Imaginations and Reveries Part 3

1906

AN ARTIST OF GAELIC IRELAND

The art of Hone and the elder Yeats, while in spirit filled with a sentiment which was the persistence of ancient moods into modern times, still has not the external characteristics of Gaeldom; but looking at the pictures of the younger Yeats it seemed to me that for the first time we had something which could be called altogether Gaelic. The incompleteness of the sketches suggests the term "folk" as expressing exactly the inspiration of this very genuine art. We have had abundance of Irish folk-lore, but we knew nothing of folk-art until the figures of Jack Yeats first romped into our imagination a few years ago. It was the folk-feeling lit up by genius and interpreted by love. It was not, and is now less than ever, the patronage bestowed by the intellectual artist on the evidently picturesque forms of a life below his own.

I suspect Jack Yeats thinks the life of the Sligo fisherman is as good a method of life as any, and that he could share it for a long time without being in the least desirous of a return to the comfortable life of convention. The name of Muglas Hyde suggests itself to me as a literary parallel. These sketches have all the prodigality of invention, the exuberance of gesture, and animation of "The Twisting of the Rope,"

and the poetry is of as high or higher an order. In the drawing called "Midsummer Eve" there is a mystery which is not merely the mystery of night and shadow. It is the mystery of the mingling of spirit with spirit which is suggested by the solitary figure with face upturned to the stars. We have all memories of such summer nights when into the charmed heart falls the enchantment we call ancient, though the days have no fellows, nor will ever have any, when the earth glows with the dusky hues of rich pottery, and the stars, far withdrawn into faery alt.i.tudes, dance with a gaiety which is more tremendous and solemn than any repose. The night of this picture is steeped in such a dream, and I know not whether it is communicated, or a feeling arising in myself; but there seems everywhere in it the breathing of life, subtle, exultant, penetrating. It is conceived in the mood of awe and prayer, which makes Millet's pictures as religious as any whichever hung over the altar, for surely the "Angelus" is one of the most spiritual of pictures, though the peasants bow their heads and worship in a temple not built with hands. I do not, of course, compare otherwise than in the mood the "Midsummer Eve" to such a masterpiece; but there is a kinship between the beauty revealed in great and in little things, and our thought turns from the stars to the flowers with no feeling of descent into an alien world. But this mood is rare in life as in art, and it is only occasionally that the younger Yeats becomes the interpreter of the spirituality of the peasant. He is more often the recorder of the extravagant energies of the race-course and the market-place, where he finds herded together all the grotesque humors of West Irish life.

We recognize his figures as distinctly Irish. Here the old rollicking Lever and Lover type of Irishmen reappear, hunting like the very devil, with faces set in the last ecstasy of rapid motion. There is an excess of energy in these furious riders which almost gives them a symbolic character. They seem to ride on some pa.s.sionate business of the soul rather than for any transitory excitement of the body. And besides these wild horse-men there are quiet and lovely figures like "A Mother of the Rosses," holding her child to her breast in an opalescent twilight, through which the boat that carries her moves. There are always large and n.o.ble outlines, which suggest that if Jack Yeats had more grandiose ambitions he might have been the Millet of Irish rural life, but he is too much the symbolist, hating all but essentials, to elaborate his art.

In writing of Jack Yeats mention must be made of his black and white work, which at its best has a primitive intensity. The lines have a kind of Gothic quality, reminding one of the rude glooms, the lights and lines of some half-barbarian cathedral. They are very expressive and never undecided. The artist always knows what he is going to do. There is no doubt he has a clear image before him when he takes up pen or brush. A strong will is always directing the strong lines, forcing them to repeat an image present to the inner eye. In his early days Jack Yeats loafed about the quays at Sligo, and we may be sure he was at all the races, and paid his penny to go into the side-shows, and see the freaks, the Fat Woman and the Skeleton Man. It was probably at this period of his life he was captured by pirates of the Spanish Main. My remembrance of Irish county towns at that time is that no literature flourished except the Penny Dreadful and the local press. I may be doing Jack Yeats an injustice when hailing him at the beginning of a fascinating career I yet suspect a long background of Penny Dreadfuls behind it. How else could he have drawn his pirates? They are the only pirates in art who manifest the true pride, glory, beauty, and terror of their calling as the romantic heart of childhood conceives of it. The pirate has been lifted up to a strange kind of poetry in some of Jack Yeats' pictures. I remember one called "Walking the Plank." The solemn theatrical face, lifted up to the blue sky in a last farewell to the wild world and its lawless freedom, haunted me for days. There was also a pen-and-ink drawing I wish I could reproduce here. A young buccaneer, splendid in evil bravery, leaned across a bar where a strange, beastly, little, old, withered, rat-like figure was drawing the drink. The little figure was like a devil with the soul all concentrated into malice, and the whole picture affected one with terror like a descent into some ferocious human h.e.l.l.

In all these figures, pirates or peasants, there is an ever present suggestion of poetry; it is in the skies, or in the distance, or in the colors; and these people who laugh in the fairs will have after hours as solemn as the quiet star-gazer in the "Midsummer Eve." This poetry is evident in the oddest ways, and escapes a.n.a.lysis, so elusive and so original is it, as in the "Street of Shows." Nothing at first thought seems more hopelessly remote from poetry than the country circus, with its lurid posters of the Giant Schoolgirl, the Petrified Man, and the Mermaid, all in strong sunlight; but the heart carries with it its own mood, and this flaring scene has undergone some indefinite transformation by the alchemy of genius, and it a.s.sumes the character of a fairy tale or Arabian Nights Entertainment imagined in the fantastic dreams of childhood. The sleepy doorkeeper is a goblin or gnome. Perhaps the charm of it all is that it is so evidently illusion, for when the heart is strong in its own surety it can look out on the world, and smile on things which would be unendurable if felt to be permanent, knowing they are only dreams.

Many of these sketches have a largeness, almost a n.o.bility, of conception, which is, I think, a gift from father to son. "After the Harvest's Saved" is something elemental. The "Post-car" suggests the horses of the sun, or the stage coach in De Quincey's extraordinary dream, when the opium had finally rioted in his brain, and transformed his stage-coach into a chariot carrying news of some everlasting victory. Blake has said "exuberance is genius," and there is an excess of energy or pa.s.sion, or a dilation of the forms, or a peace deeper than mere quietude in the figures of Mr. Yeats' pictures, which gives them that symbolic character which genius always impresses on its works.

The coloring grows better every year; it is more varied and purer. It is sometimes sombre, as in the tragic and dramatic "Simon the Cyrenian,"

and sometimes rich and flowerlike, but always charged with sentiment, and there is a curious fitness in it even when it is evidently unreal.

These blues and purples and pale greens--what crowd ever seemed clad in such twilight colors? And yet we accept it as natural, for this opalescence is always in the mist-laden air of the West; it enters into the soul today as it did into the soul of the ancient Gael, who called it Ildathach--the many-colored land; it becomes part of the atmosphere of the mind; and I think Mr. Yeats means here to express, by one of the inventions of genius, that this dim radiant coloring of his figures is the fitting symbol of the fairyland which is in their hearts. I have not felt so envious of any artist's gift for a long time; not envy of his power of expression, but of his way of seeing things. We are all seeking today for some glimpse of the fairyland our fathers knew; but all the fairylands, the Silver Cloud World, the Tirnanoge, the Land of Heart's Desire, rose like dreams out of the human soul, and in tracking them there Mr. Yeats has been more fortunate than us all, for he has come to the truth, perhaps hardly conscious of it himself.

1902

TWO IRISH ARTISTS

It is unjust to an artist to write on the spur of the moment of his work--of the just seen picture which pleases or displeases. For what instantly delights the eye may never win its way into the heart, and what repels at first may steal later on into the understanding, and find its interpretation in a deeper mood. The final test of a picture, or of any work of art, is its power of enduring charm. There are many circles in the Paradise of Beautiful Memories, and half unconsciously, but with a justice, we at last place each in its hierarchy, remote or near to the centre of our being; and I propose here rather to speak of the impression left in my memory after seeing the work of Yeats and Hone for many years, than to describe in detail the pictures--some new, some familiar--which by a happy thought have been gathered together for exhibition. To tell an artist that you remember his pictures with love after many years is the highest praise you can give him; and to distinguish the impression produced from others is a pleasure I am glad to be here allowed.

An artist like Mr. Yeats, whose main work has been in portraiture, must often find himself before sitters with whom he has little sympathy, and we all expect to find portraits which do not interest us, because the interpreter has been at fault, and has failed in his vision. With the born craftsman, who always gives us beautiful brushwork, we do not expect these inequalities, but with Mr. Yeats technical power is not the most prominent characteristic. He broods or dreams over his sitters, and his meditation always tends to the discovery of some spiritual or intellectual life in them, or some hidden charm in the nature, or something to love; and if he finds what he seeks, we are sure, not always of a complete picture, but of a poetic illumination, a revelation of character, a secret sweetness for which we forgive the weakness or indecision manifest here and there, and which are relics of the hours before the final surety was attained.

I do not know what Mr. Yeats' philosophy of life is, but in his work he has been over-mastered by the spirit of his race, and he belongs to those who from the earliest dawn of Ireland have sought for the Heart's Desire, and who have refined away the world, until only fragments remained to them. They have not accepted life as it is, and Mr. Yeats could not paint like Reynolds or Romney the beauty of every day in its best attire. He is like the Irish poets who have rarely left a complete description of women, but who speak of some transitory motion or fragile charm--"a thin palm like foam of the sea," "a white body," or in such vague phrases, until it seems a spirit is praised and not flesh and blood. I remember the faces of women and children in his pictures where everything is blurred or obscured, save faces which have a nameless charm. They look at you with long-remembered glances out of the brooding hour of twilight, out of reverie and dream. It is the hidden heart which looks out, and we love these women and children for this, for surely the heart's desire is its own secret.

His portraits of men have kindred qualities, and the magnificent picture of John O'Leary shows him at his best. It is itself a symbol of the movement of which O'Leary was the last great representative. The stately patriarchal head of the old chief is the head of the idealist, so sure of his own truth that he must act, and, if needs be, become the martyr for his ideal. But the delicate hands are not the hands of an empire-breaker. This portrait will probably find its last resting-place in the National Gallery, where, with a curious irony, the Government places the portraits of the dead rebels who gave its statesmen many an anxious day and many a nightmare; and so it will go on, perhaps, until the contemplation of these pictures inspires some boy with an equal or better head and a stronger hand, and then--.

But to return to Mr. Yeats. Some earlier pictures show him attempting to paint directly the ideal world of romance and poetry; yet interesting as these are, they do not convey the same impression of mystery as the pictures of today. Indeed, the light seen behind or through a veil is always more suggestive than the unveiled light. It may be that the spirit is a formless breath which pervades form, and it is better revealed as a light in the eyes, as a brooding expression, than by the choice of ancient days and other-world subjects, where the shapes can be molded to ideal forms by the artist's will. However it is, it is certain that Millet, the realist, is more spiritual than Moreau or Burne-Jones for all their archaic design; and Mr. Yeats, who, as his King Goll shows, might have been a great romantic painter, has probably chosen wisely, and has painted more memorable pictures than if he had gone back to the fairyland of Celtic mythology.

To turn from Yeats to Hone is to turn from the lighted hearth to the wilderness. Humanity is very far away, or is huddled up under immense skies, where it seems of less importance than the rocks. The earth on which men have lived, where the work of their hand is evident, with all the sentiment of the presence of man, with smoke arising from numberless homes, is foreign to Mr. Hone. The monsters of the primeval world might sprawl on the rocks, for all the evidence of lapse of time since their day, in many of his pictures. He, too, has refined away his world until only fragments of the earth remain to him where he can dream in; and these are waste places, where the salt of the sea is in the wind, and the skies are gray and vapor-laden, or the loneliness of dim twilights are over level sands. Whatever else he paints is devoid of its proper interest, for he seems to impose on the cattle in the fields and on the habitable places a sentiment alien to their nature. He has a mind with but one impressive mood, and his spirit is never kindled, save in the society where none intrude; but in his own domain he is a master, and is always sure of himself and his effect. There is no tentative, undecisive brushwork, such as we often see in the subtle search for the unrevealed, which makes or mars Mr. Yeats' work. He is at home in his peculiar world, while the other is always seeking for it.

"A Sunset on Malahide Sands" shows a greater intensity than is usual even in Mr. Hone's work. There is something thrilling in this twilight trembling over the deserted world. Philosophies may prove very well in the lecture-room, says Whitman, and not prove at all under the sky and stars. Pictures likewise may seem beautiful in a gallery, yet look thin and unreal where, with a turn of the head, one could look out at the pictures created hour after hour by the Master of the Beautiful; but there is some magic in this vision made up of elemental light, darkness, and loneliness, and we feel awed as if we knew the Spirit was hidden in His works. But primitive as this peculiar world is, and remote from humanity, it is just here we find a human revelation; for is not all art a symbol of the creative mind, and if we were wise enough we would understand that in art the light on every cloud, and the clear s.p.a.ces above the cloud, and the shadows of the earth beneath are made out of the lights, infinitudes, and shadows of the soul, and are selected from nature because of some correspondence, unconscious or half felt. But these things belong more to the psychology of the artist mind than to the appreciation of its work. I have said enough, I hope, to attract to the work of these artists, in a mood of true understanding, those who would like to believe in the existence in Ireland of a genuine art. For ignored and uncared for as art is, we have some names to be proud of, and of these Mr. Yeats and Mr. Hone are foremost.

1902

"ULSTER"

AN OPEN LETTER TO MR. RUDYARD KIPLING

I Speak to you, brother, because you have spoken to me, or rather you have spoken for me. I am a native of Ulster. So far back as I can trace the faith of my forefathers they held the faith for whose free observance you are afraid.

I call you brother, for so far as I am known beyond the circle of my personal friends it is as a poet. We are not a numerous tribe, but the world has held us in honor, because on the whole in poetry is found the highest and sincerest utterance of man's spirit. In this manner of speaking if a man is not sincere his speech betrayeth him, for all true poetry was written on the Mount of Transfiguration, and there is revelation in it and the mingling of heaven and earth. I am jealous of the honor of poetry, and I am jealous of the good name of my country, and I am impelled by both emotions to speak to you.

You have blood of our race in you, and you may, perhaps, have some knowledge of Irish sentiment. You have offended against one of our n.o.blest literary traditions in the manner in which you have published your thoughts. You begin by quoting Scripture. You preface your verses on Ulster by words from the mysterious oracles of humanity as if you had been inflamed and inspired by the prophet of G.o.d; and you go on to sing of faith in peril and patriotism betrayed and the danger of death and oppression by those who do murder by night, which things, if one truly feels, he speaks of without consideration of commerce or what it shall profit him to speak. But you, brother, have withheld your fears for your country and mine until they could yield you a profit in two continents.

After all this high speech about the Lord and the hour of national darkness it shocks me to find this following your verses: "Copyrighted in the United States of America by Rudyard Kipling." You are not in want. You are the most successful man of letters of your time, and yet you are not above making profit out of the perils of your country.

You ape the lordly speech of the prophets, and you conclude by warning everybody not to reprint your words at their peril. In Ireland every poet we honor has dedicated his genius to his country without gain, and has given without stint, without any n.i.g.g.ardly withholding of his gift when his nation was dark and evil days. Not one of our writers, when deeply moved about Ireland, has tried to sell the gift of the spirit.

You, brother, hurt me when you declare your principles, and declare a dividend to yourself out of your patriotism openly and at the same time.

I would not reason with you, but that I know there is something truly great and n.o.ble in you, and there have been hours when the immortal in you secured your immortality in literature, when you ceased to see life with that hard cinematograph eye of yours, and saw with the eyes of the spirit, and power and tenderness and insight were mixed in magical tales. But you were far from the innermost when you wrote of my countrymen us you did.

I have lived all my life in Ireland, holding a different faith from that held by the majority. I know Ireland as few Irishmen know it, county by county, for I traveled all over Ireland for years, and, Ulster man as I am, and proud of the Ulster people, I resent the crowning of Ulster with all the virtues and the dismissal of other Irishmen as thieves and robbers. I resent the cruelty with which you, a stranger, speak of the lovable and kindly people I know.

You are not even accurate in your history when you speak of Ulster's traditions and the blood our forefathers spilt. Over a century ago Ulster was the strong and fast place of rebellion, and it was in Ulster that the Volunteers stood beside their cannon and wrung the gift of political freedom for the Irish Parliament. You are blundering in your blame. You speak of Irish greed in I know not what connection, unless you speak of the war waged over the land; and yet you ought to know that both parties in England have by Act after Act confessed the absolute justice and rightness of that agitation, Unionist no less than Liberal, and both boast of their share in answering the Irish appeal. They are both proud today of what they did. They made inquiry into wrong and redressed it. But you, it seems, can only feel sore and angry that intolerable conditions imposed by your laws were not borne in patience and silence. For what party do you speak? What political ideal inspires you? When an Irishman has a grievance you smite him. How differently would you have written of Runnymede and the valiant men who rebelled when oppressed. You would have made heroes out of them. Have you no soul left, after admiring the rebels in your own history, to sympathize with other rebels suffering deeper wrongs? Can you not see deeper into the motives for rebellion than the hireling reporter who is sent to make up a case for the paper of a party? The best men in Ulster, the best Unionists in Ireland will not be grateful to you for libeling their countrymen in your verse. For, let the truth be known, the ma.s.s of Irish Unionists are much more in love with Ireland than with England. They think Irish Nationalists are mistaken, and they fight with them and use hard words, and all the time they believe Irishmen of any party are better in the sight of G.o.d than Englishmen. They think Ireland is the best country in the world to live in, and they hate to hear Irish people spoken of as murderers and greedy scoundrels. Murderers! Why, there is more murder done in any four English shires in a year than in the whole of the four provinces of Ireland! Greedy! The nation never accepted a bribe, or took it as an equivalent or payment for an ideal, and what bribe would not have been offered to Ireland if it had been willing to forswear its traditions.

I am a person whose whole being goes into a blaze at the thought of oppression of faith, and yet I think my Catholic countrymen more tolerant than those who hold the faith I was born in. I am a heretic judged by their standards, a heretic who has written and made public his heresies, and I have never suffered in friendship or found my heresies an obstacle in life. I set my knowledge, the knowledge of a lifetime, against your ignorance, and I say you have used your genius to do Ireland and its people a wrong. You have intervened in a quarrel of which you do not know the merits like any brawling bully, who pa.s.ses, and only takes sides to use his strength. If there was a high court of poetry, and those in power jealous of the n.o.ble name of poet, and that none should use it save those who were truly Knights of the Holy Ghost, they would hack the golden spurs from your heels and turn you out of the Court. You had the ear of the world and you poisoned it with prejudice and ignorance. You had the power of song, and you have always used it on behalf of the strong against the weak. You have smitten with all your might at creatures who are frail on earth but mighty in the heavens, at generosity, at truth, at justice, and heaven has withheld vision and power and beauty from you, for this your verse is but a shallow newspaper article made to rhyme. Truly ought the golden spurs to be hacked from your heels and you be thrust out of the Court.

1912

IDEALS OF THE NEW RURAL SOCIETY

For a country where political agitations follow each other as rapidly as plagues in an Eastern city, it is curious how little constructive thought we can show on the ideals of a rural civilization. But economic peace ought surely to have its victories to show as well as political war. I would a thousand times rather dwell on what men and women working together may do than on what may result from majorities at Westminster.

The beauty of great civilizations has been built up far more by the people working together than by any corporate action of the State. In these socialistic days we grow pessimistic about our own efforts and optimistic about the working of the legislature. I think we do right to expect great things from the State, but we ought to expect still greater things from ourselves. We ought to know full well that, if the State did twice as much as it does, we shall never rise out of mediocrity among the nations unless we have unlimited faith in the power of our personal efforts to raise and transform Ireland, and unless we translate the faith into works. The State can give a man an economic holding, but only the man himself can make it into Earthly Paradise, and it is a dull business, unworthy of a being made in the image of G.o.d, to grind away at work without some n.o.ble end to be served, some glowing ideal to be attained.

Ireland is a horribly melancholy and cynical country. Our literary men and poets, who ought to give us courage, have taken to writing about the Irish as people who "went forth to battle, but always fell,"

sentimentalizing over incompetence instead of invigorating us and liberating us and directing our energies. We have developed a new and clever school of Irish dramatists who say they are holding up the mirror to Irish peasant nature, but they reflect nothing but decadence. They delight in the broken lights of insanity, the ruffian who beats his wife, the weakling who is unfortunate in love and who goes and drinks himself to death, while the little decaying country towns are seized on with avidity and exhibited on the stage in every kind of decay and human futility and meanness. Well, it is good to be chastened in spirit, but it is a thousand times better to be invigorated in spirit. To be positive is always better than to be negative. These writers understand and sympathize with Ireland more through their lower nature than their higher nature. Judging by the things people write in Ireland, and by what they go to see performed on the stage, it is more pleasing to them to see enacted characters they know are meaner than themselves than to see characters which they know are n.o.bler than themselves.

All this is helping on our national pessimism and self-mistrust. It helps to fix these features permanently in our national character, which were excusable enough as temporary moods after defeat. The younger generation should hear nothing about failures. It should not be hypnotized into self-contempt. Our energies in Ireland are sapped by a cynical self-mistrust which is spread everywhere through society. It is natural enough that the elder generation, who were promised so many millenniums, but who actually saw four million people deducted from the population, should be cynical. But it is not right they should give only to the younger generation the heritage of their disappointments without any heritage of hope. From early childhood parents and friends are hypnotizing the child into beliefs and unbeliefs, and too often they are exiling all n.o.bility out of life, all confidence, all trust, all hope; they are insinuating a mean self-seeking, a self-mistrust, a vulgar spirit which laughs at every high ideal, until at last the hypnotized child is blinded to the presence of any beauty or n.o.bility in life. No country can ever hope to rise beyond a vulgar mediocrity where there is not unbounded confidence in what its humanity can do. The self-confident American will make a great civilization yet, because he believes with all his heart and soul in the future of his country and in the powers of the American people. What Whitman called their "barbaric yawp" may yet turn into the lordliest speech and thought, but without self-confidence a race will go no whither. If Irish people do not believe they can equal or surpa.s.s the stature of any humanity which has been upon the globe, then they had better all emigrate and become servants to some superior race, and leave Ireland to new settlers who may come here with the same high hopes as the Pilgrim Fathers had when they went to America.

We must go on imagining better than the best we know. Even in their ruins now, Greece and Italy seem n.o.ble and beautiful with broken pillars and temples made in their day of glory. But before ever there was a white marble temple shining on a hill it shone with a more brilliant beauty in the mind of some artist who designed it. Do many people know how that marvelous Greek civilization spread along the sh.o.r.es of the Mediterranean? Little nations owning hardly more land than would make up an Irish barony sent out colony after colony. The seed of beautiful life they sowed grew and blossomed out into great cities and half-divine civilizations. Italy had a later blossoming of beauty in the Middle Ages, and travelers today go into little Italian towns and find them filled with masterpieces of painting and architecture and sculpture, witnesses of a time when nations no larger than an Irish county rolled their thoughts up to Heaven and miked their imagination with the angels.

Can we be contented in Ireland with the mean streets of our country towns and the sordid heaps of our villages dominated in their economics by the vendors of alcohol, and inspired as to their ideals by the vendors of political animosities?

I would not mind people fighting in a pa.s.sion to get rid of all that barred some lordly scheme of life, but quarrels over political bones from which there is little or nothing wholesome to be picked only disgust. People tell me that the countryside must always be stupid and backward, and I get angry, as if it were said that only townspeople had immortal souls, and it was only in the city that the flame of divinity breathed into the first men had any un.o.bscured glow. The countryside in Ireland could blossom into as much beauty as the hillsides in mediaeval Italy if we could but get rid of our self-mistrust. We have all that any race ever had to inspire them, the heavens overhead, the earth underneath, and the breath of life in our nostrils. I would like to exile the man who would set limits to what we can do, who would take the crown and sceptre from the human will and say, marking out some petty enterprise as the limit--"Thus far can we go and no farther, and here shall our life be stayed." Therefore I hate to hear of stagnant societies who think because they have made b.u.t.ter well that they have crowned their parochial generation with a halo of glory, and can rest content with the fame of it all, listening to the whirr of the steam separators and pouching in peace of mind the extra penny a gallon for their milk. And I dislike the little groups who meet a couple of times a year and call themselves co-operators because they have got their fertilizers more cheaply, and have done nothing else. Why, the village gombeen man has done more than that! He has at least brought most of the necessaries of life there by his activities; and I say if we co-operators do not aim at doing more than the Irish Scribes and Pharisees we shall have little to be proud of. A poet, interpreting the words of Christ to His followers, who had scorned the followers of the old order, made Him say:

Scorn ye their hopes, their tears, their inward prayers?

I say unto you, see that your souls live A deeper life than theirs.