The Chinese Written Character as a Medium for Poetry

wire, a roadway, and a clearing-house are only varying channels whichcommunication forces for itself. This is more than analogy, it is identity ofstructure. Nature furnishes her own clues. Had the world not been full ofhomologies, sympathies, and identities, thought would have been starved andlanguage chained to the obvious. There would have been no bridge whereby tocross from the minor truth of the seen to the major truth of the unseen. Not morethan a few hundred roots out of our large vocabularies could have dealt directlywith physical processes. These we can fairly well identify in primitive Sanskrit.They are, almost without exception, vivid verbs. The wealth of European speechgrew, following slowly the intricate maze of nature’s suggestions and affinities.Metaphor was piled upon metaphor in quasi-geological strata.Metaphor, the revealer of nature, is the very substance of poetry. The knowninterprets the obscure, the universe is alive with myth. The beauty and freedomof the observed world furnish a model, and life is pregnant with art. It is a mistaketo suppose, with some philosophers of aesthetics, that art and poetry aim to dealwith the general and the abstract. This misconception has been foisted upon usby mediaeval logic. Art and poetry deal with the concrete of nature, not with rowsof separate "particulars," for such rows do not exist. Poetry is finer than prosebecause it gives us more concrete truth in the same compass of words.Metaphor, its chief device, is at once the substance of nature and of language.Poetry only does consciously 8 what the primitive races did unconsciously. Thechief work of literary men in dealing with language, and of poets especially, liesin feeling back along the ancient lines of advance. 9 He must do this so that hemay keep his words enriched by all their subtle undertones of meaning. Theoriginal metaphors stand as a kind of luminous background, giving color andvitality, forcing them closer to the concreteness of natural processes.Shakespeare everywhere teems with examples. For these reasons poetry wasthe earliest of the world arts; poetry, language and the care of myth grew uptogether.I have alleged all this because it enables me to show clearly why I believe thatthe Chinese written language has not only absorbed the poetic substance ofnature and built with it a second world of metaphor, but has, through its verypictorial visibility, been able to retain its original creative poetry with far morevigor and vividness than any phonetic tongue. Let us first see how near it is tothe heart of nature in its metaphors. We can watch it passing from the seen tothe unseen, as we saw it passing from verb to pronoun. It retains the primitivesap, it is not cut and dried like a walking-stick. We have been told that thesepeople are cold, practical, mechanical, literal, and without a trace of imaginativegenius. That is nonsense.Our ancestors built the accumulations of metaphor into structures of languageand into systems of thought. Languages to-day are thin and cold because we