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Selections from the Prose Works of Matthew Arnold
by Matthew Arnold
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But Burke is so great because, almost alone in England, he brings thought to bear upon politics, he saturates politics with thought. It is his accident that his ideas were at the service of an epoch of concentration, not of an epoch of expansion; it is his characteristic that he so lived by ideas, and had such a source of them welling up within him, that he could float even an epoch of concentration and English Tory politics with them. It does not hurt him that Dr. Price[31] and the Liberals were enraged with him; it does not even hurt him that George the Third and the Tories were enchanted with him. His greatness is that he lived in a world which neither English Liberalism nor English Toryism is apt to enter;—the world of ideas, not the world of catchwords and party habits. So far is it from being really true of him that he "to party gave up what was meant for mankind,"[32] that at the very end of his fierce struggle with the French Revolution, after all his invectives against its false pretensions, hollowness, and madness, with his sincere convictions of its mischievousness, he can close a memorandum on the best means of combating it, some of the last pages he ever wrote,—the Thoughts on French Affairs, in December 1791,—with these striking words:—

"The evil is stated, in my opinion, as it exists. The remedy must be where power, wisdom, and information, I hope, are more united with good intentions than they can be with me. I have done with this subject, I believe, forever. It has given me many anxious moments for the last two years. If a great change is to be made in human affairs, the minds of men will be fitted to it; the general opinions and feelings will draw that way. Every fear, every hope will forward it: and then they who persist in opposing this mighty current in human affairs, will appear rather to resist the decrees of Providence itself, than the mere designs of men. They will not be resolute and firm, but perverse and obstinate."

That return of Burke upon himself has always seemed to me one of the finest things in English literature, or indeed in any literature. That is what I call living by ideas: when one side of a question has long had your earnest support, when all your feelings are engaged, when you hear all round you no language but one, when your party talks this language like a steam-engine and can imagine no other,—still to be able to think, still to be irresistibly carried, if so it be, by the current of thought to the opposite side of the question, and, like Balaam,[33] to be unable to speak anything but what the Lord has put in your mouth. I know nothing more striking, and I must add that I know nothing more un-English.

For the Englishman in general is like my friend the Member of Parliament, and believes, point-blank, that for a thing to be an anomaly is absolutely no objection to it whatever. He is like the Lord Auckland[34] of Burke's day, who, in a memorandum on the French Revolution, talks of "certain miscreants, assuming the name of philosophers, who have presumed themselves capable of establishing a new system of society." The Englishman has been called a political animal, and he values what is political and practical so much that ideas easily become objects of dislike in his eyes, and thinkers "miscreants," because ideas and thinkers have rashly meddled with politics and practice. This would be all very well if the dislike and neglect confined themselves to ideas transported out of their own sphere, and meddling rashly with practice; but they are inevitably extended to ideas as such, and to the whole life of intelligence; practice is everything, a free play of the mind is nothing. The notion of the free play of the mind upon all subjects being a pleasure in itself, being an object of desire, being an essential provider of elements without which a nation's spirit, whatever compensations it may have for them, must, in the long run, die of inanition, hardly enters into an Englishman's thoughts. It is noticeable that the word curiosity, which in other languages is used in a good sense, to mean, as a high and fine quality of man's nature, just this disinterested love of a free play of the mind on all subjects, for its own sake,—it is noticeable, I say, that this word has in our language no sense of the kind, no sense but a rather bad and disparaging one. But criticism, real criticism, is essentially the exercise of this very quality. It obeys an instinct prompting it to try to know the best that is known and thought in the world, irrespectively of practice, politics, and everything of the kind; and to value knowledge and thought as they approach this best, without the intrusion of any other considerations whatever. This is an instinct for which there is, I think, little original sympathy in the practical English nature, and what there was of it has undergone a long benumbing period of blight and suppression in the epoch of concentration which followed the French Revolution.

But epochs of concentration cannot well endure forever; epochs of expansion, in the due course of things, follow them. Such an epoch of expansion seems to be opening in this country. In the first place all danger of a hostile forcible pressure of foreign ideas upon our practice has long disappeared; like the traveller in the fable, therefore, we begin to wear our cloak a little more loosely. Then, with a long peace, the ideas of Europe steal gradually and amicably in, and mingle, though in infinitesimally small quantities at a time, with our own notions. Then, too, in spite of all that is said about the absorbing and brutalizing influence of our passionate material progress, it seems to me indisputable that this progress is likely, though not certain, to lead in the end to an apparition of intellectual life; and that man, after he has made himself perfectly comfortable and has now to determine what to do with himself next, may begin to remember that he has a mind, and that the mind may be made the source of great pleasure. I grant it is mainly the privilege of faith, at present, to discern this end to our railways, our business, and our fortune-making; but we shall see if, here as elsewhere, faith is not in the end the true prophet. Our ease, our travelling, and our unbounded liberty to hold just as hard and securely as we please to the practice to which our notions have given birth, all tend to beget an inclination to deal a little more freely with these notions themselves, to canvass them a little, to penetrate a little into their real nature. Flutterings of curiosity, in the foreign sense of the word, appear amongst us, and it is in these that criticism must look to find its account. Criticism first; a time of true creative activity, perhaps,—which, as I have said, must inevitably be preceded amongst us by a time of criticism,—hereafter, when criticism has done its work.

It is of the last importance that English criticism should clearly discern what rule for its course, in order to avail itself of the field now opening to it, and to produce fruit for the future, it ought to take. The rule may be summed up in one word,—disinterestedness. And how is criticism to show disinterestedness? By keeping aloof from what is called "the practical view of things"; by resolutely following the law of its own nature, which is to be a free play of the mind on all subjects which it touches. By steadily refusing to lend itself to any of those ulterior, political, practical considerations about ideas, which plenty of people will be sure to attach to them, which perhaps ought often to be attached to them, which in this country at any rate are certain to be attached to them quite sufficiently, but which criticism has really nothing to do with. Its business is, as I have said, simply to know the best that is known and thought in the world, and by in its turn making this known, to create a current of true and fresh ideas. Its business is to do this with inflexible honesty, with due ability; but its business is to do no more, and to leave alone all questions of practical consequences and applications, questions which will never fail to have due prominence given to them. Else criticism, besides being really false to its own nature, merely continues in the old rut which it has hitherto followed in this country, and will certainly miss the chance now given to it. For what is at present the bane of criticism in this country? It is that practical considerations cling to it and stifle it. It subserves interests not its own. Our organs of criticism are organs of men and parties having practical ends to serve, and with them those practical ends are the first thing and the play of mind the second; so much play of mind as is compatible with the prosecution of those practical ends is all that is wanted. An organ like the Revue des Deux Mondes,[35] having for its main function to understand and utter the best that is known and thought in the world, existing, it may be said, as just an organ for a free play of the mind, we have not. But we have the Edinburgh Review, existing as an organ of the old Whigs, and for as much play of the mind as may suit its being that; we have the Quarterly Review, existing as an organ of the Tories, and for as much play of mind as may suit its being that; we have the British Quarterly Review, existing as an organ of the political Dissenters, and for as much play of mind as may suit its being that; we have the Times, existing as an organ of the common, satisfied, well-to-do Englishman, and for as much play of mind as may suit its being that. And so on through all the various fractions, political and religious, of our society; every fraction has, as such, its organ of criticism, but the notion of combining all fractions in the common pleasure of a free disinterested play of mind meets with no favor. Directly this play of mind wants to have more scope, and to forget the pressure of practical considerations a little, it is checked, it is made to feel the chain. We saw this the other day in the extinction, so much to be regretted, of the Home and Foreign Review.[36] Perhaps in no organ of criticism in this country was there so much knowledge, so much play of mind; but these could not save it. The Dublin Review subordinates play of mind to the practical business of English and Irish Catholicism, and lives. It must needs be that men should act in sects and parties, that each of these sects and parties should have its organ, and should make this organ subserve the interests of its action; but it would be well, too, that there should be a criticism, not the minister of these interests, not their enemy, but absolutely and entirely independent of them. No other criticism will ever attain any real authority or make any real way towards its end,—the creating a current of true and fresh ideas.

It is because criticism has so little kept in the pure intellectual sphere, has so little detached itself from practice, has been so directly polemical and controversial, that it has so ill accomplished, in this country, its best spiritual work; which is to keep man from a self-satisfaction which is retarding and vulgarizing, to lead him towards perfection, by making his mind dwell upon what is excellent in itself, and the absolute beauty and fitness of things. A polemical practical criticism makes men blind even to the ideal imperfection of their practice, makes them willingly assert its ideal perfection, in order the better to secure it against attack: and clearly this is narrowing and baneful for them. If they were reassured on the practical side, speculative considerations of ideal perfection they might be brought to entertain, and their spiritual horizon would thus gradually widen. Sir Charles Adderley[37] says to the Warwickshire farmers:—

"Talk of the improvement of breed! Why, the race we ourselves represent, the men and women, the old Anglo-Saxon race, are the best breed in the whole world.... The absence of a too enervating climate, too unclouded skies, and a too luxurious nature, has produced so vigorous a race of people, and has rendered us so superior to all the world."

Mr. Roebuck[38] says to the Sheffield cutlers:—

"I look around me and ask what is the state of England? Is not property safe? Is not every man able to say what he likes? Can you not walk from one end of England to the other in perfect security? I ask you whether, the world over or in past history, there is anything like it? Nothing. I pray that our unrivalled happiness may last."

Now obviously there is a peril for poor human nature in words and thoughts of such exuberant self-satisfaction, until we find ourselves safe in the streets of the Celestial City.

"Das wenige verschwindet leicht dem Blicke Der vorwaerts sieht, wie viel noch uebrig bleibt—"[39]

says Goethe; "the little that is done seems nothing when we look forward and see how much we have yet to do." Clearly this is a better line of reflection for weak humanity, so long as it remains on this earthly field of labor and trial.

But neither Sir Charles Adderley nor Mr. Roebuck is by nature inaccessible to considerations of this sort. They only lose sight of them owing to the controversial life we all lead, and the practical form which all speculation takes with us. They have in view opponents whose aim is not ideal, but practical; and in their zeal to uphold their own practice against these innovators, they go so far as even to attribute to this practice an ideal perfection. Somebody has been wanting to introduce a six-pound franchise, or to abolish church-rates, or to collect agricultural statistics by force, or to diminish local self-government. How natural, in reply to such proposals, very likely improper or ill-timed, to go a little beyond the mark and to say stoutly, "Such a race of people as we stand, so superior to all the world! The old Anglo-Saxon race, the best breed in the whole world! I pray that our unrivalled happiness may last! I ask you whether, the world over or in past history, there is anything like it?" And so long as criticism answers this dithyramb by insisting that the old Anglo-Saxon race would be still more superior to all others if it had no church-rates, or that our unrivalled happiness would last yet longer with a six-pound franchise, so long will the strain, "The best breed in the whole world!" swell louder and louder, everything ideal and refining will be lost out of sight, and both the assailed and their critics will remain in a sphere, to say the truth, perfectly unvital, a sphere in which spiritual progression is impossible. But let criticism leave church-rates and the franchise alone, and in the most candid spirit, without a single lurking thought of practical innovation, confront with our dithyramb this paragraph on which I stumbled in a newspaper immediately after reading Mr. Roebuck:—

"A shocking child murder has just been committed at Nottingham. A girl named Wragg left the workhouse there on Saturday morning with her young illegitimate child. The child was soon afterwards found dead on Mapperly Hills, having been strangled. Wragg is in custody."

Nothing but that; but, in juxtaposition with the absolute eulogies of Sir Charles Adderley and Mr. Roebuck, how eloquent, how suggestive are those few lines! "Our old Anglo-Saxon breed, the best in the whole world!"—how much that is harsh and ill-favored there is in this best! Wragg! If we are to talk of ideal perfection, of "the best in the whole world," has any one reflected what a touch of grossness in our race, what an original short-coming in the more delicate spiritual perceptions, is shown by the natural growth amongst us of such hideous names,—Higginbottom, Stiggins, Bugg! In Ionia and Attica they were luckier in this respect than "the best race in the world"; by the Ilissus there was no Wragg, poor thing! And "our unrivalled happiness"; —what an element of grimness, bareness, and hideousness mixes with it and blurs it; the workhouse, the dismal Mapperly Hills,—how dismal those who have seen them will remember;—the gloom, the smoke, the cold, the strangled illegitimate child! "I ask you whether, the world over or in past history, there is anything like it?" Perhaps not, one is inclined to answer; but at any rate, in that case, the world is very much to be pitied. And the final touch,—short, bleak and inhuman: Wragg is in custody. The sex lost in the confusion of our unrivalled happiness; or (shall I say?) the superfluous Christian name lopped off by the straightforward vigor of our old Anglo-Saxon breed! There is profit for the spirit in such contrasts as this; criticism serves the cause of perfection by establishing them. By eluding sterile conflict, by refusing to remain in the sphere where alone narrow and relative conceptions have any worth and validity, criticism may diminish its momentary importance, but only in this way has it a chance of gaining admittance for those wider and more perfect conceptions to which all its duty is really owed. Mr. Roebuck will have a poor opinion of an adversary who replies to his defiant songs of triumph only by murmuring under his breath, Wragg is in custody; but in no other way will these songs of triumph be induced gradually to moderate themselves, to get rid of what in them is excessive and offensive, and to fall into a softer and truer key.

It will be said that it is a very subtle and indirect action which I am thus prescribing for criticism, and that, by embracing in this manner the Indian virtue of detachment[40] and abandoning the sphere of practical life, it condemns itself to a slow and obscure work. Slow and obscure it may be, but it is the only proper work of criticism. The mass of mankind will never have any ardent zeal for seeing things as they are; very inadequate ideas will always satisfy them. On these inadequate ideas reposes, and must repose, the general practice of the world. That is as much as saying that whoever sets himself to see things as they are will find himself one of a very small circle; but it is only by this small circle resolutely doing its own work that adequate ideas will ever get current at all. The rush and roar of practical life will always have a dizzying and attracting effect upon the most collected spectator, and tend to draw him into its vortex; most of all will this be the case where that life is so powerful as it is in England. But it is only by remaining collected, and refusing to lend himself to the point of view of the practical man, that the critic can do the practical man any service; and it is only by the greatest sincerity in pursuing his own course, and by at last convincing even the practical man of his sincerity, that he can escape misunderstandings which perpetually threaten him.

For the practical man is not apt for fine distinctions, and yet in these distinctions truth and the highest culture greatly find their account. But it is not easy to lead a practical man,—unless you reassure him as to your practical intentions, you have no chance of leading him,—to see that a thing which he has always been used to look at from one side only, which he greatly values, and which, looked at from that side, quite deserves, perhaps, all the prizing and admiring which he bestows upon it,—that this thing, looked at from another side, may appear much less beneficent and beautiful, and yet retain all its claims to our practical allegiance. Where shall we find language innocent enough, how shall we make the spotless purity of our intentions evident enough, to enable us to say to the political Englishmen that the British Constitution itself, which, seen from the practical side, looks such a magnificent organ of progress and virtue, seen from the speculative side,—with its compromises, its love of facts, its horror of theory, its studied avoidance of clear thoughts,—that, seen from this side, our august Constitution sometimes looks,—forgive me, shade of Lord Somers![41]—a colossal machine for the manufacture of Philistines? How is Cobbett[42] to say this and not be misunderstood, blackened as he is with the smoke of a lifelong conflict in the field of political practice? how is Mr. Carlyle to say it and not be misunderstood, after his furious raid into this field with his Latter-day Pamphlets?[43] how is Mr. Ruskin,[44] after his pugnacious political economy? I say, the critic must keep out of the region of immediate practice in the political, social, humanitarian sphere, if he wants to make a beginning for that more free speculative treatment of things, which may perhaps one day make its benefits felt even in this sphere, but in a natural and thence irresistible manner.

Do what he will, however, the critic will still remain exposed to frequent misunderstandings, and nowhere so much as in this country. For here people are particularly indisposed even to comprehend that without this free disinterested treatment of things, truth and the highest culture are out of the question. So immersed are they in practical life, so accustomed to take all their notions from this life and its processes, that they are apt to think that truth and culture themselves can be reached by the processes of this life, and that it is an impertinent singularity to think of reaching them in any other. "We are all terrae filii,"[45] cries their eloquent advocate; "all Philistines[46] together. Away with the notion of proceeding by any other course than the course dear to the Philistines; let us have a social movement, let us organize and combine a party to pursue truth and new thought, let us call it the liberal party, and let us all stick to each other, and back each other up. Let us have no nonsense about independent criticism, and intellectual delicacy, and the few and the many. Don't let us trouble ourselves about foreign thought; we shall invent the whole thing for ourselves as we go along. If one of us speaks well, applaud him; if one of us speaks ill, applaud him too; we are all in the same movement, we are all liberals, we are all in pursuit of truth." In this way the pursuit of truth becomes really a social, practical, pleasurable affair, almost requiring a chairman, a secretary, and advertisements; with the excitement of an occasional scandal, with a little resistance to give the happy sense of difficulty overcome; but, in general, plenty of bustle and very little thought. To act is so easy, as Goethe says; to think is so hard![47] It is true that the critic has many temptations to go with the stream, to make one of the party movement, one of these terrae filii; it seems ungracious to refuse to be a terrae filius, when so many excellent people are; but the critic's duty is to refuse, or, if resistance is vain, at least to cry with Obermann: Perissons en resistant[48].

How serious a matter it is to try and resist, I had ample opportunity of experiencing when I ventured some time ago to criticize the celebrated first volume of Bishop Colenso.[49] The echoes of the storm which was then raised I still, from time to time, hear grumbling round me. That storm arose out of a misunderstanding almost inevitable. It is a result of no little culture to attain to a clear perception that science and religion are two wholly different things. The multitude will forever confuse them; but happily that is of no great real importance, for while the multitude imagines itself to live by its false science, it does really live by its true religion. Dr. Colenso, however, in his first volume did all he could to strengthen the confusion,[50] and to make it dangerous. He did this with the best intentions, I freely admit, and with the most candid ignorance that this was the natural effect of what he was doing; but, says Joubert, "Ignorance, which in matters of morals extenuates the crime, is itself, in intellectual matters, a crime of the first order."[51] I criticized Bishop Colenso's speculative confusion. Immediately there was a cry raised: "What is this? here is a liberal attacking a liberal. Do not you belong to the movement? are not you a friend of truth? Is not Bishop Colenso in pursuit of truth? then speak with proper respect of his book. Dr. Stanley[52] is another friend of truth, and you speak with proper respect of his book; why make these invidious differences? both books are excellent, admirable, liberal; Bishop Colenso's perhaps the most so, because it is the boldest, and will have the best practical consequences for the liberal cause. Do you want to encourage to the attack of a brother liberal his, and your, and our implacable enemies, the Church and State Review or the Record,— the High Church rhinoceros and the Evangelical hyena? Be silent, therefore; or rather speak, speak as loud as ever you can! and go into ecstasies over the eighty and odd pigeons."

But criticism cannot follow this coarse and indiscriminate method. It is unfortunately possible for a man in pursuit of truth to write a book which reposes upon a false conception. Even the practical consequences of a book are to genuine criticism no recommendation of it, if the book is, in the highest sense, blundering. I see that a lady[53] who herself, too, is in pursuit of truth, and who writes with great ability, but a little too much, perhaps, under the influence of the practical spirit of the English liberal movement, classes Bishop Colenso's book and M. Renan's[54] together, in her survey of the religious state of Europe, as facts of the same order, works, both of them, of "great importance"; "great ability, power, and skill"; Bishop Colenso's, perhaps, the most powerful; at least, Miss Cobbe gives special expression to her gratitude that to Bishop Colenso "has been given the strength to grasp, and the courage to teach, truths of such deep import." In the same way, more than one popular writer has compared him to Luther. Now it is just this kind of false estimate which the critical spirit is, it seems to me, bound to resist. It is really the strongest possible proof of the low ebb at which, in England, the critical spirit is, that while the critical hit in the religious literature of Germany is Dr. Strauss's[55] book, in that of France M. Renan's book, the book of Bishop Colenso is the critical hit in the religious literature of England. Bishop Colenso's book reposes on a total misconception of the essential elements of the religious problem, as that problem is now presented for solution. To criticism, therefore, which seeks to have the best that is known and thought on this problem, it is, however well meant, of no importance whatever. M. Renan's book attempts a new synthesis of the elements furnished to us by the Four Gospels. It attempts, in my opinion, a synthesis, perhaps premature, perhaps impossible, certainly not successful. Up to the present time, at any rate, we must acquiesce in Fleury's sentence on such recastings of the Gospel story: Quiconque s'imagine la pouvoir mieux ecrire, ne l'entend pas.[56] M. Renan had himself passed by anticipation a like sentence on his own work, when he said: "If a new presentation of the character of Jesus were offered to me, I would not have it; its very clearness would be, in my opinion, the best proof of its insufficiency." His friends may with perfect justice rejoin that at the sight of the Holy Land, and of the actual scene of the Gospel story, all the current of M. Renan's thoughts may have naturally changed, and a new casting of that story irresistibly suggested itself to him; and that this is just a case for applying Cicero's maxim: Change of mind is not inconsistency—nemo doctus unquam mutationem consilii inconstantiam dixit esse.[57] Nevertheless, for criticism, M. Renan's first thought must still be the truer one, as long as his new casting so fails more fully to commend itself, more fully (to use Coleridge's happy phrase[58] about the Bible) to find us. Still M. Renan's attempt is, for criticism, of the most real interest and importance, since, with all its difficulty, a fresh synthesis of the New Testament data—not a making war on them, in Voltaire's fashion, not a leaving them out of mind, in the world's fashion, but the putting a new construction upon them, the taking them from under the old, traditional, conventional point of view and placing them under a new one—is the very essence of the religious problem, as now presented; and only by efforts in this direction can it receive a solution.

Again, in the same spirit in which she judges Bishop Colenso, Miss Cobbe, like so many earnest liberals of our practical race, both here and in America, herself sets vigorously about a positive reconstruction of religion, about making a religion of the future out of hand, or at least setting about making it. We must not rest, she and they are always thinking and saying, in negative criticism, we must be creative and constructive; hence we have such works as her recent Religious Duty, and works still more considerable, perhaps, by others, which will be in every one's mind. These works often have much ability; they often spring out of sincere convictions, and a sincere wish to do good; and they sometimes, perhaps, do good. Their fault is (if I may be permitted to say so) one which they have in common with the British College of Health, in the New Road. Every one knows the British College of Health; it is that building with the lion and the statue of the Goddess Hygeia before it; at least I am sure about the lion, though I am not absolutely certain about the Goddess Hygeia. This building does credit, perhaps, to the resources of Dr. Morrison and his disciples; but it falls a good deal short of one's idea of what a British College of Health ought to be. In England, where we hate public interference and love individual enterprise, we have a whole crop of places like the British College of Health; the grand name without the grand thing. Unluckily, creditable to individual enterprise as they are, they tend to impair our taste by making us forget what more grandiose, noble, or beautiful character properly belongs to a public institution. The same may be said of the religions of the future of Miss Cobbe and others. Creditable, like the British College of Health, to the resources of their authors, they yet tend to make us forget what more grandiose, noble, or beautiful character properly belongs to religious constructions. The historic religions, with all their faults, have had this; it certainly belongs to the religious sentiment, when it truly flowers, to have this; and we impoverish our spirit if we allow a religion of the future without it. What then is the duty of criticism here? To take the practical point of view, to applaud the liberal movement and all its works,—its New Road religions of the future into the bargain,—for their general utility's sake? By no means; but to be perpetually dissatisfied with these works, while they perpetually fall short of a high and perfect ideal. For criticism, these are elementary laws; but they never can be popular, and in this country they have been very little followed, and one meets with immense obstacles in following them. That is a reason for asserting them again and again. Criticism must maintain its independence of the practical spirit and its aims. Even with well-meant efforts of the practical spirit it must express dissatisfaction, if in the sphere of the ideal they seem impoverishing and limiting. It must not hurry on to the goal because of its practical importance. It must be patient, and know how to wait; and flexible, and know how to attach itself to things and how to withdraw from them. It must be apt to study and praise elements that for the fulness of spiritual perfection are wanted, even though they belong to a power which in the practical sphere may be maleficent. It must be apt to discern the spiritual shortcomings or illusions of powers that in the practical sphere may be beneficent. And this without any notion of favoring or injuring, in the practical sphere, one power or the other; without any notion of playing off, in this sphere, one power against the other. When one looks, for instance, at the English Divorce Court—an institution which perhaps has its practical conveniences, but which in the ideal sphere is so hideous; an institution which neither makes divorce impossible nor makes it decent, which allows a man to get rid of his wife, or a wife of her husband, but makes them drag one another first, for the public edification, through a mire of unutterable infamy,—when one looks at this charming institution, I say, with its crowded trials, its newspaper reports, and its money compensations, this institution in which the gross unregenerate British Philistine has indeed stamped an image of himself, —one may be permitted to find the marriage theory of Catholicism refreshing and elevating. Or when Protestantism, in virtue of its supposed rational and intellectual origin, gives the law to criticism too magisterially, criticism may and must remind it that its pretensions, in this respect, are illusive and do it harm; that the Reformation was a moral rather than an intellectual event; that Luther's theory of grace[59] no more exactly reflects the mind of the spirit than Bossuet's philosophy of history[60] reflects it; and that there is no more antecedent probability of the Bishop of Durham's stock of ideas being agreeable to perfect reason than of Pope Pius the Ninth's. But criticism will not on that account forget the achievements of Protestantism in the practical and moral sphere; nor that, even in the intellectual sphere, Protestantism, though in a blind and stumbling manner, carried forward the Renascence, while Catholicism threw itself violently across its path.

I lately heard a man of thought and energy contrasting the want of ardor and movement which he now found amongst young men in this country with what he remembered in his own youth, twenty years ago. "What reformers we were then!" he exclaimed; "What a zeal we had! how we canvassed every institution in Church and State, and were prepared to remodel them all on first principles!" He was inclined to regret, as a spiritual flagging, the lull which he saw. I am disposed rather to regard it as a pause in which the turn to a new mode of spiritual progress is being accomplished. Everything was long seen, by the young and ardent amongst us, in inseparable connection with politics and practical life. We have pretty well exhausted the benefits of seeing things in this connection, we have got all that can be got by so seeing them. Let us try a more disinterested mode of seeing them; let us betake ourselves more to the serener life of the mind and spirit. This life, too, may have its excesses and dangers; but they are not for us at present. Let us think of quietly enlarging our stock of true and fresh ideas, and not, as soon as we get an idea or half an idea, be running out with it into the street, and trying to make it rule there. Our ideas will, in the end, shape the world all the better for maturing a little. Perhaps in fifty years' time it will in the English House of Commons be an objection to an institution that it is an anomaly, and my friend the Member of Parliament will shudder in his grave. But let us in the meanwhile rather endeavor that in twenty years' time it may, in English literature, be an objection to a proposition that it is absurd. That will be a change so vast, that the imagination almost fails to grasp it. Ab Integro soeclorum nascitur ordo.[61]

If I have insisted so much on the course which criticism must take where politics and religion are concerned, it is because, where these burning matters are in question, it is most likely to go astray. I have wished, above all, to insist on the attitude which criticism should adopt towards things in general; on its right tone and temper of mind. But then comes another question as to the subject-matter which literary criticism should most seek. Here, in general, its course is determined for it by the idea which is the law of its being: the idea of a disinterested endeavor to learn and propagate the best that is known and thought in the world, and thus to establish a current of fresh and true ideas. By the very nature of things, as England is not all the world, much of the best that is known and thought in the world cannot be of English growth, must be foreign; by the nature of things, again, it is just this that we are least likely to know, while English thought is streaming in upon us from all sides, and takes excellent care that we shall not be ignorant of its existence. The English critic of literature, therefore, must dwell much on foreign thought, and with particular heed on any part of it, which, while significant and fruitful in itself, is for any reason specially likely to escape him. Again, judging is often spoken of as the critic's one business, and so in some sense it is; but the judgment which almost insensibly forms itself in a fair and clear mind, along with fresh knowledge, is the valuable one; and thus knowledge, and ever fresh knowledge, must be the critic's great concern for himself. And it is by communicating fresh knowledge, and letting his own judgment pass along with it,—but insensibly, and in the second place, not the first, as a sort of companion and clue, not as an abstract lawgiver,—that the critic will generally do most good to his readers. Sometimes, no doubt, for the sake of establishing an author's place in literature, and his relation to a central standard (and if this is not done, how are we to get at our best in the world?) criticism may have to deal with a subject-matter so familiar that fresh knowledge is out of the question, and then it must be all judgment; an enunciation and detailed application of principles. Here the great safeguard is never to let oneself become abstract, always to retain an intimate and lively consciousness of the truth of what one is saying, and, the moment this fails us, to be sure that something is wrong. Still under all circumstances, this mere judgment and application of principles is, in itself, not the most satisfactory work to the critic; like mathematics, it is tautological, and cannot well give us, like fresh learning, the sense of creative activity.

But stop, some one will say; all this talk is of no practical use to us whatever; this criticism of yours is not what we have in our minds when we speak of criticism; when we speak of critics and criticism, we mean critics and criticism of the current English literature of the day: when you offer to tell criticism its function, it is to this criticism that we expect you to address yourself. I am sorry for it, for I am afraid I must disappoint these expectations. I am bound by my own definition of criticism; a disinterested endeavor to learn and propagate the best that is known and thought in the world.. How much of current English literature comes into this "best that is known and thought in the world"? Not very much I fear; certainly less, at this moment, than of the current literature of France or Germany. Well, then, am I to alter my definition of criticism, in order to meet the requirements of a number of practising English critics, who, after all, are free in their choice of a business? That would be making criticism lend itself just to one of those alien practical considerations, which, I have said, are so fatal to it. One may say, indeed, to those who have to deal with the mass—so much better disregarded—of current English literature, that they may at all events endeavor, in dealing with this, to try it, so far as they can, by the standard of the best that is known and thought in the world; one may say, that to get anywhere near this standard, every critic should try and possess one great literature, at least, besides his own; and the more unlike his own, the better. But, after all, the criticism I am really concerned with,—the criticism which alone can much help us for the future, the criticism which, throughout Europe, is at the present day meant, when so much stress is laid on the importance of criticism and the critical spirit,—is a criticism which regards Europe as being, for intellectual and spiritual purposes, one great confederation, bound to a joint action and working to a common result; and whose members have, for their proper outfit, a knowledge of Greek, Roman, and Eastern antiquity, and of one another. Special, local, and temporary advantages being put out of account, that modern nation will in the intellectual and spiritual sphere make most progress, which most thoroughly carries out this program. And what is that but saying that we too, all of us, as individuals, the more thoroughly we carry it out, shall make the more progress?

There is so much inviting us!—what are we to take? what will nourish us in growth towards perfection? That is the question which, with the immense field of life and of literature lying before him, the critic has to answer; for himself first, and afterwards for others. In this idea of the critic's business the essays brought together in the following pages have had their origin; in this idea, widely different as are their subjects, they have, perhaps, their unity.

I conclude with what I said at the beginning: to have the sense of creative activity is the great happiness and the great proof of being alive, and it is not denied to criticism to have it; but then criticism must be sincere, simple, flexible, ardent, ever widening its knowledge. Then it may have, in no contemptible measure, a joyful sense of creative activity; a sense which a man of insight and conscience will prefer to what he might derive from a poor, starved, fragmentary, inadequate creation. And at some epochs no other creation is possible.

Still, in full measure, the sense of creative activity belongs only to genuine creation; in literature we must never forget that. But what true man of letters ever can forget it? It is no such common matter for a gifted nature to come into possession of a current of true and living ideas, and to produce amidst the inspiration of them, that we are likely to underrate it. The epochs of AEschylus and Shakespeare make us feel their preeminence. In an epoch like those is, no doubt, the true life of literature; there is the promised land, towards which criticism can only beckon. That promised land it will not be ours to enter, and we shall die in the wilderness: but to have desired to enter it, to have saluted it from afar, is already, perhaps, the best distinction among contemporaries; it will certainly be the best title to esteem with posterity.



THE STUDY OF POETRY[62]

"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 materialized itself in the fact, in the supposed fact; it has attached its emotion to the fact, and how 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 the idea; the idea is the fact. The strongest part of our religion today is its unconscious poetry."[63]

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 capable of higher uses, and called to higher destinies than those which in general men have assigned to it hitherto. More and more mankind will discover 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 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 a countenance of all science"[64] and what is a countenance without its expression? Again, Wordsworth finely and truly calls poetry "the breath and finer spirit of all knowledge":[64] 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 hollowness, 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 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 not charlatanism?"—"Yes," answers Sainte-Beuve,[65] "in politics, in the art of governing mankind, that is perhaps true. But in the order of thought, in art, the glory, the eternal honor is that charlatanism shall find no entrance; 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 honor, 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 unsound or only half-sound, true and untrue or only half-true. It is charlatanism, conscious or unconscious, whenever 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[66] 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[67] 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 watchful, 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 personal to ourselves, and they may count to us really. They may count to us historically. The 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 ourselves 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 estimate which we may call historic. Then, again, a poet or a poem may count to us on grounds personal 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.

Both fallacies are natural. It is evident how naturally the study of the history and development of a poetry may incline a man to pause over reputations and works once conspicuous but now obscure, 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[68] long ago reproached with its want of the true poetic stamp, with its politesse sterile et rampante?[69] 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'Hericault,[70] the editor of Clement Marot, 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 point, the culminating and exceptional point, the summary, fictitious and arbitrary, of a thought and of a work. It substitutes a halo for a physiognomy, it puts a statue where there was once a man, and hiding from us all trace of the labor, 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 creation 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 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 between 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 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 labor, 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 dilettantism 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 requite 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 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 himself, and is prone to over-rate it in proportion to the trouble which it has cost him.

The idea of tracing historic origins and historical 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 business of exhibiting him, disposes us to affirm and amplify his importance. In the present work, therefore, we are sure of frequent temptation to adopt the historic estimate, or the personal estimate, 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 attaining 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 cognoveris, ad unum semper oportet redire principium.[71]

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 contemporaries, or at any rate modern. The exaggerations due to the historic estimate are not in themselves, perhaps, of very much gravity. Their report hardly enters the general ear; probably they do not always impose even on the literary men who adopt them. But they lead to a dangerous abuse of language. So we hear Caedmon,[72] amongst, our own poets, compared to Milton. I have already noticed the enthusiasm of one accomplished French critic for "historic origins." Another eminent French critic, M. Vitet,[73] comments upon that famous document of the early poetry of his nation, the Chanson de Roland.[74] It is indeed a most interesting document. The joculator or jongleur Taillefer, who was with William the Conqueror'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 Roncevaux"; and it is suggested that in the Chanson de Roland by one Turoldus or Theroulde, 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 vigor and freshness; it is not without pathos. But M. 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 simplicity 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. Roland, mortally wounded, lays himself down under a pine-tree, with his face turned towards Spain and the enemy—

"De plusurs choses a remembrer li prist, De tantes teres cume li bers cunquist, De dulce France, des humes de sun lign, De Carlemagne sun seignor ki l'nurrit."[75]

That is primitive work, I repeat, with an undeniable poetic quality of its own. It deserves such praise, and such praise is sufficient for it. But now turn to Homer—

[Greek: Os phato tous d aedae katecheu phusizoos aia en Lakedaimoni authi, philm en patridi gaim][76]

We are here in another world, another order of poetry altogether; here is rightly due such supreme praise as that which M. Vitet gives to the Chanson de Roland. If our words are to have any meaning, if our judgments are to have any solidity, we must not heap that supreme praise upon poetry of an order immeasurably inferior.

Indeed there can be no more useful help for discovering what poetry belongs to the class of the truly excellent, and can therefore do us most good, than to have always in one's mind lines and expressions of the great masters, and to apply them as a touchstone to other poetry. Of course we are not to require this other poetry to resemble them; it may be very dissimilar. But if we have any tact we shall find them, when we have lodged them well in our minds, an infallible touchstone for detecting the presence or absence of high poetic quality, and also the degree of this quality, in all other poetry which we may place beside them. Short passages, even single lines, will serve our turn quite sufficiently. Take the two lines which I have just quoted from Homer, the poet's comment on Helen's mention of her brothers;—or take his

[Greek:] A delo, to sphoi domen Paelaei anakti Thnaeta; umeis d eston agaero t athanato te. ae ina dustaenoiosi met andrasin alge echaeton;[77]

the address of Zeus to the horses of Peleus;—or take finally his

[Greek:] Kai se, geron, to prin men akouomen olbion einar[78]

the words of Achilles to Priam, a suppliant before him. Take that incomparable line and a half of Dante, Ugolino's tremendous words—

"Io no piangeva; si dentro impietrai. Piangevan elli ..."[79]

take the lovely words of Beatrice to Virgil—

"Io son fatta da Dio, sua merce, tale, Che la vostra miseria non mi tange, Ne fiamma d'esto incendio non m'assale ..."[80]

take the simple, but perfect, single line—

"In la sua volontade e nostra pace."[81]

Take of Shakespeare a line or two of Henry the Fourth's expostulation with sleep—

"Wilt thou upon the high and giddy mast Seal up the ship-boy's eyes, and rock his brains In cradle of the rude imperious surge ..."[82]

and take, as well, Hamlet's dying request to Horatio—

"If thou didst ever hold me in thy heart, Absent thee from felicity awhile, And in this harsh world draw thy breath in pain To tell my story ..."[83]

Take of Milton that Miltonic passage—

"Darken'd so, yet shone Above them all the archangel; but his face Deep scars of thunder had intrench'd, and care Sat on his faded cheek ..."[84]

add two such lines as—

"And courage never to submit or yield And what is else not to be overcome ..."[85]

and finish with the exquisite close to the loss of Proserpine, the loss

" ... which cost Ceres all that pain To seek her through the world."[86]

These few lines, if we have tact and can use them, are enough even of themselves to keep clear and sound our judgments about poetry, to save us from fallacious estimates of it, to conduct us to a real estimate.

The specimens I have quoted differ widely from one another, but they have in common this: the possession of the very highest poetical quality. If we are thoroughly penetrated by their power, we shall find that we have acquired a sense enabling us, whatever poetry may be laid before us, to feel the degree in which a high poetical quality is present or wanting there. Critics give themselves great labor to draw out what in the abstract constitutes the characters of a high quality of poetry. It is much better simply to have recourse to concrete examples; —to take specimens of poetry of the high, the very highest quality, and to say: The characters of a high quality of poetry are what is expressed there. They are far better recognized by being felt in the verse of the master, than by being perused in the prose of the critic. Nevertheless if we are urgently pressed to give some critical account of them, we may safely, perhaps, venture on laying down, not indeed how and why the characters arise, but where and in what they arise. They are in the matter and substance of the poetry, and they are in its manner and style. Both of these, the substance and matter on the one hand, the style and manner on the other, have a mark, an accent, of high beauty, worth, and power. But if we are asked to define this mark and accent in the abstract, our answer must be: No, for we should thereby be darkening the question, not clearing it. The mark and accent are as given by the substance and matter of that poetry, by the style and manner of that poetry, and of all other poetry which is akin to it in quality.

Only one thing we may add as to the substance and matter of poetry, guiding ourselves by Aristotle's profound observation[87] that the superiority of poetry over history consists in its possessing a higher truth and a higher seriousness ([Greek: philosophoteron kahi spondaioteron]). Let us add, therefore, to what we have said, this: that the substance and matter of the best poetry acquire their special character from possessing, in an eminent degree, truth and seriousness. We may add yet further, what is in itself evident, that to the style and manner of the best poetry their special character, their accent, is given by their diction, and, even yet more, by their movement. And though we distinguish between the two characters, the two accents, of superiority, yet they are nevertheless vitally connected one with the other. The superior character of truth and seriousness, in the matter and substance of the best poetry, is inseparable from the superiority of diction and movement marking its style and manner. The two superiorities are closely related, and are in steadfast proportion one to the other. So far as high poetic truth and seriousness are wanting to a poet's matter and substance, so far also, we may be sure, will a high poetic stamp of diction and movement be wanting to his style and manner. In proportion as this high stamp of diction and movement, again, is absent from a poet's style and manner, we shall find, also, that high poetic truth and seriousness are absent from his substance and matter.

So stated, these are but dry generalities; their whole force lies in their application. And I could wish every student of poetry to make the application of them for himself. Made by himself, the application would impress itself upon his mind far more deeply than made by me. Neither will my limits allow me to make any full application of the generalities above propounded; but in the hope of bringing out, at any rate, some significance in them, and of establishing an important principle more firmly by their means, I will, in the space which remains to me, follow rapidly from the commencement the course of our English poetry with them in my view.

Once more I return to the early poetry of France, with which our own poetry, in its origins, is indissolubly connected. In the twelfth and thirteenth centuries, that seed-time of all modern language and literature, the poetry of France had a clear predominance in Europe. Of the two divisions of that poetry, its productions in the langue d'oil and its productions in the langue d'oc, the poetry of the langue d'oc,[88] of southern France, of the troubadours, is of importance because of its effect on Italian literature;—the first literature of modern Europe to strike the true and grand note, and to bring forth, as in Dante and Petrarch it brought forth, classics. But the predominance of French poetry in Europe, during the twelfth and thirteenth centuries, is due to its poetry of the langue d'oil, the poetry of northern France and of the tongue which is now the French language. In the twelfth century the bloom of this romance-poetry was earlier and stronger in England, at the court of our Anglo-Norman kings, than in France itself. But it was a bloom of French poetry; and as our native poetry formed itself, it formed itself out of this. The romance-poems which took possession of the heart and imagination of Europe in the twelfth and thirteenth centuries are French; "they are," as Southey justly says, "the pride of French literature, nor have we anything which can be placed in competition with them." Themes were supplied from all quarters: but the romance-setting which was common to them all, and which gained the ear of Europe, was French. This constituted for the French poetry, literature, and language, at the height of the Middle Age, an unchallenged predominance. The Italian Brunetto Latini,[89] the master of Dante, wrote his Treasure in French because, he says, "la parleure en est plus delitable et plus commune a toutes gens." In the same century, the thirteenth, the French romance-writer, Christian of Troyes,[90] formulates the claims, in chivalry and letters, of France, his native country, as follows:—

"Or vous ert par ce livre apris, Que Gresse ot de chevalerie Le premier los et de clergie; Puis vint chevalerie a Rome, Et de la clergie la some, Qui ore est en France venue. Diex doinst qu'ele i soit retenue Et que li lius li abelisse Tant que de France n'isse L'onor qui s'i est arestee!"

"Now by this book you will learn that first Greece had the renown for chivalry and letters: then chivalry and the primacy in letters passed to Rome, and now it is come to France. God grant it may be kept there; and that the place may please it so well, that the honor which has come to make stay in France may never depart thence!"

Yet it is now all gone, this French romance-poetry, of which the weight of substance and the power of style are not unfairly represented by this extract from Christian of Troyes. Only by means of the historic estimate can we persuade ourselves now to think that any of it is of poetical importance.

But in the fourteenth century there comes an Englishman nourished on this poetry; taught his trade by this poetry, getting words, rhyme, meter from this poetry; for even of that stanza[91] which the Italians used, and which Chaucer derived immediately from the Italians, the basis and suggestion was probably given in France. Chaucer (I have already named him) fascinated his contemporaries, but so too did Christian of Troyes and Wolfram of Eschenbach.[92] Chaucer's power of fascination, however, is enduring; his poetical importance does not need the assistance of the historic estimate; it is real. He is a genuine source of joy and strength, which is flowing still for us and will flow always. He will be read, as time goes on, far more generally than he is read now. His language is a cause of difficulty for us; but so also, and I think in quite as great a degree, is the language of Burns. In Chaucer's case, as in that of Burns, it is a difficulty to be unhesitatingly accepted and overcome.

If we ask ourselves wherein consists the immense superiority of Chaucer's poetry over the romance-poetry—why it is that in passing from this to Chaucer we suddenly feel ourselves to be in another world, we shall find that his superiority is both in the substance of his poetry and in the style of his poetry. His superiority in substance is given by his large, free, simple, clear yet kindly view of human life,—so unlike the total want, in the romance-poets, of all intelligent command of it. Chaucer has not their helplessness; he has gained the power to survey the world from a central, a truly human point of view. We have only to call to mind the Prologue to The Canterbury Tales. The right comment upon it is Dryden's: "It is sufficient to say, according to the proverb, that here is God's plenty."[93] And again: "He is a perpetual fountain of good sense." It is by a large, free, sound representation of things, that poetry, this high criticism of life, has truth of substance; and Chaucer's poetry has truth of substance.

Of his style and manner, if we think first of the romance-poetry and then of Chaucer's divine liquidness of diction, his divine fluidity of movement, it is difficult to speak temperately. They are irresistible, and justify all the rapture with which his successors speak of his "gold dew-drops of speech." Johnson misses the point entirely when he finds fault with Dryden for ascribing to Chaucer the first refinement of our numbers, and says that Gower[94] also can show smooth numbers and easy rhymes. The refinement of our numbers means something far more than this. A nation may have versifiers with smooth numbers and easy rhymes, and yet may have no real poetry at all. Chaucer is the father of our splendid English poetry; he is our "well of English undefiled," because by the lovely charm of his diction, the lovely charm of his movement, he makes an epoch and founds a tradition.

In Spenser, Shakespeare, Milton, Keats, we can follow the tradition of the liquid diction, the fluid movement, of Chaucer; at one time it is his liquid diction of which in these poets we feel the virtue, and at another time it is his fluid movement. And the virtue is irresistible.

Bounded as is my space, I must yet find room for an example of Chaucer's virtue, as I have given examples to show the virtue of the great classics. I feel disposed to say that a single line is enough to show the charm of Chaucer's verse; that merely one line like this—

"O martyr souded[95] in virginitee!"

has a virtue of manner and movement such as we shall not find in all the verse of romance-poetry;—but this is saying nothing. The virtue is such as we shall not find, perhaps, in all English poetry, outside the poets whom I have named as the special inheritors of Chaucer's tradition. A single line, however, is too little if we have not the strain of Chaucer's verse well in our memory; let us take a stanza. It is from The Prioress's Tale, the story of the Christian child murdered in a Jewry—

"My throte is cut unto my nekke-bone Saide this child, and as by way of kinde I should have deyd, yea, longe time agone; But Jesu Christ, as ye in bookes finde, Will that his glory last and be in minde, And for the worship of his mother dere Yet may I sing O Alma loud and clere."

Wordsworth has modernized this Tale, and to feel how delicate and evanescent is the charm of verse, we have only to read Wordsworth's first three lines of this stanza after Chaucer's—

"My throat is cut unto the bone, I trow, Said this young child, and by the law of kind I should have died, yea, many hours ago."

The charm is departed. It is often said that the power of liquidness and fluidity in Chaucer's verse was dependent upon a free, a licentious dealing with language, such as is now impossible; upon a liberty, such as Burns too enjoyed, of making words like neck, bird, into a dissyllable by adding to them, and words like cause, rhyme, into a dissyllable by sounding the e mute. It is true that Chaucer's fluidity is conjoined with this liberty, and is admirably served by it; but we ought not to say that it was dependent upon it. It was dependent upon his talent. Other poets with a like liberty do not attain to the fluidity of Chaucer; Burns himself does not attain to it. Poets, again, who have a talent akin to Chaucer's, such as Shakespeare or Keats, have known how to attain to his fluidity without the like liberty.

And yet Chaucer is not one of the great classics. His poetry transcends and effaces, easily and without effort, all the romance-poetry of Catholic Christendom; it transcends and effaces all the English poetry contemporary with it, it transcends and effaces all the English poetry subsequent to it down to the age of Elizabeth. Of such avail is poetic truth of substance, in its natural and necessary union with poetic truth of style. And yet, I say, Chaucer is not one of the great classics. He has not their accent. What is wanting to him is suggested by the mere mention of the name of the first great classic of Christendom, the immortal poet who died eighty years before Chaucer,—Dante. The accent of such verse as

"In la sua volontade e nostra pace ..."

is altogether beyond Chaucer's reach; we praise him, but we feel that this accent is out of the question for him. It may be said that it was necessarily out of the reach of any poet in the England of that stage of growth. Possibly; but we are to adopt a real, not a historic, estimate of poetry. However we may account for its absence, something is wanting, then, to the poetry of Chaucer, which poetry must have before it can be placed in the glorious class of the best. And there is no doubt what that something is. It is the[Greek: spoudaiotaes] the high and excellent seriousness, which Aristotle assigns as one of the grand virtues of poetry. The substance of Chaucer's poetry, his view of things and his criticism of life, has largeness, freedom, shrewdness, benignity; but it has not this high seriousness. Homer's criticism of life has it, Dante's has it, Shakespeare's has it. It is this chiefly which gives to our spirits what they can rest upon; and with the increasing demands of our modern ages upon poetry, this virtue of giving us what we can rest upon will be more and more highly esteemed. A voice from the slums of Paris, fifty or sixty years after Chaucer, the voice of poor Villon[96] out of his life of riot and crime, has at its happy moments (as, for instance, in the last stanza of La Belle Heaulmiere [97]) more of this important poetic virtue of seriousness than all the productions of Chaucer. But its apparition in Villon, and in men like Villon, is fitful; the greatness of the great poets, the power of their criticism of life, is that their virtue is sustained.

To our praise, therefore, of Chaucer as a poet there must be this limitation: he lacks the high seriousness of the great classics, and therewith an important part of their virtue. Still, the main fact for us to bear in mind about Chaucer is his sterling value according to that real estimate which we firmly adopt for all poets. He has poetic truth of substance, though he has not high poetic seriousness, and corresponding to his truth of substance he has an exquisite virtue of style and manner. With him is born our real poetry.

For my present purpose I need not dwell on our Elizabethan poetry, or on the continuation and close of this poetry in Milton. We all of us profess to be agreed in the estimate of this poetry; we all of us recognize it as great poetry, our greatest, and Shakespeare and Milton as our poetical classics. The real estimate, here, has universal currency. With the next age of our poetry divergency and difficulty begin. An historic estimate of that poetry has established itself; and the question is, whether it will be found to coincide with the real estimate.

The age of Dryden, together with our whole eighteenth century which followed it, sincerely believed itself to have produced poetical classics of its own, and even to have made advance, in poetry, beyond all its predecessors. Dryden regards as not seriously disputable the opinion "that the sweetness of English verse was never understood or practised by our fathers."[98] Cowley could see nothing at all in Chaucer's poetry.[99] Dryden heartily admired it, and, as we have seen, praised its matter admirably; but of its exquisite manner and movement all he can find to say is that "there is the rude sweetness of a Scotch tune in it, which is natural and pleasing, though not perfect."[100] Addison, wishing to praise Chaucer's numbers, compares them with Dryden's own. And all through the eighteenth century, and down even into our own times, the stereotyped phrase of approbation for good verse found in our early poetry has been, that it even approached the verse of Dryden, Addison, Pope, and Johnson.

Are Dryden and Pope poetical classics? Is the historic estimate, which represents them as such, and which has been so long established that it cannot easily give way, the real estimate? Wordsworth and Coleridge, as is well known, denied it;[101] but the authority of Wordsworth and Coleridge does not weigh much with the young generation, and there are many signs to show that the eighteenth century and its judgments are coming into favor again. Are the favorite poets of the eighteenth century classics?

It is impossible within my present limits to discuss the question fully. And what man of letters would not shrink from seeming to dispose dictatorially of the claims of two men who are, at any rate, such masters in letters as Dryden and Pope; two men of such admirable talent, both of them, and one of them, Dryden, a man, on all sides, of such energetic and genial power? And yet, if we are to gain the full benefit from poetry, we must have the real estimate of it. I cast about for some mode of arriving, in the present case, at such an estimate without offence. And perhaps the best way is to begin, as it is easy to begin, with cordial praise.

When we find Chapman, the Elizabethan translator of Homer, expressing himself in his preface thus: "Though truth in her very nakedness sits in so deep a pit, that from Gades to Aurora and Ganges few eyes can sound her, I hope yet those few here will so discover and confirm that, the date being out of her darkness in this morning of our poet, he shall now gird his temples with the sun,"—we pronounce that such a prose is intolerable. When we find Milton writing: "And long it was not after, when I was confirmed in this opinion, that he, who would not be frustrate of his hope to write well hereafter in laudable things, ought himself to be a true poem,"[102]—we pronounce that such a prose has its own grandeur, but that it is obsolete and inconvenient. But when we find Dryden telling us: "What Virgil wrote in the vigor of his age, in plenty and at ease, I have undertaken to translate in my declining years; struggling with wants, oppressed with sickness, curbed in my genius, liable to be misconstrued in all I write,"[103]—then we exclaim that here at last we have the true English prose, a prose such as we would all gladly use if we only knew how. Yet Dryden was Milton's contemporary.

But after the Restoration the time had come when our nation felt the imperious need of a fit prose. So, too, the time had likewise come when our nation felt the imperious need of freeing itself from the absorbing preoccupation which religion in the Puritan age had exercised. It was impossible that this freedom should be brought about without some negative excess, without some neglect and impairment of the religious life of the soul; and the spiritual history of the eighteenth century shows us that the freedom was not achieved without them. Still, the freedom was achieved; the preoccupation, an undoubtedly baneful and retarding one if it had continued, was got rid of. And as with religion amongst us at that period, so it was also with letters. A fit prose was a necessity; but it was impossible that a fit prose should establish itself amongst us without some touch of frost to the imaginative life of the soul. The needful qualities for a fit prose are regularity, uniformity, precision, balance. The men of letters, whose destiny it may be to bring their nation to the attainment of a fit prose, must of necessity, whether they work in prose or in verse, give a predominating, an almost exclusive attention to the qualities of regularity, uniformity, precision, balance. But an almost exclusive attention to these qualities involves some repression and silencing of poetry.

We are to regard Dryden as the puissant and glorious founder, Pope as the splendid high priest, of our age of prose and reason, of our excellent and indispensable eighteenth century. For the purposes of their mission and destiny their poetry, like their prose, is admirable. Do you ask me whether Dryden's verse, take it almost where you will, is not good?

"A milk-white Hind, immortal and unchanged, Fed on the lawns and in the forest ranged."[104]

I answer: Admirable for the purposes of the inaugurator of an age of prose and reason. Do you ask me whether Pope's verse, take it almost where you will, is not good?

"To Hounslow Heath I point, and Banstead Down; Thence comes your mutton, and these chicks my own."[105]

I answer: Admirable for the purposes of the high priest of an age of prose and reason. But do you ask me whether such verse proceeds from men with an adequate poetic criticism of life, from men whose criticism of life has a high seriousness, or even, without that high seriousness, has poetic largeness, freedom, insight, benignity? Do you ask me whether the application of ideas to life in the verse of these men, often a powerful application, no doubt, is a powerful poetic application? Do you ask me whether the poetry of these men has either the matter or the inseparable manner of such an adequate poetic criticism; whether it has the accent of

"Absent thee from felicity awhile ... "

or of

"And what is else not to be overcome ... "

or of

"O martyr sonded in virginitee!"

I answer: It has not and cannot have them; it is the poetry of the builders of an age of prose and reason.

Though they may write in verse, though they may in a certain sense be masters of the art of versification, Dryden and Pope are not classics of our poetry, they are classics of our prose.

Gray is our poetical classic of that literature and age; the position of Gray is singular, and demands a word of notice here. He has not the volume or the power of poets who, coming in times more favorable, have attained to an independent criticism of life. But he lived with the great poets, he lived, above all, with the Greeks, through perpetually studying and enjoying them; and he caught their poetic point of view for regarding life, caught their poetic manner. The point of view and the manner are not self-sprung in him, he caught them of others; and he had not the free and abundant use of them. But whereas Addison and Pope never had the use of them, Gray had the use of them at times. He is the scantiest and frailest of classics in our poetry, but he is a classic.

And now, after Gray, we are met, as we draw towards the end of the eighteenth century, we are met by the great name of Burns. We enter now on times where the personal estimate of poets begins to be rife, and where the real estimate of them is not reached without difficulty. But in spite of the disturbing pressures of personal partiality, of national partiality, let us try to reach a real estimate of the poetry of Burns. By his English poetry Burns in general belongs to the eighteenth century, and has little importance for us.

"Mark ruffian Violence, distain'd with crimes, Rousing elate in these degenerate times; View unsuspecting Innocence a prey, As guileful Fraud points out the erring way; While subtle Litigation's pliant tongue The life-blood equal sucks of Right and Wrong!"[106]

Evidently this is not the real Burns, or his name and fame would have disappeared long ago. Nor is Clarinda's[107] love-poet, Sylvander, the real Burns either. But he tells us himself: "These English songs gravel me to death. I have not the command of the language that I have of my native tongue. In fact, I think that my ideas are more barren in English than in Scotch. I have been at Duncan Gray to dress it in English, but all I can do is desperately stupid."[108] We English turn naturally, in Burns, to the poems in our own language, because we can read them easily; but in those poems we have not the real Burns.

The real Burns is of course in his Scotch poems. Let us boldly say that of much of this poetry, a poetry dealing perpetually with Scotch drink, Scotch religion, and Scotch manners, a Scotchman's estimate is apt to be personal. A Scotchman is used to this world of Scotch drink, Scotch religion, and Scotch manners; he has a tenderness for it; he meets its poet half way. In this tender mood he reads pieces like the Holy Fair or Halloween. But this world of Scotch drink, Scotch religion, and Scotch manners is against a poet, not for him, when it is not a partial countryman who reads him; for in itself it is not a beautiful world, and no one can deny that it is of advantage to a poet to deal with a beautiful world. Burns's world of Scotch drink, Scotch religion, and Scotch manners, is often a harsh, a sordid, a repulsive world; even the world of his Cotter's Saturday Night is not a beautiful world. No doubt a poet's criticism of life may have such truth and power that it triumphs over its world and delights us. Burns may triumph over his world, often he does triumph over his world, but let us observe how and where. Burns is the first case we have had where the bias of the personal estimate tends to mislead; let us look at him closely, he can bear it.

Many of his admirers will tell us that we have Burns, convivial, genuine, delightful, here—

"Leeze me on drink! it gies us mair Than either school or college; It kindles wit, it waukens lair, It pangs us fou o' knowledge. Be't whisky gill or penny wheep Or ony stronger potion, It never fails, on drinking deep, To kittle up our notion By night or day."[109]

There is a great deal of that sort of thing in Burns, and it is unsatisfactory, not because it is bacchanalian poetry, but because it has not that accent of sincerity which bacchanalian poetry, to do it justice, very often has. There is something in it of bravado, something which makes us feel that we have not the man speaking to us with his real voice: something, therefore, poetically unsound.

With still more confidence will his admirers tell us that we have the genuine Burns, the great poet, when his strain asserts the independence, equality, dignity, of men, as in the famous song For a' that and a' that

"A prince can mak' a belted knight, A marquis, duke, and a' that; But an honest man's a boon his might, Guid faith he manna fa' that! For a' that, and a' that, Their dignities, and a' that, The pith o' sense, and pride o' worth, Are higher rank than a' that."

Here they find his grand, genuine touches; and still more, when this puissant genius, who so often set morality at defiance, falls moralizing—

"The sacred lowe o' weel placed love Luxuriantly indulge it; But never tempt th' illicit rove, Tho' naething should divulge it. I waive the quantum o' the sin, The hazard o' concealing, But och! it hardens a' within, And petrifies the feeling."[110]

Or in a higher strain—

"Who made the heart, 'tis He alone Decidedly can try us; He knows each chord, its various tone; Each spring, its various bias. Then at the balance let's be mute, We never can adjust it; What's done we partly may compute, But know not what's resisted."[111]

Or in a better strain yet, a strain, his admirers will say, unsurpassable—

"To make a happy fire-side clime To weans and wife, That's the true pathos and sublime Of human life."[112]

There is criticism of life for you, the admirers of Burns will say to us; there is the application of ideas to life! There is, undoubtedly. The doctrine of the last-quoted lines coincides almost exactly with what was the aim and end, Xenophon tells us, of all the teaching of Socrates. And the application is a powerful one; made by a man of vigorous understanding, and (need I say?) a master of language.

But for supreme poetical success more is required than the powerful application of ideas to life; it must be an application under the conditions fixed by the laws of poetic truth and poetic beauty. Those laws fix as an essential condition, in the poet's treatment of such matters as are here in question, high seriousness;—the high seriousness which comes from absolute sincerity. The accent of high seriousness, born of absolute sincerity, is what gives to such verse as

"In la sua volontade e nostra pace..."

to such criticism of life as Dante's, its power. Is this accent felt in the passages which I have been quoting from Burns? Surely not; surely, if our sense is quick, we must perceive that we have not in those passages a voice from the very inmost soul of the genuine Burns; he is not speaking to us from these depths, he is more or less preaching. And the compensation for admiring such passages less, for missing the perfect poetic accent in them, will be that we shall admire more the poetry where that accent is found.

No; Burns, like Chaucer, comes short of the high seriousness of the great classics, and the virtue of matter and manner which goes with that high seriousness is wanting to his work. At moments he touches it in a profound and passionate melancholy, as in those four immortal lines taken by Byron as a motto for The Bride of Abydos, but which have in them a depth of poetic quality such as resides in no verse of Byron's own—

"Had we never loved sae kindly, Had we never loved sae blindly, Never met, or never parted, We had ne'er been broken-hearted."

But a whole poem of that quality Burns cannot make; the rest, in the Farewell to Nancy, is verbiage.

We arrive best at the real estimate of Burns, I think, by conceiving his work as having truth of matter and truth of manner, but not the accent or the poetic virtue of the highest masters. His genuine criticism of life, when the sheer poet in him speaks, is ironic; it is not—

"Thou Power Supreme, whose mighty scheme These woes of mine fulfil, Here firm I rest, they must be best Because they are Thy will!"[113]

It is far rather: Whistle owre the lave o't! Yet we may say of him as of Chaucer, that of life and the world, as they come before him, his view is large, free, shrewd, benignant,—truly poetic, therefore; and his manner of rendering what he sees is to match. But we must note, at the same time, his great difference from Chaucer. The freedom of Chaucer is heightened, in Burns, by a fiery, reckless energy; the benignity of Chaucer deepens, in Burns, into an overwhelming sense of the pathos of things;—of the pathos of human nature, the pathos, also, of non-human nature. Instead of the fluidity of Chaucer's manner, the manner of Burns has spring, bounding swiftness. Burns is by far the greater force, though he has perhaps less charm. The world of Chaucer is fairer, richer, more significant than that of Burns; but when the largeness and freedom of Burns get full sweep, as in Tam o' Shanter, or still more in that puissant and splendid production, The Jolly Beggars, his world may be what it will, his poetic genius triumphs over it. In the world of The Jolly Beggars there is more than hideousness and squalor, there is bestiality; yet the piece is a superb poetic success. It has a breadth, truth, and power which make the famous scene in Auerbach's Cellar, of Goethe's Faust, seem artificial and tame beside it, and which are only matched by Shakespeare and Aristophanes.

Here, where his largeness and freedom serve him so admirably, and also in those poems and songs where to shrewdness he adds infinite archness and, wit, and to benignity infinite pathos, where his manner is flawless, and a perfect poetic whole is the result,—in things like the address to the mouse whose home he had ruined, in things like Duncan Gray, Tarn Glen, Whistle and I'll come to you my Lad, Auld Lang Syne (this list might be made much longer),—here we have the genuine Burns, of whom the real estimate must be high indeed. Not a classic, nor with the excellent[Greek: spoudaihotaes] of the great classics, nor with a verse rising to a criticism of life and a virtue like theirs; but a poet with thorough truth of substance and an answering truth of style, giving us a poetry sound to the core. We all of us have a leaning towards the pathetic, and may be inclined perhaps to prize Burns most for his touches of piercing, sometimes almost intolerable, pathos; for verse like—

"We twa hae paidl't i' the burn From mornin' sun till dine; But seas between us braid hae roar'd Sin auld lang syne ..."

where he is as lovely as he is sound. But perhaps it is by the perfection of soundness of his lighter and archer masterpieces that he is poetically most wholesome for us. For the votary misled by a personal estimate of Shelley, as so many of us have been, are, and will be,—of that beautiful spirit building his many-colored haze of words and images

"Pinnacled dim in the intense inane"—[114]

no contact can be wholesomer than the contact with Burns at his archest and soundest. Side by side with the

"On the brink of the night and the morning My coursers are wont to respire, But the Earth has just whispered a warning That their flight must be swifter than fire ..."[115]

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