The Silent Isle - Arthur Christopher Benson (phonics books .TXT) 📗

drawn them away from life, and secluded them in a paradise of emotion; but with me it has been different; for it is life itself that has palpitated in my pages, my very heart's blood has been driven by eager pulsations through sentence and phrase; and the book is thus a part of myself in a way in which no picture and no melody can be. I have something, I think, of the joy of the mother over her child, the child that has lain beneath her bosom and been nourished from her heart; and now that my book is to leave me, it is a part of myself that goes into the world of men.

And now I shall pass vague and dreary days, until the seed of life again quickens within me, and till I know again that I have conceived another creature of the mind. Dreary days, because the mind, relieved of its sweet toil, flaps loose and slack like a drooping sail. I am weary, too, not with a pleasant physical weariness, but with the weariness of one who has spent a part of life too swiftly. For the joy of such work as mine is so great that there seems nothing like it in the world; and the hours are vain and listless that are not so comforted. Now I shall make a dozen beginnings, not foreseeing the end, and I shall abandon them in despair. The beauties of the earth, the golden sunlight, the crimson close of day, the leaping streams, the dewy grass will call in vain. Books and talk alike will seem trivial and meaningless tattle, ministering to nothing.

And then my book will begin to return to me in printed pages. Sometimes that is a joy, when it seems better than one knew; sometimes it is a disgust, if one has passed swiftly out of the creative mood; and then it will be lost to me for a time while it is drest and adorned, to walk abroad; till it comes back like a stranger in its new guise.

And then comes what is the saddest experience of all; it will pass into the hands of friends and readers; echoes of it will come back to me, in talk and print; but it will no longer be the book I knew and loved, only a part of my past. And this is the hardest thing of all for a writer, that when others read one's book they take it for the flash of a present mood, while the writer of it will only see in it a pale reflection of a time long past, and will feel perhaps even farther away from his book than those who criticise it, however severely. If my book is criticised as I write it, or directly after I have written it, it is as though I were myself maltreated; but when it appears so belatedly, I am often the harshest critic of all, because my whole point of view may perhaps have shifted, and I may be no longer the man who wrote the book, but a man of larger experience, who can judge perhaps more securely than any one else how far behind life the book lags. There is no season in the world in which the mind travels faster from its standpoint than when it has finished a book, because during all the writing of it one has kept, as it were, tensely and constrainedly at a certain point; and so when freedom comes, the thought leaps hurriedly forward, like a weight lifted by an elastic cord that has been stretched almost to breaking. "Can I ever have thought or felt so?" the mind says to itself, scanning the pages; and thus a book, which is mistaken for the very soul of a man, is often no more like the man himself than a dusty, sunburnt picture that represents what he was long years before.

But to-day my only thought is that the little companion whom I loved so well, who has walked and sate, eaten and drunk, gone in and out with me, silent and smiling, has left me and departed to try his fortune in the rough world. How will he fare? how will he be greeted? And yet I know that when he returns to me, saying, "I am a part of yourself," I shall be apt to deny it. For whereas now, if my child is lame, or feeble or pitiful or blind, I love him the better that he is not strong and active; when he returns I shall have a clear eye for his faults and weaknesses, and shall wish him other than he will be.

Sometimes I have talked with the writers of books, and they have told me of the misery and agony that the composition of a book has brought them. They speak of hot and cold fits; of times when they write fiercely and eagerly, and of times when they cannot set down a line to their mind; days of despair when they hate and despise the book; days when they cannot satisfy themselves about a single word: all this is utterly unknown to me; once embarked upon a book, I have neither hesitation nor fear. To sit down to it, day after day, and to write, is like sitting down to talk with one's nearest friend, where no concealment or diplomacy is necessary, but where one can say exactly what comes into the mind, with no fear of being misunderstood. I have not the smallest difficulty about expressing exactly as I wish to express it, whatever is in my mind. When I fail, it is because the thought itself is incomplete, imperfect, obscure; yet as I write, weariness and dissatisfaction are unknown. I cannot imagine how anyone can write a book without loving the toil, such as it is. Probably that is because I am indolent or pleasure-loving. I do not see how work of this kind can be done at all in a spirit of heaviness, it may be a fine moral discipline to do a dreaded thing heavily and faithfully; but what hope is there of the work being tinged with delight? It is as though a tired man set out to make a butterfly out of cardboard and gum and powdered silks; it would be nothing when it was made. A book must, before all things, have vigour; and vigour cannot be germinated by a sense of duty; it can only spring from hope and confidence and desire.

But now, to-day, my darling has gone from me; he is jolting in some dusty van, or he is propelled through muddy streets in a red box on wheels; or perhaps he is already in the factory among the rattle of type and the throb of the printing-press. I feel like a father whose boy has gone to school, and who sits wondering how the child may be faring in the big, unfamiliar place. Well, I will not grieve; but rather I will thank the Father of all things living, the inspirer of all sweet and delicate thoughts, all pleasant fancies, all glowing words, for the joy that I have had.


XV


In one respect only does the advance of age cast a shadow over my mind; in most matters it is a pure gain. Even though a certain peculiar quality of light-hearted happiness visits me more rarely--a happiness like that of a lark that soars, beats her wings, and trills in the blue sky--yet the loss is more than compensated for by the growth of an equable tranquillity, neither rapturous nor sad, which abides with me for long spaces.

But here is the secret wound--clausum pectore volnus!--I am or would be an artist in words. Well, when I look round at the work of the artists whose quality I envy and adore, I am struck by this alarming fact, that in almost every case their earliest work is their best work.

This is almost invariably true in one particular domain, that of purely imaginative poetical work. By which I do not mean poetry only, but poetical prose like Pater's, poetical fiction like Charlotte Bronte's; I think that a narrative writer, a humorous writer, a critical writer, a biographical writer may continue to improve until his faculties begin to decay. He may get a wider, a more penetrating, a more tolerant view of life; his style gain lucidity, impressiveness, incisiveness, pungency; but in the case of the poetical and the reflective writer it seems to me that something evaporates--some quite peculiar freshness, naivete, indiscreetness, which, can never be recaptured. Take a few typical instances. Coleridge lost the poetical gift altogether when he left his youth behind; Wordsworth wrote all his best poetry in a few early years; Milton lost his pure lyric gift. But the most salient instance of all is Tennyson; in the two earliest volumes there is a perfectly novel charm, a grace, a daring which he lost in later life. He became solemn, mannerised, conscious of responsibility. Sometimes, as in some of the lyrics of Maud, he had a flash of the old spirit. But compare the Idylls of the King, for all their dignity and lavish art, their sweet cadences, their mellifluous flow, with the early fragment in the same manner, the Morte d'Arthur, and you become aware that some exquisite haunted quality has slipped away from the later work which made the Morte d'Arthur one of the most perfect poems of the century. The Morte d'Arthur is seen, the Idylls are laboriously imagined. The Idylls, again, are full of an everyday morality--the praise of civic virtues, the evolution of types--and how tiresome they thus become! but in the Morte d'Arthur there is only a prophetic mysticism, which is all the more noble because it is so remote from common things.

With Browning it is the same in a certain degree; there is a charm about Pauline, for all its immaturity, which creates an irrepressible, uncalculating mood of undefined longing, utterly absent from his latest work. Perhaps one of the most remarkable instances is that of Rossetti. In the course of the House of Life, the dark curtain of the exotic mood, with its strange odours and glimpses, its fallen light, its fevered sense, is raised at intervals upon a sonnet of pure transparency and delicate sweetness, as though the weary, voluptuous soul, in its restless passage among perfumed chambers, looked out suddenly from a window upon some forest glade, full of cool winds and winter sunshine, and stood silent awhile. These sonnets will always be found to be the earlier writings transplanted into the new setting.

I suppose it is to a certain extent a physical thing. It is the shadow of experience, of familiarity, of weariness that creeps over the soul. In youth the spirit expands like an opening rose, and things heard and seen strike upon the senses with an incredible novelty and freshness, hinting at all sorts of sweet surprises, joyful secrets, hopeful mysteries. It is the subtle charm of youth that evaporates, the charm that makes a young and eager boy on the threshold of manhood so interesting, so delightful, even though he may be inarticulate and immature and self-absorbed. Who does not remember friends of college days, graceful and winning creatures, lost in the sense of their own significance, who had nothing, it may be, particular to say, no great intellectual grip, no suggestiveness, yet moving about in a mysterious paradise of their own, full of dumb emotion, undefined longing, and with a deep sense of the romantic possibilities of life. Alas, as the days move on and the crisis delays, as life brings the need of labour, the necessity of earning money, as love and friendship lose their rosy glow and settle down into comfortable relations,