Imaginations and Reveries

by George William Russell

There were evidences of such an art in Insurrections, the first book of James Stephens. In the poem called "Fossils," the girl who flies and the boy who hunts her are followed in flight and pursuit with a swift energy by the poet, and the lines pant and gasp, and the figures flare up and down the pages. The energy created a new form in verse, not an orthodox beauty, which the classic artists would have admitted, but such picturesque beauty as Marcus Aurelius found in the foam on the jaws of the wild boar.

I always want to find the fundamental emotion out of which a poet writes. It is easy to do this with some, with writers like Shelley and Wordsworth, for they talked much of abstract things, and a man never reveals himself so fully as when he does this, when he tries to interpret nature, when he has to fill darkness with light, and chaos with meaning. A man may speak about his own heart and may deceive himself and others, but ask him to fill empty space with significance, and what he projects on that screen will be himself, and you can know him even as hereafter he will be known. When a poet puts his ear to a shell, I know if he listens long enough he will hear his own destiny. I knew after reading "The Shell" that in James Stephens we were going to have no singer of the abstract. There was no human quality or stir in the blind elemental murmur, and the poet drops it with a sigh of relief:

O, it was sweet
To hear a cart go jolting down the street.

From the tradition of the world too he breaks away, from the great murmuring shell which gives back to us our cries and questionings and protests soothed into soft, easeful things and smooth orthodox complacencies, for it was shaped by humanity to whisper back to it what it wished to hear. From all soft, easeful beliefs and silken complacencies the last Irish poet breaks away in a book of insurrections. He is doubtful even of love, the greatest orthodoxy of any, which so few have questioned, which has preceded all religions and will survive them all. When he writes of love in "The Red-haired Man's Wife" and "The Rebel" he is not sure that that old intoxication of self-surrender is not a wrong to the soul and a disloyalty to the highest in us. His "Dancer" revolts from the applauding crowd. The wind cries out against the inference that the beauty of nature points inevitably to an equal beauty of spirit within. His enemies revolt against their hate; his old man against his own grumblings, and the poet himself rebels against his own revolt in that quaint scrap of verse he prefixes to the volume:

What's the use
Of my abuse?
The world will run
Around the sun
As it has done
Since time begun
When I have drifted to the deuce:
And what's the use
Of my abuse?

He does not revolt against the abstract like so many because he is incapable of thinking. Indeed, he is one of the few Irish poets we have who is always thinking as he goes along. He does not rebel against love because he is not himself sweet at heart, for the best thing in the book is its unfeigned humanity. So we have a personal puzzle to solve with this perplexing writer which makes us all the more eager to hear him again. A man might be difficult to understand and the problem of his personality might not be worth solution, but it is not so with James Stephens. From a man who can write with such power as he shows in these two stanzas taken from "The Street behind Yours" we may expect high things. It is a vision seen with distended imagination as if by some child strayed from light:

And though 'tis silent, though no sound
Crawls from the darkness thickly spread,
Yet darkness brings
Grim noiseless things
That walk as they were dead,
They glide and peer and steal around
With stealthy silent tread.
You dare not walk; that awful crew
Might speak or laugh as you pass by.
Might touch or paw
With a formless claw
Or leer from a sodden eye,
Might whisper awful things they knew,
Or wring their hands and cry.

There is nothing more grim and powerful than that in The City of Dreadful Night. It has all the vaporous horror of a Dore grotesque and will bear examination better. But our poet does not as a rule write with such unrelieved gloom. He keeps a stoical cheerfulness, and even when he faces terrible things we feel encouraged to take his hand and go with him, for he is master of his own soul, and you cannot get a whimper out of him. He likes the storm of things, and is out for it. He has a perfect craft in recording wild natural emotions. The verse in this first book has occasional faults, but as a rule the lines move, driven by that inner energy of emotion which will sometimes work more metrical wonders than the most conscious art. The words hiss at you sometimes, as in "The Dancer," and again will melt away with the delicacy of fairy bells as in "The Watcher," or will run like deep river water, as in "The Whisperer," which in some moods I think is the best poem in the book until I read "Fossils" or "What Tomas an Buile said in a Pub." They are too long to print, but I must give myself the pleasure of quoting the beautiful "Slan Leat," with which he concludes the book, bidding us, not farewell, but to accompany him on further adventure:

And now, dear heart, the night is closing in,
The lamps are not yet ready, and the gloom
Of this sad winter evening, and the din
The wind makes in the streets fills all the room.
You have listened to my stories—Seumas Beg
Has finished the adventures of his youth,
And no more hopes to find a buried keg
Stuffed to the lid with silver. He, in truth,
And all alas! grew up: but he has found
The path to truer romance, and with you
May easily seek wonders. We are bound
Out to the storm of things, and all is new.
Give me your hand, so, keeping close to me,
Shut tight your eyes, step forward... where are we?

Our new Irish poet declared he was bound "out to the storm of things," and we all waited with interest for his next utterance. Would he wear the red cap as the poet of the social revolution, now long overdue in these islands, or would he sing the Marsellaise of womanhood, emerging in hordes from their underground kitchens to make a still greater revolution? He did neither. He forgot all about the storm of things, and delighted us with his story of Mary, the charwoman's daughter, a tale of Dublin life, so, kindly, so humane, so vivid, so wise, so witty, and so true, that it would not be exaggerating to say that natural humanity in Ireland found its first worthy chronicler in this tale.