'So memory made Parting to-day a double pain: First because it was parting; next Because the ill it ended vexed And mocked me from the past again.

Not as what had been remedied Had I gone on,--not that, ah no!

But as itself no longer woe.'

There speaks a deep desire born only of deep knowledge. Only those who have been struck to the heart by a sudden awareness of the incessant not-being which is all we hold of being, know the longing to arrest the movement even at the price of the perpetuation of their pain. So it was that the moments which seemed to come to him free from the infirmity of becoming haunted and held him most.

'Often I had gone this way before, But now it seemed I never could be And never had been anywhere else.'

To cheat the course of time, which is only the name with which we strive to cheat the flux of things, and to anchor the soul to something that was not instantly engulfed--

'In the undefined Abyss of what can never be again.'

Sometimes he looked within himself for the monition which men have felt as the voice of the eternal memory; sometimes, like Keats, but with none of the intoxication of Keats's sense of a sharing in victory, he grasped at the recurrence of natural things, 'the pure thrush word,' repeated every spring, the law of wheeling rooks, or to the wind 'that was old when the G.o.ds were young,' as in this profoundly typical sensing of 'A New House.'

'All was foretold me; naught Could I foresee; But I learned how the wind would sound After these things should be.'

But he could not rest even there. There was, indeed, no anchorage in the enduring to be found by one so keenly aware of the flux within the soul itself. The most powerful, the most austerely imagined poem in this book is that ent.i.tled 'The Other,' which, apart from its intrinsic appeal, shows that Edward Thomas had something at least of the power to create the myth which is the poet's essential means of triangulating the unknown of his emotion. Had he lived to perfect himself in the use of this instrument, he might have been a great poet indeed. 'The Other'

tells of his pursuit of himself, and how he overtook his soul.

'And now I dare not follow after Too close. I try to keep in sight, Dreading his frown and worse his laughter, I steal out of the wood to light; I see the swift shoot from the rafter By the window: ere I alight I wait and hear the starlings wheeze And nibble like ducks: I wait his flight.

He goes: I follow: no release Until he ceases. Then I also shall cease.'

No; not a great poet, will be the final sentence, when the palimpsest is read with the calm and undivided attention that is its due, but one who had many (and among them the chief) of the qualities of a great poet.

Edward Thomas was like a musician who noted down themes that summon up forgotten expectations. Whether the genius to work them out to the limits of their scope and implication was in him we do not know. The life of literature was a hard master to him; and perhaps the opportunity he would eagerly have grasped was denied him by circ.u.mstance. But, if his compositions do not, his themes will never fail--of so much we are sure--to awaken unsuspected echoes even in unsuspecting minds.

[JANUARY 1919.

_Mr Yeats's Swan Song_

In the preface to _The Wild Swans at Coole_,[3] Mr W.B. Yeats speaks of 'the phantasmagoria through which alone I can express my convictions about the world.' The challenge could hardly be more direct. At the threshold we are confronted with a legend upon the door-post which gives us the essential plan of all that we shall find in the house if we enter in. There are, it is true, a few things capable of common use, verses written in the seeming-strong vernacular of literary Dublin, as it were a hospitable bench placed outside the door. They are indeed inside the house, but by accident or for temporary shelter. They do not, as the phrase goes, belong to the scheme, for they are direct transcriptions of the common reality, whether found in the sensible world or the emotion of the mind. They are, from Mr Yeats's angle of vision (as indeed from our own), essentially _vers d'occasion._

[Footnote 3: _The Wild Swans at Coole_. By W.B. Yeats.(Macmillan.)]

The poet's high and pa.s.sionate argument must be sought elsewhere, and precisely in his expression of his convictions about the world. And here, on the poet's word and the evidence of our search, we shall find phantasmagoria, ghostly symbols of a truth which cannot be otherwise conveyed, at least by Mr Yeats. To this, in itself, we make no demur.

The poet, if he is a true poet, is driven to approach the highest reality he can apprehend. He cannot transcribe it simply because he does not possess the necessary apparatus of knowledge, and because if he did possess it his pa.s.sion would flag. It is not often that Spinoza can disengage himself to write as he does at the beginning of the third book of the Ethics, nor could Lucretius often kindle so great a fire in his soul as that which made his material incandescent in _aeneadum genetrix_.

Therefore the poet turns to myth as a foundation upon which he can explicate his imagination. He may take his myth from legend or familiar history, or he may create one for himself anew, but the function it fulfils is always the same. It supplies the elements with which he can build the structure of his parable, upon which he can make it elaborate enough to convey the mult.i.tudinous reactions of his soul to the world.

But between myths and phantasmagoria there is a great gulf. The structural possibilities of the myth depend upon its intelligibility.

The child knows upon what drama, played in what world, the curtain will rise when he hears the trumpet-note: 'Of man's first disobedience....'

And, even when the poet turns from legend and history to create his own myth, he must make one whose validity is visible, if he is not to be condemned to the sterility of a coterie. The lawless and fantastic shapes of his own imagination need, even for their own perfect embodiment, the discipline of the common perception. The phantoms of the individual brain, left to their own waywardness, lose all solidity and become like primary forms of life, instead of the penultimate forms they should be. For the poet himself must move securely among his visions; they must be not less certain and steadfast than men are. To anchor them he needs intelligible myth. Nothing less than a supremely great genius can save him if he ventures into the vast without a landmark visible to other eyes than his own. Blake had a supremely great genius and was saved in part. The masculine vigour of his pa.s.sion gave stability to the figures of his imagination. They are heroes because they are made to speak like heroes. Even in Blake's most recondite work there is always the moment when the clouds are parted and we recognise the austere and awful countenances of G.o.ds. The phantasmagoria of the dreamer have been mastered by the sheer creative will of the poet. Like Jacob, he wrestled until the going down of the sun with his angel and would not let him go.

The effort which such momentary victories demand is almost superhuman; yet to possess the power to exert it is the sole condition upon which a poet may plunge into the world of phantasms. Mr Yeats has too little of the power to vindicate himself from the charge of idle dreaming. He knows the problem; perhaps he has also known the struggle. But the very terms in which he suggests it to us subtly convey a sense of impotence:--

Hands, do what you're bid; Bring the balloon of the mind That bellies and drags in the wind Into its narrow shed.

The languor and ineffectuality of the image tell us clearly how the poet has failed in his larger task; its exactness, its precise expression of an ineffectuality made conscious and condoned, bears equal witness to the poet's minor probity. He remains an artist by determination, even though he returns downcast and defeated from the great quest of poetry.

We were inclined at first, seeing those four lines enthroned in majestic isolation on a page, to find in them evidence of an untoward conceit.

Subsequently they have seemed to reveal a splendid honesty. Although it has little mysterious and haunting beauty, _The Wild Swans at Coole_ is indeed a swan song. It is eloquent of final defeat; the following of a lonely path has ended in the poet's sinking exhausted in a wilderness of gray. Not even the regret is pa.s.sionate; it is pitiful.

'I am worn out with dreams, A weather-worn, marble triton Among the streams; And all day long I look Upon this lady's beauty As though I had found in book A pictured beauty, Pleased to have filled the eyes Or the discerning ears, Delighted to be but wise, For men improve with the years; And yet, and yet Is this my dream, or the truth?

O would that we had met When I had my burning youth; But I grow old among dreams, A weather-worn, marble triton Among the streams.'

It is pitiful because, even now in spite of all his honesty the poet mistakes the cause of his sorrow. He is worn out not with dreams, but with the vain effort to master them and submit them to his own creative energy. He has not subdued them nor built a new world from them; he has merely followed them like will-o'-the-wisps away from the world he knew.

Now, possessing neither world, he sits by the edge of a barren road that vanishes into a no-man's land, where is no future, and whence there is no way back to the past.

'My country is Kiltartan Cross, My countrymen Kiltartan's poor; No likely end could bring them loss Or leave them happier than before.'

It may be that Mr Yeats has succ.u.mbed to the malady of a nation. We do not know whether such things are possible; we must consider him only in and for himself. From this angle we can regard him only as a poet whose creative vigour has failed him when he had to make the highest demands upon it. His sojourn in the world of the imagination, far from enriching his vision, has made it infinitely tenuous. Of this impoverishment, as of all else that has overtaken him, he is agonisedly aware.

'I would find by the edge of that water The collar-bone of a hare, Worn thin by the lapping of the water, And pierce it through with a gimlet, and stare At the old bitter world where they marry in churches, And laugh over the untroubled water At all who marry in churches, Through the white thin bone of a hare.'

Nothing there remains of the old bitter world which for all its bitterness is a full world also; but nothing remains of the sweet world of imagination. Mr Yeats has made the tragic mistake of thinking that to contemplate it was sufficient. Had he been a great poet he would have made it his own, by forcing it into the fetters of speech. By re-creating it, he would have made it permanent; he would have built landmarks to guide him always back to where the effort of his last discovery had ended. But now there remains nothing but a handful of the symbols with which he was content:--

'A Sphinx with woman breast and lion paw, A Buddha, hand at rest, Hand lifted up that blest; And right between these two a girl at play.'

These are no more than the dry bones in the valley of Ezekiel, and, alas! there is no prophetic fervour to make them live.

Whether Mr Yeats, by some grim fatality, mistook his phantasmagoria for the product of the creative imagination, or whether (as we prefer to believe) he made an effort to discipline them to his poetic purpose and failed, we cannot certainly say. Of this, however, we are certain, that somehow, somewhere, there has been disaster. He is empty, now. He has the apparatus of enchantment, but no potency in his soul. He is forced to fall back upon the artistic honesty which has never forsaken him.

That it is an insufficient reserve let this pa.s.sage show:--

'For those that love the world serve it in action, Grow rich, popular, and full of influence, And should they paint or write still it is action: The struggle of the fly in marmalade.

The rhetorician would deceive his neighbours, The sentimentalist himself; while art Is but a vision of reality....'

Mr Yeats is neither rhetorician nor sentimentalist. He is by structure and impulse an artist. But structure and impulse are not enough.

Pa.s.sionate apprehension must be added to them. Because this is lacking in Mr Yeats those lines, concerned though they are with things he holds most dear, are prose and not poetry.

[APRIL, 1919.

_The Wisdom of Anatole France_

How few are the wise writers who remain to us? They are so few that it seems, at moments, that wisdom, like justice of old, is withdrawing from the world, and that when their fullness of years is accomplished, as, alas! it soon must be, the wise men who will leave us will have been the last of their kind. It is true that something akin to wisdom, or rather a quality whose outward resemblance to wisdom can deceive all but the elect, will emerge from the ruins of war; but true wisdom is not created out of the catastrophic shock of disillusionment. An unexpected disaster is always held to be in some sort undeserved. Yet the impulse to rail at destiny, be it never so human, is not wise. Wisdom is not bitter; at worst it is bitter-sweet, and bitter-sweet is the most subtle and lingering savour of all.

Let us not say in our haste, that without wisdom we are lost. Wisdom is, after all, but one att.i.tude to life among many. It happens to be the one which will stand the hardest wear, because it is prepared for all ill-usage. But hard wear is not the only purpose which an att.i.tude may serve. We may demand of an att.i.tude that it should enable us to exact the utmost from ourselves. To refuse to accommodate oneself to the angularities of life or to make provision beforehand for its catastrophes is, indeed, folly; but it may be a divine folly. It is, at all events, a folly to which poets incline. But poets are not wise; indeed, the poetry of true wisdom is a creation which can, at the best, be but dimly imagined. Perhaps, of them all, Lucretius had the largest inkling of what such poetry might be; but he disqualified himself by an apt.i.tude for ecstasy, which made his poetry superb and his wisdom of no account. To acquiesce is wise; to be ecstatic in acquiescence is not to have acquiesced at all. It is to have identified oneself with an imagined power against whose manifestations, in those moments when no ecstasy remains, one rebels. It is a megalomania, a sublime self-deception, a heroic attempt to project the soul on to the side of destiny, and to believe ourselves the masters of those very powers which have overwhelmed us.

Whether the present generation will produce great poetry, we do not know. We are tolerably certain that it will not produce wise men. It is too conscious of defeat and too embittered to be wise. Some may seek that ecstasy of seeming acquiescence of which we have spoken; others, who do not endeavour to escape the pain by plunging the barb deeper, may try to shake the dust of life from off their feet. Neither will be wise.

But precisely because they are not wise, they will seek the company of wise men. Their own att.i.tude will not wear. The ecstasy will fail, the will to renunciation falter; the gray reality which permits no one to escape it altogether will filter like a mist into the vision and the cell. Then they will turn to the wise men. They will find comfort in the smile to which they could not frame their own lips, and discover in it more sympathy than they could hope for.

Among the wise men whom they will surely most frequent will be Anatole France. His company is constant; his att.i.tude durable. There is no undertone of anguish in his work like that which gives such poignant and haunting beauty to Tchehov. He has never suffered himself to be so involved in life as to be maimed by it. But the price he has paid for his safety has been a renunciation of experience. Only by being involved in life, perhaps only by being maimed by it, could he have gained that bitterness of knowledge which is the enemy of wisdom. Not that Anatole France made a deliberate renunciation: no man of his humanity would of his own will turn aside. It was instinct which guided him into a sequestered path, which ran equably by the side of the road of alternate exaltation and catastrophe which other men of equal genius must travel.

Therefore he has seen men as it were in profile against the sky, but never face to face. Their runnings, their stumblings and their gesticulations are a tumultuous portion of the landscape rather than symbols of an intimate and personal possibility. They lend a baroque enchantment to the scene.

So it is that in all the characters of Anatole France's work which are not closely modelled upon his own idiosyncrasy there is something of the marionette. They are not the less charming for that; nor do they lack a certain logic, but it is not the logic of personality. They are embodied comments upon life, but they do not live. And there is for Anatole France, while he creates them, and for us, while we read about them, no reason why they should live. For living, in the accepted sense, is an activity impossible without indulging many illusions; and fervently to sympathise with characters engaged in the activity demands that their author should partic.i.p.ate in the illusions. He, too, must be surprised at the disaster which he himself has proved inevitable. It is not enough that he should pity them; he must share in their effort, and be discomfited at their discomfiture.