ANTHONY COOPER,
FIRST EARL OF SHAFTESBURY.
Mr. Hastings’ house is not my ideal of the earthly paradise. But how dearly I wish, all the same, that I could inhabit it, could feel at home in the great hall and enjoy those dinners at the cat-infested table! There is a large simplicity about the Hastingesque existence, a kind of grandeur in its vigorous mindlessness, most satisfying to contemplate—though, alas, most depressing, as one knows by uncomfortable experience, to meet with in reality.
Through bars once more, and from a distance, I yearn towards the scene which Shaftesbury has painted for us. Painted with what a masterly skill! His eye for the significant fact is unfailing. That great sprig of rosemary, for example, with which Mr. Hastings stirred his beer—how easily that might have been overlooked! But how its omission would have spoilt the picture! Without his rosemary, Mr. Hastings would seem to us distinctly less sympathetic. That sprig of wild incense perfumes his rather gross rustic existence—gives it a certain almost idyllic flavour. Rosemary-scented, the old hunter becomes, as it were, a figure from the mythology of some religion of nature—a Priapus of Hampshire gardens, a New Forest satyr, hairy but half divine.
Æstuans intrinsecus
ira vehementi
in amaritudine
loquar meæ menti:
factus de materia
levis elementi
similis sum folio
de quo ludunt venti.
Cum sit enim proprium
viro sapienti
supra petram ponere
sedem fundamenti,
stultus ego comparor
fluvio labenti,
sub eodem aere
nunquam permanenti
Feror ego veluti
sine nauta navis,
ut per vias aeris
vaga fertur avis,
non me tenent vincula,
non me tenet clavis,
quæro mihi similes,
et adjungor pravis.
Via lata gradior
more juventutis,
implico me vitiis
inmemor virtutis,
voluptatis avidus
magis quam salutis,
mortuus in anima
curam gero cutis.
Præsul discretissime,
veniam te precor:
morte bona morior,
dulci nece necor,
meum pectus sauciat
puellarum decor,
et quas tactu nequeo,
saltem corde mæchor.
THE ARCHPOET.
Lived too consciously by people whose native place is on the mental plane of existence, life in the earthly paradise turns rancid and becomes strangely repulsive. The Archpoet was a person, it is obvious, of enormous intellectual ability. Nature, that is to say, had intended him to live, in the main, mentally, not in the world of sense. Disobeying the fundamental laws of his being, he broke through the confining bars. These stanzas are taken from a long apology for his life in what should have been the earthly paradise. It is an astonishingly brilliant performance—but one which fails, for all its brilliance, to do what it intended to do. So far from justifying the Archpoet in his preferences for wine, woman and song, it makes us uncomfortably feel that (at any rate while such people as he are about) wine is a poison, song a waste of time and woman a defiled defilement. The earthly paradise is a home only for Psyches; Cupids should never be more than passing visitors.
Take back thy gift;
Why should a man desire in any way
To vary from the kindly race of men,
Or pass beyond the goal of ordinance
Where all should pause, as is most meet for all?
ALFRED, LORD TENNYSON.
O why was I born with a different face?
Why was I not born like the rest of my race?
When I look, each one starts! when I speak, I offend.
Then I’m silent and passive, and lose every friend.
WILLIAM BLAKE.
The answer to Tennyson’s question is implied in Blake’s. Some people are born with different faces. The fact is there, unescapable, and must be accepted.
That thee is sent, receive in buxomnesse,
The wrastling for this world axeth a fal.
Her nis non hoom, her nis but wildernesse:
Forth, pilgrim, forth! Forth, beste, out of thy stal!
Know thy countree, look up, thank God of all;
Hold the hye wey and lat thy gost thee lede,
And trouthe shal delivere, it is no drede.
GEOFFREY CHAUCER.
O saisons, ô châteaux,
Quelle âme est sans défauts?
O saisons, ô châteaux!
J’ai fait la magique étude
Du bonheur que nul n’élude:
O vive lui! chaque fois
Que chante le coq gaulois
Mais je n’aurai nulle envie,
Il s’est chargé de ma vie.
Ce charme! il prit âme et corps
Et dispersa tous efforts.
Que comprendre à ma parole?
Il fait qu’elle fuit et vole!
O saisons, ô châteaux!
ARTHUR RIMBAUD.
Oisive jeunesse
A tout asservie,
Par délicatesse
J’ai perdu ma vie.
ARTHUR RIMBAUD.
The trouble with the Archpoet was that he lacked the délicatesse de perdre sa vie. (As indeed do most of us.) Rimbaud’s délicatesse was so great that he deliberately lost two lives—the life of sense and the life of the intellect and imagination. Lost an earthly paradise and also (the sacrifice was greater) a mental paradise, in order to undergo privations and misery in the tropical hells that border the Red Sea.
Tell me, ye piebald butterflies, who poise
Extrinsic with intrinsic joys;
What gain ye from such short-lived, fruitless, empty toys?
Ye fools, who barter gold for trash, report,
Can fire in pictures warm? Can sport
That stings the mock-sense fill? How low’s your Heaven, how short!
Go, chaffer bliss for pleasure, which is had
More by the beast than man; the bad
Swim in their mirth (Christ wept, ne’er laughed); the best are sad.
EDWARD BENLOWES.
It is a good thing that people should obey the laws of their being and, when the soul demands it, lose their lives par délicatesse. But that they should mechanically obey some moral drill-sergeant’s order to lose their lives is by no means so desirable. Particularly when the order is justified by an untenable mythology.
I struck the board and cried, No more!
I will abroad.
What? shall I ever sigh and pine?
My lines and life are free; free as the road,
Loose as the winds, as large as store.
Shall I be still in suit?
Have I no harvest but a thorn
To let me blood, and not restore
What I have lost with cordial fruit?
Sure there was wine
Before my sighs did dry it; there was corn
Before my tears did drown it,
Is the year only lost to me?
Have I no bays to crown it?
No flowers, no garlands gay? all blasted?
All wasted?
Not so, my heart; but there is fruit,
And thou