Essays from 'The Guardian' Part 3

The Complete Poetical Works of William Wordsworth. With an Introduction by John Morley. Macmillans.

The Recluse. By William Wordsworth. Macmillans.

Selections from Wordsworth. By William Knight and other Members of the Wordsworth Society. With Preface and Notes. Kegan Paul.

[91] THE appearance, so close to each other, of Professor Knight's careful and elaborately annotated Selections from William Wordsworth, of Messrs. Macmillan's collected edition of the poet's works, with the first book of The Recluse, now published for the first time, and of an excellent introductory essay by Mr. John Morley, forms a welcome proof that the study of the [92] most philosophic of English poets is increasing among us. Surely nothing could be better, hardly anything more directly fitted than careful reading of Wordsworth, to counter the faults and offences of our busy generation, in regard both to thought and taste, and to remind people, amid the enormous expansion, at the present time, of all that is material and mechanical in life, of the essential value, the permanent ends, of life itself. In the collected edition the poems are printed with the dates, so far as can be ascertained, in the order of their composition--an arrangement which has indisputable recommendations for the student of Wordsworth's genius; though the former method of distributing his work into large groups of subject had its value, as throwing light upon his poetic motives, and more especially as coming from himself.

In his introductory essay Mr. Morley has dwelt strongly on the circ.u.mstance of Wordsworth's remarkable personal happiness, as having had much to do with the physiognomy of his poetic creation--a calm, irresistible, well-being--almost mystic in character, and yet doubtless [93] connected with physical conditions. Long ago De Quincey noted it as a strongly determinant fact in Wordsworth's literary career, pointing, at the same time, to his remarkable good luck also, on the material side of life. The poet's own flawless temperament, his fine mountain atmosphere of mind (so to express it), had no doubt a good deal to do with that. What a store of good fortune, what a goodly contribution to happiness, in the very best sense of that term, is really involved in a cheerful, grateful, physical temperament; especially, in the case of a poet--a great poet--who will, of course, have to face the appropriate trials of a great poet.

Coleridge and other English critics at the beginning of the present century had a great deal to say concerning a psychological distinction of much importance (as it appeared to them) between the fancy and the imagination. Stripped of a great deal of somewhat obscure metaphysical theory, this distinction reduced itself to the certainly vital one, with which all true criticism more or less directly has to do, between the lower and higher degrees of intensity in the [94] poet's conception of his subject, and his concentration of himself upon his work. It was Wordsworth who made most of this distinction, a.s.suming it as the basis for the final cla.s.sification (abandoned, as we said, in the new edition) of his poetical writings. And nowhere is the distinction more realizable than in Wordsworth's own work. For though what may be called professed Wordsworthians, including Matthew Arnold, found a value in all that remains of him--could read anything he wrote, "even the 'Thanksgiving Ode,'--everything, I think, except 'Vaudracour and Julia,'"--yet still the decisiveness of such selections as those made by Arnold himself, and now by Professor Knight, hint at a certain very obvious difference of level in his poetic work.

This perpetual suggestion of an absolute duality between his lower and higher moods, and the poetic work produced in them, stimulating the reader to look below the immediate surface of his poetry, makes the study of Wordsworth an excellent exercise for the training of those mental powers in us, which partake both of thought and imagination. It begets in those [95] who fall in with him at the right moment of their spiritual development, a habit of reading between the lines, a faith in the effect of concentration and collectedness of mind on the right appreciation of poetry, the expectation that what is really worth having in the poetic order will involve, on their part, a certain discipline of the temper not less than of the intellect. Wordsworth meets them with the a.s.surance that he has much to give them, and of a very peculiar kind, if they will follow a certain difficult way, and seems to possess the secret of some special mental illumination. To follow that way is an initiation, by which they will become able to distinguish, in art, speech, feeling, manners, in men and life generally, what is genuine, animated, and expressive from what is only conventional and derivative, and therefore inexpressive.

A very intimate sense of the expressiveness of outward things, which ponders, listens, penetrates, where the earlier, less developed consciousness pa.s.sed lightly by, is an important element in the general temper of our modern poetry. Critics of literary history have again [96] and again remarked upon it; it is a characteristic which reveals itself in many different forms, but is strongest and most sympathetic in what is strongest and most serious in modern literature; it is exemplified by writers as unlike Wordsworth as the French romanticist poets. As a curious chapter in the history of the human mind, its growth might be traced from Rousseau and St. Pierre to Chateaubriand, from Chateaubriand to Victor Hugo; it has no doubt some obscure relations.h.i.+p to those pantheistic theories which have greatly occupied people's minds in many modern readings of philosophy; it makes as much difference between the modern and the earlier landscape art as there is between the roughly outlined masks of a Byzantine mosaic and a portrait by Reynolds or Romney. Of this new landscape sense the poetry of Wordsworth is the elementary and central exposition; he is more exclusively occupied with its development than any other poet.

Wordsworth's own character, as we have already observed, was dominated by a certain contentment, a sort of naturally religious placidity, not often found in union with a poetic sensibility so [97] active as his; and this gentle sense of well-being was favourable to the quiet, habitual observation of the inanimate, or imperfectly animate, world.

His life of eighty placid years was almost without what, with most human beings, count for incidents. His flight from the active world, so genially celebrated in this newly published poem of The Recluse; his flight to the Vale of Grasmere, like that of some pious youth to the Chartreuse, is the most marked event of his existence. His life's changes are almost entirely inward ones; it falls into broad, untroubled, perhaps somewhat monotonous, s.p.a.ces; his biographers have very little to tell. What it really most resembles, different as its superficies may look, is the career of those early mediaeval religious artists, who, precisely because their souls swarmed with heavenly visions, pa.s.sed their fifty or sixty years in tranquil, systematic industry, seemingly with no thoughts beyond it. This placid life developed in Wordsworth, to an extraordinary degree, an innate sensibility to natural sights and sounds--the flower and its shadow on the stone, the cuckoo and its echo. The poem of [98] "Resolution and Independence" is a storehouse of such records; for its fulness of lovely imagery it may be compared to Keats's "Saint Agnes' Eve." To read one of his greater pastoral poems for the first time is like a day spent in a new country; the memory is crowded for a while with its precise and vivid incidents:--

The pliant harebell swinging in the breeze, On some grey rock: The single sheep, and the one blasted tree, And the bleak music from that old stone wall:-- In the meadows and the lower ground, Was all the sweetness of a common dawn:-- And that green corn all day is rustling in thine ears!

Clear and delicate at once as he is in the outlining of visible imagery, he is more finely scrupulous still in the noting of sounds; he conceives of n.o.ble sound as even moulding the human countenance to n.o.bler types, and as something actually "profaned" by visible form or colour. He has a power likewise of realizing and conveying to the consciousness of his reader abstract and elementary impressions, silence, darkness, absolute motionlessness, or, again, the whole complex sentiment of a particular place, the abstract expression of desolation in the long [99] white road, of peacefulness in a particular folding of the hills.

That sense of a life in natural objects, which in most poetry is but a rhetorical artifice, was, then, in Wordsworth the a.s.sertion of what was for him almost literal fact. To him every natural object seemed to possess something of moral or spiritual life, to be really capable of a companions.h.i.+p with man, full of fine intimacies. An emanation, a particular spirit, belonged not to the moving leaves or water only, but to the distant peak arising suddenly, by some change of perspective, above the nearer horizon of the hills, to the pa.s.sing s.p.a.ce of light across the plain, to the lichened Druidic stone even, for a certain weird fellows.h.i.+p in it with the moods of men. That he awakened "a sort of thought in sense" is Sh.e.l.ley's just estimate of this element in Wordsworth's poetry.

It was through nature, enn.o.bled in this way by the semblance of pa.s.sion and thought, that the poet approached the spectacle of human life. For him, indeed, human life is, in the first instance, only an additional, and as it were incidental grace, upon this expressive landscape.

[100] When he thought of men and women, it was of men and women as in the presence and under the influence of those effective natural objects, and linked to them by many a.s.sociations. Such influences have sometimes seemed to belittle those who are the subject of them, at the least to be likely to narrow the range of their sympathies. To Wordsworth, on the contrary, they seemed directly to dignify human nature, as tending to tranquillize it. He raises physical nature to the level of human thought, giving it thereby a mystic power and expression; he subdues man to the level of nature, but gives him therewith a certain breadth and vastness and solemnity.

Religious sentiment, consecrating the natural affections and rights of the human heart, above all that pitiful care and awe for the peris.h.i.+ng human clay of which relic-wors.h.i.+p is but the corruption, has always had much to do with localities, with the thoughts which attach themselves to definite scenes and places. And what is true of it everywhere is truest in those secluded valleys, where one generation after another maintains the same abiding-place; and [101] it was on this side that Wordsworth apprehended religion most strongly. Having so much to do with the recognition of local sanct.i.ties, the habit of connecting the very trees and stones of a particular spot of earth with the great events of life, till the low walls, the green mounds, the half-obliterated epitaphs, seemed full of oracular voices, even the religion of those people of the dales appeared but as another link between them and the solemn imageries of the natural world. And, again, this too tranquillized them, by bringing them under the rule of traditional, narrowly localized observances. "Grave livers," they seemed to him under this aspect, of stately speech, and something of that natural dignity of manners which underlies the highest courtesy.

And, seeing man thus as a part of nature, elevated and solemnized in proportion as his daily life and occupations brought him into companions.h.i.+p with permanent natural objects, he was able to appreciate pa.s.sion in the lowly. He chooses to depict people from humble life, because, being nearer to nature than others, they are on the whole more impa.s.sioned, certainly [102] more direct in their expression of pa.s.sion, than other men; it is for this direct expression of pa.s.sion that he values their humble words. In much that he said in exaltation of rural life he was but pleading indirectly for that sincerity, that perfect fidelity to one's own inward presentations, to the precise features of the picture within, without which any profound poetry is impossible. It was not for their tameness, but for their impa.s.sioned sincerity, that he chose incidents and situations from common life, "related in a selection of language really used by men." He constantly endeavours to bring his language nearer to the real language of men; but it is to the real language of men, not on the dead level of their ordinary intercourse, but in certain select moments of vivid sensation, when this language is winnowed and enn.o.bled by sentiment. There are poets who have chosen rural life for their subject for the sake of its pa.s.sionless repose; and there are times when Wordsworth himself extols the mere calm and dispa.s.sionate survey of things as the highest aim of poetical culture. But it was not for such pa.s.sionless calm that he preferred the scenes of [103] pastoral life; and the meditative poet, sheltering himself from the agitations of the outward world, is in reality only clearing the scene for the exhibition of great emotions, and what he values most is the almost elementary expression of elementary feelings.

In Wordsworth's prefatory advertis.e.m.e.nt to the first edition of The Prelude, published in 1850, it is stated that that work was intended to be introductory to The Recluse: and that The Recluse, if completed, would have consisted of three parts. The second part is The Excursion.

The third part was only planned; but the first book of the first part was left in ma.n.u.script by Wordsworth--though in ma.n.u.script, it is said, in no great condition of forwardness for the printers. This book, now for the first time printed in extenso (a very n.o.ble pa.s.sage from it found place in that prose advertis.e.m.e.nt to The Excursion), is the great novelty of this latest edition of Wordsworth's poetic works. It was well worth adding to the poet's great bequest to English literature.

The true student of his work, who has formulated for himself what he supposes to be the leading characteristics [104] of Wordsworth's genius, will feel, we think, a lively interest in putting them to test by the many and various striking pa.s.sages in what is there presented for the first time.

17th February 1889

VII. MR. GOSSE'S POEMS

On Viol and Flute. By Edmund Gosse.

[107] PERHAPS no age of literature, certainly no age of literature in England, has been so rich as ours in excellent secondary poetry; and it is with our poetry (in a measure) as with our architecture, constrained by the nature of the case to be imitative. Our generation, quite reasonably, is not very proud of its architectural creations; confesses that it knows too much--knows, but cannot do. And yet we could name certain modern churches in London, for instance, to which posterity may well look back puzzled.--Could these exquisitely pondered buildings have been indeed works of the nineteenth century? Were they not the subtlest creations of the age in which Gothic art was spontaneous? In truth, we have had instances of workmen, who, through long, large, [108] devoted study of the handiwork of the past, have done the thing better, with a more fully enlightened consciousness, with full intelligence of what those early workmen only guessed at. And something like this is true of some of our best secondary poetry. It is the least that is true--the least that can fairly be said in praise of the poetic work of Mr. Edmund Gosse.

Of course there can be no exact parallel between arts so different as architecture and poetic composition: But certainly in the poetry of our day also, though it has been in some instances powerfully initiative and original, there is great scholars.h.i.+p, a large comparative acquaintance with the poetic methods of earlier workmen, and a very subtle intelligence of their charm. Of that fine scholars.h.i.+p in this matter there is no truer example than Mr. Gosse. It is manifested especially in the even finish of his varied work, in the equality of his level--a high level--in species of composition so varied as the three specimens which follow.

Far away, in late spring, "by the sea in the south," the swallows are still lingering around "white Algiers." In Mr. Gosse's "Return of [109] the Swallows," the northern birds--lark and thrush--have long been calling to them:--

And something awoke in the slumbering heart Of the alien birds in their African air, And they paused, and alighted, and twittered apart, And met in the broad white dreamy square, And the sad slave woman, who lifted up From the fountain her broad-lipped earthen cup, Said to herself, with a weary sigh, "To-morrow the swallows will northward fly."

Compare the following stanzas, from a kind of palinode, "1870-1871,"

years of the Franco-German war and the Parisian Commune:--

The men who sang that pain was sweet Shuddered to see the mask of death Storm by with myriad thundering feet; The sudden truth caught up our breath Our throats like pulses beat.

The songs of pale emaciate hours, The fungus-growth of years of peace, Withered before us like mown flowers; We found no pleasure more in these When bullets fell in showers.

For men whose robes are dashed with blood, What joy to dream of gorgeous stairs, Stained with the torturing interlude That soothed a Sultan's midday prayers, In old days harsh and rude?

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For men whose lips are blanched and white, With aching wounds and torturing thirst, What charm in canvas shot with light, And pale with faces cleft and curst, Past life and life's delight?

And then Mr. Gosse's purely descriptive power, his apt.i.tude for still-life and landscape, is unmistakably vivid and sound. Take, for an instance, this description of high-northern summer:--

The ice-white mountains cl.u.s.tered all around us, But arctic summer blossomed at our feet; The perfume of the creeping sallows found us, The cranberry-flowers were sweet.

Below us through the valley crept a river, Cleft round an island where the Lap-men lay; Its sluggish water dragged with slow endeavour The mountain snows away.

There is no night-time in the northern summer, But golden s.h.i.+mmer fills the hours of sleep, And sunset fades not, till the bright new-comer, Red sunrise, smites the deep.

But when the blue snow-shadows grew intenser Across the peaks against the golden sky, And on the hills the knots of deer grew denser, And raised their tender cry,

[111]

And wandered downward to the Lap-men's dwelling, We knew our long sweet day was nearly spent, And slowly, with our hearts within us swelling, Our homeward steps we bent.

"Suns.h.i.+ne before Sunrise!" There's a novelty in that, for poetic use at least, so far as we know, though we remember one fine paragraph about it in Sartor Resartus. The grim poetic sage of Chelsea, however, had never seen what he describes: not so Mr. Gosse, whose acquaintance with northern lands and northern literature is special. We have indeed picked out those stanzas from a quiet personal record of certain amorous hours of early youth in that quaint arctic land, Mr. Gosse's description of which, like his pretty poem on Lubeck, made one think that what the accomplished group of poets to which he belongs requires is, above all, novelty of motive, of subject.

He takes, indeed, the old themes, and manages them better than their old masters, with more delicate cadences, more delicate transitions of thought, through long dwelling on earlier practice. He seems to possess complete command of the technique of poetry--every form of what may be called skill of hand in it; and what marks in [112] him the final achievement of poetic scholars.h.i.+p is the perfect balance his work presents of so many and varied effects, as regards both matter and form. The memories of a large range of poetic reading are blent into one methodical music so perfectly that at times the notes seem almost simple. Sounding almost all the harmonies of the modern lyre, he has, perhaps as a matter of course, some of the faults also, the "spasmodic"

and other lapses, which from age to age, in successive changes of taste, have been the "defects" of excellent good "qualities." He is certainly not the--

Pathetic singer, with no strength to sing,

as he says of the white-throat on the tulip-tree,

Whose leaves unfinished ape her faulty song.

In effect, a large compa.s.s of beautiful thought and expression, from poetry old and new, have become to him matter malleable anew for a further and finer reach of literary art. And with the perfect grace of an intaglio, he shows, as in truth the minute intaglio may do, the faculty of structure, the logic of poetry. "The New Endymion" is a good instance of such sustained [113] power. Poetic scholar!--If we must reserve the sacred name of "poet" to a very small number, that humbler but perhaps still rarer t.i.tle is due indisputably to Mr. Gosse.

His work is like exquisite modern Latin verse, into the academic shape of which, discreet and coy, comes a sincere, deeply felt consciousness of modern life, of the modern world as it is. His poetry, according with the best intellectual instincts of our critical age, is as pointed out recently by a clever writer in the Nineteenth Century, itself a kind of exquisite, finally revised criticism.

Not that he fails in originality; only, the graces, inborn certainly, but so carefully educated, strike one more. The sense of his originality comes to one as but an after-thought; and certainly one sign of his vocation is that he has made no conscious effort to be original. In his beautiful opening poem of the "White-throat," giving his book its key-note, he seems, indeed, to accept that position, reasons on and justifies it. Yet there is a clear note of originality (so it seems to us) in the peculiar charm of his strictly personal compositions; and, generally, in such touches as he gives us of the soul, the life, of the [114] nineteenth century. Far greater, we think, than the charm of poems strictly cla.s.sic in interest, such as the "Praise of Dionysus," exquisite as that is, is the charm of those pieces in which, so to speak, he transforms, by a kind of colour-change, cla.s.sic forms and a.s.sociations into those--say! of Thames-side--pieces which, though in manner or subject promising a cla.s.sic entertainment, almost unaware bring you home.--No! after all, it is not imagined Greece, dreamy, antique Sicily, but the present world about us, though mistakable for a moment, delightfully, for the land, the age, of Sappho, of Theocritus:--

There is no amaranth, no pomegranate here, But can your heart forget the Christmas rose, The crocuses and snowdrops once so dear?

Quite congruously with the placid, erudite, quality of his culture, although, like other poets, he sings much of youth, he is often most successful in the forecast, the expression, of the humours, the considerations, that in truth are more proper to old age:--