# Ideas of Good and Evil (Yeats)/The Return of Ulysses

THE RETURN OF ULYSSES
I
M. Maeterlinck, in his beautiful Treasure of the Humble, compares the dramas of our stage to the paintings of an obsolete taste; and the dramas of the stage for which he hopes, to the paintings of a taste that cannot become obsolete. 'The true artist,' he says, 'no longer chooses Marius triumphing over the Cimbrians, or the assassination of the Duke of Guise, as fit subjects for his art; for he is well aware that the psychology of victory or murder is but elementary and exceptional, and that the solemn voice of men and things, the voice that issues forth so timidly and hesitatingly, cannot be heard amidst the idle uproar of acts of violence. And therefore will he place on his canvas a house lost in the heart of the country, a door open at the end of a passage, a face or hands at rest.' I do not understand him to mean that our dramas should have no victories or ​murders, for he quotes for our example plays that have both, but only that their victories and murders shall not be to excite our nerves, but to illustrate the reveries of a wisdom which shall be as much a part of the daily life of the wise as a face or hands at rest. And certainly the greater plays of the past ages have been built after such a fashion. If this fashion is about to become our fashion also, and there are signs that it is, plays like some of Mr. Robert Bridges will come out of that obscurity into which all poetry, that is not lyrical poetry, has fallen, and even popular criticism will begin to know something about them. Some day the few among us, who care for poetry more than any temporal thing, and who believe that its delights cannot be perfect when we read it alone in our rooms and long for one to share its delights, but that they might be perfect in the theatre, when we share them friend with friend, lover with beloved, will persuade a few idealists to ​seek out the lost art of speaking, and seek out ourselves the lost art, that is perhaps nearest of all arts to eternity, the subtle art of listening. When that day comes we will talk much of Mr. Bridges; for did he not write scrupulous, passionate poetry to be sung and to be spoken, when there were few to sing and as yet none to speak? There is one play especially, The Return of Ulysses, which we will praise for perfect after its kind, the kind of our new drama of wisdom, for it moulds into dramatic shape, and with as much as possible of literal translation, those closing books of the Odyssey which are perhaps the most perfect poetry of the world, and compels that great tide of song to flow through delicate dramatic verse, with little abatement of its own leaping and clamorous speed. As I read, the gathering passion overwhelms me, as it did when Homer himself was the singer, and when I read at last the lines in which the maid describes to Penelope the battle with the ​suitors, at which she looks through the open door, I tremble with excitement.
'Penelope: Alas! what cries! Say, is the prince still safe?
The Maid: He shieldeth himself well, and striketh surely; His foes fall down before him. Ah! now what can I see? Who Cometh? Lo! a dazzling helm, a spear Of silver or electron; sharp and swift The piercings. How they fall! Ha! shields are raised In vain. I am blinded, or the beggar-man Hath waxed in strength. He is changed, he is young. O strange! He is all in golden armour. These are gods That slay the suitors. (Runs to Penelope) O lady, forgive me. Tis Ares' self. I saw his crispèd beard; I saw beneath his helm his curlèd locks.'
The coming of Athene helmed 'in silver or electron' and her transformation of Ulysses are not, as the way is with the only modern dramas that popular criticism holds to be dramatic, the climax of an excitement of the nerves, but of that unearthly excitement which has wisdom ​for fruit, and is of like kind with the ecstasy of the seers, an altar flame, unshaken by the winds of the world, and burning every moment with whiter and purer brilliance.
Mr. Bridges has written it in what is practically the classical manner, as he has done in Achilles in Scyros—a placid and charming setting for many placid and charming lyrics—
'And ever we keep a feast of delight The betrothal of hearts, when spirits unite, Creating an offspring of joy, a treasure Unknown to the bad, for whom The gods foredoom The glitter of pleasure And a dark tomb.'
The poet who writes best in the Shakespearian manner is a poet with a circumstantial and instinctive mind, who delights to speak with strange voices and to see his mind in the mirror of Nature; while Mr. Bridges, like most of us to-day, has a lyrical and meditative mind, and delights to speak with his own voice and to see ​Nature in the mirror of his mind. In reading his plays in a Shakespearian manner, I find that he is constantly arranging his story in such and such a way because he has read that the persons he is writing of did such and such things, and not because his soul has passed into the soul of their world and understood its unchangeable destinies. His Return of Ulysses is admirable in beauty, because its classical gravity of speech, which does not, like Shakespeare's verse, desire the vivacity of common life, purifies and subdues all passion into lyrical and meditative ecstasies, and because the unity of place and time in the late acts compels a logical rather than instinctive procession of incidents; and if the Shakespearian Nero: Second Part approaches it in beauty and in dramatic power, it is because it eddies about Nero and Seneca, who had both, to a great extent, lyrical and meditative minds. Had Mr. Bridges been a true Shakespearian, the pomp and glory of the world would have ​drowned that subtle voice that speaks amid our heterogeneous lives of a life lived in obedience to a lonely and distinguished ideal.
II
The more a poet rids his verses of heterogeneous knowledge and irrelevant analysis, and purifies his mind with elaborate art, the more does the little ritual of his verse resemble the great ritual of Nature, and become mysterious and inscrutable. He becomes, as all the great mystics have believed, a vessel of the creative power of God; and whether he be a great poet or a small poet, we can praise the poems, which but seem to be his, with the extremity of praise that we give this great ritual which is but copied from the same eternal model. There is poetry that is like the white light of noon, and poetry that has the heaviness of woods, and poetry that has the golden light of dawn or of sunset; and I find in ​the poetry of Mr. Bridges in the plays, but still more in the lyrics, the pale colours, the delicate silence, the low murmurs of cloudy country days, when the plough is in the earth, and the clouds darkening towards sunset; and had I the great gift of praising, I would praise it as I would praise these things.
1896.