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    Goblins and Pagodas
    Goblins and Pagodas
    Goblins and Pagodas
    Ebook117 pages59 minutes

    Goblins and Pagodas

    By John Gould Fletcher

    ()

    Read preview
    LanguageEnglish
    PublisherArchive Classics
    Release dateNov 25, 2013
    Goblins and Pagodas

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      Book preview

      Goblins and Pagodas - John Gould Fletcher

      The Project Gutenberg EBook of Goblins and Pagodas, by John Gould Fletcher

      This eBook is for the use of anyone anywhere at no cost and with

      almost no restrictions whatsoever. You may copy it, give it away or

      re-use it under the terms of the Project Gutenberg License included

      with this eBook or online at www.gutenberg.net

      Title: Goblins and Pagodas

      Author: John Gould Fletcher

      Release Date: February 13, 2012 [EBook #38856]

      Language: English

      *** START OF THIS PROJECT GUTENBERG EBOOK GOBLINS AND PAGODAS ***

      Produced by Marc D'Hooghe at http://www.freeliterature.org

      (From images generously made available by the Internet

      Archive.)

      GOBLINS AND PAGODAS

      BY

      JOHN GOULD FLETCHER

      BOSTON AND NEW YORK

      HOUGHTON MIFFLIN COMPANY

      The Riverside Press Cambridge

      1916

      TO

      DAISY

      Contents

      Thanks are due to the editor of The Egoist, London, for permission to reprint The Ghosts of an Old House and the Orange Symphony; to the editor of Poetry, Chicago, for permission to reprint the Blue Symphony; and to the editor of The Little Review for permission to reprint the Green Symphony.

      PREFACE

      I

      The second half of the nineteenth and the first fifteen years of the twentieth century have been a period of research, of experiment, of unrest and questioning. In science and philosophy we have witnessed an attempt to destroy the mechanistic theory of the universe as developed by Darwin, Huxley, and Spencer. The unknowable has been questioned: hypotheses have been shaken: vitalism and idealism have been proclaimed. In the arts, the tendency has been to strip each art of its inessentials and to disclose the underlying basis of pure form. In life, the principles of nationality, of racial culture, of individualism, of social development, of Christian ethics, have been discussed, debated, and examined from top to bottom, until at last, in the early years of the twentieth century we find all Europe, from the leaders of thought down to the lowest peasantry, engaged in a mutually destructive war of which few can trace the beginnings and none can foresee the end. The fundamental tenets of thought, art, life itself, have been shaken: and either civilization is destined to some new birth, or mankind will revert to the conditions of life, thought, and social intercourse that prevailed in the Stone Age.

      Like all men of my generation, I have not been able to resist this irresistible upheaval of ideas and of forces: and, to the best of my ability, I have tried to arrive at a clear understanding of the fundamentals of æsthetic form as they affect the art to which I have felt myself instinctively akin, the art of poetry. That I have completely attained such an understanding, it would be idle for me to pretend: but I believe, and have induced some others to believe, that I have made a few steps towards it. Some explanation of my own peculiar theories and beliefs is necessary, however, to those who have not specifically concerned themselves with poetry, or who suffer in the presence of any new work of art from the normal human reaction that all art principles are so essentially fixed that any departure from accepted ideas is madness.

      II

      The fundamental basis of all the arts is the same. In every case art aims at the evocation of some human emotion in the spectator or listener. Where science proceeds from effects to causes, and seeks to analyze the underlying causes of emotion and sensation, art reverses the process, and constructs something that will awaken emotions, according to the amount of receptiveness with which other people approach it. Thus architecture gives us feelings of density, proportion, harmony: sculpture, of masses in movement; painting, of colour-harmony and the ordered composition of lines and volumes from which arise sensations of space: music, of the development of sounds into melodic line, harmonic progression, tonal opposition, and symphonic structure.

      The object of literature is not dissimilar from these. Literature aims at releasing the emotions that arise from the formed words of a certain language. But literature is probably a less pure—and hence more universal—art than any I have yet examined. For it must be apparent to all minds that not only is a word a definite symbol of some fact, but also it is a thing capable of being spoken or sounded. The art of literature, then, in so far as it deals with definite statements, is akin to painting or photography: in so far as it deals with sounded words, it is akin to music.

      III

      Literature, therefore, does not depend on the peculiar twists and quirks which represent, to those who can read, the words, but rather on the essential words themselves. In fact, literature existed before writing; and writing in itself is of no value from the purely literary sense, except in so far as it preserves and transmits from generation to generation the literary emotion. Style, whether in prose or poetry, is an attempt to develop this essentially musical

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