No More Learning

It seemed to me that it did not
matter what tune one wrote to, so long as that gusty energy came often
enough and strongly enough. And I delighted in Victor Hugo's book
upon Shakespeare, because he abused critics and coteries and thought
that Shakespeare wrote without care or premeditation and to please
everybody. I would indeed have had every illusion had I believed in
that straightforward logic, as of newspaper articles, which so tickles
the ears of the shopkeepers; but I always knew that the line of Nature
is crooked, that, though we dig the canal beds as straight as we can,
the rivers run hither and thither in their wildness.

From that day to this I have been busy among the verses and stories
that the people make for themselves, but I had been busy a very little
while before I knew that what we call popular poetry never came from
the people at all. Longfellow, and Campbell, and Mrs. Hemans, and
Macaulay in his _Lays_, and Scott in his longer poems are the poets
of the middle class, of people who have unlearned the unwritten
tradition which binds the unlettered, so long as they are masters of
themselves, to the beginning of time and to the foundation of the
world, and who have not learned the written tradition which has been
established upon the unwritten. I became certain that Burns, whose
greatness has been used to justify the littleness of others, was in
part a poet of the middle class, because though the farmers he sprang
from and lived among had been able to create a little tradition of
their own, less a tradition of ideas than of speech, they had been
divided by religious and political changes from the images and emotions
which had once carried their memories backward thousands of years.
Despite his expressive speech which sets him above all other popular
poets, he has the triviality of emotion, the poverty of ideas, the
imperfect sense of beauty of a poetry whose most typical expression is
in Longfellow. Longfellow has his popularity, in the main, because he
tells his story or his idea so that one needs nothing but his verses
to understand it. No words of his borrow their beauty from those that
used them before, and one can get all that there is in story and
idea without seeing them as if moving before a half-faded curtain
embroidered with kings and queens, their loves and battles and their
days out hunting, or else with holy letters and images of so great
antiquity that nobody can tell the god or goddess they would commend
to an unfading memory. Poetry that is not popular poetry presupposes,
indeed, more than it says, though we, who cannot know what it is to be
disinherited, only understand how much more, when we read it in its
most typical expressions, in the _Epipsychidion_ of Shelley, or in
Spenser's description of the gardens of Adonis, or when we meet the
misunderstandings of others. Go down into the street and read to your
baker or your candlestick-maker any poem which is not popular poetry.
I have heard a baker, who was clever enough with his oven, deny that
Tennyson could have known what he was writing when he wrote 'Warming
his five wits, the white owl in the belfry sits,' and once when I read
out Omar Khayyam to one of the best of candlestick-makers, he said,
'What is the meaning of "we come like water and like wind we go"? ' Or
go down into the street with some thought whose bare meaning must be
plain to everybody; take with you Ben Jonson's 'Beauty like sorrow
dwelleth everywhere,' and find out how utterly its enchantment depends
on an association of beauty with sorrow which written tradition has
from the unwritten, which had it in its turn from ancient religion; or
take with you these lines in whose bare meaning also there is nothing
to stumble over, and find out what men lose who are not in love with
Helen.

'Brightness falls from the air,
Queens have died young and fair,
Dust hath closed Helen's eye.
'

I pick my examples at random, for I am writing where I have no books to
turn the pages of, but one need not go east of the sun or west of the
moon in so simple a matter.

On the other hand, when Walt Whitman writes in seeming defiance of
tradition, he needs tradition for his protection, for the butcher and
the baker and the candlestick-maker grow merry over him when they meet
his work by chance. Nature, which cannot endure emptiness, has made
them gather conventions which cannot disguise their low birth though
they copy, as from far off, the dress and manners of the well-bred and
the well-born. The gatherers mock all expression that is wholly unlike
their own, just as little boys in the street mock at strangely-dressed
people and at old men who talk to themselves.

There is only one kind of good poetry, for the poetry of the coteries,
which presupposes the written tradition, does not differ in kind
from the true poetry of the people, which presupposes the unwritten
tradition. Both are alike strange and obscure, and unreal to all who
have not understanding, and both, instead of that manifest logic,
that clear rhetoric of the 'popular poetry,' glimmer with thoughts
and images whose 'ancestors were stout and wise,' 'anigh to Paradise'
'ere yet men knew the gift of corn. ' It may be that we know as little
of their descent as men knew of 'the man born to be a king' when they
found him in that cradle marked with the red lion crest, and yet we
know somewhere in the heart that they have been sung in temples, in
ladies' chambers, and our nerves quiver with a recognition they were
shaped to by a thousand emotions. If men did not remember or half
remember impossible things, and, it may be, if the worship of sun and
moon had not left a faint reverence behind it, what Aran fisher-girl
would sing--

'It is late last night the dog was speaking of you; the snipe was
speaking of you in her deep marsh. It is you are the lonely bird
throughout the woods; and that you may be without a mate until you find
me.

'You promised me and you said a lie to me, that you would be before me
where the sheep are flocked. I gave a whistle and three hundred cries
to you; and I found nothing there but a bleating lamb.

'You promised me a thing that was hard for you, a ship of gold under a
silver mast; twelve towns and a market in all of them, and a fine white
court by the side of the sea.

'You promised me a thing that is not possible; that you would give me
gloves of the skin of a fish; that you would give me shoes of the skin
of a bird, and a suit of the dearest silk in Ireland.

'My mother said to me not to be talking with you, to-day or to-morrow
or on Sunday. It was a bad time she took for telling me that, it was
shutting the door after the house was robbed. .