But shall have praise and three times thrice again
When at that table men shall drink with men.”
“It was to the standard of the intellect in a gloomy world that he always gaily rallied,” Mr. Lynd observes with truth. He saw the unbridgeable gulf which exists between aspiration and achievement. Heine once said bitterly: “You want to give the woman you love the sun, moon and stars, and all you can give her is a house on a terrace.” He, like Heine, knew this sense of defeat, and it is this which made him regard “optimism as an attractive form of mental disease.” As he says of Hamlet, “he passed through life annotating it with a gloss of melancholy speculation.”
He felt the “weary weight of all this unintelligible world.” “The twentieth century,” he wrote in an article, “which cuts such a fine figure in encyclopædias is most familiarly known to the majority of its children as a new sort of headache.” But he was a fighting pessimist that called for the best. “Impossibilism is a poor word and an unmanly doctrine. We have got to keep moving on and, since that is so, we had better put as good thought as we can into our itinerary. The task of civilisation was never easy. Freedom—the phrase belongs to Fichte or someone of his circle—has always been a battle and a march: it is of the nature of both that they should appear to the participants, during the heat of movement, as planless and chaotic.”
Perhaps the finest definition of his philosophy of life may be found in an essay in The Day’s Burden. “A wise man soon grows disillusioned of disillusionment. The first lilac freshness of life will indeed never return. The graves are sealed, and no hand will open them to give us back dead comrades or dead dreams. As we look out on the burdened march of humanity, as we look in on the leashed but straining passions of our unpurified hearts, we can but bow our heads and accept the discipline of pessimism. Bricriu must have his hour as well as Cuchullin. But the cynical mood is one that can be resisted. Cynicism, however exercisable in literature, is in life the last treachery, the irredeemable defeat.... But we must continue loyal to the instinct which makes us hope much, we must believe in all the Utopias.”
Pessimism is indeed written on his banner, but it is a pessimism which achieves. “Is not the whole Christian conception of life rooted in pessimism,” he argues, “as becomes a philosophy expressive of a world in which the ideal can never quite overcome the crumbling incoherence of matter? May we not say of all good causes what Arnold said only of the proud and defeated Celts: ‘They always went down to battle, but they always fell’!”
There is no need to comment on him as a man of letters. A master of exquisite prose, he had in perfection what he himself calls “the incommunicable gift of phrase” and “the avid intellect which must needs think out of things everything to be found in them.” What he wrote of Anatole France, might fittingly be applied to himself. “A pessimism, stabbed and gashed with the radiance of epigrams as a thunder-cloud is stabbed by lightning is a type of spiritual life far from contemptible. A reasonable sadness, chastened by the music of consummate prose is an attitude and an achievement, that will help many men to bear with more resignation the burden of our century.” His defence of the use of the epigram and its purpose is vigorous and arresting: “The epigrammatist, too, and the whole tribe of image-makers dwell under a disfavour far too austere. We must distinguish. There is in such images an earned and an unearned increment of applause. The sudden, vast, dazzling, and deep-shadowed view of traversed altitudes that breaks on the vision of a climber, who, after long effort, has reached the mountain-top, is not to be grudged him. And the image that closes up in a little room the infinite riches of an argument carefully pursued is not only legitimate but admirable.”
His writings abound in fine images and epigrams which seem to come naturally to his pen. Galway is to him the “Bruges-la-Morte” of western Ireland; again “the opulent loneliness of the Golden Vale,” is a picture in words. He referred to Irish emigrants as “landless men from a manless land”; England, he said, found Ireland a nation and left her a question. Loyalty he described as the bloom on the face of freedom. Mr. Healy, whose wit he admired and whose politics he deplored, he called “a brilliant calamity.” “It is with ideas,” he wrote, “as with umbrellas, if left lying about they are peculiarly liable to change of ownership.” Describing a man of poor parents who had achieved greatness, he said: “He was of humble origin like the violin string.” A very stupid book, published one winter, he referred to “as very suitable for the Christmas fire.” Of the Royal Irish Constabulary he said: “It was formerly an army of occupation. Now, owing to the all but complete disappearance of crime, it is an army of no occupation.” Cleverness he defined as a sort of perfumed malice, the perfume predominating in literature, the malice in life. The inevitableness of Home Rule, he declared, resided in the fact that it is a biped among ideas. “It marches to triumph on two feet, an Irish and Imperial foot.” And surely this is one of his finest epigrams: “Life is a cheap table d’hôte in a rather dirty restaurant, with time changing the plates before you have had enough of anything.” Sufferers from the influenza will appreciate his description of that malady. “Other illnesses are positive, influenza is negative. It makes one an absentee from oneself.” Talking of Mr. George Moore, he described him as “suffering from the sick imagination of the growing boy.” The grazing system he declared must be exterminated root and branch, brute and ranch. In his Home Rule Finance, he says: “Home Rule may be a divorce between two administrations, it will be a marriage between two nations. You are in any case free to choose for your inspiration between alimony and matrimony, the emphasis in either case is on the last syllable.”
Few think of him as a poet, and yet his poetry has as unique and distinguished a cachet as his prose. In political poetry and battle song he equalled the best. His “Epitaph on the House of Lords” ranks beside Chesterton’s memorable poem on the same subject. His battle song entitled “The Last Crusade” embodies in perfect lyric form his vision of the war—
“Then lift the flag of the last Crusade!