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"text": " This Craft of Verse by Jorge Luis Borges. Following are the six lectures that Jorge Luis Borges delivered at Harvard University in the fall of 1967 and the spring of 1968. Born in 1899, he was by this time almost completely blind and thus addressed his audience without the aid of written notes. He learned his fluent English from his paternal grandmother, who had come to Buenos Aires from Staffordshire. His mother, a translator, and his father, a professor of psychology and modern languages, also knew English. These recordings, only lately rediscovered in the Harvard University archives, testify to his love of the language as well as his wit, erudition, and remarkable literary sensibility. Borges died in 1986. Lecture 1. The Riddle of Poetry. Ladies and gentlemen, I feel quite overwhelmed by the very generous injustice of Juan Marichal. But at the outset, I would like to give you a fair warning of what to expect, or rather of what not to expect from me. I find that I have made a slip in the very title of my first lecture. The title is, if I have not mistaken, The Riddle of Poetry. And the stress, of course, is on the first word, the word riddle. So that you may think that the riddle is all important, or what might still be worse, you may think that I have deluded myself into believing that I have somehow discovered the true reading of the riddle. The truth is that I have no revelations to offer. I have spent my life reading, analyzing, writing, or trying my hand at writing, and enjoying. This is the most important thing of all, drinking in poetry, and I have come to no final conclusion about it. Indeed, every time I am faced with a blank page, I feel that I have to rediscover literature for myself, that the past is of no avail whatever to me. So, as I have said, I have only my perplexities to offer you. I am nearing seventy. I have given the major part of my life to literature, and I can only offer you doubts. The great English writer and dreamer Thomas De Quincey wrote in some of the thousands of pages of his fourteen volumes that to discover a new problem was quite as important as to discovering the solution of an old one. But I cannot even offer you that. I can only offer you time-honored perplexities. And yet, why need I worry about that? What is a history of philosophy but a history of the perplexities of the Hindus, of the Chinese, of the Greeks, of the schoolmen, of Bishop Berkeley, of Hume, of Schopenhauer, and so on? I merely wish to share those perplexities with you. I have dipped into books of aesthetics, but I had an uncomfortable feeling that I was reading the works of astronomers who had never looked at the stars. I mean that they were writing about poetry as if poetry were a task and not, as it really is, a passion and a joy. For example, I have read with great respect Benedetto Croce's book on aesthetics, and I have been handed the definition that poetry and language are an expression. Now, if we think of an expression of something, then we are landed back into the old problem of form and matter. And if we think about the expression of nothing in particular, that gives us really nothing. So that we receive respectfully that definition, and then we go on to something else. We go on to poetry. We go on to life. And life is, I am sure, made of poetry. Poetry is not alien. Poetry is, as we shall see, lurking around the corner. It may spring on us at any moment. Now, we are apt to fall into a common confusion. We think, for example, that if we study Homer or the Divine Comedy or Fray Luis de Leon or Macbeth, we are studying poetry. But books are only occasions for the poetry. I think Emerson wrote somewhere that a library is a kind of magic cabinet. It is full of dead men, for those dead men can be brought, can be reborn, can be brought into life when you open their pages. I spoke a few minutes ago of Bishop Berkeley. Berkeley, who may remind you, was a prophet of the greatness of America. And Berkeley wrote that the taste of the apple is neither in the apple itself— the apple cannot taste itself—nor in the mouth of the eater. It requires a contact between them. The same thing happens to a book or to a collection of books, to a library. What is a book in itself? A book is a physical object in a world of physical objects. It is a set of dead symbols. And then the reader, the right reader, comes along and the words, or rather the poetry behind the words, for the words themselves are mere symbols, spring into life, and we have a resurrection of the world. And I am reminded now of a poem that you all know by heart. And perhaps you may never have noticed how strange it is. For perfect things in poetry do not seem strange. They seem inevitable. And so we hardly thank the writer for his pains. I am thinking of a sonnet written more than a hundred years ago by a young man in London, in Hampstead, I think, a young man who died of lung disease, John Keats, and of his famous and perhaps hackneyed sonnet, On First Looking into Chapman's Homer. Now, what is strange about that poem? And I only thought about it three or four days ago when I was pondering over my lecture. It's the fact that it is a poem written on the poetic experience itself. You know it by heart, and yet I would like you to hear once more the surge and thunder of its lines, of its final lines. Then felt I like some watcher of the skies when a new planet swims into his skin, or like stout Cortes when with eager eyes he stared on the Pacific, and all his men looked at each other with a wild surmise, silent upon a peak in Darien. So here we have the poetic experience itself. We have Chapman, George Chapman, the friend and rival of Shakespeare, being dead and suddenly coming into life. Suddenly coming back into life when John Keats read his Iliads or his Odysseys. I think it was of George Chapman, but I am not a Shakespearean scholar, that Shakespeare was thinking when he wrote, Was it the proud full sail of his great verse bound for the prize of all too precious you? And there is a word that seems to me very important, and the word is on first looking into Chapman's Homer. Because this first may I think prove most helpful to us. Because at the very moment when I was going over those mighty lines of Chapman, I was thinking that perhaps I was only being loyal to my memory. Perhaps the real thrill I got out of the verses of Keats lay in that distant moment of my childhood in Buenos Aires, when I first heard my father reading them up aloud. And when the fact that poetry, that language, was not only a medium for communication, but could also be a passion and a joy was revealed to me. I do not think I understood the words, but I felt that something was happening to me. Was happening not to my mere intelligence, but to my whole being, to my flesh and blood. Now, let's go back to the words on first looking into Chapman's Homer. I wonder if John Keats felt that thrill when he had gone through the many books of the Iliads and the Odyssey. I think the first reading of a poem is a true one. And after that, we delude ourselves into the belief that the sensation, that the impression is repeated. But, as I say, it may be a mere loyalty, a mere trick of the memory, a mere confusion between our passion and the passion we once felt. Thus, it might be said that poetry is a new experience every time. Every time I read a poem, the experience occurs or happens to occur. And that is poetry. I read once that the American painter, Whistler, was in a cafe in Paris and people were discussing the influence of heredity, of the environment, of the political state of the times, and so on, on the artist. And then Whistler said, art happens. That is to say, there is something mysterious about art. And I would like to take his words, but to take them in a new sense. I should say, art happens every time we read a poem. And this may help us to clear away, I hope I am mistaken here, the time-honored notion of the classics. Perhaps the idea of everlasting books, of books for one may always find beauty. Perhaps I may give a brief survey of the history of books. As far as I remember, the Greeks had no use for books or no great use for them. It is a fact, indeed, that most of the great teachers of mankind have been not writers but speakers. Let us think of Pythagoras, of Christ, Socrates, of the Buddha, and so on. And since I have spoken of Socrates, I would like to say something about Plato. I remember Bernard Shaw said that Plato was the dramatist who invented Socrates, even as the four evangelists were the dramatists who invented Jesus. This may be going too far, but there is a certain truth in it. In one of the dialogues of Plato, he speaks about books in a rather disparaging way. He says, what is a book? A book seems like a picture to be a living being, and yet if we ask it something, it does not answer. And then we see it is dead. And in order to make the book into a living thing, he invented, happily for us, the Platonic dialogue, the dialogue that forestalls the reader's doubts and questions. But we might say also that Plato was wistful about Socrates, that after Socrates' death, he would say to himself, now, what would Socrates have said about this particular doubt of mine? And then, in order to hear once again the voice of the master he loved, he wrote the dialogues. In some of these dialogues, Socrates stands for the truth. In others, Plato has dramatized his many moods, and some of those dialogues come to no conclusion, whatever, because Plato was thinking as he wrote them. He did not know the last page when he wrote the first. He was letting his mind wander, and he was dramatizing that mind into many people. But I suppose his chief aim was the illusion that, despite the fact that Socrates had drunk the hemlock, Socrates was still with him. I feel that to be true, because I have had many masters in my life. I am proud of being a disciple, a good disciple, I hope. When I think of my father, when I think of the great Jewish-Spanish author, Rafael Cancinos, when I think of Macedonio Fernandez, I would also like to hear their voices. And sometimes I train my voice into a trick of imitating their voices in order that I may think as they would have thought. They are always about me. There is another sentence of one of the fathers of the church. He said that it was as dangerous to put a book into the hands of an ignorant man as to put a sword into the hands of children, so that books to the ancients were mere makeshifts. In one of his many letters, Seneca wrote against large libraries, and Schopenhauer wrote long afterwards that many people mistook the buying of a book for the buying of the contents of the book. Sometimes, looking at the many books I have at home, I feel I shall die before I have come to the end of them. But I cannot resist the temptation of buying new books. When I walk inside a library, I find a book on one of my hobbies, for example, Old English or Old Norse poetry, and then I say to myself, what a pity I can't buy that book because I already have a copy at home. And then, after the ancients, there came from the East a different idea of a book. There came the idea of holy writ, of books written by the Holy Ghost. There came Korans, Bibles, and so on. And following the example of Spengler in his Untergang des abendlandes, in his Decline of the West, I shall take the Koran as an example. For, if I am not mistaken, the Muslim theologians think of the Koran as being prior to the creation of the world. The Koran is written in Arabic, but the Muslims think of it as being prior to the language. Indeed, I have read that they think of the Koran not as a work of God, but as an attribute of God, even as His justice or His mercy or His whole wisdom are. And thus there came into Europe the idea of holy writ. Now, this idea is, I think, a not wholly mistaken one. Bernard Shaw—and I am always going back to Bernard Shaw—was asked once whether he really thought that the Bible was a work of the Holy Ghost. And he said, I think the Holy Ghost has written not only the Bible, but all books. This is rather hard on the Holy Ghost, of course, but all books worth rereading, I suppose. And this, I think, is what Homer meant when he spoke to the muse. And this is what the Hebrews and what Milton meant when they talked of the Holy Ghost, whose temple is the upright and pure heart of man. And in our less beautiful mythology, we speak of the subliminal self, of the subconscious. Of course, those words are rather uncouth if we compare them with the muses or with the Holy Ghost, but still we have to put up with the mythology of our time. For the world means essentially the same thing. Now, we come to the notion of the classics. But I think that a book is really not an immortal object to be picked up and duly worshipped, but rather an occasion for beauty. And it has to be so, for language is shifting all the time. I am very fond of etymologies, and I may recall to you, rather, for I'm sure you know much more about these things than I do, some rather curious etymologies. For example, we have in English the verb to tease. That word is a mischievous word. It means kind of joke. And yet in Old English, taisan meant to wound with a sword, even as in French, navre, meant to thrust a sword through somebody. Or let us take a different word, the word threat. Well, in Old English, as you may find out from the very first verses of Beowulf, a threat, a threat, meant an angry crowd. That is to say, the cause of the threat. And thus we might go on endlessly. But now let us consider some particular verses. And I take my examples from the English, since I have a particular love for the English literature, though my knowledge is, of course, limited. There are cases where poetry creates itself. For example, I don't think that the words creatus and bodkin are specially beautiful. Indeed, I should say they were rather uncouth. But if we think of when he himself might his creatus make with a bare bodkin, we are reminded of the great speech of Hamlet. And thus the context creates poetry for those words, those words that no one would ever dare to use nowadays, because they would be mere quotations. And then there are other examples, and perhaps simpler ones. Let us take the title of one of the most famous books in the world, Historia del Ingenioso Hidalgo Don Quixote, or Don Quixote, as I suppose Cervantes would pronounce it, de la Mancha. Now, the word hidalgo has today a peculiar dignity, all its own. And yet when Cervantes wrote it, the word hidalgo meant, I suppose, a country gentleman. As to the name, Quixote, it was meant to be a rather ridiculous word, as the names of many of the characters in Dickens, names such as pickwick and swiveller and chiselwit and twist and squeers and quilp and so on. And then you have de la Mancha. Now, this sounds noble and Castilian to us, but when Cervantes wrote it down, he intended the word to sound perhaps—I ask the apology of any citizen of that city who may be here—as if he wrote Don Quixote of Kansas City. And yet nowadays—I'm not speaking against Kansas. Let us say Pehuajo or Buenos Aires. And yet you see how those words have changed, how they have been ennobled. You see a strange fact. That's because the old soldier, Miguel de Cervantes, poked mild fun at la Mancha. Now la Mancha is one of the everlasting words of literature. And let us take another example of verses that have changed. I am thinking of a sonnet of Rossetti, a sonnet that labors under the not-too-beautiful name inclusiveness. But the sonnet begins thus. What man has bent, were his son sleep to brood? How that face shall watch his when cold it lies! O thought, as his own mother kissed his eyes, of what her kiss was when his father would! Now I think that those verses are more vivid, perhaps, than when they were written some eighty years ago. Because the cinema has taught us to follow quick sequences of visual images. And thus we have in the first line, what man has bent, were his son sleep to brood. There we have the father bending over the face of the sleeping son. And then in the second image, as in a good film, we have the same images reversed. We see the son bending over the face of that dead man, his father. And perhaps our recent study of psychology has made us more sensitive to those verses. O thought, as his own mother kissed his eyes, of what her kiss was when his father would! There is, of course, the beauty of the soft English vowels. Brood, would. And the additional beauty of would being by itself. Not would her, but simply would by itself. The world goes on ringing. Here we have one example. And there is also a different kind of beauty. Let us take an adjective that once was commonplace. I have no Greek, but I think that the Greek is oinopapontos. And the common English rendering is the wine dark sea. I suppose the word dark is slipped in to make things easier for the reader. Perhaps it would be the whiny sea or something of the kind. But I am sure that when Homer, or when the many Greeks we call Homer, wrote it, they were simply thinking of the sea. I mean, the adjective was straightforward. But nowadays, after trying many fancy adjectives, if I, or if any of you, write in a poem the wine dark sea, this is not a mere repetition of what the Greeks wrote. It is rather a going back to tradition. It means, rather, that when we speak of the wine dark sea, we are thinking of Homer and of the many centuries, perhaps the 30 centuries between us and Homer. So that though the words may be much the same, when we write the wine dark sea, we are really writing something quite different from what Homer was writing. So that thus, the language is shifting. The Latins knew all about that. And the reader is shifting also. And this brings us back to the old metaphor of the Greek. The metaphor, or rather the truth, about no man going down twice to the same river. And there is, I think, an element of fear here. Because at first, we are apt to think of the river as flowing. We think, well, of course, the river goes on, but the water is changing. And then, with a beginning sense of awe, we feel that we also are changing, that we are shifting and as evanescent as the river is. But we need not worry too much about the fate of the classics. Because beauty is always with us. And here, I would love to quote another verse. Perhaps by an unforgotten poet, Browning. He says, just when we are safest, there's a sunset touch, a chorus ending from Euripides, somebody's death. But the first verse is enough. Just when we are safest. That is to say, beauty is lurking all about us. It may come to us in the name of a film. It may come to us in some popular lyric. We may even find it in the pages of a great and famous writer. And since I have spoken of a dead master of mine, Raphael Cancinos Assens. Maybe this is the second time you hear his name. I don't quite know why he's forgotten. I remember that Cancinos Assens wrote a very fine prose poem wherein he asked God to defend him, to save him from beauty. Because he says, there is too much beauty in the world. And he thought that beauty was overwhelming it. And though I do not know if I have been a particularly happy man, but I hope I'm going to be happy at the ripe age of 67, I still think that beauty is all around us. And as to the fact of a poem being written by a great poet or not, this is only important to historians of literature. Let us suppose, for the sake of argument, that I have written a beautiful line. Let us take this as a working hypothesis. Once I have written it, that line does me no good. Because, as I already said, that line came to me from the Holy Ghost, from the subliminal self. Or perhaps, as I often find out, I'm merely quoting something I read some time ago. And then, it's a rediscovering. So that perhaps it is better that a poet should be nameless. I spoke about the wine-dark sea. And now, as my hobby is Old English, and I'm afraid if you have the courage or the patience to come back to some of my lectures, you may have more Old English inflicted on you. I would like to recall some lines that I think beautiful. I will say them firstly in English, and then in the stark and vowelled Old English of the ninth century. It snowed from the north. Rime bound the fields. Hail fell on earth, the coldest of seeds. Northern snow day. Rim, ruse and bond. Hail fell on earth, corn, caldest. Now, going back to what I said about Homer, when the poet wrote that, he was merely recording things that had happened. This was, of course, very strange in the ninth century, when people thought in terms of mythology, of allegorical images, and so on. He was merely telling very commonplace things. But nowadays, when we read, it snowed from the north. Rime bound the fields. Hail fell on earth, the coldest of seeds. There is an added poetry. There is the poetry of a nameless Saxon having written those verses by the shores of the North Sea in Northumberland, I think, and of those verses coming to us so straightforward, so plain, and so pathetic throughout the centuries. So that we have both cases. There is the case, and it hardly dwells upon it, when time debases a poem, when the words lose their beauty. But there is also the case when time enriches and does not debase a poem. I have talked at the beginning about definitions. And to end up, I would like to say that we make a very common mistake when we think that we are ignorant of something because we are unable to define it. But if we are in a Chestertonian mood, that is one of the best moods to be in, I think, then we might say that we can only define something when we know nothing whatever about it. For example, if I have to define poetry, then if I feel rather shaky about it, if I'm not too sure about it, then I say something like, Poetry is the expression of the beautiful through the medium of words artfully woven together. And that definition may be good enough for a dictionary or for a textbook, but we all feel that it's rather feeble. At the same time, there is something far more important, something that may encourage us to go on not only trying our hand at writing poetry, but enjoying it and feeling that we know all about it. And that is that we know what poetry is. We know it so well that we cannot define it in other words, even as we cannot define the taste of coffee, the color of red or of yellow, or the meaning of anger, of love, of hatred, of the sunrise, of the sunset, of our love for our country. Those things are so deep in us that they can only be expressed by those common symbols that we share. So, why should we need other words? You may not agree with examples I have chosen. Perhaps tomorrow I may think of better examples. I may think I might have quoted other lines. But as you can pick and choose your own examples, it is not needful that you care greatly about Homer or about the Anglo-Saxon poets or about Rossetti, because everyone knows where to find poetry. And when it comes, he feels the touch of poetry. He feels that particular tingling of poetry. And to end with, I have a quotation from St. Augustine. And this comes in very fitly, I think. St. Augustine said, What is time? If people do not ask me what time is, I know. If they ask me what it is, then I do not know. And I feel in the same way about poetry, when it is hardly trouble about definitions. This time I have a rather sea, because I am no good at all at abstract thinking. But in our next lectures, if you are good enough to put up with me, then we will take more concrete examples. I will speak about the metaphor, about world music, about the possibility or impossibility of verse translation, about the telling of a tale. That is to say, about epic poetry, the oldest and perhaps the bravest kind of poetry. And then I will end with something that I can hardly divine now. I will end with a lecture called A Poet's Creed, wherein I will try to justify my own life and the confidence some of you may have on me, despite this rather awkward and fumbling first lecture of mine. APPLAUSE Lecture 2 The Metaphor Ladies and gentlemen, as the subject of today's talk is a metaphor, I shall begin by a metaphor. And this first of the many metaphors I shall try to recall comes from the Far East, from China. If I am not mistaken, the Chinese call the world the ten thousand things, or, this depends on the taste and fancy of the translator, the ten thousand beings. Now, we may accept, I suppose, this very conservative estimate, ten thousand, for of course there are more than ten thousand ants, than ten thousand men, than ten thousand hopes, fears or nightmares in the world. But if we accept this number, ten thousand, and if we think that all metaphors are made by linking two different things together, then had we time enough, we might work out an almost unbelievable sum of possible metaphors. I have forgotten my algebra, but I think that the sum should be ten thousand multiplied by ninety nine thousand, nine hundred and ninety nine, and so on. Of course, the sum of possible combinations is not endless, but it staggers the imagination. And so, we might be led to think, why on earth should poets all over the world and all over time be using the same stock metaphors, when there are so many possible combinations? The Argentine poet, Lugones, wrote way back in the year nineteen nine, that he thought that poets were always using the same metaphors, and that he would try his hand at discovering new metaphors for the moon. And, in fact, he concocted many hundreds of them. He also said, this is in the foreword to a book called Lunario Sentimental, that every word is a dead metaphor. This statement is, of course, a metaphor. And yet I think that we all feel the difference between dead and living metaphors. If we take any good etymological dictionary, I am thinking of my old unknown friend, Dr. Skeetch, and if we look up any word, we are sure to find a metaphor tucked away somewhere. For example, the word threat meant, you can find this in the very first lines of Beowulf, freat meant an angry mob. But now, the word is given to the effect and not to the cause. Then we have the word king. King was originally kuning, and this meant a man who stood for the king, for the people. So, etymologically, king, kinsman, and gentleman are the same word. And yet, if I say, the king sat in his counting house, counting out his money, we don't think of the word king as being a metaphor. In fact, if we go in for abstract thinking, we have to forget that words were metaphors. We have to forget, for example, that in the word consider, there is a suggestion of astrology. Because in consider, we are thinking of making a horoscope. So, what is important about the metaphor, I should say, is the fact of its being felt by the reader or the hearer as a metaphor. And I will confine this talk to metaphors that are felt as metaphors by the reader, not to such words as king or threat, and we might go on, perhaps, if forever. In the first case, I would like to take some stock patterns of metaphor. I use the word pattern because the metaphors I will quote will be to the imagination quite different. And yet, to the logical thinker, they would be almost the same. So that we might speak of them as equations. And let us take the first that comes to my mind. Let us take the stock comparison, the time-honored comparison of eyes and stars, or inversely, of stars and eyes. And the first example I remember comes from the Greek anthology. And I think Plato is supposed to have written it. The verses, I have no Greek, run more or less as follows. I wish I were the night, and so that I might watch your sleep with a thousand eyes. Now here, of course, what we feel is the tenderness of the lover. What we feel is his wish to be able to see his beloved from many points at once. But we feel the tenderness behind those verses. Now let us take another, a less illustrious example. The stars look down. Now here, of course, we have, if we take the logical thinking seriously, here of course we have the same metaphor. And yet, the effect on our imagination is quite different. Because the stars look down, do not make us think of tenderness. They rather give the idea of generations and of generations of men toiling on. And the stars look down with a kind of lofty indifference. And we'll take another, a different example. This is one of the verses, one of the stanzas that have most struck me. They come from a poem of Chesterton called A Second Childhood. And therein we read. But I shall not be too old to see in all most night arise a cloud that is larger than the world and a monster made of eyes. Not a monster full of eyes. We know those monsters from the revelation of St. John. But this is far more awful. A monster made of eyes. As if his eyes were the living tissue of him. Well, now we have seen those three images. And they can all of course be traced back to the same pattern. But the point I would like to emphasize, and this is really one of the two important points in my talk. Is that though the pattern is essentially the same, yet in the first case, in the Greek example. I wish I were the knight. What the poet makes us feel is his tenderness, his anxiety. In the second, we feel a kind of divine indifference to things human. And in the third, the knight, the familiar knight, becomes a nightmare. And now, let us take another pattern, a different one. Let us take the idea of time flowing. Flowing even as a river does. And the first example comes out of a poem that Tennyson wrote when he was, I think, 13 or 14. Then he destroyed it. But happily for us, a line survives, a single line. I think you can find it in Tennyson's biography written by Andrew Lang. The line is this. Time flowing in the middle of the night. I think that Tennyson has chosen his time very wisely. Because all things are silent. Men are sleeping. And yet, time is flowing noiselessly on. This is one example. There is also a novel, I'm sure you're thinking of it, called simply Time and the River. And the mere putting together of the two words suggests the metaphor. Time and the river. They both flow on. And then of course, that famous sentence of the Greek philosopher about no man steps down twice to the same river. And here we have a beginning of terror. Because at first we think of the river as flowing on. The drops of water are different. And then we are made to feel that we are the river. That we are as fugitive as the river. And we have of course those verses by Manrique. Nuestras vidas son los rios que van a dar en la mar, que es el morir. Our lives are the rivers that flow into that sea, death. This statement is not too impressive. In English, I wish I could remember how Longfellow translated it in his coplas de Manrique. But of course, and we shall go into this question in another lecture. Of course, behind the stock metaphor, we have the grave music of the words. Nuestras vidas son los rios que van a dar en la mar, que es el morir. Allá van los señorillos derechos hacia acabar y consumir. And so on. But the metaphor of course is exactly the same in these cases. And now we will go on to something very trite. Something that may cause you to smile. The comparison of women to flowers and flowers. To women also. Here of course, there are far too many easy examples. But there is one I would like to recall. Perhaps it may not be familiar to you from that unfinished masterwork. Robert Louis Stevenson's Weir of Hermiston. Stevenson tells of his hero going into a church in Scotland. And then he sees a girl, a lovely girl, we are made to feel. And one feels that he's already beginning to fall in love with her. That he's about to fall in love with her. Because he looks at her, she... And then he thinks. He thinks whether there is an immortal soul within that beautiful frame. Or whether she is a mere animal. The color of flowers. And the world, the brutality of the word animal is of course destroyed by the color of flowers. I don't think we need any other examples of this pattern. Of course it can be found in all ages, in all tongues, in all literatures. Now we will go on to another of the essential patterns of metaphor. The pattern of life being a dream. The feeling that comes over us of life being a dream. And the evident example that comes to us is we are such stuff as dreams are made of. Now it may sound like a blasphemy. But I love Shakespeare too much to care about that. But I think that here if we care to look at it, and I don't think we should look at it too closely. I would be grateful to Shakespeare for this and his many other gifts. If we care to look at it, I think there is a slight, a very slight contradiction between the fact of our lives being dreamlike. Or having a dreamlike essence in them. And the rather sweeping statement, we are such stuff as dreams are made on. Because if we are really dreams, or if we are merely dreamers of dreams, then I wonder if we can make such sweeping statements. I mean, this sentence of Shakespeare belongs rather to philosophy or to metaphysics than to poetry. Though of course it is heightened, it is lifted up into poetry by the context. Now I will take another example of the same pattern by a great German poet. A minor poet besides Shakespeare, but I suppose all poets are minor besides two or three of them. I remember reading that very famous piece by Walter von der Vogelweide. And I suppose I should say it thus. I wonder how my Middle German goes, but you'll excuse me. Is mir min Leben getraumet oder ist es wahr? Have I dreamt my life or was it a true one? And I think that this comes nearer to what the poet is trying to say. Because instead of a sweeping affirmation, we have a question. The poet is wondering. This has happened to all of us, but we have not worded it as Walter von der Vogelweide did. He's asking himself. Is mir min Leben getraumet oder ist es wahr? And this hesitation gives us that dreamlike essence of life, I think. I don't remember whether in my last lecture, because this is a sentence I'm quoting over and over again, I've quoted all through my life. I wonder if I gave you a quotation from the Chinese philosopher, the Chuang Tzu. Chuang Tzu dreamt that he was a butterfly, and on waking up, he did not know whether he was a man who had a dream of being a butterfly, or a butterfly who's now dreaming he was a man. And this, I think, is the finest of all. Firstly, because he begins by a dream. So that afterwards, when he wakes up, when he awakens, his life has still something dreamlike about it. And secondly, because with a kind of almost miraculous happiness, he has chosen the right animal. Had he said, Chuang Tzu had a dream that he was a tiger, then there would be nothing in it. Because while a butterfly has something delicate and evanescent about it, that is to say, if we are dreams, the true way to suggest a dream is a butterfly and not a tiger. For example, Chuang Tzu had a dream that he was a typewriter, that would be no good at all. Or that he was a whale, that would do him no good. I think he has chosen just the right word for what he's trying to say. And we will try and follow another pattern. This is a very common one. The idea, the linking up of the ideas of life, no, of sleeping and dying. This is quite common, in common speech also. And yet, if we look for examples, we shall find that they are very different. I think that somewhere in Homer, he speaks of the iron sleep, the iron sleep of death. And here, he gives us the two opposite ideas. Death is a kind of sleep. And yet, sleeping, and yet that kind of sleep is made of a hard and ruthless and cruel metal, vile. It is a kind of sleep that is unbroken and unbreakable. Of course, we have Hyne here also, Bertaud, Das ist die kühle Nacht. And since we are north of Boston, I think we might speak also, we might remember those verses, those perhaps too well-known verses of Robert Frost. The woods are lovely, dark and deep, but I have promises to keep. And miles to go before I sleep, and miles to go before I sleep. Those verses are so perfect that we hardly think of a trick. And yet, unhappily, all literature is made of tricks. And those tricks get, in the long run, found out. And then the reader tires of them. But in this case, the trick is so unobtrusive that I feel rather ashamed of myself for calling it a trick. It is merely for want of a better word. Because Frost has attempted something very daring here. We have the same verses repeated, word by word, twice over. And yet, the sense is different. And miles to go before I sleep. This is merely physical. The miles are miles in space, in New England. And sleep means, well, it means going to sleep. And then, and miles to go before I sleep. Then we are made to feel that the miles are not only in space, but in time. And that sleeping means dying or resting. Now, had the poet said so in so many words, then he would have been far less effective. Because, as I understand it, everything, anything suggested is far more effective than anything laid down. Perhaps the human mind has a tendency to deny a statement. Remember what Emerson said, arguments convince nobody. They convince nobody because they are presented as arguments. And then we look at them, we weigh them, we turn them over, and we may decide against them. But when something is merely said, or better still, hinted at, then there's a kind of hospitality in our imagination. We are ready to accept it. I remember having read some 30 years ago the works of Martin Buber. And I thought of them as being wonderful poems. And then, when I went to Buenos Aires, I read a book by a friend of mine, Duchovny, and I found in its pages, much to my astonishment, that Martin Buber was a philosopher. And that all his philosophy lay in those books I had read as poetry. And perhaps I had accepted those books because they came to me through poetry, through suggestion, through the music of poetry, and not as arguments. And I think that somewhere in Walt Whitman, maybe found the same idea. The idea of reasons being unconvincing. I think he says somewhere that he finds the night air, the large few stars, far more convincing than mere... It's the arguments. And I suppose we may think of other trends, of other patterns of metaphor. For example, this is not as common as the other ones. We have the idea of a battle and of a fire. And we find this in the Iliad, the idea of a battle blazing like a fire. And also, we have the same idea in the heroic fragment of Finsburg. In that fragment, we are told of the Danes fighting the Frisians, of the glitter of the weapons, the shields, the swords, and so on. And then the writer says that it seemed as if all Finsburg, as if the whole castle of Finsburg, were on fire. This, of course, is not as common as the other ones. Now, we may suppose that I have left out some quite common patterns. We have taken so far eyes and stars, women and flowers, time and rivers, life and a dream, death and sleeping, fire and battles. And perhaps, had we time and learning enough, we might find half a dozen other patterns. And perhaps those might give us most of the metaphors in literature. Now, what is really important is the fact, not of there being a few patterns, but of those patterns being capable of almost endless variations. So that perhaps a reader who cares for poetry and not for the theory of poetry might read, for example, I wish that I were the night and then afterwards a monster made of eyes or the stars look down and never stop to think that those can be traced back to a single pattern. Now, if I were a daring thinker, but I am not, I am a very timid thinker, I am groping my way along, I could, of course, say that only a dozen or so patterns exist and that the rest of metaphors are mere arbitrary games. This, of course, would amount to a statement that between the ten thousand things of the Chinese definition, only some twelve essential affinities might be found. Because, of course, you can find other affinities that are merely astonishing, and astonishment hardly lasts for more than a moment. I remember now that I have forgotten quite a good example of the dream and life equation, which I think that I can recall it now, by the American poet Robert, by the American poet Cummings. These are four verses. I think I must apologize for the first. Evidently, it was written by a young man writing for young men, and I can no longer claim that privilege. I think I am far too old for that kind of game. But the stanza should be quoted in full. God's terrible face, brighter than a spoon. I am rather sorry about the spoon, because, of course, one feels that he thought at first of a sword, or of a candle, or of the sun, or of a shield, or of something traditionally shining. And then he said, no, after all I am modern, so I'll work in a spoon. And so he got his spoon. But we may forgive him that, for what comes afterwards. God's terrible face, brighter than a spoon, collects the image of one fatal word. This second line is better, I think. And, as my friend Mercherson said to me, in a spoon we also have many images collected. I had never thought of that, because I had been taken aback by the spoon, and so I did not want to think much about it. So, God's terrible face, brighter than a spoon, collects the image of one fatal word, until my life, that light, the sun and moon. Here there is a kind of strange simplicity. Resembles something that has not occurred. Resembles something that has not occurred. And this, I think, gives us the dreamlike essence of life, better than those more famous poets, Shakespeare and Walter von der Etefogelweide. But of course, I have chosen a few examples. And I am sure that your memories are full of metaphors, that you have treasured up of metaphors, that you may be hoping I may quote. Because I know that after this lecture, I shall feel an amount of remorse coming over me, thinking of the many beautiful metaphors I have missed. And of course, you will say to me, in an aside, but why did you omit that wonderful metaphor by so and so and so? And then I'll have to fumble and to apologize. But now, I think that we might go on to metaphors that seem to stand outside in a known pattern. And since I have spoken of the moon, I'll take a Persian metaphor. I read it somewhere in Brown's history of Persian literature. Let us say it came from Farid ud-Din Atar, or Umar Khayyam, or Hafiz, or one of the great Persian poets. He speaks of the moon, and he says, and he calls the moon the mirror of time. Of course, I suppose that from the point of view of astronomy, the idea of the moon being a mirror is as it should be. But this is quite irrelevant from the poetical point of view. The fact of the moon being or not being a mirror has no importance, whatever, since poetry talks to the imagination. Now, let us look at the moon as a mirror of time. I think it a very fine metaphor. In the first instance, because the idea of a mirror gives us the brightness and the fragility of the moon. And secondly, the idea of time makes us suddenly remember that that very clear moon we are looking at is very ancient, is full of poetry and mythology. It is as old as time. And since I spoke of as old as time, I must quote another verse, a verse that perhaps is bubbling up in your memory. I can't recall the name of the author. I found it quoted by Kipling in a not too rememberable book of his called From Sea to Sea. A rose-red city, half as old as time. Had the poet written a rose-red city as old as time, he would have written nothing at all. But half as old as time gives it a kind of magic precision. The same kind of magic precision that is achieved by that strange and common English phrase, I will love you forever and a day. Forever means a very long time. But, it is too abstract to appeal to the imagination. We have the same kind of trick, I apologize for the use of that word, in the name of that famous book, The Thousand and One Nights. For the thousand nights mean to the imagination the many nights. Even as forty used to mean many in the 17th century. When forty winters shall be sieged by brown, writes Shakespeare. And I think of the common English expression, forty winks for a nap. For forty means I suppose many. And here we have the thousand nights and a night. Even as a rose-red city, and then the fanciful precision, half as old as time. Which makes it of course longer. And now, let us consider different metaphors. And I will go back, inevitably, we will say, to my favorite Anglo-Saxons. Remember that very common kenning, calling the sea the whale road. Now, I wonder whether the unknown Saxon who first coined that kenning knew how fine it was. I wonder whether he felt, for this need hardly concern us, that the hugeness of the whale emphasized or suggested the hugeness of the sea. There is another metaphor, this is a Norse one, about blood. And the common kenning for blood is the water of the serpent. And in that metaphor we have the suggestion, to be found also among the Saxons, of a sword as being an essentially evil being. A being that lapped up the blood of men as if it were water. And now we have the metaphors for battle. Some of them are quite trite. For example, meeting of men. Here perhaps there is something fine in the idea of men meeting to kill each other. It is as if no other meetings were possible. But we also have the meeting of swords, the dance of swords, the clash of banners, the clash of shields. All of them may be found in the ode of Brunnenburg. And there is another, I think, a fine one, Torn Jemeot, a meeting of anger. Here perhaps the metaphor is impressive, because when we think of meeting, we think of fellowship and of friendship. And then there comes the contrast, the meeting of anger. But these metaphors are nothing, I should say, compared to a very fine Norse and, strangely enough, Irish metaphor about the battle. The battle is called the web of men. The word web is really wonderful here. For in the idea of a web, we get the pattern of a medieval battle. We have, for example, the swords, the shields, the crossing of the weapons. And then also there is the nightmare touch of a web being made of living beings. A web of men. A web of men who are dying and killing each other. And there suddenly comes to my mind a metaphor from Gondore that is rather like the web of men. I will quote it first in English and then in Spanish. He is speaking of a traveler. A traveler who comes to a barbarous village. And then that village weaves a rope of dogs around him. As it was pronounced in that way. So that we have, strangely enough, we have the same image. The idea of a rope or a web made of living beings. And yet, even in those cases that may seem to be synonyms, there is a difference. There is quite a difference. Because a rope of dogs is somehow baroque and grotesque. While a web of men has something terrible, something awful about it. And to end up, I will take a metaphor or a comparison. But after all, I am not a professor and those differences need hardly worry me. From Byron. From the now forgotten Byron. Because I read the poem when I was a boy. I suppose you all read it at a very tender age. And two or three days ago, I suddenly discovered that that image was a very complex one. I had never thought of Byron as being especially complex. And you all know the words. She walks in beauty like the night. Now, the verse is so perfect that you take it for granted. We think, well, we could have written that had we cared to. But only Byron cared to write it. And I will come now to the complexity. To the hidden and secret complexity of the verse. She walks in beauty like the night. I suppose you already found out what I am now going to reveal to you. Because this always happens with surprises, no? It happens to us when we are reading a detective novel. She walks in beauty like the night. We have, at the beginning, we have a lovely woman. Then you are told that she walks in beauty. This somehow suggests the French language. Something like, vous êtes en beauté, and so on. But she walks in beauty like the night. So that we have, in the first instance, a lovely woman, a lovely lady. Likened to the night. But in order to understand the verse, we have to think of the night as a woman also. Because if not, the verse is meaningless. So that within those very simple words, we have a double metaphor. A woman is likened to the night. But the night is likened to a woman. I do not know, and I do not care, whether Byron knew this. I think if he had known it, the verse would hardly have been as good as it is. Perhaps before he died, he found it out, or somebody pointed it out to him. And now, we are led to the two obvious and major conclusions of this lecture. The first is, of course, that though there are hundreds, and indeed thousands, of metaphors to be found, they may all be traced back to a few simple patterns. But this need not trouble us, since every metaphor is different. Every time that a pattern is used, the variations are different. And the second is, that there are metaphors, for example, the web of men, or the whale road, that may not be traced back to definite patterns. So that, I think that the outlook, even after my lecture, is quite good for the metaphor. Because, if we like, we may try our hands at new variations of the major trends. And the variations will be very beautiful, and only a few critics like myself will take the trouble to say, well, there we have eyes and stars, there we have time on the river over and over again. The metaphors will strike the imagination. But, it is also given to us, and why not hope for that also? It may also be given to us to invent metaphors that do not belong, or that do not yet belong, to accepted patterns. Lecture 3. The Telling of the Tale Ladies and gentlemen, verbal distinctions should be valued since they stand for mental, for intellectual distinctions. And yet, one feels that it is not enough to be a poet. They stand for mental, for intellectual distinctions. And yet, one feels that it is somehow a pity that the word poet should have been split asunder. For, nowadays, when we speak of a poet, we think, we only think, of the utterer of such lyric, bird-like notes as, With ships the sea was sprinkled, far and nigh, like stars in heaven, from Wordsworth. Or, music to hear, why hear without music, sadly, sweets with sweets worn out, joy delights in joy. While the ancients, when they spoke of a poet, a maker, as Dombar has it, thought of him not only as the utterer of those high lyric notes, but also as the teller of a tale, a tale wherein all the voices of mankind might be found, not only the lyric, the wistful, the melancholy, but also the voices of courage and of hope. This means that I am speaking of the oldest form of poetry, I suppose, the epic. And, since we are speaking of the epic, let us consider a few of them. I suppose that the first one that comes to our mind is what Andrew Lang, who so finely translated it, called the tale of Troy. And we will look into it for that very ancient telling of a tale. In the very first verse we have something like, tell me, muse, I have no Greek, tell me, muse, of the anger of Achilles. Or, as Professor Rouse, I think, has translated it, an angry man, that is my subject. Now perhaps, Homer, or the man we call Homer, for that is a moot question, of course, thought that he was writing his poem about an angry man. And this somehow disconcerts us, for we think of anger as a Latin's deed, ira furor brevis, anger is a brief madness, or a fit of madness. And the plot of the Iliad is really, in itself, not a charming one. I mean, the idea of the hero sulking in his tent, feeling that the king has dealt unjustly with him, and then taking up the war as a private feud, because his friend had been killed, and afterwards selling the dead man he had killed to his father. But perhaps, I may have said this before, I'm sure I have, perhaps the intentions of a poet are not very important. What is important nowadays is that though Homer may have thought he was telling that story, he was telling something far finer than that. The story of a man, the hero, who is attacking a city he knows he will never conquer, he knows that he will die before the fall of Troy. And the still more stirring tale of men defending a city whose doom is already known to them, a city that is already in flames. So, I think that this is a real subject of the Iliad. And it is a fact that men have always felt that the Trojans were the real heroes. We think of Virgil, but we may also think of Snorri Sturlasson, who in his younger era wrote that Odin, the warden of the Saxons, the god, was the son of Priam and the brother of Hector. So that men have sought kinship with the defeated Trojans and not with the victorious Greeks, perhaps because there is a dignity in defeat that hardly belongs to victory. And we have now a second epic, the Odyssey. And the Odyssey may be read in two ways. But I suppose that the man or the woman, Samuel Butler, thought so, who had written it, felt that there were really two stories. That is to say, the homecoming of Ulysses and the marvels and the perils of the sea. If we take the Odyssey in the first sense, then we have that idea of homecoming, the idea that we are in banishment, that our true home is in the past or in heaven or somewhere else, that we are never at home. But, of course, the seafaring or the homecoming had to be made interesting. And so the many marvels were worked in. And already, when we come to the Arabian Nights, we find that the Arabian version of the Odyssey, the seven voyages of Sinbad the sailor, are not a story of homecoming but a story of adventure. And I think that we read it thus. I think that when we read the Odyssey, what we feel is the glamour, the magic of the sea. What we feel is what we find in the seafarer, for example. He has no heart for the harp, nor for the giving of rings, nor for the delight of a woman, nor for the greatness of the world. He thinks only of the long sea salt streams. So there we have both stories into one. We can read it as a homecoming, and we can read it as a tale of adventure. Perhaps the finest that has ever been written or sung. And we come now to a third, we might call it poem, that looms, I should say, far above them. And I am thinking of the four Gospels. And the Gospels may also be read in two ways. By the believer, they are read as a strange story of a man, of a God, who atones for the sins of mankind. A God who condescends to suffering, to death, on the bitter cross, a Shakespeare passage. There is a still stranger interpretation. I found that in Langland. The idea that God wanted to know all about human suffering, and that it was not enough for him to know it intellectually, as a God might, but that he wanted to suffer as a man and with the limitations of a man. And if you are an unbeliever, many of us are, then you can read the story in a different way. You can think of a man of genius, of a man who thought that he was God, and who at the end found out that he was merely a man, and that God, his God himself, had forsaken him. And it might be said that for many centuries, those three stories, the tale of Troy, the tale of Ulysses, the tale of Jesus, have been sufficient for mankind. People have been telling and retelling them over and over again. They have been set to music. They have been painted. People have told them many times over, and yet the stories are still there, illimitable. You might think of somebody within a thousand years or ten thousand years writing them over again. But in the case of the Gospels, there is a difference. The story of Christ, I think, cannot be told better. It has been told many times over, and yet I think that the few verses, where we read, for example, of Christ being tempted by Satan, are stronger than the four books of Paradise, or again. Perhaps one feels that Milton had no inkling of what kind of a man Christ was. Well, we have these stories, and we have the fact that men did not need many stories. I don't suppose Chaucer ever thought of inventing a story. I don't think people were less inventive in those days than they are today. I think that they felt that the new shadings brought into a story, that the fine shadings brought into it, were enough. Besides, it made things easier for the poet. His hearers or his readers knew what he was going to say, and so they could take in all the differences. Now, in the epic, as I say, and we might think of the Gospels as a kind of divine epic, all things could be found. But then poetry, as I say, has fallen asunder. Or rather, we have, on the one hand, we have the lyrical poem and the elegy. And then we have the telling of a tale. We have the novel. One is almost tempted to think of the novel as a degeneration of the epic. In spite of such writers as Joseph Conrad, for example, or Herman Melville, who the novel goes back to the dignity of the epic. If we think of the novel and the epic, we are tempted to fall into thinking that the chief difference lies in the difference between verse and prose. In the difference between singing something and stating something. But I think that there is a greater difference. I think the difference lies in the fact that the important thing about the epic is a hero, a man who is a pattern for all men. While, as Menked pointed out, the essence of most novels lies in the breaking down of a man, in the degeneration of character. Now, this brings us to another question. This brings us to what we think of happiness, what we think of defeat and of victory. For nowadays, when people talk of a happy ending, they think of it as a mere pandering to the public. Or they think it is a commercial device. They think of it as artificial. And yet, during centuries, men could very sincerely believe in happiness and in victory, though they felt, as I have said, the dignity, the essential dignity of defeat. For example, when people wrote about the golden fleece, that is one of the ancient stories of mankind, readers and hearers were made to feel from the beginning that the treasure would be found at the end. For nowadays, if an adventure is attempted, we know that it will end in failure. We know, for example, when we read, I'm taking an example I admire, the Asporn papers, we know that the papers will never be found. When we read Franz Kafka's The Castle, we know that the man will never get inside the castle. That is to say, we cannot really believe in happiness and in success. And this may be one of the powers of our time. I suppose that Kafka felt much the same when he wanted his books to be destroyed, because he really wanted to write a happy and a victorious book. And he felt that he could not do it. He might have written it, of course, but people would have felt that he was not telling the truth. Not the truth of facts, but the truth of his dreams. And we come to another fact. The fact that, let's say, at the end of the 18th or the beginning of the 19th century, when you hardly go into the discussion of dates, men began to invent stories. Perhaps one might say that the attempt began with Hawthorne and with Edgar Allan Poe. But of course, there are always forerunners. Nobody is, as Darío pointed out, the literary Adam. The fact remains, however, that Poe wrote that a story should be written for the sake of the last sentence, and a poem for the sake of the last verse. This degenerated into the trick story, and in the 19th and in our own centuries, people invent all kinds of plots. And those plots are sometimes very clever. Those plots, if merely told, are cleverer than the plots of the epic. And yet, somehow, we feel there is something artificial about them, or rather, something trivial about them. If we take two cases, let us suppose the story of Dr. Jekyll and Mr. Hyde, and then if we take such a novel or a film, a psycho, perhaps the plot of the second is cleverer. But we feel that there is more behind Stevenson's plot. This idea that I spoke about in the beginning, the idea about there being a few plots, perhaps we should add to those plots, we should add those books where the interest lies not in the plot, but in the shifting, in the changing of many plots. I am thinking of the Arabian Nights, of the Furioso, and so on. We might add also the idea of an evil treasure. We get that in the World's Sunga Saga, perhaps at the end of Beowulf, the idea of a treasure bringing evil to the people who find it. Then we might come to that idea, the same idea I tried to work out in my last lecture on the metaphor. The idea that perhaps all plots belong to a few patterns. Of course, nowadays, people are inventing so many plots that we are blinded by them. But perhaps this fit of inventiveness may flicker, and then we may find that those many plots are but appearances of a few essential plots. This, however, is not for me to discuss. Now, there is another fact to be noticed. And it is that poets seem to forget that once the telling of a tale was essential, and that the telling of a tale and the uttering of verse were not thought of as different things. A man told a tale, he signed it, and his readers did not think of him as a man attempting two tasks, but rather attempting one task that had two sides to it. Or perhaps they did not feel there were two sides to it. They thought of the whole thing as one essential thing. We come now to our time, and we find this very strange circumstance. We have had two world wars, and somehow no epic has come from them, except perhaps the seven pillars of wisdom. But in the seven pillars of wisdom, and I find many epic qualities there, in the seven pillars, the book is hampered by the fact that the hero is the teller. And so sometimes he has to belittle himself, he has to make himself human, he has to make himself far too believable. In fact, he has to fall into the tricks of the novelist. And there is another book, this must be a quite forgotten book now that I am speaking of it. I read it, I think, in 1915, a novel called Le Feu by Henri Barbus. Now, Le Feu was written by a pacifist. It was a book written against war, and yet somehow epic, epic, it thrusts itself through the book. I remember a very fine bayonet charge. And there is another writer who had the epic sense. I am thinking of Kipling. We get this in such a wonderful story as a Sahib's war, but in the same way that Kipling never attempted the sonnet, because he thought that might estrange him from his readers. He never attempted the epic, though he might have done it. And I am reminded now of Chesterton. Chesterton wrote the Ballad of the White Horse, a poem about King Alfred's wars with the Danes. And therein we find very strange metaphors. I wonder how I forgot to quote them last time. For example, marble like solid moonlight, gold like a frozen fire. And there we have marble and gold. And marble and gold are compared to two things that are even more elementary. They are compared to moonlight and to fire. And then not to fire itself, but to a magic frozen. It is fire. But the people, in a way, are hungering and thirsting for epic. Because I feel that epic is one of the things that men need. And of all places, epic has been furnished to the world. And this may come as a kind of anticlimax, but the fact is there. Ball is in Hollywood. For all over the world, men, when they see a western, when they are beholding the mythology of the rider and the desert and justice and the sheriff and the shooting and so on, get the epic feeling from it, whether they know it or not. But after all, knowing the thing is not important. Now, I do not want to prophesy, because those things are dangerous, though they may come true in the long run. But I think that if the telling of a tale and if the singing of verse could come together again, then a very important thing might happen. And perhaps this will come, I think, from America. Because, as you all know, America has an ethical sense, a sense of a thing being right or wrong that may be felt in other countries, but I do not think it can be found in such an obvious way as I find it here. And thus, if this could be achieved, if we could go back to the epic, then I think something very great would have been accomplished. Chesterton wrote the ballad of the white horse. It got good reviews and so on, but the readers did not take kindly to it. In fact, when we think of Chesterton, we think of the Father Brown saga and not of that poem. I have been thinking about this subject, well, rather late in life, and besides, I do not think I could attempt the epic, though I may have worked in two or three lines of epic. This is for younger men to do, and I hope they will do it. Because, of course, I think that we all feel that the novel is somehow breaking down. For example, if we think of the chief novels of our time, let us take Joyce's Ulysses, we think or we know that we are told thousands of things about the two characters, and yet we do not know them. I think we have a better knowledge of characters in Dante or Shakespeare who come to us, who live and die in a few sentences. We do not know thousands of circumstances about them, but we know them intimately. And that, of course, is far more important. I think that the novel is breaking down. I think that all these, those very daring and very interesting experiments with a novel, for example, the idea of the shifting of time, the idea of a story being told by different characters, all those are leading to the moment when we shall feel that the novel is no longer with us. But there is something about a tale, a story, that will always be going on. I do not think men will tire of telling or of hearing stories. And if to the pleasure of being told a story we get the additional pleasure and the dignity of verse, then something great will have happened. And maybe I am an old-fashioned man from the 19th century, but I have optimism, I have hope, and as the future holds many things, as the future perhaps holds all things, I think that the epic will come back to us. I think that a poet shall once again be a maker. I mean, he will tell a story and he will also sing it. And we will not think of those two things as different, even as we do not think they are different in Homer or in Virgil. Thank you. Lecture 4. Word Music and Translation Ladies and gentlemen, for the sake of clarity, I shall confine myself tonight to the problem of verse translation, a minor problem but also a very relevant one. And this lecture should pave us the way to the topic of my forthcoming lecture, word music, perhaps word magic, sense and sound in poetry. According to a widely held superstition, all translations betray their matchless originals. This is eked out by the well-known, the too well-known Italian pun, traduttore e traditore, and is supposed to be unanswerable. Now, since this pun is very popular, I suppose there must be a kernel of truth, a core of truth hidden somewhere in it. And we'll go into the discussion of the possibilities or otherwise, the success or otherwise of verse, the translation. And according to my habit, I'll begin by a few examples. I don't think any discussion can be carried on without examples. And as my memory is sometimes quite akin to oblivion, I shall choose brief examples since it would be beyond our time and my capacity to analyze stanzas or poems. Now, we will begin by the ode of Runenburg and Stennison's translation. This ode, if what my dates are all is rather shaky, was composed at the beginning of the 10th century. It was written or composed to celebrate a victory of the Wessex men against the Dublin Vikings, the Scotsmen, and the Welsh. And we will go into the examination of a verse or so. In the original, we find something that runs more or less like this. Zun ne up on morien tid, mere tungon. That is to say, the sun at morning tide or at morning time, and then that famous star or that mighty star, or famous is of course a better translation, mere tungon. And then the poet goes on to speak of the sun as Godes kondal beorgd, the bright candle of God. Now, this ode was done into English prose by Stennison's son. It was published in a magazine, and you may suppose that Stennison had some essentials of Old English verse explained to him by his son. His son may have explained about the beat of the Old English verse, about the alliterations instead of the rhymes, and so on. And then Stennison, who was very fond of experiments, tried his hand at writing Old English verse in modern English. And it is noteworthy to remark that though the experiment was quite successful, he never came back to it again. So if we had to look for Old English verse in Lord Alfred Stennison's works, we should have to be content with that one outstanding example of the ode of Brunerburg. Well, we have already seen those two fragments, the sun, that famous star, or the famous star, and later on, the sun, the bright candle of God, Godes kondal beorgd. And when Stennison came to that particular line, he translated it thus. When first the great sun star of morning tide. Now sun star of morning tide is, I think, a very striking translation. It is even more Saxon than the Saxons, since we have those two compound Germanic words, sun star of morning tide. And of course, though the word morning tide can be easily explained as morning time, we may also think that Stennison wanted to suggest to us the image of the dawn as overflowing the sky. So we have this very strange verse. For when first the great sun star of morning tide, and then a verse or so later, when Stennison comes to the bright candle of God, he translates it as the lamp of the Lord. And we'll now take another example, not only for blameless, but for fine translation. And this time we shall consider a translation from the Spanish. It is the wonderful poem Noche Oscura del Alma, Dark Night of the Soul, written in the 16th century by one of the greatest, we may safely say, the greatest of Spanish poets, of all men who have used the Spanish language for the purposes of poetry. I am speaking, of course, of San Juan de la Cruz. And the first stanza runs thus. En una noche oscura, con ansias en amores inflamada, oh, dichosa aventura, salí sin ser notada, estando ya mi casa, sosegada. Now, this stanza is, of course, a wonderful stanza. But if we consider the last verse, it is taken by itself, torn from its context, and of course we are not allowed to do that. It is an undistinguished verse. We have, estando ya mi casa, sosegada, when my house was quiet, and then we have the rather hissing sound of the three S's, mi casa, sose, and then sosegada is hardly a striking word. I am not trying to disparage the text. I am merely pointing out, and in a short time you will see why I am doing this, I am trying to point out that the verse, taken by itself, torn from the context, as I said, is unremarkable. And now, this poem was translated into English by Arthur Simons, I think at the end of the last century. The translation is not a good one, but if you care to look at it, you may find it in Yeats' Oxford book of modern verse. And some years ago, a great Scottish poet, who was also a South African, Roy Campbell, attempted a translation of The Dark Knight of the Soul. Now, I wish I had the book by me, but we will confine ourselves to the verse I have just quoted. Estando ya mi casa sosegada. And we will see what Roy Campbell made of it. He translated it thus, When all my house was hushed. And there you have the word old, that gives a sense of space, a sense of vastness to the lines. And then, the beautiful, the lovely English word, hushed. Hushed seems to give us somehow the very music of silence. Now, I have taken those two very favorable examples of the art of translation, and I will add to them a third one. This I will not discuss, since it is not a case of verse rendered into verse, but rather of prose being lifted up into verse, into poetry. We have that common Latin tag, done from the Greek, of course, Ars longa vita brevis. Or, as I suppose you ought to pronounce it, Vita brevis. Now, this is of course very ugly, and let us go back to vita brevis, and let us go back to version, and let us go back to version, and not to vergillius, no? Well, here we have a plain statement, a statement of an opinion. This is quite plain sailing, this is straightforward, it strikes no deep chord. In fact, it is a kind of prophecy of the telegram, and of the literature, evolved by it. So we have art, Islam, life is short. And, this tag was repeated over ever so many times, and then we come to the 14th century, and then, a great translator, Master Geoffrey Chaucer, needed that verse. Of course, he wasn't thinking about medicine, he was thinking perhaps about poetry, or perhaps, the text is not by me, so we can choose. He was thinking of love, and he wanted to work in that line, and then he wrote, The life so short, the craft so long to learn. Or, as he may suppose, he pronounced it, The life so short, the craft so long to learn. And there we get, not only the statement, but we also get the very music of wistfulness. We can see that the poet is not merely thinking of the art was art, and of the brevity of life, but he's also feeling it. And of course, this is given by the apparently invisible, inaudible key word. The word so, the life so short, the craft so long to learn. And now, let us go back to two examples. The example of the famous ode of Brunenburg and Tennyson, and the example of the Noche Oscura del Alma, and San Juan de la Cruz. Now, if we consider the two translations I have quoted verbally, then they are, I should say, not inferior to the original. And yet, we feel that there is a difference. And the difference is beyond what a translator can do. It depends rather on the way we read poetry. For, if we look back on the ode of Brunenburg, then we know that the ode came from deep emotion. We know that the Saxons had been beaten many times over by the Danes, that they hated this, and we must have thought, we must think of the joy the Saxons, the West Saxons felt when, after a long day's struggle, the baton of Brunenburg was one of the greatest in the medieval history of England, when, after a day's struggle, they defeated Olaf, the king of the Dublin Vikings, and the hated Scotsman, and the Welshman. We may think of what they felt. We may think of the man who wrote the ode. Perhaps he was a monk. The fact remains that, instead of thanking God in the Orthodox fashion, he thanked the sword of his king and the sword of Prince Edmund for the victory. He does not say that God vouchsafed the victory to them. He says that they won it, sworda edium, by the edge of their swords. And the whole poem is filled with a fierce, ruthless joy. He mocks at those who have been defeated. He is very happy that they have been defeated. He talks of the king and his brother going back to their own Wessex, their own West Saxon land, as Tennyson has it. And he says, they returned to their own West Saxon land, glad of the war. And then, after that, he goes back to the past of English history. He thinks of the men who came over from Jutland and Dörrhengis and Horsack. And this is very strange, because I do not suppose many men had that historical sense in the Middle Ages. So that we have to think of the poem as coming out of a deep emotion. We have to think of it as a kind of onrush of great verse. And then, when we come to Tennyson's version, much as we may admire it, and I knew it before I knew the Saxon original, when we think of it as a successful experiment in Old English verse, wrote by a master of modern English verse, that is to say, the context is different. And, of course, the translator is not to be blamed for this. The same thing happens in the case of San Juan de la Cruz and Roy Campbell. We may think, I suppose we're allowed to think, that when all my house was hushed, is verbally, from the point of view of literature, from the point of view of mere literature, superior to, estando ya mi casa sosegada. But that is of no avail as regards our judgment of the two pieces, of the Spanish original and of the English rendering. Because in the first case, we think of San Juan de la Cruz. We think that he reached somehow the highest experience of which the soul of a man is capable. The experience of ecstasy, the blending together of a human soul to the soul of divinity, to the soul of the godhead, of God. And then, after he had had that unutterable experience, he had to communicate it somehow in metaphors. And then he found ready to his hand the song of songs. And he took, many mystics have done this, he took the image of sexual love as an image for the mystic union between man and his God. And he wrote the poem. And thus, we are hearing, we are overhearing, we may say, as in the case of Saxon, the very words that he uttered. And then, we come to Roy Campbell's translation. We find it good. But we are apt to say, or to think perhaps, that well, of course, the Scotsman made, after all, quite a good job of it. But this, of course, is different. That is to say, the difference between a translation and the original is not a difference in the text themselves. I suppose, if we did not know whether one was original in the other translation, we could judge them fairly. But, unhappily, we cannot do this. And so, the translator's work is always supposed to be inferior, or what is worse, is felt to be inferior, even though, verbally, one may be, the rendering may be as good as the text. Now, leaving this for the moment, we'll come to another problem. The problem of a literal translation. Of course, when I speak of literal translations, I am using a wild metaphor. Since, if a translation cannot be true word to word with the original, it can still less be true letter to letter. Now, in the 19th century, a quite forgotten Greek scholar, Newman, attempted a hexameter literal translation of Homer. It was his purpose to publish a translation, let us say, against Pope's Homer. And so, he used words such as wet, waves, wine, dark sea, and so on. Now, Mr. Matthew Arnold had his own theories on translating Homer. And when Mr. Newman's book came out, he reviewed it, Newman answered him, Matthew Arnold answered back, and in the essays of Matthew Arnold, you can read that very lively and very intelligent discussion, since both men had much to say on the two sides of the question. Newman supposed that literal translation was the most faithful one. And Matthew Arnold began by a theory about Homer. He said that in Homer, several qualities were to be found. Those qualities were clarity, nobility, simplicity, and so on. And he thought that the translator should always convey the impression of those qualities, even when the text did not bear him out. Now, Mr. Matthew Arnold pointed out that a literal translation made for oddity and for uncouthness. For example, in the Romance languages, we do not say it is cold, but it makes cold. Il fait froid, fa fredo, hace frio, and so on. Yet, I don't think anybody should translate it's cold by, no, they should translate il fait froid for it makes cold. Or, for example, in English, one should say good morning. In Spanish, one should say buenos dias, good days. And yet, if good morning should be translated as buena mañana, then we should feel that this is a literal translation, but hardly a true one. Now, Mr. Matthew Arnold pointed out that if a text be translated literally, then false emphases are created. I do not know whether he came across, perhaps rather it was too late, he came across Captain Burton's translation of the Arabian Nights. For Burton translates Kita, Valhalla, Valhalla as book of the thousand nights and a night, instead of book of the thousand and one nights. Now, this translation is a literal one. It is true word by word to the Arabic, but yet it is false in the sense that the words book of the thousand nights and the night are common form in Arabic. While in English, we have a slight shock or surprise. And this, of course, has not been intended by the original. Now, Mr. Matthew Arnold advised a translator of Homer to have the Bible at his elbow. He said that Bible English might be a kind of standard to the translation of Homer. And yet, if Matthew Arnold had looked closely into his Bible, he might have seen that the English Bible is full of literal translations. And that part of the beauty, of the great beauty of the English Bible lies in those literal translations. For example, in the English Bible, we have a tower of strength. Now, this is a sentence translated, I suppose, by Luther as a mighty tower of strength. Or a firm stronghold. And then we have the song of songs. Now, I read in Phrylio the Leon that the Hebrews had no superlative. So they could not say the highest song or the best song. So they said the song of songs, even as they might have said the king of kings. Not the emperor, but the highest king. Or the moon of moons, the highest moon. Or the night of nights, the most hallowed of nights. Now, if we compare the English rendering, song of songs, to the German, by Luther, we see that Luther, who had no care for beauty, Luther, who merely wanted his Germans to understand the text, translated it as das hohe Lied, the high lay. So we find that these two literal translations make for beauty. In fact, it might be said that literal translations make not only, as Matthew Arnold pointed out, for uncouthness and oddity, but also for strangeness and beauty. And this, I think, is felt by all of us. For if we look into a literal version of some outlandish poem, then we expect something strange. If we do not find it, we feel somehow disappointed. And now we come to one of the finest, one of the most famous English translations. I am speaking, of course, of Fitzgerald's Rubaiyat of Omar Khayyam. Now, the first stanza runs thus. Now, as we know, the book was discovered in a bookstore by Swimble and Rossetti, and they were whelmed by its beauty. They knew nothing whatever of Edward's German, and they were not at all surprised by the fact that it was written in English. And the book was published in the New York Times. And the book was published in the New York Times. And they were whelmed by its beauty. They knew nothing whatever of Edward Fitzgerald. He was a quite unknown man of letters. He had tried his hand at translating Calderon and Thariduddin Sattar's Parliament of Birds. These books were not too good. And then there came this famous book, now a classic. Now, I say that Rossetti and Swimble felt the beauty of the translation. And yet, we wonder if they would have felt this beauty had Fitzgerald presented the Rubaiyat as an original. Partly it was an original, and not as a translation. Would I think Fitzgerald have been allowed to say, Awake for morning, in the bowl of night, Has flung the stone that puts the stars to flight? This second verse sends us to a footnote. There it is explained that to fling a stone into a bowl is a sign for the parting of the caravan. And then, I wonder if Fitzgerald would have been allowed the noose of light and the Sultan's turret in a poem of his own. But I think that we can safely dwell on a single line. The line, it is to be found in one of the other stanzas. And it runs thus. Dreaming when dawn's left hand was in the sky, I heard a voice within the tavern cry, Awake, my little ones, and fill the cup Before life's liquor in his cup be dry. We may dwell, I suppose, on the first line. Dreaming when dawn's left hand was in the sky. Of course, the key word in that line is the word left. Had any other adjective been used, the line would be meaningless. But left hand makes us think of something strange, of something sinister. We know that the right hand is associated with right, with the word righteousness, direct, and so on. While we have the ominous word left. Let me remember in Spanish, Lanzada de moro izquierdo que atraviesa el corazón. The idea of something sinister, something. And we feel there is something subtly wrong about dawn's left hand. If the person was dreaming when dawn's left hand was in the sky, then his dream may become a nightmare at any moment. And of this, we are slightly aware. We don't have to dwell on the word left. For the word left makes all the difference. So delicate and so mysterious is the art of verse. Now, we accept dreaming when dawn's left hand was in the sky because we suppose that there is a Persian original behind it. As far as I'm aware, Omar Hayyam does not bear this general doubt. And this brings us to an interesting problem. The problem that literal translation has created a beauty all of its own. And I have always wondered about the origin of literal translations. Nowadays, we are fond of literal translations. In fact, many of us only accept literal translations because we want to give every man his due. That would have seemed a crib to them. They were thinking of something far worthier. They wanted to prove that the vernacular was as capable of a great poem as the original. And I suppose that Don Juan de Jauregui, when he rendered Lucan into Spanish, thought of that also. And I don't think any contemporary of Pope thought about Homer and Pope. I suppose that the readers, the best readers, thought of the poem in itself. They were interested in the Iliad, in the Odyssey, and they had no care for verbal. It trifles. Now, all throughout the Middle Ages, people thought of translation not in terms of a literal rendering, but in terms of something being recreated, of a poet having read a work and then somehow evolving that work from himself, from his own might, from the possibilities, hidden or known, of his language. And how did the literal translations begin? I do not think they came out of scholarship. I do not think they came out of scruples. I think they had a theological origin. For though people would think of Homer as the greatest of poets, still they knew that Homer was human. And so they could reshape his words. But when it came to translating the Bible, that was something quite different. Because the Bible was supposed to have been written by the Holy Ghost. And if we think of the Holy Ghost, if we think of the infinite intelligence of God undertaking the translation of the Bible, if we think of God undertaking a literary task, then we are not allowed to think of any chance elements, of any haphazard elements in his work. No, if God writes a book, if God condescends to literature, then every word, every letter, as the Kabbalists said, must have been thought out. And it might be blasphemy to tamper with a text written by an endless, by an eternal intelligence. And thus I think the idea of a literal translation came from the translations of the Bible. This is merely my guess. I suppose there are many scholars here who may correct me if I make a mistake. But I think that this is highly probable. And then when very fine translations of the Bible were undertaken, men began to discover, began to feel that there was a beauty in alien ways of expression. And now everybody likes, everybody is fond of literal translations because a literal translation always gives us those small jolts of surprise that we expect. And in fact, it might be said that perhaps no original is needed. Perhaps a time will come when a translation will be considered a something in itself. We may think of Elizabeth Barrett Browning's sonnets from the Portuguese. Sometimes I have attempted a rather bold metaphor. Then I have seen that nobody will accept it if it came from me. I am a mere contemporary. And then I have attributed it to some out-of-the-way Persian or Norseman. And then my friends have said it's quite fine. And of course I have never told that I had invented it because I was fond of the metaphor. And after all, the Persians and the Norsemen may have invented that metaphor or far better ones. Thus, we go back to what I said at the beginning. The fact that a translation is never judged verbally. It should be judged verbally, but it never is. For example, and I hope you won't think that I am uttering a blasphemy, I have looked very carefully, but this was some 40 years ago, and I can plead the mistakes of youth. I have looked into Baudelaire's Fleur du Mal and into Stéphane-Georges' Blumen des Bösel. And I think that Baudelaire was of course a greater poet than Stéphane-Georges. But Stéphane-Georges was a far more skillful craftsman. And so I think that if we compare them line by line, we should find Stéphane-Georges' Umdichtung. This is a fine German. It means not a poem translated from another, but a poem, let's say, woven around another. And we also have Nachdichtung, an after poem, a translation, and then the mere translation, Übersetzung. I think that Stéphane-Georges' translation is perhaps better than Baudelaire's book. But of course, this will do Stéphane-Georges no good. Since people who are interested in Baudelaire, and I have been very much interested in Baudelaire, think of his words as coming from him. That is to say, they think of the context of his whole life. While in the case of Stéphane-Georges, we have an efficient, but a rather priggish 20th century poet turning Baudelaire's very words into an alien language, into German. Now, I have spoken of the present. I say that we are burdened, overburdened by historical sense. We cannot look at a nation's text as the men of the Middle Ages or the Renaissance, or even of the 18th century did. No, we are worried by circumstances. We want to know exactly what happened in the Middle Ages. What Homer meant when he wrote about the wine, dark sea. If wine, dark sea be the right translation, I do not know. But if we are historically minded, I think we may perhaps suppose that a time will come when men will no longer be as aware of history as we are. A time will come when men shall care very little about the accidents and circumstances of beauty. They shall care for beauty itself. Perhaps they shall not even care about the names or the biographies of the poets. That is all to the good. We may think that there are whole nations who think in this way. For example, I do not think in India, people have a historical sense. One of the great, one of the thorns in the flesh for Europeans who write, who have written histories of Indian philosophy is that all philosophy is treated as contemporary by the Indians. That is to say, they are interested in the problems themselves, not in the mere biographical fact or chronological fact that so and so was, what's his name, master, that he came before, that he wrote under that influence. All these things are nothing to them. They care about the riddle of the universe. And I suppose in a time to come, and I hope this time is around the door, in a time to come, men will care for beauty, not from the circumstances of beauty. And then we'll have translations not only as good, because maybe we have them already, but as famous as Chapman's Homer, as Urchard's Ravelet, as Pope's Odyssey. And I think that this is a consummation devoutly to be wished for. Thank you. Ladies and gentlemen, Walter Pater wrote that all arts aspired to the condition of music. The reason, the obvious reason, I speak as a layman, of course, would be that in music, form and substance cannot be torn asunder. A melody, any piece of music, I suppose, is a pattern. Of sounds and pauses unwinding itself in time. I do not suppose it can be told. The melody is merely the pattern and, of course, the emotions it sprang from and emotions it awakens. The Austrian critic, Hans Lick, wrote that music is a language that we can use, that we can understand, but that we are unable to translate. Now, in the case of literature, and especially of poetry, the case is supposed to be far. The other wise. For we might tell the plot of the Scarlet Letter to a friend of ours who has not read it. And I suppose that you could even tell the pattern, the framework, the plot of Yeats, Sonnet, Lieder, and so on. So that we fall to thinking of poetry as being a bastard art, as being something of a mongrel. And Robert Louis Stevenson has also spoken of this. He has also spoken of this supposed dual nature of poetry. He says that, in a sense, poetry is nearer to the common man, to the man in the street, for the materials of poetry are words. And those words are, he says, the very dialect of life. Words are used for everyday, hundred purposes. And words are the material of the poet, and the poet, even the sounds, are the material of the musician. And he speaks of words as being mere blocks, as being mere conveniences. And then he wonders at the poet who is able to weave those rigid symbols meant for everyday purposes, or for abstract purposes, into a pattern. He calls it the web. Thus, if we accept what Stevenson says, we have a theory of poetry. The theory of words being made by literature to serve for something beyond what they have been intended for. Words, says Stevenson, are meant for the common, everyday commerce of life, and the poet takes them, and somehow he makes of them something. It's magic. Now, I suppose most disagree with Stevenson. And yet, I think that he may perhaps be proved wrong. I wrote the elegies. And when we know the elegies, we know that those lonely and admirable men were able to convey to us their loneliness, their courage, their loyalty, their feeling for the bleak seas and the bleak moors. And yet, I suppose that those men who wrote those poems that seem so near to us and come through centuries, we know that those men who have been hard put to it had they been made to reason out something in prose. Even in the case of King Alfred, his prose is straightforward. It is efficient for its purposes, but it brings no deep note. He tells us a story. The story may or may not be interesting, but that is all. While there were contemporaries who wrote poetry that still rings, poetry that is still very much living. Then, if from the historical argument, and of course, I have taken this example at random, it might be parallel all over the world, but if we came to the case of philology, then we find that words began not by being abstract, but rather they began by being concrete. And concrete, I suppose, would be much the same thing as poetic in this case. For example, let us consider such a word as dreary. The word dreary meant bloodstained. The word glad meant polished. The word threat meant a threatening crowd. That is to say, those words that now are abstract once had a strong meaning. And we might go on to other examples. Let us take the word thunder. Let us think, let us look back on the god Thunar, the Saxon counterpart of the Norse Thor. Now, the word Thunar stood for thunder and for the god. But had we asked the men who came to England with Hengist, had we asked them whether the word stood for the rumbling in the sky or for the angry god, I do not think he would have been subtle enough to understand the difference. I suppose that the word carried both meanings without committing itself very closely to any one of them. And suppose that when they uttered or they heard the word thunder, they felt at the same time the low rumbling in the sky. And then that comes after lightning, and then they thought of the god so that the words were packed with magic. They did not have a hard and fast meaning. And therefore, if we speak of poetry, we may say that poetry is not doing what Stevens had thought. Poetry is not trying to take a set of logical coins and work them into magic. Rather, poetry is bringing language back to its original source. Remember that Alfred North Whitehead wrote that among the many fallacies, there is one, the fallacy of the perfect dictionary, the fallacy of thinking that for every perception of the senses, for every statement, for every abstract idea, there may be found a counterpart, a very exact symbol in the dictionary. And the very fact that languages are different makes us suspect that this does not exist. For example, in English, or rather in the Scots, we have such words as eerie and uncanny. Those words cannot be found in other languages. Well, we have the German unheimlich, of course. Why? Because men who spoke other languages had no need for those words. I suppose a nation evolves the words it needs. And there is also an observation of Chesterton. I think in his book on Watts, and he says that language is not, as we are led to suppose by the dictionary, language is not the invention of academicians or philologists, but rather language has been evolved through time, through a long time by peasants, by fishermen, by hunters, by writers. It did not come from the libraries. It came from the fields, from the sea, from rivers, from night, from the dawn. Thus, we have in language the fact, I suppose, it seems obvious to me, that words began, in a sense, as magic. But there was a moment when the word light seemed to be flashing, when the word night was a dark word. And in the case of night, we may surmise that night at first stood for the night itself, for its blackness, for its threats, for the shining stars. And then, after much time, after ever so long a time, then we come to the abstract sense of the word. Night meant the period between the twilight of the raven, as the Hebrews had it, and the twilight of the dove, the beginning of day. And since I have spoken of the Hebrews, we might find an additional example in Jewish mysticism, in the Kabbalah. For to the Jews, it seemed obvious that there lay a power in words. This is the idea, of course, behind all our stories of talismans, of our Agalabras, the stories that we found in the Arabian Nights. And as I read in the first page, the first chapter of the Torah, that God said, let there be light, and there was light. So it seemed obvious to them that in the word light, there lay a strength, a strength sufficient to cause light to shine all over the world, a strength sufficient to engender, to beget light. I have done some thinking over this problem, a problem that I will not solve, of course, of thought and meaning. We spoke some time ago about the fact that in music, you had, that in music, the sound, the form, and the substance could not be told asunder, that they were, in fact, the same thing. And it may be suspected that to a certain degree, the same thing happens in poetry. Let us consider now two fragments by two great poets. The first fragment would come from a short piece by the great Irish poet William Butler Yeats, and it runs thus, bodily decrepitude is wisdom. Young, we loved each other and were ignorant. Now, here we find at the beginning a statement, bodily decrepitude is wisdom. This, of course, should be read ironically. Yeats knew quite well that we may attain bodily decrepitude without attaining wisdom. I suppose that wisdom is more important than love, love than mere happiness. There is something trivial about happiness. We get the statement about happiness in the other part of the stanza. Bodily decrepitude is wisdom. Young, we loved each other and were ignorant. Now, I will take a verse by George Temeridip. And it runs thus, not till the fire is dying in the great, look we for any kinship with the stars. Now, this statement taken at its face value is false. The idea that we are only interested in philosophy when we are through with bodily lusts or when the lusts of the body are through with us. This is, I think, false. We know of many passionate young philosophers. Let us think of Berkeley, of Spinoza, and of Schopenhauer. But this is quite irrelevant. What is really important is the fact that both fragments, bodily decrepitude is wisdom. Young, we loved each other and were ignorant. And, Meredith, not till the fire is dying in the great, look we for any kinship with the stars, mean taken in an abstract way much the same thing. And yet, they strike quite different chords. When we are told, or now when I tell you, that they mean the same thing, you all feel, you all instinctively and rightly feel that this is irrelevant. That the verses are really different. I have suspected many a time that the meaning is really something added to the verse. And I know it for a fact that we feel the beauty of a poem before we even begin to think of the meaning. I do not know, but I already quoted an example from Shakespeare. It runs from one of the sonnets of Shakespeare. It runs thus, The mortal moon hath her eclipse endured, And the sad ogres mock their own perisage. Uncertainties now crown themselves assured, And peace proclaims olives of endless age. Now, if we look at the footnotes, we find that the first two verses, The mortal moon hath her eclipse endured, And the sad ogres mock their own perisage, is supposed to be an allusion to Queen Elizabeth, the virgin queen, the famous queen compared by the court poets to Diana, the chaste, the maiden. Now, I suppose that when Shakespeare wrote these verses, he had both moons in mind. He had that metaphor of the moon, the virgin queen, and I do not think he could help thinking of the moon in the sky. But the point I would like to make is that we do not have to commit ourselves to a meaning, to any one of the meanings. We feel the verses before we adopt one, the other, or both those hypotheses. The mortal moon hath her eclipse endured, And the sad ogres mock their own perisage has, at least to me, a beauty far beyond the mere fact of how it is interpreted. And there are, of course, verses that are beautiful and meaningless, and yet they have a meaning not to reason but to the imagination. Let me take a very simple example. Two red roses across the moon. Here it might be said that the meaning is the image given by the words. But to me, at least, there is no definite image. There is a pleasure in the words and, of course, in the lilt of the words, in the music of the words. Or to take another example from William Morris, Therefore, said fair Ioland of the flowers, fair Ioland is a witch, this is the tune of seven towers. Those verses have been torn from their context, and yet I think they stand. Somehow, though I love English, when I am recalling the English verse, I find that my language, Spanish, is calling to me. And I would like to quote a few verses. If you do not understand them, you may console yourselves by thinking that I do not understand them either, and that they are meaningless. They are beautifully, they are in a quite lovely way, meaningless. They were not meant to mean anything. They come from that rather forgotten, that too forgotten Bolivian poet, Ricardo Jaimes Freire, a friend of Darío and of Lugones. And he wrote them in the last decade of the 19th century. I wish I could remember the whole sonnet. I think that something of its sonorous quality would come through to you. But there is no need. I think that these verses should be sufficient, all is sufficient. They run thus. Peregrina, paloma, imaginaria, que enardeces los últimos amores, alma de luz, de música y de flores, peregrina, paloma, imaginaria. They do not mean anything. They are not meant to mean anything. And yet they stand. They stand as a thing of beauty. They are, at least to me, inexhaustible. And now, since I have quoted Meredith, I will take another example. And this example is different from the others, since it bears a meaning. We feel a conviction that it corresponds to an experience of the poet. And yet, had we to put our finger on that experience, or had the poet to tell us how he came to those verses, how he attained them, I think we should be at a loss. The verses are, the four lines are, love that had robbed us of immortal things, this little moment mercifully gave, where I have seen across the twilight wave the swan sail with her young beneath her wings. We find in the first verse something that, on reflection, may strike us as strange. Love that had robbed us of immortal things, not love that had, as we might fairly suppose, made us a gift of immortal things. No, love that had robbed us of immortal things, this little moment mercifully gave, we are made to feel that he is speaking of himself and of his beloved. Where I have seen across the twilight wave the swan sail with her young beneath her wings. We have the threefold beat of the verse. We do not need any anecdotes about the swan, about how she sailed into a river, and then into Meredith, this verse, and then forever into my memory. We know, or at least I know, that I have heard something unforgettable. And I may say of this what Hanslik said of music. I cannot, I can recall it, I can understand it, not with a mere reason, but with a deeper imagination, but I cannot translate it, and I do not think it needs any translation. And since I have used the word threefold, I am reminded of a metaphor, a metaphor by a Greek poet of Alexandria. He wrote, he wrote about the lion of the threefold night. And this strikes me as being a mighty lion. When I looked into the notes, I found that the lion was Hercules, and that Hercules had been begotten by Jupiter in a night that had the length of three nights, so that the pleasure of the god might be vast. Now, this explanation, I think, is quite irrelevant. In fact, perhaps it rather does damage to the verse. It provides us with a small anecdote, and I think it takes away something from that riddle, from that wonderful riddle, the threefold, the night, the lion of the threefold night. That should be enough, the riddle. We have no need to read it. The riddle is there. I have spoken of words. I have spoken of words standing out in the beginning when men invented them. I have thought that the word thunder might be not only the sound, but the god. And I have spoken of the word night. And when I speak of night, I am inevitably, and happily for us, I think, reminded of the last sentence, the first chapter in Finnegans, Wake, wherein Joyce speaks of the rivering waters of, the hither and thithering waters of night. Now, this is an extreme example of an elaborate style. We feel that such a line could only have been written after centuries of literature. We feel that that line is an invention, is a poem, is a very complex way of writing. That line is an invention, is a poem, is a very complex web, as Stevenson would have had it. And yet, I suspect that there was a moment when the word night was quite as impressive, was quite as strange, was quite as, oh, striking, as this beautiful winding sentence of the rivering waters of, the hither and thithering waters of night. Of course, there are two ways of using poetry, at least two opposite ways. There are many others, of course. And one of the ways of the poet is to use common words and somehow to make them uncommon, somehow to use, to evolve magic from them. And I suppose quite a good example would be that very English poem made of understatement of Edward Blunden. I have been young, and now I'm not too old, and I have seen the righteous forsaken, his health, his honor, and his quality taken. This is not what we were formerly told. Here, we have plain words. We have a plain meaning, or at least a plain feeling, and this is more important. But the words do not stand out as they did in Deslac's example of Joyce. And in this one, this will be mere quotation. It will be three words, and they run thus. Glitter gates of Elf in bone. Now, glitter gates is Joyce's gift to us, and then you have Elf in bone. Of course, when Joyce wrote this, he was thinking of the German for ivory, Elf in bind. Elf in bind is, of course, a distortion of elephant in bind, elephant bone. But Joyce saw the possibilities of that word, and he translated it into English. And then you have Elf in bone, and I think that Elf in is more beautiful than Elfen. And besides, as we have heard Elfen times, Elfen bind so many times over, they do not come to us with a shock of surprise, with a shock of amazement, that we find in that new and delicate word Elfen bone. So that we have two ways of writing poetry. People speak generally of a plain style and of an elaborate style. Now, I think this is wrong, because what is important, what is all-meaning, is the fact that poetry should be living or dead, not that the style should be plain or be elaborate. That depends on the poet. We may have, for example, very striking poetry written plainly, and that poetry is to me no less admirable. In fact, I sometimes think it is more admirable than the other. For example, when Stevenson, and as I have disagreed with Stevenson, I want to worship him now. When Stevenson wrote his Requiem, Under the white and starry sky, Dig the grave and let me lie, Glad did I live and gladly die, And I laid me down with a will. Here he lies, for he longed to be. No, let this verse be written for me. Here he lies, for he longed to be. Home is a sailor, home from the sea, And a hunter, home from the hill. This verse is plain language. Of course, it is plain and living, but also, I suppose, the poet must have worked very hard to get it. I do not think that such lines as Glad did I live and gladly die come, except in those moments, those very rare moments, when the muse is generous. I think that our idea of words being a mere algebra, of words being an algebra of symbols, comes from the dictionaries. I do not want to be ungrateful to dictionaries. My favorite reading would be Dr. Johnson, Dr. Skeet, and that composite author, the short, the rocksword. And yet, I think that the fact of having long catalogs of words and explanations make us think that the explanations exhaust the words, that any one of those kinds, of words, can be changed for another. But I think we know, and the poet should feel, that every word, that every word stands by itself. That every word is unique. And we get that feeling when a writer uses a little-known word. For example, we think of the word sedulous as being a rather far-fetched, but in a sense, an interesting word. And yet, when Stevenson, I greet Robert Louis Stevenson again, when Stevenson wrote that he played the sedulous ape to Haslet, then suddenly the word comes into life. So, in this theory, the theory is not mine, of course, I suppose, I'm sure it is to be found in other authors. So, this idea of words beginning as magic and being brought back to magic by poetry is, I think, a true one. And now, we will come to another question. And this is quite important. The question of conviction. When we read an author, and we may be thinking of verse, we may be thinking of prose, it is all one. I think it is essential that we should believe in him. Or rather, that we should attain that willing suspension of disbelief of which Coleridge spoke. When I spoke of elaborate verses, of words standing out, I should have remembered, of course, Weave a circle round him thrice, And close your eyes with holy dread, For he on honeydew hath fed, And drunk the milk of paradise. But let us go, and this will be the last subject I shall speak of today. Let us speak about this conviction that is needed, this need of aesthetics, of poetry, both of poetry in prose or in verse. I think that in the case of a novel, for example, and why should we not speak of novels when we are speaking of poetry? I think that in the case of a novel, our conviction lies in the fact that we believe in the central character. If we believe in him, all is well. I am, and I hope this will not come as a heresy to you, I am not quite sure about the adventures of Don Quixote. I may disbelieve in some of them. I think that some of them may be exaggerated. I feel quite sure that when the knight spoke to his choir, he was not weaving those long, sad speeches. And yet, those things are not important. What is really important is the fact that I believe in Don Quixote himself. That is why books such as Amorín, such as Azorín's La Ruta de Don Quixote, or even Unamunos, Vida Don Quixote y Sancho, strike me as somehow relevant, for they take the adventures too much in earnest, while I really believe in the knight himself. Even if somebody told me that those things had never happened, I would still go on believing in Don Quixote. As I believe in the character of a friend, I have had the luck to possess many admirable friends, and there are many anecdotes told of them. Some of those anecdotes have, I am sorry to say, I am proud to say, been coined by myself. But they are not false. They are essentially true. Mr. D. Quincy said that all anecdotes are apocryphal. I think that had he cared to go deeper into the matter, he would have said that they are historically apocryphal, but essentially true. If a story is told of a man, then that story resembles him. That story is his symbol. And when I think of such dear friends of mine as Don Quixote, Mr. Pickwick, Mr. Sherlock Holmes, Dr. Watson, Huckleberry Finn, Per Gint, and so on, I am not sure I have many more friends. I feel that the men who wrote their histories were drawing the longbow, but that the adventures they evolved were mirrors, or adjectives, of attributes of those men. That is to say, if, to go back to one of the examples, we believe in Mr. Sherlock Holmes, then we may look with derision on the hound of the Baskervilles. We need not fear him. So I should say that what is important is our believing in a character. Now, in the case of poetry, there might seem to be a difference, for a writer works with metaphors. Now, the metaphors need not be believed in. What is really important is the fact that we should think that they correspond to the writer's emotion. That is, I should say, quite sufficient. For example, when, well, for example, when Stelvonis wrote about a sunset being un violento pavo real verde delirado en oro, there is no need to worry about the likeness or the unlikeness of the sunset to a green peacock. What is important is that we should be made to feel that he felt that he was stirred by the sunset, that he needed that metaphor to convey his feelings to us. This is what I mean by conviction in poetry. This has, of course, little to do with plain, or what is called elaborate language. When Milton writes, for example, and I'm sorry to say, perhaps to reveal to you that these are the last verses of Paradise Regained, when Milton wrote, unobserved he to his mother's house private return, the language is plain enough, but at the same time it is dead. When he wrote, when I consider how my light is spent here half my days in this dark world and wide, and so on, the language may be elaborate, but it is a living language. And in that sense, I think that writers, let us say writers like Gondora, writers like John Donne, like William Butler Yeats, like James Joyce, those writers are justified. Their words, their stances may be far-fetched. We may find strange things in them, but we are made to feel that the emotion behind those words is a true one. And this should be sufficient. This should be sufficient for us to tender them our admiration. I have spoken of several poets today, and I'm sorry to say that in the last lecture, of course this last lecture will have a personal character. I suppose we are all friends now. In the last lecture, I shall have to speak of a lesser poet, a poet whose words I never read, but a poet whose works I have to write. I shall speak of myself, and I hope that you will forgive me this quite affectionate anticlimax. Applause Lecture 6 A Poet's Creed A Poet's Creed Ladies and gentlemen, my purpose was to speak about a poet's creed. But looking into myself, I have found that I have some faltering kind of creed. Perhaps it may be useful to me, but hardly to others. In fact, I think of all poetical theories as being mere tools for the writing of a poem, and I suppose there should be as many creeds, as many religions, as the poets. So, though at the end I will say something about my likes and dislikes as to writing of poetry, I think I will begin by some personal memories. The memories, not only of a writer, but also of a reader. For really, I think of myself as being essentially a reader. But of course, as you are aware, I have ventured into writing, but I think that what I have read is of course far more important than what I have written. For one reads what one likes, and one writes not what one would like to write, but what one is able to write. My memory carries me back to a certain evening, some 60 years ago, to my father's library in Buenos Aires. I see him, I see the gaslight, I could place my hand on the shelves, I know exactly where to find Burton's Arabian Nights and Prescott's Conquest of Peru, though of course the library exists, it's no longer. And I go back to that already ancient South American evening and I see my father, I'm seeing him at this moment and I hear his voice saying words that I understood not, but yet that I felt. Those words came from Keats, from his ode to Nightingale. And of course, I have reread them ever so many times, as you have, but I think I will go over them. I think it might please my father's ghost if he's around. The verses I remember are those that you are recalling at this moment. Thou was not born for death, immortal bird, no hungry generations tread thee down. The voice I hear this passing night was heard in ancient days by emperor and clown, perhaps the selfsame song that found a path to a sad heart of Ruth, when sick for whom she stood in tears amidst the alien corn. Well, of course, I thought I knew all about words, all about language, but when as a child one feels that one knows many things, but those words came as a revelation to me. Of course, I did not understand them. How could I understand those lines about birds, about animals being somehow eternal, timeless, because they live in the present, and we are mortal because we live in the past and in the future, because we remember a time when we did not exist, and we foresee a time when we shall be dead. Well, those verses came to me, but they came to me through their music. I had thought of language as being, let's say, a way of saying things, of uttering complaints, of saying that one was glad or sad or so on. And then when I heard those lines, and I've been hearing them in a sense ever since, I knew that language could also be a music and a passion. And thus was poetry revealed to me. I have toyed with an idea, the idea that though a man's life is compounded by thousands and thousands of moments and days, yet those many instants and those many days may be reduced to a single one, the moment when a man knows who he is, when he sees himself face to face. I suppose that when Judas kissed Jesus, if indeed he did so, he felt at that moment that he was a traitor, that to be a traitor was his destiny, and that he was being loyal to that evil destiny. We all remember the red badge of courage, the story of the man who does not know whether he's a coward or a brave man. And then the moment comes and he knows who he is. And when I heard those verses of Keats, I suddenly felt that that was a great experience. I've been feeling it ever since, and perhaps since then, I suppose we may exaggerate for the purposes of a lecture, perhaps since then I thought of myself as being literary. That is to say, many things have happened to me, as to all men. I have felt joy in many things, for example in swimming, in riding, in looking at a sunrise or a sunset, in being in love, and so on. But somehow the central fact of my life has been the existence of words and the possibility of weaving those words into poetry. At first, of course, I was only a reader. Or rather, I think that the happiness of a reader is beyond that of a writer. For a reader needs to feel no trouble, he needs to feel no anxiety, he's merely out for happiness, and happiness when you're a reader is frequent. Thus, before I go on to speaking of my literary output, I would like to say a few words about books that have been important to me. And I know that this list will abound in omissions, as all lists do. In fact, the danger of making a list is that the omissions stand out, and that people think of you as being insensitive. I spoke a few moments ago about the Arabian Nights, and I spoke of Bertrand's Arabian Nights. But when I really think about the Arabian Nights, I am thinking not of those many and ponderous and pedantic or rather stilted volumes, but of what I may call the true Arabian Nights, the Arabian Nights of Gallant and perhaps of Edward William Lane. I have done most of my reading in English. Most books have come to me through the English language, and I am duly grateful for that privilege. When I think of the Arabian Nights, the first feeling I have is a feeling of a vast freedom. And yet, at the same time, I know that the book, though vast and free, is limited to a few patterns. We have, for example, the number three, very frequently. And we have no characters, rather flat characters, except perhaps the silent barber. And then we have evil men and good men, rewards and punishments, and magic rings and talismans and so on. And though we are apt to think of mere size as being somehow brutal, yet I think there are many books whose essence lies in their being lengthy. For example, in the case of the Arabian Nights, we must need think that the book is a large one, that the story goes on. We may never come to the end of it. We may never have gone through all the thousand and one nights, but the fact that they are there somehow lends a wideness to the whole thing. We know that we can delve deeper, that we can roam on, and that the marvels, the magicians, the three beautiful sisters and so on, will always be there awaiting us. And there are other books I would like to recall. And I think that one of the very first was Huckleberry Finn. I have reread it ever so many times since, and also roughing it, the first days in California, Life on the Mississippi, and so on. And now, had I to analyze Huckleberry Finn, I would say that perhaps in order to make, to create a great book, perhaps only one central and one very simple fact is needed. There should be something pleasing to the imagination in the very framework of the book. In the case of Huckleberry Finn, we feel that the idea of the black man, and the boy, and the raft, and the Mississippi, and the long nights, those are somehow agreeable to the imagination. Those are accepted by the imagination. I also would like to say something about Don Quixote. That was one of the first books I ever read through. I remember the very engravings. And one knows so little about oneself that when I read Don Quixote, I thought I read it because of the pleasure I found in the archaic style and in the adventures of the knight and the squire. But now I think that my pleasure lay elsewhere. I think that it came from the character of the knight. I'm not sure now that I believe in the adventures or in the conversations between the knight and the squire. But I know that I believe in the knight's character. And I suppose that the adventures were invented by Cervantes in order to show us the character of the hero. And the same might be said of another book that one may call a minor classic. The same, I suppose, might be said of Mr. Sherlock Holmes and Dr. Watson. I'm not sure I believe in the Hound of the Baskervilles. I do not believe in being terrified by a dog painted over with luminous paint. But I'm sure that I believe in Mr. Sherlock Holmes and in the strange friendship between Sherlock Holmes and Dr. Watson. And, of course, one never knows what the future may bring. I suppose the future will bring all things in the long run. And so we may imagine a moment when Don Quixote and Sancho, Sherlock Holmes and Dr. Watson exist. Though all their adventures, for all I know, may have been blotted out. And yet still men in other languages may go on inventing stories to fit those characters. Stories that should be as mirrors to the characters. This, for all I know, may happen. And now I will jump over the years and go to Geneva. I was then a very unhappy young man. I suppose young men are fond of unhappiness. They do their best to be unhappy and they generally achieve it. And yet, and then I was shamed because I discovered an author who was, doubtless, a very happy man. It must have been 1916 that I came to Walt Whitman. And then I felt ashamed of my unhappiness. I felt ashamed of having tried to be still more unhappy by the reading of Dostoyevsky. And now that I have read, re-read Walt Whitman, his biographies, I suppose that perhaps when Walt Whitman read his Leaves of Grass, he may have said to himself, oh, if only I were Walt Whitman, a gospel of Manhattan, the sun. Because doubtless he was a very different kind of man. Doubtless he evolved Walt Whitman from himself, a kind of fantastic projection. Then at the same time, I also discovered a very different writer. I also discovered, and I was also overwhelmed by him, I also discovered Thomas Carlisle. I read Sartre, Ressartre. I can recall many of its pages. I knew them by heart. And Carlisle sent me to the study of German. I remember I bought Heinrich's Lyricist Intermezzo, a German-English dictionary, and after a time I found I could dispense with dictionary and that I could go on reading about his nightingales and his moons and his pine trees and his love and so on. But what I really wanted, and what I did not find at the time, was the idea of the Germanism. Because the idea, I suppose, was evolved not perhaps by the Germanic people themselves, but by a Roman gentleman, Tacitus. And I was led by Carlisle to think I could find it in German literature. I found many other things. I am very grateful to Carlisle for having sent me to Schopenhauer and to Hölderling and to Lessing and so on. But the idea I had, the idea of men, not at all intellectual, but of men given over, let us say, to loyalty, to braveness, to a manly submission to fate, that I did not find, I did not find, for example, in the Nibelungen Lied. All that seemed too romantic for me. And I was to find it years and years afterwards in the Norse sagas and in the study of Old English poetry. There I found at last what I had been looking for when I was a young man. I found in Old English a harsh language, but a language whose harshness made for a certain kind of beauty and also very deep feeling and perhaps a very deep thinking. But of course, in poetry, I suppose feeling is enough. If a feeling comes through to you, that should be sufficient. I was led to the study of Old English by my inclination to the metaphor. I had read in Lugones that the metaphor was the essential element of literature, and I accepted that dictum. Lugones wrote that all words were originally metaphors. This is true, but it is also true that in order to understand most words, you have to forget about the fact of their being metaphors. For example, if I say style should be plain, then I don't think we should remember that style, stilus, meant an iron pen, and that plain means flat, because in that case, I would never understand it. Now, we'll go back to my boyhood days. I remember other authors who struck me. I wonder if it has been often remarked that Poe and Oscar Wilde are really writers for boys. At least the stories of Poe impressed me when I was a boy, and now I can hardly reread them without feeling rather uncomfortable over the style of the author. In fact, I can quite understand, though I remember this here, since we are speaking of a man of genius, I can quite understand what Emerson meant when he called Edgar Allan Poe the jingle man. And I suppose that this fact of being a writer for boys might be applied to many other writers. In some cases, it is unjust. In the case of Stevenson, for example, or of Kipling, for though they write for boys, they also write for men. But there are other writers who one must read when one is young, because if one comes to them when one is old and gray and full of days, then the reading of those writers can hardly be pleasant. It may be a blasphemy to say that in order to enjoy Baudelaire and Poe, one should be young. Afterwards, it is difficult. One has to put up with so many things. One has to think about history and so on. As to the metaphor, I should add that now I see that metaphor is a far more complicated thing than I thought. It is not merely comparing a thing to another, saying the moon-like and so on. No, it may be done in a more subtle way. I was thinking of Robert Frost. Of course, you remember the lines, For I have promises to keep, and miles to go before I sleep, and miles to go before I sleep. Now, if we take the two verses, the first verse, and miles to go before I sleep, is, I suppose, a statement. The poet is thinking of miles and of sleep. While he repeats those lines, and miles to go before I sleep, those verses are a metaphor. For miles, I suppose, should stand for days, for years, for a long stretch of time, and sleep, I suppose, should stand for death. Perhaps I am doing Frost no good by pointing this out. Perhaps the pleasure lies not in our translating miles into years and sleep into death, but rather in feeling the implication. The same thing might be said of that other very fine poem of his, Acquainted with the Night. In the beginning, I have been one acquainted with the night. I mean literally what he's telling you. But in the end, after one luminary clock against the sky proclaimed the time was neither wrong nor right, I have been one acquainted with the night. Then you are made to think of the night as an image of evil, of sexual evil, I suppose. I spoke a moment ago about Don Quixote, Sherlock Holmes, and I said that I could believe in the characters, but not in the adventures, and hardly in the words that the authors put in their mouths. Now I wonder where we could find a book where the exact contrary occurred. Could we find a book in whose characters we disbelieved, but where we might believe the story? And here I remember another book that has struck me. I remember Melville's Moby Dick, because I'm not sure that I believe in Captain Ahab. I'm not sure that I believe in his feud with the white whale. I can hardly tell the other characters apart, and yet I believe in the story. That is to say, I believe in it as a kind of parable, though I don't know exactly a parable of what. I suppose it should be a parable of a struggle against evil, of the wrong way of fighting evil. I wonder if there are any books of which it might be said. In the Pilgrim's Progress, I think I believe both in the parable, both in the allegory and in the characters. This should be looked into, I suppose. Well, I remember the Gnostics said that the only way to be rid of a sin was to commit it, because afterwards you repented. And I think that as regards literature, they were essentially right. For if I have attained to the happiness of writing four or five tolerable pages after writing 15 tolerable volumes, I have come to that feat not only through the many years, but also through the method of trial and error. I think I've committed not all the possible mistakes, because mistakes are innumerable, but many of them. For example, I began, as most young men do, by thinking that free verse is easier than the regular forms of verse. Now I feel I am quite sure in thinking that free verse is far more difficult than the regular, than the classic forms. And the proof is, if a proof be needed, that literature begins by verse. I suppose the explanation would be that once a pattern is evolved, a pattern, for example, of rhymes, of assonances, of alliterations, of long and short syllables and so on, you only have to repeat the pattern. While if you attempt prose, and prose, of course, comes long after verse, then you need, as Stevenson pointed out, a more subtle pattern, because the ear is led to expect something, and then it does not get what it expects, but something else is given to it, and that something else should be, in a sense, a failure and also a satisfaction. And so I should say that unless you take the precaution of being Walt Whitman or Carl Sandburg, then free verse is more difficult. At least I have found, now when I am near my journey's end, that the classic forms of verse are easier. And another facility, another easiness, may lie in the fact that once you have written a certain line, that once you have resigned yourself to a certain line, then you have committed yourself to a certain rhyme, and as rhymes are not infinite, then your work is made easier for you. Of course, what is important is what is behind the verse. I began by trying, as all young men do, I began by trying to disguise myself. At first, I was so mistaken that at the time when I read Carlisle and Whitman, I thought that Carlisle's way of writing prose was the only possible one, and that Whitman's way of writing verse was the only possible one. And I made no attempt whatever to reconcile this very strange fact of having two opposite men having attained the perfections of prose and of verse. When I began writing, I always said to myself that my ideas were very shallow, that if a reader saw through them, he would despise me. And so I disguised myself. I disguised myself, in the beginning, I tried to be a 17th century Spanish writer with a certain knowledge of Latin. My knowledge of Latin was quite slight. I do not think of myself now as a 17th century Spanish writer. And my attempt to be Sir Thomas Brown in Spanish failed utterly. Well, perhaps I evolved quite a dozen fine-sounding lines. Of course, I was out for purple patches. Now I think that purple patches are a mistake. I think they are a mistake because they are a sign of vanity. And so the reader thinks of them as being signs of vanity. And if the reader thinks of you and he thinks that you have a moral defect, there is no reason for him to admire you or put up with you. Then I fell into a very common mistake. I did my best to be, of all things, modern. Now, there is a character in Goethe's, in Goethe's Wilhelm Meister's L'Eriare. The character says, well, you may say of me what you like, but nobody will deny that I am a contemporary. Now, I see no difference, whatever, between that quite absurd character in Goethe's novel and the wish to be modern because we are modern. We don't have to strive to be modern. It is not a case of subject matter, of style. I suppose that if you look into Sir Walter Scott's Ivanhoe or to take a rather different example into Flaubert's Salambo, you may tell the date when those books were written. Though Flaubert spoke of Salambo as a roman cartaginois, any reader worth his salt would know, after reading the first page, that the book was not written in Carthage. It was written by a very intelligent Frenchman of the 19th century. As to Ivanhoe, we are not taken in by the castles and the knights and the Saxon swineherd and so on. We know all the time that we are reading an 18th or 19th century author. Besides, we are modern by the very simple fact that we live in the present. Nobody has discovered as yet the art of living in the past. Not even the futurists have discovered the secret of living in the future. We are modern, whether we want it or not. And perhaps the very fact of my attacking modernity now is in its way, I suppose, a way of being modern also. When I began writing stories, I did my best to trick them out. I labeled over the style. Sometimes they were hidden under the many, the many overlayings. For example, I thought of a quite good plot. Then I wrote the story El Immortal. Now the idea behind that story, and the idea will come as a surprise to any of you who have read the story, is the idea that if a man were immortal, then in the long run, and the run would be long, of course, since it would be endless, then in the long run, he would have said all things, done all things, written all things. And then I took as my example Homer. I thought of Homer, if indeed he existed, as having written his Iliad. Then Homer would go on living. And then he would change as the generations of men have changed. And then of course, he would forget his Greek. In due time, he would forget that he had been Homer. And a moment might come when you would think of Pope's translation of Homer as being not only a fine work of art, indeed it is, but as being true to the original. But that idea of Homer forgetting that he was Homer, that idea is hidden under the many structures I wove around the book. And indeed, when I reread that story a couple of years ago, I found it a weirdness of the flesh. And I had to go back to my old plan to see that the story would have been quite good had I been content to write it down simply and not to permit so many purple patches and so many strange adjectives. And metaphors. Now, I think I've come not to assert in wisdom, but perhaps to assert in sense. I think of myself as a writer. And what does being a writer mean to me? It means simply being true. Being true to my imagination. That is to say, when I write something, I do not think of it as being true to fact, to mere fact, since mere fact, after all, is a web of circumstances and accidents, but of being true to something deeper. That is to say, when I write a story, I write it because somehow I believe in it. Not as one believes in mere history, but as one believes in a dream or in an idea. And I think that perhaps you are led astray by one of the studies I value most, the study of the history of literature. I wonder, and I hope this is not a blasphemy, I wonder if you are not too aware of history. Because being aware of the history of literature or of any other art, for that matter, is really a form of unbelieving, a form of skepticism. If I say to myself, for example, that Wordsworth or Verlaine were very good 19th century poets, then I may fall into the danger of thinking that time somehow has destroyed them, that they are not as good now as they were. And yet, I think the ancient idea was a braver one. The idea that perfection might be allowed to art without taking into account the dates. I have read several histories of Indian philosophy, and the authors, Englishmen, Germans, Frenchmen, Americans, and so on, always wonder at the fact that in India people have no historical sense, that they treat all things as if they were contemporary, that they translate the words of an ancient philosophy into the, let us say, the modern jargon of today's philosophy. But this stands for something brave. This stands for the idea that one believes in philosophy, or one believes in poetry, that things beautiful once can go on being beautiful still. And though I suppose I'm being quite unhistoric when I say this, since, of course, the meanings of words are changing, the connotations of words are changing, it's still, I think, that there are verses in Virgil, for example, I wonder if I'm scanning it as I should, because my Latin is very rusty. For example, I suppose that when Virgil wrote Iban topscuri sola sub nocte per umbram, or that when an old English poet wrote North and Snude, and so on, or when we read, for example, music to hear, why hear without music, sadly, sweet sweet sweet swan, joy delights, enjoy, I think that somehow we are beyond time. I think that there is an eternity in beauty. And this, of course, is what Keats had in mind when he wrote a thing of beauty is a joy forever. We accept this verse, but we accept it somehow as a kind of right, as a kind of formula. And yet, sometimes I have been, sometimes I am, well, courageous and hopeful enough, courageous and hopeful enough to think that it may be true, that the men write in time, that all men are involved in the circumstances and accidents and failures of time, somehow things of eternal beauty may be achieved. When I write, I try, as I have said, to be loyal to the dream, not of being loyal to circumstances. Of course, in my stories, people tell me I should speak about them, in my stories there are true circumstances, but somehow I have felt that those circumstances should always be told with a certain amount of untruth. I think there is no satisfaction in telling a story as it actually happened. We have to change things, even if we think them insignificant. If not, we should not think of ourselves as artists, but perhaps as mere, well, mere journalists or mere historians. Though I suppose all true historians have known that they can be quite as imaginative as novelists. For example, when we read Gibbon, I suppose the pleasure we get from Gibbon is quite akin to the pleasure we get from reading a great novelist. After all, he knew very little about his characters. I suppose he had to imagine the circumstances. I suppose he must have thought of himself as having created, in a sense, the decline and fall of the Roman Empire. And he did it so wonderfully that I do not care to accept any other explanation. LAUGHTER So that, had I to give advice to writers, and I do not think they need it, because everyone has to find all things by himself, I would give them simply this one. To tamper as little as they can with their own work. I do not think tinkering is any good. I think that the moment comes when one has found out what one can do, when one has found out one's natural voice, one's rhythm. And then I do not think slight emendations should prove useful. When I write, I think not of the reader, because the reader is, of course, an imaginary character. I do not think of myself. Perhaps I am an imaginary character also. I think of what I am trying to convey. And I do my best not to spoil it. When I was young, I believed in expression. I had read Croce, and the reading of Croce did me no good. LAUGHTER I wanted to express everything. I thought, for example, that if I needed a sunset, then I should find the exact word for a sunset. Or the exact, or rather the most surprising metaphor. And now I have come to a conclusion. And this conclusion may sound sad. The conclusion is that I no longer believe in expression. I only believe in allusion. Because, after all, what are words? Words are symbols for shared memories. If I use a word, then you should have experience of what the word stands for. If not, the word means nothing to you. And I think we can only allude. We can only try to make the reader imagine. I think that the reader, if he is quick enough, can be satisfied with merely hinting at something. And this makes, I think, for efficiency. And, in my own case, it also makes for laziness. LAUGHTER I have been asked why I have never attempted a novel. Well, laziness, of course, is the first explanation. But there is another one. I have never read any novel without feeling a certain weariness. I think that novels include padding. I think that padding may be an essential part of the novel, for all I know. And yet, I have read many short stories over and over again. And I find, for example, that in a short story by Henry James or by Rudyard Kipling, you get quite as much complexity and in a more pleasurable way as you may get out of a long novel. And I think that this is what my creed comes to. When I promised a poet's creed, I thought very credulously that once I had given five lectures, I would be made by the fact that having given five lectures, I would evolve a creed of some kind. But I think I owe it to you to say that I have no particular creed except those few precautions and misgivings I have been talking to you about. When I am writing something, I try not to understand it. I do not think intelligence has much to do with the work of a writer. I think that one of the sins of modern literature is the fact that it is too self-conscious. For example, I think of French literature as being a book one of the great literatures in the world. I don't suppose anybody could doubt that. And yet, I have been made to feel how the authors are generally too self-conscious. And suppose a French writer begins by defining himself before he quite knows what he is going to write. And so he says, what should, for example, a Catholic born in such and such a province and being a bit of a socialist write? Or how should we write after the Second World War? And I suppose there are many people all over the world who labor under those illusory problems. When I write, and of course I may not be a fair example but merely an awful warning. When I write, I try to forget all about myself. I forget about my personal circumstances. I do not try, as I tried once, to be a South American writer. I merely try to convey what the dream is. And if the dream would be a dim one, then my guess generally is I do not try to beautify it or even to understand it. And maybe I have done well. For every time I read an article about me and somehow there seem to be quite a lot of people who do that sort of thing, I am generally amazed and very grateful for the deep meanings that I have read and the quite haphazard jottings of mine. Of course, I am grateful to them for I think of writing as being a kind of collaboration. That is to say, the reader does his part of the work. He is enriching the book. And the same thing happens, I suppose, when one is lecturing. You may think that now and then I have given a good lecture. In that case, I have to congratulate you because after all, you have been working with me. Had it not been for you, I don't think the lecture would have seemed particularly good or even tolerably. I hope that you have been collaborating with me tonight. And since this night is different from other nights, I would like to say something about myself because I came to America six months ago. In my country, I am practically, to repeat, the title of a famous book by Wells, I am practically the invisible man. And here, I am somehow visible. Here, people have read me. They have read me so much that they cross-examine me on stories they have forgotten all about. They ask me why did so and so, why so and so was silent before he answered? And then I wonder who so and so was, why he was silent, what he answered. And then I hesitate to tell them the truth. I say that so and so was silent before he answered because one generally is silent before one answers. And yet, all the things have made me happy. I think that you are quite mistaken if you admire, I wonder if you do, my writing. But I think of it as a very generous mistake. I think that one should try to believe in things if they let you down afterwards. And if I am joking now, I am joking, well, because I feel something within me. I am joking because I really feel what this means to me. I know that I shall look back on this night, that I shall wonder why did not I say what I should have said? Why did not I say what this month in America have meant to me? What all these unknown, unknown friends have meant to me? But I suppose that somehow my feeling is coming through to you. I have been asked to say some verses of mine. I will go over a sonnet, the sonnet on Spinoza. The fact that many of you may have no Spanish will make it a finer sonnet, of course. And as I have said, that meaning is not important. What is important is a certain music, a certain way of saying things. Maybe, though the music may not be there, you will feel it, or rather, since I know that you are very kind, you will invent it for me. Now, we come on to the sonnet, Spinoza. The translucent hands of the Jew Lick the glass in the twilight And the dead evening, fear and cold The afternoons are the same The hands and the space of Jacinto That pale in the ghetto's border Hardly exist for the still man who is dreaming of a clear labyrinth Fame does not disturb him That reflection of dreams in the dream of another mirror The fearful love of the maidens Free from the metaphor and the myth The crystal brunette, the infinite Map of that which is all its stars",
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