The Future Poetry

Chapter IV

The Soul of Poetic Delight and Beauty

The light of truth, the breath of life, great and potent things though they are, are insufficient to give poetry the touch of immortality and perfection, even a little of which is enough to carry it safe through the ages, unless the soul and form of delight and beauty take possession of the seeing of truth and give immortality to the breath and body of the life. Delight is the soul of existence, beauty the intense impression, the concentrated form of delight; and these two fundamental things tend to be one for the mind of the artist and the poet, though they are often enough separated in our cruder vital and mental experience. These twin powers meet, make a consonance of the perfect harmony of his work and are the first deities he serves, all the others only group themselves about them, strive to be admitted to the soul of delight and the privilege of beauty and have to make themselves acceptable to them before they can mix with them in a compelling and attracting oneness. For the poet the moon of beauty and delight is a greater godhead even than the sun of truth or the breath of life, as in the symbolic image of the Vedic moon-god Soma, whose plant of intoxication has to be gathered on lonely mountain heights in the moonlight and whose purified juice and essence is the sacred wine and nectar of sweetness, rasa, madhu, amṛta, without which the gods themselves could not be immortal. A lightest trifle, if it manages to get itself saturated with this sweetness of poetic delight and beauty, will be preserved for its sake, while the highest strenuous labour of the thinking mind and the most forceful assertion of the life-power, if deprived of or deficient in this subtlest immortalising essence, may carry on for a time, but soon drops, grows old, sinks into the gulf of oblivion or has at most a lifeless survival

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and belongs to the dead history of literature, not to its eternal present. But beauty and delight, whatever form it takes,—for we may speak here of the two as one,—has an unaging youth, an eternal moment, an immortal presence.

The imperative instinct for beauty and the aesthetic demand which set that among the first needs and was not satisfied with anything else if this were neglected or put second in importance, are now things that are almost lost, nowhere general to the human mind, but once they were the sign of the poetic and artistic peoples and the great ages of art and poetry and supreme creation. The ancient communities who created those fine many-sided cultures which still remain the fountain-head of all our evolving civilisation, had the instinct for beauty, the aesthetic turn of the temperament and formation of the mind almost, it would seem, from the beginning, planted in their spirit and their blood, colouring their outlook so that even before they got the developed intellectual consciousness of it, they created instinctively in the spirit and form of beauty and that is quite half the secret of the compelling and attractive power of the antique cultures. The earliest surviving poetry of ancient India was philosophical and religious, the Veda, the Upanishads, and our modern notions tend to divorce these things from the instinct of delight and beauty, to separate the religious and the philosophic from the aesthetic sense; but the miracle of these antique writings is their perfect union of beauty and power and truth, the word of truth coming out spontaneously as a word of beauty, the revealed utterance of that universal spirit who is described in the Upanishads as the eater of the honey of sweetness, madhvadam puruṣam; and this high achievement was not surprising in these ancient deep-thinking men who discovered the profound truth that all existence derives from and lives by the bliss of the eternal spirit, in the power of a universal delight, Ananda. The idea of beauty, the spontaneous satisfaction in it, the worship of it as in itself something divine, became more intellectually conscious afterwards, was a dominant strain of the later Indian mind and got to its richest outward colour and sensuous passion in the work of the classical writers, while the expression of the spiritual

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through the aesthetic sense is the constant sense of Indian art, as it is also the inspiring motive of a great part of the later religion and poetry. Japan and China, more especially perhaps southern China, for the north has been weighted by a tendency to a more external and formal idea of measure and harmony, had in a different way this fusion of the spiritual and aesthetic mind and it is a distinguishing stamp of their art and culture. The Persian had a sort of sensuous magic of the transforming aesthesis born of psychic delight and vision. Ancient Greece did all its work of founding European civilisation by a union of a subtle and active intelligence with a fine aesthetic spirit and worship of beauty. The Celtic nations again seem always to have had by nature a psychic delicacy and subtlety united with an instinctive turn for imaginative beauty to which we surely owe much of the finer strain in English literature. But there these spontaneous miracles of fusion end and in the mind of later peoples who come in and take possession with a less innate, a more derivative culture, the sense of beauty works with a certain effort and is clogged by many heavier elements which are in conflict with and prevent the sureness of the aesthetic perception. There is in their cruder temperament and intelligence a barbaric strain which worships rudely the power and energy of life and is not at home with the delight of beauty, an ethical and puritanic strain which looks askance at art and beauty and pleasure, a heavy scholastic or a dry scientific intellectual strain which follows after truth with a conscientious and industrious diligence but without vision and fine aesthesis. And the modern mind, inheritor of all this past, is a divided and complex mind which strives at its best to get back at the old thing on a larger scale and realise some oneness of its many strands of experience, but has not yet found the right meeting-place; and it is besides still labouring under the disadvantage of its aberration into a mechanical, economical, materialistic, utilitarian civilisation from which it cannot get free, though it is struggling to shake off that dullest side of it for which a naked and unashamed riot of ugliness could be indulged in without any prickings of the spiritual conscience but rather with a smug self-righteousness in the hideous, the vulgar and the

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ignoble. The day when we get back to the ancient worship of delight and beauty, will be our day of salvation; for without these things there can be neither an assured nobility and sweetness in poetry and art, nor a satisfied dignity and fullness of life nor a harmonious perfection of the spirit.

An insufficiently profound and intimate perception of the real deep soul of poetic delight and beauty is the first obstacle to a recovery of the old strong soundness of the aesthetic sense and spontaneity of the aesthetic impulse. This comes from the peculiar character of the modern intelligence and its want of harmony between our internal selves and our external experience; there is little spontaneous joy of their meeting, an active labour to assimilate, but no happy, deep or satisfied possession either of self or life, a continual seeking but no repose in the thing found, a feverish restlessness without home and abiding-place. The spirit of man can make its home in either one of two things, the depths of our self arrived at through vision of self-knowledge, through power of self-mastery or through ecstasy, or a profound, a glad and satisfied acceptance of the truth, the delight and beauty of the world and life, of existence and experience. And either of these things can help too to bring in the other,—possess the inner self and life can become happy and illumined by a full sense of its hidden significance, or get hold of the complete delight and beauty of life and the world and you have then only a thin layer of shining mist to break through to get also at the self and spirit behind it, the eater of the honey of sweetness who is seated in the soul of man and extends himself through the universe. The ancient peoples had in a very large measure this foundation of satisfaction and harmony, took the greatest interest in the reality of the inner self, as once in India and China, the Atman, the Tao, and life and the world as its field of expression and self-experience or, like the Greeks, felt at once the naturalness and profundity of human existence and gave to it an immediate and subtle aesthetic response. The modern mind on the contrary looks little into our deepest self, takes little interest in sounding that depth and has hardly any confidence in its reality, and concentrates not on the truth and delight and

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beauty of life, but upon the stress of its results and circumstances, which in themselves have only an incidental and no satisfying and harmonious meaning, and on the agitating or attractive turmoil of the mind excited by their contact or their siege.¹ This difference results in a fundamental difference of aesthesis. The pure aesthetic spirit ought to be left free, trusted in, made master of its own action and creation and it will then create with greatness and beauty, in a calm and satisfied ecstasy, and yet safely harmonise its action with the other spiritual powers of our existence, the need of the life-soul, the insistent seeking of the thought-mind, the demand of the active will and the senses. But we now make the aesthetic sense and intelligence a servant of these other powers; it is condemned to serve first and foremost our external interest in life or our interest in thought or in troubled personality or the demand of the senses or passions and bidden to make them beautiful or vivid to us by an active aesthetic cerebration and artistic manufacture of the word or a supply of carefully apt or beautiful forms and measures. The secondary things are put in the first rank, the primary, the one thing needful has to get in as best it can to give some firm base to the creation. This aesthesis aided by the vast curiosity of the modern intelligence has done some great and much interesting work, but it arrives with difficulty at the readily fused harmonies and assured stamp of the perfect way of spiritual creation.

There is a profound intrinsic delight and beauty in all things and behind all experience whatever face it wears to the surface mind, which makes it to a spirit housed within us other than its first appearance, makes it, that is to say, no longer a thing exciting mental interest, pain, pleasure, but rather a revelation of the truth and power and delight of being and our feeling of it a form of the universal Ananda of the old philosophical thinkers, the calm yet moved ecstasy with which the spirit of existence

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regards itself and its creations. This deeper spiritual feeling, this Ananda is the fountain of poetic delight and beauty. It springs from a supreme essence of experience, a supreme aesthesis which is in its own nature spiritual, impersonal, independent of the personal reactions and passions of the mind, and that is why the poet is able to transmute pain and sorrow and the most tragic and terrible and ugly things into forms of poetic beauty, because of this impersonal joy of the spirit in all experience, whatever its nature. And as, therefore, the subject of the poet is all that he can feel of the infinite life of the spirit that creates in existence and all that he can seize of the infinite truth of God and Nature and our own and the world's being, so too what he brings out from his subject is all that he can pour into speech of his vision of eternal and universal beauty, all that he can express of the soul's universal delight in existence. That is what he has to reveal, and to make others share in, to render more expressive and firmly present to them what experience they have of it and help the race towards its greater fullness in the soul of man and embodiment in our mind and life. This Ananda is not the pleasure of a mood or a sentiment or the fine aesthetic indulgence of the sense in the attraction of a form, superficial results and incidents which are often mistaken for that much deeper and greater thing by the minor poetic faculty, the lesser artistic mind, but the enduring delight which, as the ancient idea justly perceived, is the essence of spirit and being and the beauty which all things assume when the spirit lives in the pure joy of creation and experience.

The universality of this delight and beauty does not mean that we can take whatever we will straight from life and experience, just as it is, and by making it precise and vivid through word and image or dressing it in imaginative colour achieve poetic effect and beauty. That is the theory by which a great deal of our modern endeavour at poetry seems to be guided, as it is the ruling method of inferior poets and the mark too of the lesser or unsuccessful or only partially successful work of greater writers. The error made is to confuse the sources of poetic delight and beauty with the more superficial interest, pain and pleasure which the normal mind takes in the first untransmuted appeal

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of thought and life and feeling. That in its first crude form or a little deepened by sensitiveness of emotion and a reflective intelligence is the response to existence of the natural mind, the only instrument of the majority, and what it is apt to expect from the poet is that this is what he too shall give to the world and only think it more profoundly, feel it more sensitively, live it with a greater excitement and find for it beauty of word and attraction of rhythm. The poet has in him a double personality, a double instrument of his response to life and existence. There is in him the normal man absorbed in mere living who thinks and feels and acts like others, and there is the seer of things, the supernormal man, the super-soul or delight-soul in touch with the impersonal and eternal fountains of joy and beauty who creates from that source and transmutes by its alchemy all experience into a form of the spirit's Ananda. It is easy for him, if the demand of his genius is not constant or if he is not held back by a natural fineness of the poetic conscience, to subject this deeper and greater power to the lower and general demand and put it at the service of his superficial mental experience. He has then to rely on the charm and beauty of word and form to save the externality of his substance. But the genius in him when he is faithful to it, knows that this is not his high way of perfection nor the thing his spirit gave him to do; it is a spiritual transmutation of the substance got by sinking the mental and vital interests in a deeper soul experience which brings the inevitable word and the supreme form and the unanalysable rhythm. The poet is then something more than a maker of beautiful word and phrase, a favoured child of the fancy and imagination, a careful fashioner of idea and utterance or an effective poetic thinker, moralist, dramatist or storyteller; he becomes a spokesman of the eternal spirit of beauty and delight and shares that highest creative and self-expressive rapture which is close to the original ecstasy that made existence, the divine Ananda.

This rapture, the Platonic divine possession and enthusiasm, is born not of mental, but of soul experience, and the more the surface mind gets into the way, the more this divine passion is weakened and diluted by a less potent spirit. The surface mind

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is powerfully attracted by the stir of the outward passion and excitement, the stress of immediate thought, life and action, hastens to embody it in speech or in deed and has no leisure to transmute life into those greater abiding values of which the soul in its depths is alone capable. But the higher faculties are given us as keys to a deeper experience; the seer, the poet, the artist, the children of the spirit's light and intuition are only true to themselves when they live in the depths of the soul, refuse to be hurried away by the surface call of mind and life and wait rather for their own greater voices. The poetry which insists on an external effectiveness, on immediate thought and life and experience, may seize very powerfully the ear of the moment, but is singularly frail in its affectation of power and even if it has strength of body, is hollow and null inside; it fails because it is concerned with immediately vital things perhaps, but not with that which is immortal. That is just why patriotic poetry, war poetry or poetry of the occasion and the moment are so difficult to write greatly and, although it would seem that these things are among the most dynamic and should move most easily to powerful utterance, are oftenest poor in poetic substance and inferior in value. For life they may be dynamic, but they are not so readily dynamic for art and poetry, and precisely because the vital interest, the life attraction is so strong that it is difficult to draw back from the external to the spiritual delight and the spiritual significance. A great poet may do it sometimes, because the constant instinct of his genius is to look beyond the surface and the moment to that which is universal and eternal behind the personal experience and the occasion is only for him an excuse for its utterance. The drama of action and mere passion is for the same reason short-lived in its gusto of vitality, fades in a century or less into a lifeless mask, while the drama of the soul abides, because it gets near to the subtler eternal element, the soul's essential aesthesis, the spirit's delight in self-creation and experience. Philosophical and religious poetry too fails so often by a neglect of the same fine distinction, because the interest of the thought pursued by the intellectual activity, the interest of the mind in its surface religious ideas and feelings get the upper hand

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and do not consent to sink themselves in the spiritual emotion of the seeing of truth and the abiding spiritual experience. The mental and vital interest, pleasure, pain of thought, life, action is not the source of poetic delight and beauty and can be turned into that deeper thing only when they have sunk into the soul and been transmuted in the soul's radiant memory into spiritual experience,—that perhaps was what the Greeks meant when they made Mnemosyne the eternal mother of the muses; the passions can only change into poetic matter when they have been spiritualised in the same bright sources and have undergone the purification, the katharsis, spoken of by the Greek critic; the life values are only poetic when they have come out heightened and changed into soul values. The poetic delight and beauty are born of a deeper rapture and not of the surface mind's excited interest and enjoyment of life and existence.

The ancient Indian critics defined the essence of poetry as rasa and by that word they meant a concentrated taste, a spiritual essence of emotion, an essential aesthesis, the soul's pleasure in the pure and perfect sources of feeling. The memory of the soul that takes in, broods over and transmutes the mind's thought, feeling and experience, is a large part of the process which comes by this aesthesis, but it is not quite the whole thing; it is rather only a common way by which we get at something that stands behind, the spiritual being in us which has the secret of the universal delight and the eternal beauty of existence. That which we call genius works or comes out from something deep within which calls down the word, the vision, the light and power from a level above the normal mind and it is the sense of the inrush from above which makes the rapture and the enthusiasm of illumination and inspiration. That source, when we know better the secrets of our being, turns out to be the spiritual self with its diviner consciousness and knowledge, happier fountains of power, inalienable delight of existence. The cultures that were able directly or indirectly to feel the joy of this self and spirit, got into the very strain of their aesthesis the touch of its delight, its Ananda, and this touch was the secret of the generalised instinct for beauty which has been denied to a later mind limited by

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intellectual activity, practical utility and the externals of life: we have to go for it to exceptional individuals gifted with a finer strain, but the wide-spread aesthetic instinct has been lost and has yet to be recovered for the common mind and recognised once more as a part of human perfection as indispensable as intellectual knowledge and at least as necessary to happiness as vital well-being. But this Ananda, this delight, this aesthesis which is the soul of poetic beauty works like other things, like poetic truth or the poetic breath of life, on different levels, in different provinces of its action, with the same law that we have observed in the rest, of the emergence of a richer and profounder face of itself the more it gets inward and upward from the less to the more occult powers of its revelation. This finer soul of delight throws itself out on the physical mind and being, takes up its experiences and turns them by its own innate and peculiar power into things of beauty, fuses into itself the experiences of the life soul and transmutes to beauty their power and passion in the surge of its poetic ecstasy, takes up all life and form into the reflective thought-mind and changes them in the beauty and rapture of thought discovering and embodying new values of soul and Nature and existence. And in all its working there is felt its own essence of an intuitive delight which acts in these moulds and gets into them whatever it can of its own intimate and eternal delight values. But when that intuitive mind self-finding, self-seeing, self-creating in a higher power of light and vision than is possible on the intellectual or other levels gets out into full play, and now there is some sign of this emergence, then we come nearer to the most potent sources of universal and eternal delight and beauty, nearer to its full and wide seeing, and its all-embracing rapture. This inner mind is the first native power of the self and spirit dropping its lower veils and the very life and aesthesis of the spirit in its creation is a life of self-experiencing spiritual delight and a luminous Ananda.

The beauty and delight of such a greater intuitive inspiration, a poetry of this spiritual Ananda making all existence luminous and wonderful and beautiful to us may be one of the gifts of the future. It is that of which we stand in need and

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of which there is some promise in the highest strains that we have now begun to hear. This change will mean that poetry may resume on a larger scale, with a wider and more shining vision the greater effect it once had on the life of the race in the noble antique cultures. At one time poetry was a revelation to the race of the life of the gods and man and the meaning of the world and the beauty and power of existence and through its vision and joy and the height and clarity of its purpose it became creative of the life of the people. Ananda, the joy of the spirit in itself carrying in it a revelation of the powers of its conscious being, was to the ancient Indian idea the creative principle, and ancient poetry did thus creatively reveal to the people its soul and its possibilities by forms of beauty and suggestions of power in a way we have to a great extent lost by our later pettier use of this always great art and medium. One might almost say that ancient India was created by the Veda and Upanishads and that the visions of inspired seers made a people. That sublime poetry with its revelation of godhead and the joy and power of life and truth and immortality or its revelation of the secrets of the self and the powers of its manifestation in man and the universe and of man's return to self-knowledge got into the very blood and mind and life of the race and made itself the fountain-head of all that incessant urge to spirituality which has been its distinguishing gift and cultural motive. The Mahabharata and the Ramayana revealing to it in forms of noble beauty and grandiose or beautiful or telling types of character the joy of its forms of life, the significance of its spiritual, ethical and aesthetic ideals, the powers and dangers of the human soul, its godheads and its titanisms have played a great and well-recognised formative part second only to religion and the stress of religio-social training in the life of the Indian peoples. And even later the religious poetry of the Vaishnavas, Shaivas, Shaktas has entered powerfully into the life of the nation and helped to shape its temperament and soul-type. The effect of the Homeric poems in Greece, the intimate connection of poetry and art with the public life of Athens sprang from a similar but less steep height of poetic and artistic motive. The epic poems revealed the Hellenic people to itself

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in the lucid and clear nobility and beauty of an uplifting of life and an aesthetic sense of the humanity and divinity of man; the later art and poetry interpreted to Athens her religious ideas, her thought, her aesthetic instincts, the soul of grandeur and beauty of her culture.

And in all these instances, as in others like the art and poetry of Japan and of China, a more or less profoundly intuitive creation from the depths and expression through poetic delight of the soul of a people has been the secret of this effect and this power of creation or influence. But in other times and places poetry has been more a servant of aesthetic pleasure than a creative master of life and great spiritual agent; when it is at all great, it cannot fail to be that to a certain extent, but it has not so acted as a whole, centrally, in the same large and effective way or with the same high conscience of its function. It has leaned too much on the surface or external interests of life for the pleasure of the intellect and imagination and failed too much to create life from within by a deeper delight in the power of vision of the soul and spirit. The high energy of English poetry has done great and interesting things; it has portrayed life with charm and poetic interest in Chaucer, made thought and character and action and passion wonderful to the life soul in us in Shakespeare, seen and spoken with nobility and grandeur of vision and voice in Milton, intellectualised vigorous or pointed commonplace in Pope and Dryden, played with elegance and beauty on the lesser strings with the Victorians or cast out here and there a profounder strain of thought or more passionate and aspiring voice, and if the most spiritual strains have been few, yet it has dreamed in light in Shelley or drawn close in Wordsworth to the soul in Nature. And it may seem hard to say in the face of all this splendour and vigour and glow and beauty and of the undeniable cultural influence, that something was too often lacking which would have made the power of this poetry more central and intimate and a greater direct force on the life of the people, and yet this is, I think, true in spite of exceptions, not only here, but of almost all the later European literature. To get back to a profounder centre, to create from

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within in a more universal power of the spirit and its vision and delight of existence will supply the missing element and make poetry once again young and mighty and creative and its word deeply effective on life by the power of a greater Ananda.

The mind of man, a little weary now of the superficial pleasure of the life and intellect, demands, obscurely still, not yet perceiving what will satisfy it, a poetry of the joy of self, of the deeper beauty and delight of existence. A merely cultured poetry fair in form and word and playing on the surface strings of mind and emotion will not serve its purpose. The human mind is opening to an unprecedented largeness of vision of the greatness of the worlds, the wonder of life, the self of man, the mystery of the spirit in him and the universe. The future poetry must seek in that vision its inspiration, and the greater its universality of joy in existence, the more it seeks through intuitive sight and aesthesis the deepest fountains of poetic delight and beauty, the more it will become powerfully creative of a greater life for the race. The modern poet is perfectly right in a way in breaking down in whatever direction the bounds erected by the singers of the past around their magic palace and its grounds; he must claim all things in heaven or earth or beyond for his portion: but that care for a fine poetic beauty and delight which they safeguarded by excluding all or most that did not readily obey its law or turn to fair material of poetic shaping, he must preserve as jealously and satisfy by steeping all that he finds in his wider field in that profoundest vision which delivers out of each thing its spiritual Ananda, the secret of truth and beauty in it for which it was created; it is in the sense of that spiritual joy of vision, and not in any lower sensuous, intellectual or imaginative seeing, that Keats' phrase becomes true for the poet, beauty that is truth, truth that is beauty, and this all that we need to know as the law of our aesthetic knowledge. He is right too in wishing to make poetry more intimately one with life, but again in this sense only, in going back to those creative fountains of the spirit's Ananda from which life is seen and reshaped by the vision that springs from a moved identity,—the inmost source of the authentic poet vision. The beauty and delight of all physical things

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illumined by the wonder of the secret spiritual self that is the inhabitant and self-sculptor of form, the beauty and delight of the thousand-coloured, many-crested, million-waved miracle of life made a hundred times more profoundly meaningful by the greatness and the sweetness and attracting poignancy of the self-creating inmost soul which makes of life its epic and its drama and its lyric, the beauty and delight of the spirit in thought, the seer, the thinker, the interpreter of his own creation and being who broods over all he is and does in man and the world and constantly resees and shapes it new by the stress and power of his thinking, this will be the substance of the greater poetry that has yet to be written. And that can be discovered only if and so far as the soul of man looks or feels beyond even these things and sees and voices the eternal and knows its godheads and gets to some close inward touch of the infinite ecstasy which is the source of the universal delight and beauty. For the nearer we get to the absolute Ananda, the greater becomes our joy in man and the universe and the receptive and creative spiritual emotion which needs for its voice the moved tones of poetic speech.

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