THE POETRY of the future has to solve, if the suggestions I have made are sound, a problem new to the art of poetic speech, an utterance of the deepest soul of man and of the universal spirit in things, not only with another and a more complete vision, but in the very inmost language of the self-experience of the soul and the sight of the spiritual mind. The attempt to speak in poetry the inmost things of the spirit or to use a psychical and spiritual seeing other than that of the more outward imagination and intelligence has indeed been made before, but for the most part and except in rare moments of an unusually inspired speech it has used some kind of figure or symbol more than a direct language of inmost experience; or else, where it has used such a language, it has been within the limited province of a purely inward experience as in the lofty philosophic and spiritual poetry of the Upanishads, the expression of a peculiar psychic feeling of Nature common in far eastern poets or the poetic setting of mystic states or of an especial religious emotion and experience of which we have a few examples in Europe and many in the literature of western Asia and India. It is a different and much larger creative and interpretative movement that we now see in its first stages, an expansion of the inner way of vision to outer no less than to inner things, to all that is subjective to us and all that is objective, a seeing by a closer identity in the self of man with the self of things and life and Nature and of all that meets him in the universe. The poet has to find the language of these identities, and even symbol and figure, when brought in to assist the more direct utterance, must be used in a different fashion, less as a veil, more as a real correspondence.

The first condition of the complete emergence of this new poetic inspiration and this vaster and deeper significance of

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poetic speech must be the completion of an as yet only initial spiritualised turn of our general human feeling and intelligence. At present the human mind is occupied in passing the borders of two kingdoms. It is emerging out of a period of active and mostly materialistic intellectualism towards a primary intuitive seeking to which the straining of the intellect after truth has been brought in the very drive of its own impulse by a sort of slipping over unexpected borders. There is therefore an uncertain groping in many directions some of which are only valuable as a transitional effort and, if they could be the end and final movement, might land us only in a brilliant corruption and decadence. There is a vitalistic intuitivism sometimes taking a more subjective, sometimes a more objective form, that lingers amid dubious lights on the border and cannot get through its own rather thick and often violent lustres and colours to a finer and truer spiritual vision. There is an emotional and sensational psychical intuitivism half emerging from and half entangled in the vitalistic motive that has often a strange beauty and brilliance, sometimes stained with morbid hues, sometimes floating in a vague mist, sometimes — and this is a common tendency — strained to an exaggeration of half vital, half psychic motive. There is a purer and more delicate psychic intuition with a spiritual issue, that which has been brought by the Irish poets into English literature. The poetry of Whitman and his successors has been that of life, but of life broadened, raised and illumined by a strong intellectual intuition of the self of man and the large soul of humanity. And at the subtlest elevation of all that has yet been reached stands or rather wings and floats in a high intermediate region the poetry of Tagore, not in the complete spiritual light, but amid an air shot with its seekings and glimpses, a sight and cadence found in a psycho-spiritual heaven of subtle and delicate soul experience transmuting the earth tones by the touch of its radiance. The wide success and appeal of his poetry is indeed one of the most significant signs of the tendency of the mind of the age. At the same time one feels that none of these things are at all the whole of what we are seeking or the definite outcome and issue. That can only be assured when

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a supreme light of the spirit, a perfect joy and satisfaction of the subtlety and complexity of a finer psychic experience and a wide strength and amplitude of the life soul sure of the earth and open to the heavens have met, found each other and fused together in the sovereign unity of some great poetic discovery and utterance.

It is possible that it may be rather in Eastern languages and by the genius of Eastern poets that there will come the first discovery of this perfection: the East has always had in its temperament a greater constant nearness to the spiritual and psychic sight and experience and it is only a more perfect turning of this sight on the whole life of man to accept and illuminate that is needed for the realisation of that for which we are still waiting. On the other hand the West has this advantage that though it is only now emerging not so much into the spiritual light as into an outer half-lit circle and though it is hampered by an excessive outward, intellectual and vital pressure, it has at present a more widely ranging thought and a more questing and active eye, and if these once take the right direction, the expression is not so much encircled by past spiritual forms and traditions. It is in any case the shock upon each other of the oriental and occidental mentalities, on the one side the large spiritual mind and inward eye turned upon self and eternal realities, on the other the free inquiry of thought and the courage of the life energy assailing the earth and its problems that is creating the future and must be the parent of the poetry of the future. The whole of life and of the world and Nature seen, fathomed, accepted, but seen in the light of man's deepest spirit, fathomed by the fathoming of the self of man and the large self of the universe, accepted in the sense of its inmost and not only its more outward truth, the discovery of the divine reality within it and of man's own divine possibilities, — this is the delivering vision for which our minds are seeking and it is this vision of which the future poetry must find the inspiring aesthetic form and the revealing language.

The world is making itself anew under a great spiritual pressure, the old things are passing away and the new things ready to come into being, and it may be that some of the old nations

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that have been the leaders of the past and the old literatures that have been hitherto the chosen vehicles of strong poetic creation may prove incapable of holding the greater breath of the new spirit and be condemned to fall into decadence. It may be that we shall have to look for the future creation to new poetical literatures that are not yet born or are yet in their youth and first making or, though they have done something in the past, have still to reach their greatest voice and compass. A language passes through its cycle and grows aged and decays by many maladies: it stagnates perhaps by the attachment of its life to a past tradition and mould of excellence from which it cannot get away without danger to its principle of existence or a straining and breaking of its possibilities and a highly coloured decadence; or, exhausted in its creative vigour, it passes into that attractive but dangerous phase of art for art's sake which makes of poetry no longer a high and fine outpouring of the soul and the life but a hedonistic indulgence and dilettantism of the intelligence. These and other signs of age are not absent from the greater European literary tongues, and at such a stage it becomes a difficult and a critical experiment to attempt at once a transformation of spirit and of the inner cast of poetic language. There is yet in the present ferment and travail a compelling force of new potentiality, a saving element in the power that is at the root of the call to change, the power of the spirit ever strong to transmute life and mind and make all young again, and once this magical force can be accepted in its completeness and provided there is no long-continued floundering among perverted inspirations or half motives, the old literatures may enter rejuvenated into a new creative cycle.

The poetry of the English language in direct relation to which I have made these suggestions, has certain disadvantages for the task that has to be attempted but also certain signal advantages. It is a literature that has long done great things but has neither exhausted its great natural vigour nor fixed itself in any dominant tradition, but rather has constantly shown a free spirit of poetical adventure and a perfect readiness to depart from old moorings and set its sail to undiscovered countries. It

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has an unsurpassed power of imaginative and intuitive language and has shown it to a very high degree in the intuitive expression of the life soul and to some degree in that of the inspired intelligence. It seems therefore a predestined instrument for the new poetic language of the intuitive spirit. The chief danger of failure arises from the external direction of the Anglo-Saxon mind. That has been a source of strength in combination with the finer Celtic imagination and has given English poetry a strong hold on life, but the hold has been also something of a chain continually drawing it back from the height and fullness of some great spiritual attempt to inferior levels. Today however the language is no longer the tongue only of the English people: the Irish mind with its Celtic originality and psychic delicacy of vision and purpose has entered into this poetic field. It is receiving too for a time an element or at least an embassy and message from the higher spiritual mind and imagination of India. The countries beyond the seas, still absorbed in their material making, have yet to achieve spiritual independence, but once that comes, the poetry of Whitman shows what large and new elements they can bring to the increase of the spiritual potentialities of the now widespreading language. On the whole therefore it is here among European tongues that there is the largest present chance of the revolution of the human spirit finding most easily its poetic utterance. It is also here by the union of a great vital energy and a considerable possibility of the spiritual vision that there may be most naturally a strong utterance of that which most has to be expressed, the seen and realised unity of life and the spirit.

The pouring of a new and greater self-vision of man and Nature and existence into the idea and the life is the condition of the completeness of the coming poetry. It is a large setting and movement of life opening a considerable expansion to the human soul and mind that has been in the great ages of literature the supreme creative stimulus. The discovery of a fresh intellectual or aesthetic motive of the kind that was common in the last century initiates only an ephemeral ripple on the surface and seldom creates work of the very first order. The real inspiration enters with a more complete movement, an enlarged horizon of

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life, a widening of the fields of the idea, a heightening of the flight of the spirit. The change that is at present coming over the mind of the race began with a wider cosmic vision, a sense of the greatness and destiny and possibilities of the individual and the race, the idea of humanity and of the unity of man with man and a closer relation too and unity of his mind with the life of Nature. It is the endeavour to make the expression of these things one with the expression of life that imparts to the poetry of Whitman so much more large and vital an air than the comparatively feeble refinement and careful art of most of the contemporary poetry of Europe — not that the art has to be omitted, but that it must be united with a more puissant sincerity of spirit and greatness of impulse and a sense of new birth and youth and the potencies of the future. The intellectual idea was yet not enough, for it had to find its own greater truth in the spiritual idea and its finer cultural field in a more delicate and complex and subtle psychic sight and experience. It is this that has been prepared by recent and contemporary poets. The expression of this profounder idea and experience is again not enough until the spiritual idea has passed into a complete spiritual realisation and not only affected individual intellect and psychic mind and imagination, but entered into the general sense and feeling of the race and taken hold upon all thought and life to reinterpret and remould them in their image. It is this spiritual realisation that the future poetry has to help forward by giving to it its eye of sight, its shape of aesthetic beauty, its revealing tongue and it is this greatening of life that it has to make its substance.

It is in effect a larger cosmic vision, a realising of the godhead in the world and in man, of his divine possibilities as well as of the greatness of the power that manifests in what he is, a spiritualised uplifting of his thought and feeling and sense and action, a more developed psychic mind and heart, a truer and a deeper insight into his nature and the meaning of the world, a calling of diviner potentialities and more spiritual values into the intention and structure of his life that is the call upon humanity, the prospect offered to it by the slowly unfolding and

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now more clearly disclosed Self of the universe. The nations that most include and make real these things in their life and culture are the nations of the coming dawn and the poets of whatever tongue and race who most completely see with this vision and speak with the inspiration of its utterance are those who shall be the creators of the poetry of the future.

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