For a flawless work of art is a thing for a moment, while that more penetrating projection of an original personality which one calls a mental or aesthetic atmosphere, is a thing that floats and flows and drifts and wavers, far beyond the boundaries of any limited creation. Such an atmosphere, such a vague intellectual music, in the air about us, is the thing that really challenges the responsive spirit in ourselves; challenges it and rouses it to take the part which it has a right to take, the part which it alone can take, in recreating the world for us in accordance with our natural fatality.
It is only by the process of gradual disillusionment that we come at last to recognise what we ourselves—undistracted now by any external authority—need and require from the genius of the past. For my own part, looking over the great names included in the foregoing essays, I am at this moment drawn instinctively only to two among them all—to William Blake and to Paul Verlaine; and this is an indication to me that what my own soul requires is not philosophy or psychology or wit or sublimity, but a certain delicate transmutation of the little casual things that cross my way, and a certain faint, low, sweet music, rumouring from indistinguishable horizons, and bringing me vague rare thoughts, cool and quiet and deep and magical, such as have no concern with the clamour and brutality of the crowd.
The greater number of the writers who have dominated us, in the pages that go before, belong to the Latin race, and I cannot but feel that it is to this race that civilisation must come more and more to return in its search for the grandeur and pathos, the humanity and irony of that attitude of mind which serves our spirits best as we struggle on through the confusions and bewilderments of our way.
There is a tendency observable here and there—though the genuinely great minds who give their adherence to it are few and far between—to speak as though the race-element in literature were a thing better away, a thing whose place might be taken by a sort of attenuated idealistic amalgam of all the race-elements in the world, or by something which has no race-element in it at all—something inter-national, inter-racial, humanitarian and cosmopolitan.
People to whom this thin thing appeals often speak quite lightly of blending the traditions of East and West, of Saxon and Celt, of Latin and Teuton, of Scandinavian and Slav.
They do not see that you might as well speak of blending the temperaments of two opposite types of human personality. They do not see that the whole interest of life depends upon these contrasts. You cannot blend traditions in this academic way, any more than you can blend two human souls that are diametrically different, or two soils or climates which are mutually excluding. This ideal of a cosmopolitan literature that shall include all the local traditions and racial instincts is the sort of thing that appeals to the type of mind which remains essentially dull to the high qualities of a noble style.
No; it is not cosmopolitan literature that we want. It was not of cosmopolitan literature that Goethe was thinking when he used that term "I am a good European," which Nietzsche found so suggestive; it was of classical literature, of literature which, whatever its racial quality, has not lost touch with the civilised traditions of Athens and Rome.
In art, as in everything else, we must "worship our dead"; and the attempt to substitute a vague idealised cosmopolitanism for the living passionate localised traditions that spring like trees and flowers out of a particular soil, out of a soil made dear to us by the ashes of our fathers and consecrated by a thousand pious usages, is an attempt that can result in no great magical works.
Walt Whitman, for all his celebrations of the huge "ensemble" of the world, remains and must always remain profoundly and entirely American.
When Romain Rolland, the author of "Jean Christophe,"—the book of all books most penetrated by the spirit of race distinctions—appalled by the atrocity of the war, calls upon us to substitute the Ideal of Humanity for the ideas of the various tribes of men, he is really (in re-action from the dreadful scenes around him) renouncing those flashes of prophetic insight which gave him such living visions of the diverse souls of the great races. Romain Rolland may speak rhetorically of the "Ideal of Humanity" to be realised in art and letters. The thing is a word, a name, a phrase, an illusion. What we actually have are individuals—individual artists, individual races—each with its own beautiful and tragical fatality.