Chapter 22

Mr. Stephen is himself a large-minded Utilitarian. He will have nothing to do with a transcendental basis of morals; and the dogmatist who dislikes cross-examination is out of his court. Dogmatic authority, he says, stands only on its own assertions; and if you may not reason upon them, the inference is that on those points reason is against them. You may withdraw beyond this range by sublimating religion into a philosophy, but then it loses touch with terrestrial affairs, and has a very feeble control over the unruly affections of sinful men. Newman himself resorted to scientific methods in his theory of Development, that is, of the growth and evolution of doctrine. We may agree that these destructive arguments have much logical force, yet on the other hand such certitude as empiricism can provide brings little consolation to the multitude, who require some imperative command; they look for a pillar of cloud or fire to go before them day and night, and a land of promise in the distance. Scientific exposition works slowly for the improvement of ethics, which to the average mind are rather weakened than strengthened by loosening their foundations; and religious beliefs suffer from a similar constitutional delicacy. Conduct is not much fortified by being treated as a function of character and circumstance; for in religion and morals ordinary humanity demands something impervious to reasoning, wherein lies the advantage of the intuitionist.

Mr. Stephen, however, is well aware that empirical certitude will not supply the place of religion. In his concluding pages he states, fairly and forcibly, the great problems by which men are still perplexed. Religion, as J. S. Mill felt, is a name for something far wider than the Utilitarian views embrace.

'Men will always require some religion, if religion corresponds not simply to their knowledge, but to the whole impression made upon feeling and thinking beings by the world in which they must live. The condition remains that the conception must conform to the facts; our imagination and our desires must not be allowed to over-ride our experience, or our philosophy to construct the universe out of _a priori_ guesses.... To find a religion which shall be compatible with all known truth, which shall satisfy the imagination and the emotions, and which shall discharge the functions hitherto assigned to the churches, is a problem for the future.'

The Utilitarian doctrines, in short, though propagated by leaders of high intellectual power, and inspired by a pure unselfish morality, achieved little success in the enterprise of providing new and firmer guidance and support to mankind in their troubles and perplexities. But they were not content to look down from serene heights upon the world, leaving the crowd

'Errare atque viam palantes quærere vitæ.'

They laboured devotedly to dispel ignorance and to advance knowledge; they spared no pains to promote the material well-being of society. They helped to raise the wind that filled the sails of practical reform; they headed the attack upon legal and administrative abuses; they stirred up the national conscience against social injustice; they proclaimed a lofty standard of moral obligation. They laid down principles that in the long run accord with human progress, yet in their hopes of rapidly modifying society by the application of those principles they were disappointed; for their systematic theories were blocked by facts, feelings, and misunderstandings which had not been taken into calculation. They were averse to coercion, as an evil in itself; but though they would have agreed with Mr. Bright's dictum that 'Force is no remedy,' they were latterly brought to perceive that in another sense there is no remedy except force, and that the vested interests and preconceptions of society make a stiff and prolonged opposition to enlightened persuasion. They were disposed to rely too confidently upon the spread of intelligence by general education for preparing the minds of people to accept and act upon doctrines that were logically demonstrable, and to reject what could not be proved. Mr. Stephen has somewhere written that to support a religion by force instead of by argument is to admit that argument condemns it. The proposition is too absolutely stated even for the domain of spiritual authority, since it might be replied that no great religion, certainly no organised Church, has existed by argument alone, and it has usually been supported by laws. But at any rate the temporal power subsists and operates by coercion, and the sphere of the State's direct action, instead of diminishing, as the earlier Utilitarians expected it to do, with the spread of education and intelligence, is perceptibly extending itself. The Utilitarians demurred to religion as an ultimate authority in morals, and substituted the plain unvarnished criterion of utility. Upon this ground the State steps in, replaces religious precept by positive law, and public morality is enforced by Acts of Parliament. They were for entrusting the people with full political power, to be exercised in vigilant restraint of the interference by Government with individual rights and conduct; the people have obtained the power, and are using it more and more to place their affairs and even their moral interests under the control of organised authority. We do not here question the expediency of the movement; we are simply registering the tendency.

There are few literary enterprises more arduous than the task of following and demarcating from the written record of a period the general course of political and philosophic movements. The tendencies are so various, the conditions which determine them are so complicated, that it is difficult to keep hold of the clue which guides and connects them. Mr. Leslie Stephen's _History of English Thought in the Eighteenth Century_ took the broad ground that is denoted by its title; but, as he now tells us in his preface, he has found it expedient to reduce his present work within less comprehensive limits, by confining it to 'an account of the compact and energetic school of the English Utilitarians.' This reduction of its scope has not, however, damaged the continuity of the narrative, since in the great departments of morals, religion, and political philosophy the Utilitarians were mainly the lineal heirs of the characteristic English writers in the preceding century. It is true that Mr. Stephen has not been able to bring within the compass of his three volumes the subject of general literature, especially of poetry and novels, which in the nineteenth century have given their vivid expression to the doubts and the hopes, to the aims and aspirations of the time. But we can see that such an enlargement of his plan would have rendered it unmanageable, and that Mr. Stephen may have wisely considered the example of Buckle's _History of Civilisation in England_, which was projected on too large a scale, exhausted the author's strength, and remains unfinished. Mr. Stephen's present work fulfils its promise and completes its design. The Utilitarians are very fortunate in having found a historian whose vivacity of style, consummate literary knowledge, and masculine power of thought will have revived their declining reputations, and secured to them their proper place in the literature of the nineteenth century.

FOOTNOTES:

[28] _The English Utilitarians._ By Leslie Stephen. 3 vols. London, Duckworth and Co., 1900.--_Edinburgh Review_, April 1901.

[29] _The Greek Theory of the State_, by Charles John Shebbeare, B.A., 1895.

[30] Sir Robert Peel's speech on Reform, March 1831.

CHARACTERISTICS OF MR. SWINBURNE'S POETRY[31]

There is probably some foundation for the belief, often held in these days, that the production of high poetry is becoming more difficult, partly because the environment of modern civilisation lends itself less and less to artistic treatment, as mechanism supersedes human effort, and partly through the operation of other causes. It has been plausibly argued that most things worth saying have been said already; that even the words best fitted for poetic expression have been worn out, have been weakened by familiar usage or soiled by misuse, and that the resources of language for adequate presentation of ideas and feelings are running very low. Nevertheless, we all look forward hopefully to the coming of the original genius who is to strike a fresh note and inaugurate a new era, as pious Mohammedans expect another Imam. Yet his coming may not be in our time, and meanwhile the poetic lamp is burning dimly; it is just kept alight by the assiduous trimming of the disciples of the great men who have passed or are passing away, by the minor poets who strike a few musical chords that catch the ear, but who are not recalled by the audience when they have played their part and left the stage. The stars that shone in the bright constellation of Victorian poets have been setting one by one, until two only remain of those who were the pride of the generation to which they belong, for whom we may predict that they will hold a permanent place in English literature. It is now nearly sixty years since Mr. Meredith's first poems were published. Mr. Swinburne is about ten years his junior, both in age and in authorship; one may perhaps assume that the work upon which their reputations will rest is finished for both of them. Mr. Meredith's poetry has very recently been the subject of a very complete and sympathetic study by Mr. George Trevelyan. In this article we shall make an attempt to delineate, briefly of necessity and therefore inadequately, the characteristic qualities of form and thought, the technical methods and intellectual temperament which distinguish the younger poet, who may be destined to be the last survivor of an illustrious company.

If we accept the theory that art, like nature, follows the principle of continuous development, that its existing state is closely linked with its past, it is not easy to affiliate Mr. Swinburne to any direct literary predecessors. Undoubtedly we may assign to him poetical kinship with Shelley; he has the same love for classical myths and allegories, for the embodiment of nature in the beautiful figures of the antique. Light and shade, a quiet landscape, a tumultuous storm, stir him with the same sensuous emotion. He has Shelley's passion for the sea; he is fond of invoking the old divinities who presided over the fears, hopes, and desires of mankind. He has also Shelley's rebellious temper, the unflinching revolt against dogmatic authority and fundamental beliefs which rightly shocked our grandfathers in 'Queen Mab' and a few other poems; he is even less disposed than Shelley to the hypocrisy which does unwilling homage to virtue. On the other hand, Mr. Swinburne's pantheism has not Shelley's metaphysical note; the conception of an indwelling spirit guiding and moulding the phenomenal world has dropped out; there is no pure idealism of this sort in Mr. Swinburne's verse.

It may be said, truly, that some of Mr. Swinburne's poetry shows the influence of the later French Romanticists, of the reaction toward mediævalism which is represented in England by Scott, and which culminated in France with Victor Hugo, for whom the English poet's admiration is unmeasured. That movement, however, had almost ceased on our side of the Channel at the time when it had reached, or was just passing, its climax in France. And, indeed, by 1835 the style and sentiment of English poetry was undergoing a remarkable change. Its magnificent efflorescence, which the first quarter of the nineteenth century had seen in full bloom, had faded away. It had sprung up in an era of great wars and revolution, amid the struggles of nations to shake off the incubus of despotisms, to free themselves from the yoke of foreigners. The cause of political liberty inspired the noblest verse of Shelley, Coleridge, and Byron:

Yet Freedom, yet, thy banner, torn but flying, Streams like a thunderstorm against the wind--'

But in England this ardent spirit had evaporated during the years of industrial prosperity and mechanical progress which came in with a long peace after twenty years of fighting; and during the next generation a milder tone prevailed. For an interval we had only second-rate artists in verse. The fiery enthusiasts, the despisers of respectability, were succeeded by poets who were decently emotional, pensive in thought, tame or affected in style, domestic in theme, with feeble echoes of the true romantic note in Mrs. Hemans and others. Next, in the fulness of time, came Tennyson and Browning, to raise the level of English poetry by their deeper views of life, their elevation of thought, and their incomparably greater imaginative power. Tennyson's composition is pellucid and exquisitely refined. Browning is rugged and often obscure; he cares more for the force than for the form of expression. The great problems of religion and politics are seriously and cautiously handled. Browning analyses them with caustic irony, while Tennyson, after making vain attempts to solve them, finds consolation in the 'Higher Pantheism.' They are soon joined by Matthew Arnold and Clough, who represent the melancholy resignation of sensitive minds that have discarded the creeds, for whom the miraculous history of Christianity is an illusion that has faded into the common light of day. Meredith, poet and novelist, falls back upon communion with Nature; he preaches the doctrine of duty, of working while the light lasts; he is a high moralist who accepts stoically the conclusion that nothing beyond terrestrial existence is knowable.

Thus Mr. Swinburne's elder contemporaries and precursors in poetry were all in different modes and fashions optimists; at any rate in their earlier writings. They stood outside the Churches; dogmatic beliefs they tacitly put away; they were in sympathy with the Christian ideal apart from its supernatural element; they professed a vague trust in an unseen Power, chequered here and there by intimations of pantheism; they made no frontal assault upon the central positions of theology. When we turn to their emotional poetry we find that they were always decorous; there is much discourse of love, often passionate, never erotic, no tearing aside of drapery, not a line to scare modesty. In Tennyson's most impassioned lyrics the principal figure is the broken-hearted lover, jilted by Cousin Amy, or caught in the garden with Maud--with intentions strictly honourable in both cases. The treatment of love by Browning and Meredith is chiefly psychological; they are usually concerned with the tragic situations that it can involve, though the comic aspect of sexual infatuation occasionally provokes cynicism. In politics all these poets are no friends to democracy or seething radicalism; they adore liberty, yet they are votaries of law and order; they have a hatred of misrule, and generally a cheerful confidence in the world's evolution toward better things. On social ethics the poets of the mid-Victorian period wrote with philosophic sobriety; they maintained a strict moral standard. In their wildest emotional flights they abstained from irreverence or indecorum. They undoubtedly represented the prevailing cast of thought, the taste and tendencies of the society to which they belonged; the growing scepticism, the influence on established ideas of advancing science and philosophy. Literature had been showing distinct signs of sympathy with these novelties, but in the early 'sixties an open revolt was generally discountenanced.

Mr. Swinburne's first publications were two historic plays, of which something will be said hereafter. In 1864 he turned suddenly from modern history to ancient legend for his dramatic subject, when he aroused immediate attention by _Atalanta in Calydon_, which reproduced the structure and metrical arrangement of a Greek tragedy. The dialogue has the purity of tone, the clear-cut concision that belong to its Hellenic model. At the beginning we have a joyous chant full of sound and colour, gradually changing into the elegiac strain of foreboding, the dread of pitiless divinities, the lamentation for the hero's unmerited fate. The exquisite modulations of the verse, the splendid choral antiphonies captivated all who were susceptible to the enchantment of poetry. The delicate adaptation of the English language to quantitative harmonies in high resonant lyrics showed extraordinary skill in the difficult enterprise of communicating the charm and cadences of the antique masterpieces. It is a heroic drama, severe in style and character as the _Antigone_ of Sophocles. Then in 1865 came _Chastelard_, conceived and partly written, as Mr. Swinburne has told us, when he was yet at Oxford, a play in which he turns from the Greek tragedians to rejoin the historical dramatists. The turn is abrupt, for no character could have been more alien to the Greek notions of heroism than that of the love-sick knight who joyfully throws away his life for an hour in his lady's chamber, tears up the warrant reprieving him from execution, and accepts death to save Queen Mary's fragile reputation. But although the keynote of Mr. Swinburne's coming poetry is struck in _Chastelard_--the overpowering enthralment of Love, a joy to live and die for--

'The mistress and mother of pleasure, The one thing as certain as death'--

yet it gave the British public no fair warning of what followed almost immediately.

Into the midst of a well-regulated, self-respecting modern society, much moved by Tennyson's 'Idylls,' and altogether sympathetic with the misfortunes of the blameless king--justly appreciative of the domestic affection so tenderly portrayed by Coventry Patmore's 'Angel in the House'--Mr. Swinburne charged impetuously with his _Poems and Ballads_, waving the banner of revolt against conventional reticence, kicking over screens and rending drapery--a reckless votary of Astarte, chanting the 'Laus Veneris' and the worship of 'Dolores, Our Lady of Pain.' From the calm and bright aspect of paganism he is turning toward its darker side, to the mystic rites and symbolism which cloaked the fierce primitive impulses of the natural man. The burden of these first poems is chiefly the bitter sweetness of love, the sighs and transports of those who writhe in the embrace of the dread goddess, known by many names in all lands, or the glory of man's brief springtide, when the veins are hot, soon to be cooled and covered by frost and fallen leaves. In the clear ringing stanzas of the 'Triumph of Time,' who sweeps away the brief summer of lovers' delight, bringing them to autumnal regrets 'for days that are over and dreams that are done,' and lastly to wintry oblivion, we have almost a surfeit of voluptuous melancholy. In this, as in other poems, the sea, changeful in mood, alternately fair and fierce, a bright smiling surface covering a thousand graves, fascinating and treacherous, is the mythical Aphrodite, the fatal woman, merciless to men. All this is set out in lyrics which amaze the reader by their exuberance of language, profusion of metaphor, and classic allusion; in rhymes that strike on the ear like the clashing of cymbals. It is as if Atys and his wild Mænads were flying through the quiet English woodlands. The long-drawn, undulating lines, in a quieter strain, of the 'Hymn to Proserpine' and of 'Hesperia,' with their subtle music, lay the reader under their charm; but too many of these poems are tainted by a flavour of morbidity, and the average Englishman is not easily thrown by the most potent spells into a state of amorous delirium.

It is not surprising, therefore, that this first volume of poems, saturated with intoxicating Hedonism, had, as Mr. Swinburne wrote in the Dedicatory Preface appended to the full collection of his works, 'as quaint a reception and as singular a fortune as I have ever heard or read of.' The eruption of neo-paganism was sudden and unexpectedly violent--the rumblings of scientific and philosophic scepticism had given no warning of a volcanic explosion in this direction. The current literature of 1865 was much more prudish and less outspoken than it is at the present day; the gentlemanly licentiousness of Byron's time had been completely suppressed; the moral tone of the middle class was still outwardly Puritanic. English folk were by no means prepared to rebuild the altars of the primitive deities who presided over man's unquenchable desire, or to be otherwise than somewhat aghast at the invocations of Astarte or Ashtaroth, or the cry to Our Lady of Pain, the 'noble and nude and antique.' The result was that the first edition of the _Poems and Ballads_ was withdrawn, though they were reissued in the same year, when Mr. Swinburne published a reply to his critics. Nevertheless, although the graver and, we may say, the higher judges of what was admissible to a nineteenth-century poet were entirely against him, it cannot be denied that the impulsive youth of that generation felt the enchantment of Mr. Swinburne's intoxicating love-potions--were sorely tempted to dash down Tennyson on the drawing-room table, and to join the wild dance round the shrine of Aphrodite Pandemia.

In the _Poems and Ballads_ Mr. Swinburne keeps on some terms, so to speak, with theology. In the poem entitled 'A Litany' the Lord God discourses with Biblical sternness to His people, who tremble before Him, and threatens them with 'the inevitable Hell,' while the people implore mercy--a strange excursion into the Semitic desert out of the flowery field of paganism. And another poem is a pathetic rendering of the story of St. Dorothy, a Christian martyr. It is true that he looks back with æsthetic regret to the triumph of Christianity over the picturesque polytheism, and that perhaps the finest poem in this volume is the 'Hymn to Proserpine,' where a votary of the ancient divinities confesses sorrowfully that a new and austere faith has triumphed, but predicts that its kingdom will not last, will decline and fall like the empire of the elder gods--

'All ye as a wind shall go by, as a fire shall ye pass and be past; Ye are gods, and behold, ye shall die, and the waves be upon you at last. In the darkness of time, in the deeps of the years, in the changes of things, Ye shall sleep as a slain man sleeps, and the world shall forget you for kings.'

The 'Hymn to Proserpine' is a fine conception of the champion of a lost cause standing unmoved among the ruins of his Pantheon. But the quiet dignity of his attitude is marred by the lines in which the votary of fair forms turns with loathing from the new faith which has conquered by the blood and agony of saints and martyrs. The violent invective is like a red streak across the canvas of a picturesque and highly imaginative composition. Yet if he had been reminded that Lucretius, standing in the midst of paganism, sternly denounced the evils and cruelties of religion, Mr. Swinburne would probably have replied that the Roman poet, could he have been born again fourteen or fifteen centuries later in his native country, would have found these evils enormously increased, and that the sacrifice of Iphigenia in Aulis was as nothing to the hecatombs of the Inquisition.