If it is true that there are books written to escape from the present moment, and its meanness and its sordidity, it is certainly true that readers are familiar with a corresponding mood. To draw the blinds and shut the door, to muffle the noises of the street and shade the glare and flicker of its lights — that is our desire. There is then a charm even in the look of the great volumes that have sunk, like the “Countess of Pembroke’s Arcadia”, as if by their own weight down to the very bottom of the shelf. We like to feel that the present is not all; that other hands have been before us, smoothing the leather until the corners are rounded and blunt, turning the pages until they are yellow and dog’s-eared. We like to summon before us the ghosts of those old readers who have read their Arcadia from this very copy — Richard Porter, reading with the splendours of the Elizabethans in his eyes; Lucy Baxter, reading in the licentious days of the Restoration; Thos. Hake, still reading, though now the eighteenth century has dawned with a distinction that shows itself in the upright elegance of his signature. Each has read differently, with the insight and the blindness of his own generation. Our reading will be equally partial. In 1930 we shall miss a great deal that was obvious to 1655; we shall see some things that the eighteenth century ignored. But let us keep up the long succession of readers; let us in our turn bring the insight and the blindness of our own generation to bear upon the “Countess of Pembroke’s Arcadia”, and so pass it on to our successors.
If we choose the Arcadia because we wish to escape, certainly the first impression of the book is that Sidney wrote it with very much the same intention: “ . . . it is done only for you, only to you”, he tells his “dear lady and sister, the Countess of Pembroke”. He is not looking at what is before him here at Wilton; he is not thinking of his own troubles or of the tempestuous mood of the great Queen in London. He is absenting himself from the present and its strife. He is writing merely to amuse his sister, not for “severer eyes”. “Your dear self can best witness the manner, being done in loose sheets of Paper, most of it in your presence, the rest, by sheets sent unto you, as fast as they were done.” So, sitting at Wilton under the downs with Lady Pembroke, he gazes far away into a beautiful land which he calls Arcadia. It is a land of fair valleys and fertile pastures, where the houses are “lodges of yellow stone built in the form of a star”; where the inhabitants are either great princes or humble shepherds; where the only business is to love and to adventure; where bears and lions surprise nymphs bathing in fields red with roses; where princesses are immured in the huts of shepherds; where disguise is perpetually necessary; where the shepherd is really a prince and the woman a man; where, in short, anything may be and happen except what actually is and happens here in England in the year 1580. It is easy to see why, as Sidney handed these dream pages to his sister, he smiled, entreating her indulgence. “Read it then at your idle times, and the follies your good judgment will find in it, blame not, but laugh at.” Even for the Sidneys and the Pembrokes life was not quite like that. And yet the life that we invent, the stories we tell, as we sink back with half-shut eyes and pour forth our irresponsible dreams, have perhaps some wild beauty; some eager energy; we often reveal in them the distorted and decorated image of what we soberly and secretly desire. Thus the Arcadia, by wilfully flouting all contact with the fact, gains another reality. When Sidney hinted that his friends would like the book for its writer’s sake, he meant perhaps that they would find there something that he could say in no other form, as the shepherds singing by the river’s side will “deliver out, sometimes joys, sometimes lamentations, sometimes challengings one of the other, sometimes, under hidden forms, uttering such matters as otherwise they durst not deal with”. There may be under the disguise of the Arcadia a real man trying to speak privately about something that is close to his heart. But in the first freshness of the early pages the disguise itself is enough to enchant us. We find ourselves with shepherds in spring on those sands which “lie against the Island of Cithera”. Then, behold, something floats on the waters. It is the body of a man, and he grasps to his breast a small square coffer; and he is young and beautiful —“though he were naked, his nakedness was to him an apparel”; and his name is Musidorus; and he has lost his friend. So, warbling melodiously, the shepherds revive the youth, and row out in a bark from the haven in search of Pyrocles; and a stain appears on the sea, with sparks and smoke issuing from it. For the ship upon which the two princes Musidorus and Pyrocles were voyaging has caught fire; it floats blazing on the water with a great store of rich things round it, and many drowned bodies. “In sum, a defeat, where the conquered kept both field and spoil: a shipwrack without storm or ill footing: and a waste of fire in the midst of the water.”
There in a little space we have some of the elements that are woven together to compose this vast tapestry. We have beauty of scene; a pictorial stillness; and something floating towards us, not violently but slowly and gently in time to the sweet warbling of the shepherds’ voices. Now and again this crystallises into a phrase that lingers and haunts the ear —“and a waste of fire in the midst of the waters”; “having in their faces a certain waiting sorrow”. Now the murmur broadens and expands into some more elaborate passage of description: “each pasture stored with sheep, feeding with sober security, while the pretty lambs with bleating oratory crav’d the dam’s comfort: here a shepherd’s boy piping, as though he should never be old: there a young shepherdess knitting, and withal singing, and it seemed that her voice comforted her hands to work, and her hands kept time to her voice-music”— a passage that reminds us of a famous description in Dorothy Osborne’s Letters.
Beauty of scene; stateliness of movement; sweetness of sound — these are the graces that seem to reward the mind that seeks enjoyment purely for its own sake. We are drawn on down the winding paths of this impossible landscape because Sidney leads us without any end in view but sheer delight in wandering. The syllabling of the words even causes him the liveliest delight. Mere rhythm we feel as we sweep over the smooth backs of the undulating sentences intoxicates him. Words in themselves delight him. Look, he seems to cry, as he picks up the glittering handfuls, can it be true that there are such numbers of beautiful words lying about for the asking? Why not use them, lavishly and abundantly? And so he luxuriates. Lambs do not suck —“with bleating oratory [they] craved the dam’s comfort”; girls do not undress — they “take away the eclipsing of their apparel”; a tree is not reflected in a river —“it seemed she looked into it and dressed her green locks by that running river”. It is absurd; and yet there is a world of difference between writing like this with zest and wonder at the images that form upon one’s pen and the writing of later ages when the dew was off the language — witness the little tremor that stirs and agitates a sentence that a more formal age would have made coldly symmetrical:
And the boy fierce though beautiful; and beautiful, though dying, not able to keep his falling feet, fell down to the earth, which he bit for anger, repining at his fortune, and as long as he could, resisting death, which might seem unwilling too; so long he was in taking away his young struggling soul.
It is this inequality and elasticity that lend their freshness to Sidney’s vast pages. Often as we rush through them, half laughing, half in protest, the desire comes upon us to shut the ear of reason completely and lie back and listen to this unformed babble of sound; this chorus of intoxicated voices singing madly like birds round the house before anyone is up.
But it is easy to lay too much stress upon qualities that delight us because they are lost. Sidney doubtless wrote the Arcadia partly to while away the time, partly to exercise his pen and experiment with the new instrument of the English language. But even so he remained young and a man; even in Arcadia the roads had ruts, and coaches were upset and ladies dislocated their shoulders; even the Princes Musidorus and Pyrocles have passions; Pamela and Philoclea, for all their sea-coloured satins and nets strung with pearls, are women and can love. Thus we stumble upon scenes that cannot be reeled off with a flowing pen; there are moments where Sidney stopped and thought, like any other novelist, what a real man or woman in this particular situation would say; where his own emotions come suddenly to the surface and light up the vague pastoral landscape with an incongruous glare. For a moment we get a surprising combination; crude daylight overpowers the silver lights of the tapers; shepherds and princesses suddenly stop their warbling and speak a few rapid words in their eager human voices.
. . . many times have I, leaning to yonder Palm, admired the blessedness of it, that it could bear love without sense of pain; many times, when my Master’s cattle came hither to chew their cud in this fresh place, I might see the young Bull testify his love; but how? with proud looks and joyfulness. O wretched mankind (said I then to myself) in whom wit (which should be the governor of his welfare) become’s the traitor to his blessedness: these beasts like children to nature, inherit her blessings quietly; we like bastards are laid abroad, even as foundlings, to be trained up by grief and sorrow. Their minds grudge not at their bodies comfort, nor their senses are letted from enjoying their objects; we have the impediments of honour, and the torments of conscience.
The words ring strangely on the finicking, dandified lips of Musidorus. There is Sidney’s own anger in them and his pain. And then the novelist Sidney suddenly opens his eyes. He watches Pamela as she takes the jewel in the figure of a crab-fish to signify “because it looks one way and goes another” that though he pretended to love Mopsa his heart was Pamela’s. And she takes it, he notes,
with a calm carelessness letting each thing slide (just as we do by their speeches who neither in matter nor person do any way belong unto us) which kind of cold temper, mixt with that lightning of her natural majesty, is of all others most terrible unto me. . . .
Had she despised him, had she hated him, it would have been better.
But this cruel quietness, neither retiring to mislike, nor proceeding to favour; gracious, but gracious still after one manner; all her courtesies having this engraven in them, that what is done, is for virtue’s sake, not for the parties. . . . This (I say) heavenliness of hers . . . is so impossible to reach unto that I almost begin to submit myself unto the tyranny of despair, not knowing any way of persuasion. . . .
— surely an acute and subtle observation made by a man who had felt what he describes. For a moment the pale and legendary figures, Gynecia, Philoclea, and Zelmane, become alive; their featureless faces work with passion; Gynecia, realizing that she loves her daughter’s lover, foams into grandeur, “crying vehemently Zelmane help me, O Zelmane have pity on me”; and the old King, in whom the beautiful strange Amazon has awakened a senile amorosity, shows himself old and foolish, looking “very curiously upon himself, sometimes fetching a little skip, as if he had said his strength had not yet forsaken him”.
But that moment of illumination, as it dies down and the princes once more resume their postures and the shepherds apply themselves to their lutes, throws a curious light upon the book as a whole. We realize more clearly the boundaries within which Sidney was working. For a moment he could note and observe and record as keenly and exactly as any modern novelist. And then, after this one glimpse in our direction, he turns aside, as if he heard other voices calling him and must obey their commands. In prose, he bethinks himself, one must not use the common words of daily speech. In a romance one must not make princes and princesses feel like ordinary men and women. Humour is the attribute of peasants. They can behave ridiculously; they can talk naturally; like Dametas they can come “whistling, and counting upon his fingers, how many load of hay seventeen fat oxen eat up on a year”; but the language of great people must always be long-winded and abstract and full of metaphors. Further, they must either be heroes of stainless virtue, or villains untouched by humanity. Of human oddities and littleness they must show no trace. Prose also must be careful to turn away from what is actually before it. Sometimes for a moment in looking at Nature one may fit the word to the sight; note the heron “wagling” as it rises from the marsh, or observe the water-spaniel hunting the duck “with a snuffling grace”. But this realism is only to be applied to Nature and animals and peasants. Prose, it seems, is made for slow, noble, and generalized emotions; for the description of wide landscapes; for the conveyance of long, equable discourses uninterrupted for pages together by any other speaker. Verse, on the other hand, had quite a different office. It is curious to observe how, when Sidney wished to sum up, to strike hard, to register a single and definite impression, he turns to verse. Verse in the Arcadia performs something of the function of dialogue in the modern novel. It breaks up the monotony and strikes a high-light. In those snatches of song that are scattered about the interminable adventures of Pyrocles and Musidorus our interest is once more fanned into flame. Often the realism and vigour of the verse comes with a shock after the drowsy langour of the prose:
What needed so high spirits such mansions blind?
Or wrapt in flesh what do they here obtain,
But glorious name of wretched human kind?
Balls to the stars, and thralls to fortune’s reign;
Turn’d from themselves, infected with their cage,
Where death is fear’d, and life is held with pain.
Like players plac’t to fill a filthy stage. . . .
— one wonders what the indolent princes and princesses will make of that vehement speaking? Or of this:
A shop of shame, a Book where blots be rife,
This body is . . .
This man, this talking beast, this walking tree.
— thus the poet turns upon his languid company as if he loathed their self-complacent foppery; and yet must indulge them. For though it is clear that the poet Sidney had shrewd eyes — he talks of “hives of wisely painful bees”, and knew like any other country-bred Englishman “how shepherds spend their days. At blow-point, hot-cockles or else at keels” — still he must drone on about Plangus and Erona, and Queen Andromana and the intrigues of Amphialus and his mother Cecropia in deference to his audience. Incongruously enough, violent as they were in their lives, with their plots and their poisonings, nothing can be too sweet, too vague, too long-winded for those Elizabethan listeners. Only the fact that Zelmane had received a blow from a lion’s paw that morning can shorten the story and suggest to Basilius that it might be better to reserve the complaint of Klaius till another day.
Which she, perceiving the song had already worn out much time, and not knowing when Lamon would end, being even now stepping over to a new matter, though much delighted with what was spoken, willingly agreed unto. And so of all sides they went to recommend themselves to the elder brother of death.
And as the story winds on its way, or rather as the succession of stories fall on each other like soft snowflakes, one obliterating the other, we are much tempted to follow their example. Sleep weighs down our eyes. Half dreaming, half yawning, we prepare to seek the elder brother of death. What, then, has become of that first intoxicating sense of freedom? We who wished to escape have been caught and enmeshed. Yet how easy it seemed in the beginning to tell a story to amuse a sister — how inspiriting to escape from here and now and wander wildly in a world of lutes and roses! But alas, softness has weighed down our steps; brambles have caught at our clothing. We have come to long for some plain statement, and the decoration of the style, at first so enchanting, has dulled and decayed. It is not difficult to find the reason. High-spirited, flown with words, Sidney seized his pen too carelessly. He had no notion when he set out where he was going. Telling stories, he thought, was enough — one could follow another interminably. But where there is no end in view there is no sense of direction to draw us on. Nor, since it is part of his scheme to keep his characters simply bad and simply good without distinction, can he gain variety from the complexity of character. To supply change and movement he must have recourse to mystification. These changes of dress, these disguises of princes as peasants, of men as women, serve instead of psychological subtlety to relieve the stagnancy of people collected together with nothing to talk about. But when the charm of that childish device falls flat, there is no breath left to fill his sails. Who is talking, and to whom, and about what we no longer feel sure. So slack indeed becomes Sidney’s grasp upon these ambling phantoms that in the middle he has forgotten what his relation to them is — is it “I” the author who is speaking or is it “I” the character? No reader can be kept in bondage, whatever the grace and the charm, when the ties between him and the writer are so irresponsibly doffed and assumed. So by degrees the book floats away into the thin air of limbo. It becomes one of those half-forgotten and deserted places where the grasses grow over fallen statues and the rain drips and the marble steps are green with moss and vast weeds flourish in the flower-beds. And yet it is a beautiful garden to wander in now and then; one stumbles over lovely broken faces, and here and there a flower blooms and the nightingale sings in the lilac-tree.
Thus when we come to the last page that Sidney wrote before he gave up the hopeless attempt to finish the Arcadia, we pause for a moment before we return the folio to its place on the bottom shelf. In the Arcadia, as in some luminous globe, all the seeds of English fiction lie latent. We can trace infinite possibilities: it may take any one of many different directions. Will it fix its gaze upon Greece and princes and princesses, and seek as it might so nobly, the statuesque, the impersonal? Will it keep to simple lines and great masses and the vast landscapes of the epic? Or will it look closely and carefully at what is actually before it? Will it take for its heroes Darnetas and Mopsa, ordinary people of low birth and rough natural speech, and deal with the normal course of daily human life? Or will it brush through those barriers and penetrate within to the anguish and complexity of some unhappy woman loving where she may not love; to the senile absurdity of some old man tortured by an incongruous passion? Will it make its dwelling in their psychology and the adventures of the soul? All these possibilities are present in the Arcadia — romance and realism, poetry and psychology. But as if Sidney knew that he had broached a task too large for his youth to execute, had bequeathed a legacy for other ages to inherit, he put down his pen, midway, and left unfinished in all its beauty and absurdity this attempt to while away the long days at Wilton, telling a story to his sister.
Last updated Monday, December 22, 2014 at 10:56