No More Learning

There was nothing to draw their
imagination from the ripening of their fields, from the birth and death
of their children, from the destiny of their souls, from all that is
the unchanging substance of literature. They had not to deal with the
world in such great masses that it could only be represented to their
minds by figures and by abstract generalisations. Everything that
their minds ran on came to them vivid with the colour of the senses,
and when they wrote it was out of their own rich experience, and they
found their symbols of expression in things that they had known all
their life long. Their very words were more vigorous than ours, for
their phrases came from a common mint, from the market, or the tavern,
or from the great poets of a still older time. It is the change, that
followed the Renaissance and was completed by newspaper government and
the scientific movement, that has brought upon us all these phrases and
generalisations, made by minds that would grasp what they have never
seen. Yesterday I went out to see the reddening apples in the garden,
and they faded from my imagination sooner than they would have from
the imagination of that old poet, who made the songs of the seasons
for the Fianna, or out of Chaucer's, that celebrated so many trees.
Theories, opinions, these opinions among the rest, flowed in upon me
and blotted them away. Even our greatest poets see the world with
preoccupied minds. Great as Shelley is, those theories about the coming
changes of the world, which he has built up with so much elaborate
passion, hurry him from life continually. There is a phrase in some old
cabalistic writer about man falling into his own circumference, and
every generation we get further away from life itself, and come more
and more under the influence which Blake had in his mind when he said,
'Kings and Parliament seem to me something other than human life. '
We lose our freedom more and more as we get away from ourselves, and
not merely because our minds are overthrown by abstract phrases and
generalisations, reflections in a mirror that seem living, but because
we have turned the table of value upside down, and believe that the
root of reality is not in the centre but somewhere in that whirling
circumference. How can we create like the ancients, while innumerable
considerations of external probability or social utility or of what is
becoming in so meritorious a person as ourselves, destroy the seeming
irresponsible creative power that is life itself? Who to-day could
set Richmond's and Richard's tents side by side on the battlefield,
or make Don Quixote, mad as he was, mistake a windmill for a giant in
broad daylight? And when I think of free-spoken Falstaff I know of
no audience, but the tinkers of the roadside, that could encourage
the artist to an equal comedy. The old writers were content if their
inventions had but an emotional and moral consistency, and created out
of themselves a fantastic, energetic, extravagant art.
A Civilisation
is very like a man or a woman, for it comes in but a few years into its
beauty and its strength, and then, while many years go by, it gathers
and makes order about it, the strength and beauty going out of it the
while, until in the end it lies there with its limbs straightened out
and a clean linen cloth folded upon it. That may well be, and yet we
need not follow among the mourners, for it may be, before they are at
the tomb, a messenger will run out of the hills and touch the pale lips
with a red ember, and wake the limbs to the disorder and the tumult
that is life. Though he does not come, even so we will keep from among
the mourners and hold some cheerful conversation among ourselves; for
has not Virgil, a knowledgeable man and a wizard, foretold that other
Argonauts shall row between cliff and cliff, and other fair-haired
Achaeans sack another Troy?

Every argument carries us backwards to some religious conception, and
in the end the creative energy of men depends upon their believing that
they have, within themselves, something immortal and imperishable,
and that all else is but as an image in a looking-glass. So long as
that belief is not a formal thing, a man will create out of a joyful
energy, seeking little for any external test of an impulse that may be
sacred, and looking for no foundation outside life itself. If Ireland
could escape from those phantoms of hers she might create, as did the
old writers; for she has a faith that is as theirs, and keeps alive
in the Gaelic traditions--and this has always seemed to me the chief
intellectual value of Gaelic--a portion of the old imaginative life.
When Dr. Hyde or Father Peter O'Leary is the writer, one's imagination
goes straight to the century of Cervantes, and, having gone so far,
one thinks at every moment that they will discover his energy. It is
precisely because of this reason that one is indignant with those who
would substitute for the ideas of the folk-life the rhetoric of the
newspapers, who would muddy what had begun to seem a fountain of life
with the feet of the mob. Is it impossible to revive Irish and yet to
leave the finer intellects a sufficient mastery over the more gross, to
prevent it from becoming, it may be, the language of a Nation, and yet
losing all that has made it worthy of a revival, all that has made it a
new energy in the mind?

Before the modern movement, and while it was but new, the ordinary
man, whether he could read and write or not, was ready to welcome
great literature. When Ariosto found himself among the brigands, they
repeated to him his own verses, and the audience in the Elizabethan
Theatres must have been all but as clever as an Athenian audience. But
to-day we come to understand great literature by a long preparation, or
by some accident of nature, for we only begin to understand life when
our minds have been purified of temporary interests by study.

But if literature has no external test, how are we to know that it is
indeed literature? The only test that nature gives, to show when we
obey her, is that she gives us happiness, and when we are no longer
obedient she brings us to pain sooner or later. Is it not the same
with the artist?