Digitized by tine Internet Arcliive in 2007 witli funding from IVIicrosoft Corporation littp://www.arcliive.org/details/essaysincriticisOOarnoiala ESSAYS IN CRITICISM ESSAYS IN CKITICISM SECOND SERIES fl^ BY MATTHEAV ARNOLD fLontion MACMILLAN AND CO., Ltd. NEW YORK : MACMILLAN & CO. 1896 All rights reserved First Edition (Crcnvn Zvo) 1888 Reprinted 1889, 1891 Firtt printed in tlie Eversley Series 1895 ; Reprinted 1896 PREFATOKY NOTE The collection of Essays contained in this volume was made by Mr. Arnold himself, and they are, therefore, in the opinion of a critic, at once com- petent and severe, worthy to be collected and preserved. Severe is perhaps hardly an epithet ever properly applicable to Mr. Arnold ; but his judgment was as serene and unbiassed in regard to his own compositions as in regard to those of any author whom from time to time he criticised. But it was further characteristic of him to be content to say one thing at one time ; and he has been accused, not perhaps entirely without reason, of repeating the same thing in the same words, sometimes almost to the weariness of the reader. This habit, however, had at least the effect of fixing in the mind the phrases. vi PREFATORY NOTE and therefore the thoughts or ideas which the phrases conveyed, and with which for the moment he was concerned. But in order to gather the mind of Mr. Arnold on the whole of any subject, literary, political, or religious, it is often necessary to read more than one paper, because in each paper he frequently deals with one aspect of a subject only, which requires, for sound and com- plete judgment, to be supplemented or completed by another. It is especially necessary to bear this in mind in reading what has become his last utterance on Shelley. In Shelley's case he is known to have intended to write some- thing more ; not, indeed, to alter or to qualify what he said, but to say something else which he thought also true, and which needed saying. This is not the place to attempt a character of Mr. Arnold, even as a critic or an essayist. A preface would expand into a volume if it attempted to indicate even the materials for thought on such subjects, handled by Mr. Arnold, as Poetry, Gray, Keats, Shelley, Byron, Wordsworth (to name no PREFATORY NOTE vii others), which are the subjects of some of the Essays here collected. This is the last volume he ever put together, and it contains some of his ripest, best, most interesting writing. Perhaps it is well to add that these few words are contributed at the request of others. Inane munus indeed, but all that a friend can do ! C. CONTENTS I. The Study op Poetry IT. Milton III. Thomas Gray IV. John Keats . V. Wordsworth VI. Byron VII. Shelley VIII. Count Leo Tolstoi IX. Amiel . 1 56 69 100 122 163 205 253 300 THE STUDY OF POETRY^ 'The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes on, will find an ever surer and surer stay. There is not a creed which is not shaken, not an accredited dogma .which is not shown to be questionable, not a received tradition which does not threaten to dissolve. Our religion has materialised itself in the fact, in the supposed fact ; it has attached its emotion to the fact, and now the fact is failing it. But for poetry the idea is everything ; the rest is a world of illusion, of divine illusion. Poetry attaches its emotion to ^ Published in 1880 as the General Introduction to Tfie English Poets, edited by T. H. Ward. S> B 2 ESSAYS IN CRITICISM i the idea ; the idea is the fact. The strongest part of our religion to-day is its unconscious poetry.' Let me be permitted to quote these words of my own, as uttering the thought which should, in my opinion, go with us and govern us in all our study of poetry. In the present work it is the course of one great contributory stream to the world-river of poetry that we are invited to follow. We are here invited to trace the stream of English poetry. But whether we set ourselves, as here, to follow only one of the several streams that make the mighty river of poetry, or whether we seek to know them all, our governing thought should be the same. We should conceive of poetry worthily, and more highly than it has been the custom to conceive of it. We should conceive of it as cap- able of higher uses, and called to higher destinies, than those which in general men have assigned to it hitherto. More and more mankind will dis- cover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without poetry, our science will appear incomplete ; and I THE STUDY OF POETRY 8 most of what now passes with us for religion and philosophy will be replaced by poetry. Science, I say, will appear incomplete without it. For finely and truly does Wordsworth call poetry ' the impassioned expression which is in the counte- nance of all science ' ; and what is a countenance without its expression ? Again, Wordsworth finely and truly calls poetry ' the breath and finer spirit of all knowledge ' : our religion, parading evidences such as those on which the popular mind relies now; our philosophy, pluming itself on its reasonings about causation and finite and infinite being; what are they but the shadows and dreams and false shows of knowledge ? The day will come when we shall wonder at ourselves for having trusted to them, for having taken them seriously ; and the more we perceive their hollo w- ness, the more we shall prize ' the breath and finer spirit of knowledge ' offered to us by poetry. But if we conceive thus highly of the destinies of poetry, we must also set our standard for poetry high, since poetry, to be capable of fulfilling such 4 ESSAYS IN CRITICISM i high destinies, must be poetry of a high order of excellence. We must accustom ourselves to a high standard and to a strict judgment. Sainte- Beuve relates that Napoleon one day said, when somebody was spoken of in his presence as a charlatan : ' Charlatan as much as you please ; but where is there Twt charlatanism?' — 'Yes/ answers Sainte-Beuve, 'in politics, in the art of governing mankind, that is perhaps true. But in the order of thought, in art, the glory, the eternal honour is that charlatanism shall find no en- trance ; herein lies the inviolableness of that noble portion of man's being.' It is admirably said, and let us hold fast to it. In poetry, which is thought and art in one, it is the glory, the eternal honour, that charlatanism shall find no entrance ; that this noble sphere be kept inviolate and inviolable. Charlatanism is for confusing or obliterating the distinctions between excellent and inferior, sound and imsound or only half- sound, true and untrue or only half-true. It is charlatanism, conscious or unconscious, whenever y THE STUDY OF POETRY we confuse or obliterate these. And in poetry, more than anywhere else, it is unpermissible to confuse or obliterate them. For in poetry the distinction between excellent and inferior, sound and unsound or only half-sound, true and untrue or only half-true, is of paramount importance. It is of paramount importance because of the high destinies of poetry. In poetry, as a criticism of life under the conditions fixed for such a criticism by the laws of poetic truth and poetic beauty, the spirit of our race will find, we have said, as time goes on and as other helps fail, its consolation and stay. But the consolation and stay will be of power in proportion to the power of the criticism of life. And the criticism of life will be of power in proportion as the poetry conveying it is excellent rather than inferior, sound rather than unsound or half-sound, true rather than untrue or half-true. The best poetry is what we want; the best poetry will be found to have a power of forming, sustaining, and delighting us, as nothing else can. A clearer, deeper sense of the best in poetry, and \ ESSAYS IN CRITICISM of the strength and joy to be drawn from it, is the most precious benefit which we can gather from a poetical collection such as the present. And yet in the very nature and conduct of such a collection there is inevitably something which tends to obscure in us the consciousness of what our benefit should be, and to distract us from the pursuit of it. We should therefore steadily set it before our minds at the outset, and should compel ourselves to revert constantly to the thought of it as we proceed. Yes ; constantly in reading poetry, a sense for the best, the really excellent, and of the strength and joy to be drawn from it, should be present in our minds and should govern our estimate of what we read. But this real estimate, the only true one, is liable to be superseded, if we are not watch- ful, by two other kinds of estimate, the historic estimate and the personal estimate, both of which are fallacious. A poet or a poem may count to us historically, they may count to us on grounds per- sonal to ourselves, and they may count to us reaUy. They may count to us historically. The I THE STUDY OF POETRY 7 course of development of a nation's language, thought, and poetry, is profoundly interesting ; and by regarding a poet's work as a stage in this course of development we may easily bring our- selves to make it of more importance as poetry than in itself it really is, we may come to use a language of quite exaggerated praise in criticising it; in short, to over-rate it. So arises in our poetic judgments the fallacy caused by the esti- mate which we may call historic. Then, again, a poet or a poem may count to us on grounds per- sonal to ourselves. Our personal affinities, likings, and circumstances, have great power to sway our estimate of this or that poet's work, and to make us attach more importance to it as poetry than in itself it really possesses, because to us it is, or has been, of high importance. Here also we over-rate the object of our interest, and apply to it a language of praise which is quite exaggerated. And thus we get the source of a second fallacy in our poetic judgments — the fallacy caused by an estimate which we may call personal. 8 ESSAYS IN CRITICISM i Both fallacies are natural. It is evident hov» naturally the study of the history and develop- ment of a poetry may incline a man to pause over reputations and works once conspicuous hut now ohscure, and to quarrel with a careless public for skipping, in obedience to mere tradition and habit, from one famous name or work in its national poetry to another, ignorant of what it misses, and of the reason for keeping what it keeps, and of the whole process of growth in its poetry. The French have become diligent students of their own early poetry, which they long neglected; the study makes many of them dissatisfied with their so- called classical poetry, the court-tragedy of the seventeenth century, a poetry which Pellisson long ago reproached with its want of the true poetic stamp, with its politesse sUrile et rampante, but which nevertheless has reigned in France as absolutely as if it had been the perfection of classical poetry indeed. The dissatisfaction is natural ; yet a lively and accomplished critic, M. Charles d'H^ricault, the editor of Clement Marot, I THE STUDY OF POETRY 9 goes too far when he says that ' the cloud of glory playing round a classic is a mist as dangerous to the future of a literature as it is intolerable for the purposes of history.' ' It hinders,' he goes on, ' it hinders us from seeing more than one single print, the culminating and exceptional point ; the summary, fictitious and arbitrary, of a thought and of a work. It substitutes a halo for a physiog- nomy, it puts a statue where there was once a man, and hiding from us all trace of the labour, the attempts, the weaknesses, the failures, it claims not study but veneration ; it does not show us how the thing is done, it imposes upon us a model. Above all, for the historian this crea- tion of classic personages is inadmissible ; for it withdraws the poet from his time, from his proper life, it breaks historical relationships, it blinds criticism by conventional admiration, and renders the investigation of literary origins unacceptable. It gives us a human personage no longer, but a God seated immovable amidst His perfect work, like Jupiter on Olympus ; and hardly will it be 10 ESSAYS m CRITICISM i possible for the young student, to whom such work is exhibited at such a distance from him, to believe that it did not issue ready made from that divine head.' All this is brilliantly and tellingly said, but we must plead for a distinction. Everything depends on the reality of a poet's classic character. If he is a dubious classic, let us sift him ; if he is a false classic, let us explode him. But if he is a real classic, if his work belongs to the class of the very best (for this is the true and right meaning of the word classic, classical), then the great thing for us is to feel and enjoy his work as deeply as ever we can, and to appreciate the wide difference be- tween it and all work which has not the same high character. This is what is salutary, this is what is formative ; this is the great benefit to be got from the study of poetry. Everything which interferes with it, which hinders it, is injurious. True, we must read our classic with open eyes, and not with eyes blinded with superstition ; we must perceive when his work comes short, when it I THE STUDY OF POETRY 11 drops out of the class of the very best, and we must rate it, in such cases, at its proper value. But the use of this negative criticism is not in itself, it is entirely in its enabling us to have a clearer sense and a deeper enjoyment of what is truly excellent. To trace the labour, the attempts, the weaknesses, the failures of a genuine classic, to acquaint oneself with his time and his life and his historical relationships, is mere literary dilet- tantism unless it has that clear sense and deeper enjoyment for its end. It may be said that the more we know about a classic the better we shall enjoy him ; and, if we lived as long as Methuselah and had all of us heads of perfect clearness and wills of perfect steadfastness, this might be true in fact as it is plausible in theory. But the case here is much the same as the case with the Greek and Latin studies of our schoolboys. The elaborate philological groundwork which we require them to lay is in theory an admirable preparation for appreciating the Greek and Latin authors worthily. The more thoroughly we lay the groundwork, the 12 ESSAYS IN CRITICISM i better we shall be able, it may be said, to enjoy the authors. True, if time were not so short, and schoolboys' wits not so soon tired and their power of attention exhausted ; only, as it is, the elaborate philological preparation goes on, but the authors are little known and less enjoyed. So with the investigator of 'historic origins' in poetry. He ought to enjoy the true classic all the better for his investigations ; he often is distracted from the enjoyment of the best, and with the less good he overbusies himseK, and is prone to over-rate it in proportion to the trouble which it has cost him. The idea of tracing historic origins and his- torical relationships cannot be absent from a compilation like the present. And naturally the poets to be exhibited in it will be assigned to those persons for exhibition who are known to prize them highly, rather than to those who have no special inclination towards them. Moreover the very occupation with an author, and the busi- ness of exhibiting him, disposes us to affirm and amplify his importance. In the present work, I THE STUDY OF POETRY 18 therefore, we are sure of frequent temptation to adopt the historic estimate, or the personal esti- mate, and to forget the real estimate; which latter, nevertheless, we must employ if we are to make poetry yield us its full benefit. So high is that benefit, the benefit of clearly feeling and of deeply enjoying the really excellent, the truly classic in poetry, that we do well, I say, to set it fixedly before our minds as our object in studying poets and poetry, and to make the desire of at- taining it the one principle to which, as the Imitation says, whatever we may read or come to know, we always return. Cum multa legeris et cog- noveris, ad unum semper oportet redire principium. The historic estimate is likely in especial to affect our judgment and our language when we are dealing with ancient poets ; the personal estimate when we are dealing with poets our con- temporaries, or at any rate modern. The exag- gerations due to the historic estimate are not in themselves, perhaps, of very much gravity. Their report hardly enters the general ear ; probably 14 ESSAYS IN CRITICISM I they do not always impose even on the literary men who adopt them. But they lead to a dan- gerous abuse of language. So we hear Caedmon, amongst our own poets, compared to Milton. 1 have already noticed the enthusiasm of one accom- ■ plished French critic for ' historic origins.' An- other eminent French critic, M. Vitet, comments upon that famous document of the early poetry of his nation, the Cfhanson de Roland. It is indeed a most interesting document. The jocvlator or jongleur Taillefer, who was with William the Con- queror's army at Hastings, marched before the Norman troops, so said the tradition, singing * of Charlemagne and of Roland and of Oliver, and of the vassals who died at Eoncevaux' ; and it is suggested that in the Chanson de Roland by one Turoldus or Th^roulde, a poem preserved in a manuscript of the twelfth century in the Bodleian Library at Oxford, we have certainly the matter, perhaps even some of the words, of the chant which Taillefer sang. The poem has vigour and freshness; it is not without pathos. But M, I THE STUDY OF POETRY 16 Vitet is not satisfied with seeing in it a document of some poetic value, and of very high historic and linguistic value ; he sees in it a grand and beautiful work, a monument of epic genius. In its general design he finds the grandiose conception, in its details he finds the constant union of sim- plicity with greatness, which are the marks, he truly says, of the genuine epic, and distinguish it from the artificial epic of literary ages. One thinks of Homer ; this is the sort of praise which is given to Homer, and justly given. Higher praise there cannot well be, and it is the praise due to epic poetry of the highest order only, and to no other. Let us try, then, the Chanson de Roland at its best. Eoland, mortally wounded, lays himself down under a pine-tree, with his face turned towards Spain and the enemy — * De plusurs choses k remembrer li prist, De tautes teres cume li bers cunquist, De dulce France, des humes de sun lign, De Carlemagne sun seignor ki I'nurrit.'^ ^ ' Then began he to call many things to remembrance, — all the lands which his valour conquered, and pleasant France, 16 ESSAYS m CRITICISM l That is primitive work, I repeat, with an unde- niable poetic quality of its own. It deserves such praise, and such praise is sufi&cient for it. But now turn to Homer — 1^^ "fls (jidro' Tovs 8 -qSr} KaTe;(cv (f>v it was, ' with the ambition of the intellect,' It is, as he again says, 'the mighty abstract idea of Beauty in all things.' And in his last days Keats wrote : ' If I should die, I have left no immortal work behind me — nothing to make my friends proud of my memory ; hut I have loved the priri- ciple of beauty in all things, and if I had had time I would have made myself remembered.' He has made himself remembered, and remembered as no merely sensuous poet could be ; and he has done it by having ' loved the principle of beauty in all things.' For to see things in their beauty is to see things in their truth, and Keats knew it. ' What the Imagination seizes as Beauty must be Truth,' he says in prose; and in immortal verse he has said the same thing — * Beauty is truth, truth beauty, — that is all Ye know on earth, and all ye need to know.' No, it is not all ; but it is true, deeply true, and we have deep need to know it. And with beauty goes not only truth, joy goes with her also ; and IV JOHN KEATS 117 this too Keats saw and said, as in the famous first line of his Endymion it stands written — ' A thing of beauty is a joy for ever.' It is no small thing to have so loved the principle of beauty as to perceive the necessary relation of beauty with truth, and of both with joy. Keats was a great spirit, and counts for far more than many even of his admirers suppose, because this just and high perception made itself clear to him. Therefore a dignity and a glory shed gleams over his Hfe, and happiness, too, was not a stranger to it. ' Nothing startles me beyond the moment,' he says ; ' the setting sun will always set me to rights, or if a sparrow come before my window I take part in its existence and pick about the gravel.' But he had terrible bafQers, — con- suming disease and early death. 'I think,' he writes to Eeynolds, * if I had a free and healthy and lasting organisation of heart, and lungs as strong as an ox's, so as to be able to bear unhurt the shock of extreme thought and sensation with- 118 ESSAYS IN CRITICISM r» out weariness, I could pass my life very nearly alone, though it should last eighty years. But I feel my body too weak to support me to the height ; I am obliged continually to check myself, and be nothing.' He had against him even more than this ; he had against him the blind power which we call Fortune. '0 that something for- tunate,' he cries in the closing months of his Kfe, ' had ever happened to me or my brothers ! — then I might hope, — but despair is forced upon me as a habit.' So bafSed and so sorely tried, — while laden, at the same time, with a mighty formative thought requiring health, and many days, and favouring circumstances, for its adequate mani- festation, — what wonder if the achievement of Keats be partial and incomplete ? Nevertheless, let and hindered as he was, and with a short term and imperfect experience, — 'young,* as he says of himself, 'and writing at random, straining after particles of light in the midst of a great darkness, without knowing the bearing of any one assertion, of any one opinion,' rv JOHN KEATS 119 — notwithstanding all this, by virtue of his feeling for beauty and of his perception of the vital con- nection of beauty with truth, Keats accomplished 80 much in poetry, that in one of the two great modes by which poetry interprets, in the faculty of naturalistic interpretation, in what we call natural magic, he ranks with Shakespeare. ' The tongue of Kean,' he says in an admirable criticism of that great actor and of his enchanting elocution, 'the tongue of Kean must seem to have robbed the Hybla bees and left them honeyless. There is an indescribable gusto in his voice ; — in Bichard, " Be stirring with the lark to-morrow, gentle Nor- folk!" comes from him as through the morning atmosphere towards which he yearns.' This magic, this ' indescribable gusto in the voice,' Keats him- self, too, exhibits in his poetic expression. No one else in English poetry, save Shakespeare, has in expression quite the fascinating felicity of Keats, his perfection of loveliness. 'I think,' he said humbly, ' I shall be among the English poets after my death.' He is ; he is with Shakespeare. 120 ESSAYS IN CRITICISM iv For the second great half of poetic interpreta- tion, for that faculty of moral interpretation which is in Shakespeare, and is informed by him with the same power of beauty as his naturalistic in- terpretation, Keats was not ripe. For the archi- tectonics of poetry, the faculty which presides at the evolution of works like the Agamemnon or Lear, he was not ripe. His Endymion, as he himself well saw, is a failure, and his Hyperion, fine things as it contains, is not a success. But in shorter things, where the matured power of moral interpretation, and the high architectonics which go with complete poetic development, are not required, he is perfect. The poems which follow prove it, — prove it far better by themselves than anything which can be said about them will prove it. Therefore I have chiefly spoken here of the man, and of the elements in him which explain the production of such work. Shakespearian work it is ; not imitative, indeed, of Shakespeare, but Shakespearian, because its expression has that rounded perfection and felicity of loveliness of IV JOHN KEATS 121 which Shakespeare is the great master. To show such work is to praise it. Let us now end by delighting ourselves with a fragment of it, too broken to find a place among the pieces which follow, but far too beautiful to be lost. It is a fragment of an ode for May-day. might I, he cries to May, might I '. . . thy smiles Seek as they once were sought, in Grecian isles, By bards who died content on pleasant sward, Leaving great verse unto a little clan ! 0, give me their old vigour, and unheard Save of the quiet primrose, and the span Of heaven, and few years, Bounded by thee, my song should die away, Content as theirs. Rich in the simple worship of a day ! ' V WORDSWORTH^ I REMEMBER hearing Lord Macaulay say, aftei Wordsworth's death, when subscriptions were being collected to found a memorial of him, that ten years earlier more money could have been raised in Cambridge alone, to do honour to Words- worth, than was now raised all through the country. Lord Macaulay had, as we know, his own heightened and telling way of putting things, and we must always make allowance for it. But probably it is true that Wordsworth has never, either before or since, been so accepted and popular, so established in possession of the minds of all who profess to care for poetry, as he was ^ The preface to The Poems oj Wordsworth, chosen and edited by Matthew Arnold, 1879. T WORDSWORTH 123 between the years 1830 and 1840, and at Cam- bridge. From the very first, no doubt, he had his believers and witnesses. But I have myself heard him declare that, for he knew not how many years, his poetry had never brought him in enough to buy his shoe-strings. The poetry-reading public was very slow to recognise him, and was very easily drawn away from him. Scott effaced him with this public, Byron effaced him. The death of Byron, seemed, however, to make an opening for Wordsworth. Scott, who had for some time ceased to produce poetry himself, and stood before the public as a great novelist ; Scott, too genuine himself not to feel the profound genuineness of Wordsworth, and with an instinct- ive recognitijn of his firm hold on nature and of his local truth, always admired him sincerely, and praised him generously. The influence of Cole- ridge upon young men of ability was then power- ful, and was still gathering strength ; this influence told entirely in favour of Wordsworth's poetry. Cambridge was a place where Coleridge's influence 124 ESSAYS IN CRITICISM v had great action, and where Wordsworth's poetry, therefore, flourished especially. But even amongst the general public its sale grew large, the emi- nence of its author was widely recognised, and Rydal Mount became an object of pilgrimage. I remember Wordsworth relating how one of the pilgrims, a clergyman, asked him if he had ever written anything besides the Guide to the Lakes. Yes, he answered modestly, he had written verses. Not every pilgrim was a reader, but the vogue was established, and the stream of pilgrims came, Mr. Tennyson's decisive appearance dates from 1842. One cannot say that he effaced Wordsworth as Scott and Bjrron had effaced him. The poetry of Wordsworth had been so long before the public, the suffrage of good judges was so steady and so strong in its favour, that by 1842 the verdict of posterity, one may almost say, had been already pronounced, and Wordsworth's English fame was secure. But the vogue, the ear and applause of the great body of poetry-readers, never quite thoroughly perhaps his, he gradually lost more and more, and Mr V WORDSWORTH 125 Tennyson gained them. Mr, Tennyson drew to himself, and away from Wordsworth, the poetry- reading public, and the new generations. Even in 1850, when Wordsworth died, this diminution of popularity was visible, and occasioned the remark of Lord Macaulay which I quoted at starting. The diminution has continued. The influence of Coleridge has waned, and Wordsworth's poetry can no longer draw succour from this ally. The poetry has not, however, wanted eulogists ; and it may be said to have brought its eulogists luck, for almost every one who has praised Wordsworth's poetry has praised it well. But the public has re- mained cold, or, at least, undetermined. Even the abundance of Mr. Palgrave's fine and skil- fully chosen specimens of Wordsworth, in the Golden Treasury, surprised many readers, and gave offence to not a few. To tenth-rate critics and compilers, for whom any violent shock to the public taste would be a temerity not to be risked, it is still quite permissible to speak of Wordsworth's poetry, not only with ignorance, but 126 ESSAYS IN CRITICISM v with impertinence. On the Continent he is almost unknown. I cannot think, then, that Wordsworth has, up to this time, at all obtained his deserts. ' Glory.' said M. Kenan the other day, 'glory after all is the thing which has the best chance of not being altogether vanity.' Wordsworth was a homely man, and himseK would certainly never have thought of talking of glory as that which, after all, has the best chance of not being altogether vanity. Yet we may well allow that few things are less vain than real glory. Let us conceive of the whole group of civilised nations as being, for intellectual and spiritual purposes, one great confederation, bound to a joint action and working towards a common result ; a confederation whose members have a due knowledge both of the past, out of which they all proceed, and of one another. This was the ideal of Goethe, and it is an ideal which will impose itseK upon the thoughts of our modem societies more and more. Then to be recognised by the verdict of such a confederation as a master r WORDSWORTH 127 or even as a seriously and eminently worthy work- man, in one's own line of intellectual or spiritual activity, is indeed glory ; a glory which it would be difficult to rate too highly. For what could be more beneficent, more salutary? The world is forwarded by having its attention fixed on the best things ; and here is a tribunal, free from all suspicion of national and provincial partiality, putting a stamp on the best things, and recom- mending them for general honour and acceptance. A nation, again, is furthered by recognition of its real gifts and successes ; it is encouraged to develop them further. And here is an honest verdict, tell- ing us which of our supposed successes are really, in the judgment of the great impartial world, and not in our own private judgment only, successes, and which are not. It is so easy to feel pride and satisfaction in one's own things, so hard to make sure that one is right in feeling it! We have a great empira But so had Nebuchadnezzar. We extol the ' un- rivalled happiness' of our national civilisation. 128 ESSAYS m CRITICISM v But then comes a candid friend, and remarks that our upper class is materialised, our middle class vulgarised, and our lower class brutalised. We are proud of our painting, our music. But we find that in the judgment of other people our painting is questionable, and our music non-existent. We are proud of our men of science. And here it turns out that the world is with us ; we find that in the judgment of other people, too, Newton among the dead, and Mr. Darwin among the living, hold as high a place as they hold in our national opinion, Finally, we are proud of our poets and poetry. Now poetry is nothing less than the most perfect speech of man, that in which he comes nearest to being able to utter the truth. It is no small thing, therefore, to succeed eminently in poetry. And so much is required for duly estimating suc- cess here, that about poetry it is perhaps hardest to arrive at a sure general verdict, and takes longest. Meanwhile, our own conviction of the superiority of our national poets is not decisive, is almost certain to be mingled, as we see constantly r WORDSWORTH 129 in English eulogy of Shakespeare, with much of provincial infatuation. And we know what was the opinion current amongst our neighbours the French — 'people of taste, acuteness, and quick literary tact — not a hundred years ago, about our great poets. The old Biographie Universelle notices the pretension of the English to a place for their poets among the chief poets of the world, and says that this is a pretension which to no one but an Englishman can ever seem admissible. And the scornful, disparaging things said by foreigners about Shakespeare and Milton, and about our national over-estimate of them, have been often quoted, and will be in every one's remembrance. A great change has taken place, and Shake- speare is now generally recognised, even in France, as one of the greatest of poets. Yes, some anti- Gallican cynic will say, the French rank him with Comeille and with Victor Hugo ! But let me have the pleasure of quoting a sentence about Shakespeare, which I met with by accident not long ago in the Correspondant, a French review 180 ESSAYS IN CRITICISM v which not a dozen English people, I suppose, look at. The writer is praising Shakespeare's prose. With Shakespeare, he says, ' prose comes in when- ever the subject, being more familiar, is unsuited to the majestic English iambic' And he goes on : ' Shakespeare is the king of poetic rhythm and style, as well as the king of the realm of thought ; along with his dazzling prose, Shake- speare has succeeded in giving us the most varied, the most harmonious verse which has ever sounded upon the human ear since the verse of the Greeks.' M. Henry Cochin, the writer of this sentence, deserves our gratitude for it ; it would not be easy to praise Shakespeare, in a single sentence, more justly. And when a foreigner and a Frenchman writes thus of Shakespeare, and when Goethe says of Milton, in whom there was so much to repel Goethe rather than to attract him, that ' nothing has been ever done so entirely in the sense of the Greeks as Samson Agonistes,' and that ' Milton is in very truth a poet whom we must treat with all reverence,' then we understand what constitutes V WORDSWORTH 181 a European recognition of poets and poetry as contradistinguished from a merely national recog- nition, and that in favour both of Milton and of Shakespeare the judgment of the high court of appeal has finally gone. I come back to M. Eenan's praise of glory, from which I started. Yes, real glory is a most serious thing, glory authenticated by the Amphic- tyonic Court of final appeal, definitive glory. And even for poets and poetry, long and difficult as may be the process of arriving at the right award, the right award comes at last, the definitive glory rests where it is deserved. Every establish- ment of such a real glory is good and wholesome for mankind at large, good and wholesome for the nation which produced the poet crowned with it. To the poet himself it can seldom do harm ; for he, poor man, is in his grave, probably, long before his glory crowns him. Wordsworth has been in his grave for some thirty years, and certainly his lovers and admirers cannot flatter themselves that this great and 132 ESSAYS IN CRITICISM T steady light of glory as yet shines over him. He is not fully recognised at home ; he is not recog- nised at all abroad. Yet I firmly believe that the poetical performance of Wordsworth is, after that of Shakespeare and Milton, of which all the world now recognises the worth, undoubtedly the most considerable in our language from the Elizabethan age to the present time. Chaucer is anterior ; and on other grounds, too, he cannot well be brought into the comparison. But taking the roll of our chief poetical names, besides Shakespeare and Milton, from the age of Elizabeth downwards, and going through it, — Spenser, Dryden, Pope, Gray, Goldsmith, Cowper, Burns, Coleridge, Scott, Campbell, Moore, Byron, Shelley, Keats (I men- tion those only who are dead), — I think it certain that Wordsworth's name deserves to stand, and will finally stand, above them all. Several of the poets named have gifts and excellences which Wordsworth has not. But taking the performance of each as a whole, I say that Wordsworth seems to me to have left a body of poetical work superior V WORDSWORTH 133 in power, in interest, in the qualities which give enduring freshness, to that which any one of the others has left. But this is not enough to say. I think it cer- tain, further, that if we take the chief poetical names of the Continent since the death of Moli^re, and, omitting Goethe, confront the remaining names with that of Wordsworth, the result is the same. Let us take Klopstock, Lessing, Schiller, Uhland, Eiickert, and Heine for Germany ; Fili- caia, Alfieri, Manzoni, and Leopardi for Italy ; Eacine, Boileau, Voltaire, Andre Chenier, B^r- anger, Lamartine, Musset, M. Victor Hugo (he has been so long celebrated that although he still lives I may be permitted to name him) for France. Several of these, again, have evidently gifts and excellences to which Wordsworth can make no pretension. But in real poetical achievement it seems to me indubitable that to Wordsworth, here again, belongs the palm. It seems to me that Wordsworth has left behind him a body of poeti- cal work which wears, and will wear, better on 184 ESSAYS IN CRITICISM ▼ the whole than the performance of any one of these personages, so far more brilliant and cele- brated, most of them, than the homely poet of Eydal. Wordsworth's performance in poetry is on the whole, in power, in interest, in the qualities which give enduring freshness, superior to theirs. This is a high claim to make for Wordsworth. But if it is a just claim, if Wordsworth's place among the poets who have appeared in the last two or three centuries is after Shakespeare, Moli^re, Milton, Goethe, indeed, but before all the rest, then in time Wordsworth will have his due. We shall recognise him in his place, as we recognise Shakespeare and Milton ; and not only we our- selves shall recognise him, but he will be recog- nised by Europe also. Meanwhile, those who recognise him already may do well, perhaps, to ask themselves whether there are not in the case of Wordsworth certain special obstacles which hinder or delay his due recognition by others, and whether these obstacles are not in some measure removable. V WORDSWORTH 135 The Excursion and the Prelude, his poems of greatest bulk, are by no means Wordsworth's best work. His best work is in his shorter pieces, and many indeed are there of these which are of first- rate excellence. But in his seven volumes the pieces of high merit are mingled with a mass of pieces very inferior to them ; so inferior to them that it seems wonderful how the same poet should have produced both. Shakespeare frequently has lines and passages in a strain quite false, and which are entirely unworthy of him. But one can imagine his smiKng if one could meet him in the Elysian Melds and tell him so ; smiling and replying that he knew it perfectly well himself, and what did it matter ? But with Wordsworth . y/ the case is different. Work altogether inferior, work quite uninspired, flat and dull, is produced by him with evident unconsciousness of its defects, and he presents it to us with the same faith and seriousness as his best work. Now a drama or an epic fill the mind, and one does not look beyond them; but in a collection of short 136 ESSAYS IN CRITICISM v pieces the impression made by one piece requires to be continued and sustained by the piece follow- ing. In reading Wordsworth the impression made by one of his fine pieces is too often dulled and spoiled by a very inferior piece coming after it. Wordsworth composed verses during a space of some sixty years ; and it is no exaggeration to say that within one single decade of those years, between 1798 and 1808, almost all his really first- rate work was produced. A mass of inferior work remains, work done before and after this golden prime, imbedding the first-rate work and clogging it, obstructing our approach to it, chiUing, not unfrequently, the high-wrought mood with which we leave it. To be recognised far and wide as a great poet, to be possible and receivable as a classic, Wordsworth needs to be relieved of a great deal of the poetical baggage which now encumbers him. To administer this relief is indispensable, unless he is to continue to be a poet for the few only, — a poet valued far below his real worth by the world. V WORDSWORTH 137 There is another thing. Wordsworth classified his poems not according to any commonly received plan of arrangement, but according to a scheme of mental physiology. He has poems of the fancy, poems of the imagination, poems of sentiment and reflection, and so on. His categories are ingenious but far-fetched, and the result of his employment of them is unsatisfactory. Poems are separated one from another which possess a kinship of subject or of treatment far more vital and deep than the supposed unity of mental origin, which was Wordsworth's reason for joining them with others. The tact of the Greeks in matters of this kind was infallible. We may rely upon it that we shall not improve upon the classification adopted by the Greeks for kinds of poetry ; that their categories of epic, dramatic, lyric, and so forth, have a natural propriety, and should be adhered to. It may sometimes seem doubtful to which of two categories a poem belongs ; whether this or that poem is to be called, for instance, narrative 138 ESSAYS IN CRITICISM ▼ or lyric, lyric or elegiac. But there is to be found in every good poem a strain, a predominant note, which determines the poem as belonging to one of these kinds rather than the other ; and here is the best proof of the value of the classification, and of the advantage of adhering to it. Words- worth's poems will never produce their due efifect until they are freed from their present artificial arrangement, and grouped more naturally. Disengaged from the quantity of inferior work which now obscures them, the best poems of Wordsworth, I hear many people say, would indeed stand out in great beauty, but they would prove to be very few in number, scarcely more than half a dozen. I maintain, on the other hand, that what strikes me with admiration, what estab- lishes in my opinion Wordsworth's superiority, is the great and ample body of powerful work which remains to him, even after all his inferior work has been cleared away. He gives us so much to rest upon, so much which communicates his spirit and engages ours ! V WORDSWORTH 189 This is of very great importance. If it were a comparison of single pieces, or of three or four pieces, by each poet, I do not say that Words- worth would stand decisively above Gray, or Bums, or Coleridge, or Keats, or Manzoni, or Heine. It is in his ampler body of powerful work that I find his superiority. His good work itself, his work which counts, is not all of it, of course, of equal value. Some kinds of poetry are in themselves lower kinds than others. The ballad kind is a lower kind ; the didactic kind, still more, is a lower kind. Poetry of this latter sort counts, too, sometimes, by its biographical interest partly, not by its poetical interest pure and simple ; but then this can only be when the poet producing it has the power and importance of Wordsworth, a power and importance which he assuredly did not establish by such didactic poetry alone. Altogether, it is, I say, by the great body of powerful and significant work which remains to him, after every reduction and deduction has been made, that Wordsworth's superiority is proved. 7 140 ESSAYS IN CRITICISM ▼ To exhibit this body of Wordsworth's best work, to clear away obstructions from around it, and to let it speak for itself, is what every lover of Wordsworth should desire. Until this has been done, Wordsworth, whom we, to whom he is dear, all of us know and feel to be so great a poet, has not had a fair chance before the world. When once it has been done, he will make his way best, not by our advocacy of him, but by his own worth and power. We may safely leave him to make his way thus, we who believe that a superior worth and power in poetry finds in man- kind a sense responsive to it and disposed at last to recognise it. Yet at the outset, before he has been duly known and recognised, we may do Wordsworth a service, perhaps, by indicating in what his superior power and worth will be found to consist, and in what it wUl not. Long ago, in speaking of Homer, I said that the noble and profound application of ideas to life is the most essential part of poetic greatness. I said that a great poet receives his distinctive y WORDSWORTH 141 character of superiority from his application, under the conditions immutably fixed by the laws of poetic beauty and poetic truth, from his applica- tion, I say, to his subject, whatever it may be, of the ideas ' On man, on nature, and on human life,' which he has acquired for himself. The line quoted is "Wordsworth's own ; and his superiority arises from his powerful use, in his best pieces, his powerful application to his subject, of ideas * on man, on nature, and on human life.' Voltaire, with his signal acuteness, most truly remarked that *no nation has treated in poetry moral ideas with more energy and depth than the English nation,' And he adds : ' There, it seems to me, is the great merit of the English poets.' Voltaire does not mean, by 'treating in poetry moral ideas,' the composing moral and didactic poems ; — that brings us but a very little way in poetry. He means just the same thing as was meant when I spoke above * of the noble and pro- 142 ESSAYS IN CRITICISM ▼ found application of ideas to life ' ; and he means the application of these ideas under the conditions fixed for us by the laws of poetic beauty and poetic truth. If it is said that to call these ideas moral ideas is to introduce a strong and injurious limitation, I answer that it is to do nothing of the kind, because moral ideas are really so main a part of human life. The question, how to live, is itself a moral idea ; and it is the question which most interests every man, and with which, in some way or other, he is perpetually occupied. A large sense is of course to be given to the term moral. Whatever bears upon the question, ' how to live,' comes under it. * Nor love thy life, nor hate ; but, what thou liv'st, live well ; how long or short, permit to heaven.' In those fine lines Milton utters, as every one at once perceives, a moral idea. Yes, but so too, when Keats consoles the forward -bending lover on the Grecian Urn, the lover arrested and pre- sented in immortal relief by the sculptor's hand before he can kiss, with the line. V WORDSWORTH 143 * For ever wilt thou love, and she be fair ' — he utters a moral idea. When Shakespeare says, that ' We are such stuff As dreams are made of, and our little life Is rounded with a sleep,' he utters a moral idea. Voltaire was right in thinking that the energetic and profound treatment of moral ideas, in this large sense, is what distinguishes the English poetry. He sincerely meant praise, not dispraise or hint of limitation ; and they err who suppose that poetic limitation is a necessary consequence of the fact, the fact being granted as Voltaire states it. If what distinguishes the greatest poets is their powerful and profound application of ideas to life, which surely no good critic will deny, then to prefix to the term ideas here the term moral makes hardly any difference, because human life itself is in so preponderating a degree moral It is important, therefore, to hold fast to this : that poetry is at bottom a criticism of life ; that 144 ESSAYS IN CRITICISM ^ the greatness of a poet lies in his powerful and beautiful application of ideas to life, — to the ques- tion : How to live. Morals are often treated in a narrow and false fashion ; they are bound up with systems of thought and belief which have had their day ; they are fallen into the hands of pedants and professional dealers; they grow tiresome to some of us. We find attraction, at times, even in a poetry of revolt against them ; in a poetry which might take for its motto Omar Eiteyam's words : ' Let us make up in the tavern for the time which we have wasted in the mosque.' Or we find attractions in a poetry indifferent to them ; in a poetry where the contents may be what they wiU, but where the form is studied and exquisite. We delude ourselves in either case ; and the best cure for our delusion is to let our minds rest upon that great and inexhaustible word life, until we learn to enter into its meaning. A poetry of revolt against moral ideas is a poetry of revolt against life ; a poetry of indifference towards moral ideas is a poetry of indifference towards life. V WORDSWORTH 145 Epictetus had a happy figure for things like the play of the senses, or literary form and finish, or argumentative ingenuity, in comparison with * the best and master thing ' for us, as he called it, the concern, how to live. Some people were afraid of them, he said, or they disliked and undervalued them. Such people were wrong ; they were unthankful or cowardly. But the things might also be over -prized, and treated as final when they are not. They bear to life the relation which inns bear to home. 'As if a man, journey- ing home, and finding a nice inn on the road, and liking it, were to stay for ever at the inn ! Man, thou hast forgotten thine object ; thy journey was not to this, but through this. " But this inn is taking." And how many other inns, too, are taking, and how many fields and meadows! but as places of passage merely. You have an object, which is this : to get home, to do your duty to your family, friends, and fellow-countrymen, to attain inward freedom, serenity, happiness, contentment. Style takes your fancy, arguing takes your fancy, 146 ESSAYS IN CRITICISM ▼ and you forget your home aud want to make your abode with them and to stay with them, on the plea that they are taking. Who denies that they are taking? but as places of passage, as inns. And when I say this, you suppose me to be attacking the care for style, the care for argument. I am not ; I attack the resting in them, the not looking to the end which is beyond them.' Now, when we come across a poet like Th^o- phile Gautier, we have a poet who has taken up his abode at an inn, and never got farther. There may be inducements to this or that one of us, at this or that moment, to find delight in him, to cleave to him ; but after aU, we do not change the truth about him, — we only stay ourselves in his inn along with him. And when we come across a poet like Wordsworth, who sings ' Of truth, of grandeur, beauty, love and hope. And melancholy fear subdued by faith. Of blessed consolations in distress, Of moral strength and intellectual power, Of joy in widest commonalty spread ' — then we have a poet intent on ' the best and Y WORDSWORTH 147 master thing/ and who prosecutes his journey home. We say, for brevity's sake, that he deals with life, because he deals with that in which life really consists. This is what Voltaire means to praise in the English poets, — this dealing with what is really life. But always it is the mark of the greatest poets that they deal with it ; and to say that the English poets are remarkable for dealing with it, is only another way of saying, what is true, that in poetry the English genius has especially shown its power. Wordsworth deals with it, and his greatness lies in his dealing with it so powerfully. I have named a number of celebrated poets above all of whom he, in my opinion, deserves to be placed. He is to be placed above poets like Voltaire, Dry- den, Pope, Lessing, Schiller, because these famous personages, with a thousand gifts and merits, never, or scarcely ever, attain the distinctive ac- cent and utterance of the high and genuine poets — • Quique pii vates et Phoebo digna locuti,' at all. Burns, Keats, Heine, not to speak of /, 148 ESSAYS IN CRITICISM t others in our list, have this accent; — who can doubt it ? And at the same time they liave trea- sures of humour, felicity, passion, for which in Wordsworth we shall look in vain. Where, then, is Wordsworth's superiority ? It is here ; he deals with more of life than they do ; he deals with life, as a whole, more powerfully. No Wordsworthian will doubt this. Nay, the ^ fervent Wordsworthian will add, as Mr. Leslie Stephen does, that Wordsworth's poetry is precious because his philosophy is sound ; that his ' ethical system is as distinctive and capable of exposition as Bishop Butler's ' ; that his poetry is informed by ideas which ' fall spontaneously into a scientific system of thought.' But we must be on our guard against the Wordsworthians, if we want to secure for Wordsworth his due rank as a poet. The Wordsworthians are apt to praise him for the wrong things, and to lay far too much stress upon what they call his philosophy. His poetry is the reality, his philosophy, — so far, at least, as it may put on the form and habit of ' a scientific system V WORDSWORTH 149 of thought,' and the more that it puts them on, — is the illusion. Perhaps we shall one day learn to make this proposition general, and to say : Poetry is the reality, philosophy the illusion. But in Wordsworth's case, at any rate, we can- not do him justice until we dismiss his formal philosophy. The Excursion abounds with philosophy, and therefore the Excursion is to the Wordsworthian what it never can be to the disinterested lover of poetry, — a satisfactory work. ' Duty exists,' says Wordsworth, in the Excursion ; and then he pro- ceeds thus — '. . . Immutably survive, For our support, the measures and the forms, Which an abstract Intelligence suppUes, Whose kingdom is, where time and space are not' And the Wordsworthian is delighted, and thinks that here is a sweet union of philosophy and poetry. But the disinterested lover of poetry will feel that the lines carry us really not a step farther than the proposition which they would interpret ; 160 ESSAYS IN CRITICISM v that they are a tissue of elevated but abstract ver- biage, alien to the very nature of poetry. Or let us come direct to the centre of Words- worth's philosophy, as ' an ethical system, as dis- tinctive and capable of systematical exposition as Bishop Butler's ' — * . . . One adequate support For the calamities of mortal life Exists, one only ; — an assured belief That the procession of our fate, howe'er Sad or disturbed, is ordered by a Being Of infinite benevolence and power ; Whose everlasting purposes embrace All accidents, converting them to good' That is doctrine such as we hear in church too, religious and philosophic doctrine; and the at- tached Wordsworthian loves passages of such doctrine, and brings them forward in proof of his poet's excellence. But however true the doctrine may be, it has, as here presented, none of the characters oi poetic truth, the kind of truth which we require from a poet, and in which Wordsworth is really strong. 7 WORDSWORTH 151 Even the ' intimations ' of the famous Ode, those corner-stones of the supposed philosophic system of Wordsworth, — the idea of the high instincts and affections coming out in childhood, testifying of a divine home recently left, and fad- ing away as our life proceeds, — this idea, of un- deniable beauty as a play of fancy, has itself not the character of poetic truth of the best kind ; it has no real solidity. The instinct of delight in Nature and her beauty had no doubt extraordi- nary strength in Wordsworth himself as a child. But to say that universally this instinct is mighty in childhood, and tends to die away afterwards, is to say what is extremely doubtfuL In many people, perhaps with the majority of educated persons, the love of nature is nearly imperceptible at ten years old, but strong and operative at thirty. In general we may say of these high instincts of early childhood, the base of the alleged systematic philosophy of Wordsworth, what Thucydides says of the early achievements of the Greek race : ' It is impossible to speak with certainty of what is 162 ESSAYS IN CRITICISM t SO remote ; but from all that we can really investi- gate, I should say that they were no very great things.' Finally, the ' scientific system of thought ' in Wordsworth gives us at last such poetry as this, which the devout Wordsworthian accepts — ' for the coining of that glorious time When, prizing knowledge as her noblest wealth And best protection, this Imperial Realm, While she exacts allegiance, shall admit An obligation, on her part, to teach Them who are born to serve her and obey ; Binding herself by statute to secure, For all the children whom her soil maintains, The rudiments of letters, and inform The mind with moral and religious truth.' Wordsworth calls Voltaire dull, and surely the production of these un-Voltairian lines must have been imposed on him as a judgment ! One can hear them being quoted at a Social Science Con- gress ; one can call up the whole scene. A great room in one of our dismal provincial towns ; dusty air and jaded afternoon daylight ; benches full of men with bald heads and women in spectacles; V WORDSWORTH 153 an orator lifting up his face from a manuscript written within and without to declaim these lines of Wordsworth ; and in the soul of any poor child of nature who may have wandered in thither, an unutterable sense of lamentation, and mourning, and woe ! ' But turn we,' as Wordsworth says, ' from these bold, bad men,' the haunters of Social Science Congresses. And let us be on our guard, too, against the exhibitors and extollers of a ' scientific system of thought ' in Wordsworth's poetry. The poetry will never be seen aright while they thus exhibit it. The cause of its greatness is simple, and may be told quite simply. Wordsworth's poetry is great because of the extraordinary power with which Wordsworth feels the joy offered to us in nature, the joy offered to us in the simple primary affections and duties ; and because of the extraordinary power with which, in case after case, he shows us this joy, and renders it so as to make us share it. The source of joy from which he thus draws is 154 ESSAYS m CRITICISM t the truest and most unfailing source of joy ac- cessible to man. It is also accessible universally. Wordsworth brings us word, therefore, according to his own strong and characteristic line, he brings us word ' Of joy in widest commonalty spread.' Here is an immense advantage for a poet. Words- worth tells of what all seek, and tells of it at its truest and best source, and yet a source where all may go and draw for it Nevertheless, we are not to suppose that every- thing is precious which Wordsworth, standing even at this perennial and beautiful source, may give us. Wordsworthians are apt to talk as if it must be. They will speak with the same rever- ence of The Sailor's Mother, for example, as of Lucy Gray. They do their master harm by such lack of discrimination. Lucy Gray is a beautiful success ; The Sailor's Mother is a failure. To give aright what he wishes to give, to interpret and render successfully, is not always within Words- Y WORDSWORTH 155 worth's own command. It is within no poet's command ; here is the part of the Muse, the in- spiration, the God, the 'not ourselves.' In Words- worth's case, the accident, for so it may almost be called, of inspiration, is of peculiar importance. No poet, perhaps, is so evidently filled with a new and sacred energy when the inspiration is upon hiTn ; no poet, when it fails him, is so left ' weak as is a breaking wave.' I remember hearing him say that 'Goethe's poetry was not inevitable enough.' The remark is striking and true ; no line in Goethe, as Goethe said himself, but its maker knew well how it came there. Wordsworth is right, Goethe's poetry is not inevitable ; not inevi- table enough. But Wordsworth's poetry, when he is at his best, is inevitable, as inevitable as Nature herself. It might seem that Nature not only gave h\vn the matter for his poem, but wrote his poem for him. He has no style. He was too conversant with Milton not to catch at times his master's manner, and he has fine Miltonic lines ; but he has no assured poetic style of his own, like Milton 156 ESSAYS IN CRITICISM y When he seeks to have a style he falls into pon- derosity and pomposity. In the Excursion we have his style, as an artistic product of his own creation ; and although Jeffrey completely failed to recognise "Wordsworth's real greatness, he was yet not wrong in saying of the Excursion, as a work of poetic style : ' This will never do.' And yet magical as is that power, which Wordsworth has not, of assured and possessed poetic style, he has something which is an equivalent for it Every one who has any sense for these things feels the subtle turn, the heightening, which is given to a poet's verse by his genius for style. We can feel it in the * After life's fitful fever, he sleeps well ' — of Shakespeare ; in the ' . . . though fall'n on evil days, On evil days though fall'n, and evil tongues ' — of Milton. It is the incomparable charm of Milton's power of poetic style wliich gives such worth to Paradise Regained, and makes a great 7 WORDSWORTH 157 poem of a work in which Milton's imagination does not soar high. Wordsworth has in constant pos- session, and at command, no style of this kind ; but he had too poetic a nature, and had read the great poets too well, not to catch, as I have already re- marked, something of it occasionally. We find it not only in his Miltonic lines; we find it in such a phrase as this, where the manner is his own, not Milton's — ' . . . the fierce confederate storm Of sorrow barricadoed evermore Within the walls of cities ;' although even here, perhaps, the power of style which is undeniable, is more properly that of elo- quent prose than the subtle heightening and change wrought by genuine poetic style. It is style, again, and the elevation given by style, which chiefly makes the effectiveness of Laodameia. Still the right sort of verse to choose from Wordsworth, if we are to seize his true and most characteristic form of expression, is a line like this from Michael — * And never lifted up a single stone.' There is nothing subtle in it, no heightening, no 158 ESSAYS IN CRITICISM v study of poetic style, strictly so called, at all ; yet it is expression of the highest and most truly ex- pressive kind. Wordsworth owed much to Burns, and a style of perfect plainness, relying for effect solely on the weight and force of that which with entire fidelity it utters. Burns could show hiin. * The poor inhabitant below Was quick to learn and wise to know, And keenly felt the friendly glow And softer flame ; But thoughtless follies laid him low And stain'd his name.' Every one will be conscious of a likeness here to Wordsworth ; and if Wordsworth did great things with this nobly plain manner, we must remember, what indeed he himself would always have been forward to acknowledge, that Burns used it before him. Still Wordsworth's use of it has something unique and unmatchable. Nature herself seems, I say, to take the pen out of his hand, and to write for him with her own bare, sheer, penetra^ T WORDSWORTH 169 ing power. This arises from two causes ; from the profound sincereness with which Wordsworth feels his subject, and also from the profoundly sincere and natural character of his subject itself. He can and will treat such a subject with nothing but the most plain, first-hand, almost austere naturalness. His expression may often be called bald, as, for instance, in the poem of Besolution and Independence; but it is bald as the bare mountain tops are bald, with a baldness which is full of grandeur. "Wherever we meet with the successful balance, in Wordsworth, of profound truth of subject with profound truth of execution, he is unique. His best poems are those which most perfectly exhibit this balance. I have a warm admiration for Laodameia and for the great Ode ; but if I am to tell the very truth, I find Laodameia not wholly free from something artificial, and the great Ode not wholly free from something declamatory. If I had to pick out poems of a kind most perfectly to show Wordsworth's unique power, I should 160 ESSAYS IN CRITICISM v rather choose poems such as Michael, The Foun- tain, The Highland Reaper. And poems with the peculiar and unique beauty which distinguishes these, Wordsworth produced in considerable num- ber ; besides very many other poems of which the worth, although not so rare as the worth of these, is still exceedingly high. On the whole, then, as I said at the beginning, not only is "Wordsworth eminent by reason of the goodness of his best work, but he is eminent also by reason of the great body of good work which he has left to us. With the ancients I will not compare him. In many respects the ancients are far above us, and yet there is something that we demand which they can never give. Leaving the ancients, let us come to the poets and poetry of Christendom. Dante, Shakespeare, Moli^re, Milton, Goethe, are altogether larger and more splendid luminaries in the poetical heaven than Wordsworth. But I know not where else, among the modems, we are to find his superiors. To disengage the poems which show his power, y WORDSWORTH 161 and to present them to the English-speaking public and to the world, is the object of this volume. I by no means say that it contains all which in Wordsworth's poems is interesting. Except in the case of Margaret, a story composed separately from the rest of the Excursion, and which belongs to a different part of England, I have not ventured on detaching portions of poems, or on giving any piece otherwise than as Wordsworth himself gave it. But under the conditions imposed by this reserve, the volume contains, I think, everything, or nearly everything, which may best serve him with the majority of lovers of poetry, nothing which may disserve him. I have spoken lightly of Wordsworthians ; and if we are to get Wordsworth recognised by the public and by the world, we must recommend him not in the spirit of a clique, but in the spirit of disinterested lovers of poetry. But I am a Wordsworthian myself. I can read with pleasure and edification Peter Bell, and the whole series of Ecclesiastical Sonnets, and the address to Mr. Wil- M 162 ESSAYS IN CRITICISM ▼ kinson's spade, and even the Thanksgiving Ode ; — everything of Wordsworth, I think, except Vaud- racour and Julia. It is not for nothing that one has been brought up in the veneration of a man so truly worthy of homage ; that one has seen him and heard him, lived in his neighbourhood, and been familiar with his country. No Words- worthian has a tenderer affection for this pure and sage master than I, or is less really offended by his defects. But Wordsworth is something more than the pure and sage master of a small band of devoted followers, and we ought not to rest satis- fied untU he is seen to be what he is. He is one of the very chief glories of English Poetry ; and by nothing is England so glorious as by her poetry. Let us lay aside every weight which hinders our getting him recognised as this, and let our one study be to bring to pass, as widely as possible and as truly as possible, his own word concerning his poems : ' They will co-operate with the benign tendencies in human nature and society, and will, in their degree, be efficacious in making men wiser, better, and happier.' VI BYRON' When at last I held in my hand the volume of poems which I had chosen from Wordsworth, and began to turn over its pages, there arose in me almost immediately the desire to see beside it, as a companion volume, a like collection of the best poetry of Byron. Alone amongst our poets of the earlier part of this century, Byron and Words- worth not only furnish material enough for a volume of this kind, but also, as it seems to me, they both of them gain considerably by being thus exhibited. There are poems of Coleridge and of Keats equal, if not superior, to anything of Byron or Wordsworth ; but a dozen pages or two will ^ Preface to Poetry of Byron, chosen and arranged by Matthew Arnold, 1881. 164 ESSAYS IN CRITICISM vi contain them, and the remaining poetry is of a quality much inferior. Scott never, I think, rises as a poet to the level of Byron and Wordsworth at all. On the other hand, he never falls below his own usual level very far; and by a volume of selections from him, therefore, his effectiveness is not increased. As to Shelley there will be more question ; and indeed Mr. Stopford Brooke, whose accomplishments, eloquence, and love of poetry we must aU recognise and admire, has actually given us Shelley in such a volume. But for my own part I cannot think that Shelley's poetry, except by snatches and fragments, has the value of the good work of Wordsworth and Byron ; or that it is possible for even Mr. Stopford Brooke to make up a volume of selections from him which, for real substance, power, and worth, can at all take rank with a like volume from Byron or Wordsworth. Shelley knew quite well the difference between the achievement of such a poet as Byron and his own. He praises Byron too unreservedly, but he VI BYRON 165 sincerely felt, and he was right in feeling, that Byron was a greater poetical power than himself As a man, Shelley is at a number of points im- measurably Byron's superior ; he is a beautiful and enchanting spirit, whose vision, when we call it up, has far more loveliness, more charm for our soul, than the vision of Byron. But all the per- sonal charm of Shelley cannot hinder us from at last discovering in his poetry the incurable want, in general, of a sound subject-matter, and the in- curable fault, in consequence, of unsubstantiality. Those who extol him as the poet of clouds, the poet of sunsets, are only saying that he did not, in fact, lay hold upon the poet's right subject-matter; and in honest truth, with all his charm of soul and spirit, and with all his gift of musical diction and movement, he never, or hardly ever, did. Except, as I have said, for a few short things and single stanzas, his original poetry is less satisfactory than his translations, for in these the subject-matter was found for him. Nay, I doubt whether his delightful Essays and Letters, which deserve to be IM ESSAYS IN CRITICISM vi far more read than they are now, will not resist the wear and tear of time better, and finally come to stand higher, than his poetry. There remain to be considered Byron and Wordsworth. That Wordsworth affords good material for a volume of selections, and that he gains by having his poetry thus presented, is an old belief of mine which led me lately to make up a volume of poems chosen out of Wordsworth, and to bring it before the public. By its kind recep- tion of the volume, the public seems to show itself a partaker in my belief. Now Byron also sup- plies plenty of material for a like volume, and he too gains, I think, by being so presented. Mr. Swinburne urges, indeed, that ' Byron, who rarely wrote anything either worthless or faultless, can only be judged or appreciated in the mass ; the greatest of his works was his whole work taken together.' It is quite true that Byron rarely wrote anything either worthless or faultless ; it is quite true also that in the appreciation of Byron's power a sense of the amount and variety of his VI BYRON 167 work, defective though much of his work is, enters justly into our estimate. But although there may be little in Byron's poetry which can be pronounced either worthless or faultless, there are portions of it which are far higher in worth and far more free from fault than others. And although, again, the abundance and variety of his production is un- doubtedly a proof of his power, yet I question whether by reading everything which he gives us we are so likely to acquire an admiring sense even of his variety and abundance, as by reading what he gives us at his happier moments. Varied and abundant he amply proves himself even by this taken alone. Eeceive him absolutely without omission or compression, follow his whole out- pouring stanza by stanza and line by line from the very commencement to the very end, and he is capable of being tiresome. Byron has told us himself that the Giaour ' is but a string of passages.' He has made full con- fession of his own negligence. ' No one,' says he, ' has done more through negligence to corrupt the 168 ESSAYS IN CRITICISM vi language.' This accusation brought by himself against his poems is not just ; but when he goes on to say of them, that 'their faults, whatever they may be, are those of negligence and not of labour,' he says what is perfectly true. ' La/ra,* he declares, ' I wrote while undressing after coming home from balls and masquerades, in the year of revelry, 1814 The Bride was written in four, the Corsair in ten days.' He calls this * a humiliating confession, as it proves my own want of judgment in publishing, and the public's in reading, things which cannot have stamina for permanence.' Again he does his poems injustice ; the producer of such poems could not but publish them, the public could not but read them. Nor could Byron have produced his work in any other fashion ; his poetic work could not have first grown and matured in his own mind, and then come forth as an organic whole ; Byron had not enoug h of the arti st J in him for this, nor enough of self-command. He wrote, as he truly teUs us, to relieve himself, and he went on writing because he found the relief ▼r BYRON 169 become indispensable. But it was inevitable that works so produced should be, in general, ' a string of passages,' poured out, as he describes them, with rapidity and excitement, and with new passages constantly suggesting themselves, and added while his work was going through the press. It is evident that we have here^jieither deliberate scientific constructio n, nor yet the instinctiv e artistic creation of poetic wholes ; and that to take passages from work produced as Byron's was is a very different thing from taking passages out of the (Edipus or the Tempest, and deprives the poetry far less of its advantage. Nay, it gives advantage to the poetry, instead of depriving it of any, Byron, I said, has not a great artist's profound and patient skill in com- bining an action or in developing a character, — a skill which we must watch and follow if we are to do justice to it. But he has a wonderful power of vividly conceiving a single incident, a single situation ; of throwing himself upon it, grasping it as if it were real and he saw and felt it, and ot 170 ESSAYS IN CRITICISM n making us see and feel it too. The Giaour is, as he truly called it, ' a string of passages,' not a work moving by a deep internal law of develop- ment to a necessary end ; and our total impres- sion from it cannot but receive from this, its in- herent defect, a certain dimness and indistinctness But the incidents of the journey and death of Hassan, in that poem, are conceived and presented with a vividness not to be surpassed; and our impression from them is correspondingly clear and powerful. In Lara, again, there is no adequate development either of the character of the chief personage or of the action of the poem ; our total impression from the work is a confused one. Yet such an incident as the dis- posal of the slain Ezzelin's body passes before our eyes as if we actually saw it. And in the same way as these bursts of incident, bursts of senti- ment also, living and vigorous, often occur in the midst of poems which must be admitted to be but weakly -conceived and loosely- combined wholes. Byron cannot but be a gainer by having attention VI BYRON 171 concentrated upon what is vivid, powerful, effective in his work, and withdrawn from what is not so. Byron, I say, cannot but be a gainer by this, just as Wordsworth is a gainer by a like proceed- ing. I esteem Wordsworth's poetry so highly, and the world, in my opinion, has done it such scant justice, that I could not rest satisfied until I had fulfilled, on Wordsworth's behalf, a long- cherished desire ; — had disengaged, to the best of my power, his good work from the inferior work joined with it, and had placed before the public the body of his good work by itself. To the poetry of Byron the world has ardently paid homage ; full justice from his contemporaries, perhaps even more than justice, his torrent of poetry received. His poetry was admired, adored, ' with all its imperfections on its head,' — in spite of negligence, in spite of diffuseness, in spite of repetitions, in spite of what- ever faults it possessed. His name is still great and brilliant. Nevertheless the hour of irresistible vogue has passed away for him ; even for Byron it could not but pass away. The time has come 172 ESSAYS IN CRITICISM VI for him, as it comes for all poets, when he must take his real and permanent place, no longer depending upon the vogue of his own day and upon the enthusiasm of his contemporaries. Whatever we may think of him, we shall not be subjugated by him as they were ; for, as he cannot be for us what he was for them, we cannot admire him so hotly and indiscriminately as they. His faults of negligence, of diffuseness, of repetition, his faults of whatever kind, we shall abundantly feel and unsparingly criticise ; the mere interval df time between us and him makes disillusion of this kind inevitable. But how then will Byron stand, if we relieve him too, so far as we can, of the en- cumbrance of his inferior and weakest work, and if we bring before us his best and strongest work in one body together ? That is the question which I, who can even remember the latter years of Byron's vogue, and have myself felt the expiring wave of that mighty influence, but who certainly also regard him, and have long regarded him, without illusion, cannot but ask myself, cannot but seek to VI BYRON 173 answer. The present volume is an attempt to provide adequate data for answering it. Byron has been over-praised, no doubt. ' Byron is one of our French superstitious,' says M. Edmond Scherer ; but where has Byron not been a superstition ? He pays now the penalty of this exaggerated worship. ' Alone among the English poets his contemporaries, Byron,' said M. Taine, ' atteint it la dme, — gets to the top of the poetic mountain.' But the idol that M. Taine had thus adored M. Scherer is almost for burning. ' In Byron,' he declares, 'there is a remarkable in- ability ever to lift himself into the region of real poetic art, — art impersonal and disinterested, — at all. He has fecundity, eloquence, wit, but even these qualities themselves are confined within somewhat narrow limits. He has treated hardly any subject but one, — himself ; now the man, in Byron, is of a nature even less sincere than the poet. This beautiful and blighted being is at bottom a coxcomb. He posed all his life long.' Our poet could not well meet with more severs 174 ESSAYS m CRITICISM n and unsympathetic criticism. However, the praise often given to Byron has been so exaggerated as to provoke, perhaps, a reaction in which he is unduly disparaged. ' As various in composition as Shake- speare himself, Lord Byron has embraced,' says Sir Walter Scott, ' every topic of human life, and sounded every string on the divine harp, from its slightest to its most powerful and heart-astounding tones.' It is not surprising that some one with a cool head should retaliate, on such provocation as this, by saying : ' He heis treated hardly any sub- ject but one, himself.' ' In the very grand and tre- mendous drama of Cain' says Scott, ' Lord Byron has certainly matched Milton on his own ground.' And Lord Byron has done all this, Scott adds. ' while managing his pen with the careless and negligent ease of a man of quality.' Alas, ' man- aging his pen with the careless and negligent ease of a man of quality,' Byron wrote in his Cain — ' Souls that dare look the Omnipotent tyrant iu His everlasting face, and tell him that His evil is not good ; ' ▼I BYRON 175 or he wrote — ' . . . And thou would'st go on aspiring To the great double Mysteries ! the two Principles/ ' ' One has only to repeat to oneself a line from Paradise Lost in order to feel the difference. Sainte-Beuve, speaking of that exquisite master of language, the Italian poet Leopardi, remarks how often we see the alliance, singular though it may at first sight appear, of the poetical genius with the genius for scholarship and philology. Dante and Milton are instances which will occur to every one's mind. Byron is so negligent in his poetical style, he is often, to say the truth, so slovenly, slipshod, and infelicitous, he is so little haunted by the true artist's fine passion for the correct use and consummate management of words, that he may be described as having for this artistic gift the insensibility of the barbarian ; — which is perhaps only another and a less flattering way of saying, with Scott, that he ' manages his pen with ^ The italics are in the original. 176 ESSAYS IN CRITICISM n the careless and negligent ease of a man of quality.' Just of a piece with the rhythm of * Dare you await the event of a few minutes' Deliberation 1 ' or of 'All shall be void — Destroy 'd ! ' is the diction of ' Which now is painful to these eyes, Which have not seen the sun to rise ; ' or of '. . . there let him lay !* or of the famous passage beginning * He who hath bent him o'er the dead ;* with those trailing relatives, that crying gramma- tical solecism, that inextricable anacolouthou ! To class the work of the author of such things with the work of the authors of such verse as ' In the dark backward and abysm of time ' — or as * Presenting Thebes, or Pelops' line Or the tale of Troy divine ' — VI BYRON 177 is ridiculous. Shakespeare and Milton, with their secret of consummate felicity in diction and movement, are of another and an altogether higher order from Byron, nay, for that matter, from Wordsworth also ; from the author of such verse as ' Sol hath dropt into his harbour ' — OT (if Mr. Ruskin pleases) as ' Parching summer hath no warrant ' — as from the author of * All shall be void — Destroy'd!' With a poetical gift and a poetical performance of the very highest order, the slovenliness and tune- lessness of much of Byron's production, the pompousness and ponderousness of much of Wordsworth's are incompatible. Let us admit this to the full. Moreover, while we are hearkening to M. Scherer, and going along with him in his fault- finding, let us admit, too, that the man in Byron / 178 ESSAYS IN CRITICISM vi is in many respects as unsatisfactory as the poet. And, putting aside all direct moral criticism of him, — with which we need not concern our- selves here, — we shall find that he is unsatisfactoiy in the same way. Some of Byron's most crying faults as a man, — his vulgarity, his affectation, — are really akin to the faults of commonness, of want of art, in his workmanship as a poet. The ideal nature for the poet and artist is that of the finely touched and finely gifted man, the €v^vriU^rv*-.c