Kitabı oku: «Ideas of Good and Evil», sayfa 12
THE MOODS
Literature differs from explanatory and scientific writing in being wrought about a mood, or a community of moods, as the body is wrought about an invisible soul; and if it uses argument, theory, erudition, observation, and seems to grow hot in assertion or denial, it does so merely to make us partakers at the banquet of the moods. It seems to me that these moods are the labourers and messengers of the Ruler of All, the gods of ancient days still dwelling on their secret Olympus, the angels of more modern days ascending and descending upon their shining ladder; and that argument, theory, erudition, observation, are merely what Blake called ‘little devils who fight for themselves,’ illusions of our visible passing life, who must be made serve the moods, or we have no part in eternity. Everything that can be seen, touched, measured, explained, understood, argued over, is to the imaginative artist nothing more than a means, for he belongs to the invisible life, and delivers its ever new and ever ancient revelation. We hear much of his need for the restraints of reason, but the only restraint he can obey is the mysterious instinct that has made him an artist, and that teaches him to discover immortal moods in mortal desires, an undecaying hope in our trivial ambitions, a divine love in sexual passion.
1895.
THE BODY OF THE FATHER CHRISTIAN ROSENCRUX
The followers of the Father Christian Rosencrux, says the old tradition, wrapped his imperishable body in noble raiment and laid it under the house of their order, in a tomb containing the symbols of all things in heaven and earth, and in the waters under the earth, and set about him inextinguishable magical lamps, which burnt on generation after generation, until other students of the order came upon the tomb by chance. It seems to me that the imagination has had no very different history during the last two hundred years, but has been laid in a great tomb of criticism, and had set over it inextinguishable magical lamps of wisdom and romance, and has been altogether so nobly housed and apparelled that we have forgotten that its wizard lips are closed, or but opened for the complaining of some melancholy and ghostly voice. The ancients and the Elizabethans abandoned themselves to imagination as a woman abandons herself to love, and created great beings who made the people of this world seem but shadows, and great passions which made our loves and hatreds appear but ephemeral and trivial phantasies; but now it is not the great persons, or the great passions we imagine, which absorb us, for the persons and passions in our poems are mainly reflections our mirror has caught from older poems or from the life about us, but the wise comments we make upon them, the criticism of life we wring from their fortunes. Arthur and his Court are nothing, but the many-coloured lights that play about them are as beautiful as the lights from cathedral windows; Pompilia and Guido are but little, while the ever-recurring meditations and expositions which climax in the mouth of the Pope are among the wisest of the Christian age. I cannot get it out of my mind that this age of criticism is about to pass, and an age of imagination, of emotion, of moods, of revelation, about to come in its place; for certainly belief in a supersensual world is at hand again; and when the notion that we are ‘phantoms of the earth and water’ has gone down the wind, we will trust our own being and all it desires to invent; and when the external world is no more the standard of reality, we will learn again that the great Passions are angels of God, and that to embody them ‘uncurbed in their eternal glory,’ even in their labour for the ending of man’s peace and prosperity, is more than to comment, however wisely, upon the tendencies of our time, or to express the socialistic, or humanitarian, or other forces of our time, or even ‘to sum up’ our time, as the phrase is; for Art is a revelation, and not a criticism, and the life of the artist is in the old saying, ‘The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh and whither it goeth; so is every one that is born of the spirit.’
1895.
THE RETURN OF ULYSSES
I
M. Maeterlinck, in his beautiful Treasure of the Humble, compares the dramas of our stage to the paintings of an obsolete taste; and the dramas of the stage for which he hopes, to the paintings of a taste that cannot become obsolete. ‘The true artist,’ he says, ‘no longer chooses Marius triumphing over the Cimbrians, or the assassination of the Duke of Guise, as fit subjects for his art; for he is well aware that the psychology of victory or murder is but elementary and exceptional, and that the solemn voice of men and things, the voice that issues forth so timidly and hesitatingly, cannot be heard amidst the idle uproar of acts of violence. And therefore will he place on his canvas a house lost in the heart of the country, a door open at the end of a passage, a face or hands at rest.’ I do not understand him to mean that our dramas should have no victories or murders, for he quotes for our example plays that have both, but only that their victories and murders shall not be to excite our nerves, but to illustrate the reveries of a wisdom which shall be as much a part of the daily life of the wise as a face or hands at rest. And certainly the greater plays of the past ages have been built after such a fashion. If this fashion is about to become our fashion also, and there are signs that it is, plays like some of Mr. Robert Bridges will come out of that obscurity into which all poetry, that is not lyrical poetry, has fallen, and even popular criticism will begin to know something about them. Some day the few among us, who care for poetry more than any temporal thing, and who believe that its delights cannot be perfect when we read it alone in our rooms and long for one to share its delights, but that they might be perfect in the theatre, when we share them friend with friend, lover with beloved, will persuade a few idealists to seek out the lost art of speaking, and seek out ourselves the lost art, that is perhaps nearest of all arts to eternity, the subtle art of listening. When that day comes we will talk much of Mr. Bridges; for did he not write scrupulous, passionate poetry to be sung and to be spoken, when there were few to sing and as yet none to speak? There is one play especially, The Return of Ulysses, which we will praise for perfect after its kind, the kind of our new drama of wisdom, for it moulds into dramatic shape, and with as much as possible of literal translation, those closing books of the Odyssey which are perhaps the most perfect poetry of the world, and compels that great tide of song to flow through delicate dramatic verse, with little abatement of its own leaping and clamorous speed. As I read, the gathering passion overwhelms me, as it did when Homer himself was the singer, and when I read at last the lines in which the maid describes to Penelope the battle with the suitors, at which she looks through the open door, I tremble with excitement.
‘Penelope: Alas! what cries! Say, is the prince still safe?
The Maid: He shieldeth himself well, and striketh surely;
His foes fall down before him. Ah! now what can I see?
Who cometh? Lo! a dazzling helm, a spear
Of silver or electron; sharp and swift
The piercings. How they fall! Ha! shields are raised
In vain. I am blinded, or the beggar-man
Hath waxed in strength. He is changed, he is young. O strange!
He is all in golden armour. These are gods
That slay the suitors. (Runs to Penelope.) O lady, forgive me.
Tis Ares’ self. I saw his crispèd beard;
I saw beneath his helm his curlèd locks.’
The coming of Athene helmed ‘in silver or electron’ and her transformation of Ulysses are not, as the way is with the only modern dramas that popular criticism holds to be dramatic, the climax of an excitement of the nerves, but of that unearthly excitement which has wisdom for fruit, and is of like kind with the ecstasy of the seers, an altar flame, unshaken by the winds of the world, and burning every moment with whiter and purer brilliance.
Mr. Bridges has written it in what is practically the classical manner, as he has done in Achilles in Scyros– a placid and charming setting for many placid and charming lyrics —
‘And ever we keep a feast of delight
The betrothal of hearts, when spirits unite,
Creating an offspring of joy, a treasure
Unknown to the bad, for whom
The gods foredoom
The glitter of pleasure
And a dark tomb.’
The poet who writes best in the Shakespearian manner is a poet with a circumstantial and instinctive mind, who delights to speak with strange voices and to see his mind in the mirror of Nature; while Mr. Bridges, like most of us to-day, has a lyrical and meditative mind, and delights to speak with his own voice and to see Nature in the mirror of his mind. In reading his plays in a Shakespearian manner, I find that he is constantly arranging his story in such and such a way because he has read that the persons he is writing of did such and such things, and not because his soul has passed into the soul of their world and understood its unchangeable destinies. His Return of Ulysses is admirable in beauty, because its classical gravity of speech, which does not, like Shakespeare’s verse, desire the vivacity of common life, purifies and subdues all passion into lyrical and meditative ecstasies, and because the unity of place and time in the late acts compels a logical rather than instinctive procession of incidents; and if the Shakespearian Nero: Second Part approaches it in beauty and in dramatic power, it is because it eddies about Nero and Seneca, who had both, to a great extent, lyrical and meditative minds. Had Mr. Bridges been a true Shakespearian, the pomp and glory of the world would have drowned that subtle voice that speaks amid our heterogeneous lives of a life lived in obedience to a lonely and distinguished ideal.
II
The more a poet rids his verses of heterogeneous knowledge and irrelevant analysis, and purifies his mind with elaborate art, the more does the little ritual of his verse resemble the great ritual of Nature, and become mysterious and inscrutable. He becomes, as all the great mystics have believed, a vessel of the creative power of God; and whether he be a great poet or a small poet, we can praise the poems, which but seem to be his, with the extremity of praise that we give this great ritual which is but copied from the same eternal model. There is poetry that is like the white light of noon, and poetry that has the heaviness of woods, and poetry that has the golden light of dawn or of sunset; and I find in the poetry of Mr. Bridges in the plays, but still more in the lyrics, the pale colours, the delicate silence, the low murmurs of cloudy country days, when the plough is in the earth, and the clouds darkening towards sunset; and had I the great gift of praising, I would praise it as I would praise these things.
1896.
IRELAND AND THE ARTS
The arts have failed; fewer people are interested in them every generation. The mere business of living, of making money, of amusing oneself, occupies people more and more, and makes them less and less capable of the difficult art of appreciation. When they buy a picture it generally shows a long-current idea, or some conventional form that can be admired in that lax mood one admires a fine carriage in or fine horses in; and when they buy a book it is so much in the manner of the picture that it is forgotten, when its moment is over, as a glass of wine is forgotten. We who care deeply about the arts find ourselves the priesthood of an almost forgotten faith, and we must, I think, if we would win the people again, take upon ourselves the method and the fervour of a priesthood. We must be half humble and half proud. We see the perfect more than others, it may be, but we must find the passions among the people. We must baptize as well as preach.
The makers of religions have established their ceremonies, their form of art, upon fear of death, on the hope of the father in his child, upon the love of man and woman. They have even gathered into their ceremonies the ceremonies of more ancient faiths, for fear a grain of the dust turned into crystal in some past fire, a passion that had mingled with the religious idea, might perish if the ancient ceremony perished. They have renamed wells and images and given new meanings to ceremonies of spring and midsummer and harvest. In very early days the arts were so possessed by this method that they were almost inseparable from religion, going side by side with it into all life. But, to-day, they have grown, as I think, too proud, too anxious to live alone with the perfect, and so one sees them, as I think, like charioteers standing by deserted chariots and holding broken reins in their hands, or seeking to go upon their way drawn by the one passion which alone remains to them out of the passions of the world. We should not blame them, but rather a mysterious tendency in things which will have its end some day. In England, men like William Morris, seeing about them passions so long separated from the perfect that it seemed as if they could not be changed until society had been changed, tried to unite the arts once more to life by uniting them to use. They advised painters to paint fewer pictures upon canvas, and to burn more of them on plates; and they tried to persuade sculptors that a candlestick might be as beautiful as a statue. But here in Ireland, when the arts have grown humble, they will find two passions ready to their hands, love of the Unseen Life and love of country. I would have a devout writer or painter often content himself with subjects taken from his religious beliefs; and if his religious beliefs are those of the majority, he may at last move hearts in every cottage. While even if his religious beliefs are those of some minority, he will have a better welcome than if he wrote of the rape of Persephone, or painted the burning of Shelley’s body. He will have founded his work on a passion which will bring him to many besides those who have been trained to care for beautiful things by a special education. If he is a painter or a sculptor he will find churches awaiting his hand everywhere, and if he follows the masters of his craft our other passion will come into his work also, for he will show his Holy Family winding among hills like those of Ireland, and his Bearer of the Cross among faces copied from the faces of his own town. Our art teachers should urge their pupils into this work, for I can remember, when I was myself a Dublin art student, how I used to despond, when eagerness burned low, as it always must now and then, at seeing no market at all.
But I would rather speak to those who, while moved in other things than the arts by love of country, are beginning to write, as I was some sixteen years ago, without any decided impulse to one thing more than another, and especially to those who are convinced, as I was convinced, that art is tribeless, nationless, a blossom gathered in No Man’s Land. The Greeks, the only perfect artists of the world, looked within their own borders, and we, like them, have a history fuller than any modern history of imaginative events; and legends which surpass, as I think, all legends but theirs in wild beauty, and in our land, as in theirs, there is no river or mountain that is not associated in the memory with some event or legend; while political reasons have made love of country, as I think, even greater among us than among them. I would have our writers and craftsmen of many kinds master this history and these legends, and fix upon their memory the appearance of mountains and rivers and make it all visible again in their arts, so that Irishmen, even though they had gone thousands of miles away, would still be in their own country. Whether they chose for the subject the carrying off of the Brown Bull, or the coming of Patrick, or the political struggle of later times, the other world comes so much into it all that their love of it would move in their hands also, and as much, it may be, as in the hands of the Greek craftsmen. In other words, I would have Ireland recreate the ancient arts, the arts as they were understood in Judæa, in India, in Scandinavia, in Greece and Rome, in every ancient land; as they were understood when they moved a whole people and not a few people who have grown up in a leisured class and made this understanding their business.
I think that my reader2 will have agreed with most that I have said up till now, for we all hope for arts like these. I think indeed I first learned to hope for them myself in Young Ireland Societies, or in reading the essays of Davis. An Englishman, with his belief in progress, with his instinctive preference for the cosmopolitan literature of the last century, may think arts like these parochial, but they are the arts we have begun the making of.
I will not, however, have all my readers with me when I say that no writer, no artist, even though he choose Brian Boroihme or S. Patrick for his subject, should try to make his work popular. Once he has chosen a subject he must think of nothing but giving it such an expression as will please himself. As Walt Whitman has written —
‘The oration is to the orator, the acting is to the actor and actress, not to the audience:
And no man understands any greatness or goodness but his own or the indication of his own.’
He must make his work a part of his own journey towards beauty and truth. He must picture saint or hero, or hillside, as he sees them, not as he is expected to see them, and he must comfort himself, when others cry out against what he has seen, by remembering that no two men are alike, and that there is no ‘excellent beauty without strangeness.’ In this matter he must be without humility. He may, indeed, doubt the reality of his vision if men do not quarrel with him as they did with the Apostles, for there is only one perfection and only one search for perfection, and it sometimes has the form of the religious life and sometimes of the artistic life; and I do not think these lives differ in their wages, for ‘The end of art is peace,’ and out of the one as out of the other comes the cry: Sero te amavi, Pulchritudo tam antiqua et tam nova! Sero te amavi!
The Catholic Church is not the less the Church of the people because the Mass is spoken in Latin, and art is not less the art of the people because it does not always speak in the language they are used to. I once heard my friend Mr. Ellis say, speaking at a celebration in honour of a writer whose fame had not come till long after his death, ‘It is not the business of a poet to make himself understood, but it is the business of the people to understand him. That they are at last compelled to do so is the proof of his authority.’ And certainly if you take from art its martyrdom, you will take from it its glory. It might still reflect the passing modes of mankind, but it would cease to reflect the face of God.
If our craftsmen were to choose their subjects under what we may call, if we understand faith to mean that belief in a spiritual life which is not confined to one Church, the persuasion of their faith and their country, they would soon discover that although their choice seemed arbitrary at first, it had obeyed what was deepest in them. I could not now write of any other country but Ireland, for my style has been shaped by the subjects I have worked on, but there was a time when my imagination seemed unwilling, when I found myself writing of some Irish event in words that would have better fitted some Italian or Eastern event, for my style had been shaped in that general stream of European literature which has come from so many watersheds, and it was slowly, very slowly, that I made a new style. It was years before I could rid myself of Shelley’s Italian light, but now I think my style is myself. I might have found more of Ireland if I had written in Irish, but I have found a little, and I have found all myself. I am persuaded that if the Irishmen who are painting conventional pictures or writing conventional books on alien subjects, which have been worn away like pebbles on the shore, would do the same, they, too, might find themselves. Even the landscape-painter, who paints a place that he loves, and that no other man has painted, soon discovers that no style learned in the studios is wholly fitted to his purpose. And I cannot but believe that if our painters of Highland cattle and moss-covered barns were to care enough for their country to care for what makes it different from other countries, they would discover, when struggling, it may be, to paint the exact grey of the bare Burren Hills, and of a sudden it may be, a new style, their very selves. And I admit, though in this I am moved by some touch of fanaticism, that even when I see an old subject written of or painted in a new way, I am yet jealous for Cuchulain, and for Baile, and Aillinn, and for those grey mountains that still are lacking their celebration. I sometimes reproach myself because I cannot admire Mr. Hughes’ beautiful, piteous Orpheus and Eurydice with an unquestioning mind. I say with my lips, ‘The Spirit made it, for it is beautiful, and the Spirit bloweth where it listeth,’ but I say in my heart, ‘Aengus and Etain would have served his turn;’ but one cannot, perhaps, love or believe at all if one does not love or believe a little too much.
And I do not think with unbroken pleasure of our scholars who write about German writers or about periods of Greek history. I always remember that they could give us a number of little books which would tell, each book for some one country, or some one parish, the verses, or the stories, or the events that would make every lake or mountain a man can see from his own door an excitement in his imagination. I would have some of them leave that work of theirs which will never lack hands, and begin to dig in Ireland, the garden of the future, understanding that here in Ireland the spirit of man may be about to wed the soil of the world.
Art and scholarship like these I have described would give Ireland more than they received from her, for they would make love of the unseen more unshakable, more ready to plunge deep into the abyss, and they would make love of country more fruitful in the mind, more a part of daily life. One would know an Irishman into whose life they had come – and in a few generations they would come into the life of all, rich and poor – by something that set him apart among men. He himself would understand that more was expected of him than of others because he had greater possessions. The Irish race would have become a chosen race, one of the pillars that uphold the world.
1901.
