The Collected Works in Verse and Prose of William Butler Yeats. Volume 8 of 8. Discoveries. Edmund Spenser. Poetry and Tradition; and Other Essays. Bibliography - William Yeats 4 стр.

THE TRESSES OF THE HAIR

Hafiz cried to his beloved, I made a bargain with that brown hair before the beginning of time, and it shall not be broken through unending time, and it may be that Mistress Nature knows that we have lived many times, and that whatsoever changes and winds into itself belongs to us. She covers her eyes away from us, but she lets us play with the tresses of her hair.

A TOWER ON THE APENNINE

The other day I was walking towards Urbino, where I was to spend the night, having crossed the Apennines from San Sepolcro, and had come to a level place on the mountain-top near the journeys end. My friends were in a carriage somewhere behind, on a road which was still ascending in great loops, and I was alone amid a visionary fantastic impossible scenery. It was sunset and the stormy clouds hung upon mountain after mountain, and far off on one great summit a cloud darker than the rest glimmered with lightning. Away south upon another mountain a mediæval tower, with no building near nor any sign of life, rose into the clouds. I saw suddenly in the minds eye an old man, erect and a little gaunt, standing in the door of the tower, while about him broke a windy light. He was the poet who had at last, because he had done so much for the worlds sake, come to share in the dignity of the saint. He had hidden nothing of himself, but he had taken care of that dignity the perfection of form this lofty and severe quality this virtue. And though he had but sought it for the worlds sake, or for a womans praise, it had come at last into his body and his mind. Certainly as he stood there he knew how from behind that laborious mood, that pose, that genius, no flower of himself but all himself, looked out as from behind a mask that other Who alone of all men, the country people say, is not a hairs breadth more nor less than six feet high. He has in his ears well instructed voices and seeming solid sights are before his eyes, and not as we say of many a one, speaking in metaphor, but as this were Delphi or Eleusis, and the substance and the voice come to him among his memories which are of womens faces; for was it Columbanus or another that wrote There is one among the birds that is perfect, and one perfect among the fish?

THE THINKING OF THE BODY

Those learned men who are a terror to children and an ignominious sight in lovers eyes, all those butts of a traditional humour where there is something of the wisdom of peasants, are mathematicians, theologians, lawyers, men of science of various kinds. They have followed some abstract reverie, which stirs the brain only and needs that only, and have therefore stood before the looking-glass without pleasure and never known those thoughts that shape the lines of the body for beauty or animation, and wake a desire for praise or for display.

There are two pictures of Venice side by side in the house where I am writing this, a Canaletto that has little but careful drawing, and a not very emotional pleasure in clean bright air, and a Franz Francken, where the blue water, that in the other stirs one so little, can make one long to plunge into the green depth where a cloud shadow falls. Neither painting could move us at all, if our thought did not rush out to the edges of our flesh, and it is so with all good art, whether the Victory of Samothrace which reminds the soles of our feet of swiftness, or the Odyssey that would send us out under the salt wind, or the young horsemen on the Parthenon, that seem happier than our boyhood ever was, and in our boyhoods way. Art bids us touch and taste and hear and see the world, and shrinks from what Blake calls mathematic form, from every abstract thing, from all that is of the brain only, from all that is not a fountain jetting from the entire hopes, memories, and sensations of the body. Its morality is personal, knows little of any general law, has no blame for Little Musgrave, no care for Lord Barnards house, seems lighter than a breath and yet is hard and heavy, for if a man is not ready to face toil and risk, and in all gaiety of heart, his body will grow unshapely and his heart lack the wild will that stirs desire. It approved before all men those that talked or wrestled or tilted under the walls of Urbino, or sat in the wide window-seats discussing all things, with love ever in their thought, when the wise Duchess ordered all, and the Lady Emilia gave the theme.

RELIGIOUS BELIEF NECESSARY TO SYMBOLIC ART

All art is sensuous, but when a man puts only his contemplative nature, and his more vague desires into his art, the sensuous images through which it speaks become broken, fleeting, uncertain, or are chosen for their distance from general experience, and all grows unsubstantial and fantastic. When imagination moves in a dim world like the country of sleep in Loves Nocturne and Siren there winds her dizzy hair and sings we go to it for delight indeed but in our weariness. If we are to sojourn there that world must grow consistent with itself, emotion must be related to emotion by a system of ordered images, as in the Divine Comedy. It must grow to be symbolic, that is, for the soul can only achieve a distinct separated life where many related objects at once distinguish and arouse its energies in their fulness. All visionaries have entered into such a world in trances, and all ideal art has trance for warranty. Shelley seemed to Matthew Arnold to beat his ineffectual wings in the void, and I only made my pleasure in him contented pleasure by massing in my imagination his recurring images of towers and rivers, and caves with fountains in them, and that one star of his, till his world had grown solid underfoot and consistent enough for the souls habitation.

But even then I lacked something to compensate my imagination for geographical and historical reality, for the testimony of our ordinary senses, and found myself wishing for and trying to imagine, as I had also when reading Keats Endymion, a crowd of believers who could put into all those strange sights the strength of their belief and the rare testimony of their visions. A little crowd had been sufficient, and I would have had Shelley a sectary that his revelation might have found the only sufficient evidence of religion, miracle. All symbolic art should arise out of a real belief, and that it cannot do so in this age proves that this age is a road and not a resting-place for the imaginative arts. I can only understand others by myself, and I am certain that there are many who are not moved as they desire to be by that solitary light burning in the tower of Prince Athanais, because it has not entered into mens prayers nor lighted any through the sacred dark of religious contemplation.

Lyrical poems even when they but speak of emotions common to all need, if not a religious belief like the spiritual arts, a life that has leisure for itself, and a society that is quickly stirred that our emotion may be strengthened by the emotion of others. All circumstance that makes emotion at once dignified and visible, increases the poets power, and I think that is why I have always longed for some stringed instrument and a listening audience not drawn out of the hurried streets but from a life where it would be natural to murmur over again the singers thought. When I heard Yvette Guilbert the other day, who has the lyre or as good, I was not content, for she sang among people whose life had nothing it could share with an exquisite art that should rise out of life as the blade out of the spearshaft, a song out of the mood, the fountain from its pool, all art out of the body, laughter from a happy company. I longed to make all things over again, that she might sing in some great hall, where there was no one that did not love life and speak of it continually.

THE HOLY PLACES

When all art was struck out of personality, whether as in our daily business or in the adventure of religion, there was little separation between holy and common things, and just as the arts themselves passed quickly from passion to divine contemplation, from the conversation of peasants to that of princes, the one song remembering the drunken miller and but half forgetting Cambynskan bold; so did a man feel himself near sacred presences when he turned his plough from the slope of Cruachmaa or of Olympus. The occupations and the places known to Homer or to Hesiod, those pure first artists, might, as it were, if but the fashioners hands had loosened, have changed before the poems end to symbols and vanished, winged and unweary, into the unchanging worlds where religion only can discover life as well as peace. A man of that unbroken day could have all the subtlety of Shelley, and yet use no image unknown among the common people, and speak no thought that was not a deduction from the common thought. Unless the discovery of legendary knowledge and the returning belief in miracle, or what we must needs call so, can bring once more a new belief in the sanctity of common ploughland, and new wonders that reward no difficult ecclesiastical routine but the common, wayward, spirited man, we may never see again a Shelley and a Dickens in the one body, but be broken to the end. We have grown jealous of the body, and we dress it in dull unshapely clothes, that we may cherish aspiration alone. Molière being but the master of common sense lived ever in the common daylight, but Shakespeare could not, and Shakespeare seems to bring us to the very market-place, when we remember Shelleys dizzy and Landors calm disdain of usual daily things. And at last we have Villiers de LIsle Adam crying in the ecstasy of a supreme culture, of a supreme refusal, as for living, our servants will do that for us. One of the means of loftiness, of marmorean stillness has been the choice of strange and far away places, for the scenery of art, but this choice has grown bitter to me, and there are moments when I cannot believe in the reality of imaginations that are not inset with the minute life of long familiar things and symbols and places. I have come to think of even Shakespeares journeys to Rome or to Verona as the outflowing of an unrest, a dissatisfaction with natural interests, an unstable equilibrium of the whole European mind that would not have come had Constantinople wall been built of better stone. I am orthodox and pray for a resurrection of the body, and am certain that a man should find his Holy Land where he first crept upon the floor, and that familiar woods and rivers should fade into symbol with so gradual a change that he never discover, no, not even in ecstasy itself, that he is beyond space, and that time alone keeps him from Primum Mobile, the Supernal Eden, and the White Rose over all.

EDMUND SPENSER

I

We know little of Spensers childhood and nothing of his parents, except that his father was probably an Edmund Spenser of north-east Lancashire, a man of good blood and belonging to a house of ancient fame. He was born in London in 1552, nineteen years after the death of Ariosto, and when Tasso was about eight years old. Full of the spirit of the Renaissance, at once passionate and artificial, looking out upon the world now as craftsman, now as connoisseur, he was to found his art upon theirs rather than upon the more humane, the more noble, the less intellectual art of Malory and the Minstrels. Deafened and blinded by their influence, as so many of us were in boyhood by that art of Hugo, that made the old simple writers seem but as brown bread and water, he was always to love the journey more than its end, the landscape more than the man, and reason more than life, and the tale less than its telling. He entered Pembroke College, Cambridge, in 1569, and translated allegorical poems out of Petrarch and Du Bellay. To-day a young man translates out of Verlaine and Verhaeren; but at that day Ronsard and Du Bellay were the living poets, who promised revolutionary and unheard-of things to a poetry moving towards elaboration and intellect, as ours the serpents tooth in his own tail again moves towards simplicity and instinct. At Cambridge he met with Hobbinol of The Shepheards Calender, a certain Gabriel Harvey, son of a rope-maker at Saffron Walden, but now a Fellow of Pembroke College, a notable man, some five or six years his elder. It is usual to think ill of Harvey, because of his dislike of rhyme and his advocacy of classical metres, and because he complained that Spenser preferred his Faerie Queene to the Nine Muses, and encouraged Hobgoblin to run off with the Garland of Apollo. But at that crossroad, where so many crowds mingled talking of so many lands, no one could foretell in what bed he would sleep after nightfall. Milton was in the end to dislike rhyme as much, and it is certain that rhyme is one of the secondary causes of that disintegration of the personal instincts which has given to modern poetry its deep colour for colours sake, its overflowing pattern, its background of decorative landscape, and its insubordination of detail. At the opening of a movement we are busy with first principles, and can find out everything but the road we are to go, everything but the weight and measure of the impulse, that has come to us out of life itself, for that is always in defiance of reason, always without a justification but by faith and works. Harvey set Spenser to the making of verses in classical metre, and certain lines have come down to us written in what Spenser called Iambicum trimetrum. His biographers agree that they are very bad, but, though I cannot scan them, I find in them the charm of what seems a sincere personal emotion. The man himself, liberated from the minute felicities of phrase and sound, that are the temptation and the delight of rhyme, speaks of his Mistress some thought that came to him not for the sake of poetry, but for loves sake, and the emotion instead of dissolving into detached colours, into the spangly gloom that Keats saw froth and boil when he put his eyes into the pillowy cleft, speaks to her in poignant words as if out of a tear-stained love-letter:

II

He left College in his twenty-fourth year, and stayed for a while in Lancashire, where he had relations, and there fell in love with one he has written of in The Shepheards Calender as Rosalind, the widdowes daughter of the Glenn, though she was, for all her shepherding, as one learns from a College friend, a gentlewoman of no mean house. She married Menalchus of the Calender and Spenser lamented her for years, in verses so full of disguise that one cannot say if his lamentations come out of a broken heart or are but a useful movement in the elaborate ritual of his poetry, a well-ordered incident in the mythology of his imagination. To no English poet, perhaps to no European poet before his day, had the natural expression of personal feeling been so impossible, the clear vision of the lineaments of human character so difficult; no others head and eyes had sunk so far into the pillowy cleft. After a year of this life he went to London, and by Harveys advice and introduction entered the service of the Earl of Leicester, staying for a while in his house on the banks of the Thames; and it was there in all likelihood that he met with the Earls nephew, Sir Philip Sidney, still little more than a boy, but with his head full of affairs of state. One can imagine that it was the great Earl or Sir Philip Sidney that gave his imagination its moral and practical turn, and one imagines him seeking from philosophical men, who distrust instinct because it disturbs contemplation, and from practical men who distrust everything they cannot use in the routine of immediate events, that impulse and method of creation that can only be learned with surety from the technical criticism of poets, and from the excitement of some movement in the artistic life. Marlowe and Shakespeare were still at school, and Ben Jonson was but five years old. Sidney was doubtless the greatest personal influence that came into Spensers life, and it was one that exalted moral zeal above every other faculty. The great Earl impressed his imagination very deeply also, for the lamentation over the Earl of Leicesters death is more than a conventional Ode to a dead patron. Spensers verses about men, nearly always indeed, seem to express more of personal joy and sorrow than those about women, perhaps because he was less deliberately a poet when he spoke of men. At the end of a long beautiful passage he laments that unworthy men should be in the dead Earls place, and compares them to the fox an unclean feeder hiding in the lair the badger swept. The imaginer of the festivals of Kenilworth was indeed the fit patron for him, and alike, because of the strength and weakness of Spensers art, one regrets that he could not have lived always in that elaborate life a master of ceremony to the world, instead of being plunged into a life that but stirred him to bitterness, as the way is with theoretical minds in the tumults of events they cannot understand. In the winter of 1579-80 he published The Shepheards Calender, a book of twelve eclogues, one for every month of the year, and dedicated it to Sir Philip Sidney. It was full of pastoral beauty and allegorical images of current events, revealing too that conflict between the æsthetic and moral interests that was to run through well-nigh all his works, and it became immediately famous. He was rewarded with a place as private secretary to the Lord Lieutenant, Lord Grey de Wilton, and sent to Ireland, where he spent nearly all the rest of his life. After a few years there he bought Kilcolman Castle, which had belonged to the rebel Earl of Desmond, and the rivers and hills about this castle came much into his poetry. Our Irish Aubeg is Mulla mine, whose waves I taught to weep, and the Ballyvaughan Hills, it has its rise among, old Father Mole. He never pictured the true countenance of Irish scenery, for his mind turned constantly to the courts of Elizabeth and to the umbrageous level lands, where his own race was already seeding like a great poppy: