Imaginations and Reveries | Page 3

beginning to be felt, less as a political movement than as a spiritual force. It seems to be gathering itself together, joining men who were hostile before, in a new intellectual fellowship: and if all these could unite on fundamentals, it would be possible in a generation to create a national Ideal in Ireland, or rather to let that spirit incarnate fully which began among the ancient peoples, which has haunted the hearts and whispered a dim revelation of itself through the lips of the bards and peasant story tellers.
Every Irishman forms some vague ideal of his country, born from his reading of history, or from contemporary politics, or from imaginative intuition; and this Ireland in the mind it is, not the actual Ireland, which kindles his enthusiasm. For this he works and makes sacrifices; but because it has never had any philosophical definition or a supremely beautiful statement in literature which gathered all aspirations about it, the ideal remains vague. This passionate love cannot explain itself; it cannot make another understand its devotion. To reveal Ireland in clear and beautiful light, to create the Ireland in the heart, is the province of a national literature. Other arts would add to this ideal hereafter, and social life and politics must in the end be in harmony. We are yet before our dawn, in a period comparable to Egypt before the first of her solemn temples constrained its people to an equal mystery, or to Greece before the first perfect statue had fixed an ideal of beauty which mothers dreamed of to mould their yet unborn children. We can see, however, as the ideal of Ireland grows from mind to mind, it tends to assume the character of a sacred land. The Dark Rosaleen of Mangan expresses an almost religious adoration, and to a later writer it seems to be nigher to the spiritual beauty than other lands:
And still the thoughts of Ireland brood Upon her holy quietude.
The faculty of abstracting from the land their eyes beheld another Ireland through which they wandered in dream, has always been a characteristic of the Celtic poets. This inner Ireland which the visionary eye saw was the Tirnanoge, the Country of Immortal Youth, for they peopled it only with the young and beautiful. It was the Land of the Living Heart, a tender name which showed that it had become dearer than the heart of woman, and overtopped all other dreams as the last hope of the spirit, the bosom where it would rest after it had passed from the fading shelter of the world. And sure a strange and beautiful land this Ireland is, with a mystic beauty which closes the eyes of the body as in sleep, and opens the eyes of the spirit as in dreams and never a poet has lain on our hillsides but gentle, stately figures, with hearts shining like the sun, move through his dreams, over radiant grasses, in an enchanted world of their own: and it has become alive through every haunted rath and wood and mountain and lake, so that we can hardly think of it otherwise than as the shadow of the thought of God. The last Irish poet who has appeared shows the spiritual qualities of the first, when he writes of the gray rivers in their "enraptured" wanderings, and when he sees in the jeweled bow which arches the heavens--
The Lord's seven spirits that shine through the rain
This mystical view of nature, peculiar to but one English poet, Wordsworth is a national characteristic; and much in the creation of the Ireland in the mind is already done, and only needs retelling by the new writers. More important, however, for the literature we are imagining as an offset to the cosmopolitan ideal would be the creation of heroic figures, types, whether legendary or taken from history, and enlarged to epic proportions by our writers, who would use them in common, as Cuculain, Fionn, Ossian, and Oscar were used by the generations of poets who have left us the bardic history of Ireland, wherein one would write of the battle fury of a hero, and another of a moment when his fire would turn to gentleness, and another of his love for some beauty of his time, and yet another tell how the rivalry of a spiritual beauty made him tire of love; and so from iteration and persistent dwelling on a few heroes, their imaginative images found echoes in life, and other heroes arose, continuing their tradition of chivalry.
That such types are of the highest importance, and have the most ennobling influence on a country, cannot be denied. It was this idea led Whitman to exploit himself as the typical American. He felt that what he termed a "stock personality" was needed to