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66 ] Reflections on Contemporary Poetry [IV]1 A review of Naked Warriors, by Herbert Read London: Art and Letters, 1919. Pp. 60. The Charnel Rose, Senlin: A Biography, and Other Poems by Conrad Aiken Boston: Four Seas Press, 1918. Pp. 156. vingt-cinq poèmes, by Tristan Tzara Zurich: Collection Dada, 1918. Pp. 20. The Egoist, 6 (July 1919) 39-40 It is not true that the development of a writer is a function of his development as a man, but it is possible to say that there is a close analogy between the sort of experience which develops a man and the sort of experience which develops a writer. Experience in living may leave the literary embryo still dormant, and the progress of literary development may to a considerable extent take place in a soul left immature in living. But similar types of experience form the nourishment of both. There is a kind of stimulus for a writer which is more important than the stimulus of admiring another writer. Admiration leads most often to imitation, we can seldom remain long unconscious of our imitating another, and the awareness of our debt naturally leads us to hatred of the object imitated. If we stand toward a writer in this other relation of which I speak we do not imitate him, and though we are quite as likely to be accused of it, we are quite unperturbed by the charge. This relation is a feeling of profound kinship, or rather of a peculiar personal intimacy, with another, probably a dead author. It may overcome us suddenly, on first or after long acquaintance; it is certainly a crisis; and when a young writer is seized with his first passion of this sort he may be changed, metamorphosed almost, within a few weeks even; from a bundle of second-hand sentiments into a person. The imperative intimacy arouses for the first time a real, an unshakeable confidence. That you possess this secret knowledge, this intimacy, with the dead man, that after few [ 67 Reflections on Contemporary Poetry [iv] or many years or centuries you should have appeared, with this indubitable claim to distinction; who can penetrate at once the thick and dusty circumlocutions about his reputation, can call yourself alone his friend; it is something more than encouragement to you. It is a cause of development, like personal relations in life. Like personal intimacies in life, it may and probably will pass, but it will be ineffaceable. The usefulness of such a passion is various. For one thing it secures us against forced admiration, from attending to writers simply because they are great. We are never at ease with people who, to us, are merely great. We are not ourselves great enough for that: probably not one man in each generation is great enough to be intimate with Shakespeare. Admiration for the great is only a sort of discipline to keep us in order, a necessary snobbism to make us mind our places. We may not be great lovers; but if we had a genuine affair with a real poet of any degree we have acquired a monitor to avert us when we are not in love. Indirectly, there are other acquisitions: our friendship gives us an introduction to the society in which our friend moved; we learn its origins and its endings; we are broadened. We do not imitate, we are changed; and our work is the work of the changed man; we have not borrowed, we have been quickened, and we become bearers of a tradition. I feel that the traces of this sort of experience are conspicuously lacking from contemporary poetry, and that contemporary poetry is deficient in tradition. We can raise no objection to “experiments” if the experimenters are qualified; but we can object that almost none of the experimenters hold fast to anything permanent under the varied phenomena of experiment. Shakespeare was one of the slowest, if one of the most persistent, of experimenters ; even Rimbaud shows process. And one never has the tremendous satisfaction of meeting a writer who is more original, more independent, than he himself knows. No dead voices speak through the living voice; no reincarnation, no re-creation. Not even the saturation which sometimes combusts spontaneously into originality. fly where men feel The cunning axletree: and those that suffer Beneath the chariot of the snowy Bear2 is beautiful; and the beauty only appears more substantial if we conjecture that Chapman may have absorbed the...


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