Letters to Dead Authors Part 8

Though triumphant Youth and malicious Love in your plays may batter and defeat Jealousy and Old Age, yet they have not all the victory, or you did not mean that they should win it. They go off with laughter, and their victim with a grimace; but in him we, that are past our youth, behold an actor in an unending tragedy, the defeat of a generation. Your sympathy is not wholly with the dogs that are having their day; you can throw a bone or a crust to the dog that has had his, and has been taught that it is over and ended. Yourself not unlearned in shame, in jealousy, in endurance of the wanton pride of men (how could the poor player and the husband of Celimene be untaught in that experience?), you never sided quite heartily, as other comedians have done, with young prosperity and rank and power.

I am not the first who has dared to approach you in the Shades; for just after your own death the author of 'Les Dialogues des Morts' gave you Paracelsus as a companion, and the author of 'Le Jugement de Pluton'

made the 'mighty warder' decide that 'Moliere should not talk philosophy.' These writers, like most of us, feel that, after all, the comedies of the _Contemplateur_, of the translator of Lucretius, are a philosophy of life in themselves, and that in them we read the lessons of human experience writ small and clear.

What comedian but Moliere has combined with such depths--with the indignation of Alceste, the self-deception of Tartufe, the blasphemy of Don Juan--such wildness of irresponsible mirth, such humour, such wit!

Even now, when more than two hundred years have sped by, when so much water has flowed under the bridges and has borne away so many trifles of contemporary mirth (_cetera_ _fluminis ritu feruntur_), even now we never laugh so well as when Mascarille and Vadius and M. Jourdain tread the boards in the Maison de Moliere. Since those mobile dark brows of yours ceased to make men laugh, since your voice denounced the 'demoniac' manner of contemporary tragedians, I take leave to think that no player has been more worthy to wear the _canons_ of Mascarille or the gown of Vadius than M. Coquelin of the Comedie Francaise. In him you have a successor to your Mascarille so perfect, that the ghosts of play-goers of your date might cry, could they see him, that Moliere had come again. But, with all respect to the efforts of the fair, I doubt if Mdlle. Barthet, or Mdme. Croizette herself, would reconcile the town to the loss of the fair De Brie, and Madeleine, and the first, the true Celimene, Armande. Yet had you ever so merry a _soubrette_ as Mdme.

Samary, so exquisite a Nicole?

Denounced, persecuted, and buried hugger-mugger two hundred years ago, you are now not over-praised, but more worshipped, with more servility and ostentation, studied with more prying curiosity than you may approve. Are not the Molieristes a body who carry adoration to fanaticism? Any sc.r.a.p of your handwriting (so few are these), any anecdote even remotely touching on your life, any fact that may prove your house was numbered 15 not 22, is eagerly seized and discussed by your too minute historians. Concerning your private life, these men often write more like malicious enemies than friends; repeating the fabulous scandals of Le Boulanger, and trying vainly to support them by grubbing in dusty parish registers. It is most necessary to defend you from your friends--from such friends as the veteran and inveterate M.

a.r.s.ene Houssaye, or the industrious but puzzle-headed M. Loiseleur.

Truly they seek the living among the dead, and the immortal Moliere among the sweepings of attorneys' offices. As I regard them (for I have tarried in their tents) and as I behold their trivialities--the exercises of men who neglect Molieres works to write about Moliere's great-grandmother's second-best bed--I sometimes wish that Moliere were here to write on his devotees a new comedy, 'Les Molieristes.' How fortunate were they, Monsieur, who lived and worked with you, who saw you day by day, who were attached, as Lagrange tells us, by the kindest loyalty to the best and most honourable of men, the most open-handed in friendship, in charity the most delicate, of the heartiest sympathy! Ah, that for one day I could behold you, writing in the study, rehearsing on the stage, musing in the lace-seller's shop, strolling through the Palais, turning over the new books at Billaine's, dusting your ruffles among the old volumes on the sunny stalls. Would that, through the ages, we could hear you after supper, merry with Boileau, and with Racine,--not yet a traitor,--laughing over Chapelain, combining to gird at him in an epigram, or mocking at Cotin, or talking your favourite philosophy, mindful of Descartes. Surely of all the wits none was ever so good a man, none ever made life so rich with humour and friendship.

XIX. To Robert Burns.

Sir,--Among men of Genius, and especially among Poets, there are some to whom we turn with a peculiar and unfeigned affection; there are others whom we admire rather than love. By some we are won with our will, by others conquered against our desire. It has been your peculiar fortune to capture the hearts of a whole people--a people not usually p.r.o.ne to praise, but devoted with a personal and patriotic loyalty to you and to your reputation. In you every Scot who _is_ a Scot sees, admires, and compliments Himself, his ideal self--independent, fond of whisky, fonder of the la.s.sies; you are the true representative of him and of his nation. Next year will be the hundredth since the press of Kilmarnock brought to light its solitary masterpiece, your Poems; and next year, therefore, methinks, the revenue will receive a welcome accession from the abundance of whisky drunk in your honour. It is a cruel thing for any of your countrymen to feel that, where all the rest love, he can only admire; where all the rest are idolators, he may not bend the knee; but stands apart and beats upon his breast, observing, not adoring--a critic. Yet to some of us--petty souls, perhaps, and envious--that loud indiscriminating praise of 'Robbie Burns' (for so they style you in their Change-house familiarity) has long been ungrateful; and, among the treasures of your songs, we venture to select and even to reject. So it must be! We cannot all love Haggis, nor 'painch, tripe, and thairm,'

and all those rural dainties which you celebrate as 'warm-reekin, rich!'

'Rather too rich,' as the Young Lady said on an occasion recorded by Sam Weller.

Auld Scotland wants nae skinking ware That jaups in luggies; But, if ye wish her gratefu' prayer, Gie her a Haggis!

You _have_ given her a Haggis, with a vengeance, and her 'gratefu' prayer' is yours for ever. But if even an eternity of partridge may pall on the epicure, so of Haggis too, as of all earthly delights, cometh satiety at last. And yet what a glorious Haggis it is--the more emphatically rustic and even Fescennine part of your verse! We have had many a rural bard since Theocritus 'watched the visionary flocks,' but you are the only one of them all who has spoken the sincere Doric. Yours is the talk of the byre and the plough-tail; yours is that large utterance of the early hinds. Even Theocritus minces matters, save where Lacon and Comatas quite outdo the swains of Ayrshire. 'But thee, Theocritus, wha matches?'

you ask, and yourself out-match him in this wide rude region, trodden only by the rural Muse.

'_Thy_ rural loves are nature's sel';' and the wooer of Jean Armour speaks more like a true shepherd than the elegant Daphnis of the 'Oaristys.'

Indeed it is with this that moral critics of your life reproach you, forgetting, perhaps, that in your amours you were but as other Scotch ploughmen and shepherds of the past and present. Ettrick may still, with Afghanistan, offer matter for idylls, as Mr. Carlyle (your ant.i.thesis, and the complement of the Scotch character) supposed; but the morals of Ettrick are those of rural Sicily in old days, or of Mossgiel in your days. Over these matters the Kirk, with all her power, and the Free Kirk too, have had absolutely no influence whatever. To leave so delicate a topic, you were but as other swains, or, as 'that Birkie ca'd a lord,'

Lord Byron; only you combined (in certain of your letters) a libertine theory with your practice; you poured out in song your audacious raptures, your half-hearted repentance, your shame and your scorn. You spoke the truth about rural lives and loves. We may like it or dislike it; but we cannot deny the verity.

Was it not as unhappy a thing, Sir, for you, as it was fortunate for Letters and for Scotland, that you were born at the meeting of two ages and of two worlds--precisely in the moment when bookish literature was beginning to reach the people, and when Society was first learning to admit the low-born to her Minor Mysteries? Before you how many singers not less truly poets than yourself--though less versatile not less pa.s.sionate, though less sensuous not less simple--had been born and had died in poor men's cottages! There abides not even the shadow of a name of the old Scotch song-smiths, of the old ballad-makers. The authors of 'Clerk Saunders,' of 'The Wife of Usher's Well,' of 'Fair Annie,' and 'Sir Patrick Spens,' and 'The Bonny Hind,' are as unknown to us as Homer, whom in their directness and force they resemble. They never, perhaps, gave their poems to writing; certainly they never gave them to the press. On the lips and in the hearts of the people they have their lives; and the singers, after a life obscure and untroubled by society or by fame, are forgotten. 'The Iniquity of Oblivion blindly scattereth his Poppy.'

Had you been born some years earlier you would have been even as these unnamed Immortals, leaving great verses to a little clan--verses retained only by Memory. You would have been but the minstrel of your native valley: the wider world would not have known you, nor you the world. Great thoughts of independence and revolt would never have burned in you; indignation would not have vexed you. Society would not have given and denied her caresses. You would have been happy. Your songs would have lingered in all 'the circle of the summer hills;' and your scorn, your satire, your narrative verse, would have been unwritten or unknown. To the world what a loss! and what a gain to you! We should have possessed but a few of your lyrics, as

When o'er the hill the eastern star Tells bughtin-time is near, my jo; And owsen frae the furrowed field, Return sae dowf and wearie O!

How n.o.ble that is, how natural, how unconsciously Greek! You found, oddly, in good Mrs. Barbauld, the merits of the Tenth Muse:

In thy sweet sang, Barbauld, survives Even Sappho's flame!

But how unconsciously you remind us both of Sappho and of Homer in these strains about the Evening Star and the hour when the Day _metenisseto boulytoide_?* Had you lived and died the pastoral poet of some silent glen, such lyrics could not but have survived; free, too, of all that in your songs reminds us of the Poet's Corner in the 'Kirkcudbright Advertiser.' We should not have read how

Phoebus, gilding the brow o' morning, Banishes ilk darksome shade!

Still we might keep a love-poem unexcelled by Catullus,

Had we never loved sae kindly, Had we never loved sae blindly, Never met--or never parted, We had ne'er been broken-hearted.

But the letters to Clarinda would have been unwritten, and the thrush would have been untaught in 'the style of the Bird of Paradise.'

*Transliterated from Greek.

A quiet life of song, _fallentis semita vitae_', was not to be yours.

Fate otherwise decreed it. The touch of a lettered society, the strife with the Kirk, discontent with the State, poverty and pride, neglect and success, were needed to make your Genius what it was, and to endow the world with 'Tam o' Shanter,' the 'Jolly Beggars,' and 'Holy Willie's Prayer.' Who can praise them too highly--who admire in them too much the humour, the scorn, the wisdom, the unsurpa.s.sed energy and courage? So powerful, so commanding, is the movement of that Beggars' Chorus, that, methinks, it unconsciously echoed in the brain of our greatest living poet when he conceived the Vision of Sin. You shall judge for yourself.

Recall:

Here's to budgets, bags, and wallets!

Here's to all the wandering train!

Here's our ragged bairns and callers!

One and all cry out, Amen!

A fig for those by law protected!

Liberty's a glorious feast!

Courts for cowards were erected!

Churches built to please the priest!

Then read this: Drink to lofty hopes that cool Visions of a perfect state: Drink we, last, the public fool, Frantic love and frantic hate.

......... Drink to Fortune, drink to Chance, While we keep a little breath!

Drink to heavy Ignorance Hob and n.o.b with brother Death!

Is not the movement the same, though the modern speaks a wilder recklessness?

So in the best company we leave you, who were the life and soul of so much company, good and bad. No poet, since the Psalmist of Israel, ever gave the world more a.s.surance of a man; none lived a life more strenuous, engaged in an eternal conflict of the pa.s.sions, and by them overcome--'mighty and mightily fallen.' When we think of you, Byron seems, as Plato would have said, remote by one degree from actual truth, and Musset by a degree more remote than Byron.

XX. To Lord Byron.

My Lord, (Do you remember how Leigh Hunt Enraged you once by writing _My dear Byron_?) Books have their fates,--as mortals have who punt, And _yours_ have entered on an age of iron.

Critics there be who think your satin blunt, Your pathos, fudge; such perils must environ Poets who in their time were quite the rage, Though now there's not a soul to turn their page.

Yes, there is much dispute about your worth, And much is said which you might like to know By modern poets here upon the earth, Where poets live, and love each other so; And, in Elysium, it may move your mirth To hear of bards that pitch your praises low, Though there be some that for your credit stickle, As--Glorious Mat,--and not inglorious Nichol.

This kind of writing is my pet aversion, I hate the slang, I hate the personalities, I loathe the aimless, reckless, loose dispersion, Of every rhyme that in the singer's wallet is, I hate it as you hated the _Excursion_, But, while no man a hero to his valet is, The hero's still the model; I indite The kind of rhymes that Byron oft would write.

There's a Swiss critic whom I cannot rhyme to, One Scherer, dry as sawdust, grim and prim.

Of him there's much to say, if I had time to Concern myself in any wise with him.

He seems to hate the heights he cannot climb to, He thinks your poetry a c.o.xcomb's whim, A good deal of his sawdust he has spilt on Shakspeare, and Moliere, and you, and Milton.

Ay, much his temper is like Vivien's mood, Which found not Galahad pure, nor Lancelot brave; Cold as a hailstorm on an April wood, He buries poets in an icy grave, His Essays--he of the Genevan hood!

Nothing so good, but better doth he crave.

So stupid and so solemn in his spite He dares to print that Moliere could not write!

Enough of these excursions; I was saying That half our English Bards are turned Reviewers, And Arnold was discussing and a.s.saying The weight and value of that work of yours, Examining and testing it and weighing, And proved, the gems are pure, the gold endures.

While Swinburne cries with an exceeding joy, the stones are paste, and half the gold, alloy.