Delphi Complete Poetical Works of Matthew Arnold

by Matthew Arnold

  At this exciting juncture, then, while so many of the lovers of new ideas, somewhat weary, as we too are, of the stock performances of our Liberal friends upon the political stage, are disposed to rush valiantly upon this public stage themselves, we cannot at all think that for a wise lover of new ideas this stage is the right one. Plenty of people there will be without us, — country gentlemen in search of a club, demagogues in search of a tub, lawyers in search of a place, industrialists in search of gentility, — who will come from the east and from the west, and will sit down at that Thyesteän banquet of clap-trap, which English public life for these many years past has been. Because, so long as those old organisations, of which we have seen the insufficiency, — those expressions of our ordinary self, Barbarian or Philistine, — have force anywhere, they will have force in Parliament. There, the man whom the Barbarians send, cannot but be impelled to please the Barbarians’ ordinary self, and their natural taste for the bathos; and the man whom the Philistines send, cannot but be impelled to please those of the Philistines. Parliamentary Conservatism will and must long mean this, that the Barbarians should keep their heritage; and Parliamentary Liberalism, that the Barbarians should pass away, as they will pass away, and that into their heritage the Philistines should enter. This seems, indeed, to be the true and authentic promise of which our Liberal friends and Mr. Bright believe themselves the heirs, and the goal of that great man’s labours. Presently, perhaps, Mr. Odger and Mr. Bradlaugh will be there with their mission to oust both Barbarians and Philistines, and to get the heritage for the Populace. We, on the other hand, are for giving the heritage neither to the Barbarians nor to the Philistines, nor yet to the Populace; but we are for the transformation of each and all of these according to the law of perfection.

  Through the length and breadth of our nation a sense, — vague and obscure as yet, — of weariness with the old organisations, of desire for this transformation, works and grows. In the House of Commons the old organisations must inevitably be most enduring and strongest, the transformation must inevitably be longest in showing itself; and it may truly be averred, therefore, that at the present juncture the centre of movement is not in the House of Commons. It is in the fermenting mind of the nation; and his is for the next twenty years the real influence who can address himself to this.

  Pericles was perhaps the most perfect public speaker who ever lived, for he was the man who most perfectly combined thought and wisdom with feeling and eloquence. Yet Plato brings in Alcibiades declaring, that men went away from the oratory of Pericles, saying it was very fine, it was very good, and afterwards thinking no more about it; but they went away from hearing Socrates talk, he says, with the point of what he had said sticking fast in their minds, and they could not get rid of it. Socrates is poisoned and dead; but in his own breast does not every man carry about with him a possible Socrates, in that power of a disinterested play of consciousness upon his stock notions and habits, of which this wise and admirable man gave all through his lifetime the great example, and which was the secret of his incomparable influence? And he who leads men to call forth and exercise in themselves this power, and who busily calls it forth and exercises it in himself, is at the present moment, perhaps, as Socrates was in his time, more in concert with the vital working of men’s minds, and more effectually significant, than any House of Commons’ orator, or practical operator in politics.

  Every one is now boasting of what he has done to educate men’s minds and to give things the course they are taking. Mr. Disraeli educates, Mr. Bright educates, Mr. Beales educates. We, indeed, pretend to educate no one, for we are still engaged in trying to clear and educate ourselves. But we are sure that the endeavour to reach, through culture, the firm intelligible law of things, we are sure that the detaching ourselves from our stock notions and habits, that a more free play of consciousness, an increased desire for sweetness and light, and all the bent which we call Hellenising, is the master-impulse now of the life of our nation and of humanity, — somewhat obscurely perhaps for this moment, but decisively for the immediate future; and that those who work for this are the sovereign educators. Docile echoes of the eternal voice, pliant organs of the infinite will, they are going along with the essential movement of the world; and this is their strength, and their happy and divine fortune. For if the believers in action, who are so impatient with us and call us effeminate, had had the same fortune, they would, no doubt, have surpassed us in this sphere of vital influence by all the superiority of their genius and energy over ours. But now we go the way the world is going, while they abolish the Irish Church by the power of the Nonconformists’ antipathy to establishments, or they enable a man to marry his deceased wife’s sister.

  THE END

  SELECTED ESSAYS

  CONTENTS

  POETRY AND THE CLASSICS

  THE FUNCTION OF CRITICISM AT THE PRESENT TIME

  THE STUDY OF POETRY

  LITERATURE AND SCIENCE

  HEINRICH HEINE

  MARCUS AURELIUS

  THE CONTRIBUTION OF THE CELTS TO ENGLISH LITERATURE

  GEORGE SAND

  WORDSWORTH

  SWEETNESS AND LIGHT

  HEBRAISM AND HELLENISM

  EQUALITY

  Arnold, 1883

  POETRY AND THE CLASSICS

  In two small volumes of Poems, published anonymously, one in 1849, the other in 1852, many of the Poems which compose the present volume have already appeared. The rest are now published for the first time.

  I have, in the present collection, omitted the poem from which the volume published in 1852 took its title. I have done so, not because the subject of it was a Sicilian Greek born between two and three thousand years ago, although many persons would think this a sufficient reason. Neither have I done so because I had, in my own opinion, failed in the delineation which I intended to effect. I intended to delineate the feelings of one of the last of the Greek religious philosophers, one of the family of Orpheus and Musæus, having survived his fellows, living on into a time when the habits of Greek thought and feeling had begun fast to change, character to dwindle, the influence of the Sophists to prevail. Into the feelings of a man so situated there are entered much that we are accustomed to consider as exclusively modern; how much, the fragments of Empedocles himself which remain to us are sufficient at least to indicate. What those who are familiar only with the great monuments of early Greek genius suppose to be its exclusive characteristics, have disappeared; the calm, the cheerfulness, the disinterested objectivity have disappeared; the dialogue of the mind with itself has commenced; modern problems have presented themselves; we hear already the doubts, we witness the discouragement, of Hamlet and of Faust.

  The representation of such a man’s feelings must be interesting, if consistently drawn. We all naturally take pleasure, says Aristotle, in any imitation or representation whatever: this is the basis of our love of poetry: and we take pleasure in them, he adds, because all knowledge is naturally agreeable to us; not to the philosopher only, but to mankind at large. Every representation therefore which is consistently drawn may be supposed to be interesting, inasmuch as it gratifies this natural interest in knowledge of all kinds. What is not interesting, is that which does not add to our knowledge of any kind; that which is vaguely conceived and loosely drawn; a representation which is general, indeterminate, and faint, instead of being particular, precise, and firm.

  Any accurate representation may therefore be expected to be interesting; but, if the representation be a poetical one, more than this is demanded. It is demanded, not only that it shall interest, but also that it shall inspirit and rejoice the reader: that it shall convey a charm, and infuse delight. For the Muses, as Hesiod says, were born that they might be “a forgetfulness of evils, and a truce from cares”: and it is not enough that the poet should add to the knowledge of men, it is required of him also that he should add to their happiness. “All art,” says Schiller, “is dedicated to joy, and there is no higher and
no more serious problem, than how to make men happy. The right art is that alone, which creates the highest enjoyment.”

  A poetical work, therefore, is not yet justified when it has been shown to be an accurate, and therefore interesting representation; it has to be shown also that it is a representation from which men can derive enjoyment. In presence of the most tragic circumstances, represented in a work of art, the feeling of enjoyment, as is well known, may still subsist: the representation of the most utter calamity, of the liveliest anguish, is not sufficient to destroy it: the more tragic the situation, the deeper becomes the enjoyment; and the situation is more tragic in proportion as it becomes more terrible.

  What then are the situations, from the representation of which, though accurate, no poetical enjoyment can be derived? They are those in which the suffering finds no vent in action; in which a continuous state of mental distress is prolonged, unrelieved by incident, hope, or resistance; in which there is everything to be endured, nothing to be done. In such situations there is inevitably something morbid, in the description of them something monotonous. When they occur in actual life, they are painful, not tragic; the representation of them in poetry is painful also.

  To this class of situations, poetically faulty as it appears to me, that of Empedocles, as I have endeavored to represent him, belongs; and I have therefore excluded the poem from the present collection.

  And why, it may be asked, have I entered into this explanation respecting a matter so unimportant as the admission or exclusion of the poem in question? I have done so, because I was anxious to avow that the sole reason for its exclusion was that which has been stated above; and that it has not been excluded in deference to the opinion which many critics of the present day appear to entertain against subjects chosen from distant times and countries: against the choice, in short, of any subjects but modern ones.

  “The poet,” it is said, and by an intelligent critic, “the poet who would really fix the public attention must leave the exhausted past, and draw his subjects from matters of present import, and therefore both of interest and novelty.”

  Now this view I believe to be completely false. It is worth examining, inasmuch as it is a fair sample of a class of critical dicta everywhere current at the present day, having a philosophical form and air, but no real basis in fact; and which are calculated to vitiate the judgment of readers of poetry, while they exert, so far as they are adopted, a misleading influence on the practice of those who make it.

  What are the eternal objects of poetry, among all nations and at all times? They are actions; human actions; possessing an inherent interest in themselves, and which are to be communicated in an interesting manner by the art of the poet. Vainly will the latter imagine that he has everything in his own power; that he can make an intrinsically inferior action equally delightful with a more excellent one by his treatment of it: he may indeed compel us to admire his skill, but his work will possess, within itself, an incurable defect.

  The poet, then, has in the first place to select an excellent action; and what actions are the most excellent? Those, certainly, which most powerfully appeal to the great primary human affections: to those elementary feelings which subsist permanently in the race, and which are independent of time. These feelings are permanent and the same; that which interests them is permanent and the same also. The modernness or antiquity of an action, therefore, has nothing to do with its fitness for poetical representation; this depends upon its inherent qualities. To the elementary part of our nature, to our passions, that which is great and passionate is eternally interesting; and interesting solely in proportion to its greatness and to its passion. A great human action of a thousand years ago is more interesting to it than a smaller human action of to-day, even though upon the representation of this last the most consummate skill may have been expended, and though it has the advantage of appealing by its modern language, familiar manners, and contemporary allusions, to all our transient feelings and interests. These, however, have no right to demand of a poetical work that it shall satisfy them; their claims are to be directed elsewhere. Poetical works belong to the domain of our permanent passions: let them interest these, and the voice of all subordinate claims upon them is at once silenced.

  Achilles, Prometheus, Clytemnestra, Dido — what modern poem presents personages as interesting, even to us moderns, as these personages of an “exhausted past”? We have the domestic epic dealing with the details of modern life, which pass daily under our eyes; we have poems representing modern personages in contact with the problems of modern life, moral, intellectual, and social; these works have been produced by poets the most distinguished of their nation and time; yet I fearlessly assert that Hermann and Dorothea, Childe Harold, Jocelyn, the Excursion, leave the reader cold in comparison with the effect produced upon him by the latter books of the Iliad, by the Oresteia, or by the episode of Dido. And why is this? Simply because in the three last-named cases the action is greater, the personages nobler, the situations more intense: and this is the true basis of the interest in a poetical work, and this alone.

  It may be urged, however, that past actions may be interesting in themselves, but that they are not to be adopted by the modern poet, because it is impossible for him to have them clearly present to his own mind, and he cannot therefore feel them deeply, nor represent them forcibly. But this is not necessarily the case. The externals of a past action, indeed, he cannot know with the precision of a contemporary; but his business is with its essentials. The outward man of Oedipus or of Macbeth, the houses in which they lived, the ceremonies of their courts, he cannot accurately figure to himself; but neither do they essentially concern him. His business is with their inward man; with their feelings and behavior in certain tragic situations, which engage their passions as men; these have in them nothing local and casual; they are as accessible to the modern poet as to a contemporary.

  The date of an action, then, signifies nothing: the action itself, its selection and construction, this is what is all-important. This the Greeks understood far more clearly than we do. The radical difference between their poetical theory and ours consists, as it appears to me, in this: that, with them, the poetical character of the action in itself, and the conduct of it, was the first consideration; with us, attention is fixed mainly on the value of the separate thoughts and images which occur in the treatment of an action. They regarded the whole; we regard the parts. With them, the action predominated over the expression of it; with us, the expression predominates over the action. Not that they failed in expression, or were inattentive to it; on the contrary, they are the highest models of expression, the unapproached masters of the grand style: but their expression is so excellent because it is so admirably kept in its right degree of prominence; because it is so simple and so well subordinated; because it draws its force directly from the pregnancy of the matter which it conveys. For what reason was the Greek tragic poet confined to so limited a range of subjects? Because there are so few actions which unite in themselves, in the highest degree, the conditions of excellence; and it was not thought that on any but an excellent subject could an excellent poem be constructed. A few actions, therefore, eminently adapted for tragedy, maintained almost exclusive possession of the Greek tragic stage. Their significance appeared inexhaustible; they were as permanent problems, perpetually offered to the genius of every fresh poet. This too is the reason of what appears to us moderns a certain baldness of expression in Greek tragedy; of the triviality with which we often reproach the remarks of the chorus, where it takes part in the dialogue: that the action itself, the situation of Orestes, or Merope, or Alcmæon, was to stand the central point of interest, unforgotten, absorbing, principal; that no accessories were for a moment to distract the spectator’s attention from this, that the tone of the parts was to be perpetually kept down, in order not to impair the grandiose effect of the whole. The terrible old mythic story on which the drama was founded stood, before he entered the theatre, traced
in its bare outlines upon the spectator’s mind; it stood in his memory, as a group of statuary, faintly seen, at the end of a long and dark vista: then came the poet, embodying outlines, developing situations, not a word wasted, not a sentiment capriciously thrown in: stroke upon stroke, the drama proceeded: the light deepened upon the group; more and more it revealed itself to the riveted gaze of the spectator: until at last, when the final words were spoken, it stood before him in broad sunlight, a model of immortal beauty. This was what a Greek critic demanded; this was what a Greek poet endeavored to effect. It signified nothing to what time an action belonged. We do not find that the Persæ occupied a particularly high rank among the dramas of Æschylus because it represented a matter of contemporary interest: this was not what a cultivated Athenian required. He required that the permanent elements of his nature should be moved; and dramas of which the action, though taken from a long-distant mythic time, yet was calculated to accomplish this in a higher degree than that of the Persæ, stood higher in his estimation accordingly. The Greeks felt, no doubt, with their exquisite sagacity of taste, that an action of present times was too near them, too much mixed up with what was accidental and passing, to form a sufficiently grand, detached, and self-subsistent object for a tragic poem. Such objects belonged to the domain of the comic poet, and of the lighter kinds of poetry. For the more serious kinds, for pragmatic poetry, to use an excellent expression of Polybius, they were more difficult and severe in the range of subjects which they permitted. Their theory and practice alike, the admirable treatise of Aristotle, and the unrivalled works of their poets, exclaim with a thousand tongues— “All depends upon the subject; choose a fitting action, penetrate yourself with the feeling of its situations; this done, everything else will follow.”