Verses

by Hilaire Belloc

II

Hilaire Belloc is a poet. Also he is a Frenchman, an Englishman, an Oxford man, a Roman Catholic, a country gentleman, a soldier, a democrat, and a practical journalist. He is always all these things.

One sign that he is naturally a poet is that he is never deliberately a poet. No one can imagine him writing a poem to order—even to his own order. The poems knock at the door of his brain and demand to be let out. And he lets them out, carelessly enough, setting them comfortably down on paper simply because that is the treatment they desire. And this happens to be the way all real poetry is made.

Not that all verse makers work that way. There are men who come upon a waterfall or mountain or an emotion and say: “Aha! here is something out of which I can extract a poem!” And they sit down in front of that waterfall or mountain or emotion and think up clever things to say about it. These things they put into metrical form, and the result they fondly call a poem.

There’s no harm in that. It’s good exercise for the mind, and of it comes much interesting verse. But it is not the way in which the sum of the world’s literature is increased.

Could anything, for example, be less studied, be more clearly marked with the stigmata of that noble spontaneity we call inspiration, than the passionate, rushing, irresistible lines “To the Balliol Men Still in Africa”? Like Gilbert K. Chesterton and many another English democrat, Hilaire Belloc deeply resented his country’s war upon the Boers. Yet his heart went out to the friends of his university days who were fighting in Africa. They were fighting, he thought, in an unjust cause; but they were his friends and they were, at any rate, fighting. And so he made something that seems (like all great writing) an utterance rather than a composition; he put his love of war in general and his hatred of this war in particular, his devotion to Balliol and to the friends of his youth into one of the very few pieces of genuine poetry which the Boer War produced. Nor has any of Oxford’s much-sung colleges known praise more fit than this

“House that armours a man

With the eyes of a boy and the heart of a ranger,

And a laughing way in the teeth of the world,

And a holy hunger and thirst for danger.”

But perhaps a more typical example of Hilaire Belloc’s wanton genius is to be found not among those poems which are, throughout, the beautiful expressions of beautiful impressions, but among those which are careless, whimsical, colloquial. There is that delightful, but somewhat exasperating Dedicatory Ode. Hilaire Belloc is talking—charmingly, as is his custom—to some of his friends, who had belonged, in their university days, to a youthful revolutionary organization called the Republican Club. He happens to be talking in verse, for no particular reason except that it amuses him to talk in verse. He makes a number of excellent jokes, and enjoys them very much; his Pegasus is cantering down the road at a jolly gait, when suddenly, to the amazement of the spectators, it spreads out great golden wings and flashes like a meteor across the vault of heaven! We have been laughing at the droll tragedy of the opium-smoking Uncle Paul; we have been enjoying the humorous spectacle of the contemplative freshman—and suddenly we come upon a bit of astonishingly fine poetry. Who would expect, in all this whimsical and jovial writing, to find this really great stanza?

“From quiet homes and first beginning,

Out to the undiscovered ends.

There’s nothing worth the wear of winning,

But laughter and the love of friends.”

Who having read these four lines, can forget them? And who but a poet could write them? But Hilaire Belloc has not forced himself into this high mood, nor does he bother to maintain it. He gaily passes on to another verse of drollery, and then, not because he wishes to bring the poem to an effective climax, but merely because it happens to be his mood, he ends the escapade he calls an Ode with eight or ten stanzas of nobly beautiful poetry.

There is something almost uncanny about the flashes of inspiration which dart out at the astonished reader of Hilaire Belloc’s most frivolous verses. Let me alter a famous epigram and call his light verse a circus illuminated by lightning. There is that monumental burlesque, the Newdigate Poem—A Prize Poem Submitted by Mr. Lambkin of Burford to the Examiners of the University of Oxford on the Prescribed Poetic Theme Set by Them in 1893, “The Benefits of the Electric Light.” It is a tremendous joke; with every line the reader echoes the author’s laughter. But without the slightest warning, Hilaire Belloc passes from the rollicking burlesque to shrewd satire; he has been merrily jesting with a bladder on a stick, he suddenly draws a gleaming rapier and thrusts it into the heart of error. He makes Mr. Lambkin say:

“Life is a veil, its paths are dark and rough

Only because we do not know enough:

When Science has discovered something more

We shall be happier than we were before.”

Here we find the directness and restraint which belong to really great satire. This is the materialistic theory, the religion of Science, not burlesqued, not parodied, but merely stated nakedly, without the verbal frills and furbelows with which our forward-looking leaders of popular thought are accustomed to cover its obscene absurdity. Almost these very words have been uttered in a dozen “rationalistic” pulpits I could mention, pulpits occupied by robustuous practical gentlemen with very large eyes, great favourites with the women’s clubs. Their pet doctrines, their only and most offensive dogma, is not attacked, is not ridiculed; it is merely stated for them, in all kindness and simplicity. They cannot answer it, they cannot deny that it is a mercilessly fair statement of the “philosophy” that is their stock in trade. I hope that many of them will read it.