Or take a great Chinese landscape and a great Western one: a Ma Yuan, say, and a—whom you please. To the uninstructed it seems ridiculous to compare them. This took a whole year to paint; it is large; there is an enormous amount of hard work in it; huge creative effort, force, exertion, went to make it. That—it was done perhaps in an hour. That mountain is but a flick of the brush; yonder lake but a wash and a ripple. It is painted on a little trumpery fan—a mere square foot of silk. Yes; but on that square foot, by the grace of the Everlasting Spirit, are 'a thousand miles of space': much more—there is Infinity itself. Watch; and that faint gray or sepia shall become the boundless blue; and you shall see dim dragons wandering: you shall see Eternal Mystery brooding within her own limitless home. Far, far more than in the western work, there is an open window into the Infinite: that which shall remind us that we are not the poor clay and dying embers we seem, but a pat of the infinite Mystery. The Spirit is here; not involved in human flesh and intellection, but impersonal and universal. What do you want:—to be a great towering personality; or to remember that you are a flame of the Fire which is God? Oh, out upon these personal deities, and most ungodly personalities of the West! I thank China for reminding me that they are cheap and nasty nothingnesses at the best!
We rather demand of our art, at its highest, that it shall be a stimulant, and call to our minds the warfare in which we are engaged: the hopeless-heroic gay and ever mournful warfare of the soul against the senses. Well; that battle has to be fought; there is nothing better than fighting it—until it is won. Let us by all means hear the snarling of the trumpets; let us heed the battle-cries of the Soul. But let us not forget that somewhere also the Spirit is at peace: let us remember that there is Peace, beyond the victory. In Chinese art and poetry we do not hear the war-shouts and the trumpets: broken, there, are the arrow and the bow; the shield, the sword, the sword and the battle.—But—the Day-Spring from on high hath visited us.
What element from the Divine is in it, does not concern itself with this earth-life; tells you nothing in criticism of life. There is naught in it of the Soul as Thinker, nor of the Soul as Warrior. But surely it is something for us, immersed here in these turbid Rajasika regions, to be reminded sometimes that the Sattvic planes exist; it is something for us to be given glimpses of the pure quietudes of the Spirit in its own place. I am the better, if I have been shown for an instant the delicate imperishable beauty of the Eternal.
"We are tired who follow after
Truth, a phantasy that flies;
You with only look and laughter
Stain our hearts with richest dyes."—
They do indeed; with look and laughter—or it may be tears.
Now, what does it all mean? Simply this, I think: that the West brings down what it can of the Spirit into the world of thought and passion; brings it down right here upon this bank and shoal of time; but China rises with you into the world of the Spirit. We do not as a rule allow the validity of the Chinese method. We sometimes dub Keats, at his best a thorough Chinaman, 'merely beautiful.'
I have rather put the case for China; because all our hereditary instincts will rise with a brief for the West. But the truth is that the Spirit elects its own methods and its own agents, and does this through the one, that through the other. When I read Hamlet, I have no doubt Shakespeare was the greatest poet that ever lived. When I read Li Po, I forget Shakespeare, and think that among those who sing none was ever so wonderful as this Banished Angel of the Hills of Tang. I forget the Voice that cried 'Sleep no more!' and Poetry seems to me to have spoken her final word in what you would perhaps call trivialities about the Cold Clear Spring or the White Foam Rapid: she seems to me to have accomplished all she can in such bits of childlike detachment and wonder as this:
"The song-birds, the pleasure-seekers, have flown long since; but this lonely cloud floats on, drifting round in a circle. He and Ching-ting Mountain gaze and gaze at each other, and never grow weary of gazing";
—the 'lonely cloud' being, of course, Li Po himself. He has shown me Man the brother of the Mountains, and I ask no more of him. The mountains can speak for themselves.
He had no moral purpose, this Banished Angel for whose sake the Hills of T'ang are a realm in the Spirit, inerasible, and a beautiful dream while the world endures. Po Chu-i, says Mr. Arthur Waley, blamed him for being deficient in feng and ya,—by which we may understand, for present purposes, much what Matthew Arnold meant by 'criticism of life.' But does it not serve a spiritual purpose that our consciousness should be lifted on to those levels where personality is forgotten: that we should be made to regain, while reading, the child-state we have lost? Li Po died a child at sixty: a magical child: always more or less naughty, if we are to believe all accounts, especially his own; but somehow never paying the penalty we pay for our naughtiness,—exile from the wonder-world, and submersion in these intolerable personalities. You read Milton, and are cleaned of your personality by the fierce exaltation of the Spirit beating through. You read Li Po-type of hundreds of others his compatriots—and you are also cleaned of your personality; but by gentle dews, by wonderment, by being carried up out of it into the diamond ether. It seems to me that both affirmed the Divine Spirit. Milton waged grand warfare in his affirmation. Li Po merely said what he saw.