Home > Essays > Creative Unity > The Poet's Religion
Chapters: 1 | 2 | 3 | 4 | 5 | 6 | SINGLE PAGE Next

The Poet's Religion    

II


I remember, when I was a child, that a row of cocoanut trees by our garden wall, with their branches beckoning the rising sun on the horizon, gave me a companionship as living as I was myself. I know it was my imagination which transmuted the world around me into my own world - the imagination which seeks unity, which deals with it. But we have to consider that this companionship was true; that the universe in which I was born had in it an element profoundly akin to my own imaginative mind, one which wakens in all children's natures the Creator, whose pleasure is in interweaving the web of creation with His own patterns of many-coloured strands. It is something akin to us, and therefore harmonious to our imagination. When we find some strings vibrating in unison with others, we know that this sympathy carries in it an eternal reality. The fact that the world stirs our imagination in sympathy tells us that this creative imagination is a common truth both in us and in the heart of existence. Wordsworth says:

 

I'd rather be

A pagan suckled in a creed outworn;

So might I, standing on this pleasant lea,

Have glimpses that would make me less forlorn;

Have sight of Proteus rising from the sea,

Or hear old Triton blow his wreathed horn.

 

In this passage the poet says we are less forlorn in a world which we meet with our imagination. That can only be possible if through our imagination is revealed, behind all appearances, the reality which gives the touch of companionship, that is to say, something which has an affinity to us. An immense amount of our activity is engaged in making images, not for serving any useful purpose or formulating rational propositions, but for giving varied responses to the varied touches of this reality. In this image-making the child creates his own world in answer to the world in which he finds himself. The child in us finds glimpses of his eternal playmate from behind the veil of things, as Proteus rising from the sea, or Triton blowing his wreathed horn. And the playmate is the Reality, that makes it possible for the child to find delight in activities which do not inform or bring assistance but merely express. There is an image-making joy in the infinite, which inspires in us our joy in imagining. The rhythm of cosmic motion produces in our mind the emotion which is creative.

 

A poet has said about his destiny as a dreamer, about the worthlessness of his dreams and yet their permanence:

 

I hang 'mid men my heedless head,

And my fruit is dreams, as theirs is bread:

The godly men and the sun-hazed sleeper,

Time shall reap; but after the reaper

The world shall glean to me, me the sleeper.

 

The dream persists; it is more real than even bread which has substance and use. The painted canvas is durable and substantial; it has for its production and transport to market a whole array of machines and factories. But the picture which no factory can produce is a dream, maya, and yet it, not the canvas, has the meaning of ultimate reality.

 

A poet describes Autumn:

 

I saw old Autumn in the misty morn

Stand shadowless like Silence, listening

To silence, for no lonely bird would sing

Into his hollow ear from woods forlorn.

Of April another poet sings:

April, April,

Laugh thy girlish laughter;

Then the moment after

Weep thy girlish tears!

April, that mine ears

Like a lover greetest,

If I tell thee, sweetest,

All my hopes and fears.

April, April,

Laugh thy golden laughter.

But the moment after

Weep thy golden tears!

This Autumn, this April, - are they nothing but phantasy?

 

Let us suppose that the Man from the Moon comes to the earth and listens to some music in a gramophone. He seeks for the origin of the delight produced in his mind. The facts before him are a cabinet made of wood and a revolving disc producing sound; but the one thing which is neither seen nor can be explained is the truth of the music, which his personality must

 

immediately acknowledge as a personal message. It is neither in the wood, nor in the disc, nor in the sound of the notes. If the Man from the Moon be a poet, as can reasonably be supposed, he will write about a fairy imprisoned in that box, who sits spinning fabrics of songs expressing her cry for a far-away magic casement opening on the foam of some perilous sea, in a fairyland forlorn. It will not be literally, but essentially true. The facts of the gramophone make us aware of the laws of sound, but the music gives us personal companionship. The bare facts about April are alternate sunshine and showers; but the subtle blending of shadows and lights, of murmurs and movements, in April, gives us not mere shocks of sensation, but unity of joy as does music. Therefore when a poet sees the vision of a girl in April, even a downright materialist is in

 

sympathy with him. But we know that the same individual would be menacingly angry if the law of heredity or a geometrical problem were described as a girl or a rose - or even as a cat or a camel. For these intellectual abstractions have no magical touch for our lute-strings of imagination. They are no dreams, as are the harmony of bird-songs, rain-washed leaves glistening in the sun, and pale clouds floating in the blue.

 

The ultimate truth of our personality is that we are no mere biologists or geometricians; 'we are the dreamers of dreams, we are the music-makers.' This dreaming or music-making is not a function of the lotus-eaters, it is the creative impulse which makes songs not only with words and tunes, lines and colours, but with stones and metals, with ideas and men:

 

With wonderful deathless ditties

We build up the world's great cities,

And out of a fabulous story

We fashion an empire's glory.

 

I have been told by a scholar friend of mine that by constant practice in logic he has weakened his natural instinct of faith. The reason is, faith is the spectator in us which finds the meaning of the drama from the unity of the performance; but logic lures us into the greenroom where there is stagecraft but no drama at all; and then this logic nods its head and wearily talks about disillusionment. But the greenroom, dealing with its fragments, looks foolish when questioned, or wears the sneering smile of Mephistopheles; for it does not have the secret of unity, which is somewhere else. It is for faith to answer, 'Unity comes to us from the One, and the One in ourselves opens the door and receives it with joy.' The function of poetry and the arts is to remind us that the greenroom is the greyest of illusions, and the reality is the drama presented before us, all its paint and tinsel, masks and pageantry, made one in art. The ropes and wheels perish, the stage is changed; but the dream which is drama remains true, for there remains the eternal Dreamer.

 


Chapters: 1 | 2 | 3 | 4 | 5 | 6 | SINGLE PAGE Next