The Advance of English Poetry in the Twentieth CenturyPhelps, William Lyon
History
The Advance of English Poetry in the Twentieth Century
Phelps, William Lyon
American poetry -- 20th century -- History and criticism; English poetry -- 20th century -- History and criticism
The above poem, taken from the author's first volume, _Homeward:
Songs by the Way_, does not reflect that homesickness of which A.
E. speaks in his Preface. Homesickness is longing, yearning; and there
is little of any such quality in the work of A. E. Or, if he is really
homesick, he is homesick not like one who has just left home, but more
like one who is certain of his speedy return thither. This
homesickness has more anticipation than regret; it is like healthy
hunger when one is assured of the next meal. For assurance is the
prime thing in A. E.'s temperament and in his work; it partly accounts
for his strong influence. Many writers today are like sheep having no
shepherd; A. E. is a shepherd. To turn from the wailing so
characteristic of the poets, to the books of this high-hearted,
resolute, candid, cheerful man, is like coming into harbour after a
mad voyage. He moves among his contemporaries like a calm, able
surgeon in a hospital. I suspect he has been the recipient of many
strange confessions. His poetry has healing in its wings.
Has any human voice ever expressed more wisely or more tenderly the
reason why Our Lord was a man of sorrows? Why He spake to humanity in
the language of pain, rather than in the language of delight? Was it
not simply because, in talking to us, He who could speak all
languages, used our own, rather than that of His home country?
A LEADER
Though your eyes with tears were blind,
Pain upon the path you trod:
Well we knew, the hosts behind,
Voice and shining of a god.
For your darkness was our day,
Signal fires, your pains untold,
Lit us on our wandering way
To the mystic heart of gold.
Naught we knew of the high land,
Beauty burning in its spheres;
Sorrow we could understand
And the mystery told in tears.
Something of the secret of his quiet strength is seen in the following
two stanzas, which close his poem _Apocalyptic_ (1916):
It shall be better to be bold
Than clothed in purple in that hour;
The will of steel be more than gold;
For only what we are is power.
Who through the starry gate would win
Must be like those who walk therein.
You, who have made of earth your star,
Cry out, indeed, for hopes made vain:
For only those can laugh who are
The strong Initiates of Pain,
Who know that mighty god to be
Sculptor of immortality.
It is a wonderful thing--a man living in a house in Dublin, living a
life of intense, ceaseless, and extraordinarily diversified activity,
travelling on life's common way in cheerful godliness, and shedding
abroad to the remotest corners of the earth a masculine serenity of
soul.
Public-domain text, read in full here on John Shaqi.
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