Aspects of Literature

by John Middleton Murry

In the light of this necessary truth all the contradictions which have been discovered in Rousseau's work fade away. That famous confusion concerning 'the natural man,' whom he presents to us now as a historic fact, now as an ideal, took its rise, not in the mind of Jean-Jacques, but in the minds of his critics. The Contrat Social is a parable of the soul of man, like the Republic of Plato. The truth of the human soul is its implicit perfection; to that reality material history is irrelevant, because the anatomy of the soul is eternal. And as for the nature of this truth, 'it is true so soon as it is felt.' When the Savoyard Vicar, after accepting all the destructive criticism of religious dogma, turned to the Gospel story with the immortal 'Ce n'est pas ainsi qu'on invente,' he was only anticipating what Jean-Jacques was to say of himself before his death, that there was a sign in his work which could not be imitated, and which acted only at the level of its source. We may call Jean-Jacques religious because we have no other word; but the word would be more truly applied to the reverence felt towards such a man than to his own emotion. He was driven to speak of God by the habit of his childhood and the deficiency of a language shaped by the intellect and not by the soul. But his deity was one whom neither the Catholic nor the Reformed Church could accept, for He was truly a God who does not dwell in temples made with hands. The respect he owed to God, said the Vicar, was such that he could affirm nothing of Him. And, again, still more profoundly, he said, 'He is to our souls what our soul is to our body.' That is the mystical utterance of a man who was no mystic, but of one who found his full communion in the beatific dolce far niente of the Lake of Bienne. Jean-Jacques was set apart from his generation, because, like Malvolio, he thought highly of the soul and in nowise approved the conclusions of his fellows; and he was fortunate to the last, in spite of what some are pleased to call his madness (which was indeed only his flaming and uncomprehending indignation at the persecution inevitably meted out by those who have only a half truth to one who has the whole), because he enjoyed the certainty that his high appraisement of the soul was justified.

[MARCH, 1918.

The Poetry of Edward Thomas

We believe that when we are old and we turn back to look among the ruins with which our memory will be strewn for the evidence of life which disaster could not kill, we shall find it in the poems of Edward Thomas.[2] They will appear like the faint, indelible writing of a palimpsest over which in our hours of exaltation and bitterness more resonant, yet less enduring, words were inscribed; or they will be like a phial discovered in the ashes of what was once a mighty city. There will be the triumphal arch standing proudly; the very tombs of the dead will seem to share its monumental magnificence. Yet we will turn from them all, from the victory and sorrow alike, to this faintly gleaming bubble of glass that will hold captive the phantasm of a fragrance of the soul. By it some dumb and doubtful knowledge will be evoked to tremble on the edge of our minds. We shall reach back, under its spell, beyond the larger impulses of a resolution and a resignation which will have become a part of history, to something less solid and more permanent over which they passed and which they could not disturb.

[Footnote 2: Last Poems. By Edward Thomas. (Selwyn & Blount.)]

Our consciousness will have its record. The tradition of England in battle has its testimony; our less traditional despairs will be compassed about by a crowd of witnesses. But it might so nearly have been in vain that we should seek an echo of that which smiled at the conclusions of our consciousness. The subtler faiths might so easily have fled through our harsh fingers. When the sound of the bugles died, having crowned reveillé with the equal challenge of the last post, how easily we might have been persuaded that there was a silence, if there had not been one whose voice rose only so little above that of the winds and trees and the life of undertone we share with them as to make us first doubt the silence and then lend an ear to the incessant pulses of which it is composed. The infinite and infinitesimal vague happinesses and immaterial alarms, terrors and beauties scared by the sound of speech, memories and forgettings that the touch of memory itself crumbles into dust—this very texture of the life of the soul might have been a gray background over which tumultuous existence passed unheeding had not Edward Thomas so painfully sought the angle from which it appears, to the eye of eternity, as the enduring warp of the more gorgeous woof.

The emphasis sinks; the stresses droop away. To exacter knowledge less charted and less conquerable certainties succeed; truths that somehow we cannot make into truths, and that have therefore some strange mastery over us; laws of our common substance which we cannot make human but only humanise; loyalties we do not recognise and dare not disregard; beauties which deny communion with our beautiful, and yet compel our souls. So the sedge-warbler's

'Song that lacks all words, all melody,
All sweetness almost, was dearer then to me
Than sweetest voice that sings in tune sweet words.'

Not that the unheard melodies were sweeter than the heard to this dead poet. We should be less confident of his quality if he had not been, both in his knowledge and his hesitations, the child of his age. Because he was this, the melodies were heard; but they were not sweet. They made the soul sensible of attachments deeper than the conscious mind's ideals, whether of beauty or goodness. Not to something above but to something beyond are we chained, for all that we forget our fetters, or by some queer trick of self-hallucination turn them into golden crowns. But perhaps the finer task of our humanity is to turn our eyes calmly into 'the dark backward and abysm' not of time, but of the eternal present on whose pinnacle we stand.

'I have mislaid the key. I sniff the spray
And think of nothing; I see and hear nothing;
Yet seem, too, to be listening, lying in wait
For what I should, yet never can, remember.
No garden appears, no path, no child beside,
Neither father nor mother, nor any playmate;
Only an avenue, dark, nameless without end.'