Modern Essays Part 14

THE ELEMENTS OF POETRY

_By_ GEORGE SANTAYANA

George Santayana was born in Madrid in 1863, of Spanish parentage.

He graduated from Harvard in 1886, and taught philosophy there, 1889-1911. He lives now, I think, in England. I must be frank: except his poems, I only know his work in that enthralling volume, _Little Essays Drawn from the Writings of George Santayana_, edited by L. Pearsall Smith. Much of it is too esoteric for my grasp, but Mr. Smith's redaction brings the fascination of Santayana's philosophy within the compa.s.s of what Tennyson called "a second-rate sensitive mind"; and, if mine is a criterion, such will find it of the highest stimulus. This discourse on poetry seems to me one of the most pregnant utterances on the subject. It is not perfectly appreciated by merely one reading; but even if you have to become a poet to enjoy it fully, that will do yourself least harm.

If poetry in its higher reaches is more philosophical than history, because it presents the memorable types of men and things apart from unmeaning circ.u.mstances, so in its primary substance and texture poetry is more philosophical than prose because it is nearer to our immediate experience. Poetry breaks up the trite conceptions designated by current words into the sensuous qualities out of which those conceptions were originally put together. We name what we conceive and believe in, not what we see; things, not images; souls, not voices and silhouettes. This naming, with the whole education of the senses which it accompanies, subserves the uses of life; in order to thread our way through the labyrinth of objects which a.s.sault us, we must make a great selection in our sensuous experience; half of what we see and hear we must pa.s.s over as insignificant, while we piece out the other half with such an ideal complement as is necessary to turn it into a fixed and well-ordered conception of the world. This labor of perception and understanding, this spelling of the material meaning of experience, is enshrined in our workaday language and ideas; ideas which are literally poetic in the sense that they are "made" (for every conception in an adult mind is a fiction), but which are at the same time prosaic because they are made economically, by abstraction, and for use.

When the child of poetic genius, who has learned this intellectual and utilitarian language in the cradle, goes afield and gathers for himself the aspects of nature, he begins to enc.u.mber his mind with the many living impressions which the intellect rejected, and which the language of the intellect can hardly convey; he labors with his nameless burden of perception, and wastes himself in aimless impulses of emotion and reverie, until finally the method of some art offers a vent to his inspiration, or to such part of it as can survive the test of time and the discipline of expression.

The poet retains by nature the innocence of the eye, or recovers it easily; he disintegrates the fictions of common perception into their sensuous elements, gathers these together again into chance groups as the accidents of his environment or the affinities of his temperament may conjoin them; and this wealth of sensation and this freedom of fancy, which make an extraordinary ferment in his ignorant heart, presently bubble over into some kind of utterance.

The fullness and sensuousness of such effusions bring them nearer to our actual perceptions than common discourse could come; yet they may easily seem remote, overloaded, and obscure to those accustomed to think entirely in symbols, and never to be interrupted in the algebraic rapidity of their thinking by a moment's pause and examination of heart, nor ever to plunge for a moment into that torrent of sensation and imagery over which the bridge of prosaic a.s.sociations habitually carries us safe and dry to some conventional act. How slight that bridge commonly is, how much an affair of trestles and wire, we can hardly conceive until we have trained ourselves to an extreme sharpness of introspection. But psychologists have discovered, what laymen generally will confess, that we hurry by the procession of our mental images as we do by the traffic of the street, intent on business, gladly forgetting the noise and movement of the scene, and looking only for the corner we would turn or the door we would enter. Yet in our alertest moment the depths of the soul are still dreaming; the real world stands drawn in bare outline against a background of chaos and unrest. Our logical thoughts dominate experience only as the parallels and meridians make a checkerboard of the sea. They guide our voyage without controlling the waves, which toss forever in spite of our ability to ride over them to our chosen ends. Sanity is a madness put to good uses; waking life is a dream controlled.

Out of the neglected riches of this dream the poet fetches his wares. He dips into the chaos that underlies the rational sh.e.l.l of the world and brings up some superfluous image, some emotion dropped by the way, and reattaches it to the present object; he reinstates things unnecessary, he emphasizes things ignored, he paints in again into the landscape the tints which the intellect has allowed to fade from it. If he seems sometimes to obscure a fact, it is only because he is restoring an experience. The first element which the intellect rejects in forming its ideas of things is the emotion which accompanies the perception; and this emotion is the first thing the poet restores. He stops at the image, because he stops to enjoy. He wanders into the bypaths of a.s.sociation because the bypaths are delightful. The love of beauty which made him give measure and cadence to his words, the love of harmony which made him rhyme them, reappear in his imagination and make him select there also the material that is itself beautiful, or capable of a.s.suming beautiful forms. The link that binds together the ideas, sometimes so wide apart, which his wit a.s.similates, is most often the link of emotion; they have in common some element of beauty or of horror.

NOCTURNE

_By_ SIMEON STRUNSKY

Simeon Strunsky is one of the most brilliant and certainly the most modest of American journalists. I regret that I cannot praise him, for at present we both work in the same office, and kind words uttered in public would cause him to avoid me forever. All that is necessary is for my readers to examine his books and they will say for themselves what I am restrained from hinting. There is a spontaneous play of chaff in Mr. Strunsky's lighter vein which is unsurpa.s.sed by any American humorist; his more inward musing is well exemplified by this selection (from _Post-Impressions_, 1914).

If you read _Post-Impressions_, _The Patient Observer_, _Belshazzar Court_, _Professor Latimer's Progress_ and _Sinbad and His Friends_, you will have made a fair start.

Strunsky was born in Russia in 1879; studied at the Horace Mann High School (New York) and graduated from Columbia University in 1900. He worked on the staff of the New International Encyclopaedia in 1900-06, and since then has been on the staff of the New York _Evening Post_, of which he is now editor.

Once every three months, with fair regularity, she was brought into the Night Court, found guilty, and fined. She came in between eleven o'clock and midnight, when the traffic of the court is at its heaviest, and it would be an hour, perhaps, before she was called to the bar. When her turn came she would rise from her seat at one end of the prisoners'

bench and confront the magistrate.

Her eyes did not reach to the level of the magistrate's desk. A policeman in citizen's clothes would mount the witness stand, take oath with a seriousness of mien which was surprising, in view of the frequency with which he was called upon to repeat the formula, and testify in an illiterate drone to a definite infraction of the law of the State, committed in his presence and with his encouragement. While he spoke the magistrate would look at the ceiling. When she was called upon to answer she defended herself with an obvious lie or two, while the magistrate looked over her head. He would then condemn her to pay the sum of ten dollars to the State and let her go.

She came to look forward to her visits at the Night Court.

The Night Court is no longer a center of general interest. During the first few months after it was established, two or three years ago, it was one of the great sights of a great city. For the newspapers it was a rich source of human-interest stories. It replaced Chinatown in its appeal to visitors from out-of-town. It stirred even the languid pulses of the native inhabitant with its offerings of something new in the way of "life." The sociologists, sincere and amateur, crowded the benches and took notes.

To-day the novelty is worn off. The newspapers long ago abandoned the Night Court, clergymen go to it rarely for their texts, and the tango has taken its place. But the sociologists and the casual visitor have not disappeared. Serious people, anxious for an immediate vision of the pity of life, continue to fill the benches comfortably. No session of the court is without its little group of social investigators, among whom the women are in the majority. Many of them are young women, exceedingly sympathetic, handsomely gowned, and very well taken care of.

As she sat at one end of the prisoners' bench waiting her turn before the magistrate's desk, she would cast a sidelong glance over the railing that separated her from the handsomely gowned, gently bred, sympathetic young women in the audience. She observed with extraordinary admiration and delight those charming faces softened in pity, the graceful bearing, the admirably constructed yet simple coiffures, the elegance of dress, which she compared with the best that the windows in Sixth Avenue could show. She was amazed to find such gowns actually being worn instead of remaining as an unattainable ideal on smiling lay figures in the shop windows.

Occupants of the prisoners' bench are not supposed to stare at the spectators. She had to steal a glance now and then. Her visits to the Night Court had become so much a matter of routine that she would venture a peep over the railing while the case immediately preceding her own was being tried. Once or twice she was surprised by the clerk who called her name. She stood up mechanically and faced the magistrate as Officer Smith, in civilian clothes, mounted the witness stand.

She had no grudge against Officer Smith. She did not visualize him either as a person or as a part of a system. He was merely an incident of her trade. She had neither the training nor the imagination to look behind Officer Smith and see a communal policy which has not the power to suppress, nor the courage to acknowledge, nor the skill to regulate, and so contents itself with sending out full-fed policemen in civilian clothes to work up the evidence that defends society against her kind through the imposition of a ten-dollar fine.

To some of the women on the visitors' benches the cruelty of the process came home: this business of setting a two-hundred-pound policeman in citizen's clothes, backed up by magistrates, clerks, court criers, interpreters, and court attendants, to worrying a ten-dollar fine out of a half-grown woman under an enormous imitation ostrich plume. The professional sociologists were chiefly interested in the money cost of this process to the tax-payer, and they took notes on the proportion of first offenders. Yet the Night Court is a remarkable advance in civilization. Formerly, in addition to her fine, the prisoner would pay a commission to the professional purveyor of bail.

Sometimes, if the magistrate was young or new to the business, she would be given a chance against Officer Smith. She would be called to the witness chair and under oath be allowed to elaborate on the obvious lies which const.i.tuted her usual defense. This would give her the opportunity, between the magistrate's questions, of sweeping the courtroom with a full, hungry look for as much as half a minute at a time. She saw the women in the audience only, and their clothes. The pity in their eyes did not move her, because she was not in the least interested in what they thought, but in how they looked and what they wore. They were part of a world which she would read about--she read very little--in the society columns of the Sunday newspaper. They were the women around whom headlines were written and whose pictures were printed frequently on the first page.

She could study them with comparative leisure in the Night Court.

Outside in the course of her daily routine she might catch an occasional glimpse of these same women, through the windows of a pa.s.sing taxi, or in the matinee crowds, or going in and out of the fashionable shops. But her work took her seldom into the region of taxicabs and fashionable shops. The nature of her occupation kept her to furtive corners and the dark side of streets. Nor was she at such times in the mood for just appreciation of the beautiful things in life. More than any other walk of life, hers was of an exacting nature, calling for intense powers of concentration both as regards the public and the police. It was different in the Night Court. Here, having nothing to fear and nothing out of the usual to hope for, she might give herself up to the esthetic contemplation of a beautiful world of which, at any other time, she could catch mere fugitive aspects.

Sometimes I wonder why people think that life is only what they see and hear, and not what they read of. Take the Night Court. The visitor really sees nothing and hears nothing that he has not read a thousand times in his newspaper and had it described in greater detail and with better-trained powers of observation than he can bring to bear in person. What new phase of life is revealed by seeing in the body, say, a dozen pract.i.tioners of a trade of whom we know there are several tens of thousands in New York? They have been described by the human-interest reporters, a.n.a.lyzed by the statisticians, defended by the social revolutionaries, and explained away by the optimists. For that matter, to the faithful reader of the newspapers, daily and Sunday, what can there be new in this world from the Pyramids by moonlight to the habits of the night prowler? Can the upper cla.s.ses really acquire for themselves, through slumming parties and visits to the Night Court, anything like the knowledge that books and newspapers can furnish them?

Can the lower cla.s.ses ever hope to obtain that complete view of the Fifth Avenue set which the Sunday columns offer them? And yet there the case stands: only by seeing and hearing for ourselves, however imperfectly, do we get the sense of reality.

That is why our criminal courts are probably our most influential schools of democracy. More than our settlement houses, more than our subsidized dancing-schools for shopgirls, they encourage the get-together process through which one-half the world learns how the other half lives. On either side of the railing of the prisoners' cage is an audience and a stage.

That is why she would look forward to her regular visits at the Night Court. She saw life there.

BEER AND CIDER

_By_ GEORGE SAINTSBURY

How pleasant it is to find the famous Professor Saintsbury--known to students as the author of histories of the English and French literatures, the _History of Criticism_ and _History of English Prosody_--spending the evening so hospitably in his cellar. I print this--from his downright delightful _Notes on a Cellar Book_--as a kind of tantalizing penance. It is a charming example of how pleasantly a great scholar can unbend on occasion.

George Saintsbury, born in 1845, studied at Merton College, Oxford, taught school 1868-76, was a journalist in London 1876-95, and held the chair of English Literature at Edinburgh University, 1895-1915.

If you read _Notes on a Cellar Book_, as you should, you will agree that it is a charmingly light-hearted _causerie_ for a gentleman to publish at the age of seventy-five. More than ever one feels that sound liquor, in moderation, is a preservative of both body and wit.

There is no beverage which I have liked "to live with" more than Beer; but I have never had a cellar large enough to accommodate much of it, or an establishment numerous enough to justify the accommodation. In the good days when servants expected beer, but did not expect to be treated otherwise than as servants, a cask or two was necessary; and persons who were "quite" generally took care that the small beer they drank should be the same as that which they gave to their domestics, though they might have other sorts as well. For these better sorts at least the good old rule was, when you began on one cask always to have in another.

Even Cobbett, whose belief in beer was the n.o.blest feature in his character, allowed that it required some keeping. The curious "white ale," or lober agol--which, within the memory of man, used to exist in Devonshire and Cornwall, but which, even half a century ago, I have vainly sought there--was, I believe, drunk quite new; but then it was not pure malt and not hopped at all, but had eggs ("pullet-sperm in the brewage") and other foreign bodies in it.

I did once drink, at St David's, ale so new that it frothed from the cask as creamily as if it had been bottled: and I wondered whether the famous beer of Bala, which Borrow found so good at his first visit and so bad at his second, had been like it.[E]

On the other hand, the very best Ba.s.s I ever drank had had an exactly contrary experience. In the year 1875, when I was resident at Elgin, I and a friend now dead, the Procurator-Fiscal of the district, devoted the May "Sacrament holidays," which were then still kept in those remote parts, to a walking tour up the Findhorn and across to Loch Ness and Glen Urquhart. At the Freeburn Inn on the first-named river we found some beer of singular excellence: and, asking the damsel who waited on us about it, were informed that a cask of Ba.s.s had been put in during the previous October, but, owing to a sudden break in the weather and the departure of all visitors, had never been tapped till our arrival.

Beer of ordinary strength left too long in the cask gets "hard" of course; but no one who deserves to drink it would drink it from anything but the cask if he could help it. Jars are makeshifts, though useful makeshifts: and small beer will not keep in them for much more than a week. Nor are the very small barrels, known by various affectionate diminutives ("pin," etc.) in the country districts, much to be recommended. "We'll drink it in the firkin, my boy!" is the lowest admission in point of volume that should be allowed. Of one such firkin I have a pleasant memory and memorial, though it never reposed in my home cellar. It was just before the present century opened, and some years before we Professors in Scotland had, of our own motion and against considerable opposition, given up half of the old six months'

holiday without asking for or receiving a penny more salary. (I have since chuckled at the horror and wrath with which Mr. Smillie and Mr.

Thomas would hear of such profligate conduct.) One could therefore move about with fairly long halts: and I had taken from a friend a house at Abingdon for some time. So, though I could not even then drink quite as much beer as I could thirty years earlier a little higher up the Thames, it became necessary to procure a cask. It came--one of Ba.s.s's minor mildnesses--affectionately labeled "Mr. George Saintsbury. Full to the bung." I detached the card, and I believe I have it to this day as my choicest (because quite unsolicited) testimonial.

Very strong beer permits itself, of course, to be bottled and kept in bottles: but I rather doubt whether it also is not best from the wood; though it is equally of course, much easier to cellar it and keep it bottled. Its kinds are various and curious. "Scotch ale" is famous, and at its best (I never drank better than Younger's) excellent: but its tendency, I think, is to be too sweet. I once invested in some--not Younger's--which I kept for nearly sixteen years, and which was still treacle at the end. Ba.s.s's No. 1 requires no praises. Once when living in the Cambridgeshire village mentioned earlier I had some, bottled in Cambridge itself, of great age and excellence. Indeed, two guests, though both of them were Cambridge men, and should have had what Mr.

Lang once called the "robust" habits of that University, fell into one ditch after partaking of it. (I own that the lanes thereabouts are very dark.) In former days, though probably not at present, you could often find rather choice specimens of strong beer produced at small breweries in the country. I remember such even in the Channel Islands. And I suspect the Universities themselves have been subject to "declensions and fallings off." I know that in my undergraduate days at Merton we always had proper beer-gla.s.ses, like the old "flute" champagnes, served regularly at cheese-time with a most n.o.ble beer called "Archdeacon,"

which was then actually brewed in the sacristy of the College chapel. I have since--a slight sorrow to season the joy of reinstatement there--been told that it is now obtained from outside.[F] And All Souls is the only other college in which, from actual recent experience, I can imagine the possibility of the exorcism,

Strongbeerum! discede a lay-fratre Petro,