Harvard Classics, Volume 28, - [feel good fiction books .TXT] 📗

professed to seek it; and, disappointed and displeased with the place himself, he seems nevertheless to have been the means of their profiting by its advantages. One of these was Sophronius, who afterwards held a high office in the State: Eusebius was another, at that time the bosom-friend of Sophronius, and afterwards a Bishop. Celsus too is named, who afterwards was raised to the government of Cilicia by the Emperor Julian. Julian himself, in the sequel of unhappy memory, was then at Athens, and known at least to St. Gregory. Another Julian is also mentioned, who was afterwards commissioner of the land tax. Here we have a glimpse of the better kind of society among the students of Athens; and it is to the credit of the parties composing it, that such young men as Gregory and Basil, men as intimately connected with Christianity, as they were well known in the world, should hold so high a place in their esteem and love. When the two saints were departing, their companions came around them with the hope of changing their purpose. Basil persevered; but Gregory relented, and turned back to Athens for a season.

THE STUDY OF POETRY BY MATTHEW ARNOLD

INTRODUCTORY NOTE

Matthew Arnold was the son of the well-known English schoolmaster, Thomas Arnold of Rugby. He was born at Laleham in 1822, and went to school at Winchester and Rugby. Going up to Balliol College, Oxford, in 1841, he won a scholarship, took the Newdigate prize for English verse, and was elected fellow of Oriel in 1845. After some years as a private secretary, he became an Inspector of Schools and performed the routine duties of this office for thirty-five years. For ten years he was Professor of Poetry at Oxford, and in 1883-84 he lectured in America. He died in 1888.

Arnold is notable among modern men of letters as being almost equally distinguished in poetry and prose. His poetical work belongs to the earlier part of his career, and was practically finished by 1867. At the time of its first publication it appealed to only a narrow public; but it rose steadily in esteem through Arnold's life, though he ceased to add to it, and now many critics hold that it will outlive his prose. The best of it is refined in feeling, lofty in thought, and exquisite in expression; its prevailing note, a subdued melancholy.

In prose Arnold wrote on many themes—educational, social, political, and, especially, literary and religious. His attacks on dogmatic Christianity promise to be the most short-lived of his works; and perhaps deservedly so, as here Arnold was dealing with technical matters in which he was not an expert. In literary criticism he has been and still is a vital influence, urging especially the value of an outlook over the literatures of other countries and the cultivating of an intimacy with the great classics of the past. In the following essay on the "Study of Poetry," one of the most famous of his utterances, there may be found exemplified his characteristically vivacious and memorable style, his delicate appreciations brilliantly and precisely expressed, his concrete and persuasive argument. Perhaps no single critical document of our time has contributed so many phrases to the current literary vocabulary, or has stimulated so many readers to the use of lofty and definite standards of judgment.

THE STUDY OF POETRY[1]

'The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay. There is not a creed which is not shaken, not an accredited dogma which is not shown to be questionable, not a received tradition which does not threaten to dissolve. Our religion has materialised itself in the fact, in the supposed fact; it has attached its emotion to the fact, and now the fact is failing it. But for poetry the idea is everything; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to the idea; the idea is the fact. The strongest part of our religion to-day is its unconscious poetry.'

Let me be permitted to quote these words of my own, as uttering the thought which should, in my opinion, go with us and govern us in all our study of poetry. In the present work it is the course of one great contributory stream to the world-river of poetry that we are invited to follow. We are here invited to trace the stream of English poetry. But whether we set ourselves, as here, to follow only one of the several streams that make the mighty river of poetry, or whether we seek to know them all, our governing thought should be the same. We should conceive of poetry worthily, and more highly than it has been the custom to conceive of it. We should conceive of it as capable of higher uses, and called to higher destinies, than those which in general men have assigned to it hitherto. More and more mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete; and most of what now passes with us for religion and philosophy will be replaced by poetry. Science, I say, will appear incomplete without it. For finely and truly does Wordsworth call poetry 'the impassioned expression which is in the countenance of all science'; and what is a countenance without its expression? Again, Wordsworth finely and truly calls poetry 'the breath and finer spirit of all knowledge'; our religion, parading evidences such as those on which the popular mind relies now; our philosophy, pluming itself on its reasonings about causation and finite and infinite being; what are they but the shadows and dreams and false shows of knowledge? The day will come when we shall wonder at ourselves for having trusted to them, for having taken them seriously; and the more we perceive their hollowness, the more we shall prize 'the breath and finer spirit of knowledge' offered to us by poetry.

But if we conceive thus highly of the destinies of poetry, we must also set our standard for poetry high, since poetry, to be capable of fulfilling such high destinies, must be poetry of a high order of excellence. We must accustom ourselves to a high standard and to a strict judgment. Sainte-Beuve relates that Napoleon one day said, when somebody was spoken of in his presence as a charlatan: 'Charlatan as much as you please; but where is there not charlatanism?'—'Yes,' answers Sainte-Beuve, 'in politics, in the art of governing mankind, that is perhaps true. But in the order of thought, in art, the glory, the eternal honour is that charlatanism shall find no entrance; herein lies the inviolableness of that noble portion of man's being.' It is admirably said, and let us hold fast to it. In poetry, which is thought and art in one, it is the glory, the eternal honour, that charlatanism shall find no entrance; that this noble sphere be kept inviolate and inviolable. Charlatanism is for confusing or obliterating the distinctions between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true. It is charlatanism, conscious or unconscious, whenever we confuse or obliterate these. And in poetry, more than anywhere else, it is impermissible to confuse or obliterate them. For in poetry the distinction between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true, is of paramount importance. It is of paramount importance because of the high destinies of poetry. In poetry, as in criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty, the spirit of our race will find, we have said, as time goes on and as other helps fail, its consolation and stay. But the consolation and stay will be of power in proportion to the power of the criticism of life. And the criticism of life will be of power in proportion as the poetry conveying it is excellent rather than inferior, sound rather than unsound or half-sound, true rather than untrue or half-true.

The best poetry is what we want; the best poetry will be found to have a power of forming, sustaining, and delighting us, as nothing else can. A clearer, deeper sense of the best in poetry, and of the strength and joy to be drawn from it, is the most precious benefit which we can gather from a poetical collection such as the present. And yet in the very nature and conduct of such a collection there is inevitably something which tends to obscure in us the consciousness of what our benefit should be, and to distract us from the pursuit of it. We should therefore steadily set it before our minds at the outset, and should compel ourselves to revert constantly to the thought of it as we proceed.

Yes; constantly in reading poetry, a sense for the best, the really excellent, and of the strength and joy to be drawn from it, should be present in our minds and should govern our estimate of what we read. But this real estimate, the only true one, is liable to be superseded, if we are not watchful, by two other kinds of estimate, the historic estimate and the personal estimate, both of which are fallacious. A poet or a poem may count to us historically, they may count to us on grounds personal to ourselves, and they may count to us really. They may count to us historically. The course of development of a nation's language, thought, and poetry, is profoundly interesting; and by regarding a poet's work as a stage in this course of development we may easily bring ourselves to make it of more importance as poetry than in itself it really is, we may come to use a language of quite exaggerated praise in criticising it; in short, to over-rate it. So arises in our poetic judgments the fallacy caused by the estimate which we may call historic. Then, again, a poet or poem may count to us on grounds personal to ourselves. Our personal affinities, likings and circumstances, have great power to sway our estimate of this or that poet's work, and to make us attach more importance to it as poetry than in itself it really possesses, because to us it is, or has been, of high importance. Here also we over-rate the object of our interest, and apply to it a language of praise which is quite exaggerated. And thus we get the source of a second fallacy in our poetic judgments—the fallacy caused by an estimate which we may call personal.

Both fallacies are natural. It is evident how naturally the study of the history and development of poetry may incline a man to pause over reputations and works once conspicuous but now obscure, and to quarrel with a careless public for skipping, in obedience to mere tradition and habit, from one famous name or work in its national poetry to another, ignorant of what it misses, and of the reason for keeping what it keeps, and of the whole process of growth in its poetry. The French have become diligent students of their own early poetry, which they long neglected; the study makes many of them dissatisfied with their so-called classical poetry, the court-tragedy of the seventeenth century, a poetry which Pellisson long ago reproached with its want of the true poetic stamp, with its politesse stérile et rampante, but which nevertheless has reigned in France as absolutely as if it had been the perfection of classical poetry indeed. The dissatisfaction is natural; yet a lively and accomplished critic, M. Charles d'Héricault, the editor of Clément Marot, goes too far when he says that 'the cloud of glory playing