Selections from the Prose Works of Matthew Arnold. Arnold Matthew

Чтение книги онлайн.

СКАЧАТЬ and important relation. In his prose Arnold gives such result of his observation and meditation as he believes may be gathered into the form of counsel, criticism, and warning to his age. In his poetry, which preceded the prose, we find rather the processes through which he reached these conclusions; we learn what is the nature of his communing upon life, not as it affects society, but as it fronts the individual; we learn who are the great thinkers of the past who came to his help in the straits of life, and what is the armor which they furnished for his soul in its times of stress.

      One result of a perusal of the poems is to counteract the impression often produced by the jaunty air assumed in the prose. The real substance of Arnold's thought is characterized by a deep seriousness; no one felt more deeply the spiritual unrest and distraction of his age. More than one poem is an expression of its mental and spiritual sickness, its doubt, ennui, and melancholy. Yet beside such poems as Dover Beach and Stagirius should be placed the lines from Westminster Abbey:—

          For this and that way swings

          The flux of mortal things,

        Though moving inly to one far-set goal.

      Out of this entanglement and distraction Arnold turned for help to those writers who seemed most perfectly to have seized upon the eternal verities, to have escaped out of the storm of conflict and to have gained calm and peaceful seats. Carlyle and Ruskin, Byron and Shelley, were stained with the blood of battle, they raged in the heat of controversy; Arnold could not accept them as his teachers. But the Greek poets and the ancient Stoic philosophers have nothing of this dust and heat about them, and to them Arnold turns to gather truth and to imitate their spirit. Similarly, two poets of modern times, Goethe and Wordsworth, have won tranquillity. They, too, become his teachers. Arnold's chief guides for life are, then, these: two Greek poets, Sophocles and Homer; two ancient philosophers, Marcus Aurelius and Epictetus; two modern poets, Goethe and Wordsworth.

      In Homer and Sophocles, Arnold sought what we may call the Greek spirit. What he conceived this spirit to be as expressed in art, we find in the essay on Literature and Science, "fit details strictly combined, in view of a large general result nobly conceived." In Sophocles, Arnold found the same spirit interpreting life with a vision that "saw life steadily and saw it whole." In another Greek idea, that of fate, he is also greatly interested, though his conception of it is modified by the influence of Christianity. From the Greek poets, then, Arnold derived a sense of the large part which destiny plays in our lives and the wisdom of conforming our lives to necessity; the importance of conceiving of life as directed toward a simple, large, and noble end; and the desirability of maintaining a balance among the demands that life makes on us, of adapting fit details to the main purpose of life.

      Among modern writers Arnold turned first to Goethe, "Europe's sagest head, Physician of the Iron Age." One of the things that he learned from this source was the value of detachment. In the midst of the turmoil of life, Goethe found refuge in Art. He is the great modern example of a man who has been able to separate himself from the struggle of life and watch it calmly.

        He who hath watch'd, not shared the strife,

        Knows how the day hath gone.

      Aloofness, provided it be not selfish, has its own value, and, indeed, isolation must be recognized as a law of our existence.

        Thin, thin the pleasant human noises grow,

          And faint the city gleams;

        Rare the lone pastoral huts—Marvel not thou!

        The solemn peaks but to the stars are known,

        But to the stars and the cold lunar beams;

        Alone the sun rises, and alone

          Spring the great streams.

      From Goethe, also, Arnold derived the gospel of culture and faith in the intellectual life. It is significant that while Carlyle and Arnold may both be looked upon as disciples of Goethe, Carlyle's most characteristic quotation from his master is his injunction to us to "do the task that lies nearest us," while Arnold's is such a maxim as, "To act is easy, to think is hard."

      In some ways Wordsworth was for Arnold a personality even more congenial than Goethe. His range, to be sure, is narrow, but he, too, has attained spiritual peace. His life, secure among its English hills and lakes, was untroubled in its faith. Wordsworth strongly reinforces three things in Arnold, the ability to derive from nature its "healing power" and to share and be glad in "the wonder and bloom of the world"; truth to the deeper spiritual life and strength to keep his soul

        Fresh, undiverted to the world without,

        Firm to the mark, not spent on other things;

      and finally, a satisfaction in the cheerful and serene performance of duty, the spirit of "toil unsevered from tranquillity," sharing in the world's work, yet keeping "free from dust and soil."

      From the Emperor Marcus Aurelius and from the slave Epictetus alike, Arnold learned to look within for "the aids to noble life." Overshadowed on all sides by the "uno'erleaped mountains of necessity," we must learn to resign our passionate hopes "for quiet and a fearless mind," to merge the self in obedience to universal law, and to keep ever before our minds

        The pure eternal course of life,

        Not human combatings with death.

      No conviction is more frequently reiterated in Arnold's poetry than that of the wisdom of resignation and self-dependence.

      These great masters, then, strengthened Arnold in those high instincts which needed nourishment in a day of spiritual unrest. From the Greek poets he learned to look at life steadily and as a whole, to direct it toward simple and noble ends, and to preserve in it a balance and perfection of parts. From Goethe he derived the lessons of detachment and self-culture. From Wordsworth he learned to find peace in nature, to pursue an unworldly purpose, and to be content with humble duties. From the Stoics he learned, especially, self-dependence and resignation. In general, he endeavored to follow an ideal of perfection and to distinguish always between temporary demands and eternal values.

IV

      [Sidenote: Theory of Criticism and Equipment as a Critic]

      In passing from poetry to criticism, Arnold did not feel that he was descending to a lower level. Rather he felt that he was helping to lift criticism to a position of equality with more properly creative work. The most noticeable thing about his definition of criticism is its lofty ambition. It is "the disinterested endeavor to learn and propagate the best that is known and thought in the world," and its more ultimate purpose is "to keep man from a self-satisfaction which is retarding and vulgarizing, to lead him towards perfection." It is not to be confined to art and literature, but is to include within its scope society, politics, and religion. It is not only to censure that which is blameworthy, but to appreciate and popularize the best.

      For this work great virtues are demanded of the critic. Foremost of these is disinterestedness. "If I know your sect, I anticipate your argument," says Emerson in the essay on Self-Reliance. Similarly Arnold warns the critic against partisanship. It is better that he refrain from active participation in politics, social or humanitarian work. Connected with this is another requisite, that of clearness of vision. One of the great disadvantages of partisanship is that it blinds the partisan. But the critical effort is described as "the effort to see the object as in itself it really is." This is best accomplished by approaching truth in as many ways and from as many sides as possible.

      Another precaution for the critic who would retain clearness of vision is the avoidance of abstract systems, which petrify and hinder the necessary flexibility of mind. Coolness of temper is also enjoined and scrupulously practiced. "It is only by remaining collected … that the critic can do the СКАЧАТЬ