Part 7

Leave the heart that now I bear, And give me liberty.

To be alone was for her to be alone with 'a chainless soul,' which asked of whatever powers might be only 'courage to endure,' constancy not to forget, and the right to leave the door wide open to those visions that came to her out of mere fixed contemplation: 'the God of Visions,' as she called her imagination, 'my slave, my comrade, and my king.' And we know that her courage was flawless, heroic, beyond praise; that she forgot nothing, not even that love for her unspeakable brother, for whom she has expressed in two of her poems a more than masculine magnanimity of pity and contempt; and that at all times she could turn inward to that world within, where her imagination waited for her,

Where thou, and I, and Liberty Have undisputed sovereignty.

Yet even imagination, though 'benignant,' is to her a form of 'phantom bliss' to which she will not trust herself wholly. 'So hopeless is the world without': but is the world within ever quite frankly accepted as a substitute, as a truer reality? She is always on her guard against imagination as against the outer world, whose 'lies' she is resolved shall not 'beguile' her. She has accepted reason as the final arbiter, and desires only to see clearly, to see things as they are. She really believed that

Earth reserves no blessing For the unblest of heaven;

and she had an almost Calvinistic sense of her own condemnation to unhappiness. That being so, she was suspicious of those opportunities of joy which did come to her, or at least resolute not to believe too implicitly in the good messages of the stars, which might be mere dreams, or of the earth, which was only certainly kind in preparing for her that often-thought-of grave. 'No coward soul is mine' is one of her true sayings; but it was with difficulty that she trusted even that message of life which she seemed to discover in death. She has to assure herself of it, again and again: 'Who once lives, never dies!' And that sense of personal identity which aches throughout all her poems is a sense, not of the delight, but of the pain and ineradicable sting of personal identity.

Her poems are all outcries, as her great novel, Wuthering Heights, is one long outcry. A soul on the rack seems to make itself heard at moments, when suffering has grown too acute for silence. Every poem is as if torn from her. Even when she does not write seemingly in her own person, the subjects are such disguises as 'The Prisoner,' 'Honour's Martyr,' 'The Outcast Mother,' echoes of all the miseries and useless rebellions of the earth. She spells over the fading characters in dying faces, unflinchingly, with an austere curiosity; and looks closely into the eyes of shame, not dreading what she may find there. She is always arguing with herself, and the answers are inflexible, the answers of a clear intellect which rebels but accepts defeat. Her doubt is itself an affirmation, her defiance would be an entreaty but for the 'quenchless will' of her pride. She faces every terror, and to her pained apprehension birth and death and life are alike terrible. Only Webster's dirge might have been said over her coffin.

What my soul bore my soul alone Within itself may tell,

she says truthfully; but some of that long endurance of her life, in which exile, the body's weakness, and a sense of some 'divinest anguish' which clung about the world and all things living, had their share, she was able to put into ascetic and passionate verse. It is sad-coloured and desolate, but when gleams of sunlight or of starlight pierce the clouds that hang generally above it, a rare and stormy beauty comes into the bare outlines, quickening them with living splendour.

1906.

EDGAR ALLAN POE

The poems of Edgar Allan Poe are the work of a poet who thought persistently about poetry as an art, and would have reduced inspiration to a method. At their best they are perfectly defined by Baudelaire, when he says of Poe's poetry that it is a thing 'deep and shimmering as dreams, mysterious and perfect as crystal.' Not all the poems, few as they are, are flawless. In a few unequal poems we have the only essential poetry which has yet come from America, Walt Whitman's vast poetical nature having remained a nature only, not come to be an art. Because Poe was fantastically inhuman, a conscious artist doing strange things with strange materials, not every one has realised how fine, how rare, was that beauty which this artist brought into the world. It is true that there was in the genius of Poe something meretricious; it is the flaw in his genius; but then he had genius, and Whittier and Bryant and Longfellow and Lowell had only varying degrees of talent. Let us admit, by all means, that a diamond is flawed; but need we compare it with this and that fine specimen of quartz?

Poetry Poe defined as 'the rhythmical creation of beauty'; and the first element of poetry he found in 'the thirst for supernal beauty.' 'It is not,' he repeats, 'the mere appreciation of the beauty before us. It is a wild effort to reach the beauty above.... Inspired with a prescient ecstasy of the beauty beyond the grave, it struggles by multiform novelty of combination among the things and thoughts of time, to anticipate some portions of that loveliness whose very elements, perhaps, appertain solely to eternity.' The poet, then, 'should limit his endeavours to the creation of novel moods of beauty, in form, in colour, in sound, in sentiment.' Note the emphasis upon novel: to Poe there was no beauty without strangeness. He makes his favourite quotation: '"But," says Lord Bacon (how justly!) "there is no exquisite beauty without some strangeness in the proportions." Take away this element of strangeness--of unexpectedness--of novelty--of originality--call it what we will--and all that is ethereal in loveliness is lost at once.... We lose, in short, all that assimilates the beauty of earth with what we dream of the beauty of heaven!' And, as another of the elements of this creation of beauty, there must be indefiniteness. 'I know,' he says, 'that indefiniteness is an element of the true music--I mean of the true musical expression. Give to it any undue decision--imbue it with any very determinate tone--and you deprive it at once of its ethereal, its ideal, its intrinsic and essential character.' Do we not seem to find here an anticipation of Verlaine's 'Art Poetique': 'Pas la couleur, rien que la nuance'? And is not the essential part of the poetical theory of Mallarme and of the French Symbolists enunciated in this definition and commendation of 'that class of composition in which there lies beneath the transparent upper current of meaning an under or suggestive one'? To this 'mystic or secondary impression' he attributes 'the vast force of an accompaniment in music.... With each note of the lyre is heard a ghostly, and not always a distinct, but an august soul-exalting echo.' Has anything that has been said since on that conception of poetry without which no writer of verse would, I suppose, venture to write verse, been said more subtly or more precisely?

And Poe does not end here, with what may seem generalities. 'Beyond the limits of beauty,' he says of poetry, 'its province does not extend. Its sole arbiter is Taste. With the Intellect or with the Conscience it has only collateral relations. It has no dependence, unless incidentally, upon either Duty or Truth.' And of the poet who said, not meaning anything very different from what Poe meant, 'Beauty is truth, truth beauty,' he says: 'He is the sole British poet who has never erred in his themes.' And, as if still thinking of Keats, he says: 'It is chiefly amid forms of physical loveliness (we use the word forms in its widest sense as embracing modifications of sound and colour) that the soul seeks the realisation of its dreams of Beauty.' And, with more earnest insistence on those limits which he knew to be so much more necessary to guard in poetry than its so-called freedom ('the true artist will avail himself of no "license" whatever'), he states, with categorical precision: 'A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having, for its object, an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with indefinite sensations, to which end music is an essential, since comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music, without the idea, is simply music; the idea, without the music, is prose, from its very definiteness.'

And he would set these careful limits, not only to the province of poetic pleasure, but to the form and length of actual poetry. 'A long poem,' he says, with more truth than most people are quite willing to see, 'is a paradox.' 'I hold,' he says elsewhere, 'that a long poem does not exist. I maintain that the phrase, "a long poem," is simply a flat contradiction in terms.' And, after defining his ideal, 'a rhymed poem, not to exceed in length what might be perused in an hour,' he says, very justly, that 'within this limit alone can the highest order of true poetry exist.' In another essay he narrows the duration to 'half an hour, at the very utmost'; and wisely. In yet another essay he suggests 'a length of about one hundred lines' as the length most likely to convey that unity of impression, with that intensity of true poetical effect, in which he found the highest merit of poetry. Remember, that of true poetry we have already had his definition; and concede, that a loftier conception of poetry as poetry, poetry as lyric essence, cannot easily be imagined. We are too ready to accept, under the general name of poetry, whatever is written eloquently in metre; to call even Wordsworth's Excursion a poem, and to accept Paradise Lost as throughout a poem. But there are not thirty consecutive lines of essential poetry in the whole of The Excursion, and, while Paradise Lost is crammed with essential poetry, that poetry is not consecutive; but the splendid workmanship comes in to fill up the gaps, and to hold our attention until the poetry returns. Essential poetry is an essence too strong for the general sense; diluted, it can be endured; and, for the most part, the poets dilute it. Poe could conceive of it only in the absolute; and his is the counsel of perfection, if of a perfection almost beyond mortal powers. He sought for it in the verse of all poets; he sought, as few have ever sought, to concentrate it in his own verse; and he has left us at least a few poems, 'ciascun distinto e di fulgore e d'arte,' in which he has found, within his own limits, the absolute.

1906.

THOMAS LOVELL BEDDOES

With the strange fortune that always accompanied him, in life and in death, Beddoes has not merely escaped the indiscriminate applause which he would never have valued, but he has remained a bibliographical rather than a literary rarity. Few except the people who collect first editions--not, as a rule, the public for a poet--have had the chance of possessing Death's Jest-Book (1850) and the Poems (1851). At last Beddoes has been made accessible, the real story of his death, that suicide so much in the casual and determined manner of one of his own characters.

'The power of the man is immense and irresistible.' Browning's emphatic phrase comes first to the memory, and remains always the most appropriate word of eulogy. Beddoes has been rashly called a great poet. I do not think he was a great poet, but he was, in every sense of the word, an astonishing one. Read these lines, and remember that they were written just at that stagnant period (1821-1826) which comes between the period of Keats, Shelley, and Byron, and the period of Browning and Tennyson. It is a murderer who speaks:

I am unsouled, dishumanised, uncreated; My passions swell and grow like brutes conceived; My feet are fixing roots, and every limb Is billowy and gigantic, till I seem A wild, old, wicked mountain in the air: And the abhorred conscience of this murder, It will grow up a lion, all alone, A mighty-maned, grave-mouthed prodigy, And lair him in my caves: and other thoughts, Some will be snakes, and bears, and savage wolves, And when I lie tremendous in the desert, Or abandoned sea, murderers and idiot men Will come to live upon my rugged sides, Die, and be buried in me. Now it comes; I break, and magnify, and lose my form, And yet I shall be taken for a man, And never be discovered till I die.

How much this has of the old, splendid audacity of the Elizabethans! How unlike timid modern verse! Beddoes is always large, impressive; the greatness of his aim gives him a certain claim on respectful consideration. That his talent achieved itself, or ever could have achieved itself, he himself would have been the last to affirm. But he is a monumental failure, more interesting than many facile triumphs.

The one important work which Beddoes actually completed, Death's Jest-Book, is nominally a drama in five acts. All the rest of his work, except a few lyrics and occasional poems, is also nominally dramatic. But there never was anything less dramatic in substance than this mass of admirable poetry in dialogue. Beddoes' genius was essentially lyrical: he had imagination, the gift of style, the mastery of rhythm, a strange choiceness and curiosity of phrase. But of really dramatic power he had nothing. He could neither conceive a coherent plot, nor develop a credible situation. He had no grasp on human nature, he had no conception of what character might be in men and women, he had no faculty of expressing emotion convincingly. Constantly you find the most beautiful poetry where it is absolutely inappropriate, but never do you find one of those brief and memorable phrases, words from the heart, for which one would give much beautiful poetry. To take one instance: an Arab slave wishes to say that he has caught sight of a sail nearing the coast. And this is how he says it:

I looked abroad upon the wide old world, And in the sky and sea, through the same clouds, The same stars saw I glistening, and nought else, And as my soul sighed unto the world's soul, Far in the north a wind blackened the waters, And, after that creating breath was still, A dark speck sat on the sky's edge: as watching Upon the heaven-girt border of my mind The first faint thought of a great deed arise, With force and fascination I drew on The wished sight, and my hope seemed to stamp Its shade upon it. Not yet is it clear What, or from whom, the vessel.

In scenes which aim at being passionate one sees the same inability to be natural. What we get is always literature; it is never less than that, nor more than that. It is never frank, uncompromising nature. The fact is, that Beddoes wrote from the head, collectively, and without emotion, or without inspiration, save in literature. All Beddoes' characters speak precisely the same language, express the same desires; all in the same way startle us by their ghostly remoteness from flesh and blood. 'Man is tired of being merely human,' Siegfried says, in Death's Jest-Book, and Beddoes may be said to have grown tired of humanity before he ever came to understand it.

Looked at from the normal standpoint, Beddoes' idea of the drama was something wildly amateurish. As a practical playwright he would be beneath contempt; but what he aimed at was something peculiar to himself, a sort of spectral dramatic fantasia. He would have admitted his obligations to Webster and Tourneur, to all the macabre Elizabethan work; he would have admitted that his foundations were based on literature, not on life; but he would have claimed, and claimed justly, that he had produced, out of many strange elements, something which has a place apart in English poetry. Death's Jest-Book is perhaps the most morbid poem in our literature. There is not a page without its sad, grotesque, gay, or abhorrent imagery of the tomb. A slave cannot say that a lady is asleep without turning it into a parable of death:

Sleeping, or feigning sleep, Well done of her: 'tis trying on a garb Which she must wear, sooner or later, long: 'Tis but a warmer, lighter death.

Not Baudelaire was more amorous of corruption; not Poe was more spellbound by the scent of graveyard earth. So Beddoes has written a new Dance of Death, in poetry; has become the chronicler of the praise and ridicule of Death. 'Tired of being merely human,' he has peopled a play with confessed phantoms. It is natural that these eloquent speakers should pass us by with their words, that they should fail to move us by their sorrows or their hates: they are not intended to be human, except, indeed, in the wizard humanity of Death.

I have said already that the genius of Beddoes is not dramatic, but lyrical. What was really most spontaneous in him (nothing was quite spontaneous) was the impulse of song-writing. And it seems to me that he is really most successful in sweet and graceful lyrics like this Dirge, so much more than 'half in love with easeful death.'