LITMIR.BIZ

Скачать книгу

and that Hegel did deliberately consider the ancient form the more satisfactory. It would not follow, of course, from that opinion that he thought the advantage was all on one side, or considered this or that ancient poet greater than this or that modern, or wished that modern poets had tried to write tragedies of the Greek type. Tragedy would, in his view, be in somewhat the same position as Sculpture. Renaissance sculpture, he might say, has qualities in which it is superior to Greek, and Michael Angelo may have been as great an artist as Pheidias; but all the same for certain reasons Greek sculpture is, and probably will remain, sculpture par excellence. So, though not to the same extent, with tragedy.

      And such a view would cohere with his general view of Art. For he taught that, in a sense, Classical Art is Art par excellence, and that in Greece beauty held a position such as it never held before and will not hold again. To explain in a brief note how this position bears upon his treatment of modern tragedy would be impossible: but if the student of Hegel will remember in what sense and on what grounds he held it; that he describes Beauty as the ‘sinnliches Scheinen der Idee’; that for him the new idea that distinguished Christianity and Romantic Art from Greek religion and Classical Art is that ‘unendliche Subjektivität’ which implies a negative, though not merely negative, relation to sense; and that in Romantic Art this idea is not only exhibited in the religious sphere, but appears in the position given to personal honour, love, and loyalty, and indirectly in what Hegel calls ‘die formelle Selbstständigkeit der individuellen Besonderheiten,’ and in the fuller admission of common and un-beautiful reality into the realm of Beauty, – he will see how all this is connected with those characteristics of modern tragedy which Hegel regards as necessary and yet as, in part, drawbacks. This connection, which Hegel has no occasion to work out, will be apparent even from consideration of the introductory chapter on ‘die romantische Kunstform,’ Aesthetik, ii. 120-135.

      There is one marked difference, I may add, between ancient and modern tragedy, which should be considered with reference to this subject, and which Hegel, I think, does not explicitly point out. Speaking roughly, we may say that the former includes, while the latter tends to ignore, the accepted religious ideas of the time. The ultimate reason of this difference, on Hegel’s view, would be that the Olympian gods are themselves the ‘sinnliches Scheinen der Idee,’ and so are in the same element as Art, while this is, on the whole, not so with modern religious ideas. One result would be that Greek tragedy represents the total Greek mind more fully than modern tragedy can the total modern mind.

       WORDSWORTH 38

      ‘Never forget what, I believe, was observed to you by Coleridge, that every great and original writer, in proportion as he is great or original, must himself create the taste by which he is to be relished; he must teach the art by which he is to be seen… My ears are stone-dead to this idle buzz, and my flesh as insensible as iron to these petty stings.’ These sentences, from a letter written by Wordsworth to Lady Beaumont in 1807, may remind us of the common attitude of his reviewers in the dozen years when most of his best poetry was produced. A century has gone by, and there is now no English poet, either of that period or of any other, who has been the subject of criticism more just, more appreciative, we may even say more reverential. Some of this later criticism might have satisfied even that sense of wonder, awe, and solemn responsibility with which the poet himself regarded the operation of the spirit of poetry within him; and if we desire an interpretation of that spirit, we shall find a really astonishing number of excellent guides. Coleridge, Hazlitt, Arnold, Swinburne, Brooke, Myers, Pater, Lowell, Legouis, – how easy to add to this list of them! Only the other day there came another, Mr. Walter Raleigh. And that the best book on an English poet that has appeared for some years should be a study of Wordsworth is just what might have been expected. The whirligig of time has brought him a full revenge.

      I have no idea of attempting in these two lectures another study, or even an estimate, of Wordsworth. My purpose is much more limited. I think that in a good deal of current criticism, and also in the notions of his poetry prevalent among general readers, a disproportionate emphasis is often laid on certain aspects of his mind and writings. And I should like to offer some words of warning as to this tendency, and also some advice as to the spirit in which he should be approached. I will begin with the advice, though I am tempted at the last moment to omit it, and simply to refer you to Mr. Raleigh, who throughout his book has practised what I am about to preach.

1

      There have been greater poets than Wordsworth, but none more original. He saw new things, or he saw things in a new way. Naturally, this would have availed us little if his new things had been private fancies, or if his new perception had been superficial. But that was not so. If it had been, Wordsworth might have won acceptance more quickly, but he would not have gained his lasting hold on poetic minds. As it is, those in whom he creates the taste by which he is relished, those who learn to love him (and in each generation they are not a few), never let him go. Their love for him is of the kind that he himself celebrated, a settled passion, perhaps ‘slow to begin,’ but ‘never ending,’ and twined around the roots of their being. And the reason is that they find his way of seeing the world, his poetic experience, what Arnold meant by his ‘criticism of life,’ to be something deep, and therefore something that will hold. It continues to bring them joy, peace, strength, exaltation. It does not thin out or break beneath them as they grow older and wiser; nor does it fail them, much less repel them, in sadness or even in their sorest need. And yet – to return to our starting-point – it continues to strike them as original, and something more. It is not like Shakespeare’s myriad-mindedness; it is, for good or evil or both, peculiar. They can remember, perhaps, the day when first they saw a cloud somewhat as Wordsworth saw it, or first really understood what made him write this poem or that; his unique way of seeing and feeling, though now familiar and beloved, still brings them not only peace, strength, exaltation, but a ‘shock of mild surprise’; and his paradoxes, long known by heart and found full of truth, still remain paradoxes.

      If this is so, the road into Wordsworth’s mind must be through his strangeness and his paradoxes, and not round them. I do not mean that they are everywhere in his poetry. Much of it, not to speak of occasional platitudes, is beautiful without being peculiar or difficult; and some of this may be as valuable as that which is audacious or strange. But unless we get hold of that, we remain outside Wordsworth’s centre; and, if we have not a most unusual affinity to him, we cannot get hold of that unless we realise its strangeness, and refuse to blunt the sharpness of its edge. Consider, for example, two or three of his statements; the statements of a poet, no doubt, and not of a philosopher, but still evidently statements expressing, intimating, or symbolising, what for him was the most vital truth. He said that the meanest flower that blows could give him thoughts that often lie too deep for tears. He said, in a poem not less solemn, that Nature was the soul of all his moral being; and also that she can so influence us that nothing will be able to disturb our faith that all that we behold is full of blessings. After making his Wanderer tell the heart-rending tale of Margaret, he makes him say that the beauty and tranquillity of her ruined cottage had once so affected him

      That what we feel of sorrow and despair

      From ruin and from change, and all the grief

      The passing shows of Being leave behind,

      Appeared an idle dream, that could not live

      Where meditation was.

      He said that this same Wanderer could read in the silent faces of the clouds unutterable love, and that among the mountains all things for him breathed immortality. He said to ‘Almighty God,’

      But thy most dreaded instrument

      For working out a pure intent

      Is Man arrayed for mutual slaughter;

      Yea, Carnage is thy daughter.

      This last, it will be agreed, is a startling statement; but is it a whit more extraordinary than the others? It is so only if we assume that we are familiar with thoughts that lie too deep for tears, or if we translate ‘the soul of all my moral being’ into ‘somehow concordant with my moral feelings,’ or convert ‘all that we behold’ into ‘a good deal that we behold,’

Скачать книгу