The Future of English Poetry

Edmund Gosse

The Future of English Poetry

THE FUTURE OF ENGLISH POETRY

J’ai vu le cheval rose ouvrir ses ailes d’or,Et, flairant le laurier que je tenais encor,Verdoyant à jamais, hier comme aujourd’hui,Se cabrer vers le Jour et ruer vers la Nuit.Henri de Régnier.

In venturing this afternoon to address an audience accustomed to listen to those whose positive authority is universally recognized, and in taking for my theme a subject not, like theirs, distinct in its definitions or consecrated by tradition and history, I am aware that I perform what you may, if you choose, call an act of blameworthy audacity. My subject is chimerical, vague, and founded on conjectures which you may well believe yourselves at least as well fitted as I am to propound. Nevertheless, and in no rash or paradoxical spirit, I invite you to join with me in some reflections on what is the probable course of English poetry during, let us say, the next hundred years. If I happen to be right, I hope some of the youngest persons present will say, when I am long turned to dust, what an illuminating prophet I was. If I happen to be wrong, why, no one will remember anything at all about the matter. In any case we may possibly be rewarded this afternoon by some agreeable hopes and by the contemplation of some pleasant analogies.

Our title takes for granted that English poetry1 will continue, with whatever fluctuations, to be a living and abiding thing. This I must suppose that you all accede to, and that you do not look upon poetry as an art which is finished, or the harvest of classic verse as one which is fully reaped and garnered. That has been believed at one time and another, in various parts of the globe. I will mention one instance in the history of our own time: a quarter of a century ago, the practice of writing verse was deliberately abandoned in the literatures of the three Scandinavian countries, but particularly in that of Norway, where no poetry, in our sense, was written from about 1873 to 1885. It almost died out here in England in the middle of the fifteenth century; it ran very low in France at the end of the Middle Ages. But all these instances, whether ancient or modern, of the attempt to prove prose a sufficing medium for all expression of human thought have hitherto failed, and it is now almost certain that they will more and more languidly be revived, and with less and less conviction.

It was at one of the deadliest moments in the life of the art in England that George Gascoigne remarked, in his ‘Epistle to the Reverend Divines’ (1574) that ‘It seemeth unto me that in all ages Poetry hath been not only permitted, but also it hath been thought a right good thing’. Poetry has occupied the purest and the fieriest minds in all ages, and you will remember that Plato, who excluded the poets from his philosophical Utopia, was nevertheless an exquisite writer of lyrical verse himself. So, to come down to our own day, Ibsen, who drove poetry out of the living language of his country, had been one of the most skilful of prosodical proficients. Such instances may allay our alarm. There cannot be any lasting force in arguments which remind us of the pious confessions of a redeemed burglar. It needs more than the zeal of a turncoat to drive Apollo out of Parnassus.

There will, therefore, we may be sure, continue to be English poetry written and printed. Can we form any idea of the probable character of it? There exists, in private hands, a picture by that ingenious water-colour painter of the late eighteenth century, William Gilpin. It is very fantastic, and means what you like, but it represents Pegasus, the horse of the Muses, careering in air on the vast white arc of his wings, against a sky so dark that it must symbolize the obscure discourse of those who write in prose. You are left quite doubtful whether he will strike the rocky terrace in the foreground with his slender, silver hooves, or will swoop down into the valley below, or will soar to heaven and out of sight. You are left by the painter in a pleasant uncertainty, but Hippocrene may break out anywhere, and of the vivacious courser himself all that we can be sure of is that we are certain to see him alighting before us when we least expect him.

We may put our trust in the persistence of Pegasus through his apparently aimless gyrations, and in the elasticity of the poetical spirit, and yet acknowledge that there are difficulties in the way of believing that verse will continue to be written in the English language for a quite indefinite period. Perhaps we may as well face one or two of these difficulties at once. The principal danger, then, to the future of poetry seems to me to rest in the necessity of freshness of expression. Every school of verse is a rising and a breaking wave. It rises, because its leaders have become capable of new forms of attractive expression; its crest is some writer, or several writers, of genius, who combine skill and fire and luck at a moment of extreme opportuneness; and then the wave breaks, because later writers cannot support the ecstasy, and only repeat formulas which have lost their attractiveness. Shirley would have been a portent, if he had flourished in 1595 and had written then as he did in 1645. Erasmus Darwin would be one of the miracles of prosody if ‘The Loves of the Plants’ could be dated 1689 instead of 1789. There must always be this fluctuation, this rise and fall in value, and what starts each new wave mounting out of the trough of the last is the instinctive demand for freshness of expression. Cantate Domino is the cry of youth, sing a new song unto the Lord.

But with the superabundant circulation of language year after year, week after week, by a myriad careful scribes, the possibilities of freshness grow rarer and rarer. The obvious, simple, poignant things seem to have all been said. It is not merely that the actual poems, like Gray’s ‘Elegy’, and much of ‘Hamlet’, and some of Burns’s songs, have been manipulated so often, and put to such pedestrian uses, that they are like rubbed coins, and begin to lose the very features of Apollo and the script of the Muses, but that the road seems closed to future bards who wish to speak with simplicity of similar straightforward things. In several of the literatures of modern Europe – those which began late, or struggled long against great disadvantages – it is still possible to produce pleasure by poems which describe primitive emotions in perfectly limpid language. But with us in England, I confess that it seems to me certain that whatever we retain, we can never any more have patience to listen to a new shepherd piping under the hawthorn-tree. Each generation is likely to be more acutely preoccupied than the last with the desire for novelty of expression. Accordingly, the sense of originality, which is so fervently demanded from every new school of writers, will force the poets of the future to sweep away all recognized impressions. The consequence must be, I think, – I confess so far as language is concerned that I see no escape from this, – that the natural uses of English and the obvious forms of our speech will be driven from our national poetry, as they are even now so generally being driven.

No doubt, in this condition, the originality of those who do contrive to write strongly and clearly will be more vigorously evident than ever. The poets will have to gird up their loins and take their sword in their hands. That wise man of the eighteenth century, to whom we never apply without some illuminating response, recommends that ‘Qui saura penser de lui-même et former de nobles idées, qu’il prenne, s’il peut, la manière et le tour élevé des maîtres’. These are words which should inspire every new aspirant to the laurel. ‘S’il peut’; you see that Vauvenargues puts it so, because he does not wish that we should think that such victories as these are easy, or that any one else can help us to produce them. They are not easy, and they will be made more and more hard by the rubbed-out, conventionalized coinage of our language.

In this matter I think it probable that the little peoples, and the provinces which cultivate a national speech, will long find a great facility in expressing themselves in verse. I observe that it has recently been stated that Wales, which has always teemed with vernacular poets, has never possessed so many as she does at this time. I am debarred by what Keats called ‘giant ignorance’ from expressing an opinion on the subject, but I presume that in Welsh the resources of language are far from being so seriously exhausted as we have seen that they are in our own complicated sphere, where the cultivation of all the higher forms of poetic diction through five centuries has made simple expression extremely difficult. I am therefore ready to believe that in Welsh, as in Gaelic and in Erse, the poets have still wide fields of lyric, epic, and dramatic art untilled. We have seen, in the latter half of the nineteenth century, Provençal poets capable of producing simple and thrilling numbers which are out of the reach of their sophisticated brethren who employ the worn locutions of the French language.

In new generations there is likely, we may be sure, to occur less description of plain material objects, because the aspect of these has already received every obvious tribute. So also there can hardly fail to be less precise enumeration of the primitive natural emotions, because this also has been done already, and repeated to satiety. It will not any longer satisfy to write

The rose is red, the violet blue,And both are sweet, and so are you.

Reflections of this order were once felt to be exquisite, and they were so still as lately as when Blake and Wordsworth were young. But it is quite impossible that we should ever go back to them. Future poets will seek to analyse the redness of the rose, and will scout, as a fallacious observation, the statement that the violet is blue. All schemes of art become mechanical and insipid, and even their naïvetés lose their savour. Verse of excellent quality, in this primitive manner, can now be written to order by any smart little boy in a Grammar-school.

We have agreed, however, to believe that poetry, as an art, in one shape or another, will escape from the bankruptcy of language, and that Pegasus, with whatever strange and unexpected gambollings, will continue to accompany us. But of one thing we may be quite sure, that it will only be at the cost of much that we at present admire and like that the continuity of the art of verse will be preserved. If I could suddenly present to you some characteristic passages of the best English poetry of 1963, I doubt extremely whether I should be able to persuade you of their merits. I am not sure that you would understand what the poet intended to convey, any more than the Earl of Surrey would have understood the satires of Donne, or Coleridge have enjoyed the odes of George Meredith. Young minds invariably display their vitality by attacking the accepted forms of expression, and then they look about for novelties, which they cultivate with what seems to their elders to be extravagance. Before we attempt to form an idea, however shadowy, of what poetry will be in the future, we must disabuse ourselves of the delusion that it will be a repetition of what is now produced and accepted. Nor can we hope by any exercise of philosophy to do away with the embarrassing and painful, but after all perhaps healthful antagonism between those who look forward and those who live in the past. The earnestness expended on new work will always render young men incapable of doing justice to what is a very little older than themselves; and the piety with which the elderly regard what gave them full satisfaction in their days of emotional freshness will always make it difficult for them to be just to what seems built on the ruins of what they loved.

If there is any feature which we can scarcely be wrong in detecting in our vision of the poetry of the future it is an elaboration which must follow on the need for novelty of which I have spoken. I expect to find the modern poet accepting more or less consciously an ever-increasing symbolic subtlety of expression. If we could read his verses, which are still unwritten, I feel sure that we should consider them obscure. That is to say, we should find that in his anxiety not to repeat what had been said before him, and in his horror of the trite and the superficial, he will achieve effect and attach interest obscuris vera involvens– wrapping the truth in darkness. The ‘darkness’ will be relative, as his own contemporaries, being more instructed and sophisticated than we are, will find those things transparent, or at least translucent, which remain opaque enough to us. And, of course, as epithets and adjectives that seem fresh to us will smell of the inkhorn to him, he will have to exert his ingenuity to find parallel expressions which would startle us by their oddity if we met with them now.

A danger, therefore, which the poets of the future will need all their ingenuity to avoid, will be the cultivation of a patent artificiality, a forcing of the note until it ceases to rouse an echo in the human heart. There will be a determination to sweep away all previously recognized impressions. Affectation, that is to say the obtaining of an effect by illegitimate means, is an offence against the Muses which they never fail to avenge by oblivion or by a curtailed and impeded circulation. We may instructively examine the history of literature with special attention to this fault, and we find it in all cases to have been fatal. It was fatal to the poetry of Alexandria, which closed, as you know, in an obscurity to which the title of Lycophrontic darkness has been given from the name of its most extravagant exponent. It was fatal to several highly-gifted writers of the close of the Elizabethan period, who endeavoured to give freshness to an outworn scheme of poetic ornament; I need only remind you of the impenetrable cloud or fog, by Cyril Tourneur, called The Transform’d Metamorphosis, and of the cryptic rhymed dramas of Lord Brooke. It has not been fatal, I hope, but I think desperately perilous to a beautiful talent of our own age, the amiable Stéphane Mallarmé. Nothing, I feel, is more dangerous to the health of poetry than the praise given by a group of irresponsible disciples to verse which transfers commonplace thought to an exaggerated, violent, and involved scheme of diction, and I confess that I should regard the future of poetry in this country with much more apprehension than I do, if I believed that the purely learned poet, the prosodical pedant, was destined to become paramount amongst us. That would, indeed, threaten the permanence of the art; and it is for that reason that I look with a certain measure of alarm on the excess of verbiage about poetry which attends not merely criticism, which matters little, but the actual production and creation. I am confident, however, that the common sense of readers will always bring about a reaction in favour of sanity and lucidity.

One great objection to the introduction of a tortured and affected style into verse-writing is the sacrifice which has to be made of that dignity and sweetness, that suave elevation, which marks all successful masterpieces. Perhaps as difficult a quality to attain as any which the poetry of the future will be called upon to study is stateliness, what the French call ‘la vraie hauteur’. This elevation of style, this dignity, is foreign to democracies, and it is hard to sustain it in the rude air of modern life. It easily degenerates, as Europe saw it degenerate for a century and a half, into pomposity relieved by flatness. It is apt to become a mere sonorous rhetoric, a cultivation of empty fine phrases. If we examine the serious poetry of the end of the seventeenth and the greater part of the eighteenth century, – especially in the other countries of Europe, for England was never without some dew on the threshing-floor, – if we examine it in France, for instance, between Racine and André Chénier, we are obliged to recognize that it was very rarely both genuine and appropriate. The Romantic Revival, which we are beginning ungratefully to decry, did at least restore to poetry the sense of a genuine stateliness of expression, which once more gave it the requisite dignity, and made it a vehicle for the vital and the noble sentiments of humanity.

Let us now turn, in our conjectural survey, from the form to the subjects with which the poetry of the future is likely to be engaged. Here we are confronted with the fact that, if we examine the whole of history, we see that the domain of verse has been persistently narrowed by the incursions of a more and more powerful and wide-embracing prose. At the dawn of civilization poetry had it all its own way. If instruction was desired upon any sphere of human knowledge or energy, the bard produced it in a prosodical shape, combining with the dignity of form the aid which the memory borrowed from a pattern or a song. Thus you conceive of a Hesiod before you think of a Homer, and the earliest poetry was probably of a purely didactic kind. As time went on, prose, with its exact pedestrian method, took over more and more completely the whole province of information, but it was not until the nineteenth century that the last strongholds of the poetry of instruction were stormed. I will, if you please, bring this home to you by an example which may surprise you.

The subject which I have taken the liberty of discussing with you this afternoon has not often occupied the serious attention of critics. But it was attempted, by no less a person than Wordsworth, more than a hundred years ago. I make no excuse for repeating to you the remarkable passage in which he expressed his convictions in the famous Preface of 1800:

If the labours of men of science, – Wordsworth said, – should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the Poet will sleep then no more than at present; he will be ready to follow the steps of the Man of Science, not only in those general indirect effects, but he will be at his side, carrying sensation into the midst of the objects of the science itself. The remotest discoveries of the Chemist, the Botanist, or Mineralogist, will be as proper objects of the Poet’s art as any upon which it can be employed, if the time should ever come when these things shall be familiar to us, and the relations under which they are contemplated by the followers of these respective sciences, thus familiarized to men, shall be ready to put on, as it were, a form of flesh and blood, the Poet will lend his divine spirit to aid the transfiguration, and will welcome the Being thus produced, as a dear and genuine inmate of the household of man.

It is plain, then, that, writing in the year 1800, Wordsworth believed that a kind of modified and sublimated didactic poetry would come into vogue in the course of the nineteenth century. He stood on the threshold of a new age, and he cast his vatic gaze across it much in the same spirit as we are trying to do to-day. But if any warning were needed to assure us of the vanity of prophesying, it would surely be the error of one so sublimely gifted and so enriched with the spoils of meditation. The belief of Wordsworth was that the poetry of the future would deal, in some vaguely inspired fashion, with the discoveries of science. But when we look back over the field of 113 years, how much do we find our national poetry enriched with ore from the mines of mineralogy or botany or chemistry? It is difficult to see that there has been so much as an effort made to develop poetry in this or in any similar direction. Perhaps the nearest approach to what Wordsworth conceived as probable was attempted by Tennyson, particularly in those parts of In Memoriam where he dragged in analogies to geological discoveries and the biological theories of his time. Well, these are just those parts of Tennyson which are now most universally repudiated as lifeless and jejune.

Wordsworth did not confine himself to predicting a revival of didactic poetry, the poetry of information, such as, in a very crude form, had prevailed all over Europe in his own childhood, but he conceived a wide social activity for writers of verse. He foresaw that the Poet would ‘bind together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time’. I suppose that in composing those huge works, so full of scattered beauties, but in their entirety so dry and solid, ‘The Excursion’ and ‘The Prelude’, he was consciously attempting to inaugurate this scheme of a wide and all-embracing social poetry. Nor do I suppose that efforts of this kind will ever cease to be made. We have seen a gifted writer in whom the memory is perhaps even more surprisingly developed than the imagination, employ the stores of his experience to enrich a social poetry the elements of which, prima facie, should be deeply attractive to us all. But I do not know that the experiments of Mr. Rudyard Kipling, brilliant as they are, are calculated to encourage the poets of the future to pursue their lyric celebration of machinery and sociology and the mysteries of natural religion. Already is it not that portion of his work which we approach with most languor, in spite of its originality and its outlook upon ‘the vast empire of human society’? And lesser poets than he who seek for popularity by such violent means are not, I think, rewarded by the distinguished loyalty of the best readers. We are startled by their novelty, and we admire them for the moment; but when, a few years later, we return to them, we are apt to observe with distress how

their lean and flashy songsGrate on their scrannel pipes of wretched straw.

If, therefore, I venture upon a prophecy, where all the greater prophets, my predecessors, have failed, it is to suggest that the energy of future poets will not be largely exercised on themes of this intrepid social character, but that as civilization more and more tightly lays hold upon literature, and excludes the purest form of it from one province after another, poetry will, in its own defence, cultivate more and more what Hazlitt calls ‘a mere effusion of natural sensibility’. Hazlitt used the phrase in derision, but we may accept it seriously, and not shrink from adopting it. In most public remarks about current and coming literature in the abstract, I marvel at the confidence with which it is taken for granted that the sphere of interest occupied by writers of the imagination is sure to grow wider and wider. It is expected to embrace the world, to take part in a universal scheme of pacification, to immortalize imperial events, to be as public as possible. But surely it is more and more clearly proved that prose is the suitable medium for such grandiose themes as these. Within the last year our minds have been galvanized into collective sympathy by two great sensations of catastrophe, each case wearing the most thrilling form that tragedy can take in the revolt of nature against the feverish advances of mankind. I suppose we may consider the destruction of the Titanic and the loss of Captain Scott’s expedition as two absolutely typical examples of what is thought by journalists to be fitting material for poetry. Yet by common consent, these tragic occurrences did not awaken our numerous poets to any really remarkable effort, lyrical or elegiac. No ode or threnody could equal in vibrating passion Captain Scott’s last testament. These are matters in which the fullness of a wholly sincere statement in prose does not require, does not even admit, the introduction of the symbol. The impact of the sentiments of horror and pity is too sudden and forcible.

My own view is that, whether to its advantage or not, the poetry of the future is likely to be very much occupied with subjects, and with those alone, which cannot be expressed in the prose of the best-edited newspaper. In fact, if I were to say what it is which I think coming poets will have more and more to be on their guard against, I should define it as a too rigid determination never to examine subjects which are of collective interest to the race at large. I dread lest the intense cultivation of the Ego, in minutest analysis and microscopical observation of one’s self, should become the sole preoccupation of the future poet. I will not tell you that I dread lest this should be one of his principal preoccupations, for that would be to give way to a cheery piece of mid-Victorian hypocrisy which would be unworthy of you and of me alike. The time is past when intelligent persons ought to warn writers of the imagination not to cultivate self-analysis, since it is the only safeguard against the follies of an unbridled romanticism. But although the ivory tower offers a most valuable retreat, and although the poets may be strongly recommended to prolong their villeggiatura there, it should not be the year-long habitation of any healthy intelligence.