Mr. Strachey completes his volume with a study of that extraordinary crank, General Gordon. It takes him two lines to blast the reputation of Lord Elgin. He does it quietly, but Elgin's name will stink in the memory of the reader. It is difficult to attribute this wholly to the author, for the facts are in connivance with him. But if his irony at times descends to sarcasm, one must balance that with the general quietude of his style. One can but hope that this book will not be his last; one would welcome a treatment, by him, of The Members of the British Academic Committee, British Publishers, The Asquith Administration.

The religion of Tien w.a.n.g mentioned on p. 221 appears to have been as intelligent as any other form of Christianity, and to have had much the same active effects. However, Gordon was appointed to oppose it.

Throughout the rest of his life he seems to have been obsessed by the curious medaeval fallacy that the world is vanity and the body but ashes and dust. He fell victim to the exaggerated monotheism of his era. But he had the sense to follow his instinct in a period when instincts were not thought quite respectable; this made him an historic figure; it also must have lent him great charm (with perhaps rather picturesque drawbacks). This valuable quality, charm, must have been singularly lacking in Mr. Gladstone.

It is, indeed, difficult to restrain one's growing conviction that Mr.

Gladstone was not all his party had hoped for. Gordon was "difficult,"

at the time of his last expedition he was perhaps little better than a lunatic, but Gladstone was decidedly unpleasant.

In all of the eminent was the quality of a singularly uncritical era. It was a time when a prominent man _could_ form himself on a single volume handed to him by "tradition"; when illiteracy, in the profounder sense of that term, was no drawback to a vast public career. (An era, of course, happily closed.)

I do not know that there is much use enquiring into the causes of the Victorian era, or any good to be got from speculations. Its disease might seem to have been an aggravated form of provincialism. Professor Sir Henry Newbolt has recently pointed out that the English public is "interested in politics rather than literature"; this may be a lingering symptom.

If one sought, not perhaps to exonerate, but to explain the Victorian era one might find some contributory cause in Napoleon. That is to say, the Napoleonic wars had made Europe unpleasant, England was sensibly glad to be insular. Geography leaked over into mentality. Eighteenth century thought had indeed got rid of the Bourbons, but later events had shown that eighteenth century thought might be dangerous. England cut off her intellectual communications with the Continent. An era of bigotry supervened. We have so thoroughly forgotten, if we ever knew, the mental conditions preceding the Victorian era, save perhaps as they appear in the scribblings of, let us say, Lady Blessington, that we cannot tell whether the mentality of the Victorian reign was an advance or an appalling retrogression. In any case we are glad to be out of it ... irregardless of what we may be into; irregardless of whether the communications among intelligent people are but the mirage of a minute Thebaid seen from a chaos wholly insuperable.[7]

A LIST OF BOOKS

When circ.u.mstances have permitted me to lift up my prayer to the G.o.ds, of whom there are several, and whose multiplicity has only been forgotten during the less felicitous periods, I have requested for contemporary use, some system of delayed book reviewing, some system whereby the critic of current things is permitted to state that a few books read with pleasure five or six years ago can still be with pleasure perused, and that their claims to status as literature have not been obliterated by half or all of a decade.

GEORGE S. STREET

There was in the nineties, the late nineties and during the early years of this century, and still is, a writer named George S. Street. He has written some of the best things that have been thought concerning Lord Byron, he has written them not as a romanticist, not as a Presbyterian, but as a man of good sense. They are worthy of commendation. He has written charmingly in criticism of eighteenth century writers, and of the ghosts of an earlier Piccadilly. He has written tales of contemporary life with a suavity, wherefrom the present writer at least has learned a good deal, even if he has not yet put it into scriptorial practice. (I haste to state this indebtedness.)

The writers of _murs contemporaines_ are so few, or rather there are so few of them who can be treated under the heading "literature," that the discovery or circulation of any such writer is no mean critical action. Mr. Street is "quite as amusing as Stockton," with the infinite difference that Mr. Street has made literature. Essays upon him are not infrequent in volumes of English essays dealing with contemporary authors. My impression is that he is not widely read in America (his publishers will doubtless put me right if this impression is erroneous); I can only conclude that the possession of a style, the use of a suave and pellucid English has erected some sort of barrier.

"The Trials of the Bantocks," "The Wise and the Wayward," "The Ghosts of Piccadilly," "Books of Essays," "The Autobiography of a Boy," "Quales Ego," "Miniatures and Moods," are among his works, and in them the rare but intelligent reader may take refuge from the imbecilities of the mult.i.tude.

FREDERIC MANNING

In 1910 Mr. Manning published, with the almost defunct and wholly uncommendable firm of John Murray, "Scenes and Portraits," the opening paragraph of which I can still, I believe, quote from memory.

"When Merodach, King of Uruk, sat down to his meals, he made his enemies his footstool, for beneath his table he kept an hundred kings with their thumbs and great toes cut off, as signs of his power and clemency. When Merodach had finished eating he shook the crumbs from his napkin, and the kings fed themselves with two fingers, and when Merodach observed how painful and difficult this operation was, he praised G.o.d for having given thumbs to man.

"'It is by the absence of things,' he said, 'that we learn their use. Thus if we deprive a man of his eyes we deprive him of sight, and in this manner we learn that sight is the function of the eyes.'

"Thus spake Merodach, for he had a scientific mind and was curious of G.o.d's handiwork. And when he had finished speaking, his courtiers applauded him."

Adam is afterwards discovered trespa.s.sing in Merodach's garden or paradise. The characters of Bagoas, Merodach's high priest, Adam, Eve and the Princess Candace are all admirably presented. The book is divided in six parts: the incident of the Kingdom of Uruk, a conversation at the house of Euripides, "A Friend of Paul," a conversation between St. Francis and the Pope, another between Thomas Cromwell and Macchiavelli, and a final encounter between Leo XIII and Renan in Paradise.

This book is not to be neglected by the intelligent reader (_avis rarissima_, and in what minute ratio to the population I am still unable to discern).

"Others" Anthology for 1917. This last gives, I think, the first adequate presentation of Mina Loy and Marianne Moore, who have, without exaggerated "nationalism," without waving of banners and general phrases about Columbia gem of the ocean, succeeded in, or fallen into, producing something distinctly American in quality, not merely distinguishable as American by reason of current national faults.

Their work is neither simple, sensuous nor pa.s.sionate, but as we are no longer governed by the _North American Review_ we need not condemn poems merely because they do not fit some stock phrase or rhetorical criticism.

(For example, an infinitely greater artist than Tennyson uses six "s's"

and one "z" in a single line. It is one of the most musical lines in Provencal and opens a poem especially commended by Dante. Let us leave the realm of promoted typists who quote the stock phrases of text-books.)

In the verse of Marianne Moore I detect traces of emotion; in that of Mina Loy I detect no emotion whatever. Both of these women are, possibly in unconsciousness, among the followers of Jules Laforgue (whose work shows a great deal of emotion). Or perhaps Rene Ghil is the "influence"

in Miss Moore's case. It is possible, as I have written, or intended to write elsewhere, to divide poetry into three sorts: (1) melopoeia, to wit, poetry which moves by its music, whether it be a music in words or an apt.i.tude for, or suggestion of, accompanying music; (2) imagism, or poetry wherein the feelings of painting and sculpture are predominant (certain men move in phantasmagoria; the images of their G.o.ds, whole countrysides, stretches of hill land and forest, travel with them); and there is, thirdly, logopoeia, or poetry that is akin to nothing but language which is a dance of the intelligence among words and ideas and modifications of ideas and characters. Pope and the eighteenth-century writers had in this medium a certain limited range. The intelligence of Laforgue ran through the whole gamut of his time. T.S. Eliot has gone on with it. Browning wrote a condensed form of drama, full of things of the senses, scarcely ever pure logopoeia.

One wonders what the devil any one will make of this sort of thing who has not in their wit all the clues. It has none of the stupidity beloved of the "lyric" enthusiast and the writer and reader who take refuge in scenery, description of nature, because they are unable to cope with the human. These two contributors to the "Others" Anthology write logopoeia.

It is, in their case, the utterance of clever people in despair, or hovering upon the brink of that precipice. It is of those who have acceded with Renan "La betise humaine est la seule chose qui donne une idee de l'infini." It is a mind cry, more than a heart cry. "Take the world if thou wilt but leave me an asylum for my affection," is not their lamentation, but rather "In the midst of this desolation, give me at least one intelligence to converse with."

The arid clarity, not without its own beauty, of _le temperament de l'Americaine_, is in the poems of these, I think, graduates or post-graduates. If they have not received B.A.'s or M.A.'s or B.Sc.'s they do not need them.

The point of my praise, for I intend this as praise, even if I do not burst into the phrases of Victor Hugo, is that without any pretences and without clamors about nationality, these girls have written a distinctly national product, they have written something which would not have come out of any other country, and (while I have before now seen a deal of rubbish by both of them) they are, as selected by Mr. Kreymborg, interesting and readable (by me, that is. I am aware that even the poems before me would drive numerous not wholly unintelligent readers into a fury of rage-out-of-puzzlement.) Both these poetriae have said a number of things not to be found in the current numbers of _Everybody's,_ the _Century_ or _McClure's_, "The Effectual Marriage," "French Peac.o.c.k,"

"My Apish Cousins," have each in its way given me pleasure. Miss Moore has already prewritten her counterblast to my criticism in her poem "to a Steam Roller."

The anthology displays also Mr. Williams' praiseworthy opacity.

THE NEW POETRY

English and French literature have stood in constant need of each other, and it is interesting to note, as concurrent but in no way dependent upon the present alliance, a new French vitality among our younger writers of poetry. As some of these latter are too new to presuppose the reader's familiarity with them, I quote a few poems before venturing to open a discussion. T.S. Eliot is the most finished, the most composed of these poets; let us observe his poem "The Hippopotamus," as it appears in _The Little Review._

THE HIPPOPOTAMUS

The broad backed hippopotamus Rests on his belly in the mud; Although he seems so firm to us....

Yet he is merely flesh and blood.

Flesh-and-blood is weak and frail, Susceptible to nervous shock; While the True Church can never fail For it is based upon a rock.

The hippo's feeble steps may err In compa.s.sing material ends, While the True Church need never stir To gather in its dividends.

The potamus can never reach The mango on the mango-tree, But fruits of pomegranate and peach Refresh the Church from over sea.

At mating time the hippo's voice Betrays inflexions hoa.r.s.e and odd, But every week we hear rejoice The Church, at being one with G.o.d.

The hippopotamus's day Is past in sleep; at night he hunts; G.o.d works in a mysterious way-- The Church can sleep and feed at once

I saw the potamus take wing Ascending from the damp savannas, And quiring angels round him sing The praise of G.o.d, in loud hosannas.

Blood of the Lamb shall wash him clean And him shall heavenly arms enfold, Among the saints he shall be seen Performing on a harp of gold.

He shall be washed as white as snow, By all the martyr'd virgins kist, While the True Church remains below Wrapt in the old miasmal mist.