Front matter (continued 3)

George Moore's Modern Painting is full of injustices, brutality and ignorances; but it is full also of the most generous justice, the most discriminating sympathy, and the genuine knowledge of the painter. It is hastily thought out, hastily written; but here, in these vivid, direct, unscrupulously logical pages, you will find some of the secrets of the art of painting, let out, so to speak, by an intelligence all sensation, which has soaked them up without knowing it. Yet, having begun by trying to paint, and having failed in painting, and so set himself to the arduous task of being a prose-writer, he is often, in spite of his painter's accuracy as to "values" and "technique" and so on, unreliable.

For, being neither creative as a novelist nor as a critic, he has nothing, as a matter of course, of two among many essential qualities: vision and divination. Take, for instance, a few pages anywhere in L'Art Romanesque of Baudelaire, or from his prose on Delacroix, on Constantine Guys, on Wagner, on Daumier, on Whistler, on Flaubert, and on Balzac—where he is always supreme and consummate, "fiery and final"—and place these beside any chosen pages of Moore's prose on either Balzac or on Whistler, and you will see all the difference in the world: as I have said above, between the creative and the uncreative criticism.

Had Walter Pater devoted himself exclusively to art criticism, there is no doubt that, in a sense, he would have been a great art critic. There are essays scattered throughout his work, as in the Botticelli where he first introduces Botticelli to the modern world, as in the Leonardo da Vinci—in which the simplest words take color from each other by the cunning accident of their placing in the sentences, the subtle spiritual fire kindling from word to word creates a masterpiece, a miracle in which all is inspiration, all is certainty, all is evocation, and which, in the famous page on La Gioconda, rises to the height of actually lyrical prose—in which the essential principles of the art of painting are divined and interpreted with extraordinary subtlety. In the same sense all that Whistler has written about painting deserves to be taken seriously, and read with understanding. Written in French, and signed by Baudelaire, his truths, and paradoxes reflecting truths, would have been realized for what they are. He fought for himself, and spared no form of stupidity: for, in Whistler, apart from his malice, his poisonous angers, taste was carried to the point of genius, and became creative.

George Moore's literary career has been singularly interesting; his character as a writer is very curious. A man who respects his art, who is devoted to literature, who has a French eye for form, he seems condemned to produce work which is always spotted with imperfection. All his life he has been seeking a style, and he has not yet found one. At times he drops into style as if by accident, and then he drops style as if by design. He has a passionate delight in the beauty of good prose; he has an ear for the magic of phrases; his words catch at times a troubled expressive charm; yet he has never attained ease in writing, and he is capable of astounding incorrectness—the incorrectness of a man who knows better, who is not careless and yet who can not help himself. Yet the author of A Mummer's Wife, of The Confessions of a Young Man, of Impressions and Opinions, has more narrowly escaped being a great writer than even he himself, perhaps, is aware.

FRANCIS THOMPSON

I

If Crashaw, Shelley, Donne, Marvell, Patmore and some other poets had not existed, Francis Thompson would be a poet of remarkable novelty. Not that originality, in the strictest sense, is always essential to the making of a poet. There have been poets who have so absolutely lived in another age, whose whole soul has been so completely absorbed by a fashion of writing, perhaps a single writer, belonging to an earlier century, that their work has been an actual reincarnation of this particular time or writer. Chatterton, for instance, remains one of the finest of English poets, entirely on account of poems which were so deliberately imitative as to have been passed off as transcripts from old manuscripts. Again, it is possible to be deftly and legitimately eclectic, as was Milton, for example. Milton had, in an extraordinary degree, the gift of assimilating all that he found, all that he borrowed. Often, indeed, he improved his borrowed goods; but always he worked them into the pattern of his own stuff, he made them part of himself; and wisdom is justified of her children. Now Thompson, though he affects certain periods, is not so absorbed in any one as to have found his soul by losing it; nor is he a dainty borrower from all, taking his good things wheresoever he finds them. Rather, he has been impressed by certain styles, in themselves incompatible, indeed implying the negation of one another—that of Crashaw, for instance, and that of Patmore—and he has deliberately mixed them, against the very nature of things. Thus his work, with all its splendors, has the impress of no individuality; it is a splendor of rags and patches, a very masque of anarchy. A new poet announces himself by his new way of seeing things, his new way of feeling things; Thompson comes to us a cloudy visionary, a rapturous sentimentalist, in whom emotion means colored words, and sight the opportunity for a bedazzlement.

The opening section of the book Love in Dian's Lap is an experiment in Platonic love. The experiment is in itself interesting, though here perhaps a little too deliberate; in its bloodless ecstasy it recalls Epipsychidion, which is certainly one of the several models on which it has been formed; it has, too, a finely extravagant courtliness, which belongs to an older school of verse as here:—

Yet I have felt what terrors may consort In women's cheeks, the Graces' soft resort; My hand hath shook at gentle hands' access, And trembled at the waving of a tress; My blood known panic fear, and fled dismayed, Where ladies' eyes have set their ambuscade. The rustle of a robe hath been to me The very rattle of love's musketry; Although my heart hath beat the loud advance, I have recoiled before a challenging glance, Proved gay alarms where warlike ribbons dance. And from it all, this knowledge have I got,— The whole, that others have, is less than they have not; All which makes other women noted fair, Unnoted would remain and overshone in her.

Finer, in yet a different style, is the poem To a Poet Breaking Silence, of which we may quote the opening lines:—

Too wearily had we and song Been left to look and left to long, Yea, song and we to long and look, Since thine acquainted feet forsook The mountain where the Muses hymn For Sinai and the Seraphim. Now in both the mountains' shine Dress thy countenance, twice divine! From Moses and the Muses draw The Tables of thy double Law! His rod-born fount and Castaly Let the one rock bring forth for thee, Renewing so from either spring The songs that both thy countries sing: Or we shall fear lest, heavened thus long, Thou should'st forget thy native song, And mar thy mortal melodies With broken stammer of the skies.

Next after these poems of spiritual love come certain odes and lyrical pieces: one To the Dead Cardinal of Westminster, modeled, as to form, on Marvell's great ode: A Judgment in Heaven, in which we are permitted to see the angels "as they pelted each other with handfuls of stars"—the most clotted and inchoate poem in the volume; together with A Corymbus for Autumn and The Hound of Heaven which are the finest things Thompson has done. Here, with all his extravagance, which passes from the sublime to the ridiculous with all the composure of a madman, Thompson has grappled with splendid subjects splendidly. He can, it is true, say:—

Against the red throb of the sunset-heart I laid my own to beat;

but he can also say (with a solemn imagery which has its precise meaning as well as its large utterance):—

I dimly guess what Time in mists confounds; Yet ever and anon a trumpet sounds From the hid battlements of Eternity, Those shaken mists a space unsettle, then Round the half-glimpsed turrets slowly wash again; But not ere him who summoneth I first have seen, enwound With glooming robes purpureal, cypress-crowned; His name I know, and what his trumpet saith.

Here, as ever, Thompson indulges in his passion for polysyllables—"the splendent might of thy conflagrate fancies," for example; but forced words are less out of place in poems which, in the best sense of the word, are rhapsodies, than in poems such as those on children, which fill the last section of the book, and in which one may read of "a silvern segregation, globed complete," of "derelict trinkets of the darling young," and so forth. The last piece of all, To Monica Thought Dying, is written in downright imitation of Patmore; but how far is it, in its straining after fine effects of sound, its straining after fine effects of pathos, from the perfect justice of expression which Patmore has found in such poems as The Toys and Poor Child! for an equally perfect sentiment of the pathetic! That a writer who at his best is so fiery and exuberant should ever take Patmore for a model, should really try to catch even his tricks of expression, is very curious, and shows, as much as any other single characteristic, the somewhat external quality of Thompson's inspiration. A poet with an individuality to express, seeking for an individual form of expression, could scarcely, one fancies, have been drawn by any natural affinity so far away from himself and his main habitudes. Grashaw and Patmore—we come back to the old antagonism—can a man serve two such masters? Imagine Patmore rewriting, according to his own standard of composition, The Flaming Heart, or Crashaw treating in his own way the theme of Deliciae Sapientiae de Amore! Here and there, too, in Thompson's work, are reminiscences of Rossetti; as here:—

Yea, in that ultimate heart's occult abode To lie as in an oubliette of God.

And the influence of Shelley is felt from the first line to the last. Yet, in spite of all this, Thompson has something, unquestionably, of "fine frenzy," not always quite under his own control; he amazes by his audacity, and delights by the violence with which he would fain storm Parnassus. His verse has generally fervor, a certain lyric glow, a certain magnificence; it has abundant fancy, and its measure of swift imagination. But the feast he spreads for us is a very Trimalchio's feast—the heaped profusion, the vaunting prodigality, which brings a surfeit; and, unlike Trimalchio, it could not be said of him Omnia domi nascuntur.

Verse, unless it is in some measure ecstasy, can not be poetry. But it does not follow that in verse the most fervid ecstasy is the best poetry. If, indeed, for "fervid" be substituted "fervidly expressed," it is quite the contrary. Coventry Patmore has pointed out that the sign of great art is peace, a peace which comes of the serene, angelic triumph over mortal tumults, and those less essential raptures which are after all flames of the earth's center. Francis Thompson has the ecstasy; but unfortunately he has not realized that ecstasy, if it is to be communicated from the soul to the soul, and not merely from the mouth to the ear, must be whispered, not shouted.

If a man's style is the man—his innermost self, as we may suppose, revealing itself in the very words he uses—Thompson, in a more special sense than almost any other writer, is seen in his language. He is that strange phenomenon, a verbal intelligence. He thinks in words, he receives his emotions and sensations from words, and the rapture which he certainly attains is a rapture of the disembodied word. It is not that his verse is without meaning, that in taking care of the sound he allows the sense (poor orphan!) to take care of itself. He has a meaning, but that meaning, if it has not a purely verbal origin, is at all events allowed to develop under the direct suggestion of the words which present themselves to interpret it. His consciousness is dominated by its own means of expression. And what is most curious of all is that, while Thompson has a quite recognizable manner, he has not achieved a really personal style. He has learned much, not always with wisdom, and in crowding together Cowley, Crashaw, Donne, Patmore, to name but a few of many, he has not remembered that to begin a poem in the manner of Crashaw, and to end it in the manner of Patmore, is not the same thing as fusing two alien substances into a single new substance. Styles he has, but not style. This very possession by the word has, perhaps, hindered him from attaining it. Fine style, the style in which every word is perfect, rises beautifully out of a depth into which words have never stretched down their roots. Intellect and emotion are the molders of style. A profound thought, a profound emotion, speaks as if it were unconscious of words; only when it speaks as if unconscious of words do the supreme words issue from its lips. Ornament may come afterward: you can not begin with ornament. Thompson, however, begins with ornament.

Unhappily, too, Thompson's verse is certainly fatiguing to read, and one of the reasons why it is so fatiguing is that the thought that is in it does not progress; it remains stationary. About the fragile life which cries somewhere in its center he builds up walls of many colored bricks, immuring his idea, hiding it, stifling it. How are we to read an ode of many pages in which there is no development, not even movement? Stanza is heaped upon stanza, page is piled upon page, and we end where we began. The writer has said endless things about something but never the thing itself. Poetry consists in saying the thing itself.

But this is not the only reason why it is fatiguing to read Thompson's verse. To read it is too much like jolting in a springless cart over a plowed field, about noontide, on a hot summer day. His lines, of which this is typical,—

Pulp the globed weight of juiced Iberia's grape,

are so packed with words that each line detains the reader. Not merely does Thompson prefer the line to the stanza or the paragraph, he prefers the word to the line. He has failed to remember that while two and two make four, four are not necessarily better than two—that because red is brighter than gray, red is not necessarily the better color to use whenever one wants to use a color. He hears the brass in the orchestra sounding out loudly over the strings and he therefore suppresses the strings. He has a bold and prolific fancy, and he pampers his fancy; yet prodigality is not abundance, nor profusion taste. He is without reticence, which he looks upon as stint or as penury. Having invited his guests to his feast, he loads their plates with more than they can eat, forcing it upon them under the impression that to do otherwise is to be lacking in hospitality.

Yet, after all, the feast is there—Trimalchio's if you will, but certainly not a Barmecide's. Thompson has a remarkable talent, he has a singular mastery of verse, as the success of his books is not alone in proving. Never has the seventeenth-century phrasing been so exactly repeated as in some of his poems. Never have Patmore's odes been more scrupulously rewritten, cadence for cadence; Thompson's fancy is untiring, if sometimes it tires the reader; he has, not exactly at command, but not beyond reach, an eager imagination. No one can cause a more vaguely ardent feeling in the sympathetic reader, a feeling made up of admiration and of astonishment in perhaps equal portions. There are times when the fire in him bums clear through its enveloping veils of smoke, and he writes passages of real splendor. Why then does he for the most part wrap himself so willingly in the smoke?

II

In Francis Thompson's first volume of poems, I pointed out some of the sources of the so-called originality of all that highly colored verse—Crashaw, Shelley, Donne, Marvell, Patmore, Rossetti—and I expressed a doubt whether a writer who could allow himself to be so singularly influenced by such singularly different writers could be really, in the full sense of the term, a new poet. The book before me confirms my doubt. Thompson is careful to inform his readers that "this poem, though new in the sense of being now for the first time printed, was written some four years ago, about the same date as the Hound of Heaven in my former volume." Still, as he takes the responsibility of printing it, and of issuing it by itself, it may reasonably be assumed that he has written nothing since which he considers to be of higher quality.

The book consists of one long and obscure rhapsody in two parts. Why it should ever begin, or end, or be thus divided, is not obvious, nor, indeed, is the separate significance of most of the separate pages. It begins in a lilt of this kind:—

The leaves dance, the leaves sing, The leaves dance in the breath of Spring. I bid them dance, I bid them sing, For the limpid glance Of my ladyling; For the gift to the Spring of a dewier spring, For God's good grace of this ladyling!

But the rhythm soon becomes graver, the lines charged with a more heavily consonnated burden of sound, as, for instance, in the opening of the second part:—

And now, thou elder nursling of the nest, Ere all the intertangled west Be one magnificence Of multitudinous blossoms that o'er-run The flaming brazen bowl o' the burnished sun Which they do flower from How shall I 'stablish thy memorial?

"I who can scarcely speak my fellows' speech," the writer adds, with more immediate and far-reaching truth than he intends. Thompson wilfully refuses to speak his fellows' speech, in order to speak a polysyllabic speech, made up out of all the periods of the English language—a speech which no one, certainly, has employed in just such a manner before, but which, all the same, does not become really individual. It remains, rather, a patchwork garb, flaming in all the colors, tricked out with barbaric jewels, and, for all its emphatic splendor, suggesting the second-hand dealer's.

In such a poem as The Hound of Heaven, in Thompson's former volume, there was a certain substratum of fine meaning, not obscured, or at all events not concealed, by a cloud of stormy words. But here I find no sufficing undercurrent of thought, passion, or reverie, nothing but fine fragments, splendid lines, glowing images. And of such fragments, however brilliant in themselves, no fine poetry can consist. Thompson declares of himself and his verse, with a really fervid sense of his own ardor:

And are its plumes a burning bright array? They burn for an unincarnated eye. A bubble, charioteered by the inward breath Which, ardorous for its own invisible lure, Urges me glittering to aerial death, I am rapt towards that bodiless paramour; Blindly the uncomprehended tyranny Obeying of my heart's impetuous might.

Scarcely could a single line express more concisely and more significantly the truth about Thompson than one of these lines. "Urges me glittering to aerial death:" how true that is in its confession of that fatal vagueness of aim, showiness of equipment and the toppling disaster of it all! Thompson has miscalculated his strength of flight. He is for ever straining after the heights, and there are moments when he seems to have reached them. But it is only that he has dazzled and confused our sight by the trick of some unfamiliar magic. And his magic, for the most part, is a magic of words. Those suggestions of a rare poetic vision, which, from the first, seemed nebulous rather than illuminated, have become little more than verbal sophistries. To have transposed a phrase until it becomes

To Naiad it through the unfrothing air

satisfies him as though it had been a vision or an invention. The frigid conceit of

The blushes on existence's pale face

satisfies him as though it were an imaginative conception. And such combinations of words as

The very hues Which their conflagrant elements effuse

satisfy him as being effects of appropriate poetic novelty. The Poems, with all their faults, had suggestions of finer possibilities. In Sister-Songs none of these possibilities is realized. At the most it is a sort of fantastic world of waters (shall we say, at Thompson's suggestion?) where,

——like the phantasms of a poet pale, The exquisite marvels sail: Clarified silver; greens and azures frail As if the colours sighed themselves away, And blent in supersubtile interplay As if they swooned into each other's arms; Repured vermilion, Like ear-tips 'gainst the sun; And beings that, under night's swart pinion, Make every wave upon the harbour bars A beaten yolk of stars. But where day's glance turns baffled from the deeps, Die out those lovely swarms; And in the immense profound no creature glides or creeps.

Francis Thompson's earlier volume of Poems attracted perhaps an undue amount of attention on account of its gorgeous and unusual qualities of diction, and a certain exuberant and extravagant fervor of mood. These are not indeed the characteristics of the highest kind of poetry, but they are characteristics which impress uncritical persons as being of the essence of poetic inspiration. To express a small thought by a large word is always impressive, and a certain excitement in the manner of it adds greatly to the effect of the performance. Thus, much writing which is merely feverish and blustering becomes admired for the quality of its defects, these defects being taken to be extraordinary merits; while writing which has all the quietness of true perfection passes unobserved or unrecognized. In particular it is forgotten that the expression of a thought should be like a well-fitting suit of clothes, following closely and gracefully the outlines of the body that informs it. Francis Thompson, alike in his former work and in the work which he has just brought out, is never content unless his thought is swathed in fold after fold of variegated drapery, cut after no recognized fashion and arranged on no consistent or indeed comprehensible plan. Take this passage, for instance, on page three of Sister-Songs:

Now therefore, thou who bring'st the year to birth, Who guid'st the bare and dabbled feet of May; Sweet stem to that rose Christ, who from the earth Suck'st our poor prayers, conveying them to Him; Be aidant, tender Lady, to my lay! Of thy two maidens somewhat must I say, Ere shadowy twilight lashes, drooping, dim Day's dreamy eyes from us; Ere eve has struck and furled The beamy-textured tent transpicuous, Of webbed coerule wrought and woven calms, Whence has paced forth the lambent-footed sun.

This is a fair, indeed a favorable, specimen of Thompson's way of "Making familiar things seem strange." His vocabulary is for the most part made up of an ingenious, and really novel, selection from the words that other people are ignorant of, or perhaps avoid if they know them: "battailously," for instance, or "illuminate and volute redundance," which will be found on a single page. He describes himself as a

Wantoner between the yet untreacherous claws Of newly-whelped existence;

while on another page he tells us:

The hours I tread ooze memories of thee, sweet!

He sees "blossoms mince it on river swells," and notices when

All the fair Frequence swayed in irised wavers.

All this is surely a very artificial and unnecessary and inelegant way of expressing very ordinary matters. The same strain after a sort of exterior heightening of expression appears on every page. Often the language has a certain magnificence, and it is always employed in the service of a luxurious fancy, which not infrequently rises to the point of sheer imagination. But the whole book leaves no enduring impression on the mind, only the visual memory of flooding words, splashing in colored waves. As a piece of decoration, in this highly colored kind, it has qualities of extraordinary brilliance and audacity. And at times, becoming for a moment a little simpler than its wont, though still fantastic and freakish, it will present us with an effect like that in the following lines:

And thou, bright girl, not long shalt thou repeat Idly the music from thy mother caught; Not vainly has she wrought, Not vainly from the cloudward-jetting turret Of her aerial mind, for thy weak feet, Let down the silken ladder of her thought. She bare thee with a double pain, Of the body and the spirit; Thou thy fleshly weeds hast ta'en, Thy diviner weeds inherit! The precious streams which through thy young lips roll Shall leave their lovely delta in thy soul. Where sprites of so essential kind Set their paces, Surely they shall leave behind The green traces Of their sportance in the mind; And thou shalt, ere we well may know it, Turn that daintiness, a poet,— Elfin-ring Where sweet fancies foot and sing.

Such work as this comes strangely enough into the midst of contemporary verse, concerned as that for the most part is with other ends, and elaborated after quite another fashion. Always interesting, if never quite satisfying; too crowded, too loaded, rather than, as with most verse, meager and unfilled; curiously conceived, and still more curiously wrought out; it holds a unique position in the poetic literature of the day, if not, in Patmore's words concerning the earlier volume of Poems, "in the prominent ranks of fame, with Cowley and Crashaw." It is a book which no one else could have written, and in which no one can fail to admire, with however many reservations, the "illuminate and volute redundance" of an only too opulent talent.

For it is difficult to avoid the conviction that Thompson deliberately rejects simplicity, and even, at times, with an elaborate and conscious search after long and heavily colored words. There is in this book a translation of Victor Hugo's Ce qu'on entend sur la Montagne, a well known poem in the Feuilles d'Automne. In going carefully over Thompson's version and comparing it word for word with the original, we have found that where Victor Hugo—not a simple writer—is simple, Thompson embroiders upon him, and that where he is not simple, Thompson is always less so. For instance, in the very first couplet we have "let your tread aspirant rise" for monté; a few lines below,

One day at least, whereon my thought, enlicensed to muse, Had drooped its wing above the beached margent of the ooze,

for

——un jour q'en rêve Ma pensée abattit son vol sur une grève.

Further on,

The one was of the waters; a be-radiant hymnal speech!

for

L'une venait des mers; chant de gloire; hymne heureux!

And finally,

And I made question of me, to what issues are we here, Whither should tend the thwarting threads of all this ravelled gear,

in place of

Et je me demandai pourquoi l'on est ici, Quel peut être après tout le but de tout ceci.

What could be more significant than this heaping up of long and extravagant and sometimes feeble words, instead of the direct language of Hugo, who in this poem, though not without a certain rhetoric, says exactly what he wants to say, and when, as in the last two lines quoted, he thinks that an almost bald simplicity will be in place, sets down his thoughts in terms of an almost bald simplicity? In this translation, Thompson has betrayed himself; he has allowed his critics to see him at work, substituting what is roundabout for what is straight-forward; what is lengthy for what is brief; what is elaborated for what is simple. Has not a similar process gone on in his own mind—how far consciously one can not tell—during the writing of his original poems?

III

The news comes to me on a little black-edged card that Francis Thompson died at dawn on November 13, 1907. He was a Roman Catholic, and we are asked to pray for his soul. It was a light that death could not put out, a torch that no wind could blow out in the darkness. From us indeed it is now turned away, and that little corner of the world to which the poet gives light is darkened.

For Francis Thompson was one of the few poets now or lately living in whom there was some trace of that divine essence which we best symbolize by fire. Emptiness he had and extravagances, but he was a poet, and he had made of many influences a form of new beauty. Much of his speech, which has a heaped imagery unique in our time, seems to have learned its technique from an almost indiscriminate quarrying among old quarries, and is sometimes so closely copied from that which was fantastically precise in Crashaw, Donne, Vaughan, that we wonder why it was not a few centuries ago that some one said:

Life is a coquetry Of Death, which wearies me, Too sure Of the armour; A tiring-room where I Death's divers garments try, Till fit Some fashion sit.

No one since that time, when "conceits" could convey poetical substance, has touched so daintily on plain words, giving by the touch some transfiguring novelty. If it was a style learned, it was a style perfectly acquired, and at times equal to its original.

Words and cadences must have had an intoxication for him, the intoxication of the scholar; and "cloudy trophies" were continually falling into his hands, and half through them, in his hurry to seize and brandish them. He swung a rare incense in a censer of gold, under the vault of a chapel where he had hung votive offerings. The incense half obscures the offerings, and the dim figures of the saints painted on the windows. As he bows there in the chapel he seems to himself to be in "reverberant Eden-ways" or higher, at the throne of heaven, borne on "plumes night-tinctured, englobed and cinctured of saints." Passing beyond the world he finds strange shapes, full of pomp and wearing strange crowns; but they are without outline, and his words disguise, decorate, but do not reveal them.

When he chanted in his chapel of dreams, the airs were often airs which he had learned from Crashaw and Patmore. They came to life again when he used them, and he made for himself a music which was part strangely familiar and part his own, almost bewilderingly. Such reed-notes and such orchestration of sound were heard no where else; and people listened to the music, entranced as by a new magic.

When he put these dreams and this music into verse, with a craft which he had perfected for his own use, the poetry was for the most part a splendid rhetoric, imaginative and passionless, as if the moods went by, wrapped in purple, in a great procession. The Hound of Heaven has the harmonies of a symphony, and there are delicacies among its splendors, and, among instants of falsely fanciful sentiment, such august moments as this:

I dimly guess what Time in mists confounds; Yet ever and anon a trumpet sounds From the hid battlements of Eternity, Those shaken mists a space unsettle, then Round the half-glimpsed turrets slowly wash again.

It is full of fine and significant symbolism, it is an elaborate pageant of his own life, with all its miseries, heights, relapses, and flight after some eternity; but, as he writes it, it turns intellectual, and the voice is like that of one declaiming his confession. It was not thus that Christina Rossetti let us overhear a few of the deepest secrets of her soul.

The genius of Francis Thompson was oriental, exuberant in color woven into elaborate patterns, and went draped in old silken robes that had survived many dynasties. The spectacle of him was an enchantment; he passed like a wild vagabond of the mind, dazzling our sight. He had no message, but he dropped sentences by the way, cries of joy or pity, love of children, worship of the Virgin and saints and of those who were patron saints to him on earth; his voice was heard like a wandering music, which no one heeded for what it said, in a strange tongue, but which came troublingly into the mind, bringing it the solace of its old recaptured melodies. Other poets of his time have had deeper things to say, and a more flawless beauty; others have put more of their hearts into their song; but no one has been a torch waved with so fitful a splendor over the gulfs of our darkness.

COVENTRY PATMORE

The most austere poet of our time, Coventry Patmore, conceived of art as a sort of abstract ecstasy, whose source, limit and end are that supreme wisdom which is the innermost essence of love. Thus the whole of his work, those "bitter, sweet, few and veiled" songs, which are the fruit of two out of his seventy years, is love-poetry; and it is love-poetry of a quite unique kind. In the earlier of his two books, The Angel in the House, we see him, in the midst of a scientific generation (in which it was supposed that by adding prose to poetry you doubled the value of poetry) unable to escape the influence of his time, desperately set on doing the wrong thing by design, yet unable to keep himself from often doing the right thing by accident. In his later book, The Unknown Eros, he has achieved the proper recognition of himself, the full consciousness of the means to his own end; and it is by The Unknown Eros that he will love, if it is enough claim to immortality to have written the most devout, subtle and sublimated love-poetry of our century.

Patmore tells us in The Angel in the House that it was his intention to write

That hymn for which the whole world longs, A worthy hymn in woman's praise.

But at that time his only conception of woman was the conception of woman as the lady. Now poetry has nothing whatever to do with woman as the lady; it is in the novel, the comedy of manners, that we expect the society of ladies. Prose, in the novel and the drama, is at liberty to concern itself with those secondary emotions which come into play in our familiar intercourse with one another; with those conventions which are the "evening dress" by which our varying temperaments seek the disguise of an outward uniformity; with those details of life which are also, in a sense, details of costume, and thus of value to the teller of a tale, the actor on a stage. But the poet who endeavors to bring all this machinery of prose into the narrow and self-sufficing limits of verse is as fatally doomed to failure as the painter who works after photographs, instead of from the living model. At the time when The Angel was written, the heresy of the novel in verse was in the air. Were there not, before and after it, the magnificent failure of Aurora Leigh, the ineffectual, always interesting, endeavors of Clough, and certain more careful, more sensitive, never quite satisfactory, experiments of Tennyson? Patmore went his own way, to a more ingenious failure than any. The Angel in the House is written with exquisite neatness, occasional splendor; it is the very flower of the poetry of convention; and is always lifting the trivialities and the ingenuities to which, for the most part, it restricts itself, miraculously near to that height which, now and again, in such lines as The Revelation, it fully attains. But it is not here, it is in The Unknown Eros alone, that Patmore has given immortality to what is immortal in perishable things.

How could it be otherwise, when the whole force of the experiment lies in the endeavor to say essentially unpoetical things in a poetical manner?

Give me the power of saying things Too simple and too sweet for words,

was his wise, reasonable, and afterward answered prayer. Was it after the offering of such a prayer that he wrote of

Briggs, Factotum, Footman, Butler, Groom?

But it is not merely of such "vulgar errors" as this that we have to complain, it is of the very success, the indisputable achievement, of all but the most admirable parts of the poem. The subtlety, the fineness of analysis, the simplified complexity, of such things as The Changed Allegiance, can scarcely be overpraised as studies in "the dreadful heart of woman," from the point of view of a shrewd, kindly, somewhat condescending, absolutely clear-eyed observer, so dispassionate that he has not even the privilege of an illusion, so impartial that you do not even do his fervor the compliment of believing it possible that his perfect Honoria had, after all, defects. But in all this, admirable as it is, there is nothing which could not have been as well said in prose. It is the point of view of the egoist, of the "marrying man," to whom

Each beauty blossomed in the sight Of tender personal regard.

Woman is observed always in reference to the man who fancies she may prove worthy to be his "predestined mate," and it seems to him his highest boast that he is

proud To take his passion into church.

At its best, this is the poetry of "being in love," not of love; of affection, not passion. Passion is a thing of flame, rarely burning pure, or without danger to him that holds that wind-blown torch in his hand; while affection, such as this legalized affection of The Angel in the House, is a gentle and comfortable warmth, as of a hearth-side. It is that excellent, not quite essential, kind of love which need endure neither pain nor revolt; for it has conquered the world on the world's terms.

Woman, as she is seen in The Angel in the House, is a delightful, adorable, estimable, prettily capricious child; demonstrably finite, capturable, a butterfly not yet Psyche. It is the severest judgment on her poet that she is never a mystery to him. For all art is founded on mystery, and to the poet, as to the child, the whole world is mysterious. There are experts who tell me that this world, and life, and the flowing of times past into times to come, are but a simple matter after all: the jarring of this atom against that, a growth by explicable degrees from a germ perhaps not altogether inexplicable. And there are the experts in woman, who will explain to me the bright disarray of her caprices, the strangeness of her moods, the unreason of her sway over man; assuring me that she is mysterious only because she is not seen through, and that she can never be seen through because into the depths of emptiness one can see but a little distance. Not of such is the true lover, the true poet. To him woman is as mysterious as the night of stars, and all he learns of her is but to deepen the mystery which surrounds her as with clouds. To him she is Fate, an unconscious part of what is eternal in things; and, being the liveliest image of beauty, she is to be reverenced for her beauty, as the saints are reverenced for their virtue. What is it to me if you tell me that she is but the creature of a day, prized for her briefness, as we prize flowers; loved for her egoism, as we love infants; marveled at for the exquisite and audacious completeness of her ignorance? Or what is it to me if you tell me that she is all that a lady should be, infinitely perfect in pettiness; and that her choice will reward the calculations of a gentleman? If she is not a flame, devouring and illuminating, and if your passion for her is not as another consuming and refining flame, each rushing into either that both may be commingled in a brighter ecstasy, you have not seen woman as it is the joy of the poet and the lover to see her; and your fine distinctions, your disentangling of sensations, your subtleties of interpretation, will be at the best but of the subject of prose, revealing to me what is transitory in the eternal rather than what is eternal in the transitory. The art of Coventry Patmore, in The Angel in the House, is an art founded on this scientific conception of woman. But the poet, who began by thinking of woman as being at her best a perfect lady, ended by seeing her seated a little higher than the angels, at the right hand of the Madonna, of whom indeed she is a scarcely lower symbol. She who was a bright and cherished toy in The Angel in the House becomes in The Unknown Eros pure spirit, the passionate sister of the pure idea. She is the mystical rose of beauty, the female half of that harmony of opposites which is God. She has other names, and is the Soul, the Church, the Madonna. To be her servant is to be the servant of all right, the enemy of all wrong; and therefore poems of fierce patriotism, and disdainful condemnation of the foolish and vulgar who are the adversaries of God's ordinances and man's, find their appropriate place among poems of tender human pathos, of ecstatic human and divine love.

And she is now, at last, apprehended under her most essential aspect, as the supreme mystery and her worship becomes an almost secret ritual, of which none but the adepts can fathom the full significance.

Vision, in The Unknown Eros, is too swift, immediate and far-seeing to be clouded by the delicate veils of dreams.

Give me the steady heat Of thought wise, splendid, sweet, Urged by the great, rejoicing wind that rings With draught of unseen wings, Making each phrase, for love and for delight, Twinkle like Sirius on a frosty night:

that is his prayer, and it was not needful for him to

remain Content to ask unlikely gifts in vain.

Out of this love-poetry all but the very essence of passion has been consumed; and love is seen to be the supreme wisdom, even more than the supreme delight. Apprehended on every side, and with the same controlling ardor, those "frightful nuptials" of the Dove and Snake, which are one of his allegories, lead upward, on the wings of an almost aerial symbolism, to those all but inaccessible heights where mortal love dies into that intense, self-abnegating, intellectual passion, which we name the love of God.

At this height, at its very highest, his art becomes abstract ecstasy. It was one of his contentions, in that beautiful book of prose, Religio Poetae, in which thought is sustained throughout at almost the lyrical pitch, that the highest art is not emotional, and that "the music of Handel, the poetry of Aeschylus, and the architecture of the Parthenon are appeals to a sublime good sense which takes scarcely any account of 'the emotions.'" Not the highest art only, but all art, if it is so much as to come into existence, must be emotional; for it is only emotion which puts life into the death-like slumber of words, of stones, of the figures on a clef. But emotion may take any shape, may inform the least likely of substances. Is not all music a kind of divine mathematics, and is not mathematics itself a rapture to the true adept? To Patmore abstract things were an emotion, became indeed the highest emotion of which he was capable; and that joy, which he notes as the mark of fine art, that peace, which to him was the sign of great art, themselves, the most final of the emotions, interpenetrated for him the whole substance of thought, aspiration, even argument. Never were arguments at once so metaphysical and so mystical, so precise, analytic and passionate as those "high arguments" which fill these pages with so thrilling a life.

The particular subtlety of Patmore's mysticism finds perhaps its counterpart in the writings of certain of the Catholic mystics: it has at once the clear-eyed dialectic of the Schoolmen and the august heat of Saint Theresa. Here is passion which analyzes itself, and yet with so passionate a complexity that it remains passion. Read, for instance, that eulogy of "Pain," which is at once a lyric rapture, and betrays an almost unholy depth of acquaintance with the hidden, tortuous and delightful way of sensation. Read that song of songs, Deliciae Sapientiae de Amore, which seems to speak, with the tongue of angels, all the secrets of all those "to whom generous Love, by any name, is dear." Read that other, interrupted song,

Building new bulwarks 'gainst the infinite,

"Legem tuam dilexi." Read those perhaps less quintessential dialogues in which a personified Psyche seeks wisdom of Eros and the Pythoness. And then, if you would realize how subtle an argument in verse may be, how elegantly and happily expressed, and yet not approach, at its highest climb, the point from which these other arguments in verse take flight, turn to The Angel in the House and read "The Changed Allegiance." The difference is the difference between wisdom and worldly wisdom: wisdom being the purified and most ardent emotion of the intellect, and thus of the very essence of poetry; while worldly wisdom is but the dispassionate ingenuity of the intelligence, and thus of not so much as the highest substance of prose.

The word "glittering," which Patmore so frequently uses, and always with words which soften its sharpness, may be applied, not unsuitably, to much of his writing in this book: a "glittering peace" does indeed seem to illuminate it. The writing throughout is classical, in a sense in which perhaps no other writing of our time is classical. When he says of the Virgin:

Therefore, holding a little thy soft breath, Thou underwent'st the ceremony of death;

or, of the eternal paradox of love:

Tis but in such captivity The unbounded Heavens know what they be;

when he cries:

O Love, that, like a rose, Deckest my breast with beautiful repose;

or speaks of "this fond indignity, delight;" he is, though with an entirely personal accent, writing in the purest classical tradition. He was accustomed always, in his counsels to young writers, to reiterate that saying of Aristotle, that in the language of poetry there should be "a continual slight novelty;" and I remember that he would point to his own work, with that legitimate pride in himself which was one of the fierce satisfactions of his somewhat lonely and unacknowledged old age. There is in every line of The Unknown Eros that continual slight novelty which makes classical poetry, certainly, classical. Learned in every meter, Patmore never wrote but in one, the iambic: and there was a similar restraint, a similar refusal of what was good, but not (as he conceived) the highest good, all strangeness of beauty, all trouble, curiosity, the splendor of excess, in the words and substance of his writing. I find no exception even in that fiercely aristocratic political verse, which is the very rapture of indignation and wrath against such things as seemed to him worthy to be hated of God.

Like Landor, with whom he had other points of resemblance, Coventry Patmore was a good hater. May one not say, like all great lovers? He hated the mob, because he saw in it the "amorous and vehement drift of Man's herd to hell." He hated Protestantism, because he saw in it a weakening of the bonds of spiritual order. He hated the Protestantism of modern art, its revolt against the tradition of the "true Church," the many heresies of its many wanderings after a strange, perhaps forbidden, beauty. Art was to him religion, as religion was to him the supreme art. He was a mystic who found in Catholicism the sufficing symbols of those beliefs which were the deepest emotions of his spirit. It was a necessity to him to be dogmatic, and he gave to even his petulances the irresistible sanction of the Church.

Religio Poetae contains twenty-three short essays—many of them rather sermons than essays—on such topics as "Peace in Life and Art, Ancient and Modern Ideas of Purity, Emotional Art, Conscience, Distinction." There is nothing which marks it as of the present but an occasional personality, which we could wish absent, and a persistent habit of self-quotation. There is absolutely no popular appeal, no extraneous interest in the timeliness of subject, or the peculiarities of treatment; nothing, in fact, to draw the notice of the average reader or to engage his attention. To the average reader the book must be nothing but the vainest speculation and the dullest theory. Yet, in many ways, it is one of the most beautiful and notable works in prose that have appeared in recent years. It is a book, argumentative as it is, which one is not called on so much to agree with or dissent from as to ponder over, and to accept, in a certain sense, for its own sake. Patmore is one of the few surviving defenders of the faith, and that alone gives him an interesting position among contemporary men of letters. He is a Christian and a Catholic, that is to say the furthest logical development of the dogmatic Christian; but he is also a mystic; and his spiritual apprehensions are so vivid that he is never betrayed into dogmatic narrowness without the absolution of an evident vision and conviction. And, above all, he is a poet; one of the most essential poets of our time, not on account of the dinner-table domesticities of The Angel in the House, but by reason of the sublimated love-poetry of The Unknown Eros, with its extraordinary subtlety of thought and emotion, rendered with the faultless simplicity of an elaborate and conscious art. His prose is everywhere the prose of a poet. Thought, in him, is of the very substance of poetry, and is sustained throughout at almost the lyrical pitch. There is, in these essays, a rarefied air as of the mountain-tops of meditation; and the spirit of their pondering over things, their sometimes remote contemplation, is always, in one sense, as Pater has justly said of Wordsworth, impassioned. Each essay in itself may at once be said to be curiously incomplete or fragmentary, and yet singularly well related as a part to a whole, the effect of continuity coming from the fact that these are the occasional considerations of a mind which, beyond that of most men, is consistent and individual. Not less individual than the subject-matter is the style, which in its gravity and sweetness, its fine, unforbidding austerity, its smooth harmony—a harmony produced by the use of simple words subtly—is unlike that of any contemporary writer, though much akin to Patmore's own poetic style.

The subjects with which these essays deal may be grouped under three heads: religion, art and woman. In all Patmore's attitude is intensely conservative and aristocratic—fiercely contemptuous of popular idols and ideals, whenever he condescends to notice them. The very daring and very logical essay on "Christianity and Progress" is the clearest and most cogent statement of Christianity as an aristocracy, in opposition to the current modern view of it as a democracy, that has been made since the democratic spirit made its way into the pulpit. "Let not such as these," says Patmore,

exalt themselves against the great Masters of the experimental science of Life, one of whom—St. Theresa, if I remember rightly—declares that more good is done by one minute of reciprocal communion of love with God than by the founding of fifty hospitals or of fifty churches.

It is from this point of view that Patmore writes:

Many people doubt whether Christianity has done much, or even anything, for the "progress" of the human race as a race; and there is more to be said in defence of such doubt than most good people suppose. Indeed, the expression of this doubt is very widely considered as shocking and irreligious; and as condemnatory of Christianity altogether. It is considered to be equivalent to an assertion that Christianity has hitherto proved a "failure." But some who do not consider that Christianity has proved a failure, do, nevertheless, hold that it is open to question whether the race, as a race, has been much affected by it, and whether the external and visible evil and good which have come of it do not pretty nearly balance one another.

It is with the same view of things, from the same standpoint, that Mr. Patmore states his ideal of the poetic art, and condemns what he considers the current misconception of the subject. "I may go further," he declares, in his vivacious attack on "Emotional Art,"

and say that no art can appeal "to the emotions only" with the faintest hope of even the base success it aspires to. The pathos of such art (and pathos is its greatest point) is wholly due to a more or less vivid expression of a vague remorse at its divorce from truth and order. The Dame aux Camelias sighs in all Chopin's music over her lost virtue, which, however, she shows no anxiety to recover, and the characteristic expression of the most recent and popular school of poetry and painting is a ray of the same sickly and in the most part hypocritical homage to virtue. Without some such homage even the dying and super-sensitive body of "emotional art" loses its very faintest pretensions to the name of art, and becomes the confessed carion of Offenbach's operas and the music-hall. Atheism in art, as well as in life, has only to be pressed to its last consequences in order to become ridiculous, no less than disastrous; and the "ideal," in the absence of an idea or intellectual reality, becomes the "realism" of the brothel and the shambles.

What, then, is the ideal, the proper substance and manner of poetry? It is thus defined in another essay, which contends that "Bad Morality is Bad Art:"

The poet, as a rule, should avoid religion altogether as a direct subject. Law, the rectitude of humanity, should be his only subject, as, from time immemorial, it has been the subject of true art, though many a true artist has done the Muse's will and knew it not. As all the music of verse arises, not from infraction, but inflection of the law of the set metre, so the greatest poets have been those the modulus of whose verse has been most variously and delicately inflected, in correspondence with feelings and passions which are the inflections of moral law in their theme. Masculine law is always, however obscurely, the theme of the true poet; the feeling and its correspondent rhythm, its feminine inflection, without which the law has no sensitive or poetic life. Art is thus constituted because it is the constitution of life, all the grace and sweetness of which arise from inflection of law, not from infraction of it, as bad men and bad poets fancy.

Again from the same standpoint, again with the same absolute and aristocratic outlook on the world, does Patmore "sing of the nature of woman"—the subject of his constant preoccupation as an artist, the one sufficing subject to which he has devoted all his art. The modern woman, one may suppose, is not likely to appreciate the precise manner in which Patmore exalts her sex. It is far too logical, too reasonable, too scrupulously according to nature; thus, for example, in a passage of characteristically delicate wit:

It is "of faith" that the woman's claim to the honour of man lies in the fact of her being the "weaker vessel." It would be of no use to prove what every Christian man and woman is bound to believe, and what is, indeed, obvious to the senses of any sane man or woman whatever. But a few words of random comment on the text may, by adding to faith knowledge, make man and woman—woman especially—more thankful than before for those conditions which constitute the chief felicity of her life and his, and which it is one of the chief triumphs of progress to render ever more and more manifest. The happiest result of the "higher education" of woman cannot fail to consist in the rendering of her weakness more and more daintily conspicuous. How much sweeter to dry the tears that flow because one cannot accede to some demonstrable fallacy in her theory of variable stars, than to kiss her into conformity to the dinner-hour or the fitness or unfitness of such-or-such a person to be asked to a picnic! How much more dulcet the dulcis Amaryllidis ira when Amaryllis knows Sophocles and Hegel by heart, than when her accomplishments extend only to a moderate proficiency in French and the pianoforte! It is a great consolation to reflect that, among all the bewildering changes to which the world is subject, the character of woman cannot be altered; and that, so long as she abstains from absolute outrages against nature—such as divided skirts, freethinking, tricycles, and Radicalism—neither Greek, nor conic sections, nor political economy, nor cigarettes, nor athletics, can ever really do other than enhance the charm of that sweet unreasonableness which humbles the gods to the dust, and compels them to adore the lace below the last hem of her brocade!

Such, then, and so consistent, is Patmore's attitude in matters of religion, of art, and of the relation of man and woman. We are concerned neither to defend nor to contend against it, admitting only that, granted the premises (which, no doubt, can be taken on certain grave and ancient warrants), the deductions from those premises are strictly logical, and at the present day, as novel as they are logical. Patmore is inclined to be petulant, and he occasionally rides a hobby-horse so recklessly as to commit himself to incredible fallacies. But a book which attains perfection has never yet been produced, and Patmore's is close, very close indeed.

SIR WILLIAM WATSON

Why, I have sometimes asked myself, did not Pater say the right words on a writer greater than Mérimée—George Meredith? I imagine that he never admired his novels enough to try his hand on a subject not quite his own. Certain books, I confess, ought to have been launched at the British Philistine, like David's one convincing pebble, straight to the forehead. I confess also (my own fault it was in regard to Meredith) that to write about Carlyle, Swinburne or Meredith, without unconsciously reproducing some tricks of manner, is a feat of which any man might be proud.

The Egoist is a wonderful book, and in its elemental comedy it challenges Congreve and even Molière; but in the elemental tragedy of certain parts of Rhoda Fleming and Richard Feverel, he challenges Webster, or almost Shakespeare. Yet the uncouthness that disfigures certain pages in Richard Feverel is a mere after-taste of Arabian extravagance. It is a new kind of uncouthness that comes into prominence in The Egotist—that exaggeration of qualities which one sees in the later works of men who have a pronounced style, even in the case of Browning. No prose writer of our time has written finer or viler English than Meredith. It is a mistake to treat him as if he were stylist first, and novelist afterward, as Flaubert might almost be said to be. Meredith is a conscious artist always—as conscious as Goncourt, with whom he may be compared for his experimental treatment of language, his attempt to express what has never been expressed before by forcing words to say more than they are used to say. Sometimes they give his message, but ungraciously, like beaten slaves; sometimes the message seems to go astray. That is why Englishmen, forgetting triumph after splendid triumph of style, will sometimes tell you that Meredith can not write English, just as Frenchmen gravely assure one another that the novels of the Goncourts are written in any language but French.

That astonishing little volume, Modern Love and Poems of the English Roadside, published in 1862, has never received anything like justice except at the hands of such a fellow-craftsman as Swinburne. While I for one can not but feel that Meredith works more naturally, with a freer hand, in prose than in verse, that poem of Modern Love seems to me among the masterpieces of contemporary poetry. It is the most distinctly modern poem ever written. There has been nothing like it in English poetry: it brings into our literature something fundamentally new, essentially modern. Side by side with this super-subtle study of passion and sensation, we have the homely realism of "Juggling Jerry"—a poem which can only be compared with Burns' "Jolly Beggars" for triumphant success in perhaps the most difficult kind of literature.

So far I quote from an old article of mine, which was answered by William Watson. Here is part of his answer, printed in The Academy:

Now I should like to ask, what has the British Philistine done that he should have a book shied at his head in the way Mr. Symons thinks desirable? As regards Meredith, it seems to me that the British Philistine has been most exemplary in what he would call the discharge of his duty. He has tried his very best to read Meredith, and has failed; or he has read Meredith, but has failed in the attempt to enjoy him. I fancy, however, that when Meredith's devotees speak of the British Philistine, they really mean the vast majority of the public, and it seems to me a little absurd, that because there is an author whose writings the public are comparatively indifferent to, it should be constantly assured that the only person not in the least responsible for such indifference is the author. Other writers have achieved popularity before Meredith. Perhaps the best proof of the futility of trying to convert people into an attitude of admiration by "aiming" a book at them is afforded by Meredith's novels themselves. They are, in Mr. Symons' sense of the word, "aimed" at the British Philistine, if ever novels were. He has been pelted through, I do not know how many, volumes—but have the missiles converted him?

I leave all these questions unanswered, as they deserve no answer, after Time's verdict on Meredith. Now, what was, and is, the place of Sir William Watson in literature? The difference between literature and what is preeminently literary may be clearly illustrated on examination of his poems. No poems written in our time are more literary. They come to us asking to be received on account of their legitimate lineal descent from earlier poets, from Wordsworth and from Matthew Arnold for instance. "If," says the writer, frankly—

If I be indeed Their true descendant, as the veriest hind May yet be sprung of kings, their lineaments Will out, the signature of ancestry Leap unobscured, and somewhat of themselves In me, their lowly scion, live once more.

Many of the poems are about poets, or about books; some are purely critical. And they are indeed, as they profess to be, in the tradition; they strike no unfamiliar note to any ears acquainted with the music of English poetry. Their range is limited, but within it they exhibit an unquestionable mastery of a particular kind of technique. Few lines are bad, all are careful, many are felicitous. Every poem has a certain neatness and order about it. The spirit of the whole work is orderly, reticent and dignified. Nothing has been left to chance, or to the appeal of lawless splendors. An artist has been at work. At work on what? At all events, not on the only really satisfactory material for the poet—himself. Watson tells us that he has chosen the best of himself for giving to the world:

I have not paid the world The evil and the insolent courtesy Of offering it my baseness for a gift.

Well and good; but has he, in choosing among his selves, chosen really the essential one, base or not base, ignoble or not ignoble? He has chosen the self that loves good literature, thinks estimable thoughts, feels decorous emotions, and sets all this into polished and poetical verse. That is enough for the making of literary poetry, but not for poetry which shall be literature.

Watson, in his study of the great writers, seems never to have realized that what matters chiefly, what tells, is not the great phrase, but the personality behind the phrase. He has learned from many writers to make phrases almost as fine as those writers have made; his phrases are never meaningless in themselves, and they can be exquisite in their form. But the phrase, coming with nothing but its own significance behind it, a rootless flower, deriving no life from the soil, fails to convey to us more than an arid, unsatisfying kind of pleasure. There it is, a detached thing; to be taken, you may say, for what it is worth; only, live words will not be so taken. Compare Watson's "Ode to Autumn" with the "Ode to Autumn" of Keats. The poem is one of Watson's best poems; it is full of really poetical phraseology. But the ode of Keats means something in every word, and it means Keats quite as much as autumn. Watson's poem means neither autumn nor Watson; it represents Watson setting himself to describe autumn.

Take his "Hymn to the Sea." It is a long piece of exultant rhetoric, very finely imagined, full of admirable images; the most beautiful similes are gathered and brought together to represent the sea's multitudinous moods; but when the poem is finished, and you have admired it at leisure, you do not feel that this poet loves the sea. The poetry of Byron is assailable on many sides, but when he wrote those too rhetorical lines, now hackneyed almost out of recognition, beginning—

Roll on, thou deep and dark blue ocean, roll!

he wrote out of his heart, as nearly as he could, and the lines, faulty as they are, have remained alive ever since. Mr. Watson's verse is very much better verse, but will—

Grant, O regal in bounty, a subtle and delicate largess,

come back to men's lips as often, or for as long a time, as those faulty lines of Byron's?

In his "Apologia," Watson replies to those who have complained that he has brought nothing new into poetry—

I bring nought new Save as each noontide or each Spring is new. Into an old and iterative world.

And he asks—

Is the Muse Fall'n to a thing of Mode, that must each year Supplant her derelict self of yesteryear?

But he declines to see that the new thing which every generation rightly asks of every new poet is by no means "mode," or empty fashion of writing, but the one essential thing, personality, which can never be twice the same. The reason why you will not find any two poets writing in the same way is that every genuine poet has to express himself in his own way, whether it be by offering his own "baseness for a gift," like Villon, or by building a new heaven and a new hell, like Dante. The maker of literature puts this new thing into his work, in the mere act of making it, and it stands out, as plainly as his signature, in every line he writes. Not to find it is to have fallen upon work which is but literary, "books made out of books." Walt Whitman thought that such "pass away."

In that "Apologia" from which we have already quoted, Watson indignantly denounces those who think "all Art is cold" if "an ardor not of Eros' lips" is in it, and he attempts to indicate that state of vision in which man may know—

A deeper transport and a mightier thrill Than comes of commerce with mortality.

Does he then,

In silence, in the visionary mood,

reach this ecstatic state? If so, it has left no impression on his poetry. In his poetry there is no vision, only speculation about vision; no ecstasy, only a reasonable meditation. He speaks of God, "the Whole," the "cosmic descant," and the large words remain empty. In such poems as The Unknown God and The Father of the Forest we seem to have been taught a lesson, read out in a resonant, well controlled voice; nothing has been flashed upon us, we have overheard nothing.

And, indeed, of how little of this poetry can we say, in the words of Mill's great definition, that it has been overheard! Its qualities, almost, though not quite, at the best, are the qualities of good oratory. Watson began by writing epigrams, admirable of their kind, with a more lyric nineteenth century handling of the sharp eighteenth century weapon. The epigram lies at the root of his work—that is to say, something essentially of the quality of prose. He is a Pope who has read Keats. Oratory or the epigram come into his most characteristic passages, as in the well known and much admired lines on the greatness and littleness of man:

Magnificent out of the dust we came And abject from the Spheres.

Now that, striking and effective as it is, is an antithetical ingenuity which a really fine poet would have gone out of his way to avoid. It is oratory, not poetry, and it would make good oratory, for there point has need of all its sharpness; oratory is action.

It is through this oratorical quality of mind that Mr. Watson's style, though so ordered and measurably, often leaves an impression of having been deliberately heightened above the level of ordinary speech. The great things in poetry are song at the core, but externally mere speech. Think of some actual, anonymous Elizabethan song, and then read the piece which Watson has called "Song in Imitation of the Elizabethans." It is not merely that he has not captured the exact note of the period, but rather copied the note of a later period; such lines as

Idly clanged the sullen portal, Idly the sepulchral door,

are not direct speech, and can therefore never become pure song. They are dressed in poetical phraseology, which is a very different thing.

It is curious to find this quality in a writer who is in every sense so critical. Behind a great deal of Watson's work there is the critical intelligence, not the poetical temperament. Wordsworth's Grave is written in discipleship to Matthew Arnold, and it is not Arnold when he is at his best—the Arnold of Sohrab and Rustum and The Sick King in Bokhara—that Watson has approached, but that half poet, half prose writer who wrote the Obermann poems. The foundation of those poems is prose, and a great deal of their substance is no more than rhymed prose. But at times the poet flashes out, transfiguring material and form for the moment, before he drops back into prose again. Watson's work is more on a level; he neither falls so low nor rises so high. But, even more than with Arnold, the substance of it is criticism, and the thinking and the style suggest the best kind of prose. Set the poem, with its finely chosen epithets and phrases—"Impassioned quietude, Thou wast home, Thou hadst, for weary feet, the gift of rest, the frugal note of Gray," and the like—beside Pater's essay on Wordsworth, and you will find many points of resemblance, and not only in the echo of "impassioned quietude" from Pater's "impassioned contemplation." Compare it with Matthew Arnold's essay on Wordsworth and you will again find many points of resemblance, not only in detail, which would not matter, but also in the whole way of approaching and handling the subject. Does the rhyme bring in any essential difference between specimens of fine prose and this poem, so well thought out, so poetically expressed? There lies the whole question, for if it does not bring such a difference, can it be accepted as poetry, as an adequate kind of poetry?

Criticism, though it may find place in a poem (as in Shelley's Letter to Maria Gisborne) can never be the basis of poetry. Pope tried to turn the current of English poetry into this narrow channel, but the sea-force soon had its way with the banks and dykes. Watson has tried to revive that heresy; he has disguised its principles under new terms, but it remains the same heresy. Poetry is even less a criticism of thought than it is a "criticism of life," it must be at all points creation, creation of life, creation of thought, if it is to be poetry in the true sense.

It is to Wordsworth, among many masters, that Watson tells us that he is most indebted. Wordsworth is not always a safe master, and it is apparently from him that Mr. Watson has accepted the main principles of his blank verse. Wordsworth's blank verse was more often bad than good; it was bad on principle, and good by the grace of a not infrequent inspiration. At its best, it is not among the great specimens of blank verse, or not for more than a very few lines at a time. It is without vitality, it is without that freedom in beauty which can come from vitality alone. Watson has learned from Wordsworth that it is possible to write grave and impressive lines, sweeping up to fine perorations, in which the pauses are measured, not by the vital pulses of the mood, but by a conscious, cultivated method. Some of Wordsworth's blank verse "The Prelude," though in itself tame and inefficient, takes hold of the reader through a personal warmth which makes him almost forget that he is reading verse at all. But we never feel personal warmth in Mr. Watson; he succeeds or fails as an artificer, and as an artificer only.

It is probably not too much to say that there is not a cadence in his verse which has not been heard before. By what miracle it is that out of the same number and order of syllables no two cadences of Shakespeare and of Browning, of Keats and of Herrick, of Crashaw and of Blake, can be precisely matched no man knows or will ever know—least of all the poet himself. He writes what comes to him, and he may work on his writing until hardly a word of the original stuff remains; and with all his care, or in spite of it, the thing turns doggedly into his own manner of speech, and comes to us with a cadence that we have never heard before. He may have read much or little, and it will make barely an appreciable difference. The music that is not learned in books comes from some unknown source which is as variable as the sea or the wind. Music learned from books, however much beauty may be breathed into it by the singer, keeps the taint of its source about it. It is by such music that the literary artist, not the artist in literature, is known.

William Watson's Odes and Other Poems is remarkable for precisely the qualities which have distinguished his work since the time when, in Wordsworth's Grave, he first elaborated a manner of his own. That manner has some of the qualities of eighteenth century verse—its sobriety, its strictness, its intellectual and critical interests; and it also has certain of the richer and more emotional elements of the nineteenth century revival of the Elizabethan passion, and splendor. The reader is reminded of Gray, of Wordsworth, of Matthew Arnold, at moments of Keats and of Rossetti. In spite of occasional and unaccountable blemishes, Watson's work is, in the main, the most careful work of any of the younger poets. Nor is it lacking in a poetic impulse. It does not seem to us that this impulse is a very strong one, or one of special originality, but it is there, undoubtedly; and Watson's verse, unlike that of most of the people now writing, justifies its existence. Take, for instance, these opening lines from the ode To Arthur Christopher Benson:

In that grave shade august That round your Eton clings, To you the centuries must Be visible corporate things And the high Past appear Affably real and near, For all its grandiose airs, caught from the mien of Kings. The new age stands as yet Half built against the sky Open to every threat Of storms that clamor by: Scaffolding veils the walls, And dim dust floats and falls, As, moving to and fro, their tasks the masons ply. But changeless and complete, Rise unperturbed and vast, Above our din and heat, The turrets of the Past, Mute as that city asleep, Lulled with enchantments deep, Far in Arabian dreamland built where all things last.

The grave and equable sweep of this verse, so unlike most of the hot and flurried rhyming of contemporaries, has the excellence of form which gives adequate expression to a really poetic conception. Watson takes a very serious view of things, except in a few attempts at satire or playfulness, which are not quite fortunate either in idea or in execution. He has the laudable desire to enter into competition with the great masters on their own ground. And the result is by no means ludicrous, as it would be with most people. Only it is a little as if the accomplished copyist were to challenge comparison with the picture which he has, after all, copied. Work done in the manner, and under the influence, of previous writers may indeed, under certain circumstances, attain the virtue of originality; but only under certain circumstances. Chatterton, for instance, was original only when he copied, or when he fancied he was copying; Keats was absolutely himself even at the period when his form was entirely imitative. The personality of some men can find no home in the present, can wear no dress of modern fashion; can express itself only by a return to the ways of speech of an earlier age. But this sort of spiritual nostalgia can only become effective when it is a very deep and individual instinct, and not merely a general literary sympathy. Watson has learned more from his masters than he has brought to them. We have read his latest book with real appreciation of its many admirable qualities, but, on closing it, we have no more definite idea of Watson himself, of what he really is, apart from what he chooses to express, than we had before opening it. And yet the greater part of the book, in one sense, is quite personal. He tells us what he thought of Stevenson's Catriona, how he felt in Richmond Park, and of his friendly regard for one or two estimable men of letters. But the real man, the real point of view, the outlook on life, the deeper human sympathies: what do we learn of these? There is, indeed, one poem, among the finest in the book, in which a touch of more acute personal feeling gives a more intimate thrill to the verse—the poem called Vita Nuova, of which we may quote the greater part:

O ancient streams, O far-descended woods Full of the fluttering of melodious souls; O hills and valleys that adorn yourselves In solemn jubilation; winds and clouds, Ocean and land in stormy nuptials clasped, And all exuberant creatures that acclaim The Earth's divine renewal: lo, I too With yours would mingle somewhat of glad song. I too have come through wintry terrors—yea, Through tempest and through cataclysm of soul Have come, and am delivered. Me the Spring Me also, dimly with new life hath touched, And with regenerate hope, the salt of life; And I would dedicate these thankful tears To whatsoever Power beneficent, Veiled though his countenance, undivulged his thought, Hath led me from the haunted darkness forth Into the gracious air and vernal morn, And suffers me to know my spirit a note Of this great chorus, one with bird and stream And voiceful mountain,—nay, a string, how jarred And all but broken! of that lyre of life Whereon himself, the master harp-player. Resolving all its mortal dissonance To one immortal and most perfect strain, Harps without pause, building with song the world.

But this poem stands alone in the volume as an expression of very interesting personal feeling, the rest being mainly concerned with generalities.

Like all Watson's volumes of verse, these Odes and Other Poems contain some excellent literary criticism, conveyed in the neatest and briefest fashion possible. In fact, Watson's verse is only too full of sane and measured criticism—an excellent quality no doubt, but hardly one quite compatible with poetry of a high order. But how fine, how exact, how discriminating, is this piece of criticism, for instance, in verse!

Forget not, brother singer! that though Prose Can never be too truthful or too wise, Song is not Truth, not Wisdom, but the rose Upon Truth's lips, the light in Wisdom's eyes.

It was in the epigram that Watson first did finished work, and his most typical work is certainly to be found in forms more or less akin to the epigram; in the sonnet, for example. There are so many good sonnets in this volume that choice is difficult; here is one called "Night on Curbar Edge":

No echo of man's life pursues my ears; Nothing disputes this Desolation's reign; Change comes not, this dread temple to profane, Where time by aeons reckons, not by years, Its patient form one crag, sole stranded, rears, Type of whate'er is destined to remain While yon still host encamped on night's waste plain Keeps armed watch, a million quivering spears, Hushed are the wild and wing'd lives of the moor; The sleeping sheep nestle 'neath ruined wall, Or unhewn stones in random concourse hurled; Solitude, sleepless, listens at Fate's door; And there is built and 'stablisht over all Tremendous silence, older than the world.

The breadth of phrasing here is noticeable; and it is by such qualities as this, as well as by the careful accuracy with which every note is produced, that Watson is distinguished alike from older men of the type of Alfred Austin, and from younger men of such varying capacities as John Davidson and Yeats. If he has not the making of a great poet, he is already an accomplished poet; and if he does not possess the highest qualities, he possesses several of the secondary qualities in the highest degree.

Watson's Ode on the Day of Coronation of King Edward the Seventh is a fine piece of verse writing, and can hardly fail to remind the reader of great poetry. It is constructed with care, it flows, it has gravity, an air of amplitude, many striking single lines, and its sentiments are unexceptionable. When we read such lines as these:

All these, O King, from their seclusion dread, And guarded palace of eternity, Mix in thy pageant with phantasmal tread, Hear the long waves of acclamation roll, And with yet mightier silence marshal thee To the awful throne thou hast inherited——

we feel that this is at least workman-like work, written by a man who has studied great masters, and who takes himself and his art seriously. There is not an undignified line in the whole poem, nor a break in the slow, deliberate movement. Watson has style, he is never facile or common. He has frequent felicities of phrase, but he subordinates separate effects to the effect of the whole, and he is almost the only living writer of verse of whom this could be said. His ode is excellently made, from every external point of view. Yet, after reading it over and over, with a full recognition of its technical qualities, we are unable to accept it as genuine poetry, as the equal of the thing which it resembles.

Great poetry is not often written for official occasions, but that it can be so written we need only turn to Marvell's Horatian Ode upon Cromwell's Return from Ireland to realize. Watson looks instinctively to public events for his inspiration, and there is something in his temper of mind and of style which seems to set him naturally apart as a commentator upon the destinies of nations. He has never put any vital part of himself into his work; he has told us nothing of what he is when he is not a writer. All his utterances have been themselves official, the guarded statement of just so much of his own thoughts and feelings as he cares to betray to the public. His kind is rather critical than creative, and it was by his epigrams that he first attracted attention. His technique is so accomplished that he seems very often to be thinking only of what he is saying, when it is evident, on a closer examination, that he is thinking much more of how he is saying it. For the poet who concerns himself with public events this might seem to be a useful part of his poetic equipment. Court ceremonies demand court dress. Undoubtedly, but the art of the courtier requires him to forget that he is dressed for an occasion, to forget everything but the occasion. Throughout the whole of his coronation ode Watson never forgets that he is celebrating an important ceremony. His costume is perfectly adjusted, he wears it with grace and dignity; his elocution, as he delivers his lines, is a model of clearness and discreet emphasis. Everything that he says is perfectly appropriate; good taste can go no further. But the occasion itself, the meaning, the emotion, of the occasion? That does not come into the poem; the poem tells us all about it.

Now look at Marvell's ode, and forget for the moment that it is a masterpiece of poetry. What a passion fires the hard, convincing thought! How the mere logic holds the attention! Every word lives, and the cadences (creating a new form for themselves) do but follow the motions of the writer's bright, controlling energy. It is impossible to read the lines aloud without a feeling of exultation. In Watson's ode there is not a breath of life; what is said—admirable and sensible, and at times poetically conceived as it is—comes with no impetus from the mind that has conceived it coldly. And it is to be noted that, though thought and expression are fitted together with great skill and precision, the expression is always rather above the pitch of the thought. Take these lines:

O doom of overlordships! to decay First at the heart, the eye scarce dimmed at all; Or perish of much cumber and array, The burdening robe of empire, and its pall; Or, of voluptuous hours the wanton prey; Die of the poisons that most sweetly slay; Or, from insensate height, With prodigies, with light Of trailing angers on the monstrous night, Magnificently fall.

There we find expression strained to a point to which the thought has not attained. In other words, we find rhetoric. Weight and resonance of verse do but drag down and deafen that which they should uplift and sound abroad, when, instead of being attendants upon greatness, they attempt to replace it.

EMIL VERHAEREN

The poetry of Emile Verhaeren, more than that of any other modern poet, is made directly out of the complaining voices of the nerves. Other writers, certainly, have been indirectly indebted to the effect of nerves on temperament, but Verhaeren seems to express only so much of a temperament as finds its expression through their immediate medium. In his early books Les Flamandes, Les Moines (reprinted, with Les Bords de la Route, containing earlier and later work, in the first of his two volumes of collected poems), he began by a solid, heavily colored, exterior manner of painting genre pictures in the Flemish style. Such poems as "Les Paysans," with its fury of description, are like a Teniers in verse; not Breughel has painted a kermesse with hotter colors, a more complete abandonment to the sunlight, wine and gross passions of those Flemish feasts. This first book, Les Flamandes, belongs to the Naturalistic movement; but it has already as in the similar commencements of Huysmans so ardent a love of color for its own sake, color becoming lyrical, that one realizes how soon this absorption in the daily life of farms, kitchens, stables, will give place to another kind of interest. And in Les Moines, while there is still for the most part the painting of exteriorities, a new sentiment, by no means the religious sentiment, but an artistic interest in what is less material, less assertive in things, finds for itself an entirely new scheme of color. Here, for instance, was "Cuisson de Pain," in the first book:

Dehors, les grands fournils chauffaient leurs braises rouges, Et deux par deux, du bout d'une planche, les gouges Dans le ventre des fours engouffraient les pains mous. Et les flammes, par les gueules s'ouvrant passage, Comme une meute énorme et chaude de chiens roux, autaient en rugissant leur mordre le visage.

But it is not until Les Soirs that we find what was to be the really individual style developing itself. It develops itself at first with a certain heaviness. Here is a poet who writes in images: good; but the images are larger than the ideas. Wishing to say that the hour was struck, he says:

"Seul un beffroi, Immensément vêtu de nuit, cassait les heures."

And, indeed, everything must be done immensément. The word is repeated on every page, sometimes twice in a stanza. The effect of monotony in rhythm, the significant, chiming recurrence of words, the recoil of a line upon itself, the dwindling away or the heaping up of sound in line after line, the shock of an unexpected cæsura, the delay and the hastened speed of syllables: all these arts of a very conscious technique are elaborated with somewhat too obvious an intention. There is splendor, opulence, and, for the first time, "such stuff as dreams are made of." Description is no longer made for its own sake; it becomes metaphor. And this metaphor is entirely new. It may be called exaggerated, affected even; but it is new, and it is expressive.

"Les chiens du désespoir, les chiens du vent d'automne, Mordent de leurs abois les échos noirs des soirs, Et l'ombre, immensément, dans le vide, tâtonne Vers la lune, mirée au clair des abreuvoirs."

In Les Débâcles, a year later, this art of writing in colored and audible metaphor, and on increasingly abstract and psychological subjects, the sensations externalized, has become more master of itself, and at the same time more immediately the servant of a more and more feverish nervous organization.

"Tu seras le fiévreux ployé, sur les fenêtres. D'où l'on peut voir bondir la vie et ses chars d'or."

And the contemplation of this fiévreux is turned more and more in upon itself, finding in its vision of the outer world only a mirrored image of its own disasters. The sick man, looking down on his thin fingers, can think of them only in this morbid, monastic way:

"Mes doigts, touchez mon front et cherchez, là, Les vers qui rongeront, un jour, de leur morsure, Mes chairs; touchez mon front, mes maigres doigts, voilà Que mes veines déjà, comme une meurtrissure Bleuâtre, étrangement, en font la tour, mes las Et pauvres doigts—et que vos longs ongles malades Battent, sinistrement, sur mes tempes, un glas, Un pauvre glas, mes lents et mornes doigts!"

Two years later, with Les Flambeaux Noirs, what was nervous has become almost a sort of very conscious madness: the hand on one's own pulse, the eyes watching themselves in the glass with an unswerving fixity, but a breaking and twisting of the links of things, a doubling and division of the mind's sight, which might be met with, less picturesquely, in actual madness. There are two poems, "Le Roc" and "Les Livres," which give, in a really terrifying way, the very movement of idea falling apart from idea, sensation dragging after it sensation down the crumbling staircase of the brain, which are the symptoms of the brain's loss of self-control:

C'est là que j'ai bâti mon âme, —Dites, serai-je seul avec mon âme?— Mon âme hélas! maison d'ébène, Où s'est fendu, sans bruit, un soir, Le grand miroir de mon espoir. Dites, serai-je seul avec mon âme, En ce nocturne et angoissant domaine? Serai-je seul avec mon orgueil noir, Assis en un fauteuil de haine? Serai-je seul, avec ma pâle hyperdulie, Pour Notre-Dame, la Folie?

In these poems of self-analysis, which is self-torture, there is something lacerating, and at the same time bewildering, which conveys to one the sense of all that is most solitary, picturesque and poignant in the transformation of an intensely active and keen-sighted reason into a thing of conflicting visionary moods. At times, as in the remarkable study of London called "Les Villes," this fever of the brain looks around it, and becomes a flame of angry and tumultuous epithet, licking up and devouring what is most solid in exterior space. Again, as in "Les Lois" and "Les Nombres," it becomes metaphysical, abstract, and law towers up into a visible palace, number flowers into a forest:

Je suis l'halluciné de la forêt des Nombres.

That art of presenting a thought like a picture, of which Verhaeren is so accomplished a master, has become more subtle than ever; and

ces tours de ronde de l'infini, le soir Et ces courbes, et ces spirales,

of for the most part menacing speculations in the void, take visible form before us, with a kind of hallucination, communicated to us from that (how far deliberate?) hallucination which has created them. Gradually, in "Les Apparus dans mes Chemins," in "Les Campagnes Hallucinées," in "Les Villages Illusoires," in "Les Villes Tentaculaires," the hallucinations become entirely external: it is now the country, the village, the town, that is to say, the whole organized world, that agonizes among cloudy phantoms, and no longer a mere individual, abnormal brain. And so he has at once gained a certain relief from what had been felt to be too intimately a part of himself, and has also surrendered to a more profound, because a more extended, consciousness of human misery. Effacing himself, as he does, behind the great spectacle of the world, as he sees it, with his visionary eyes, in his own violent and lethargic country, he becomes a more hopeless part of that conspiracy of the earth against what man has built out of the earth, of what man has built out of the earth against the earth, which he sees developing silently among the grass and bricks. All these books are a sort of philosophy in symbols, symbols becoming more and more definite: "Le Donneur de Mauvais Conseils," who drives up to the farm gate: