THE TURN of poetry in the age which we have now left behind, was, as was inevitable in a reign of dominant intellectuality, a preoccupation with reflective thought and therefore with truth, but it was not at its core and in its essence a poetic thought and truth and its expression, however artistically dressed with image and turn or enforced by strong or dexterous phrase, however frequently searching, apt or picturesque, had not often, except in one or two exceptional voices, the most moving and intimate tones of poetry. The poets of the middle nineteenth century in England and America philosophised, moralised or criticised life in energetic and telling or beautiful and attractive or competent and cultured verse; but they did not represent life with success or interpret it with high poetic power or inspired insight and were not stirred and uplifted by any deeply great vision of truth. The reasoning and observing intellect is a most necessary and serviceable instrument, but an excess of reason and intellectuality does not create an atmosphere favourable to moved vision and the uplifting breath of life, and for all its great stir of progress and discovery that age, the carnival of industry and science, gives us who are in search of more living, inner and potent things the impression of a brazen flavour, a heavy air, an inhibition of the greater creative movements, a level spirit of utility and prose. The few poets who strained towards a nearer hold upon life, had to struggle against this atmosphere which weighed upon their mind and clogged their breath. Whitman, striving by stress of thought towards a greater truth of the soul and life, found refuge in a revolutionary breaking out into new anarchic forms, a vindication of freedom of movement which unfortunately at its ordinary levels brings us nearer to the earth and not higher up towards a more illumined air; Swinburne, excited by the lyric fire within him, had too

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often to lash himself into a strained violence of passion in order to make a way through the clogging thickness for its rush of sound; Meredith's strains, hymning life in a word burdened and packed with thought, are strong and intimate, but difficult and few. And therefore in this epoch of a bursting into new fields and seeking for new finer and bolder impulses of creation, one of the most insistent demands and needs of the human mind, not only in poetry, but in thought itself and in spirit, has been to lessen the tyranny of the reasoning and critical intellect, to return to the power and sincerity of life and come by a greater deepness of the intuition of its soul of meaning. That is the most striking turn of all recent writing of any importance.

This turn is in itself perfectly sound and its direction is to a certain extent on the right line, even if it does not yet altogether see its own end. But the firm grasp on a greater life has not quite come and there are many mistaken directions of this urge. The enlightening power of the poet's creation is vision of truth, its moving power is a passion of beauty and delight, but its sustaining power and that which makes it great and vital is the breath of life. A poetry which is all thought and no life or a thought which does not constantly keep in touch with and refresh itself from the fountains of life, even if it is something more than a strong, elegant or cultured philosophising or moralising in skilled verse, even if it has vision and intellectual beauty, suffers always by lack of fire and body, wants perfection of grasp and does not take full hold on the inner being to seize and uplift as well as sweeten and illumine, as poetry should do and all great poetic writing does. The function of the poet even when he is most absorbed in thinking, is still to bring out not merely the truth and interest, but the beauty and power of the thought, its life and emotion, and not only to do that, not only to make the thought a beautiful and living thing, but to make it one thing with life. But words are ambiguous things and we must see what is the full extent of our meaning when we say, as we may say, that the poet's first concern and his concern always is with living beauty and reality, with life.

As we can say that the truth with which poetry is touched,

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is an infinite truth, all the truth that lives in the eternal and universal and fills, informs, vivifies, holds and shapes the spirit and form of creation, so we may say too that the life, something of which the poet has to reembody in the beauty of the word, is all life, the infinite life of the spirit thrown out in its many creations. The poet's business most really, most intimately is not with the outward physical life as it is or the life of the passions and emotions only for its own sake or even with some ideal life imaged by the mind or some combining and new shaping of these things into a form of beauty, but with the life of the soul and with these other things only as its expressive forms. Poetry is the rhythmic voice of life, but it is one of the inner and not one of the surface voices. And the more of this inner truth of his function the poet brings out in his work, the greater is his creation, while it does not seem to matter essentially or not at the first whether his method is professedly subjective or objective, his ostensible power that of a more outward or a more inward spirit or whether it is the individual or the group soul or the soul of Nature or mankind or the eternal and universal spirit in them whose beauty and living reality find expression in his word. This universal truth of poetry is apt to be a little hidden from us by the form and stress of preoccupation with this or that medium of outward soul-expression in the poet's work. Mankind in its development seems to begin with the most outward things and go always more and more inward in order that the race may mount to greater heights of the spirit's life. An early poetry therefore is much occupied with a simple, natural, straightforward, external presentation of life. A primitive epic bard like Homer thinks only by the way and seems to be carried constantly forward in the stream of his strenuous action and to cast out as he goes only so much of surface thought and character and feeling as obviously emerges in a strong and single and natural speech and action. And yet it is the adventures and trials and strength and courage of the soul of man in Odysseus which makes the greatness of the Odyssey and not merely the vivid incident and picturesque surrounding circumstance, and it is the clash of great and strong spirits with the gods leaning

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down to participate in their struggle which makes the greatness of the Iliad and not merely the action and stir of battle. The outward form of Shakespeare's work is a surge of emotion and passion and thought and act and event arising out of character at ferment in the yeast of feeling and passion, but it is its living interpretation of the truth and powers of the life-soul of man that are the core of greatness of his work and the rest without it would be a vain brute turmoil. The absence or defect of this greater element makes indeed the immense inferiority of the rest of Elizabethan dramatic work. And whatever the outward character or form of the poetry, the same law holds that poetry is a self-expressive power of the spirit and where the soul of things is most revealed in its very life by the rhythmic word, there is the fullest achievement of the poet's function.

And so long as the poet's medium is the outward life of things or the surface inward life of the passions and emotions, he is moving in a strong and fresh natural element and in an undivided wholeness of the inner and outer man, and his work, given the native power in him, has all the vitality of a thing fully felt and lived. But when intellectual thought has begun its reign in the mind of a more cultured race, the poet's difficulty also begins and increases as that reign becomes more sovereign and imperative. For intellectual thought makes a sort of scission in our being and on one side of the line is the vital urge carrying on life and on the other side the deliberate detached reason trying to observe it, take an intelligent view and extract from it all its thought values. The poet, as a child of the age and one of its voices, is moved to follow this turn. He too observes life, extracts the thought values of his theme, criticises while attempting to create, or even lingers to analyse his living subject, as Browning is constantly doing with the thinking and feeling mind of his characters. But this can only be done without detriment to the vital power of the poetic spirit and the all-seizing effect of its word, when there is a balance maintained between thought and life, the life passing into self-observing thought and the thought returning on the life to shape it in its own vital image. It has been remarked that the just balance between thought and the living

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word was found by the Greeks and not again. That is perhaps an excessive affirmation, but certainly a just balance between observing thought and life is the distinctive effort of classical poetry and that endeavour gave it its stamp whether in Athens or Rome or in much of the epic or classical literature of ancient India. But this balance is easily lost, a difficult thing, and, once it has gone, thought begins to overweight life which loses its power and elan and joy, its vigorous natural body and its sincere and satisfied passion and force. We get more of studies of life than of creation, thought about the meaning of character and emotion and event and elaborate description rather than the living presence of these things. Passion, direct feeling, ardent emotion, sincerity of sensuous joy are chilled by the observing eye of the reason and give place to a play of sentiment, — sentiment which is an indulgence of the intelligent observing mind in the aesthesis, the rasa of feeling, passion, emotion, sense thinning them away into a subtle, at the end almost unreal fineness. There is then an attempt to get back to the natural fullness of the vital and physical life, but the endeavour fails in sincerity and success because it is impossible; the mind of man having got so far cannot return upon its course, undo what it has made of itself and recover the glad childhood of its early vigorous nature. There is instead of the simplicity of spontaneous life a search after things striking, exaggerated, abnormal, violent, new, in the end a morbid fastening on perversities, on all that is ugly, glaring and coarse on the plea of their greater reality, on exaggerations of vital instinct and sensation, on physical wrynesses and crudities and things unhealthily strange. The thought-mind, losing the natural full-blooded power of the vital being, pores on these things, stimulates the failing blood with them and gives itself an illusion of some forceful sensation of living. This is not the real issue, but the way to exhaustion and decadence.

The demand for life, for action, the tendency to a pragmatic and vitalistic view of things, a certain strenuous and even strident note has been loud enough in recent years. Life, action, vital power are great indispensable things, but to get back to them by thinking less is a way not open to us in this age of time, even if

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it were a desirable remedy for our disease of over-intellectuality and a mechanised existence. In fact we do not think less than the men of the past generation but much more insistently, with a more packed and teeming thought, with a more eager more absorbed hunting of the mind along all the royal high-roads and alluring byways of life. And it could not be otherwise. The very school of poetry which insists on actual life as the subject matter of the poet carries into it with or without conscious intention the straining of the thought mind after something quite other than the obvious sense of the things it tries to force into relief, some significance deeper than what either the observing reason or the normal life-sense gives to our first or our second view of existence. The way out lies not in cessation of thinking and the turn to a strenuous description of life, nor even in a more vitally forceful thinking, but in another kind of thought mind. The filled activity of the thinking mind is as much part of life as that of the body and vital and emotional being, and its growth and predominance are a necessary stage of human progress and man's self-evolution. To go back from it is impossible or, if possible, would be undesirable, a lapse and not a betterment of our spirit. But the full thought-life does not come by the activity of the intellectual reason and its predominance. That is only a step by which we get above the first immersion in the activity and excitement and vigour of the life and the body and give ourselves a first freedom to turn to a greater and higher reach of the fullness of existence. And that higher reach we gain when we get above the limited crude physical mind, above the vital power and its forceful thought and self-vision, above the intellect and its pondering and measuring reason, and tread the illumined realm of an intuitive and spiritual thinking, an intuitive feeling, sense and vision. This is not that vital intuition which is sometimes confused with a much broader, loftier, vaster and more seeing power, but the high original power itself, a supra-intellectual and spiritual intuition. The all-informing spirit, when found in all its fullness, heals the scission between thought and life, the need of a just balance between them disappears, instead there begins a new and luminous and joyful fusion and oneness. The

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spirit gives us not only a greater light of truth and vision, but the breath of a greater living; for the spirit is not only the self of our consciousness and knowledge, but the great self of life. To find our self and the self of things is not to go through a rarefied ether of thought into Nirvana, but to discover the whole greatest integral power of our complete existence.

This need is the sufficient reason for attaching the greatest importance to those poets in whom there is the double seeking of this twofold power, the truth and reality of the eternal self and spirit in man and things and the insistence on life. All the most significant and vital work in recent poetry has borne this stamp; the rest is of the hour, but this is of the future. It is the highest note of Whitman; in him, as in one who seeks and sees much but has not fully found, it widens the sweep of a great pioneer poetry, but is an opening of a new view rather than a living in its accomplished fullness; it is constantly repeated from the earth side in Meredith, comes down from the spiritual side in all A. E.'s work, moves between earth and the life of the worlds behind in Yeats' subtle rhythmic voices of vision and beauty, echoes with a large fullness in Carpenter. The poetry of Tagore owes its sudden and universal success to this advantage that he gives us more of this discovery and fusion for which the mind of our age is in quest than any other creative writer of the time. His work is a constant music of the overpassing of the borders, a chant-filled realm in which the subtle sounds and lights of the truth of the spirit give new meanings to the finer subtleties of life. The objection has been made that this poetry is too subtle, too remote, goes too far away from the broad, near, present and vital actualities of terrestrial existence. Yeats is considered by some a poet of Celtic romance and nothing more, Tagore accused in his own country of an unsubstantial poetic philosophising, a lack of actuality, of reality of touch and force of vital insistence. But this is to mistake the work of this poetry and to mistake too in a great measure the sense of life as it must reveal itself to the greatening mind of humanity now that that mind is growing in world-knowledge and towards self-knowledge. These poets have not indeed done all that has to be done or given the complete

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poetic synthesis and fusion. Their work has been to create a new and deeper manner of seeing life, to build bridges of visioned light and rhythm between the infinite and eternal and the limited mind and soul and embodied life of man. The future poetry has not to stay in their achievement; it has yet to step from these first fields into new and yet greater ranges, to fathom all the depths yet unplumbed, to complete what has been left half done or not yet done, to bring all it can of the power of man's greater self and the universal spirit into a broader and even the broadest possible all of life. That cannot and will not be achieved in its fullness at once, but to make a foundation of this new infinite range of poetic vision and creation is work enough to give greatness to a whole age.

The demand for activity and realism or for a direct, exact and forceful presentation of life in poetry proceeds upon a false sense of what poetry gives or can give us. All the highest activities of the mind of man deal with things other than the crude actuality or the direct appearance or the first rough appeal of existence. A critical or a scientific thought may attempt to give an account of the actuality as it really is, though even to do that they have to go far behind its frontage and make a mental reconstruction and surprising change in its appearance. But the creative powers cannot stop there, but have to make new things for us as well as to make existing things new to the mind and eye. It is no real portion of the function of art to cut out palpitating pieces from life and present them raw and smoking or well-cooked for the aesthetic digestion. For in the first place all art has to give us beauty and the crude actuality of life is not often beautiful, and in the second place poetry has to give us a deeper reality of things and the outsides and surface faces of life are only a part of its reality and do not take us either very deep or very far. Moreover, the poet's greatest work is to open to us new realms of vision, new realms of being, our own and the world's, and he does this even when he is dealing with actual things. Homer with all his epic vigour of outward presentation does not show us the heroes and deeds before Troy in their actuality as they really were to the normal vision of men, but much rather as they were or might

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have been to the vision of the gods. Shakespeare's greatness lies not in his reproduction of actual human events or men as they appear to us buttoned and cloaked in life, — others of his time could have done that as well, if with less radiant force of genius, yet with more of the realistic crude colour or humdrum drab of daily truth, — but in his bringing out in his characters and themes of things essential, intimate, eternal, universal in man and Nature and Fate on which the outward features are borne as fringe and robe and which belong to all times, but are least obvious to the moment's experience: when we do see them, life presents to us another face and becomes something deeper than its actual present mask. That is why the poet oftenest instinctively prefers to go away from the obsession of a petty actuality, from the realism of the prose of life to his inner creative self or an imaginative background of the past or the lucent air of myth or dream or on into a greater outlook on the future. Poetry may indeed deal with the present living scene, at some peril, or even with the social or other questions and problems of the day, — a task which is now often laid on the creative mind, as if that were its proper work; but it does that successfully only when it makes as little as possible of what belongs to the moment and time and the surface and brings out their roots of universal or eternal interest or their suggestion of great and deep things. What the poet borrows from the moment, is the most perishable part of his work and lives at all only by being subordinated and put into intimate relation with less transient realities. And this is so because it is the eternal increasing soul of man and the intimate self of things and their more abiding and significant forms which are the real object of his vision.

The poetry of the future can least afford to chain itself to the outward actualities which we too often mistake for the whole of life, because it will be the voice of a human mind which is pressing more and more towards the very self of the self of things, the very spirit of which the soul of man is a living power and to a vision of unity and totality which is bound to take note of all that lies behind our apparent material life. What man sees and experiences of God and himself and his race and Nature

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and the spiritual, mental, psychic and material worlds in which he moves, his backlook upon the past, his sweep of vision over the present, his eye of aspiration and prophecy cast towards the future, his passion of self-finding and self-exceeding, his reach beyond the three times to the eternal and immutable, this is his real life. Poetry in the past wrote much of the godheads and powers behind existence, but in the mask of legends and myths, sometimes of God, but not often with a living experience, oftener in the set forms taught by religions and churches and without true beauty and knowledge. But now the mind of man is opening more largely to the deepest truth of the Divine, the Self, the Spirit, the eternal Presence not separate and distant, but near us, around us and in us, the Spirit in the world, the greater Self in man and his kind, the Spirit in all that is and lives, the Godhead, the Existence, the Power, the Beauty, the eternal Delight that broods over all, supports all and manifests itself in every turn of creation. A poetry which lives in this vision must give us quite a new presentation and interpretation of life; for of itself and at the first touch this seeing reconstructs and reimages the world for us and gives us a greater sense and a vaster, subtler and profounder form of our existence. The real faces of the gods are growing more apparent to the eye of the mind, though not yet again intimate with our life, and the forms of legend and symbol and myth must open to other and deeper meanings, as already they have begun to do, and come in changed and vital again into poetry to interpret the realities behind the veil. Nature wears already to our eye a greater and more transparent robe of her divine and her animal and her terrestrial and cosmic life and a deeper poetry of Nature than has yet been written is one of the certain potentialities of the future. The material realm too cannot for very much longer be our sole or separate world of experience, for the partitions which divide it from psychic and other kingdoms behind it are wearing thin and voices and presences are beginning to break through and reveal their impact on our world. This too must widen our conception of life and make a new world and atmosphere for poetry which may justify as perhaps never before the poet's refusal to regard as unreal

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what to the normal mind was only romance, illusion or dream. A larger field of being made more real to man's experience will be the realm of the future poetry.

These things are often given an appearance of remoteness, of withdrawal from the actuality of life, because to discover them the mind had at first to draw away from the insistent outward preoccupation and live as if in a separate world. The seeker of the Self and Spirit, the God-lover, tended to become the cloistered monk, the ascetic, the mystic, the eremite and to set the spiritual apart from and against the material life. The lover of Nature went away from the noise of man and daily things to commune with her largeness and peace. The gods were found more in the lights of solitude than in the thoughts and actions of men. The seer of other worlds lived surrounded by the voices and faces of supernature. And this was a legitimate seclusion, for these are provinces and realms and presences and one has often to wander apart in them or live secluded with them to know their nearest intimacies. The spirit is real in itself even apart from the world, the gods have their own home beyond our sky and air, Nature her own self-absorbed life and supernature its brilliant curtains and its dim mysterious fences. None of these things are unreal, and if the supernatural as handled by older poets seemed often mere legend, fancy and romance, it was because it was seen from a distance by the imagination, not lived in by the soul and in its spirit, as is done by the true seer and poet of this supernature or other-nature. And all these things, because they have their own reality, have their life and a poetry which makes them its subject can be as vital, as powerful, as true as the song which makes beautiful the physical life and normal passions and emotions of men and the objects of our bodily sense-experience.

But still all life is one and a new human mind moves towards the realisation of its totality and oneness. The poetry which voices the oneness and totality of our being and Nature and the worlds and God, will not make the actuality of our earthly life less but more real and rich and full and wide and living to men. To know other countries is not to belittle but enlarge our own country and help it to a greater power of its own

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being, and to know the other countries of the soul is to widen our bounds and make more opulent and beautiful the earth on which we live. To bring the gods into our life is to raise it to its own diviner powers. To live in close and abiding intimacy with Nature and the spirit in her is to free our daily living from its prison of narrow preoccupation with the immediate moment and act and to give the moment the inspiration of all Time and the background of eternity and the daily act the foundation of an eternal peace and the large momentum of the universal Power. To bring God into life, the sense of the self in us into all our personality and becoming, the powers and vistas of the Infinite into our mental and material existence, the oneness of the self in all into our experience and feelings and relations of heart and mind with all that is around us is to help to divinise our actual being and life, to force down its fences of division and blindness and unveil the human godhead that individual man and his race can become if they will and lead us to our most vital perfection. This is what a future poetry may do for us in the way and measure in which poetry can do these things, by vision, by the power of the word, by the attraction of the beauty and delight of what it shows us. What philosophy or other mental brooding makes precise or full to our thought, poetry can by its creative power, imaging force and appeal to the emotions make living to the soul and heart. This poetry will present to us indeed in forms of power and beauty all the actual life of man, his wonderful and fruitful past, his living and striving present, his yet more living aspiration and hope of the future, but will present it more seeingly as the life of the vast self and spirit within the race and the veiled divinity in the individual, as an act of the power and delight of universal being, in the greatness of an eternal manifestation, in the presence and intimacy of Nature, in harmony with the beauty and wonder of the realms that stretch out beyond earth and its life, in the march to godhead and the significances of immortality, in the ever clearer letters and symbols of the self-revealing mystery and not only in its first crude and incomplete actualities; these actualities will themselves be treated with a firmer and finer

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vision, find their own greater meaning and become to our sight thread of the fine tissue and web of the cosmic work of the Spirit. This poetry will be the voice and rhythmic utterance of our greater, our total, our infinite existence, and will give us the strong and infinite sense, the spiritual and vital joy, the exalting power of a greater breath of life.

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