Notes on Poems and Reviews

 

NOTES ON POEMS AND
REVIEWS.

 

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NOTES ON POEMS AND

 

REVIEWS.

 

BY

ALGERNON CHARLES SWINBURNE.

 

"Je pense sur ces satires comme Épietète: 'Si l'on dit du mal de toi, et qu'il soit véritable, corrige-toi; si ce sont des meusonges, ris-en.' J'ai appris avec l'âge à devenir bou cheval de poste; je fais ma station, et ne m'embarrasse pas des roquets qui aboient en chemin."—Frédéric le Grand.

"Ignorance by herself is an awkward lumpish wench; not yet fallen into vicious courses, nor to be uncharitably treated: but Ignorance and Insolence, these are, for certain, an unlovely Mother and Bastard!"—Carlyle.

 

LONDON:
JOHN CAMDEN HOTTEN, PICCADILLY.
1866.

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LONDON:
SAVILL, EDWARDS AND CO., PRINTERS, CHANDOS STREET,
COVENT GARDEN.

 

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NOTES ON POEMS AND
REVIEWS.

 

 

It is by no wish of my own that I accept the task now proposed to me. To vindicate or defend myself from the assault or the charge of men whom, but for their attacks, I might never have heard of, is an office which I, or any writer who respects his work, cannot without reluctance stoop to undertake. As long as the attacks on my book—I have seen a few, I am told there are many—were confined within the usual limits of the anonymous press, I let them pass without the notice to which they appeared to aspire. Sincere or insincere, insolent or respectful, I let my assailants say out their say unheeded.

I have now undertaken to write a few words on this affair, not by way of apology or vindication, of answer or appeal. I have none such to offer. Much of the criticism I have seen is as usual, in the words of Shakspeare's greatest follower,

"As if a man should spit against the wind;
The filth returns in's face."

In recognition of his fair dealing with me in this matter, I am bound by my own sense of right to accede to the wish of my present publisher, and to the wishes of friends whose advice I value, that on his account, if not on mine, I should make some reply to the charges brought against me—as far as I understand them. The work is not fruitful of pleasure, of honour, or of profit; but, like other such tasks, it may be none the less useful and necessary. I am aware that it cannot be accomplished without some show of egotism; and I am perforce prepared to incur the consequent charge of arrogance. The office of commentator of my own works has been forced upon me by circumstances connected with the issue and re-issue of my last book. I am compelled to look sharply into it, and inquire what passage, what allusion, or what phrase can have drawn down such sudden thunder from the serene heavens of public virtue. A mere libeller I have no wish to encounter; I leave it to saints to fight with beasts at Ephesus or nearer. "For in these strifes, and on such persons, it were as wretched to affect a victory, as it is unhappy to be committed with them."

Certain poems of mine, it appears, have been impugned by judges, with or without a name, as indecent or as blasphemous. To me, as I have intimated, their verdict is a matter of infinite indifference: it is of equally small moment to me whether in such eyes as theirs I appear moral or immoral, Christian or pagan. But, remembering that science must not scorn to investigate animalcules and infusoria, I am ready for once to play the anatomist.

With regard to any opinion implied or expressed throughout my book, I desire that one thing should be remembered: the book is dramatic, many-faced, multifarious; and no utterance of enjoyment or despair, belief or unbelief, can properly be assumed as the assertion of its author's personal feeling or faith. Were each poem to be accepted as the deliberate outcome and result of the writer's conviction, not mine alone but most other men's verses would leave nothing behind them but a sense of cloudy chaos and suicidal contradiction. Byron and Shelley, speaking in their own persons, and with what sublime effect we know, openly and insultingly mocked and reviled what the English of their day held most sacred. I have not done this. I do not say that, if I chose, I would not do so to the best of my power; I do say that hitherto I have seen fit to do nothing of the kind.

It remains then to inquire what in that book can be reasonably offensive to the English reader. In order to resolve this problem, I will not fish up any of the ephemeral scurrilities born only to sting if they can, and sink as they must. I will take the one article that lies before me; the work (I admit) of an enemy, but the work (I acknowledge) of a gentleman. I cannot accept it as accurate; but I readily and gladly allow that it neither contains nor suggests anything false or filthy. To him therefore, rather than to another, I address my reclamation. Two among my poems, it appears, are in his opinion "especially horrible." Good. Though the phrase be somewhat "inexpressive," I am content to meet him on this ground. It is something—nay, it is much—to find an antagonist who has a sufficient sense of honesty and honour to mark out the lists in which he, the challenger, is desirous to encounter the challenged.

The first, it appears, of these especially horrible poems is Anactoria. I am informed, and have not cared to verify the assertion, that this poem has excited, among the chaste and candid critics of the day or hour or minute, a more vehement reprobation, a more virtuous horror, a more passionate appeal, than any other of my writing. Proud and glad as I must be of this distinction, I must yet, however reluctantly, inquire what merit or demerit has incurred such unexpected honour. I was not ambitious of it; I am not ashamed of it; but I am overcome by it. I have never lusted after the praise of reviewers; I have never feared their abuse; but I would fain know why the vultures should gather here of all places; what congenial carrion they smell, who can discern such (it is alleged) in any rose-bed. And after a little reflection I do know, or conjecture. Virtue, as she appears incarnate in British journalism and voluble through that unsavoury organ, is something of a compound creature—

"A lump neither alive nor dead,
Dog-headed, bosom-eyed, and bird-footed;"

nor have any dragon's jaws been known to emit on occasion stronger and stranger sounds and odours. But having, not without astonishment and disgust, inhaled these odours, I find myself at last able to analyse their component parts. What my poem means, if any reader should want that explained, I am ready to explain, though perplexed by the hint that explanation may be required. What certain reviewers have imagined it to imply, I am incompetent to explain, and unwilling to imagine. I am evidently not virtuous enough to understand them. I thank Heaven that I am not. Ma corruption rougirait de leur pudeur. I have not studied in those schools whence that full-fledged phoenix, the "virtue" of professional pressmen, rises chuckling and crowing from the dunghill, its birthplace and its deathbed. But there are birds of alien feather, if not of higher flight; and these I would now recall into no hencoop or preserve of mine, but into the open and general field where all may find pasture and sunshine and fresh air: into places whither the prurient prudery and the virulent virtue of pressmen and prostitutes cannot follow; into an atmosphere where calumny cannot speak, and fatuity cannot breathe; in a word, where backbiters and imbeciles become impossible. I neither hope nor wish to change the unchangeable, to purify the impure. To conciliate them, to vindicate myself in their eyes, is a task which I should not condescend to attempt, even were I sure to accomplish.

In this poem I have simply expressed, or tried to express, that violence of affection between one and another which hardens into rage and deepens into despair. The key-note which I have here touched was struck long since by Sappho. We in England are taught, are compelled under penalties to learn, to construe, and to repeat, as schoolboys, the imperishable and incomparable verses of that supreme poet; and I at least am grateful for the training. I have wished, and I have even ventured to hope, that I might be in time competent to translate into a baser and later language the divine words which even when a boy I could not but recognise as divine. That hope, if indeed I dared ever entertain such a hope, I soon found fallacious. To translate the two odes and the remaining fragments of Sappho is the one impossible task; and as witness of this I will call up one of the greatest among poets. Catullus "translated"—or as his countrymen would now say "traduced"—the Ode to Anactoria—Εις Έρωμέναν: a more beautiful translation there never was and will never be; but compared with the Greek, it is colourless and bloodless, puffed out by additions and enfeebled by alterations. Let any one set against each other the two first stanzas, Latin and Greek, and pronounce. (This would be too much to ask of all of my critics; but some among the journalists of England may be capable of achieving the not exorbitant task.) Where Catullus failed I could not hope to succeed; I tried instead to reproduce in a diluted and dilated form the spirit of a poem which could not be reproduced in the body.

Now, the ode Εις Έρωμέναν—the "Ode to Anactoria" (as it is named by tradition)—the poem which English boys have to get by heart—the poem (and this is more important) which has in the whole world of verse no companion and no rival but the Ode to Aphrodite, has been twice at least translated or "traduced." I am not aware that Mr. Ambrose Phillips, or M. Nicolas Boileau-Despreaux, was ever impeached before any jury of moralists for his sufficiently grievous offence. By any jury of poets both would assuredly have been convicted. Now, what they did I have not done. To the best (and bad is the best) of their ability, they have "done into" bad French and bad English the very words of Sappho. Feeling that although I might do it better I could not do it well, I abandoned the idea of translation—ἕκων ἁέκοντί γε θυμῷ. I tried, then, to write some paraphrase of the fragment which the Fates and the Christians have spared us, I have not said, as Boileau and Phillips have, that the speaker sweats and swoons at sight of her favourite by the side of a man. I have abstained from touching on such details, for this reason: that I felt myself incompetent to give adequate expression in English to the literal and absolute words of Sappho; and would not debase and degrade them into a viler form. No one can feel more deeply than I do the inadequacy of my work. "That is not Sappho," a friend said once to me. I could only reply, "It is as near as I can come; and no man can come close to her." Her remaining verses are the supreme success, the final achievement, of the poetic art.

But this, it may be, is not to the point. I will try to draw thither; though the descent is immeasurable from Sappho's verse to mine, or to any man's. I have striven to cast my spirit into the mould of hers, to express and represent not the poem but the poet. I did not think it requisite to disfigure the page with a foot-note wherever I had fallen back upon the original text. Here and there, I need not say, I have rendered into English the very words of Sappho. I have tried also to work into words of my own some expression of their effect: to bear witness how, more than any other's, her verses strike and sting the memory in lonely places, or at sea, among all loftier sights and sounds—how they seem akin to fire and air, being themselves "all air and fire;" other element there is none in them. As to the angry appeal against the supreme mystery of oppressive heaven, which I have ventured to put into her mouth at that point only where pleasure culminates in pain, affection in anger, and desire in despair—as to the "blasphemies"[1] against God or Gods of which here and elsewhere I stand accused,—they are to be taken as the first outcome or outburst of foiled and fruitless passion recoiling on itself. After this, the spirit finds time to breathe and repose above all vexed senses of the weary body, all bitter labours of the revolted soul; the poet's pride of place is resumed, the lofty conscience of invincible immortality in the memories and the mouths of men.

What is there now of horrible in this? the expressions of fierce fondness, the ardours of passionate despair? Are these so unnatural as to affright or disgust? Where is there an unclean detail? where an obscene allusion? A writer as impure as my critics might of course have written, on this or on any subject, an impure poem; I have not. And if to translate or paraphrase Sappho be an offence, indict the heavier offenders who have handled and rehandled this matter in their wretched versions of the ode. Is my poem more passionate in detail, more unmistakable in subject? I affirm that it is less; and what I affirm I have proved.

Next on the list of accusation stands the poem of Dolores. The gist and bearing of this I should have thought evident enough, viewed by the light of others which precede and follow it. I have striven here to express that transient state of spirit through which a man may be supposed to pass, foiled in love and weary of loving, but not yet in sight of rest; seeking refuge in those "violent delights" which "have violent ends," in fierce and frank sensualities which at least profess to be no more than they are. This poem, like Faustine, is so distinctly symbolic and fanciful that it cannot justly be amenable to judgment as a study in the school of realism. The spirit, bowed and discoloured by suffering and by passion (which are indeed the same thing and the same word), plays for awhile with its pleasures and its pains, mixes and distorts them with a sense half-humorous and half-mournful, exults in bitter and doubtful emotions—

"Moods of fantastic sadness, nothing worth."

It sports with sorrow, and jests against itself; cries out for freedom and confesses the chain; decorates with the name of goddess, crowns anew as the mystical Cotytto, some woman, real or ideal, in whom the pride of life with its companion lusts is incarnate. In her lover's half-shut eyes, her fierce unchaste beauty is transfigured, her cruel sensual eyes have a meaning and a message; there are memories and secrets in the kisses of her lips. She is the darker Venus, fed with burnt-offering and blood-sacrifice; the veiled image of that pleasure which men impelled by satiety and perverted by power have sought through ways as strange as Nero's before and since his time; the daughter of lust and death, and holding of both her parents; Our Lady of Pain, antagonist alike of trivial sins and virtues: no Virgin, and unblessed of men; no mother of the Gods or God; no Cybele, served by sexless priests or monks, adored of Origen or of Atys; no likeness of her in Dindymus or Loreto.

The next act in this lyrical monodrame of passion represents a new stage and scene. The worship of desire has ceased; the mad commotion of sense has stormed itself out; the spirit, clear of the old regret that drove it upon such violent ways for a respite, healed of the fever that wasted it in the search for relief among fierce fancies and tempestuous pleasures, dreams now of truth discovered and repose attained. Not the martyr's ardour of selfless love, an unprofitable flame that burnt out and did no service— not the rapid rage of pleasure that seemed for a little to make the flesh divine, to clothe the naked senses with the fiery raiment of faith; but a stingless love, an innocuous desire. "Hesperia," the tenderest type of woman or of dream, born in the westward "islands of the blest," where the shadows of all happy and holy things live beyond the sunset a sacred and a sleepless life, dawns upon his eyes a western dawn, risen as the fiery day of passion goes down, and risen where it sank. Here, between moonrise and sunset, lives the love that is gentle and faithful, neither giving too much nor asking—a bride rather than a mistress, a sister rather than a bride. But not at once, or not for ever, can the past be killed and buried; hither also the huntress follows her flying prey, wounded and weakened, still fresh from the fangs of passion; the cruel hands, the amorous eyes, still glitter and allure. Qui a bu boira: the feet are drawn back towards the ancient ways. Only by lifelong flight, side by side with the goddess that redeems, shall her slave of old escape from the goddess that consumes: if even thus one may be saved, even thus distance the bloodhounds.

This is the myth or fable of my poem; and it is not without design that I have slipped in, between the first and the second part, the verses called The Garden of Proserpine, expressive, as I meant they should be, of that brief total pause of passion and of thought, when the spirit, without fear or hope of good things or evil, hungers and thirsts only after the perfect sleep. Now, what there is in all this unfit to be written—what there is here indecent in manner or repulsive in matter—I at least do not yet see; and before I can see it, my eyes must be purged with the euphrasy and rue which keep clear the purer eyes of professional virtue. The insight into evil of chaste and critical pressmen, their sharp scent for possible or impossible impurities, their delicate ear for a sound or a whisper of wrong—all this knowledge "is too wonderful and excellent for me; I cannot attain unto it." In one thing, indeed, it seems I have erred: I have forgotten to prefix to my work the timely warning of a great poet and humorist:—

"J'en préviens les mères des familles,
Ce que j'écris n'est pas pour les petites filles
Dont on coupe le pain en tartines; mes vers
Sont des vers de jeune homme."

I have overlooked the evidence which every day makes clearer, that our time has room only for such as are content to write for children and girls. But this oversight is the sum of my offence.

It would seem indeed as though to publish a book were equivalent to thrusting it with violence into the hands of every mother and nurse in the kingdom as fit and necessary food for female infancy. Happily there is no fear that the supply of milk for babes will fall short of the demand for some time yet. There are moral milkmen enough, in all conscience, crying their ware about the streets and by-ways; fresh or stale, sour or sweet, the requisite fluid runs from a sufficiently copious issue. In due time, perhaps, the critical doctors may prescribe a stronger diet for their hypochondriac patient, the reading world; or the gigantic malade imaginaire called the public may rebel against the weekly draught or the daily drug of MM. Purgon and Diafoirus. We, meanwhile, who profess to deal neither in poison nor in pap, may not unwillingly stand aside. Let those read who will, and let those who will abstain from reading. Caveat emptor. No one wishes to force men's food down the throats of babes and sucklings. The verses last analysed were assuredly written with no moral or immoral design; but the upshot seems to me moral rather than immoral, if it must needs be one or the other, and if (which I cannot be sure of) I construe aright those somewhat misty and changeable terms.

These poems thus disposed of are (I am told) those which have given most offence and scandal to the venal virtue of journalism. As I have not to review my reviewers, I need not be at pains to refute at length every wilful error or unconscious lie which a workman that way inclined might drag into light. To me, as to all others who may read what I write, the whole matter must continue to seem too pitiable and trivial to waste a word or thought on it which we can help wasting. But having begun this task, I will add yet a word or two of annotation. I have heard that even the little poem of Faustine has been to some readers a thing to make the scalp creep and the blood freeze. It was issued with no such intent. Nor do I remember that any man's voice or heel was lifted against it when it first appeared, a new-born and virgin poem, in the Spectator newspaper for 1862. Virtue, it would seem, has shot up surprisingly in the space of four years or less—a rank and rapid growth, barren of blossom and rotten at root. Faustine is the reverie of a man gazing on the bitter and vicious loveliness of a face as common and as cheap as the morality of reviewers, and dreaming of past lives in which this fair face may have held a nobler or fitter station; the imperial profile may have been Faustina's, the thirsty lips a Mænad's, when first she learnt to drink blood or wine, to waste the loves and ruin the lives of men; through Greece and again through Rome she may have passed with the same face which now comes before us dishonoured and discrowned. Whatever of merit or demerit there may be in the verses, the idea that gives them such life as they have is simple enough; the transmigration of a single soul, doomed as though by accident from the first to all evil and no good, through many ages and forms, but clad always in the same type of fleshly beauty. The chance which suggested to me this poem was one which may happen any day to any man—the sudden sight of a living face which recalled the well-known likeness of another dead for centuries: in this instance, the noble and faultless type of the elder Faustina, as seen in coin and bust. Out of that casual glimpse and sudden recollection these verses sprang and grew.

Of the poem in which I have attempted once more to embody the legend of Venus and her knight, I need say only that my first aim was to rehandle the old story in a new fashion. To me it seemed that the tragedy began with the knight's return to Venus—began at the point where hitherto it had seemed to leave off. The immortal agony of a man lost after all repentance—cast down from fearful hope into fearless despair—believing in Christ and bound to Venus—desirous of penitential pain, and damned to joyless pleasure—this, in my eyes, was the kernel and nucleus of a myth comparable only to that of the foolish virgins and bearing the same burden. The tragic touch of the story is this: that the knight who has renounced Christ believes in him; the lover who has embraced Venus disbelieves in her. Vainly and in despair would he make the best of that which is the worst—vainly remonstrate with God, and argue on the side he would fain desert. Once accept or admit the least admixture of pagan worship, or of modern thought, and the whole story collapses into froth and smoke. It was not till my poem was completed that I received from the hands of its author the admirable pamphlet of Charles Baudelaire on Wagner's Tannhaüser. If any one desires to see, expressed in better words than I can command, the conception of the mediæval Venus which it was my aim to put into verse, let him turn to the magnificent passage in which M. Baudelaire describes the fallen goddess, grown diabolic among ages that would not accept her as divine. In another point, as I then found, I concur with the great musician and his great panegyrist. I have made Venus the one love of her knight's whole life, as Mary Stuart of Chastelard's; I have sent him, poet and soldier, fresh to her fierce embrace. Thus only both legend and symbol appear to me noble and significant. Light loves and harmless errors must not touch the elect of heaven or of hell. The queen of evil, the lady of lust, will endure no rival but God; and when the vicar of God rejects him, to her only can he return to abide the day of his judgment in weariness and sorrow and fear.

These poems do not seem to me condemnable, unless it be on the ground of bad verse; and to any charge of that kind I should of course be as unable as reluctant to reply. But I certainly was even less prepared to hear the batteries of virtue open fire in another quarter. Sculpture I knew was a dead art; buried centuries deep out of sight, with no angel keeping watch over the sepulchre; its very grave-clothes divided by wrangling and impotent sectaries, and no chance anywhere visible of a resurrection. I knew that belief in the body was the secret of sculpture, and that a past age of ascetics could no more attempt or attain it than the present age of hypocrites; I knew that modern moralities and recent religions were, if possible, more averse and alien to this purely physical and pagan art than to the others; but how far averse I did not know. There is nothing lovelier, as there is nothing more famous, in later Hellenic art, than the statue of Hermaphroditus. No one would compare it with the greatest works of Greek sculpture. No one would lift Keats on a level with Shakspeare. But the Fates have allowed us to possess at once Othello and Hyperion, Theseus and Hermaphroditus. At Paris, at Florence, at Naples, the delicate divinity of this work has always drawn towards it the eyes of artists and poets.[2] A creature at once foul and dull enough to extract from a sight so lovely, from a thing so noble, the faintest, the most fleeting idea of impurity, must be, and must remain, below comprehension and below remark. It is incredible that the meanest of men should derive from it any other than the sense of high and grateful pleasure. Odour and colour and music are not more tender or more pure. How favourite and frequent a vision among the Greeks was this of the union of sexes in one body of perfect beauty, none need be told. In Plato the legend has fallen into a form coarse, hard, and absurd. The theory of God splitting in two the double archetype of man and woman, the original hermaphrodite which had to get itself bisected into female and male, is repulsive and ridiculous enough. But the idea thus incarnate, literal or symbolic, is merely beautiful. I am not the first who has translated into written verse this sculptured poem: another before me, as he says, has more than once "caressed it with a sculptor's love." It is, indeed, among statues as a lyric among tragedies; it stands below the Niobe as Simonides below Æschylus, as Correggio beneath Titian, The sad and subtle moral of this myth, which I have desired to indicate in verse, is that perfection once attained on all sides is a thing thenceforward barren of use or fruit; whereas the divided beauty of separate woman and man—a thing inferior and imperfect—can serve all turns of life. Ideal beauty, like ideal genius, dwells apart, as though by compulsion; supremacy is solitude. But leaving this symbolic side of the matter, I cannot see why this statue should not be the text for yet another poem. Treated in the grave and chaste manner as a serious "thing of beauty," to be for ever applauded and enjoyed, it can give no offence but to the purblind and the prurient. For neither of these classes have I ever written or will I ever write. "Loathsome and abominable" and full of "unspeakable foulnesses" must be that man's mind who could here discern evil; unclean and inhuman the animal which could suck from this mystical rose of ancient loveliness the foul and rancid juices of an obscene fancy. It were a scavenger's office to descend with torch or spade into such depths of mental sewerage, to plunge or peer into subterranean sloughs of mind impossible alike to enlighten or to cleanse.

I have now gone over the poems which, as I hear, have incurred most blame; whether deservedly or not, I have shown. For the terms in which certain critics have clothed their sentiments I bear them no ill-will: they are welcome for me to write unmolested, as long as they keep to simple ribaldry. I hope it gives them amusement; I presume it brings them profit; I know it does not affect me. Absolute falsehood may, if it be worth while, draw down contradiction and disproof; but the mere calling of bad names is a child's trick, for which the small fry of the press should have a child's correction at the hands of able editors; standing as these gentlemen ought to do in a parental or pedagogic relation to their tender charges. They have, by all I see and hear, been sufficiently scurrilous—one or two in particular.

"However, from one crime they are exempt;
They do not strike a brother, striking me."

I will only throw them one crumb of advice in return; I fear the alms will be of no avail, but it shall not be withheld:—

Why grudge them lotus-leaf and laurel,
O toothless mouth or swinish maw,
Who never grudged you bells and coral.
Who never grudged you troughs and straw?

Lie still in kennel, sleek in stable,
Good creatures of the stall or sty;
Shove snouts for crumbs below the table;
Lie still; and rise not up to lie.

To all this, however, there is a grave side. The question at issue is wider than any between a single writer and his critics, or it might well be allowed to drop. It is this: whether or not the first and last requisite of art is to give no offence; whether or not all that cannot be lisped in the nursery or fingered in the schoolroom is therefore to be cast out of the library; whether or not the domestic circle is to be for all men and writers the outer limit and extreme horizon of their world of work. For to this we have come; and all students of art must face the matter as it stands. Who has not heard it asked, in a final and triumphant tone, whether this book or that can be read aloud by her mother to a young girl? whether such and such a picture can properly be exposed to the eyes of young persons? If you reply that this is nothing to the point, you fall at once into the ranks of the immoral. Never till now, and nowhere but in England, could so monstrous an absurdity rear for one moment its deformed and eyeless head. In no past century were artists ever bidden to work on these terms; nor are they now, except among us. The disease, of course, afflicts the meanest members of the body with most virulence. Nowhere is cant at once so foul-mouthed and so tight-laced as in the penny, twopenny, threepenny, or sixpenny press. Nothing is so favourable to the undergrowth of real indecency as this overshadowing foliage of fictions, this artificial network of proprieties. L'Arioste rit au soleil, l'Arétin ricane a l'ombre. The whiter the sepulchre without, the ranker the rottenness within. Every touch of plaster is a sign of advancing decay. The virtue of our critical journals is a dowager of somewhat dubious antecedents: every day that thins and shrivels her cheek thickens and hardens the paint on it; she consumes more chalk and ceruse than would serve a whole courtful of crones. "It is to be presumed," certainly, that in her case "all is not sweet, all is not sound." The taint on her fly-blown reputation is hard to overcome by patches and perfumery. Literature, to be worthy of men, must be large, liberal, sincere; and cannot be chaste if it be prudish. Purity and prudery cannot keep house together. Where free speech and fair play are interdicted, foul hints and evil suggestions are hatched into fetid life. And if literature indeed is not to deal with the full life of man and the whole nature of things, let it be cast aside with the rods and rattles of childhood. Whether it affect to teach or to amuse, it is equally trivial and contemptible to us; only less so than the charge of immorality. Against how few really great names has not this small and dirt-encrusted pebble been thrown! A reputation seems imperfect without this tribute also: one jewel is wanting to the crown. It is good to be praised by those whom all men should praise; it is better to be reviled by those whom all men should scorn.

Various chances and causes must have combined to produce a state of faith or feeling which would turn all art and literature "into the line of children." One among others may be this: where the heaven of invention holds many stars at once, there is no fear that the highest and largest will either efface or draw aside into its orbit all lesser lights. Each of these takes its own way and sheds its proper lustre. But where one alone is dominant in heaven, it is encircled by a pale procession of satellite moons, filled with shallow and stolen radiance. Thus, with English versifiers now, the idyllic form is alone in fashion. The one great and prosperous poet of the time has given out the tune, and the hoarser choir takes it up. His highest lyrical work remains unimitated, being in the main inimitable. But the trick of tone which suits an idyl is easier to assume; and the note has been struck so often that the shrillest songsters can affect to catch it up. We have idyls good and bad, ugly and pretty; idyls of the farm and the mill; idyls of the dining-room and the deanery; idyls of the gutter and the gibbet. If the Muse of the minute will not feast with "gig-men" and their wives, she must mourn with costermongers and their trulls. I fear the more ancient Muses are guests at neither house of mourning nor house of feasting.

For myself, I begrudge no man his taste or his success; I can enjoy and applaud all good work, and would always, when possible, have the workman paid in full. There is much excellent and some admirable verse among the poems of the day: to none has it given more pleasure than to me, and from none, had I been a man of letters to whom the ways were open, would it have won heartier applause. I have never been able to see what should attract men to the profession of criticism but the noble pleasure of praising. But I have no right to claim a place in the silver flock of idyllic swans. I have never worked for praise or pay, but simply by impulse, and to please myself; I must therefore, it is to be feared, remain where I am, shut out from the communion of these. At all events, I shall not be hounded into emulation of other men's work by the baying of unleashed beagles. There are those with whom I do not wish to share the praise of their praisers. I am content to abide a far different judgment:—

"I write as others wrote
On Sunium's height."

I need not be over-careful to justify my ways in other men's eyes; it is enough for me that they also work after their kind, and earn the suffrage, as they labour after the law, of their own people. The idyllic form is best for domestic and pastoral poetry. It is naturally on a lower level than that of tragic or lyric verse. Its gentle and maidenly lips are somewhat narrow for the stream and somewhat cold for the fire of song. It is very fit for the sole diet of girls; not very fit for the sole sustenance of men.

When England has again such a school of poetry, so headed and so followed, as she has had at least twice before, or as France has now; when all higher forms of the various art are included within the larger limits of a stronger race; then, if such a day should ever rise or return upon us, it will be once more remembered that the office of adult art is neither puerile nor feminine, but virile; that its purity is not that of the cloister or the harem; that all things are good in its sight, out of which good work may be produced. Then the press will be as impotent as the pulpit to dictate the laws and remove the landmarks of art; and those will be laughed at who demand from one thing the qualities of another—who seek for sermons in sonnets and morality in music. Then all accepted work will be noble and chaste in the wider masculine sense, not truncated and curtailed, but outspoken and full-grown; art will be pure by instinct and fruitful by nature, no clipped and forced growth of unhealthy heat and unnatural air; all baseness and all triviality will fall off from it, and be forgotten; and no one will then need to assert, in defence of work done for the work's sake, the simple laws of his art which no one will then be permitted to impugn.

 
  1. As I shall not return to this charge of "blasphemy," I will here cite a notable instance of what does seem permissible in that line to the English reader. (I need not say that I do not question the right, which hypocrisy and servility would deny, of author and publisher to express and produce what they please. I do not deprecate, but demand for all men freedom to speak and freedom to hear. It is the line of demarcation which admits, if offence there be, the greater offender and rejects the less—it is this that I do not understand.) After many alternate curses and denials of God, a great poet talks of Christ "veiling his horrible Godhead," of his "malignant soul," his "godlike malice." Shelley outlived all this and much more; but Shelley wrote all this and much more. Will no Society for the Suppression of Common Sense—no Committee for the Propagation of Cant—see to it a little? or have they not already tried their hands at it and broken down? For the poem which contains the words above quoted continues at this day to bring credit and profit to its publishers—Messrs. Moxon and Co.
  2. Witness Shelley's version: —

    The bosom lightly swelled with its full youth,
    The countenance was such as might select
    Some artist, that his skill should never die,
    Imaging forth such perfect purity."
    Witch of Atlas, st. xxxvi.

    But Shelley had not studied purity in the school of reviewers. It is well for us that we have teachers able to enlighten our darkness, or Heaven knows into what error such as he, or such as I, might not fall. We might even, in time, come to think it possible to enjoy the naked beauty of a statue or a picture without any virtuous vision behind it of a filthy fancy; which would be immoral.

This work was published before January 1, 1925, and is in the public domain worldwide because the author died at least 100 years ago.