Escape, and Other Essays - Arthur Christopher Benson (free novel reading sites .txt) 📗

the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.

The question then, roughly, is this: Whitman chose to express himself in a species of poetry, based roughly upon Hebrew poetry, such as we have in the Psalms and Prophets. If this is a true expansion of the aesthetic law of poetry, then it is a success; if it is not a true expansion, but only a wilful variation, not consonant with the law, it is a failure.

Now there are many effects in Whitman which are, I believe, inconsistent with the poetical law. Not to multiply instances, his grotesque word-inventions--"Me imperturbe!" "No dainty dolce affettuoso I," "the drape of the day"--his use of Greek and Latin and French terms, not correctly used and not even rightly spelt, his endless iterations, lists, catalogues, categories, things not clearly visualised or even remotely perceived, but swept relentlessly in, like the debris of some store-room, all these are ugly mannerisms which simply blur and encumber the pages. The question is not whether they offend a critical and cultured mind, but whether they produce an inspiring effect upon any kind of mind.

Then too his form constantly collapses, as though he had no fixed scheme in his mind. There are many poems which begin with an ample sweep, and suddenly crumble to pieces, as though he were merely tired of them.

Then again there seem to me to be some simply coarse, obscene, unpleasant passages, not of relentless realism but of dull inquisitiveness. They do not attract or impress; they do not provide a contrast or an emphasis. They simply lie, like piles of filth, in rooms designed for human habitation. If it is argued that art may use any materials, I can only fall back upon my belief that such passages are as instinctively repulsive to the artistic sense as strong-smelling cheeses stacked in a library! There is no moral or ethical law against such a practice; but the aesthetic conscience of humanity instinctively condemns it. When I examine the literature which has inspired and attracted the minds of humanity, whether trained or untrained, I find that they avoid this hideous intrusion of nastiness; and I am inclined to infer that writers who introduce such episodes, and readers who like them, have some other impulse in view, which is neither the sense of beauty nor the perception of art. But if Whitman, or anyone else, can convert the world to call this art, and to enjoy it as art, then he will prove that he understands the law of preference better than I do.

But when all this has been said and conceded, there yet remain countless passages of true and vital beauty, exquisite phrases, haunting pictures, glimpses of perfect loveliness. His poems of comradeship and the open air, his pictures of family life, have often a magical thrill of passion, leaving one rapturous and unsatisfied, believing in the secrets behind the world, and hoping for a touch of like experience.

If I may take one poem as typical of the best that is in Whitman-- and what a splendid best!--it shall be "Out of the Cradle Endlessly Rocking," from the book called Sea-drift. I declare that I can never read this poem without profound emotion; it is here that he fully justifies his claim to atmosphere and suggestiveness; the nesting birds, the sea's edge, with its "liquid rims and wet sands"--what a magical phrase!--the angry moan of the breakers under the yellow, drooping moon, the boy with his feet in the water, and the wind in his hair--this is all beyond criticism.

Demon or bird! (said the boy's soul)
Is it indeed toward your mate you sing? or is it mostly to me?
For I, that was a child, my tongue's use sleeping, now I have
heard you
Now in a moment I know what I am for,--I awake,
And already a thousand singers, a thousand songs, clearer,
louder and more sorrowful than yours,
A thousand warbling echoes have started to life within me,
never to die.

And then he cries to the waves to tell him what they have been whispering all the time.

Whereto answering, the sea,
Delaying not, hurrying not,
Whisper'd me through the night and very plainly before day-break,
Lisp'd to me the low and delicious word death.

This theme, it will be remembered, is worked out more fully in the Lincoln poem, "When Lilacs Last in the Dooryard Bloom'd," with the "Song of Death," too long, alas, to quote here--it would be delightful even to inscribe the words--which seems to me for splendour of language, sweetness of rhythm, and stateliness of cadence--to say nothing of the magnificence of the thought--to be incontestably among the very greatest poems of the world.

If Whitman could always have written so! Then he need hardly have said that the strongest and sweetest songs remained to be sung; but this, and many other gems of poetry, lie in radiant fragments among the turbid and weltering rush of his strange verse; and thus one sees that if there is indeed a law of art, it lies close to the instinct of suppression and omission. One may think anything; one may say most things; but if one means to sway the human heart by that one particular gift of words, ordered and melodiously intertwined, one must heed what experience tells the aspirant--that no fervour of thought, or exuberance of utterance, can make up for the harmony of the firmly touched lyre, and the music of the unuttered word.


V


CHARM

There is a little village here near Cambridge the homely, summer- sounding name of which is Haslingfield. It is a straggling hamlet of white-walled, straw-thatched cottages, among orchards and old elms, full of closes of meadow-grass, and farmsteads with ricks and big-timbered barns. It has a solid, upstanding Tudor church, with rather a grand tower, and four solid corner turrets; and it has, too, its little bit of history in the manor-house, of which only one high-shouldered wing remains, with tall brick chimneys. It stands up above some mellow old walls, a big dove-cote, and a row of ancient fish-ponds. Here Queen Elizabeth once spent a night upon the wing. Close behind the village, a low wold, bare and calm, with a belt or two of trees, runs steeply up.

The simplest and quietest place imaginable, with a simple and remote life, hardly aware of itself, flowing tranquilly through it; yet this little village, by some felicity of grouping and gathering, has the rare and incomparable gift of charm. I cannot analyse it, I cannot explain it, yet at all times and in all lights, whether its orchards are full of bloom and scent, and the cuckoo flutes from the holt down the soft breeze, or in the bare and leafless winter, when the pale sunset glows beyond the wold among the rifted cloud-banks, it has the wonderful appeal of beauty, a quality which cannot be schemed for or designed, but which a very little mishandling can sweep away. The whole place has grown up out of common use, trees planted for shelter, orchards set for fruit, houses built for convenience. Only in the church and the manor is there any care for seemliness and stateliness. There are a dozen villages round about it which have sprung from the same needs, the same history; and yet these have missed the unconsidered charm of Haslingfield, which man did not devise, nor does nature inevitably bring, but which is instantly recognisable and strangely affecting.

Such charm seems to arise partly out of a subtle orderliness and a simple appropriateness, and partly from a blending of delicate and pathetic elements in a certain unascertained proportion. It seems to touch unknown memories into life, and to give a hint of the working of some half-whimsical, half-tenderly concerned spirit, brooding over its work, adding a touch of form here and a dash of colour there, and pleased to see, when all is done, that it is good.

If one looks closely at life, one sees the same quality in humanity, in men and women, in books and pictures, and yet one cannot tell what goes to the making of it. It seems to be a thing which no energy or design can capture, but which alights here and there, blowing like the wind at will. It is not force or originality or inventiveness; very often it is strangely lacking in any masterful quality at all; but it has always just the same wistful appeal, which makes one desire to understand it, to take possession of it, to serve it, to win its favour. It is as when the child in Francis Thompson's poem seems to say, "I hire you for nothing." That is exactly it: there is nothing offered or bestowed, but one is at once magically bound to serve it for love and delight. There is nothing that one can expect to get from it, and yet it goes very far down into the soul; it is behind the maddening desire which certain faces, hands, voices, smiles excite--the desire to possess, to claim, to know even that no one else can possess or claim them, which lies at the root of half the jealous tragedies of life.

Some personalities have charm in a marvellous degree, and if, as one looks into the old records of life, one discovers figures that seem to have laid an inexplicable hold on their circles, and to have passed through life in a tempest of applause and admiration, one may be sure that charm has been the secret.

Take the case of Arthur Hallam, the inspirer of "In Memoriam." I remember hearing Mr. Gladstone say, with kindled eye and emphatic gesture, that Arthur Hallam was the most perfect being physically, morally, and intellectually that he had ever seen or hoped to see. He said, I remember, with a smile: "The story of Milnes Gaskell's friendship with Hallam was curious. You must know that people fell in love very easily in those days; there was a Miss E-- of whom Hallam was enamoured, and Milnes Gaskell abandoned his own addresses to her in favour of Hallam, in order to gain his friendship."

Yet the portrait of Hallam which hangs in the provost's house at Eton represents a rosy, solid, rather heavy-featured young man, with a flushed face,--Mr. Gladstone said that this was caused by overwork,--who looks more like a young country bumpkin on the opera-bouffe stage than an intellectual archangel.

Odder still, the letters, poems, and remains of Hallam throw no light on the hypnotic effect he produced; they are turgid, elaborate, and wholly uninteresting; nor does he seem to have been entirely amiable. Lord Dudley told Francis Hare that he had dined with Henry Hallam, the historian, who was Arthur Hallam's father, in the company of the son, in Italy, adding, "It did my heart