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Trumantia Resource Directory 06
Page 03
And yet there is one thing in the present war which I do in my heart of hearts feel to be worth fighting for, and that is for the hope of liberty. It is hard to say what liberty is, because the essence of it is the subjugation of personal inclinations. The Germans claim that they alone know the meaning of liberty, and that they have arrived at it by discipline. But the bitterness of this war lies in the fact that the Germans are not content to set an example of attractive virtue, and to leave the world to choose it; but that if the world will not choose it, they will force it upon them by violence and the sword. It is this which makes me feel that the war may be a vast protest of the nations, which have the spirit of the future in their hearts, against a theory of life that represents the spirit of the past. And I thus, with some seeming inconsistency, believe that the war may represent the hope of peace at bay. If the nations can keep this clearly before them, and not be tempted either into reprisals, or into rewarding themselves by the spoils of victory, if victory comes; if it ends in the Germans being sincerely convinced that they have been misled and poisoned by a conception of right which is both uncivilised and unchristian, then I believe that all our sufferings may not be too great a price to pay for the future well-being of the world. That is the largest and brightest hope I dare to frame; and there are many hours and days when it seems all clouded and dim.
It is, of course, quite true that no writer is bound by traditions of art, and there is no one who need consider how the thing has been done before, or follow a prescribed code. But for all that, art is not a thing of rules made and enforced by critics. All that critics can do is to determine what the laws of art are; because art has laws underlying it which are as certain as the laws of gravity, even if they are not known. The more permanent art is, the more it conforms to these laws; because the fact is that there is a vital impulse in the human mind towards the expression of beauty, and a vital discrimination too as to the form and method of that expression. Architecture, for instance, and music, are alike based upon instinctive preferences in human beings, the one for geometrical form, the other for the combination of vibrations. It is a law of music, for instance, that the human being prefers an octave in absolute unison, and not an octave of which one note is a semitone flat. That is not a rule invented by critics; it is a law of human perception and preference. Similarly there is undoubtedly a law which determines human preferences in poetry, though a far more complicated law, and not yet analysed. The new poet is not a man who breaks the law, but one who discovers a real extension of it.
Handel, of course, is Madame Patey. Give Madame Patey Handel's wig and clothes, and there would be no telling her from Handel. It is not only that the features and the shape of the head are the same, but there is a certain imperiousness of expression and attitude about Handel which he hardly attempts to conceal in Madame Patey. It is a curious coincidence that he should continue to be such an incomparable renderer of his own music. Pope Julius II. was the late Mr. Darwin. Rameses II. is a blind woman now, and stands in Holborn, holding a tin mug. I never could understand why I always found myself humming "They oppressed them with burthens" when I passed her, till one day I was looking in Mr. Spooner's window in the Strand, and saw a photograph of Rameses II. Mary Queen of Scots wears surgical boots and is subject to fits, near the Horse Shoe in Tottenham Court Road.
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