Hieroglyphics Part 4

But art is born with man, and is of the essence, the very differentia of man. It is of his very inmost being, and therefore, I suppose, is removed from his consciousness simply because it is within and not from without. You may say that I have been vague, that I have not solved the problem I propounded, that I have not clearly explained whether the Greeks knew what they did when they wors.h.i.+pped Dionysus, whether Rabelais was conscious of an inner meaning in his praise of wine, whether d.i.c.kens understood the value of his punch and brandy. But if I have been vague it is because man, in the last a.n.a.lysis, is a tremendous mystery, because he is a complex being, because he is at once Pantagruel, and Panurge, and Frere Jean, because he is both Don Quixote and Sancho Panza. In some cases Pantagruel and Panurge seem to speak a common language, to be able to communicate the one with the other: if Rabelais wrote the "Dive Bouteille" chapters, he certainly understood much of that which he had expressed in symbols. Sometimes the two seem like foreigners in one home, Pantagruel dictates, and Panurge the scribe writes down his words, hardly or not at all comprehending the magic symbols that he expresses. So d.i.c.kens ludicrously misinterprets his own "Pickwick." And, doubtless, this understanding of the artificer of the artist varies in an almost infinite chain of _nuances_: there have been artists, perhaps, who have worked like men under the influence of haschish, who have opened their mouths and prophesied, and then recovering from the possession, have sat up and stared, and asked where they were, and what they had been doing. Indeed, it may be that this was the condition of the working of art in the very dawn of human life, for this, no doubt, is the explanation of that old equation in which bards, magicians, seers, prophets, and madmen ranked all together as men who spoke and worked miracles, things unintelligible to the "common sense,"

to the understanding which regulates and arranges the affairs of the common life. All these were alike men of the mountains, men who withdrew from the camp, and went apart into high solitary places, into the lonely wilderness, into the forest, and in such retirements and cells they uttered the voices that came to them, speaking words that were unintelligible to themselves.

On the other hand there may have been artists in whom the two persons have been happily reconciled, who have not only the "gift of tongues"

but also the gift of the interpretation of tongues. Even these, I think, are always "possessed," ecstatic, rapt from their common nature at the moment of inspiration, but afterwards, when the magic song is done, they awake and return and remember, and understand, in a measure at least, the meaning of their prophecies. They never wholly understand, they are never able to express in rational terms the _whole_ force of the message, for the good reason that the language of the soul infinitely transcends the language of the understanding; because art is, indeed, the sole channel by which the highest and purest truth can reach us. You may, perhaps, succeed in giving a Boer "some notion" of a Greek chorus through the medium of the "Taal," but it would be vain to dream of translating almost perfect beauty into that poor medium, framed for the temporary and corporal necessities of rough and illiterate farmers. And so, however well an artist or those who appreciate his work may "understand" his meaning, they do but "understand" a little; since the tongue of art has many words which have no rendering in the speech of the understanding.

Here, then, is another form of our text which enables us to separate art from artifice, literature from reading matter. Artifice is explicable; you remember that someone has said Thackeray was simply the ordinary clubman _plus_ genius and a style. We must correct his phrases: but if you subst.i.tute an "immense talent of observation" for genius, and a "great gift of expression" for style, I think the definition admirable.

Thackeray, in short, is the clubman of heightened faculties; he differs not in quiddity but in quality and quant.i.ty from his neighbour at the window; he looks more closely than Tom Eaves, and he can give you the result of his inspection in better phrases and with a better system, but he looks at the same things from the same standpoint, and you and I can admire his work and be amused and delighted by it, but we have no sense of miracle, of transcendent vision and achievement. We simply see a man who does the things that we do, but does them with a far greater dexterity: you may watch an acrobat with an immense admiration, but you recognise that you, too, are potentially an acrobat, that with a little training you, too, could hang by the heels, though not with such grace, nor for so long a time.

But art is always miraculous. In its origin, in its working, in its results it is beyond and above explanation, and the artist's unconsciousness is only one phase of its infinite mysteries.

VI

I am afraid that at our last conversation I rather spoke to you "as if you were a public meeting." Not precisely in that manner, perhaps, since no public meeting that I can imagine would have stood me for a moment, but I fear that I was what is called "high-flown." And yet how can one avoid that reproach? Look here: let us suppose an examination paper, and the following questions set.

1. Explain, in rational terms, the "Quest of the Holy Graal." State whether in your opinion such a vessel ever existed, and if you think it did not, justify your pleasure in reading the account of the search for it.

2. Explain, logically, your delight in colour. State, in terms that Voltaire would have understood, the meaning of the phrase, "the beauty of line."

3. What do you mean by the word "music"? Give the rational explanation of Bach's Fugues, showing them to be as (1) true as Biology and (2) useful as Applied Mechanics.

4. Estimate the value of Westminster Abbey in the Avoirdupois measure.

5. "The light that never was on land or sea." What light?

6. "Faery lands forlorn." Draw a map of the district in question, putting in princ.i.p.al towns, and naming exports.

7. Show that, "heaven lies about us in our infancy" must mean "wholesome maternal influences surround us in our childhood."

You say that is all nonsense? that one cannot express art of any kind in the terms of rationalism? Well, I agree with you that it _is_ nonsense; that the tables of weights and measures give no aesthetic guide to the value of Westminster Abbey; but if we agree on this I am afraid that we must be content to be called high-flown. Having once for all settled that "common sense" has nothing to do with literary art, we must be, I suppose, uncommon, and (apparently) nonsensical if we want to talk about it to any profit. That is what it comes to, after all. If literature be a kind of dignified reporting, in which the reporter is at liberty to invent some incidents and leave out others, and to arrange all in the order that pleases him best; then, let us have as much "common sense"

and "rationalism" as you please, and the more the better; but if literature is a mysterious ecstasy, the withdrawal from all common and ordinary conditions--well, I suppose, we had better be mystics when we discuss the subject, and frankly confess that with its first principles logic has nothing to do. I suppose that there are only two parties in the world: the Rationalists and the Mystics, and one's vote on literature goes with one's party. One might leave the matter there, and amiably agree to differ with the other side, but I, personally, have the ferocity to insist, that my side, the mystical, is wholly right, and the other, the rationalist, wholly wrong, and moreover I shall be so indecent as to prove the truth of my position. But, I have done so, and with that "Examination Paper" I just read out to you. For if rationalism be the truth, then all literature, all that both sides agree in thinking the finest literature is simple lunacy, and all the world of the arts must go into the region of mania. Take the lowest, the simplest instance. Here is a knife with a wooden handle, and the handle has certain curious carved designs on it, which do _not_ enable it to be held better. Why is this knife better, more to be valued, than that other knife, which is not decorated at all? It does not cut better; it does not justify its existence and purpose as a knife more than the other; where is its superiority? Because I find pleasure in seeing those designs? But _why_ do I find any pleasure in ornament? What is the rationalistic justification for that pleasure? By logical definition a knife is an instrument for cutting, and nothing else; the plain cuts as well as the ornate; _why_ then are you sorry if you lose the one, while you don't care twopence for the loss of the other? You have at last to answer that you have a joy which you cannot in any way define in the purely decorative pattern; and with that answer the whole system of rationalism topples over. Rationalism may say to you: Either give a definite reason for going to Ma.s.s, or leave off going. You have only to answer: Your command is based on the premiss that one should do nothing without being able to give a definite reason for it. But I can give no definite reason for liking--the Odyssey or a curiously carved knife--and yet you confess that I am right in liking these things. Then I have proved the contradictory of your premiss, as you have admitted that there are things that one may do without being able to give a definite reason for doing them: _ergo_, I shall not neglect the "parson's bell."

Of course, all this is altogether outside of my business; but I confess I am fond of carrying things to their limits. You remember how poor S.

T. C. used to talk, humbly and yet proudly, of "my system," though I am afraid "my system," never emerged from the state of fragments and _disjecta membra_. And I too, though I have only broken morsels and ruinous stones to show for the splendid outlines and indicated arches of Coleridge, still like to follow up an argument whithersoever it will lead me, regardless of consequences; and this, I am sure, should count for righteousness with our friends the rationalists. I love to start a _sorites_, something as follows: I admire that odd but beautiful little decorative scheme on the seventeenth century chest, and therefore, I think poetry, as poetry, finer than prose, as prose. Hence I approve of "Ritualism" in the service of the church, and from the same premiss I draw the conclusion that Keats was a poet and that Pope was not. Pope not being a poet, it follows that to "intone" is in every way better than to "read" the Liturgy and the Offices, and "reading" the service being wrong, you will easily infer that I dislike Mr Frith's pictures.

And after learning that I do not care for the "Derby Day," you will scarcely require my opinion as to the (theoretical) righteousness of the first Reform Bill, and from my att.i.tude towards Lord John Russell's measure, you can, of course, guess my opinion on the respective merits of the French and English languages as literary instruments. And French being vastly inferior to English, it necessarily follows that the English Reformation was a great (though perhaps unavoidable) misfortune.

Hence, you see, admiring certain lines cut in an old oaken box, I am led by the strictest logic to dislike the religious policy of Edward VI., with all the other consequences in order; and on the other hand if I saw no sense in that rude ornament I should be an Atheist, or at the mildest, an attendant at Pleasant Sunday Afternoons, with George Eliot for my favourite reading.

Yes, I like my theories to "work through," and I confess that my belief in the truth of "my system" is very much strengthened by the fact that it does "work through," that it seems to me justified by the facts of life. I mean that the premiss which enables me to declare Keats to be a poet and Pope not to be a poet does really enable me to p.r.o.nounce democracy to be a bad system in theory; and the premiss baldly stated is simply this: that logic does not cover life, or in other words, that life cannot be judged by the rules of logic, of common sense.

But yet I am using logic all the time, you say? Certainly, but I am using it in its right place, to do the work for which it is competent.

If I say that a scythe is not exactly the instrument for performing a surgical operation, I am not therefore bound to have my meadow mown with a bistoury? A microscope is good and a telescope is good, but it is the microscope that one uses in bacteriology. You know, don't you, that ever since that unhappy Reformation of ours people have been talking nonsense about the Aristotelian logic, and fumbling, in the most grotesque manner, for some "new" logic. Our great false prophet Bacon (a wretch infinitely more guilty than Hobbes) began it in England with his "Novum Organum"; and if you wish to really estimate "educated" folly, to touch the bottom of the incredible depths to which a man of information may sink, read Macaulay's comparison of the "old" philosophy and the "new"

philosophy. The essayist says that the "old" philosophy was no good, because it never led up to the steam-engine and the telegraph post.

Isn't it almost humiliating to think that we have to acknowledge ourselves of the same genus as that "brilliant" Macaulay? But if I told you that the Greek Alphabet was no good because it has never grilled a single steak you would probably get uneasy and make for the door, and if you were charitable you would tell the landlady that I ought to be "taken care of." But such a remark as that is no whit more lunatic than Macaulay's "comparison" between philosophy, properly so called, and physical science applied to utilitarian purposes. Well, all the portentous stuff that has been written about logic is nonsense of exactly the same kind. The scholastic logic, people said, won't discover the truth. That is perfectly true, but then the scholastic logic was not intended to discover truth. It will draw conclusions from truths already discovered, from premisses granted, but it wont make premisses any more than a scythe will make gra.s.s. And, it is, curiously enough, the very cla.s.s of people who despise the formal logic, who insist on your giving logical reasons for actions and emotions which are altogether outside the jurisdiction of logic. With one breath they say: Aristotle is useless, because the "Organon" could never have led men to discover the stomach-pump; and with the next breath they ask you what you mean by admiring the "Ode on a Grecian Urn" if you can't give any logical reason for your admiration. Your religion doesn't rest on a logical foundation, they say. But does anything of any consequence rest on a logical foundation? Can you reduce the "Morte d'Arthur" into valid syllogisms in _Barbara_, can you "disprove" Salisbury Cathedral by the aid of _Celarent_. What is the "rational" explanation of our wonder and joy at the vision of the hills? Are a great symphony, the swell and triumph of the organ, the voices of the choristers, to be tested by the process of the understanding? But perhaps I am misjudging the people who ask these questions. When they say that logic does not discover truth, they doubtless mean by logic that formal a.n.a.lysis of the ratiocinative process that is rightly so called; but I am inclined to think that when they condemn religious or artistic emotions because they are "illogical," they mean by "illogical" that which does not conduce to the ease and comfort of the digestive apparatus or the money-making faculty.

They are terrible fellows, you know, some of these persons. For example, I asked, with a tone of undue triumph, I am afraid, for the "reason why"

we experience awe and delight in the presence of the hills. But in certain quarters my problem would be very quickly solved. I should be told, more in sorrow than in anger, that my emotion at the sight of certain shapes of earth was due to the fact that hill air was highly ozonised, and that the human race had acquired an instinctive pleasure in breathing it, greatly to its digestive profit. And if I tried to turn the tables by declaring that I experienced an equal, though a different delight in the spectacle of a desolate, smoking marsh, where a red sun sinks from a world of s.h.i.+vering reeds, I suppose I should hear that some remote ancestor of mine had found in some such place "pterodactyls plentiful and strong on the wing." And if I like the woods, it was because a monkey sat at the root of my family tree, and if I love an ancient garden it is because I am "second cousin to the worm."

There: I confess it is difficult to keep one's temper with these people, but one must try to do so. Do you remember how Trunnion's marriage was delayed? The bridegroom set out bravely with his retinue for the parish-church, where the bride waited a whole half hour--in vain. A messenger was sent who saw:

"The whole troop disposed in a long field, crossing the road obliquely, and headed by the bridegroom and his friend Hatchway, who finding himself hindered by a hedge from proceeding farther in the same direction, fired a pistol and stood over to the other side, making an obtuse angle with the line of his former course; and the rest of the squadron followed his example, keeping always in the rear of each other like a flight of wild geese.

"Surprised at this strange method of journeying, the messenger came up ... and desired he would proceed with more expedition. To this message Mr Trunnion replied, 'Hark ye, brother, don't you see we make all possible speed? Go back, and tell those who sent you, that the wind has s.h.i.+fted since we weighed anchor, and that we are obliged to make short trips in tacking, by reason of the narrowness of the channel; and that, as we lie within six points of the wind, they must make some allowance for variation and leeway.' 'Lord, sir!' said the valet, 'what occasion have you to go zig-zag in that manner? Do but clap spurs to your horses, and ride straight forward, and I'll engage you shall be at the church porch in less than a quarter of an hour.' 'What! right in the wind's eye?' answered the commander. 'Ahey! brother, where did you learn your navigation?'"

You see Commodore Trunnion's "logic" was perfect, only it was the logic of seamans.h.i.+p and not of riding to church on horseback. There are a good many people at the present day who are quite unable to get to church in time, for "reasons" as valid as Trunnion's; and when I hear of "the scientific basis of literature" I am always a little reminded of those scarecrows straggling in short tacks from one side of the lane to the other on their way to the wedding. The moral is, you know, that they didn't get there.

I tackled a materialist once on very similar lines. He began by saying that time and thought devoted to religion (they never see that art and religion stand or fall together, religion being the foundation of the fine arts) were an utter waste of time as they only diverted us from consideration of the present world, which we ought to study to the utmost; and he went on to praise some saying of Confucius on the folly of troubling about the future things. Then I went for him. He had to admit that agriculture is good, and I pointed out to him that England was changed from a savage wilderness into a pleasant garden by the monastic houses. He agreed that to found and endow hospitals and alms-houses was not precisely a waste of time, and I showed him that such inst.i.tutions were begun by the religion of the past and carried on by the religion of the present. Then he allowed, in response to my Socratic question, that painting was something, and I demonstrated that all painting arose from the religious impulse, that the greatest paintings in the world were meant to adorn churches. Then he admitted the value of architecture, and he got the Parthenon, all the mediaeval cathedrals, and the wonderful mound temples of Ceylon right at his head. He granted me that travel civilised, and I rubbed in the pilgrimage; he confessed that he liked to read the Latin and Greek cla.s.sics--sometimes--and he received from me information as to the monastic scriptorium, and its part in the preservation of the old literature. As for the blessedness of forming one's character on the teaching of Confucius; there happened to be an article in the morning's paper on the Mandarin cla.s.s! Well, my rationalist hadn't anything to say to it at all, with the exception of some vague remark that the Romans made roads, which, considering the state of England in the sixth century, was about as helpful as the somewhat similar remark of Mr F's. Aunt--that there are milestones on the Dover Road. I told him that the only Roman civilisation which contributed to the making of our country was that brought over by St Austin; and he had to allow that his statement that religion was a waste of time, an elaborate form of idleness, was, to put it mildly, not proven. Then he said kindly but firmly that religion wasn't rational, and I used up most of the arguments that I have used to-night; I mean, I showed him that it is good to paint pictures, to write poems, to devise romances, and to compose symphonies, and that it is also good to meditate and enjoy all these things. Hence, he was forced to admit, that his suppressed premiss had been disproved, and that he must no longer say: "that which is not rational is absurd."

And then, I think, the fun really began. I carried the war into the very camp of the enemy; that is, into actual, observable life, into the every day world of fact and experience. You talk about "reason," I said, and I presume you won't mind if I subst.i.tute, occasionally, "common sense" for reason, as I think that in your phraseology the two terms are very fairly equated. Very well, then, don't you think that there is a good deal of common sense in many of the actions of animals? Take the case of the small birds who mob an owl all day, in order that their enemy may be kept awake, and so unable to hoot at night. Take the case of the ants, who milk the aphides, and go slave-hunting. Take the bees, who rise to an emergency, and remedy, with singular contrivance, the threatened lack of a queen. Take the dog, who brought a wounded fellow to the hospital where he had been cured. All these are instances of common sense, aren't they, as rational as the telegram "Sell Cobras at once"? Very good; animals, then, have a plentiful supply of reason, and not of a mere mechanical reason, but of reason that can rise to the height of unforeseen cases, and remedy unexpected evils. When the experimenter tilted the bees' house to one side, so that the equilibrium was in danger, a sufficient number of bees climbed up, and placed themselves on the other side so that they const.i.tuted a balance; here there was no mechanism, but a calculated and rational contrivance. Animals, then, have reason and its effect artifice; the adaptation of means to secure ends. But, then, how about instinct? By what motion does the swallow make her nest in spring? Can the bee demonstrate the advantages of the hexagon cell? Does the fly, laying its eggs, here and there, in this or in that according to its kind, in meat or in dung, or in the crevices of a wall, rationally foresee that it is providing for the future grub its only possible food? No; but then animals, even, perform "irrational"

actions; though they have common sense they do things which must be troublesome to them, at some instance, which is not common sense. But if a bluebottle lays her eggs in my beef, and knows not why, perhaps I, a man, may sing the _Sanctus_, and pray that I may be joined _c.u.m angelis et archangelis, c.u.m thronis et dominationbus, c.u.mque omni militia caelestis exercitus_.

And consider our own human life; the great _coups_ of war, commerce, diplomacy, of all the conduct of life, are often, or usually, the result of "intuitions," that is of irrational and inexplicable mental processes, which elude all a.n.a.lysis. If the knowledge, the successful and triumphant knowledge of men and affairs and strategy were a "rational" product; then, indeed, Carlyle's dictum were true, and each one of us were, at choice, a man of genius in diplomacy, or business, or battle. We know that it is not so, and that no man by taking thought can make himself, say, a Stonewall Jackson. And we have all heard of the "woman's reason"--"I don't know why I am sure that x = a, but I am sure"--and this extremely irrational process often corresponds with the truth. So, I finished up, your "reason" far from being the despot of the world, turns out to be a humble, though useful, deputy-a.s.sistant councillor-general, and is by no means a prerogative force, even in affairs of common, everyday existence. Why, "reason," alone and una.s.sisted, won't enable you to make a decent living by selling ribbons and laces, and you have been trying to make me accept its dictation in the highest affairs of the soul. You have been appealing from the King's Majesty in Council to the Magistrates of Little Pedlington in Petty Sessions a.s.sembled!

Then my rationalist made a point. You know, he said, that some men seem to have an almost miraculous skill in solving mathematical problems: would you, therefore, give up teaching the ordinary arithmetic? I was not alarmed; I pointed out that the a.n.a.logy was not quite perfect. The case, I said, was this. A certain number of "problems" were, confessedly, beyond the jurisdiction of the "ordinary arithmetic"

altogether, but offered no difficulties to the "lightning calculator,"

who obtained results that were demonstratively correct, and I therefore thought it well to trust to him in all problems of a similar character, even though the "ordinary arithmetic," confessedly incompetent, a.s.sured me that his answers were wholly unreliable--a case of a schoolboy, well on in Colenso, scouting the Binomial Theorem because one couldn't prove it by Practice or the Rule of Three. I left then, unanswered, and I suppose my friend pa.s.sed the rest of the evening in showing that Salisbury Cathedral was "opposed" to the facts of Biology, and that Sisters of Charity are to be cla.s.sed with criminal lunatics.

But, you know, I was the real lunatic. You would not have "argued" with me if I _had_ disparaged the Greek alphabet, because it never grilled a single steak; I hinted the course you would probably have pursued if I had chanced to make such an alarming remark. And why should I argue with the sect of Macaulay, with the tribe which utters such stuff as this:

"a.s.suredly if the tree which Socrates planted and Plato watered is to be judged of by its flowers and leaves, it is the n.o.blest of trees. But if we take the homely test of Bacon--if we judge the tree by its _fruits_--our opinion of it may be less favourable. When we sum up the useful truths which we owe to that philosophy, to what do they amount.... But when we look for something more--for something which adds to the comfort or alleviates the calamities of the human race--we are forced to own ourselves disappointed."

No; there is, really, nothing to be said. If the Learned Pig found voice and articulate speech and expressed his scorn of the poet's art, since it added nothing to the pleasures of the wash-tub, we might wonder but we should not argue; and it were idle to contend with a Laughing Jacka.s.s, contemptuously amused by the chanting of the cathedral choir.

And, perhaps, you are wondering what all this talk of mine has to do with our main subject--literature? But don't you see that all the while I have merely been reiterating our old conclusions in a new phraseology?

I may have appeared to you to be the last of the Cavaliers, gallantly contending for the rights of Holy Church, but, in reality, I have been showing, at every step, that Jane Austen's works are not literature.

Yes, but it is so. If the science of life, if philosophy, consisted of a series of mathematical propositions, capable of rational demonstration, then, "Pride and Prejudice" would be the highest pinnacle of the literary art; but if not, but oh! if we, being wondrous, journey through a wonderful world, if all our joys are from above, from the other world where the Shadowy Companion walks, then no mere making of the likeness of the external shape will be our art, no veracious doc.u.ment will be our truth; but to us, initiated, the Symbol will be offered, and we shall take the Sign and adore, beneath the outward and perhaps unlovely accidents, the very Presence and eternal indwelling of G.o.d.

We have tracked Ecstasy by many strange paths, in divers strange disguises, but I think that now, and only now, we have discovered its full and perfect definition. For Artifice is of Time, but Art is of Eternity.

APPENDIX

Poe was not altogether right in saying that the object of poetry was Beauty as distinguished from Truth. I don't for a moment suppose that his meaning was amiss, but I hardly like his expression of it. I should contend, on the other hand, that poetry ?at' ??????, and literature, generally, are the sole media by which the very highest truth can be conveyed. Poe, no doubt, meant to state a proposition which is true and self-evident--that poetry has nothing to do with scientific truth, or facts, or information of any kind, and I say that that proposition is self-evident, because we have already seen that in literature, facts as facts, have no existence at all. They are only "words" in the language of literary art, and are used as symbols of something else. That A. is in love with B. is a "scientific truth," a fact; but if it be not also a symbol, it has no literary existence whatever; and this of course is what Poe wished to say--literature is not a matter of information.

But I doubt, after all, whether Poe had quite grasped the theory of literature, of all the arts. You remember that he says that he yields to no man in his love of the truth; and unless he meant the highest truth the statement is almost nonsensical. No one, I should imagine, surely not Poe, would express his enthusiasm for facts as facts, would adore correct information in the abstract. You remember what Rossetti said--that he neither knew nor cared whether the sun went round the earth or the earth round the sun--and so far as art is concerned this is, no doubt, the expression of the true faith, which, from what we know of Poe, would be his faith also. We should therefore conclude that by truth he meant philosophical truth, the highest truth, the essential truth as distinguished from the accidental, the universal as distinguished from the particular. Yet in the next breath he contrasts this Truth with Beauty, being clearly under the impression that they were two different things. Of course he was completely mistaken. In the last a.n.a.lysis it is entirely true that "Beauty is Truth and Truth Beauty": they are one and the same ent.i.ty seen from different points of view. You will see how this fits in with all we have been saying about literature lately: how we can if we please put our test of literature into yet another phraseology. For instance: "Vanity Fair" is information, while "Pickwick" is Truth; the one tells you a number of facts about Becky Sharpe and other people, while the other symbolises certain eternal and essential elements in human nature by means of incidents. And, as I said, it is doubtful whether truth in this, its highest and its real significance, can be adequately expressed in any other way. All the profound verities which have been revealed to man have come to him under the guise of myths and symbols--such as the myth of Dionysus--and truth in the form of a mathematical demonstration or a "rational" statement is a contradiction in terms. Yet note the profound vice of language; we are obliged to use the same word to imply things which are separated by an immeasurable gulf. It is "true" that Mrs Stickings sent away Ethelberta to-night (you imparted that interesting fact, and I rely on your testimony), and the "Don Quixote" is "true": that is, it conveys to us by means of symbols the verities of our own nature.

But Poe had not grasped the essential distinction between literature and "literature." He thought that poetry alone should be beautiful, or as we should say, ecstatic; he did not see that the qualities which make poetry to be what it is must also be present in prose if it is to be something more than "reading-matter." Poetry of course is literature in its purest state; it is, as I think I once said, _almost_ the soul without the body; at its highest it is _almost_ pure art unmixed with the alloy of artifice. And to carry on the a.n.a.lysis, the finest form of poetry is necessarily the lyrical. Where you get the element of narrative, you are apt also to get the element of prose; there have to be pa.s.sages linking the raptures together, and these will, probably or indeed necessarily, run on lower levels.

Of course primitive man had moods in which rapture seemed to embrace everything, to invest every detail of existence with its own singular and inexplicable glory. A meal by the seash.o.r.e, the dry wood flaming and crackling on the sand, the roasting goat's flesh, the honey-sweet wine, dark and almost as glorious as the sea itself--a mere dinner of half-savages, one might think it, but it too seems to have its solemnity and its inner meaning. I believe this element in the early poetry has often been noticed; people have wondered at the _nave_ delight with which the writers describe the work of man's hands, and they are, I think, inclined to account for it on the ground that then everything was new. This might pa.s.s, perhaps, since as you, no doubt, perceive, "everything new" means "everything unknown" (that which is known is no longer new), but I hardly think that the explanation can stand in its present form. I am not at all up in the theories which a.s.sign this or that age to the appearance of man on the earth, but I presume that on the gentlest and most antiquated computation man must have long known the world before Homer wrote; so one scarcely sees that human skill and art, the knack of making things and the gift of adorning them, could have been novelties, or in any sense, "things unknown." I repeat I know nothing or next to nothing about these dates in anthropology, but one has heard something about the neolithic age, and the palaeolithic age, about the very early man who scratched the rude likeness of a reindeer on the brute's own bone, and so there hardly seems room for this theory of novelty. And besides, as we have seen, the rapture is universal or all but universal; it colours the whole of life, including the meal by the seash.o.r.e; and there, we see, there was no possibility of invention or sense of newness. No; the theory is tempting, and it would fall in perfectly, as I daresay you see, with all that we have concluded about literature, but I really think that it must be definitely abandoned. No; it seems to me that primitive man, Homeric man, mediaeval man, man, indeed, almost to our own day when the School Board (and other things) have got hold of him, had such an unconscious but all-pervading, all-influencing conviction that he was a wonderful being, descended of a wonderful ancestry, and surrounded by mysteries of all kinds, that even the smallest details of his life partook of the ruling ecstasy; he was so sure that he was miraculous that it seemed that no part of his life could escape from the miracle, so that to him every meal became a sacrament.

It is the att.i.tude of the primitive man, of the real man, of the child, always and everywhere; it may be briefly summed up in the phrase: things are because they are wonderful. This, of course, is the atmosphere in which poets ought to live, and in which poetry should be produced.

Formerly it was natural to all men or almost all; now, perhaps, it has to be regained by a conscious effort; and the difficulty of the effort, the impossibility of sustaining it for long, explain the supremacy of lyrical poetry. If you lived in a world that could regard a common meal as a sacrament, you could be supreme in narrative poetry; but, that atmosphere wanting, we have to be content for the most part with the lyric, with the simple incantation, without any description of the circ.u.mstance or occasion.

Yet prose, though it yields in much to the world, must still keep the same ideal before it as poetry. I say, distinctly, that the only essential, defining difference between the two is to be sought in the "numbering" of poetry, in the fact that art, in its intensest raptures, in its most truly "natural" moment, desires and obtains the strictest and most formal laws. It is, I suppose, immaterial what these laws are, rhyme, a.s.sonance, accents, feet, alliteration, all testify to the important and essential rule that freedom is chiefly free when it is most bound and bounded by restrictions which _we_ should call artificial, which are, in truth, in the highest sense, natural. And this, I am sure, is the only possible distinction that can be established between such a book as the "Odyssey" and such a book as the "Morte d'Arthur." Neither is "prosaic" in the common sense of the word; each is "poetical"; but the Greek book is poetry because it is numbered, and the English is prose because it lacks number. Of course there are difficult cases; hybrids, as there always are, whatever laws one may lay down.