September 1, 1939: A Biography of a Poem. Ian Sansom

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СКАЧАТЬ more than a five-finger exercise compared to Auden, then this – this! – is, what? At the very best, a one-note tribute?

      *

      Polyphony

      ↓

      Monophony

      ↓

      Penny whistle and kazoo

      *

      Parnassus after all is not a mountain,

      Reserved for A.1. climbers such as you;

      It’s got a park, it’s got a public fountain.

      The most I ask is leave to share a pew

      With Bradford or with Cottam, that will do.

      (Auden, ‘Letter to Lord Byron’)

      *

Park?

      Fountain?

      Pissoir.

      *

      Perhaps one of the only things the rest of us share with the truly great writers is the sense of struggle, the sense of inadequacy.

      Flaubert: ‘Sometimes when I find myself empty, when the expression refuses to come, when, after having scrawled long pages, I discover that I have not written one sentence, I fall on my couch and remain stupefied in an internal swamp of ennuis.’

      Gerard Manley Hopkins: ‘Birds build – but not I build; no, but strain, / Time’s eunuch, and not breed one work that wakes.’

      Katherine Mansfield: ‘For the last two weeks I have written scarcely anything. I have been idle; I have failed.’

      We all know that feeling, that sense of despair and woe-is-me and all-I-taste-is-ashes, and all-I-touch-has-turned-to-dust.

      Great writers, it seems, are not necessarily those who are most confident about their own capacities or skills. They are more often keenly aware that words are failing them, and that they are failing words. Like us, they find it difficult.

      *

      Or rather, most of them find it difficult: Auden was convinced of his own skills and capacities from an early age and went on to fulfil and exceed his early promise.

      (His tutor at Oxford, Nevill Coghill, recalled Auden announcing his intention to become a poet. Jolly good, said Coghill – or something donnish to that effect – that should help with understanding the old technical side of Eng. Lit., eh, old chap? ‘Oh no, you don’t understand,’ replied Auden – or again, words to that effect – ‘I mean a great poet.’)

He seems never to have been lacking in confidence. He seems always to have been convinced not merely of his brilliance but of his sovereignty.

      ‘Evidently they are waiting for Someone,’ he told his friend Stephen Spender.

      He was that Someone.

      *

      And me, who am I?

      If nothing else, one of the things I have realised over the course of the past twenty-five years, in trying to write a book about W. H. Auden, is the obvious fact that I AM NOT W. H. AUDEN.

      *

      Other people realise they’re not their heroes much earlier, but I was in the slow learners’ class in school and seem to be a slow learner still.

      I think I probably believed that one day – through sheer willpower and determined slog, through dogged persistence and self-discipline – I might somehow overcome my weaknesses and become an artist of some significance.

      It is only recently that I have come to accept my true role and status, which is, obviously, naturally, inevitably, as an utterly insignificant bit-part player in the world of literary affairs.

      This is the real trouble with studying major writers: it reminds one of one’s minority status.

      (Great Lies of Literature No. 1: reading great literature is good for the soul. The truth: reading the greats does not just uplift; it also casts down.)

      *

F. R. Leavis once described E. M. Forster, when compared with Henry James, as ‘only too unmistakably minor’ – though Forster accurately remarked of James that though he might have been a ‘perfect novelist’, it wasn’t a ‘very enthralling type of perfection’. It hardly needs stating that I’m not in James’s league, nor in Forster’s – but, alas, the real truth is that I’m not even in Leavis’s league, which is a league no one in their right mind would want to be in anyway, a league whose entry requirements include anger, bitterness and envy. (He was not a great fan of Auden, Leavis, particularly not his irony, which he described as ‘self-defensive, self-indulgent or merely irresponsible’. God, one wonders, what would F. R. Leavis make of this?) Reading Leavis, it is clear that I am only too unmistakably minor even in relation to him writing about Forster writing about James – a gnat on a flea on the shoulders of giants. Forster has an essay, ‘The C Minor of that Life’, whose title is an allusion to Browning’s poem ‘Abt Vogler’, the last line of which begins ‘The C Major of this life’. This life is neither C Major nor Minor, but C very much Diminished.

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      (This book, clearly, is not just about Auden. It’s about everything else I’ve been thinking and reading while I’ve been thinking and reading Auden, and which has influenced my thinking and reading of Auden. As Mr Weller long ago explained to his son, Sam – the archetypal Cockney geezers – in The Pickwick Papers: ‘Ven you’re a married man, Samivel, you’ll understand a good many things as you don’t understand now; but vether it’s worth while goin’ through so much, to learn so little, as the charity-boy said ven he got to the end of the alphabet, is a matter o’ taste. I rayther think it isn’t.’)

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Other things I have come to realise, in passing, as I have been trying to write a book about W. H. Auden, over the course of the past twenty-five years:

       Despite what you may have heard, one’s talents do not necessarily grow and develop over time. One’s character does not necessarily blossom. Things do not necessarily work out. The unique gift that you might have thought you had to offer the world does not necessarily become apparent to you or to anyone else. There is not just the possibility of loss and waste and failure: failure and waste and loss are inevitable. (William Empson, in that wonderful remark about Gray’s ‘Elegy’, in Some Versions of Pastoral – my absolute favourite among all of Empson’s wonderful remarks: ‘And yet what is said is one of the permanent truths; it is only in degree that any improvement of society could prevent wastage of human powers; the waste even in a fortunate life, the isolation even of a life rich in intimacy, cannot but be felt deeply, and is the central feeling of tragedy.’)

       There are many individuals whose natural talents far exceed your own.

       There are many individuals whose natural talents may seem far less than your own and yet who will inevitably succeed far beyond your own small successes.

       There СКАЧАТЬ