Main Currents in Nineteenth Century Literature - 4. Naturalism in England

by Georg Brandes

"Woman," says a priest to Joan of Arc,—

"Woman, thou seem'st to scorn
The ordinances of our holy Church;
And, if I rightly understand thy words,
Nature, thou say'st, taught thee in solitude
Thy feelings of religion, and that now
Masses and absolution and the use
Of the holy wafer, are to thee unknown.
But how could Nature teach thee true religion,
Deprived of these? Nature doth lead to sin,
But 'tis the priest alone can teach remorse,
Can bid St. Peter ope the gates of Heaven,
And from the penal fires of purgatory
Set the soul free."

The Maid replies:—

"Fathers of the holy Church,
If on these points abstruse a simple maid
Like me should err, impute not you the crime
To self-will'd reason, vaunting its own strength
Above eternal wisdom. True it is
That for long time I have not heard the sound
Of mass high-chaunted, nor with trembling lips
Partook the holy wafer: yet the birds
Who to the matin ray prelusive pour'd
Their joyous song, methought did warble forth
Sweeter thanksgiving to Religion's ear
In their wild melody of happiness,
Than ever rung along the high-arch'd roofs
Of man: ... yet never from the bending vine
Pluck'd I its ripen'd clusters thanklessly,
Or of that God unmindful, who bestow'd
The bloodless banquet. Ye have told me, Sirs,
That Nature only teaches man to sin!
If it be sin to seek the wounded lamb,
To bind its wounds, and bathe them with my tears,
This is what Nature taught! No, Fathers, no!
It is not Nature that doth lead to sin:
Nature is all benevolence, all love,
All beauty! In the greenwood's quiet shade
There is no vice that to the indignant cheek
Bids the red current rush; no misery there;
No wretched mother, who with pallid face
And famine-fallen hangs o'er her hungry babes,
With such a look, so wan, so woe-begone,
As shall one day, with damning eloquence
Against the oppressor plead!..."[1]

In this little harangue the attentive reader is conscious, not only of the echo of the revolutionary cries on the other side of the Channel, repeated in the language of English nature-worship, but also of the young poet's want of ability to give his subject the proper local colouring or to impart to it the spirit of the age. France and the Middle Ages are to him here what the East and the world of legend were to become—a costume in which his English and Protestant ideas figure. Of one thing, however, there is no doubt, namely, that it required courage to sing the praises of the French national heroine at a moment when the animosity to France was so strong; and the poem, in spite of its aridity both as regards feeling and colour, is a work which does honour to a young poet. But the brave spirit which elevated his talent was soon to disappear from his writings.

The lower the flood of unselfish enthusiasm for the great tasks and dreams of humanity ebbed in Southey's soul, the stronger became the impulse to remedy the aridity by pouring in a stream of purely external Romanticism. He had by degrees attained to a certain mastery over the resources of language, had acquired the art of writing loosely constructed but melodious verse, expressive in spite of its vagueness and monotony. Employing this melodious, flexible metre in the representation of the superstitions of Arabia and the most fantastic dreams of the Oriental races, he now produced his two principal works, The Curse of Kehama and Thalaba the Destroyer. The Oriental tendency is common to Romanticism in every country. Oehlenschläger, the Dane, displays it simultaneously with Southey; it reaches France a little later, when Victor Hugo writes Aly et Gulhyndi and Les Orientales. But in the case of the English poets, the colourless, Protestant life of their own country, with its severe, cold propriety, must have invested the East with a peculiarly attractive charm. It required an Irishman, however—Thomas Moore, a colourist with Celtic blood in his veins—to arrive at anything resembling an understanding of a race like the ancient Persians and of their legends, and to reproduce the nature of the East in a style loaded with jewels and barbaric ornaments. Lalla Rookh is no masterpiece; its personages and ideas are far too European and tame; but Thalaba, a work which enjoyed a certain amount of celebrity in its day, is tame in comparison with Lalla Rookh, and as moral as an English sermon. It suffers from the sharp contrast between the gaudy tinsel of the scenery and the sober modesty of the feelings represented. We are transplanted into a world which is not less marvellous than that of the Thousand and One Nights, but a world in which, nevertheless, love of our fellow-men and faith in one God are perpetually inculcated. The hero's life is presided over by the most special providence. When the fit time has arrived for him to leave his foster-father's house, the flight of a swarm of Syrian grasshoppers, pursued by a flock of birds, is directed so as to pass above the house. A grasshopper which one of the birds drops from its bill bears on its forehead in minute letters the inscription:—

"When the sun shall be darkened at noon,
Son of Hodeirah, depart!"

But even though the poet employs such miraculous machinery as this, he can no more refrain here than he did in Joan of Arc from safeguarding his reader against the erroneous religious ideas of the period and the country. All his chief characters are rationalists in so far as their Oriental religion is concerned, and do not fall far short of being good Protestants. When the swarm of grasshoppers comes, Thalaba's foster-father, Moath, says:—

"Deemest thou
The scent of water on some Syrian mosque
Placed with priest mummery and fantastic rites
Which fool the multitude, hath led them here
From far Khorassan? Allah who appoints
Yon swarms to be a punishment of man,
These also hath he doomed to meet their way."

A pure-bred Arabian could not well view things in a more rationalistic light than this. And we have the same sort of thing throughout. Southey piles up fantastic edifices, only to topple them over with the help of some Gospel text when he is tired of them, or thinks that his reader requires an admonition.