LITMIR.BIZ

      Table of Contents

       The Narrow Bridge of Art.

       Hours in a Library.

       Impassioned Prose.

       Life and the Novelist.

       On Rereading Meredith.

       The Anatomy of Fiction.

       Gothic Romance.

       The Supernatural in Fiction.

       Henry James’s Ghost Stories.

       A Terribly Sensitive Mind.

       Women and Fiction.

       An Essay in Criticism.

       Phases of Fiction.

       The Truth-Tellers

       The Romantics

       The Psychologists

       The Satirists and Fantastics

       The Poets

The Narrow Bridge of Art.

       Table of Contents

      Far the greater number of critics turn their backs upon the present and gaze steadily into the past. Wisely, no doubt, they make no comment upon what is being actually written at the moment; they leave that duty to the race of reviewers whose very title seems to imply transiency in themselves and in the objects they survey. But one has sometimes asked oneself, must the duty of the critic always be to the past, must his gaze always be fixed backward? Could he not sometimes turn round and, shading his eyes in the manner of Robinson Crusoe on the desert island, look into the future and trace on its mist the faint lines of the land which some day perhaps we may reach? The truth of such speculations can never be proved, of course, but in an age like ours there is a great temptation to indulge in them. For it is an age clearly when we are not fast anchored where we are; things are moving round us; we are moving ourselves. Is it not the critic’s duty to tell us, or to guess at least, where we are going?

      Obviously the inquiry must narrow itself very strictly, but it might perhaps be possible in a short space to take one instance of dissatisfaction and difficulty, and, having examined into that, we might be the better able to guess the direction in which, when we have surmounted it, we shall go.

      Nobody indeed can read much modern literature without being aware that some dissatisfaction, some difficulty, is lying in our way. On all sides writers are attempting what they cannot achieve, are forcing the form they use to contain a meaning which is strange to it. Many reasons might be given, but here let us select only one, and that is the failure of poetry to serve us as it has served so many generations of our fathers. Poetry is not lending her services to us nearly as freely as she did to them. The great channel of expression which has carried away so much energy, so much genius, seems to have narrowed itself or to have turned aside.

      That is true only within certain limits of course; our age is rich in lyric poetry; no age perhaps has been richer. But for our generation and the generation that is coming the lyric cry of ecstasy or despair, which is so intense, so personal, and so limited, is not enough. The mind is full of monstrous, hybrid, unmanageable emotions. That the age of the earth is 3,000,000,000 years; that human life lasts but a second; that the capacity of the human mind is nevertheless boundless; that life is infinitely beautiful yet repulsive; that one’s fellow creatures are adorable but disgusting; that science and religion have between them destroyed belief; that all bonds of union seem broken, yet some control must exist—it is in this atmosphere of doubt and conflict that writers have now to create, and the fine fabric of a lyric is no more fitted to contain this point of view than a rose leaf to envelop the rugged immensity of a rock.

      But when we ask ourselves what has in the past served to express such an attitude as this—an attitude which is full of contrast and collision; an attitude which seems to demand the conflict of one character upon another, and at the same time to stand in need of some general shaping power, some conception which lends the whole harmony and force, we must reply that there was a form once, and it was not the form of lyric poetry; it was the form of the drama, of the poetic drama of the Elizabethan age. And that is the one form which seems dead beyond all possibility of resurrection to-day.

      For if we look at the state of the poetic play we must have grave doubts that any force on earth can now revive it. It has been practised and is still practised by writers of the highest genius and ambition. Since the death of Dryden every great poet it seems has had his fling. Wordsworth and Coleridge, Shelley and Keats, Tennyson, Swinburne, and Browning (to name the dead only) have all written poetic plays, but none has succeeded. Of all the plays they wrote, probably only Swinburne’s Atalanta and Shelley’s Prometheus are still read, and they less frequently than other works by the same writers. All the rest have climbed to the top shelves of our bookcases, put their heads under their wings, and gone to sleep. No one will willingly disturb those slumbers.

      Yet it is tempting to try to find some explanation of this failure in case it should throw light upon the future which we are considering. The reason why poets can no longer write poetic plays lies somewhere perhaps in this direction.

      There is a vague, mysterious thing called an attitude toward life. We all know people—if we turn from literature to life for a moment—who are at loggerheads with existence; unhappy people who never get what they want; are baffled, complaining, who stand at an uncomfortable angle whence they see everything askew. There are others again who, though they appear perfectly content, seem to have lost all touch with reality. They lavish all their affections upon little dogs and old china. They take interest in nothing but the vicissitudes of their own health and the ups and downs of social snobbery. There are, however, others who strike us, why precisely

Скачать книгу