Chapter 16

"When daisies pied, and violets blue, And lady smocks all silver-white, And cuckoo-buds of yellow hue Do paint the meadows with delight."

Or this, of Milton--

"the broad circumference Hung on his shoulders like the moon, whose orb, Through optic glass the Tuscan artist views At evening from the top of Fesolé, Or in Valdarno...."

And such lines as these by Mr. Swinburne--

"The dark dumb godhead innate in the fair world's life Imbues the rapture of dawn and of noon with dread, Infects the peace of the star-shod night with strife, Informs with terror the sorrow that guards the dead. No service of bended knee or of humbled head May soothe or subdue the God who has change to wife: And life with death is as morning with evening wed."

Take Burns's song, "It was a' for our right-fu' King," and set it beside the Jacobite song quoted above, and it is clear at once that with Mr. Swinburne we pass from the particular and concrete to the general and abstract. And in this direction Mr. Swinburne's muse has steadily marched. In his "Erechtheus" he tells how the gods gave Pallas the lordship of Athens--

"The lordship and love of the lovely land, The grace of the town that hath on it for crown But a headband to wear Of violets one-hued with her hair."

Here at least we were allowed a picture of Athens: the violet crown was something definite. But now, when Mr. Swinburne sings of England, we have to precipitate our impressions from lines fluid as these:--

"Things of night at her glance took flight: the strengths of darkness recoiled and sank: Sank the fires of the murderous pyres whereon wild agony writhed and shrank: Rose the light of the reign of right from gulfs of years that the darkness drank."

Or--

"Change darkens and lightens around her, alternate in hope and in fear to be: Hope knows not if fear speak truth, nor fear whether hope be not blind as she: But the sun is in heaven that beholds her immortal, and girdled with life by the sea."

I suspect, then, that a hundred years hence, when criticism speaks calm judgment upon all Mr. Swinburne's writings, she will find that his earlier and more definite poems are the edge of his blade, and such volumes as "Astrophel" the heavy metal behind it. The former penetrated the affections of his countrymen with ease: the latter followed more difficultly through the outer tissues of a people notoriously pachydermatous to abstract speech. And criticism will then know if Mr. Swinburne brought sufficient impact to drive the whole mass of metal deep.

A Voice chanting in the Void.

At present in these later volumes his must seem to us a godlike voice chanting in the void. For, fit or unfit as we may be to grasp the elusive substance of his strains, all must confess the voice of the singer to be divine. At once in the range and suppleness of his music he is not merely the first of our living poets, but incomparable. In learning he has Robert Bridges for a rival, and no other. But no amount of learning could give us 228 pages of music that from first to last has not a flaw. Rather, his marvellous ear has taken him safely through metres set by his learning as so many traps. There is one metre, for instance, that recurs again and again in this volume. Here is a specimen of it:--

"Music bright as the soul of light, for wings an eagle, for notes a dove, Leaps and shines from the lustrous lines wherethrough thy soul from afar above Shone and sang till the darkness rang with light whose fire is the fount of love."

These lines are written of Sir Philip Sidney. Could another man have written them they had stood even better for Mr. Swinburne. But we are considering the metre, not the meaning. Now the metre may have great merits. I am disposed to say that, having fascinated Mr. Swinburne, it must have great merits. That I dislike it is, no doubt, my fault, or rather my misfortune. But undoubtedly it is a metre that no man but Mr. Swinburne could handle without producing a monotony varied only by discords.

A MORNING WITH A BOOK

April 29, 1893. Hazlitt's Stipulation.

"Food, warmth, sleep, and a book; these are all I at present ask--the _Ultima Thule_ of my wandering desires. Do you not then wish for-- _a friend in your retreat Whom you may whisper, 'Solitude is sweet'?_

Expected, well enough: gone, still better. Such attractions are strengthened by distance."

So Hazlitt wrote in his _Farewell to Essay Writing_. There never was such an epicure of his moods as Hazlitt. Others might add Omar's stipulation--

"--and Thou Beside me singing in the wilderness."

But this addition would have spoiled Hazlitt's enjoyment. Let us remember that his love affairs had been unprosperous. "Such attractions," he would object, "are strengthened by distance." In any case, the book and singer go ill together, and most of us will declare for a spell of each in turn.

What are "The Best Books"?

Suppose we choose the book. What kind of book shall it be? Shall it be an old book which we have forgotten just sufficiently to taste surprise as its felicities come back to us, and remember just sufficiently to escape the attentive strain of a first reading? Or shall it be a new book by an author we love, to be glanced through with no critical purpose (this may be deferred to the second reading), but merely for the lazy pleasure of recognizing the familiar brain at work, and feeling happy, perhaps, at the success of a friend? There is no doubt which Hazlitt would have chosen; he has told us in his essay _On Reading Old Books_. But after a recent experience I am not sure that I agree with him.

That your taste should approve only the best thoughts of the best minds is a pretty counsel, but one of perfection, and is found in practice to breed prigs. It sets a man sailing round in a vicious circle. What is the best thought of the best minds? That approved by the man of highest culture. Who is the man of highest culture? He whose taste approves the best thoughts of the best minds. To escape from this foolish whirlpool, some of our stoutest bottoms run for that discredited harbor of refuge--Popular Acceptance: a harbor full of shoals, of which nobody has provided even the sketch of a chart.

Some years ago, when the _Pall Mall Gazette_ sent round to all sorts and conditions of eminent men, inviting lists of "The Hundred Best Books"--the first serious attempt to introduce a decimal system into Great Britain--I remember that these eminent men's replies disclosed nothing so wonderful as their unanimity. We were prepared for Sir John Lubbock, but not, I think, for the host of celebrities who followed his hygienic example, and made a habit of taking the Rig Vedas to bed with them. Altogether their replies afforded plenty of material for a theory that to have every other body's taste in literature is the first condition of eminence in every branch of the public service. But in one of the lists--I think it was Sir Monier Williams's--the unexpected really happened. Sir Monier thought that Mr. T.E. Brown's _The Doctor_ was one of the best books in the world.

Now, the poems of Mr. T.E. Brown are not known to the million. But, like Mr. Robert Bridges, Mr. Brown has always had a band of readers to whom his name is more than that of many an acknowledged classic. I fancy it is a case of liking deeply or scarce at all. Those of us who are not celebrities may be allowed to have favorites who are not the favorites of others, writers who (fortuitously, perhaps) have helped us at some crisis of our life, have spoken to us the appropriate word at the moment of need, and for that reason sit cathedrally enthroned in our affections. To explain why the author of _Betsy Lee_, _Tommy Big-Eyes_ and _The Doctor_ is more to me than most poets--why to open a new book of his is one of the most exciting literary events that can befall me in now my twenty-ninth year--would take some time, and the explanation might poorly satisfy the reader after all.

My Morning with a Book.

But I set out to describe a morning with a book. The book was Mr. Brown's _Old John, and other Poems_, published but a few days back by Messrs. Macmillan & Co. The morning was spent in a very small garden overlooking a harbor. Hazlitt's conditions were fulfilled. I had enjoyed enough food and sleep to last me for some little time: few people, I imagine, have complained of the cold, these last few weeks: and the book was not only new to me for the most part, but certain to please. Moreover, a small incident had already put me in the best of humors. Just as I was settling down to read, a small tug came down the harbor with a barque in tow whose nationality I recognized before she cleared a corner and showed the Norwegian colors drooping from her peak. I reached for the field-glass and read her name--_Henrik Ibsen_! I imagined Mr. William Archer applauding as I ran to my own flag-staff and dipped the British ensign to that name. The Norwegians on deck stood puzzled for a moment, but, taking the compliment to themselves, gave me a cheerful hail, while one or two ran aft and dipped the Norwegian flag in response. It was still running frantically up and down the halliards when I returned to my seat, and the lines of the bark were softening to beauty in the distance--for, to tell the truth, she had looked a crazy and not altogether seaworthy craft--as I opened my book, and, by a stroke of luck, at that fine poem, _The Schooner_.

"Just mark that schooner westward far at sea-- 'Tis but an hour ago When she was lying hoggish at the quay, And men ran to and fro And tugged, and stamped, and shoved, and pushed, and swore. And ever an anon, with crapulous glee, Grinned homage to viragoes on the shore.

"So to the jetty gradual she was hauled: Then one the tiller took, And chewed, and spat upon his hand, and bawled; And one the canvas shook Forth like a mouldy bat; and one, with nods And smiles, lay on the bowsprit end, and called And cursed the Harbour-master by his gods.

"And rotten from the gunwale to the keel, Rat riddled, bilge bestank, Slime-slobbered, horrible, I saw her reel And drag her oozy flank, And sprawl among the deft young waves, that laughed And leapt, and turned in many a sportive wheel As she thumped onward with her lumbering draught.

"And now, behold! a shadow of repose Upon a line of gray She sleeps, that transverse cuts the evening rose, She sleeps and dreams away, Soft blended in a unity of rest All jars, and strifes obscene, and turbulent throes 'Neath the broad benediction of the West--

"Sleeps; and methinks she changes as she sleeps, And dies, and is a spirit pure; Lo! on her deck, an angel pilot keeps His lonely watch secure; And at the entrance of Heaven's dockyard waits Till from night's leash the fine-breathed morning leaps And that strong hand within unbars the gates."

It is very far from being the finest poem in the volume. It has not the noble humanity of _Catherine Kinrade_--and if this be not a great poem I know nothing about poetry--nor the rapture of _Jessie_, nor the awful pathos of _Mater Dolorosa_, nor the gentle pathos of _Aber Stations_, nor the fine religious feeling of _Planting_ and _Disguises_. But it came so pat to the occasion, and used the occasion so deftly to take hold of one's sympathy, that these other poems were read in the very mood that, I am sure, their author would have asked for them. One has not often such luck in reading--"Never the time and the place and the author all together," if I may do this violence to Browning's line. Yet I trust that in any mood I should have had the sense to pay its meed of admiration to this volume.

Now, having carefully read the opinions of some half-a-dozen reviewers upon it, I can only wonder and leave the question to my reader, warning him by no means to miss _Mater Dalorosa_ and _Catherine Kinrade_. If he remain cold to these two poems, then I shall still preserve my own opinion.

MR. JOHN DAVIDSON

April 7, 1894. His Plays.

For some weeks now I have been meaning to write about Mr. John Davidson's "Plays" (Elkin Mathews and John Lane), and always shirking the task at the last moment. The book is an exceedingly difficult one to write about, and I am not at all sure that after a few sentences I shall not stick my hands in my pockets and walk off to something easier. The recent fine weather has, however, made me desperate. The windows of the room in which I sit face S. and S.-E.; consequently a deal of sunshine comes in upon my writing-table. In ninety-nine cases out of the hundred this makes for idleness; in this, the hundredth case, it constrains to energy, because it is rapidly bleaching the puce-colored boards in which Mr. Davidson's plays are bound--and (which is worse) bleaching them unevenly. I have tried (let the miserable truth be confessed) turning the book daily, as one turns a piece of toast--But this is not criticism of Mr. Davidson's "Plays."

His Style full of Imagination and Wit.

Now it would be easy and pleasant to express my great admiration of Mr. Davidson's Muse, and justify it by a score of extracts and so make an end: and nobody (except perhaps Mr. Davidson himself) would know my dishonesty. For indeed and out of doubt he is in some respects the most richly-endowed of all our younger poets. Of wit and of imagination he has almost a plethora: they crowd this book, and all his books, from end to end. And his frequent felicity of phrase is hardly less remarkable. You may turn page after page, and with each page the truth of this will become more obvious. Let me add his quick eye for natural beauty, his penetrating instinct for the principles that lie beneath its phenomena, his sympathy with all men's more generous emotions--and still I have a store of satisfactory illustrations at hand for the mere trouble of turning the leaves. Consider, for instance, the imagery in his description of the fight by Bannockburn--

Now are they hand to hand! How short a front! How close! _They're sewn together with steel cross-stitches, halbert over sword,_ _Spear across lance and death the purfled seam!_ I never saw so fierce, so lock'd a fight. That tireless brand that like a pliant flail Threshes the lives from sheaves of Englishmen-- Know you who wields it? Douglas, who but he! A noble meets him now. Clifford it is! No bitterer foes seek out each other there. Parried! That told! And that! Clifford, good night! And Douglas shouts to Randolf; Edward Bruce Cheers on the Steward; while the King's voice rings In every Scotch ear: such a narrow strait Confines this firth of war!

_Young Friar_: "God gives me strength Again to gaze with eyes unseared. _Jewels! These must be jewels peering in the grass. Cloven from helms, or on them: dead men's eyes Scarce shine so bright. The banners dip and mount Like masts at sea...._"

Or consider the fanciful melody of the Fairies' song in _An Unhistorical Pastoral_--

"Weave the dance and sing the song; _Subterranean depths prolong The rainy patter of our feet;_ Heights of air are rendered sweet By our singing. Let us sing, Breathing softly, fairily, Swelling sweetly, airily, Till earth and sky our echo ring. Rustling leaves chime with our song: Fairy bells its close prolong Ding-dong, ding-dong."

--Or the closely-packed wit in such passages as these--

_Brown_: "This world, This oyster with its valves of toil and play, Would round his corners for its own good ease, And make a pearl of him if he'd plunge in. * * * * * _Jones_: And in this matter we may all be pearls.

_Smith_: Be worldlings, truly. I would rather be A shred of glass that sparkles in the sun, And keeps a lowly rainbow of its own, Than one of these so trim and patent pearls With hearts of sand veneered, sewed up and down The stiff brocade society affects."

I have opened the book at random for these quotations. Its pages are stuffed with scores as good. Nor will any but the least intelligent reviewer upbraid Mr. Davidson for deriving so much of his inspiration directly from Shakespeare. Mr. Davidson is still a young man; but the first of these plays, _An Unhistorical Pastoral_, was first printed so long ago as 1877; and the last, _Scaramouch in Naxos; a Pantomime_, in 1888. They are the work therefore of a very young man, who must use models while feeling his way to a style and method of his own.

Lack of "Architectonic" Quality.

But--there is a "but"; and I am coming at length to my difficulty with Mr. Davidson's work. Oddly enough, this difficulty may be referred to the circumstance that Mr. Davidson's poetry touches Shakespeare's great circle at a second point. Wordsworth, it will be remembered, once said that Shakespeare _could_ not have written an Epic (Wordsworth, by the way, was rather fond of pointing out the things that Shakespeare could not have done). "Shakespeare _could_ not have written an Epic; he would have died of plethora of thought." Substitute "wit" for "thought," and you have my difficulty with Mr. Davidson. It is given to few men to have great wit: it is given to fewer to carry a great wit lightly. In Mr. Davidson's case it luxuriates over the page and seems persistently to choke his sense of form. One image suggests another, one phrase springs under the very shadow of another until the fabric of his poem is completely hidden beneath luxuriant flowers of speech. Either they hide it from the author himself; or, conscious of his lack of architectonic skill, he deliberately trails these creepers over his ill-constructed walls. I think the former is the true explanation, but am not sure.

Let me be cautious here, or some remarks I made the other day upon another poet--Mr. Hosken, author of _Phaon and Sappho_, and _Verses by the Way_--will be brought up against me. Defending Mr. Hosken against certain critics who had complained of the lack of dramatic power in his tragedies, I said, "Be it allowed that he has little dramatic power, and that (since the poem professed to be a tragedy) dramatic power was what you reasonably looked for. But an alert critic, considering the work of a beginner, will have an eye for the bye-strokes as well as the main ones: and if the author, while missing the main, prove effective with the bye--if Mr. Hosken, while failing to construct a satisfactory drama, gave evidence of strength in many fine meditative passages--then at the worst he stands convicted of a youthful error in choosing a literary form unsuited to convey his thought."

Not in the "Plays" only.

These observations I believe to be just, and having entered the _caveat_ in Mr. Hosken's case, I should observe it in Mr. Davidson's also, did these five youthful plays stand alone. But Mr. Davidson has published much since these plays first appeared--works both in prose and verse--_Fleet Street Eclogues_, _Ninian Jamieson_, _A Practical Novelist_, _A Random Itinerary_, _Baptist Lake_: and because I have followed his writings (I think from his first coming to London) with the greatest interest, I may possibly be excused for speaking a word of warning. I am quite certain that Mr. Davidson will never bore me: but I wish I could be half so certain that he will in time produce something in true perspective; a fabric duly proportioned, each line of which from the beginning shall guide the reader to an end which the author has in view; something which

"_Servetur ad imum Qualis ab incepto processerit, et sibi constet._"

_Sibi constet_, be it remarked. A work of art may stand very far from Nature, provided its own parts are consistent. Heaven forbid that a critic should decry an author for being fantastic, so long as he is true to his fantasy.

But Mr. Davidson's wit is so brilliant within the circles of its temporary coruscation as to leave the outline of his work in a constant penumbra. Indeed, when he wishes to unburden his mind of an idea, he seems to have less capacity than many men of half his ability to determine the form best suited for conveying it. If anything can be certain which has not been tried, it is that his story _A Practical Novelist_ should have been cast in dramatic form. His vastly clever _Perfervid: _or_ the Career of Ninian Jamieson_ is cast in two parts which neither unite to make a whole, nor are sufficiently independent to stand complete in themselves. I find it characteristic that his _Random Itinerary_--that fresh and agreeable narrative of suburban travel--should conclude with a crashing poem, magnificent in itself, but utterly out of key with the rest of the book. Turn to the _Compleat Angler_, and note the exquisite congruity of the songs quoted by Walton with the prose in which they are set, and the difference will be apparent at once. Fate seems to dog Mr. Davidson even into his illustrations. _A Random Itinerary_ and this book of _Plays_ (both published by Messrs. Mathews and Lane) have each a conspicuously clever frontispiece. But the illustrator of _A Random Itinerary_ has chosen as his subject the very poem which I have mentioned as out of harmony with the book; and I must protest that the vilely sensual faces in Mr. Beardsley's frontispiece to these _Plays_ are hopelessly out of keeping with the sunny paganism of _Scaramouch in Naxos_. There is nothing Greek about Mr. Beardsley's figures: their only relationship with the Olympians is derived through the goddess Aselgeia.

With all this I have to repeat that Mr. Davidson is in some respects the most richly endowed of all the younger poets. The grand manner comes more easily to him than to any other: and if he can cultivate a sense of form and use this sense as a curb upon his wit, he has all the qualities that take a poet far.

* * * * *

Nov. 24, 1984. "Ballads and Songs."

At last there is no mistake about it: Mr. John Davidson has come by his own. And by "his own" I do not mean popularity--though I hope that in time he will have enough of this and to spare--but mastery of his poetic method. This new volume of "Ballads and Songs" (London: John Lane) justifies our hopes and removes our chief fear. You remember Mr. T.E. Brown's fine verses on "Poets and Poets"?--

He fishes in the night of deep sea pools: For him the nets hang long and low, Cork-buoyed and strong; the silver-gleaming schools Come with the ebb and flow Of universal tides, and all the channels glow.

Or holding with his hand the weighted line He sounds the languor of the neaps, Or feels what current of the springing brine The cord divergent sweeps, The throb of what great heart bestirs the middle deeps.

Thou also weavest meshes, fine and thin, And leaguer'st all the forest ways; But of that sea and the great heart therein Thou knowest nought; whole days Thou toil'st, and hast thy end--good store of pies and jays.