Joyous Gard by Arthur Christopher Benson (phonics reading books TXT) 📖

style, find their memory supplying for them all sorts of broken echoes and rhetorical phrases, picked out of half-forgotten romances; speech must be soigneux now, must be dignified, to meet so uplifting an experience. How oddly like a book the young lover talks, using so naturally the loud inflated phrases that seem so divorced from common-sense and experience! How common it is to see in law-reports, in cases which deal with broken engagements of marriage, to find in the excited letters which are read and quoted an irresistible tendency to drop into doggerel verse! It all seems to the sane reader such a grotesque kind of intoxication. Yet it is as natural as the airs and graces of the singing canary, the unfurling of the peacock's fan, the held breath and hampered strut of the turkey--a tendency to assume a greatness and a nobility that one does not possess, to seem impressive, tremendous, desirable. Ordinary talk will not do; it must rhyme, it must march, it must glitter, it must be stuck full of gems; accomplishments must be paraded, powers must be hinted at. The victor must advance to triumph with blown trumpets and beaten drums; and in solitude there must follow the reaction of despair, the fear that one has disgraced oneself, seemed clumsy and dull, done ignobly. Every sensitive emotion is awake; and even the most serene and modest natures, in the grip of passion, can become suspicious and self-absorbed, because the passion which consumes them is so fierce that it shrivels all social restraints, and leaves the soul naked, and bent upon the most uncontrolled self-emphasis.

But apart from this urgent passion, there are many quieter ways in which the same spirit, the same emotion, which is nothing but a sense of self-significance, comes into the soul. Some are so inspired by music, the combinations of melodies, the intricate conspiracy of chords and ordered vibrations, when the orchestra is at work, the great droning horns with their hollow reluctant voices sustaining the shiver and ripple of the strings; or by sweeter, simpler cadences played at evening, when the garden scents wafted out of the fragrant dusk, the shaded lamps, the listening figures, all weave themselves together into a mysterious tapestry of the sense, till we wonder what strange and beautiful scene is being enacted, and wherever we turn, catch hints and echoes of some bewildering and gracious secret, just not revealed!

Some find it in pictures and statues, the mellow liquid pageant of some old master-hand, a stretch of windspent moor, with its leaning grasses and rifted crags, a dark water among glimmering trees at twilight, a rich plain running to the foot of haze-hung mountains, the sharp-cut billows of a racing sea; or a statue with its shapely limbs and its veiled smile, or of the suspended strength of some struggling Titan: all these hold the same inexplicable appeal to the senses, indicating the efforts of spirits who have seen, and loved, and admired, and hoped, and desired, striving to leave some record of the joy that thrilled and haunted, and almost tortured them; and to many people the emotion comes most directly through the words and songs of poetry, that tell of joys lived through, and sorrows endured, of hopes that could not be satisfied, of desires that could not know fulfilment; pictures, painted in words, of scenes such as we ourselves have moved through in old moods of delight, scenes from which the marvellous alchemy of memory has abstracted all the base and dark elements, leaving only the pure gold of remembered happiness--the wide upland with the far-off plain, the garden flooded with sun, the grasses crisped with frost, the snow-laden trees, the flaming autumn woods, the sombre forest at shut of day, when the dusk creeps stealthily along the glimmering aisles, the stream passing clear among large-leaved water-plants and spires of bloom; and the mood goes deeper still, for it echoes the marching music of the heart, its glowing hopes, its longing for strength and purity and peace, its delight in the nearness of other hearts, its wisdom, its nobility.

But the end and aim of all these various influences is the same; their power lies in the fact that they quicken in the spirit the sense of the energy, the delight, the greatness of life, the share that we can claim in them, the largeness of our own individual hope and destiny; and that is the real work of all the thoughts that may be roughly called poetical; that they reveal to us something permanent and strong and beautiful, something which has an irrepressible energy, and which outlines itself clearly upon the dark background of days, a spirit with which we can join hands and hold deep communication, which we instinctively feel is the greatest reality of the world. In such moments we perceive that the times when we descend into the meaner and duller and drearier businesses of life are interludes in our real being, into which we have to descend, not because of the actual worth of the baser tasks, but that we may practise the courage and the hope we ought to bring away from the heavenly vision. The more that men have this thirst for beauty, for serene energy, for fulness of life, the higher they are in the scale, and the less will they quarrel with the obscurity and humility of their lives, because they are confidently waiting for a purer, higher, more untroubled life, to which we are all on our way, whether we realise it or no!


V


ART

It is not uncommon for me to receive letters from young aspirants, containing poems, and asking me for an opinion on their merits. Such a letter generally says that the writer feels it hardly worth while to go on writing poetry unless he or she is assured that the poems are worth something. In such cases I reply that the answer lies there! Unless it seems worth while, unless indeed poetry is the outcome of an irrepressible desire to express something, it is certainly not worth while writing. On the other hand, if the desire is there, it is just as well worth practising as any other form of artistic expression. A man who liked sketching in water-colours would not be restrained from doing so by the fear that he might not become an Academician, a person who liked picking out tunes on a piano need not desist because there is no prospect of his earning money by playing in public!

Poetry is of all forms of literary expression the least likely to bring a man credit or cash. Most intelligent people with a little gift of writing have a fair prospect of getting prose articles published. But no one wants third-rate poetry; editors fight shy of it, and volumes of it are unsaleable.

I have myself written so much poetry, have published so many volumes of verse, that I can speak sympathetically on the subject. I worked very hard indeed at poetry for seven or eight years, wrote little else, and the published volumes form only a small part of my output, which exists in many manuscript volumes. I achieved no particular success. My little books were fairly well received, and I sold a few hundred copies; I have even had a few pieces inserted in anthologies. But though I have wholly deserted the practice of poetry, and though I can by no means claim to be reckoned a poet, I do not in the least regret the years I gave to it. In the first place it was an intense pleasure to write. The cadences, the metres, the language, the rhymes, all gave me a rapturous delight. It trained minute observation--my poems were mostly nature-poems--and helped me to disentangle the salient points and beauties of landscapes, hills, trees, flowers, and even insects. Then too it is a very real training in the use of words; it teaches one what words are musical, sonorous, effective; while the necessity of having to fit words to metre increases one's stock of words and one's power of applying them. When I came back to writing prose, I found that I had a far larger and more flexible vocabulary than I had previously possessed; and though the language of poetry is by no means the same as that of prose--it is a pity that the two kinds of diction are so different in English, because it is not always so in other languages--yet it made the writing of ornamental and elaborate prose an easier matter; it gave one too a sense of form; a poem must have a certain balance and proportion; so that when one who has written verse comes to write prose, a subject falls easily into divisions, and takes upon itself a certain order of course and climax.

But these are only consequences and resulting advantages. The main reason for writing poetry is and must be the delight of doing it, the rapture of perceiving a beautiful subject, and the pleasure of expressing it as finely and delicately as one can. I have given it up because, as William Morris once said of himself, "to make poetry just for the sake of making it is a crime for a man of my age and experience!"


One's feelings lose poetic flow
Soon after twenty-seven or so!


One begins to think of experience in a different sort of way, not as a series of glowing points and pictures, which outline themselves radiantly upon a duller background, but as a rich full thing, like a great tapestry, all of which is important, if it is not all beautiful. It is not that the marvel and wonder of life is less; but it is more equable, more intricate, more mysterious. It does not rise at times, like a sea, into great crested breakers, but it comes marching in evenly, roller after roller, as far as the eye can reach.

And then too poetry becomes cramped and confined for all that one desires to say. One lived life, as a young man, rather for the sake of the emotions which occasionally transfigured it, with a priestly sense of its occasional splendour; there was not time to be leisurely, humorous, gently interested. But as we grow older, we perceive that poetical emotion is but one of many forces, and our sympathy grows and extends itself in more directions. One had but little patience in the old days for quiet, prosaic, unemotional people; but now it becomes clear that a great many persons live life on very simple and direct lines; one wants to understand their point of view better, one is conscious of the merits of plainer stuff; and so the taste broadens and deepens, and becomes like a brimming river rather than a leaping crystal fount. Life receives a hundred affluents, and is tinged with many new substances; and one begins to see that if poetry is the finest and sweetest interpretation of life, it is not always the completest or even the largest.

If we examine the lives of poets, we too often see how their inspiration flagged and failed. Milton indeed wrote his noblest verse in middle-age, after a life immersed in affairs. Wordsworth went on writing to the end, but all his best poetry was written in about five early years. Tennyson went on to a patriarchal age, but there is little of his later work that bears comparison with what he wrote before he was forty. Browning produced volume after volume, but, with the exception of an occasional fine lyric, his later work is hardly more than an illustration of his faults of writing. Coleridge deserted poetry very early; Byron, Shelley, Keats, all died comparatively young.

The Letters of Keats give perhaps a more vivid