Platform Monologues Part 11

There is not much influence on the higher side of life to be got from a study of nothing else but metals, or nothing else but triangles, or nothing else but germs. But literature exerts a most potent influence on this higher side of life; for it not only supplies thoughts and expresses feelings, but it is in itself--thanks to its expression--a force to make them felt and to give them effective life. It not only instructs--it moves. For, remember, great literature was never produced by cynicism nor by affectation: men of weak convictions or feelings have never been supreme writers. As at Athens, at Rome, or in Elizabethan England, great literature belongs to periods full of animation, of enterprise, of high ideals, of strong aims or strong beliefs. In that prevailing spirit the great writers share, and they impart it forever to us who read. There exhales from what they write an inspiring power of earnestness. As Longinus phrases it, we seem to be possessed by a divine effluence from those mighty minds.

It is often complained, in regard to our schools, that moral teaching without religious stimulation is futile. The reason a.s.sents, but the will is unmoved. "We want," says Sh.e.l.ley, "the generous impulse to act that which we perceive." Great literature lends this impulse. Let us have plenty of great literature in our schools.

I do not, indeed, claim that literature always and completely conveys the requisite impulsion, but I claim that, in its impressiveness or its charm, by its appeal to the imagination and the sensibilities, it can go far, as Heine thought of Schiller's poetry, to "beget deeds." "Let me,"

said Fletcher, "make the songs of a people, and let who will make its laws." "Certainly," declares that flower of chivalry, Sir Philip Sidney, "I must confess ... I never heard the old song of Percy and Douglas that I found not my heart moved more than with a trumpet." Bare psychology teaches us; bare history teaches us; but great literature both teaches and inspires; it gives not only light, but warmth. "Reading good books of morality," Bacon sadly confesses, "is a little flat and dead." Great literature puts the breath of life into this deadness. Not merely to peruse, but to a.s.similate, the _King Lear_ of Shakespeare or the _Vita Nuova_ of Dante cannot fail to turn the current of our minds strongly towards right feeling--in the one case of duty and compa.s.sion, in the other of purest loyalty in love.

The most vivid conception of high conduct--the one which we can least shake off--is hardly to be gathered from the didactic moral treatise; it is hardly ever derived from set sermons, unless the preacher impose it upon us by some magnetism of his personality; it is more often impressed by some literary embodiment which has been made to live and move and have a being--by a Cordelia or a Jeanie Deans, by a Galahad or a Parson Adams. Such embodiments as these are instruments for that which Matthew Arnold holds to be the object of poetry, namely, the powerful and beautiful application of "ideas to life."

But, it may be objected, the influence of a writer may indeed thus stimulate, but what if it stimulates irrationally and amiss? Yet herein, precisely, lies one great superiority of the study of literature. It is the best means known to humanity of encouraging breadth of mind, many-sidedness of comprehension. That is, of course, with the proviso that your literary wors.h.i.+p is not a monotheism. The genuine literary student is not a student of one author, much less of one book. It is true that Shakespeare is in himself almost a compendium of humanity, and that to study Shakespeare alone is as profitable as to study a score of less comprehensive mortals. Nevertheless, even Shakespeare has his limitations. He could not wholly escape the limitations of his times, s.p.a.cious though these were.

Literary study in the proper sense is as wide as time and opportunity can make it. It includes alike the _Divine Comedy_ and the human comedy.

As far as possible it ignores differences of nationality, of language, of date. It seeks to know the best that has been thought and said in the world, wherever and whenever. It ransacks the Hebrew mind, the Greek mind, the Roman mind, the Italian, French, German and English mind. It gathers opinions, suggestions, points of view, elements of culture from all sources. If Shakespeare holds the mirror up to nature as she shows herself in human actions and pa.s.sions, Wordsworth reflects the manifestations of her spirit as seen in her physical works. If Homer gives us the nave and simple grandeur of pagan life, Dante gives us the mystic grandeur of the Catholic conception, Milton the severer grandeur of the semi-Puritan. The literary student thus approaches truth from every side. He approaches it variously with Bacon, with Johnson, with Voltaire, with Goethe, with Wordsworth, with Carlyle, with Newman. He feels the various emotions of a hundred lyrists. Led by a score of dramatists and novelists he sees into the complexities of human character, motive and mood. Getting away from the narrow and bia.s.sed bickerings, gropings, and caprices of the day, he a.s.sociates with hundreds of the best minds of the past, whose interests were altogether outside the temporary prejudices and pa.s.sions which now surround us. And what preparation for life could surpa.s.s that of the student who has thus taken all literature for his province? He is in reality better equipped with practical psychology than many a professed psychologist.

The professional student of history studies history from books in which long series of facts and their possible relations are presented in the light in which they are seen by Mommsen or Gibbon or Macaulay or Froude.

Meanwhile the student of literature sees incidentally, but, so far as he goes, more vividly, into the actual life of breathing men through the legend of _Beowulf_ or the _Vision of Piers Plowman_, through Chaucer or the _Spectator_, through Ben Jonson's _Humours_ or Horace Walpole's Letters, through _Clarissa Harlowe_ or _Pride and Prejudice_.

I know, of course, full well one frequent consequence of the broad-mindedness which results. I realize how promptly the unread man, filled to the lips with the frothy spirit of his own infallibility, will condemn him whose knowledge of men and motives makes him pause and suspend his judgment. But what of that? Some one has said that thinking makes you wise but weak, while action makes you narrow but strong. A terse sentence, but one which will not bear inspection. The man of half-lights who acts with a prompt.i.tude often disastrous, is indeed narrow, but I deny that he is strong. He is opinionated and audacious.

Far stronger, in a more reasonable world, is the man who can withhold his yea or nay, when neither yea nor nay happens to be the one answer of that truth which is great and will prevail.

These, then, are the virtues which we claim for the study of literature.

Literature enlarges our imagination; it expands our judgment; it widens our sympathies; it enriches the world to our eyes and minds, by revealing to us the marvels, delights, tendernesses and suggestions which are all around us in man and nature; it keeps alive our better part in places and circ.u.mstances when that better part might perish with disease and atrophy; it continually irrigates with benign influences the mind which might grow arid and barren, and so it enables all the little seeds and buds of our intellectual and moral nature to germinate and produce some fruit.

And, therefore, this Society meets to study literature, and, as I said at the beginning, it meets to study in a spirit which is open-minded, grateful, and docile.

The Future of Poetry

A thoughtful friend of mine--but one who withal affects a philistinism which I know to be only skin-deep--is fond of a.s.suring me that "poetry"

can no longer justify its existence, that the world of the future will regard it as a trifling and artificial thing, and that therefore serious men will cease to devote themselves either to producing it or to reading it. In our discussions upon the subject, I have asked him whether he merely means that men will cease to compose verses, or whether he believes that "the poetry" is actually going out of life and literature, and that the imaginative and emotional way of looking at things, which belongs to "poetry," will give place to the rigidly philosophical and practical. He answers, of course, that men will continue to have ardours, aspirations, joys, sorrows, and sympathies, which they will and must express as vividly as they can, to their own relief and to the solace or encouragement of their fellow-men; but he a.s.serts that all this can be done in prose, and will be done in prose, seeing that rhymes and regular numbers of syllables are a sort of primitive barbarian device, mechanical, cramping, and, in a certain way, productive of untruth. When we press this latter point, it is admitted that prose itself is capable of inexhaustible rhythms and magnificent melodies, and that these qualities show signs of being more and more developed, more and more adapted to the mood and sentiment of that which is to be expressed. When we get thus far, it appears that we have been very much in agreement all along. To me--and by this time, I hope, to him--poetry is nothing else but this same impa.s.sioned expression of ardour and emotion, sensibility and imagination, no matter whether the form it takes be obviously regulated verse or subtly rhythmic "prose."

But, when we have reached our agreement, there are others who confront us with that too well-known sentence from Macaulay: "In an enlightened age there will be much intelligence, much science, much philosophy, abundance of just cla.s.sification and subtle a.n.a.lysis, abundance of wit and eloquence, abundance of verses and even of good ones; but little poetry. Men will judge and compare, but they will not create." It is a fas.h.i.+on nowadays to make little of Macaulay as a thinker, to d.a.m.n him with faint praise as a brilliant rhetorician. It is not to join unreservedly in that censure, if we remark that Macaulay p.r.o.nounced his dictum on poetry when he was very young. But, young or not, he utterly misses a sound view of the nature and scope of poetry. He a.s.serts that "men will judge and compare, but they will not create"; and particularly, he meant, create epics and romances. If Macaulay is to be taken literally, poetry is to him mainly the creation of stories; it is summed up in _Iliads_, _aeneids_, _Orlandos_, _Faerie Queenes_. Let us for the moment suppose--what, however, there is no ground in fact or reason for supposing--that creations such as these, at least in verse, will engage enlightened men no more. Is there no room for lyrics and for the poetical expression of great truths? "But little poetry!" What else should this imply, except that there will be but little feeling or emotion, but little ecstasy, hope, grief, loveliness, awe, or mystery in all the "wide gray lampless deep unpeopled world" of the future? It is these things which are the most copious and most stimulating subject-matter of poetry, and Macaulay surely never meant to say, and never did say, that these would some day fail.

The poets of the last generation are dead--Tennyson, Browning, Arnold, Morris, Swinburne. The great "makers" have pa.s.sed away, and there remain to us but certain highly dexterous word-artificers and melodists, a varied chorus of dainty, musical, scholarly, but mostly uninspired, writers of verse. We have pa.s.sed the crest of the poetical wave, and are sunk into its trough. It is not unnatural, therefore, that we should, at this particular juncture, feel some misgivings. Finding no immediate successor worthy to fill the place of those great departed, we cry out in our haste that "science" is killing poetry, or that "democracy" is crus.h.i.+ng out poetry, or that we are "living too fast" for poetry. Poetry was dead in England for a century and three-quarters between Chaucer and Spenser; in a large sense it was dead for four generations between Milton and Burns. In Italy there was almost no real poetry for the thirteen hundred years between Virgil and Dante. In France nearly two centuries before Victor Hugo may be treated as a blank. Yet the revival came, and came with strength. We forget, or do not know, that the complaint of the decay of poetry is a hackneyed tale, familiar to Addison as to Macaulay. We do not, in fact, look the question frankly in the face. When one a.s.sures us of the decline of poetry as a fact and as inevitable, we have a right to ask him two questions. One is: "What signs of weakening and degeneracy in poetic genius, or of failing interest in its creations, do you actually discover in the course of history?" the other: "From what arguments are we to conclude that the future must of necessity prove barren of poetry?" Is there evidence in fact? Is there in theory?

We can imagine some champion of the Muses pointing to the ma.s.s and excellence of the poetry which has been created during the last hundred years; to the work of Goethe, Schiller, Heine, Wordsworth, Sh.e.l.ley, Byron, Keats, Coleridge, Scott, Beranger, Victor Hugo, De Musset, Leopardi, Longfellow, Browning, Arnold, Tennyson, Morris; to the immense and varied fertility, to the creative and emotional power, of makers like these, displayed during the most "enlightened"--that is to say, we presume, the most rationalistic and scientific--century the world has yet pa.s.sed through. We can imagine him asking whether, in all the past history of the human race, so great a zeal for poetry, romantic, lyrical-descriptive, speculative, has ever been manifested at once in such force and width in England, Germany, France, America. And we can fancy him completely satisfied with that single phenomenon. We can also imagine him setting opinion against opinion, outweighing Macaulay with the greater name of Wordsworth and Macaulay's disciples with the name of Matthew Arnold. We can hear him answering the a.s.sertion that in "the advance of civilization" poetry must necessarily decline, with the declaration of the most single-hearted poet of our century, that "poetry is the first and last of all knowledge--it is immortal as the heart of man. If the labours of men of science should ever create any material revolution, direct or indirect, in our condition, and in the impressions which we habitually receive, the poet will sleep then no more than at present; he will be ready to follow the steps of the man of science ...

carrying the sensation into the midst of the objects of the science itself." And we can suppose our champion willing to abide in that faith, because "the master hath said it."

But it is our present concern to go somewhat more closely to the heart of the question, to consider without bias how much truth there really is in this prediction that poetry must of necessity decline with the advance of science and the "progress" of society.

Of the preliminary question what _is_ poetry, we may spare the discussion. If there are those who are misled by words and who will insist that poetry is simply identical with good expression in verse, it will be impossible to say anything helpful to the sect. Nor, indeed, will anything be needed, for they will entertain no apprehensions about the future. Does not even Macaulay tell them that there will be "abundance of verses, even of good ones"? With those, again, who accept Macaulay's unspeakably miserable definition of poetry as "the art of employing words in such a manner as to produce an illusion on the imagination" we shall find no common footing. Nor need we dispute with those who follow the thin dry criticism of Addison or Johnson, and who imagine the poetical elements in poetry to consist of figures of speech, images, and technical devices. It may well be, as Macaulay predicts, that the enlightened world will indeed resent and cease to practise "illusions" on the imagination, or on any other faculty. It may be the case also that the stock poetical diction and mechanism of Addison's time, with the "Delias" and "Phyllises," "nymphs," "swains," "lyres,"

and other tinsel elegancies in which it delights, will be--nay, are already--the abomination of a discerning world. But if by "poetry" is meant what should be meant--the vivid, impa.s.sioned and rhythmical expression of rare emotions and exquisite thoughts, the revelation by genius of the ideal and spiritual side of things, the crystallizing of the floating and fugitive sentiments and aspirations of the contemporary mind into clear aim and purpose by words of luminous beauty; if there is meant a power which seizes and utters subtle truths "of man, of nature, and of human life"; if there is meant the urgent desire and the power to body forth by the imagination in exquisite language the shapes of things unknown, things of beauty, glamour, pathos, or refreshment; if, as Wordsworth once more puts it, "the objects of the poet's thoughts are everywhere"; then, with those who maintain that poetry in this sense must inevitably wither before the blighting touch of science and democracy, we may join issue with a light heart. a.s.suredly the men of science would be the first to rise in remonstrance at the charge that the beauty, wonder and moral effluence of nature must all be from the earth "with sighing sent" because contempt for them has been bred by the familiarity of scientific knowledge.

And, first, is there any basis whatever in _history_ for the notion that poetry flourishes best where enlightenment is least; that it is some sort of noxious weed which cannot bear the intellectual suns.h.i.+ne? Do we find the most consummate poets in a semi-barbarian world? Do we find our Anglo-Saxon fore-fathers in this respect superior to Chaucer, Chaucer superior to Shakespeare? Is Goethe the inferior of Hans Sachs in any poetic quality, or still more the inferior of the nameless author of the _Nibelungen Lied_? Is the verse of Caedmon of imagination more compact than _Paradise Lost_? Or is the _Roman de la Rose_ more poetical, in any sense ever attributed to the term, than _La Legende des Siecles_? No one, however bold, will say "yes" to questions put with this undisguised directness.

The poetical pessimists will not dispa.s.sionately examine plain facts.

They take English literature and point to the now remote date of Shakespeare; they take Italian literature and remind us that Dante has been dead nearly six centuries; they take the literature of Greece and triumphantly observe that its greatest poet, Homer, was its earliest.

They ignore the essential fact that transcendent genius is the phenomenon of a thousand years; that we must not demand a recurrence even of second-rate genius in every generation or even in every century.

Without the altogether extraordinary genius of Shakespeare, English poetry culminates, not in the age of Elizabeth, but in the nineteenth century. Without the unique marvel of the mind of Dante, the poetry of Italy is at its highest in the sixteenth century of Ta.s.so and Ariosto, not in the fourteenth century of the subtle amorist Petrarch. Remove the one name of Homer, and you bring the crowning glory of Grecian poetry at least three or four centuries later, to the era of Pindar, aeschylus, and Sophocles. We cannot judge the laws of general progress by unique instances of individual genius. These are the comets and meteors of the literary heavens. To judge of a generation's capacity for poetry, we must compare, not a Shakespeare with a Sh.e.l.ley or a Wordsworth, but the _average_ spirit, the average power of insight and expression, of Sidney, Spenser, Shakespeare, Marlowe and Jonson, with those of Coleridge, Wordsworth, Sh.e.l.ley, Byron and Keats. And who will maintain, that in force of imagination, in truth of vision, in grasp of the ideal side of things, in beautiful expression of elusive thoughts, in lyric rapture, the Elizabethans are equal to the Georgian and Victorian poets?

Our own day is, we boast, the age of light and reason. The days of Chaucer were times of childlike ignorance, credulity, _navete_. Yet who will tell us that Tennyson looks out on nature or on man with a colder, less imaginative, eye than Chaucer? That the advances of science have made him gaze less lovingly, less wonderingly, upon any created thing?

That the progress of philosophy has hardened Browning's heart to accesses of pa.s.sion, or cramped his creative imagination? And yet it should be so, if enlightenment means decay of poetry.

Science, we are told, and philosophy are but an inclement atmosphere for poetry to thrive in. Their spiteful frost nips the young buds and tender shoots of imagination, of fancy, of "sentiment." Well, at what date was modern science born? At what date philosophy? Does philosophy date from Kant, or from Bacon, or from Plato? Does modern science begin with Darwin, with Newton, with Copernicus, or with Aristotle? Let us, for argument's sake, accept the common account that the age _par excellence_ of science and philosophy began in England, in France, in Germany, somewhere about the end of the seventeenth century. Since that time we have doubtless discovered and elaborated many a detail. None the less the air of all the eighteenth century was full of scientific inquiry and mechanical invention, full of philosophical discussion, full of religious and moral scepticism. If ever there was an age when it looked to the pessimist as if science and philosophy would change the aspect of nature and the heart of man, it was that eighteenth century. Now note that, if some holder of Macaulay's view had risen up in the year 1770 or thereabouts, he might have addressed his contemporaries to great effect in words like these: "The age of philosophy and science is upon us all, and poetry is dead. See how in Germany not a single worthy note of a poet's singing is heard amid the din of critics, philosophers, jurists, scientists. See how in France we find historians, letter-writers, philosophers, moralists, but not a verse worth hearing since the dry-light prose-versicles of Voltaire. Observe how in England our so-called poetry is but prose sawed into lines of five feet each, and contains not one drop of the sap of nature, unless it be some suggestion in Thomson and a half-ashamed trace in Collins or in Gray. As for the last really great figure, Pope, and all his rhyming brood, they are but arguers, critics, moralists, describers, satirists in verse.

They show no inspiration, and could show none, because science and reasoning forbade it to them. The wings of their imaginations are cropped close by the hard facts and knowledge of our time. Let us cry _Ichabod_ over poetry, for its glory is departed, and departed for ever."

It would scarcely have been an unnatural thing for an observant lover of poetry at that date to make such a speech, and, without the light of later experience, it would have been impossible to confute him. Yet had that same man lived the length of another human life, seen still more scientists make their steps forward in discovery, seen another crop of even subtler philosophers at their a.n.a.lytic work, witnessed the "Triumph of Reason and Democracy" in the shape of the French Revolution:--had he lived to see all this, he would have beheld meanwhile something which shows how fallible is prophecy. He would have seen, to wit, a most marvellous, rich and widespread outburst of the strenuous natural poetry he thought dead. From amid the critical rationalism of Germany would come the fullest, most fervid voices of poetry with which that land had ever echoed--voices full of vigour and pa.s.sion, full of imagination and music, singing of romance and story, of nature and man and human life--the voices of Lessing, Schiller, Goethe, Heine, Wieland. From France would be heard Beranger's stirring songs and the deepening romantic notes of Lamartine and Victor Hugo. From Scotland would sound the pa.s.sionate song of Burns and later the romantic lays of Scott; and soon would arise in England the graver tones of Wordsworth, Nature's high-priest, the deep, half-romantic, half-religious music of the mystic Coleridge, the fiery ecstasies of Sh.e.l.ley, the rebellious melancholies of Byron, the sensuous raptures of Keats,--these and other tones of less compa.s.s or less power.

And as our mistaken pessimist listens, what then becomes of his theory that science and philosophy have killed the poet in mankind? Might not some reasoner of the more cheerful school urge in triumph just the contrary? Might he not say that it was precisely the new light shed by the dawning Renaissance which elicited the poetry of Dante's day? That it was precisely the flood of illumination on English thought in the sixteenth century which called forth the Elizabethan outburst? That it was precisely the eminent scientific and critical toiling of the eighteenth century which led up to that p.r.o.nounced and unanimous romantic movement of recent times in England, Germany and France? We need not at present strongly urge that argument. It is enough to have shown the unsoundness of its contrary.

It may, however, be answered that science hitherto is only a preface to what is to come, that even the last generation of discovery is nothing in comparison with the expansion of our knowledge and the enslavement of natural forces which must be looked for in the years on which we enter.

Well, we are not sure of that. It has been a foible of many an era to think itself remarkable as a time when "the world's great age begins anew." But let us grant, if you choose, that we are moving into an incomparable age of scientific light and clearness, and at the same time of unprecedented social change. Is it necessary that this clear light of science should be dry and cold? And is it inevitable that the destined social existence shall be arid and hard, cramping, drab, and dreary?

Will a.n.a.lysis destroy all wonder, or cla.s.sification annihilate all beauty? And will human nature be so transformed by some system of social contract that a man will no longer feel love or grief, or any other of those emotions which have been his, and increasingly his, since the days of Adam?

There is, we have seen, no basis in history for a.s.suming that poetry will cease. Is there any ground in speculation? The a.s.sertion goes that imagination will be shrivelled by the chill of scientific practicality, that minds trained and informed by physical and mental science will possess too overpowering a sense of logic, too habitual a consciousness of the matter-of-fact, to indulge in the visions and imaginings which are supposed to be the life of poetry. It is urged that, when every inch of the world has rendered its hard statistics to the blue-books, and when the variety of the nations has disappeared before common appliances and familiar intercourse, there will be nothing to stimulate the romantic fancy, nay, romance in any sort will but come into conflict with man's ever-present realization of actual conditions.

Is this the just account? Is it just to the meaning of "poetry" or just to the nature of mankind?

One might perhaps fall back on what a man of science declared to Mr.

Stedman: "The conquest of mystery leads to greater mystery: the more we know, the greater the material for the imagination." Or one might a.s.sert by right of intuition that, in face of the new world of science, we shall feel as Shakespeare's Miranda felt in the presence of new realities:--

O wonder!

How many goodly creatures are there here!

How beauteous mankind is! O brave new world, That hath such people in't!

We too may expect to call it a "brave new world," to exclaim "how beauteous"--and not only how beauteous, but how awesome--"Nature is!"

"how many goodly creatures are there here!" And in this goodliness, beauty, and awesomeness poetry will find unfailing material, while it seeks to express the emotions they evoke and to relate them with power to man's inner life. The objects of poetry are everywhere; and Wordsworth, who should know, if any one can know, will have it that "the remotest discoveries of the chemist, the botanist or mineralogist will be as proper objects of the poet's art as any upon which it can be employed."

One might, then, simply fall back on statements such as these. But we need a closer treatment. We require to see in what manner poetry and science will work side by side as partners and not, as enemies, struggle with each other until poetry is exterminated.

Whatever the future may be like, there are, and will be, two sides to human life. There is the material, commonplace, and in a sense, vulgar existence; there is also life's ideal side. Give a man, who is a man and not a mere biped animal, all the comforts and enjoyments of physical life, good food, good habitation, safety and health, even a clear intellect, and give him nothing else. Would he not scorn and weary of such a life as that, which merely adds empty day to empty day, so many ciphers of existence, which, after all, amount to nothing? There is in man, just in proportion as he rises above the beasts, a demand for something which he holds more vital, for the things of the mind and spirit. We live, not by bread alone, but "we live by admiration, hope and love." Man must have ideals and aspirations and mental ecstasies.

And this, in other words, means that he must live the poetical as well as the material half of life.

What is our own state of mind--yours and mine--when we contemplate the threatened unpoetical future? Is it not one of alarm and disgust? Do we not almost rejoice to think that we ourselves shall not live to s.h.i.+ver in its bleakness? When we contemplate such a time, we say with Wordsworth--

Great G.o.d, I'd rather be A pagan, suckled in a creed outworn, So might I, standing on the pleasant lea, Have glimpses that would make me less forlorn

than the dull and melancholy prospect which is conjured up before us.

Even in this age of science, we entertain such feelings. And if we ourselves feel so, it is simply because humanity is so const.i.tuted, and no science, no democracy, no learning, invention or legislation can ever drive out human nature from human beings. It is on grounds like these that Matthew Arnold declares, "More and more mankind will discover that we have to turn to poetry to interpret life for us, to console us, to sustain us. Without Poetry our science will appear incomplete."

"Incomplete" is a right word, though a very weak one; "incomplete," not untrue, not pernicious, but terribly inadequate. For there are two manners of looking at the universe and at the life of men, and human nature demands that we should exercise and enjoy them both. "The words poetry, philosophy, art, science," says Renan, "betoken not so much different objects proposed for the intellectual activity of man, as different manners of looking at the same object--which object is existence in all its manifestations," and, "if we understand by poetry the faculty which the soul has of being touched in a certain manner, of giving forth a certain sound of a particular and indefinable nature in the face of the beauty of things, he who is not a poet is not a man."

True poetry does not imply fiction, unreality, misrepresentation. The true poet is not a deluded dreamer and a visionary. The scientist tells us certain facts about existing things, the poet draws forth the beauties and suggestions of those facts, brings them into moral and emotional connexion with ourselves, makes them, at his best, effective on our conduct. Human nature can never be satisfied with the bare objective facts. It must "disengage the elements of beauty" and goodness from them.

It is too generally a.s.sumed that to know a thing scientifically is to divest it of all touching beauty, of all romantic glamour, of all spiritual suggestion,--to make it, in fact, incapable of yielding poetry. We can, indeed, no longer call the sun a G.o.d and construct myths of Phoebus, nor can we seriously picture the moon descending to dally with Endymion. We can no longer see Hamadryads in the oaks or Naiads in the streams. We do not hear Zeus or Thor in the thunderclap, nor recognize in volcanic eruptions the struggles of imprisoned t.i.tans breathing flame. But what of that? Does the essence of poetry lie at all in myths and superst.i.tions? Because we know of what the sun is made, and how many miles distant he is, do we find his risings and settings less moving in their endless splendours? Do we less marvel at the stupendous order of the solar and astral circles? Do we feel less awe before the infinitude of s.p.a.ce and the insignificance of our own selves? Do waterfalls "haunt us like a pa.s.sion" any the less because the water is chemically known as H_2O and because we believe no longer in nymphs and water-sprites? On the contrary, if there is one fact in the history of literature more certain than another, it is the fact that the pa.s.sion for natural beauty and the emotions it evokes are things of very modern date. In France Rousseau, in England Wordsworth, are practically the first to give to them that loving rapture of expression into which we of this scientific age enter so naturally.