IV

RECENT TENDENCIES IN EUROPEAN

POETRY

WITH OCCASIONAL REFERENCES TO THE NOVEL, DRAMA, AND CRITICISM

PROFESSOR C. H. HERFORD

WHEN Matthew Arnold declared that every age receives its best interpretation in its poetry, he was making a remark hardly conceivable before the century in which it was made. Poetry in the nineteenth century was, on the whole, more charged with meaning, more rooted in the stuff of humanity and the heart of nature, less a mere province of belles-lettres than ever before. Consciously or unconsciously it reflected the main currents in the mentality of European man, and the reflection was often most clear where it was least conscious. Two of these main currents are:

(1) The vast and steady enlargement of our knowledge of the compass, the history, the potencies, of Man, Nature, the World.

(2) The growth in our sense of the worth of every part of existence.

Certain aspects of these two processes are popularly known as 'the advance of science', and 'the growth of democracy'. But how far science' reaches beyond the laboratory and the philosopher's study, and democracy' beyond political freedom and the ballot-box, is precisely what poetry compels us to understand; and not least the poetry of the last sixty years with which we are to-day concerned.

How then does the history of poetry in Europe during these sixty years stand in relation to these underlying processes? On the surface, at least, it hardly resembles growth at all. In France above all-the literary focus of Europe, and its sensitive thermometer-the movement of poetry has been, on the surface, a succession of pronounced and even fanatical schools, each born in reaction from its precursor, and succumbing to the triumph of its successor. Yet a deeper scrutiny will perceive that these warring artists were, in fact, groups of successive discoverers, who each added something to the resources and the scope of poetry, and also retained and silently adopted the discoveries of the past; while the general line of advance is in the direction marked by the two main currents I have described. Nowhere else is the succession of phases so sharp and clear as in France. But since France does reflect more sensitively than any other country the movement of the mind of Europe, and since her own mind has, more than that of any other country, radiated ideas and fashions out over the rest of Europe, these phases are in fact traceable also, with all kinds of local and national variations, in Italy and Spain, Germany and England, and I propose to take this fact as the basis of our present very summary and diagrammatic view. The three phases of the sixty years are roughly divided by the years 1880 and 1900.

The first, most clearly seen in the French Parnassians, is in close, if unconscious, sympathy with the temper of science. Poetry, brought to the limit of expressive power, is used to express, with the utmost veracity, precision, and impersonal self-suppression, the beauty and the tragedy of the world. It sought Hellenic lucidity and Hellenic calm-in the example most familiar to us, the Stoic calm and sad lucidity' of Matthew Arnold.

The second best seen in the French Symbolists, was

directly hostile to science. But they repelled its confident analysis of material reality in the name of a part of reality which it ignored or denied, an immaterial world which they mystically apprehended, which eluded direct description, frustrated rhetoric, and was only to be come at by the magical suggestion of colour, music, and symbol. It is most familiar to us in the Celtic' verse of Mr. Yeats and A. E. '.

The third, still about us, and too various and incomplete for final definition, is in closer sympathy with science, but, in great part, only because science has itself found. accommodation between nature and spirit, a new ideality born of, and growing out of, the real. If the first found Beauty, the end of art, in the plastic repose of sculpture, and the second in the mysterious cadences of music, the poetry of the twentieth century finds its ideal in life, in the creative evolution of being, even in the mere things, the 'prosaic' pariahs of previous poetry, on which our shaping wills are wreaked. We know it in poets unlike one another but yet more unlike their predecessors, from D'Annunzio and Dehmel and Claudel to our Georgian experimenters in the poetry of paradox and adventure.

I. POETIC NATURALISM

The third quarter of the nineteenth century opened, in western Europe, with a decided set-back for those who lived on dreams, and a corresponding complacency among those who throve on facts. The political and social

revolution which swept the continent in 1848 and 1849, and found ominous echoes here, was everywhere, for the time, defeated. The discoveries of science in the third and fourth decades, resting on calculation and experiment, were investing it with the formidable prestige which it has never since lost; and both metaphysics and theology reeled perceptibly under the blows delivered in its name.

The world exhibition of 1851 seemed to announce an age of settled prosperity, peace, and progress.

In literature the counterpart of these phenomena was the revolt from Romanticism, a movement, in its origins, of poetic liberation and discovery, which had rejuvenated poetry in Germany and Italy, and yet more signally in England and in France, but was now petering out in emotional incoherence, deified impulse, and irresponsible caprice.

The revolt accordingly everywhere sought to bring literature into closer conformity with reality; with reality as interpreted by science; and to make art severe and precise. In the novel, Flaubert founded modern naturalism with his enthralling picture of dull provincials, Mme Bovary (1857); two years later George Eliot tilted openly in Adam Bede against the romancers who put you off with marvellous pictures of dragons, but could not draw the real horses and cattle before their eyes.1

Realism, at once more unflinching and more profoundly poetic, and yet penetrated, especially in Tolstoy and Dostoievsky, with an intensity of moral conviction beside which the ethical fervour of George Eliot seems an ineffectual fire, was one of the roots of the Russian Novel; which also reached its climax in the third quarter of the century. But though it concurred with analogous movements in the West, it drew little of moment from them; even Turgenjev, a greater Maupassant in artistry, drew his inner inspiration from wholly alien springs of Slavonic passion and thought. And it was chiefly through them that the Russian novel later helped to nourish the radically alien movement of Symbolism in France.

1 The temper of the two realists was no doubt widely different. C'est en haine du réalisme ', wrote Flaubert, ' que j'ai entrepris ce roman. Mais je n'en déteste pas moins la fausse idéalité, dont nous sommes bercés par le temps qui court' (Corresp. 3, 67).

In drama, Ibsen broke away from the Romantic tradition of his country with the iconoclastic energy of one who had spent his own unripe youth in offering it a halfreluctant homage. The man of actuality in him denounced the drama built upon the legends of the Scandinavian past-the mark for him of a people of dreamers oblivious of the calls of the hour. On the morrow of the disastrous (and for Norway in his view ignominious) Danish war of 1864, his scorn rang out with prophetic intensity in the fierce tirade of Brand. Happily for his art, revolt against romance in him was united, more signally than in more than two or three of his contemporaries, with the power of seizing and presenting contemporary life. Realism' certainly expresses inadequately enough the genius of an art like his, enormously alive rather than fundamentally like life, and no less charged with purpose and idea than the work of the great Russians, though under cover of reticences and irony little known to them. The great series of prose dramas-from 1867 (The League of Youth) onwards-with their experimental prelude Love's Comedy (1863)-were to be for all Europe the most considerable literary event of the fourth quarter of the century, and they generated affiliated schools throughout the West. They did not indeed themselves remain untouched by the general intellectual currents of the time, and it will be noticed below that the later plays (from The Lady of the Sea onward) betray affinities, like the Russian novel, with what is here called the second phase of the European

movement.

In Criticism, the showy generalizations of Villemain gave place to Sainte-Beuve's series of essays towards a' natural history of minds' 1 and Taine's more sweeping attempt to explain literature by environment. Among 1 Causeries du Lundi, 1850 f.

2 Histoire de la littérature anglaise, 1863.