Modern English Poets - The Eye
MODERN ENGLISHPOETSVIDAD.S.seE-566, Valshall Negar, Neer Akdh Wanl Colony, Jalpur-21
Published by :SUNRISE PUBLISHERS & DISTRIBUTORSE-566, Vaishali Nagar,Jaipur - 302021 (Raj.)Ph.:9413156675First Published - 2008ISBN: 978-81-906067-0-7Printed at : Jaipur
Contents Introduction1. Science and the Modem PoetsMight of Science* TheThe Force-Idea* The* The Unity-IdeaRealistic Temper* DangersSafeguards*Wordsworthandand the New Democracy142.3. Ideals of Redemption, Medireval and Modem4. The New RenaissanceModem ReversionsNoe-PaganismThe Media!val RevivalThe Spirit of the RenaissanceThe Outcome41671035.6. The Poetry of Search141166*****Browning as a Humorist**Victorian PoetryThe Poets of Doubt
***The Poets of ArtTennyson and "In Memoriam"Decadence or Promise?7. The Triumph of the Spirit***207The Vision AttainedThe Faith of the Poets of the RevolutionThe Faith of the Victorian PoetsDOD
Introduction A Great poetry has accompanied our century of swiftdevelopment in thought and deed. Only within the last decade hasit sunk into silence, with the death of Tennyson and Browning.Swinburne and Morris, our only surviving poets, have nothing newto say; no younger men are rising to take the vacant places. So far aswe can tell, the story of our modem English song is ended.That the hush which has fallen upon us precedes a newcreation, who can doubt? Our poetry has known a full development;but our prose increases every year in volume and power, and itsstory is just begun. It is feeling its way in the dubious region ofsocial experiment and applied democracy, and the way is hard tofind. Modem poetry, on the other hand, has been occupied ratherwith spiritual life than social problem; and the whole spiritual epochwhich lies behind us finds, in its progress towards peace, full recordin our verse.The poetry of the revolution beheld ideals; Victorian poetry hastested them. We have now both vision and knowledge. Theunrealized glory of life spiritual and social has been shown to us;ours, too, is experience in the wide world of outer fact and theadventures of the inner life. Our early poets chanted the love offreedom, of nature, and of man; the Victorian age has given us amaturer poetry, thought-freighted, arid of melody less divine. Yet
2The Nineteenth Centurythe poets of doubt in these latter days have gleaned what beautymay be found in that wan country, and while poets of art havesought escape from the lassitude of ideas, poets of faith have sungto us the triumph of the soul.Great powers have guided the movement of modern song;science, democracy, and the power of the historic past.The first to be noted is science; for no other stirs so subtly in thesecret life of poetry. Its intuitions have led the imagination to a newfreedom, widening scope yet accentuating law. More obvious thanscience, the power of democracy hardly needs emphasis; it shapedthe dreams of our youth, as it controls the strife of our prime. In thepoetic history of Wordsworth, sanest of our poets, we may trace aprophecy of the full sequence of its power over modern men. But itwould be shame to know by inference and record only the gloriousfaith which has given impetus alike to labor and to song. In'Wordsworth, the sober movement of democracy is preserved for us:in Shelley, its first spiritual and social ideals. To place these besidethe ideals of the Middle Ages, to compare Dante and Shelley, willshow us the strength and weakness, the promise and danger,inherent in the revolution.It is not only new forces, or forces in a novel guise, that haveformed our poetry. We are knit to the past, and our spiritualrestlessness no less than our accentuation of learning impel us tostudy its message more intelligently than any other time has studiedit, and to seek its shelter more earnestly. The movement towards thepast begins in the poetry of the revolution: but it finds full sweeponly in the age of Victoria. Advancing, then, we find democracy nolonger a dream but an attitude. Its influence has become indirect;would we know where it is leading, we must watch the new methodof realism and note the new accent on character. This accent andmethod find fullest scope in the naturalistic and humorous work ofBrowning.Science, democracy, and the past are the guides of modernpoetry; but the knowledge of trotll is its goal. In the Victorian age, itfirst becomes fully conscious of its quest, and its different stagesmay clearly be studied. We may be led to doubt, in reading this sad
The Nineteenth Century3poetry of search, whether the goal is ever to be won. Yet, havingfollowed the quest, we behold the vision at last, and, standing onthe Delectable Mountains, leaJ;ll what the poets of our great epochin its two periods have discerned of the Celestial City.Let us study, then, the influence of science in all our poets; thenew democracy, especially in Wordsworth; the early religious andsocial ideals, especially in Shelley; the power of the past in thepoetry of reversion; the power of the present in the ironic art ofBrowning; the poetry of religious inquiry in its various phases; andfinally the outlook of faith. So studying, we shall come to feel thatthe poetry of our age has a vital unity, and witnesses to an advanceof the spirit, straight as the logic of experience, from doubt to faithand cheer.000
1Science and The Modern Poets 1. The Might of ScienceDemocracy and Science have been the peculiar master-forces ofour poetic growth. They have shaped the course of thought andimagination during that great period which, with unkind disregardfor the labor in name-hunting entailed on posterity, we call for thepresent the modern age. To understand our poetry even a little, wemust watch for the lines which manifest their control.Which force is the greater, none can say; but one alone can bestudied in its completeness. For democracy with all its might is yetin its childhood. The political revolution may be accomplished; thesocial revolution is of the future, dimly foreseen by many a prophet,clearly foretold by none. But if the true social revolution be a thingof the future, the scientific revolution is assuredly a thing of thepast. That the exclusive power of scientific thought has passed itsprime, is evidenced by our present reaction towards mysticism; areaction signaled by friends and foes alike, with amazed regret byM. Zola and the friends of the knowable, with hope almost equallyamazed by the votaries of the Unseen, in art and faith. For almosthalf a century, scientific conceptions were intellectually supreme.They are so no longer. The influence of these conceptions on ourpoetry is then of primary interest, since they have had, in a sense,their perfect work.
Science and The Modern Poets5Looking past the reaction which has just set in, we can easily seethat Science, or rather the image of life which it introduced, hasbeen the great protagonist of the century. Science and Religion! Intheir intercourse has centred the chief drama of the modem world.Fragments of their impassioned dialogue have filled the air, waftedto us from pulpit and platform, from books of the hour or frompopular magazine. Which is the victor? However we may answer,the contest is quieted today. If not settled, it has, at least retired intothe background, there to hold urbane and respectable fellowshipwith the discussion between Fate and Freewill. Meanwhile throughall the century has run a sub-action, brighter and more serene, yetwith crises of its own, a Benedick and Beatrice affair, of quips andcoquetry and slurs, of seeming antagonism concealing perhaps, asin Shakespeare's joyous, immortal lovers, depth of real attractionunconfused. Science and Art! What of their intercourse? Seemingfoes, who cannot meet without flouting - shall the outcome of theirconverse be separation, marriage, or death?All sorts of people give all sorts of answers. Some, like M. Zola,claim that the art of the future will be a branch of science, that it "willbe absorbed in the demonstrable Fact, and will record pathologicaland physical conditions delicately as a sensitive machine. They cryaloud with Whitman:"The etui of surgical instruments, and the etui of oculist's or aurist'sinstruments or dentist's instruments,The cylinder-press, the hand-press, the frisket and tympan, thecompositor's stick and rule,In them your themes and hints and provokers:'If not, the whole earth has no themes or hints or provokers, never had: "andMany a thinker, on the other hand, shudders at this flauntingclaim. The critics cry in sorrow of spirit that no age of science can bean age of song. Again and again we have been told that as sciencecomes to dominate the present, art will become a memory of thepast.
6Science and The Modem PoetsWe stand today on the limit-line of two centuries. Looking back,we can appeal not to theory but to experience. And in this vexeddispute, experience gives no doubtful answer. To the scientist theearth must forever roll around the central solar fire; to the poet theHun must forever set behind the western hills; yet science and poetryare friends, not foes; the nature of one passes into the very being ofthe other. The scientist seeks truth to widen knowledge, the poet toquicken life. We have a Dalton, we have a Shelley, we have a Darwin,we have a Browning. Above the din of machinery and the buzz ofanalysis there floats upward an unceasing music; and we say withexultation that the century of science has been also a century ofsong.Yet the song of the age of science finds in surgical instrument orphysiological experiment neither theme nor provoker. Art mustforever breathe the air of mystery; and if science, as Zola claims,destroys mystery, it must also destroy song. But in truth science,pressing out as victor among the world's secrets, reveals them whileit invades. Extending the limits of our knowledge, it extends alsoour perception of that vast outlying country where light anddarkness blend, and the hidden Infinite impinges on the humanand the known. Art has never so reverently recognized, as in thisday of science, that the eternal facts with which it deals - man inthe presence of God, of Nature, of his own soul- are eternal mystery.Long before the marvels of our modem tune, Wordsworth uttereda remarkable prophecy. "The man of Science," he wrote, "seekstruth as a remote and unknown benefactor; ho cherishes and lovesit in his solitude. The poet, Hinging a song in which all humanbeings join with him, rejoices in the presence of truth as our visiblefriend and hourly companion. Poetry is the breath and finer spiritof all knowledge; it is the impassioned expression which is on thecountenance of Science . If the labours of men of science shouldever create any material revolution, direct or indirect, in ourcondition, and in the impressions which we habitually receive, thepoet will sleep then no more than at present; he will be ready tofollow the steps of the man of science, not only in these generalindirect effects, but he will be at his side, carrying sensation into the
Science and The Modem Poets7midst of the objects of science itself. The remotest discoveries of theChemist, the Botanist, the Mineralogist, will be as proper objects ofthe poet's art as any upon which it can be employed, if the timeshould ever come when these things shall be familiar to us, and therelations under which they are contemplated by the followers oftheir respective sciences shall be manifestly and palpably materialto us as enjoying and suffering beings. If the time should ever comewhen what is now called science, thus familiarized to men, shall beready to put on as it were a form of flesh and blood, the poet willlend his divine spirit to aid the transfiguration, and will welcomethe Being thus produced as a dear and genuine inmate of thehousehold of man."The noble prophecy has been nobly fulfilled. "Carryingsensation into the midst of the objects of science themselves," thepoets have made the great conceptions of modern science "dearand familiar inmates of the household of man." Their delicate useof scientific detail is no less marked than their superb rendering ofscientific generalizations. It is of course the wide vision of evolutionthat chiefly kindles their spirits. Nor need we wonder if some of thenoblest songs of triumph were chanted before science had utteredher knowledge aloud. For the imagination is ever prophetic; and ifscience opens the road to the poet, it is no less true that the poetagain and again opens the road to science. It seems as if every newthought stirred long in the unconscious soul of the race, and it werematter of indifference whether poetry or science first found thespoken word.As a matter of fact, the chief poetic passages which treat directlythe modern evolutionary conception are really prophetic, writtenbefore the new creed was fairly spoken. There are three great modernpassages dealing with the universe as a whole in relation to man:the second and fourth act of Shelley's "Prometheus Unbound,"written in 1819; the lines in the last act of Browning's "Paracelsus,"written in 1833; and cantos fifty-four to fifty-six, and one hundredand eighteen, in Tennyson's "In Memoriam," published in 1850."The Origin of Species" was not published till 1859, yet everyoneof these passages expresses a clear conception of evolution as
8Science and The Modern Poetsdistinct from the then current idea of spasmodic and specialcreations.In the bewildering second act of the "Prometheus Unbound,"the thought is 1'ather Hegelian than Darwinian. It is the vision of aspiritual evolution, gradually informing the unconscious universewith conscious life and love. In the fourth act, the radiant colloquybetween earth and moon renders with unparalleled grandeur thefull cosmic conception of the starry universe, and succeeds, witheven more freedom from anthropomorphism than Goethe in thePrologue to Faust, in giving a voice to pure inorganic Being. It iswith superb rush and sweep that the earth predicts the final victoriesof Science: " And the abyss shouts from her depth laid bare,Heaven, hast thou secrets? Man unveils me; 1 have none."The famous passage in Act V. of "Paracelsus," more distinct inits statement of natural, physical evolution, is also deeply religious,with a high Christian Pantheism."The centre-fire heaves underneath the earth,And the earth changes like a human face . . . Thus God dwells in all,From life's minute beginnings, up at lastTo man, the consummation of this schemeOf being, the completion of this sphereOf life: whose attributes had here and thereBeen scattered o'er the visible world before,Asking- to be combined - dim fragments meantTo be united in some wondrous whole,Imperfect qualities throughout creation,Suggesting some one creature yet to makeSome point where all those scattered rays should meet,Convergent in the faculties of man."Hints and previsions of which facultiesAre strewn confusedly everywhere aboutThe inferior natures; and all lead up higher,
Science and The Modem Poets9All shape out. dimly the superior nice,The heir of hopes too fair to turn out false,And Man appears at last: so far the seal,Is put on life; one stage of being complete,One scheme wound tip; and from the grand resultA supplementary reflux of lightIllustrates all the inferior grades, explainsEach back step in the circle."But Tennyson alone, writing nearer to the time when the newidea was definitely formulated for the public, has grasped the fullDarwinian conception. He passes, in the first phase of hisintellectual agony, under that brief shadow of horror lest matter beall and spirit naught which the new science cast at first over thesoul. The terrible indifference of Nature casts shudder and chillover his warm, blind trust: "She cries, ' A thousand types are gone,I care for nothing, all shall go. "'Later, when a great moral victory has been won, the intuition ofa universe informed with God and moving towards a divine thoughfar-off event is vouchsafed to the poet; and in the one hundred andeighteenth canto he sums up with marvelous conciseness the strictcreed of evolution, interpreting it in the light of immortality and ofGod. It is in these bitter cantos of conflict between natural law andthe mystery. of immortal love that the direct convictions of sciencefind their most interesting treatment in our modem verse. And it isin such poetry as this that we must look for the real use of science bythe modem imagination; not in Whitman's triumphant display ofraw material, nor in Zola's translation of life into physical terms.But the union of poet and scientist has gone even farther thanWordsworth foresaw. Not only has poetry invaded science, andcarried away new themes of cosmic scope; science has invadedpoetry. Passages treating directly of scientific subjects are rare inour poets, little holiday trips of the imagination, as it were, intoforeign lands. Yet we have hardly a modem poem, whatever itssubject, not thrilled through and through and modified in its veryfibre by consciousness of the great Law of Evolution.
10. Science and The Modern PoetsWould we trace the power of this consciousness, we have onlyto turn to our older literature and note the effect of its absence.Before the day of Wordsworth, the idea of cosmic evolution is,speaking broadly, unknown to poetry. The universe is stationary,except for surface vibration. Spenser, who more than any otherEnglish poet loved cosmic speculation, gives us in his fine fragmentof "Mutabilitee" the characteristic view. The Titaness, arrogant andsuperb, claims the world for her own, but, despite countless witnessesand brilliant argument, is condemned by Nature in significantlines:"I well consider all that ye have said,'And find that all things steadfastness do hate,And changed be; yet, being- rightly wayd,They are not changed from their first estate,But by their change their being do dilate,And, turning to themselves at length againe,Do work their own salvation so by Fate.Then over them change doth not rule and reigne,But they rule over change, and do their states maintain.""Turning to themselves againe." Rest, not onward movement,is the deepest law of nature and of life. The conception of aprogressive evolution had not dawned; it was not to dawn forcenturies.It was in the French Revolution that the idea of Progress entered.Conceived with defiant violence, it is quite unscientific, and appliednot to nature but to the narrow sphere of human history. The writersof the revolution brandish the idea as a flag, claim it vehemently asa right, but fail to recognize it serenely as a fact. Even Shelley neverdivests himself of the belief that redemption is to be achieved by aviolent and sudden overthrow of evil; his beautiful evolutionaryphilosophy is, as we have seen, mystically rather than materiallyconceived. It is with the Victorian age that the conception of progress,ceasing to be emotional and political, been me purely scientific. Thelatent idea swiftly grew to be the governing principle of art and life.The must leave the use of science as Subject; we must trace its valueas Influence. To this influence is due the one distinctive modern
Science and The Modem Poets11tone, common to all our poets from Wordsworth to Swinburne. Ourpoetry of character, of nature, and of thought is shaped by it; itsmessage, whatever the future may bring, has for our generationsunk below the region of conviction to that of intuition, and whileconvictions are of slight value to the imagination, intuitions areever vital.2. The Force-IdeaThe idea of a purposeful force at the heart of the world is thecentre of evolutionary thought; and it has transfigured poetry.Nowhere is its potency more manifest than in that worshipfulLiturgy of Nature chanted for the first time by the modem Englishpoets.Despite the blitheness of Dan Chaucer and many a gay little liltof spring and blossom, our older English poetry, meditating onnature, is characteristical
the poets of doubt in these latter days have gleaned what beauty may be found in that wan country, and while poets of art have sought escape from the lassitude of ideas, poets of faith have sung to us the triumph of the soul. Great powers have guided the movement of modern song; science, democracy, and the power of the historic past.
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