A Dish of Orts : Chiefly Papers on the Imagination and on Shakespeare by George MacDonald (best book club books of all time txt) 📖

"Wings at my shoulders seem to play;
But, rooted here, I stand and gaze
On those bright steps that heaven-ward raise
Their practicable way.
Come forth, ye drooping old men, look abroad,
And see to what fair countries ye are bound!

* * * * *

"Dread Power! whom peace and calmness serve
No less than Nature's threatening voice,
From THEE, if I would swerve,
Oh, let Thy grace remind me of the light
Full early lost, and fruitlessly deplored;
Which, at this moment, on my waking sight
Appears to shine, by miracle restored;
My soul, though yet confined to earth,
Rejoices in a second birth!"

Picture the scene for yourselves; and observe how it moves in him the sense of responsibility, and the prayer, that if he has in any matter wandered from the right road, if he has forgotten the simplicity of childhood in the toil of life, he may, from this time, remember the vow that he now records-from this time to press on towards the things that are unseen, but which are manifested through the things that are seen. I refer you likewise to the poem "Resolution and Independence," commonly called "The Leech Gatherer;" also to that grandest ode that has ever been written, the "Ode on Immortality." You will find there, whatever you may think of his theory, in the latter, sufficient proof that nature was to him a divine teaching power. Do not suppose that I mean that man can do without more teaching than nature's, or that a man with only nature's teaching would have seen these things in nature. No, the soul must be tuned to such things. Wordsworth could not have found such things, had he not known something that was more definite and helpful to him; but this known, then nature was full of teaching. When we understand the Word of God, then we understand the works of God; when we know the nature of an artist, we know his pictures; when we have known and talked with the poet, we understand his poetry far better. To the man of God, all nature will be but changeful reflections of the face of God.

Loving man as Wordsworth did, he was most anxious to give him this teaching. How was he to do it? By poetry. Nature put into the crucible of a loving heart becomes poetry. We cannot explain poetry scientifically; because poetry is something beyond science. The poet may be man of science, and the man of science may be a poet; but poetry includes science, and the man who will advance science most, is the man who, other qualifications being equal, has most of the poetic faculty in him. Wordsworth defines poetry to be "the impassioned expression which is on the face of science." Science has to do with the construction of things. The casting of the granite ribs of the mighty earth, and all the thousand operations that result in the manifestations on its surface, this is the domain of science. But when there come the grass-bearing meadows, the heaven-reared hills, the great streams that go ever downward, the bubbling fountains that ever arise, the wind that wanders amongst the leaves, and the odours that are wafted upon its wings; when we have colour, and shape, and sound, then we have the material with which poetry has to do. Science has to do with the underwork. For what does this great central world exist, with its hidden winds and waters, its upheavings and its downsinkings, its strong frame of rock, and its heart of fire? What do they all exist for? Not for themselves surely, but for the sake of this out-spreading world of beauty, that floats up, as it were, to the surface of the shapeless region of force. Science has to do with the one, and poetry with the other: poetry is "the impassioned expression that is on the face of science." To illustrate it still further. You are walking in the woods, and you find the first primrose of the year. You feel almost as if you had found a child. You know in yourself that you have found a new beauty and a new joy, though you have seen it a thousand times before. It is a primrose. A little flower that looks at me, thinks itself into my heart, and gives me a pleasure distinct in itself, and which I feel as if I could not do without. The impassioned expression on the face of this little outspread flower is its childhood; it means trust, consciousness of protection, faith, and hope. Science, in the person of the botanist, comes after you, and pulls it to pieces to see its construction, and delights the intellect; but the science itself is dead, and kills what it touches. The flower exists not for it, but for the expression on its face, which is its poetry,-that expression which you feel to mean a living thing; that expression which makes you feel that this flower is, as it were, just growing out of the heart of God. The intellect itself is but the scaffolding for the uprearing of the spiritual nature.

It will make all this yet plainer, if you can suppose a human form to be created without a soul in it. Divine science has put it together, but only for the sake of the outshining soul that shall cause it to live, and move, and have a being of its own in God. When you see the face lighted up with soul, when you recognize in it thought and feeling, joy and love, then you know that here is the end for which it was made. Thus you see the relation that poetry has to science; and you find that, to speak in an apparent paradox, the surface is the deepest after all; for, through the surface, for the sake of which all this building went on, we have, as it were, a window into the depths of truth. There is not a form that lives in the world, but is a window cloven through the blank darkness of nothingness, to let us look into the heart, and feeling, and nature of God. So the surface of things is the best and the deepest, provided it is not mere surface, but the impassioned expression, for the sake of which the science of God has thought and laboured.

Satisfied that this was the nature of poetry, and wanting to convey this to the minds of his fellow-men, "What vehicle," Wordsworth may be supposed to have asked himself, "shall I use? How shall I decide what form of words to employ? Where am I to find the right language for speaking such great things to men?" He saw that the poetry of the eighteenth century (he was born in 1770) was not like nature at all, but was an artificial thing, with no more originality in it than there would be in a picture a hundred times copied, the copyists never reverting to the original. You cannot look into this eighteenth century poetry, excepting, of course, a great proportion of the poetry of Cowper and Thompson, without being struck with the sort of agreement that nothing should be said naturally. A certain set form and mode was employed for saying things that ought never to have been said twice in the same way. Wordsworth resolved to go back to the root of the thing, to the natural simplicity of speech; he would have none of these stereotyped forms of expression. "Where shall I find," said he, "the language that will be simple and powerful?" And he came to the conclusion that the language of the common people was the only language suitable for his purpose. Your experience of the everyday language of the common people may be that it is not poetical. True, but not even a poet can speak poetically in his stupid moments. Wordsworth's idea was to take the language of the common people in their uncommon moods, in their high and, consequently, simple moods, when their minds are influenced by grief, hope, reverence, worship, love; for then he believed he could get just the language suitable for the poet. As far as that language will go, I think he was right, if I may venture to give an opinion in support of Wordsworth. Of course, there will occur necessities to the poet which would not be comprehended in the language of a man whose thoughts had never moved in the same directions, but the kind of language will be the right thing, and I have heard such amongst the common people myself-language which they did not know to be poetic, but which fell upon my ear and heart as profoundly poetic both in its feeling and its form.

In attempting to carry out this theory, I am not prepared to say that Wordsworth never transgressed his own self-imposed laws. But he adhered to his theory to the last. A friend of the poet's told me that Wordsworth had to him expressed his belief that he would be remembered longest, not by his sonnets, as his friend thought, but by his lyrical ballads, those for which he had been reviled and laughed at; the most by critics who could not understand him, and who were unworthy to read what he had written. As a proof of this let me read to you three verses, composing a poem that was especially marked for derision:-

She dwelt among the untrodden ways,
Beside the springs of Dove;
A maid whom there were none to praise,
And very few to love.

A violet by a mossy stone.
Half hidden from the eye;
Fair as a star, when only one
Is shining in the sky.

She lived unknown, and few could know
When Lucy ceased to be;
But she is in her grave, and Oh!
The difference to me.

The last line was especially chosen as the object of ridicule; but I think with most of us the feeling will be, that its very simplicity of expression is overflowing in suggestion, it throws us back upon our own experience; for, instead of trying to utter what he felt, he says in those simple and common words, "You who have known anything of the kind, will know what the difference to me is, and only you can know." "My intention and desire," he says in one of his essays, "are that the interest of the poem shall owe nothing to the circumstances; but that the circumstances shall be made interesting by the thing itself." In most novels, for instance, the attempt is made to interest us in worthless, commonplace people, whom, if we had our choice, we would far rather not meet at all, by surrounding them with peculiar and extraordinary circumstances; but this is a low source of interest. Wordsworth was determined to owe nothing to such an adventitious cause. For illustration allow me to read that well-known little ballad, "The Reverie of Poor Susan," and you will see how entirely it bears out what he lays down as his theory. The scene is in London:-

At the corner of Wood-street, when daylight appears,
Hangs a Thrush that sings loud, it has sung for three years;
Poor Susan has passed by the spot, and