the reach of the manufacturers, the Border country remains as kind and homely as ever. I looked at Ashiestiel some days ago: the house seemed just as it may have been when you left it for Abbotsford, only there was a lawn-tennis net on the lawn, the hill on the opposite bank of the Tweed was covered to the crest with turnips, and the burn did not sing below the little bridge, for in this arid summer the burn was dry. But there was still a grilse that rose to a big March brown in the shrunken stream below Elibank. This may not interest you, who styled yourself

 
No fisher,
But a well-wisher
To the game!
 

Still, as when you were thinking over Marmion, a man might have “grand gallops among the hills” – those grave wastes of heather and bent that sever all the watercourses and roll their sheep-covered pastures from Dollar Law to White Combe, and from White Combe to the Three Brethren Cairn and the Windburg and Skelf-hill Pen. Yes, Teviotdale is pleasant still, and there is not a drop of dye in the water, purior electro, of Yarrow. St. Mary’s Loch lies beneath me, smitten with wind and rain – the St. Mary’s of North and of the Shepherd. Only the trout, that see a myriad of artificial flies, are shyer than of yore. The Shepherd could no longer fill a cart up Meggat with trout so much of a size that the country people took them for herrings.

The grave of Piers Cockburn is still not desecrated: hard by it lies, within a little wood; and beneath that slab of old sandstone, and the graven letters, and the sword and shield, sleep “Piers Cockburn and Marjory his wife.” Not a hundred yards off was the castle-door where they hanged him; this is the tomb of the ballad, and the lady that buried him rests now with her wild lord.

 
Oh, wat ye no my heart was sair,
When I happit the mouls on his yellow hair;
Oh, wat ye no my heart was wae,
When I turned about and went my way! ⁷
 

Here too hearts have broken, and there is a sacredness in the shadow and beneath these clustering berries of the rowan-trees. That sacredness, that reverent memory of our old land, it is always and inextricably blended with our memories, with our thoughts, with our love of you. Scotchmen, methinks, who owe so much to you, owe you most for the example you gave of the beauty of a life of honour, showing them what, by heaven’s blessing, a Scotchman still might be.

Words, empty and unavailing – for what words of ours can speak our thoughts or interpret our affections! From you first, as we followed the deer with King James, or rode with William of Deloraine on his midnight errand, did we learn what Poetry means and all the happiness that is in the gift of song. This and more than may be told you gave us, that are not forgetful, not ungrateful, though our praise be unequal to our gratitude. Fungor inani munere!