For the last few days I have been living in camp on a mountain lake in the Adirondacks. All about me are mountains and unlumbered forest. The tree lies where it falls; the undergrowth chokes the trails; and on the hottest day it is cool in the green, sun-chequered wilderness. Deer start in the thickets or steal down to drink in the lake. The only sounds are the wood-pecker's scream, the song of the hermit-thrush, the thrumming and drumming of bull-frogs in the water. My friend is a sportsman; I am not; and while he catches trout I have been reading Homer and Shelley. Shelley I have always understood; but now, for the first time, I seem to understand Homer. Our guide here, I feel, might have been Homer, if he had had imagination; but he could never have been Shelley. Homer, I conceive, had from the first the normal bent for action. What his fellows did he too wanted to do. He learned to hunt, to sail a boat, to build a house, to use a spear and bow. He had his initiation early, in conflict, in danger, and in death. He loved the feast, the dance, and the song. But also he had dreams. He used to sit alone and think. And, as he grew, these moods grew, till he came to live a second life, a kind of double of the first. The one was direct, unreflective, and purposeful. In it he hunted wild beasts that he might kill them, fought battles that he might win them, sailed boats that he might arrive somewhere. So far, he was like his fellows, and like our guide, with his quick observation, his varied experience, his practical skill. But then, on the other hand, he had imagination. This active life he reproduced; not by recapitulating it—that the guide can do; but by recreating it. He detached it, as it were, from himself as centre; ceased, indeed, to be a self; and became all that he contemplated—the victor and the vanquished, the hunter and the hunted, the house and its builder, Thersites and Achilles. He became the sun and the moon and the stars, the gods and the laughter of the gods. He took no sides, pronounced no judgment, espoused no cause. He became pure vision; but not passive vision. To see, he had to re-create; and the material his observation had amassed he offered up as a holocaust on the altar of his imagination. Fused in that fierce fire, like drew to like, parts ran together and formed a whole. Did he see a warrior fall? In a moment the image arose of "a stately poplar falling by the axe in a meadow by the riverside." Did a host move out to meet the foe? It recalled the ocean shore where "wave follows wave far out at sea until they break in thunder on the beach." Was battle engaged? "The clash of the weapons rang like the din of woodcutters in the mountain-glades." Did a wounded hero fall? The combatants gathered about him "like flies buzzing round the brimming milk-pails in the spring." All commonest things, redeemed from isolation and irrelevance, revealed the significance with which they were charged. The result was the actual made real, a reflexion which was a disclosure, a reproduction which was a recreation. And if experience, as we know it, is the last word of life, if there is nothing beyond and nothing behind, if there is no meaning, no explanation, no purpose or end, then the poetry of Homer is the highest reach of human achievement.
For, observe, Homer is not a critic. His vision transmutes life, but does not transcend it. Experience is ultimate; all the poet does is to experience fully. Common men live, but do not realise life; he realises it. But he does not question it; it is there and it is final; glorious, lovely, august, terrible, sordid, cruel, unjust. And the partial, smiling, unmoved, unaccountable Olympians are the symbol of its brute actuality. Not only is there no explanation, there is not even a question to be asked. So it is, so it has been, so it will be. Homer's outlook is that of the modern realist. That he wrote an epic, and they novels, is an accident of time and space. Turgeneff or Balzac writing 1000 years before Christ would have been Homer; and Homer, writing now, would have been Turgeneff or Balzac.
But Shelley could never have been Homer; for he was born a critic and a rebel. From the first dawn of consciousness he challenged and defied the works and ways of men and the apparent order of the universe. Never for a moment anywhere was he at home in the world. There was nothing attainable he cared to pursue, nothing actual he cared to represent. He could no more see what is called fact than he could act upon it. His eyes were dazzled by a different vision. Life and the world not only are intolerable to him, they are unreal. Beyond and behind lies Reality, and it is good. Now it is a Perfectibility lying in the future; now a Perfection existing eternally. In any case, whatever it be, however and wherever to be found, it is the sole object of his quest and of his song. Whatever of good or lovely or passionate gleams here and there, on the surface or in the depths of the actual, is a ray of that Sun, an image of that Beauty. His imagination is kindled by Appearance only to soar away from it. The landscape he depicts is all light, all fountains and caverns. The Beings with which it is peopled are discarnate Joys and Hopes; Justice and Liberty, Peace and Love and Truth. Among these only is he at home; in the world of men he is an alien captive; and Human Life presents itself as an "unquiet dream."
"'Tis we that, lost in stormy visions, keep
With phantoms an unprofitable strife,
And in mad trance strike with our spirit's knife
Invulnerable nothings."
When we die, we awake into Reality—that Reality to which, from the beginning, Shelley was consecrated:
"I vowed that I would dedicate my powers
To thee and thine—have I not kept my vow?"
He calls it "intellectual Beauty"; he impersonates it as Asia, and sings it in verse that passes beyond sense into music:
"Life of Life! thy lips enkindle
With their love the breath between them;
And thy smiles before they dwindle
Make the cold air fire; then screen them
In those looks, where whoso gazes
Faints, entangled in their mazes.
Child of Light! thy limbs are burning
Through the vest which seems to hide them;
As the radiant lines of morning
Through the clouds ere they divide them;
And this atmosphere divinest
Shrouds thee wheresoe'er thou shinest.