The New York herald., 1921-09-04
Spanish view of English poets

made that, far from lacking interest in
humanity, ~ is precisely because Shell
ley. was too deeply obsessed with man
that he could not write on men. His
poetry did not dwell on human char
acter. but only because 1t was over
whelmed by human destiny" This, it
seams to me, is discerning criticism,
not through glass darkly.
Both poets were interested in the
popular personification of evil.
Shelley's interest in the Devil
oates from his early childhood,
during which he once set
fagot stack on fire because he wanted
to have "a little hell Of his own!" Both
poets had an innate taste for the
weird and phantasmagorical which led
them to concern themselves with the
myth of evil. pride and human rebel
lion against fate. Each, In later wears.
had to weave from his imagination a
heaven and hell of his own. All poets
must. They are made that way.
English Sidelights on Spanish Lit
erature" throws lambent searchlight
upon Spain and her poets. We need
just this now and again. Our under
standing of things Spanish is still
somewhat chaotic AT times 1t is even
as hopeless as that of the old cook in
Glasgow, who. when told by the young
lady ofSthe house that she was going to
marry "a Spaniard, naively inquired
Are ye no feared?" We forget to look
beyond their melodrama-beyond the
terrifyipp rIfff3opc 0f Gox,a rvl.z ....,
points out parallelism in English and
Spanish literature which suggests
common tendencies both in their ma
tonal character and In their literary
development. There is, he saws. a
Spanish as well as an English in
sularity Like England, Spain is in
Europe, but not of Europe He traces
oimilarity in the dominant character
OF their national epic poetry. The
Beowulf and Milo Cid are both firmly
rooted in experience. Both have a GER
tain barbaric majesty due to their very
simplicity. Both are intensely realistic.
study of Spanish popular poetry
not only gives knowledge of the Span
ish nature but it is a delight to the
aesthetic sense. 1t is not a "mere play
OF fancy but a living stream which
runs along the road of life" The
Spaniard sings
When she goes walking
Roses and lilies she goes mourning"
Your white face Is like a garden.
Which under snow lies
And in 1t three flowers uncovered.
Your mouth and your eyes,"
In support Of the statement that for
the Spanish. love is "a thing of the
SOUL" these lines:
"A pretty maid
Leaned over her window.
She asked for my soul;
/ gave her my heart.
She asked for my soul,
And I said farewell"
As an example of wealth of imagery
these lines are quoted in all serious
ness-lines which to most of us will
seem harmlessly amusing:
Your eyes two inkwells seem.
Your nose, pen well cut;
Your teeth are minute writing.
Your breast, letter shut"
Really, this is too much. But per-
haps one fails to appreciate pens and
inkwells sufficiently! And yet, face
that serves as a full desk eouipment
does fearfully strain the imagination.
Finally, and, In sense, most inter-
esting of ALL comes the essay on "The
Case of Wordsworth" And here 1t is
that poor old Wordsworth goes tum-
bling down from his pedestal harder
than the child's London Bridge ever
crashed from under him! Matthew
Arnold's observations about Words
worth's poetry are punctured so fiat
that hardly can Wordsworthians ever
regain their equilibrium. In the light
of an authentic lyricist, he is gently
showed off the boards. Thoee of us
who have never quite liked the worthy
bard. or liked him only In spots
widely removed ones--are apt to
chuckle within and find justification
for our stubborn dislike or failure TO
do him homage. And yet his ghost.
should 1t hover around. need not be
disturbed by our twentieth century
criticism. Did he not once write in
one of his essays: II wish either to
be considered as teacher or as moth
ing? Certainly. his wish is being
granted MARY SIEGRIST.