The Coming Race [39]
change, and therefore no one writes them. If now and then an An feels himself dissatisfied with our tranquil mode of life, he does not attack it; he goes away. Thus all that part of literature (and to judge by the ancient books in our public libraries, it was once a very large part), which relates to speculative theories on society is become utterly extinct. Again, formerly there was a vast deal written respecting the attributes and essence of the All-Good, and the arguments for and against a future state; but now we all recognise two facts, that there IS a Divine Being, and there IS a future state, and we all equally agree that if we wrote our fingers to the bone, we could not throw any light upon the nature and conditions of that future state, or quicken our apprehensions of the attributes and essence of that Divine 85Being. Thus another part of literature has become also extinct, happily for our race; for in the time when so much was written on subjects which no one could determine, people seemed to live in a perpetual state of quarrel and contention. So, too, a vast part of our ancient literature consists of historical records of wars an revolutions during the times when the Ana lived in large and turbulent societies, each seeking aggrandisement at the expense of the other. You see our serene mode of life now; such it has been for ages. We have no events to chronicle. What more of us can be said than that, 'they were born, they were happy, they died?' Coming next to that part of literature which is more under the control of the imagination, such as what we call Glaubsila, or colloquially 'Glaubs,' and you call poetry, the reasons for its decline amongst us are abundantly obvious.
"We find, by referring to the great masterpieces in that department of literature which we all still read with pleasure, but of which none would tolerate imitations, that they consist in the portraiture of passions which we no longer experience- ambition, vengeance, unhallowed love, the thirst for warlike renown, and suchlike. The old poets lived in an atmosphere impregnated with these passions, and felt vividly what they expressed glowingly. No one can express such passions now, for no one can feel them, or meet with any sympathy in his readers if he did. Again, the old poetry has a main element in its dissection of those complex mysteries of human character which conduce to abnormal vices and crimes, or lead to signal and extraordinary virtues. But our society, having got rid of temptations to any prominent vices and crimes, has necessarily rendered the moral average so equal, that there are no very salient virtues. Without its ancient food of strong passions, vast crimes, heroic excellences, poetry therefore is, if not actually starved to death, reduced to a very meagre diet. There is still the poetry of description- description of rocks, and trees, and waters, and common household life; and our young Gy-ei weave much of this insipid kind of composition into their love verses." 86 "Such poetry," said I, "might surely be made very charming; and we have critics amongst us who consider it a higher kind than that which depicts the crimes, or analyses the passions, of man. At all events, poetry of the inspired kind you mention is a poetry that nowadays commands more readers than any other among the people I have left above ground."
"Possibly; but then I suppose the writers take great pains with the language they employ, and devote themselves to the culture and polish of words and rhythms of an art?"
"Certainly they do: all great poets do that. Though the gift of poetry may be inborn, the gift requires as much care to make it available as a block of metal does to be made into one of your engines."
"And doubtless your poets have some incentive to bestow all those pains upon such verbal prettinesses?"
"Well, I presume their instinct of song would make them sing as the bird does; but to cultivate the song into verbal or artificial prettiness, probably does need an inducement from without, and our poets find it in the
"We find, by referring to the great masterpieces in that department of literature which we all still read with pleasure, but of which none would tolerate imitations, that they consist in the portraiture of passions which we no longer experience- ambition, vengeance, unhallowed love, the thirst for warlike renown, and suchlike. The old poets lived in an atmosphere impregnated with these passions, and felt vividly what they expressed glowingly. No one can express such passions now, for no one can feel them, or meet with any sympathy in his readers if he did. Again, the old poetry has a main element in its dissection of those complex mysteries of human character which conduce to abnormal vices and crimes, or lead to signal and extraordinary virtues. But our society, having got rid of temptations to any prominent vices and crimes, has necessarily rendered the moral average so equal, that there are no very salient virtues. Without its ancient food of strong passions, vast crimes, heroic excellences, poetry therefore is, if not actually starved to death, reduced to a very meagre diet. There is still the poetry of description- description of rocks, and trees, and waters, and common household life; and our young Gy-ei weave much of this insipid kind of composition into their love verses." 86 "Such poetry," said I, "might surely be made very charming; and we have critics amongst us who consider it a higher kind than that which depicts the crimes, or analyses the passions, of man. At all events, poetry of the inspired kind you mention is a poetry that nowadays commands more readers than any other among the people I have left above ground."
"Possibly; but then I suppose the writers take great pains with the language they employ, and devote themselves to the culture and polish of words and rhythms of an art?"
"Certainly they do: all great poets do that. Though the gift of poetry may be inborn, the gift requires as much care to make it available as a block of metal does to be made into one of your engines."
"And doubtless your poets have some incentive to bestow all those pains upon such verbal prettinesses?"
"Well, I presume their instinct of song would make them sing as the bird does; but to cultivate the song into verbal or artificial prettiness, probably does need an inducement from without, and our poets find it in the