LITMIR.BIZ

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swings to the helm of mind. How should it be otherwise for a youth well-born, well-bred, in college air? Intellectual primacy showed itself to him in many wandering "loves", fine lover that he was; but in the end he was an intellectual lover, and the magnet seems to have been especially powerful in the ghosts of the men of "wit", Donne, Marvell—erudite lords of language, poets in another world than ours, a less "ample ether", a less "divine air", our fathers thought, but poets of "eternity". A quintessential drop of intellect is apt to be in poetic blood. How Platonism fascinates the poets, like a shining bait! Rupert Brooke will have none of it; but at a turn of the verse he is back at it, examining, tasting, refusing. In those alternate drives of the thought in his South Sea idyl (clever as tennis play) how he slips from phenomenon to idea and reverses, happy with either, it seems, "were t'other dear charmer away". How bravely he tries to free himself from the cling of earth, at the close of the "Great Lover"! How little he succeeds! His muse knew only earthly tongues—so far as he understood.

      Why this persistent cling to mortality—with its quick-coming cry against death and its heaped anathemas on the transformations of decay? It is the old story once more:—the vision of the first poets, the world that "passes away". The poetic eye of Keats saw it—

      "Beauty that must die,

       And Joy whose hand is ever at his lips

       Bidding adieu."

      The reflective mind of Arnold meditated it—

      "the world that seems

       To lie before us like a land of dreams,

       So various, so beautiful, so new,

       Hath really neither joy, nor love, nor light,

       Nor certitude, nor peace, nor help for pain."—

      So Rupert Brooke—

      "But the best I've known,

       Stays here, and changes, breaks, grows old, is blown

       About the winds of the world, and fades from brains

       Of living men, and dies.

       Nothing remains."

      And yet—

      "Oh, never a doubt but somewhere I shall wake;"

      again—

      "the light,

       Returning, shall give back the golden hours,

       Ocean a windless level. … "

      again, best of all, in the last word—

      "Still may Time hold some golden space

       Where I'll unpack that scented store

       Of song and flower and sky and face,

       And count, and touch, and turn them o'er,

       Musing upon them."

      He cannot forego his sensations, that "box of compacted sweets". He even forefeels a ghostly landscape where two shall go wandering through the night, "alone". So the faith that broke its chrysalis in the first disillusionment of boyhood, in "Second Best", beautiful with the burden of Greek lyricism, ends triumphant with the spirit still unsubdued. —

      "Proud, then, clear-eyed and laughing, go to greet

       Death as a friend."

      So go, "with unreluctant tread". But in the disillusionment of beauty and of love there is an older tone. With what bitter savor, with what grossness of diction, caught from the Elizabethan and satirical elements in his culture, he spends anger in words! He reacts, he rebels, he storms. A dozen poems hardly exhaust his gall. It is not merely that beauty and joy and love are transient, now, but in their going they are corrupted into their opposites—ugliness, pain, indifference. And his anger once stilled by speech, what lassitude follows!

      Life, in this volume, is hardly less evident by its ecstasy than by its collapse. It is a book of youth, sensitive, vigorous, sound; but it is the fruit of intensity, and bears the traits. The search for solitude, the relief from crowds, the open door into nature; the sense of flight and escape; the repeated thought of safety, the insistent fatigue, the cry for sleep;—all these bear confession in their faces. "Flight", "Town and Country", "The Voice", are eloquent of what they leave untold; and the climax of "Retrospect"—

      "And I should sleep, and I should sleep,"—

      or the sestet of "Waikiki", or the whole fainting sonnet entitled "A Memory", belong to the nadir of vitality. At moments weariness set in like a spiritual tide. I associate, too, with such moods, psychologically at least, his visions of the "arrested moment", as in "Dining-Room Tea"—a sort of trance state—or in the pendant sonnet. Analogous moods are not infrequent in the great poets. Rupert Brooke seems to have faltered, nervously, at times; these poems mirror faithfully such moments. But even when the image of life, imaginative or real, falters so, how essentially vital it still is, and clothed in an exquisite body of words like the traditional "rainbow hues of the dying fish"! For I cannot express too strongly my admiration of the literary sense of this young poet, and my delight in it. "All these have been my loves," he says, if I may repeat the phrase; but he seems to have loved the words, as much as the things—"dear names", he adds. The born man of letters speaks there. So, when his pulse is at its lowest, he cannot forget the beautiful surface of his South Sea idyls or of versified English gardens and lanes. He cared as much for the expression as for the thing, which is what makes a man of letters. So fixed is this habit that his art, truly, is independent of his bodily state. In his poems of "collapse" as in those of "ecstasy" he seems to me equally master of his mood—like those poets who are "for all time". His literary skill in verse was ripe, how long so ever he might have to live.

      II

      To come, then, to art, which is above personality, what of that? Art is, at most, but the mortal relic of genius; yet it is true of it that, like Ozymandias' statue, "nothing beside remains". Rupert Brooke was already perfected in verbal and stylistic execution. He might have grown in variety, richness and significance, in scope and in detail, no doubt; but as an artisan in metrical words and pauses, he was past apprenticeship. He was still a restless experimenter, but in much he was a master. In the brief stroke of description, which he inherited from his early attachment to the concrete; in the rush of words, especially verbs; in the concatenation of objects, the flow of things 'en masse' through his verse, still with the impulse of "the bright speed" he had at the source; in his theatrical impersonation of abstractions, as in "The Funeral of Youth", where for once the abstract and the concrete are happily fused;—in all these there are the elements, and in the last there is the perfection, of mastery. For one thing, he knew how to end. It is with him a dramatic secret. The brief stroke does this work time and time again in his verse, nowhere better than in "at dead YOUTH's funeral:" all were there—

      "All, except only LOVE—LOVE had died long ago."

      The poem is like a vision of an old time MASQUE:—

      "The sweet lad RHYME"——

       "ARDOUR, the sunlight on his greying hair"——

       "BEAUTY … pale in her black; dry-eyed, she stood alone."

      How vivid! The lines owe something to his eye for costume, for staging; but, as mere picture writing, it is as firm as if carved on an obelisk. And as he reconciled concrete and abstract here, so he had left his short breath, in those earlier lines, behind, and had come into the long sweep and open water of great style:—

      "And light on waving grass, he knows not when,

       And feet that ran, but where, he cannot tell."

      Or;—

      "And feel, who have laid our groping hands away;

       And see, no longer blinded by our eyes,"

      Or, more briefly—

      "In wise majestic melancholy train."

      And this—

      "And evening hush broken by homing wings,"

      Such lines as these, apart from

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