III
Men who lived in a world where anything might flow and change, and become any other thing; and among great gods whose passions were in the flaming sunset, and in the thunder and the thunder-shower, had not our thoughts of weight and measure. They worshipped nature and the abundance of nature, and had always, as it seems, for a supreme ritual that tumultuous dance among the hills or in the depths of the woods, where unearthly ecstasy fell upon the dancers, until they seemed the gods or the godlike beasts, and felt their souls overtopping the moon; and, as some think, imagined for the first time in the world the blessed country of the gods and of the happy dead. They had imaginative passions because they did not live within our own strait limits, and were nearer to ancient chaos, every man's desire, and had immortal models about them. The hare that ran by among the dew might have sat upon his haunches when the first man was made, and the poor bunch of rushes under their feet might have been a goddess laughing among the stars; and with but a little magic, a little waving of the hands, a little murmuring of the lips, they too could become a hare or a bunch of rushes, and know immortal love and immortal hatred.
All folk literature, and all literature that keeps the folk tradition, delights in unbounded and immortal things. The _Kalevala_ delights in the seven hundred years that Luonaton wanders in the depths of the sea with Wainamoinen in her womb, and the Mahomedan king in the Song of Roland, pondering upon the greatness of Charlemagne, repeats over and over, 'He is three hundred years old, when will he weary of war?' Cuchulain in the Irish folk tale had the passion of victory, and he overcame all men, and died warring upon the waves, because they alone had the strength to overcome him. The lover in the Irish folk song bids his beloved come with him into the woods, and see the salmon leap in the rivers, and hear the cuckoo sing, because death will never find them in the heart of the woods.
Oisin, new come from his three hundred years of faeryland, and of the love that is in faeryland, bids St. Patrick cease his prayers a while and listen to the blackbird, because it is the blackbird of Darrycarn that Finn brought from Norway, three hundred years before, and set its nest upon the oak-tree with his own hands. Surely if one goes far enough into the woods, one will find there all that one is seeking? Who knows how many centuries the birds of the woods have been singing?
All folk literature has indeed a passion whose like is not in modern literature and music and art, except where it has come by some straight or crooked way out of ancient times. Love was held to be a fatal sickness in ancient Ireland, and there is a love-poem in _The Songs of Connacht_ that is like a death cry: 'My love, O she is my love, the woman who is most for destroying me, dearer is she for making me ill than the woman who would be for making me well. She is my treasure, O she is my treasure, the woman of the grey eyes ... a woman who would not lay a hand under my head.... She is my love, O she is my love, the woman who left no strength in me; a woman who would not breathe a sigh after me, a woman who would not raise a stone at my tomb.... She is my secret love, O she is my secret love. A woman who tells me nothing,... a woman who does not remember me to be out.... She is my choice, O she is my choice, the woman who would not look back at me, the woman who would not make peace with me.... She is my desire, O she is my desire: a woman dearest to me under the sun, a woman who would not pay me heed, if I were to sit by her side. It is she ruined my heart and left a sigh for ever in me.' There is another song that ends, 'The Erne shall be in strong flood, the hills shall be torn down, and the sea shall have red waves, and blood shall be spilled, and every mountain valley and every moor shall be on high, before you shall perish, my little black rose.' Nor do the old Irish weigh and measure their hatred. The nurse of O'Sullivan Bere in the folk song prays that the bed of his betrayer may be the red hearth-stone of hell for ever. And an Elizabethan Irish poet cries: 'Three things are waiting for my death. The devil, who is waiting for my soul and cares nothing for my body or my wealth; the worms, who are waiting for my body but care nothing for my soul or my wealth; my children, who are waiting for my wealth and care nothing for my body or my soul. O Christ, hang all three in the one noose.' Such love and hatred seek no mortal thing but their own infinity, and such love and hatred soon become love and hatred of the idea. The lover who loves so passionately can soon sing to his beloved like the lover in the poem by 'A. E.,' 'A vast desire awakes and grows into forgetfulness of thee.'
When an early Irish poet calls the Irishman famous for much loving, and a proverb, a friend has heard in the Highlands of Scotland, talks of the lovelessness of the Irishman, they may say but the same thing, for if your passion is but great enough it leads you to a country where there are many cloisters. The hater who hates with too good a heart soon comes also to hate the idea only; and from this idealism in love and hatred comes, as I think, a certain power of saying and forgetting things, especially a power of saying and forgetting things in politics, which others do not say and forget. The ancient farmers and herdsmen were full of love and hatred, and made their friends gods, and their enemies the enemies of gods, and those who keep their tradition are not less mythological. From this 'mistaking dreams,' which are perhaps essences, for 'realities' which are perhaps accidents, from this 'passionate, turbulent reaction against the despotism of fact,' comes, it may be, that melancholy which made all ancient peoples delight in tales that end in death and parting, as modern peoples delight in tales that end in marriage bells; and made all ancient peoples, who like the old Irish had a nature more lyrical than dramatic, delight in wild and beautiful lamentations. Life was so weighed down by the emptiness of the great forests and by the mystery of all things, and by the greatness of its own desires, and, as I think, by the loneliness of much beauty; and seemed so little and so fragile and so brief, that nothing could be more sweet in the memory than a tale that ended in death and parting, and than a wild and beautiful lamentation. Men did not mourn merely because their beloved was married to another, or because learning was bitter in the mouth, for such mourning believes that life might be happy were it different, and is therefore the less mourning; but because they had been born and must die with their great thirst unslaked. And so it is that all the august sorrowful persons of literature, Cassandra and Helen and Deirdre, and Lear and Tristan, have come out of legends and are indeed but the images of the primitive imagination mirrored in the little looking-glass of the modern and classic imagination. This is that 'melancholy a man knows when he is face to face' with nature, and thinks 'he hears her communing with him about' the mournfulness of being born and of dying; and how can it do otherwise than call into his mind 'its exiles, its flights across the seas,' that it may stir the ever-smouldering ashes?
No Gaelic poetry is so popular in Gaelic-speaking places as the lamentations of Oisin, old and miserable, remembering the companions and the loves of his youth, and his three hundred years in faeryland, and his faery love: all dreams withering in the winds of time lament in his lamentations: 'The clouds are long above me this night; last night was a long night to me; although I find this day long, yesterday was still longer. Every day that comes to me is long.... No one in this great world is like me--a poor old man dragging stones. The clouds are long above me this night. I am the last man of the Fianna, the great Oisin, the son of Finn, listening to the sound of bells. The clouds are long above me this night.' Matthew Arnold quotes the lamentation of Leyrach Hen as a type of the Celtic melancholy, but I prefer to quote it as a type of the primitive melancholy; 'O my crutch, is it not autumn when the fern is red and the water flag yellow? Have I not hated that which I love?... Behold, old age, which makes sport of me, from the hair of my head and my teeth, to my eyes which women loved. The four things I have all my life most hated fall upon me together--coughing and old age, sickness and sorrow. I am old, I am alone, shapeliness and warmth are gone from me, the couch of honour shall be no more mine; I am miserable, I am bent on my crutch. How evil was the lot allotted to Leyrach, the night he was brought forth! Sorrows without end and no deliverance from his burden.' An Elizabethan writer describes extravagant sorrow by calling it 'to weep Irish'; and Oisin and Leyrach Hen are, I think, a little nearer even to us modern Irish than they are to most people. That is why our poetry and much of our thought is melancholy. 'The same man,' writes Dr. Hyde in the beautiful prose which he first writes in Gaelic, 'who will to-day be dancing, sporting, drinking, and shouting, will be soliloquizing by himself to-morrow, heavy and sick and sad in his own lonely little hut, making a croon over departed hopes, lost life, the vanity of this world, and the coming of death.'
IV
Matthew Arnold asks how much of the Celt must one imagine in the ideal man of genius. I prefer to say, how much of the ancient hunters and fishers and of the ecstatic dancers among hills and woods must one imagine in the ideal man of genius. Certainly a thirst for unbounded emotion and a wild melancholy are troublesome things in the world, and do not make its life more easy or orderly, but it may be the arts are founded on the life beyond the world, and that they must cry in the ears of our penury until the world has been consumed and become a vision. Certainly, as Samuel Palmer wrote, 'Excess is the vivifying spirit of the finest art, and we must always seek to make excess more abundantly excessive.' Matthew Arnold has said that if he were asked 'where English got its turn for melancholy and its turn for natural magic,' he 'would answer with little doubt that it got much of its melancholy from a Celtic source, with no doubt at all that from a Celtic source is got nearly all its natural magic.'
I will put this differently and say that literature dwindles to a mere chronicle of circumstance, or passionless phantasies, and passionless meditations, unless it is constantly flooded with the passions and beliefs of ancient times, and that of all the fountains of the passions and beliefs of ancient times in Europe, the Sclavonic, the Finnish, the Scandinavian, and the Celtic, the Celtic alone has been for centuries close to the main river of European literature. It has again and again brought 'the vivifying spirit' 'of excess' into the arts of Europe. Ernest Renan has told how the visions of purgatory seen by pilgrims to Lough Derg--once visions of the pagan under-world, as the boat made out of a hollow tree that bore the pilgrim to the holy island were alone enough to prove--gave European thought new symbols of a more abundant penitence; and had so great an influence that he has written, 'It cannot be doubted for a moment that to the number of poetical themes Europe owes to the genius of the Celt is to be added the framework of the divine comedy.'
A little later the legends of Arthur and his table, and of the Holy Grail, once it seems the cauldron of an Irish God, changed the literature of Europe, and it may be changed, as it were, the very roots of man's emotions by their influence on the spirit of chivalry and on the spirit of romance; and later still Shakespeare found his Mab, and probably his Puck, and one knows not how much else of his faery kingdom, in Celtic legend; while at the beginning of our own day Sir Walter Scott gave Highland legends and Highland excitability so great a mastery over all romance that they seem romance herself.
In our own time Scandinavian tradition, because of the imagination of Richard Wagner and of William Morris and of the earlier and, as I think, greater Heinrich Ibsen, has created a new romance, and through the imagination of Richard Wagner, become all but the most passionate element in the arts of the modern world. There is indeed but one other element as passionate, the still unfaded legends of Arthur and of the Holy Grail; and now a new fountain of legends, and, as I think, a more abundant fountain than any in Europe, is being opened, the great fountain of Gaelic legends; the tale of Deirdre, who alone among the women who have set men mad was at once the white flame and the red flame, wisdom and loveliness; the tale of the Sons of Tuireann, with its unintelligible mysteries, an old Grail Quest as I think; the tale of the four children changed into four swans, and lamenting over many waters; the tale of the love of Cuchulain for an immortal goddess, and his coming home to a mortal woman in the end; the tale of his many battles at the ford with that dear friend he kissed before the battles, and over whose dead body he wept when he had killed him; the tale of his death and of the lamentations of Emer; the tale of the flight of Grainne with Diarmuid, strangest of all tales of the fickleness of woman, and the tale of the coming of Oisin out of faeryland, and of his memories and lamentations. 'The Celtic movement,' as I understand it, is principally the opening of this fountain, and none can measure of how great importance it may be to coming times, for every new fountain of legends is a new intoxication for the imagination of the world. It comes at a time when the imagination of the world is as ready, as it was at the coming of the tales of Arthur and of the Grail, for a new intoxication. The reaction against the rationalism of the eighteenth century has mingled with a reaction against the materialism of the nineteenth century, and the symbolical movement, which has come to perfection in Germany in Wagner, in England in the Pre-Raphaelites, and in France in Villiers De l'Isle Adam, and Mallarme, and Maeterlinck, and has stirred the imagination of Ibsen and D'Annunzio, is certainly the only movement that is saying new things. The arts by brooding upon their own intensity have become religious, and are seeking, as I think Verhaeren has said, to create a sacred book. They must, as religious thought has always done, utter themselves through legends; and the Sclavonic and Finnish legends tell of strange woods and seas, and the Scandinavian legends are held by a great master, and tell also of strange woods and seas, and the Welsh legends are held by almost as many great masters as the Greek legends, while the Irish legends move among known woods and seas, and have so much of a new beauty, that they may well give the opening century its most memorable symbols.
1897.
I could have written this essay with much more precision and have much better illustrated my meaning if I had waited until Lady Gregory had finished her book of legends, _Cuchulain of Muirthemne_, a book to set beside the _Morte D'Arthur_ and the _Mabinogion_.
1902.
THE AUTUMN OF THE BODY
Our thoughts and emotions are often but spray flung up from hidden tides that follow a moon no eye can see. I remember that when I first began to write I desired to describe outward things as vividly as possible, and took pleasure, in which there was, perhaps, a little discontent, in picturesque and declamatory books. And then quite suddenly I lost the desire of describing outward things, and found that I took little pleasure in a book unless it was spiritual and unemphatic. I did not then understand that the change was from beyond my own mind, but I understand now that writers are struggling all over Europe, though not often with a philosophic understanding of their struggle, against that picturesque and declamatory way of writing, against that 'externality' which a time of scientific and political thought has brought into literature. This struggle has been going on for some years, but it has only just become strong enough to draw within itself the little inner world which alone seeks more than amusement in the arts. In France, where movements are more marked, because the people are pre-eminently logical, _The Temptation of S. Anthony_, the last great dramatic invention of the old romanticism, contrasts very plainly with _Axel_, the first great dramatic invention of the new; and Maeterlinck has followed Count Villiers de l'Isle Adam.
Flaubert wrote unforgettable descriptions of grotesque, bizarre, and beautiful scenes and persons, as they show to the ear and to the eye, and crowded them with historic and ethnographical details; but Count Villiers de l'Isle Adam swept together, by what seemed a sudden energy, words behind which glimmered a spiritual and passionate mood, as the flame glimmers behind the dusky blue and red glass in an Eastern lamp; and created persons from whom has fallen all even of personal characteristic except a thirst for that hour when all things shall pass away like a cloud, and a pride like that of the Magi following their star over many mountains; while Maeterlinck has plucked away even this thirst and this pride and set before us faint souls, naked and pathetic shadows already half vapour and sighing to one another upon the border of the last abyss.
There has been, as I think, a like change in French painting, for one sees everywhere, instead of the dramatic stories and picturesque moments of an older school, frail and tremulous bodies unfitted for the labour of life, and landscape where subtle rhythms of colour and of form have overcome the clear outline of things as we see them in the labour of life.
There has been a like change in England, but it has come more gradually and is more mixed with lesser changes than in France. The poetry which found its expression in the poems of writers like Browning and of Tennyson, and even of writers, who are seldom classed with them, like Swinburne, and like Shelley in his earlier years, pushed its limits as far as possible, and tried to absorb into itself the science and politics, the philosophy and morality of its time; but a new poetry, which is always contracting its limits, has grown up under the shadow of the old. Rossetti began it, but was too much of a painter in his poetry to follow it with a perfect devotion; and it became a movement when Mr. Lang and Mr. Gosse and Mr. Dobson devoted themselves to the most condensed of lyric poems, and when Mr. Bridges, a more considerable poet, elaborated a rhythm too delicate for any but an almost bodiless emotion, and repeated over and over the most ancient notes of poetry, and none but these. The poets who followed have either, like Mr. Kipling, turned from serious poetry altogether, and so passed out of the processional order, or speak out of some personal or spiritual passion in words and types and metaphors that draw one's imagination as far as possible from the complexities of modern life and thought. The change has been more marked in English painting, which, when intense enough to belong to the procession order, began to cast out things, as they are seen by minds plunged in the labour of life, so much before French painting that ideal art is sometimes called English art upon the Continent.
I see, indeed, in the arts of every country those faint lights and faint colours and faint outlines and faint energies which many call 'the decadence,' and which I, because I believe that the arts lie dreaming of things to come, prefer to call the autumn of the body. An Irish poet whose rhythms are like the cry of a sea-bird in autumn twilight has told its meaning in the line, 'The very sunlight's weary, and it's time to quit the plough.' Its importance is the greater because it comes to us at the moment when we are beginning to be interested in many things which positive science, the interpreter of exterior law, has always denied: communion of mind with mind in thought and without words, foreknowledge in dreams and in visions, and the coming among us of the dead, and of much else. We are, it may be, at a crowning crisis of the world, at the moment when man is about to ascend, with the wealth, he has been so long gathering, upon his shoulders, the stairway he has been descending from the first days. The first poets, if one may find their images in the _Kalevala_, had not Homer's preoccupation with things, and he was not so full of their excitement as Virgil. Dante added to poetry a dialectic which, although he made it serve his laborious ecstasy, was the invention of minds trained by the labour of life, by a traffic among many things, and not a spontaneous expression of an interior life; while Shakespeare shattered the symmetry of verse and of drama that he might fill them with things and their accidental relations to one another.
Each of these writers had come further down the stairway than those who had lived before him, but it was only with the modern poets, with Goethe and Wordsworth and Browning, that poetry gave up the right to consider all things in the world as a dictionary of types and symbols and began to call itself a critic of life and an interpreter of things as they are.
Painting, music, science, politics, and even religion, because they have felt a growing belief that we know nothing but the fading and flowering of the world, have changed in numberless elaborate ways. Man has wooed and won the world, and has fallen weary, and not, I think, for a time, but with a weariness that will not end until the last autumn, when the stars shall be blown away like withered leaves. He grew weary when he said, 'These things that I touch and see and hear are alone real,' for he saw them without illusion at last, and found them but air and dust and moisture. And now he must be philosophical above everything, even about the arts, for he can only return the way he came, and so escape from weariness, by philosophy. The arts are, I believe, about to take upon their shoulders the burdens that have fallen from the shoulders of priests, and to lead us back upon our journey by filling our thoughts with the essences of things, and not with things. We are about to substitute once more the distillation of alchemy for the analyses of chemistry and for some other sciences; and certain of us are looking everywhere for the perfect alembic that no silver or golden drop may escape. Mr. Symons has written lately on M. Mallarme's method, and has quoted him as saying that we should 'abolish the pretension, aesthetically an error, despite its dominion over almost all the masterpieces, to enclose within the subtle pages other than--for example--the horror of the forest or the silent thunder in the leaves, not the intense dense wood of the trees,' and as desiring to substitute for the old lyric afflatus or the enthusiastic personal direction of the phrase' words 'that take light from mutual reflection, like an actual trail of fire over precious stones,' and 'to make an entire word hitherto unknown to the language' 'out of many vocables.' Mr. Symons understands these and other sentences to mean that poetry will henceforth be a poetry of essences, separated one from another in little and intense poems. I think there will be much poetry of this kind, because of an ever more arduous search for an almost disembodied ecstasy, but I think we will not cease to write long poems, but rather that we will write them more and more as our new belief makes the world plastic under our hands again. I think that we will learn again how to describe at great length an old man wandering among enchanted islands, his return home at last, his slow-gathering vengeance, a flitting shape of a goddess, and a flight of arrows, and yet to make all of these so different things 'take light by mutual reflection, like an actual trail of fire over precious stones,' and become 'an entire word,' the signature or symbol of a mood of the divine imagination as imponderable as 'the horror of the forest or the silent thunder in the leaves.'
1898.
THE MOODS
Literature differs from explanatory and scientific writing in being wrought about a mood, or a community of moods, as the body is wrought about an invisible soul; and if it uses argument, theory, erudition, observation, and seems to grow hot in assertion or denial, it does so merely to make us partakers at the banquet of the moods. It seems to me that these moods are the labourers and messengers of the Ruler of All, the gods of ancient days still dwelling on their secret Olympus, the angels of more modern days ascending and descending upon their shining ladder; and that argument, theory, erudition, observation, are merely what Blake called 'little devils who fight for themselves,' illusions of our visible passing life, who must be made serve the moods, or we have no part in eternity. Everything that can be seen, touched, measured, explained, understood, argued over, is to the imaginative artist nothing more than a means, for he belongs to the invisible life, and delivers its ever new and ever ancient revelation. We hear much of his need for the restraints of reason, but the only restraint he can obey is the mysterious instinct that has made him an artist, and that teaches him to discover immortal moods in mortal desires, an undecaying hope in our trivial ambitions, a divine love in sexual passion.
1895.
THE BODY OF THE FATHER CHRISTIAN ROSENCRUX
The followers of the Father Christian Rosencrux, says the old tradition, wrapped his imperishable body in noble raiment and laid it under the house of their order, in a tomb containing the symbols of all things in heaven and earth, and in the waters under the earth, and set about him inextinguishable magical lamps, which burnt on generation after generation, until other students of the order came upon the tomb by chance. It seems to me that the imagination has had no very different history during the last two hundred years, but has been laid in a great tomb of criticism, and had set over it inextinguishable magical lamps of wisdom and romance, and has been altogether so nobly housed and apparelled that we have forgotten that its wizard lips are closed, or but opened for the complaining of some melancholy and ghostly voice. The ancients and the Elizabethans abandoned themselves to imagination as a woman abandons herself to love, and created great beings who made the people of this world seem but shadows, and great passions which made our loves and hatreds appear but ephemeral and trivial phantasies; but now it is not the great persons, or the great passions we imagine, which absorb us, for the persons and passions in our poems are mainly reflections our mirror has caught from older poems or from the life about us, but the wise comments we make upon them, the criticism of life we wring from their fortunes.
Arthur and his Court are nothing, but the many-coloured lights that play about them are as beautiful as the lights from cathedral windows; Pompilia and Guido are but little, while the ever-recurring meditations and expositions which climax in the mouth of the Pope are among the wisest of the Christian age. I cannot get it out of my mind that this age of criticism is about to pass, and an age of imagination, of emotion, of moods, of revelation, about to come in its place; for certainly belief in a supersensual world is at hand again; and when the notion that we are 'phantoms of the earth and water' has gone down the wind, we will trust our own being and all it desires to invent; and when the external world is no more the standard of reality, we will learn again that the great Passions are angels of God, and that to embody them 'uncurbed in their eternal glory,' even in their labour for the ending of man's peace and prosperity, is more than to comment, however wisely, upon the tendencies of our time, or to express the socialistic, or humanitarian, or other forces of our time, or even 'to sum up' our time, as the phrase is; for Art is a revelation, and not a criticism, and the life of the artist is in the old saying, 'The wind bloweth where it listeth, and thou hearest the sound thereof, but canst not tell whence it cometh and whither it goeth; so is every one that is born of the spirit.'
1895.
THE RETURN OF ULYSSES
I
M. Maeterlinck, in his beautiful _Treasure of the Humble_, compares the dramas of our stage to the paintings of an obsolete taste; and the dramas of the stage for which he hopes, to the paintings of a taste that cannot become obsolete. 'The true artist,' he says, 'no longer chooses Marius triumphing over the Cimbrians, or the assassination of the Duke of Guise, as fit subjects for his art; for he is well aware that the psychology of victory or murder is but elementary and exceptional, and that the solemn voice of men and things, the voice that issues forth so timidly and hesitatingly, cannot be heard amidst the idle uproar of acts of violence.
And therefore will he place on his canvas a house lost in the heart of the country, a door open at the end of a passage, a face or hands at rest.' I do not understand him to mean that our dramas should have no victories or murders, for he quotes for our example plays that have both, but only that their victories and murders shall not be to excite our nerves, but to illustrate the reveries of a wisdom which shall be as much a part of the daily life of the wise as a face or hands at rest. And certainly the greater plays of the past ages have been built after such a fashion. If this fashion is about to become our fashion also, and there are signs that it is, plays like some of Mr. Robert Bridges will come out of that obscurity into which all poetry, that is not lyrical poetry, has fallen, and even popular criticism will begin to know something about them. Some day the few among us, who care for poetry more than any temporal thing, and who believe that its delights cannot be perfect when we read it alone in our rooms and long for one to share its delights, but that they might be perfect in the theatre, when we share them friend with friend, lover with beloved, will persuade a few idealists to seek out the lost art of speaking, and seek out ourselves the lost art, that is perhaps nearest of all arts to eternity, the subtle art of listening. When that day comes we will talk much of Mr. Bridges; for did he not write scrupulous, passionate poetry to be sung and to be spoken, when there were few to sing and as yet none to speak? There is one play especially, _The Return of Ulysses_, which we will praise for perfect after its kind, the kind of our new drama of wisdom, for it moulds into dramatic shape, and with as much as possible of literal translation, those closing books of the Odyssey which are perhaps the most perfect poetry of the world, and compels that great tide of song to flow through delicate dramatic verse, with little abatement of its own leaping and clamorous speed. As I read, the gathering passion overwhelms me, as it did when Homer himself was the singer, and when I read at last the lines in which the maid describes to Penelope the battle with the suitors, at which she looks through the open door, I tremble with excitement.
'_Penelope_: Alas! what cries! Say, is the prince still safe?
_The Maid_: He shieldeth himself well, and striketh surely; His foes fall down before him. Ah! now what can I see?
Who cometh? Lo! a dazzling helm, a spear Of silver or electron; sharp and swift The piercings. How they fall! Ha! shields are raised In vain. I am blinded, or the beggar-man Hath waxed in strength. He is changed, he is young. O strange!
He is all in golden armour. These are gods That slay the suitors. (_Runs to Penelope._) O lady, forgive me.
Tis Ares' self. I saw his crisped beard; I saw beneath his helm his curled locks.'
The coming of Athene helmed 'in silver or electron' and her transformation of Ulysses are not, as the way is with the only modern dramas that popular criticism holds to be dramatic, the climax of an excitement of the nerves, but of that unearthly excitement which has wisdom for fruit, and is of like kind with the ecstasy of the seers, an altar flame, unshaken by the winds of the world, and burning every moment with whiter and purer brilliance.
Mr. Bridges has written it in what is practically the classical manner, as he has done in _Achilles in Scyros_--a placid and charming setting for many placid and charming lyrics--
'And ever we keep a feast of delight The betrothal of hearts, when spirits unite, Creating an offspring of joy, a treasure Unknown to the bad, for whom The gods foredoom The glitter of pleasure And a dark tomb.'
The poet who writes best in the Shakespearian manner is a poet with a circumstantial and instinctive mind, who delights to speak with strange voices and to see his mind in the mirror of Nature; while Mr. Bridges, like most of us to-day, has a lyrical and meditative mind, and delights to speak with his own voice and to see Nature in the mirror of his mind. In reading his plays in a Shakespearian manner, I find that he is constantly arranging his story in such and such a way because he has read that the persons he is writing of did such and such things, and not because his soul has passed into the soul of their world and understood its unchangeable destinies. His _Return of Ulysses_ is admirable in beauty, because its classical gravity of speech, which does not, like Shakespeare's verse, desire the vivacity of common life, purifies and subdues all passion into lyrical and meditative ecstasies, and because the unity of place and time in the late acts compels a logical rather than instinctive procession of incidents; and if the Shakespearian _Nero: Second Part_ approaches it in beauty and in dramatic power, it is because it eddies about Nero and Seneca, who had both, to a great extent, lyrical and meditative minds. Had Mr. Bridges been a true Shakespearian, the pomp and glory of the world would have drowned that subtle voice that speaks amid our heterogeneous lives of a life lived in obedience to a lonely and distinguished ideal.
II