Emerson and Other Essays Part 9

The rules of verse in English are merely a body of custom which has grown up unconsciously, and most of which rests upon some simple requirement of the ear.

In speaking of the power of poetry we are dealing with what is essentially a mystery, the outcome of infinitely subtle, numerous, and complex forces.

The rhythm of versification seems to serve the purpose of a prompter. It lets us know in advance just what syllables are to receive the emphasis which shall make the sense clear. There are many lines in poetry which become obscure the instant they are written in prose, and probably the advantages of poetry over prose, or, to express it modestly, the excuse for poetry at all, is that the form facilitates the comprehension of the matter. Rhyme is itself an indication that a turning-point has been reached. It punctuates and sets off the sense, and relieves our attention from the strain of suspended interest. All of the artifices of poetical form seem designed to a like end. Naturalness of speech is somewhat sacrificed, but we gain by the sacrifice a certain uniformity of speech which rests and exhilarates. We need not, for the present, examine the question of euphony any further, nor ask whether euphony be not a positive element in verse,--an element which belongs to music.

The negative advantages of poetry over prose are probably sufficient to account for most of its power. A few more considerations of the same negative nature, and which affect the vividness of either prose or verse, may be touched upon by way of preface to the inquiry, why Browning is hard to understand and why his verse is bad.

Every one is more at ease in his mind when he reads a language which observes the ordinary rules of grammar, proceeds by means of sentences having subjects and predicates, and of which the adjectives and adverbs fall easily into place. A doubt about the grammar is a doubt about the sense. And this is so true that sometimes when our fears are allayed by faultless grammar we may read absolute nonsense with satisfaction. We sometimes hear it stated as a bitter epigram, that poetry is likely to endure just in proportion as the form of it is superior to the content.

As to the "inferiority" of the content, a moment's reflection shows that the ideas and feelings which prevail from age to age, and in which we may expect posterity to delight, are in their nature, and of necessity, commonplace. And if by "superiority of form" it is meant that these ideas shall be conveyed in flowing metres,--in words which are easy to p.r.o.nounce, put together according to the rules of grammar, and largely drawn from the vulgar tongue,--we need not wonder that posterity should enjoy it. In fact, it is just such verse as this which survives from age to age.

Browning possesses one superlative excellence, and it is upon this that he relies. It is upon this that he has emerged and attacked the heart of man. It is upon this that he may possibly fight his way down to posterity and live like a fire forever in the bosom of mankind.

His language is the language of common speech; his force, the immediate force of life. His language makes no compromises of any sort. It is not subdued to form. The emphasis demanded by the sense is very often not the emphasis demanded by the metre. He cuts off his words and forces them ruthlessly into lines as a giant might force his limbs into the armor of a mortal. The joints and members of the speech fall in the wrong places and have no relation to the joints and members of the metre.

He writes like a lion devouring an antelope. He rends his subject, breaks its bones, and tears out the heart of it. He is not made more, but less, comprehensible by the verse-forms in which he writes. The sign-posts of the metre lead us astray. He would be easier to understand if his poems were printed in the form of prose. That is the reason why Browning becomes easy when read aloud; for in reading aloud we give the emphasis of speech, and throw over all effort to follow the emphasis of the metre. This is also the reason why Browning is so unquotable--why he has made so little effect upon the language--why so few of the phrases and turns of thought and metaphor with which poets enrich a language have been thrown into English by him. Let a man who does not read poetry take up a volume of Familiar Quotations, and he will find page after page of lines and phrases which he knows by heart--from Tennyson, Milton, Wordsworth--things made familiar to him not by the poets, but by the men whom the poets educated, and who adopted their speech. Of Browning he will know not a word. And yet Browning's poetry is full of words that glow and smite, and which have been burnt into and struck into the most influential minds of the last fifty years.

But Browning's phrases are almost impossible to remember, because they are speech not reduced to poetry. They do not sing, they do not carry.

They have no artificial buoys to float them in our memories.

It follows from this uncompromising nature of Browning that when, by the grace of inspiration, the accents of his speech do fall into rhythm, his words will have unimaginable sweetness. The music is so much a part of the words--so truly spontaneous--that other verse seems tame and manufactured beside his.

Rhyme is generally so used by Browning as not to subserve the true function of rhyme. It is forced into a sort of superficial conformity, but marks no epoch in the verse. The cl.u.s.ters of rhymes are cl.u.s.ters only to the eye and not to the ear. The necessity of rhyming leads Browning into inversions,--into expansions of sentences beyond the natural close of the form,--into every sort of contortion. The rhymes clog and distress the sentences.

As to grammar, Browning is negligent. Some of his most eloquent and wonderful pa.s.sages have no grammar whatever. In Sordello grammar does not exist; and the want of it, the strain upon the mind caused by an effort to make coherent sentences out of a fleeting, ever-changing, iridescent maze of talk, wearies and exasperates the reader. Of course no one but a school-master desires that poetry shall be capable of being pa.r.s.ed; but every one has a right to expect that he shall be left without a sense of grammatical deficiency.

The Invocation in The Ring and the Book is one of the most beautiful openings that can be imagined.

"O lyric love, half angel and half bird, And all a wonder and a wild desire--Boldest of hearts that ever braved the sun, Took sanctuary within the holier blue, And sang a kindred soul out to his face-- Yet human at the red-ripe of the heart-- When the first summons from the darkling earth Reached thee amid thy chambers, blanched their blue, And bared them of the glory--to drop down, To toil for man, to suffer or to die-- This is the same voice: can thy soul know change?

Hail then, and hearken from the realms of help!

Never may I commence my song, my due To G.o.d who best taught song by gift of thee, Except with bent head and beseeching hand-- That still, despite the distance and the dark What was, again may be; some interchange Of grace, some splendor once thy very thought, Some benediction anciently thy smile;-- Never conclude, but raising hand and head Thither where eyes, that cannot reach, yet yearn For all hope, all sustainment, all reward, Their utmost up and on--so blessing back In those thy realms of help, that heaven thy home, Some whiteness, which, I judge, thy face makes proud, Some wanness where, I think, thy foot may fall."

These sublime lines are marred by apparent grammatical obscurity. The face of beauty is marred when one of the eyes seems sightless. We re-read the lines to see if we are mistaken. If they were in a foreign language, we should say we did not fully understand them.

In the dramatic monologues, as, for instance, in The Ring and the Book and in the innumerable other narratives and contemplations where a single speaker holds forth, we are especially called upon to forget grammar. The speaker relates and reflects,--pours out his ideas in the order in which they occur to him,--pursues two or three trains of thought at the same time, claims every license which either poetry or conversation could accord him. The effect of this method is so startling, that when we are vigorous enough to follow the sense, we forgive all faults of metre and grammar, and feel that this natural Niagara of speech is the only way for the turbulent mind of man to get complete utterance. We forget that it is possible for the same thing to be done, and yet to be subdued, and stilled, and charmed into music.

Prospero is as natural and as individual as Bishop Blougram. His grammar is as incomplete, yet we do not note it. He talks to himself, to Miranda, to Ariel, all at once, weaving all together his pa.s.sions, his philosophy, his narrative, and his commands. His reflections are as profuse and as metaphysical as anything in Browning, and yet all is clear,--all is so managed that it lends magic. The characteristic and unfathomable significance of this particular character Prospero comes out of it.

"_Prospero_. My brother and thy uncle, called Antonio-- I pray thee mark me,--that a brother should Be so perfidious!--he whom next thyself, Of all the world I lov'd, and to him put The manage of my state; as at that time Through all the seignories it was the first, And Prospero, the Prime Duke, being so reputed In dignity and for the liberal arts, Without a parallel: those being all my study, The government I cast upon my brother, And to my state grew stranger, being transported And wrapped in secret studies. Thy false uncle-- Dost thou attend me?"

It is unnecessary to give examples from Browning of defective verse, of pa.s.sages which cannot be understood, which cannot be construed, which cannot be parodied, and which can scarcely be p.r.o.nounced. They are mentioned only as throwing light on Browning's cast of mind and methods of work. His inability to recast and correct his work cost the world a master. He seems to have been condemned to create at white heat and to stand before the astonis.h.i.+ng draft, which his energy had flung out, powerless to complete it.

We have a few examples of things which came forth perfect, but many of even the most beautiful and most original of the shorter poems are marred by some blotches that hurt us and which one feels might have been struck out or corrected in half an hour. How many of the poems are too long! It is not that Browning went on writing after he had completed his thought,--for the burst of beauty is as likely to come at the end as at the beginning,--but that his thought had to unwind itself like web from a spider. He could not command it. He could only unwind and unwind.

Pan and Luna is a sketch, as luminous as a Correggio, but not finished.

Caliban upon Setebos, on the other hand, shows creative genius, beyond all modern reach, but flounders and drags on too long. In the poems which he revised, as, for instance, Herve Riel, which exists in two or more forms, the corrections are verbal, and were evidently done with the same fierce haste with which the poems were written.

We must not for an instant imagine that Browning was indolent or indifferent; it is known that he was a taskmaster to himself. But he _could_ not write other than he did. When the music came and the verse caught the flame, and his words became sweeter, and his thought clearer, then he could sweep down like an archangel bringing new strains of beauty to the earth. But the occasions when he did this are a handful of pa.s.sages in a body of writing as large as the Bible.

Just as Browning could not stop, so he found it hard to begin. His way of beginning is to seize the end of the thread just where he can, and write down the first sentence.

"She should never have looked at me, If she meant I should not love her!"

"Water your d.a.m.ned flowerpots, do--"

"No! for I'll save it! Seven years since."

"But give them me, the mouth, the eyes, the brow!"

"Fear Death? to feel the fog in my throat."

Sometimes his verse fell into coils as it came, but he himself, as he wrote the first line of a poem, never knew in what form of verse the poem would come forth. Hence the novel figures and strange counterpoint.

Having evolved the first group of lines at haphazard, he will sometimes repeat the form (a very complex form, perhaps, which, in order to have any organic effect, would have to be tuned to the ear most nicely), and repeat it clumsily. Individual taste must be judge of his success in these experiments. Sometimes the ear is worried by an attempt to trace the logic of the rhymes which are concealed by the rough jolting of the metre. Sometimes he makes no attempt to repeat the first verse, but continues in irregular improvisation.

Browning never really stoops to literature; he makes perfunctory obeisance to it. The truth is that Browning is expressed by his defects.

He would not be Robert Browning without them. In the technical part of his art, as well as in his spirit, Browning represents a reaction of a violent sort. He was too great an artist not to feel that his violations of form helped him. The blemishes in The Grammarian's Funeral--_hoti's business, the enc.l.i.tic de_--were stimulants; they heightened his effects. They helped him make clear his meaning, that life is greater than art. These savageries spoke to the hearts of men tired of smoothness and plat.i.tude, and who were relieved by just such a breaking up of the ice. Men loved Browning not only for what he was, but also for what he was not.

These blemishes were, under the circ.u.mstances, and for a limited audience, strokes of art. It is not to be pretended that, even from this point of view, they were always successful, only that they are organic.

The nineteenth century would have to be lived over again to wipe these pa.s.sages out of Browning's poetry.

In that century he stands as one of the great men of England. His doctrines are the mere effulgence of his personality. He himself was the truth which he taught. His life was the life of one of his own heroes; and in the close of his life--by a coincidence which is not sad, but full of meaning--may be seen one of those apparent paradoxes in which he himself delighted.

Through youth and manhood Browning rose like a planet calmly following the laws of his own being. From time to time he put forth his volumes which the world did not understand. Neglect caused him to suffer, but not to change. It was not until his work was all but finished, not till after the publication of The Ring and the Book, that complete recognition came to him. It was given him by men and women who had been in the nursery when he began writing, who had pa.s.sed their youth with his minor poems, and who understood him.

In later life Browning's powers declined. The torrent of feeling could no longer float the raft of doctrine, as it had done so lightly and for so long. His poems, always difficult, grew dry as well.

But Browning was true to himself. He had all his life loved converse with men and women, and still enjoyed it. He wrote constantly and to his uttermost. It was not for him to know that his work was done. He wrote on manfully to the end, showing, occasionally, his old power, and always his old spirit. And on his death-bed it was not only his doctrine, but his life that blazed out in the words:--

"One who never turned his back, but marched breast forward, Never doubted clouds would break, Never dreamed, though right were worsted, wrong would triumph.

Held, we fall to rise--are baffled to fight better-- Sleep to wake."

ROBERT LOUIS STEVENSON

In the early eighties, and in an epoch when the ideals of George Eliot were still controlling, the figure of Stevenson rose with a sort of radiance as a writer whose sole object was to entertain. Most of the great novelists were then dead, and the scientific school was in the ascendant. Fiction was entering upon its death grapple with sociology.

Stevenson came, with his tales of adventure and intrigue, out-of-door life and old-time romance, and he recalled to every reader his boyhood and the delights of his earliest reading. We had forgotten that novels could be amusing.

Hence it is that the great public not only loves Stevenson as a writer, but regards him with a certain personal grat.i.tude. There was, moreover, in everything he wrote an engaging humorous touch which made friends for him everywhere, and excited an interest in his fragile and somewhat elusive personality supplementary to the appreciation of his books as literature. Toward the end of his life both he and the public discovered this, and his railleries or sermons took on the form of personal talk.

Beneath these matters lay the fact, known to all, that the man was fighting a losing battle against mortal sickness, and that practically the whole of his work was done under conditions which made any productivity seem a miracle. The heroic invalid was seen through all his books, still sitting before his desk or on his bed, turning out with unabated courage, with increasing ability, volume after volume of gayety, of boys' story-book, and of tragic romance.

There is enough in this record to explain the popularity, running at times into hero-wors.h.i.+p and at times into drawing-room fatuity, which makes Stevenson and his work a fair subject for study. It is not impossible that a man who met certain needs of the times so fully, and whom large cla.s.ses of people sprang forward to welcome, may in some particulars give a clew to the age.

Any description of Stevenson's books is unnecessary. We have all read them too recently to need a prompter. The high spirits and elfin humor which play about and support every work justifies them all.