The Bridling of Pegasus Part 16

que tu blasphmais ...

... Je te rends ta Muse offense, Et souviens-toi qu'en nous il existe souvent Un pote endormi toujours jeune et vivant.

But it is precisely because there is so much of the feminine quality in Mr. Tennyson's Muse, that his Muse is beloved of women, and is attractive to all men to whom women are attractive. How often has it happened to one to ask "What shall I read?" and to get for answer "Tennyson." And though one might be almost angry because neither Shakespeare, nor Milton, nor Byron, nor Wordsworth, could get a hearing, so it was, and _femme le veut Dieu le veut_. He is the poet of their predilection; and if it were true that his women are not "very pure or high," it would seem to follow that the women in flesh and blood who love to read of them, are themselves not very high or pure. Is not that another _reductio ad absurdum_? I confess I never knew them ask any one to read _Vivien_. They prefer _Elaine_, and _Guinevere_. Yet _Vivien_ is a masterpiece, and that "harlot," as Mr.

Tennyson very properly does not shrink from calling her, is the consummate poetic type of women with very little poetry about them. But the blameless love of Elaine, and the pardonable pa.s.sion of Guinevere, are, to say the least of it, equally emblematic; and I confess I should find myself so different in blood, in language, in race, in instinct, in everything, from the man who told me that he found the one mean and low, or the other poor, pitiful and base, that, as I have declared, I should not understand him.

On two points, I imagine, most men, on consideration, would agree with Mr.

Swinburne. _The Idylls of the King_, _are_ Idylls of the King, and not an epic poem, nor indeed _one_ poem of any kind. I am not aware that Mr.

Tennyson has ever said or suggested the contrary; and no man is responsible for the extravagances of his less discreet or too generous admirers. I suspect Mr. Tennyson would consider the terms Mr. Swinburne himself applies to _Rizpah_ as a trifle uncritical. The other point of agreement they would have with Mr. Swinburne is that King Arthur, in the _Idylls_, is not an adequate and satisfactory hero. But heroes from time immemorial have had a knack of breaking in the hands of their creator. The "pius neas" is not worthy of his vicissitudes, his mission, and his fate, or of the splendid verse in which his name is forever embalmed. Milton a.s.suredly did not intend to make Lucifer his hero; but the ruined Archangel dwarfs into insignificance all other personages in _Paradise Lost_, human, divine, or infernal. From _Childe Harold_, Childe Harold all but disappears; and I suspect it is only by aid of the drama that a writer is able to say successfully, "Behold a man!"

I think Mr. Swinburne will perceive that, though my lights may be less than his, I am sincerely anxious to get at the truth, and that my object is neither to provoke nor to propitiate, neither to extol nor to decry.

But what can I or any one say, in sufficient moderation, respecting the following pa.s.sage?--

"But," says the Laureate, "it is not Malory's King Arthur, nor yet Geoffrey's King Arthur, that I have desired to reproduce: on the contrary, it is 'scarcely other than' Prince Albert" ... who, if neither a wholly gigantic nor altogether a divine personage, was, at least, one would imagine, a human figure.... This fact, it would seem, was revealed to Mr. Tennyson himself, of all men on earth, by some freak of the same humorous or malicious fairy who disclosed to him the not less amusing truth, and induced him to publish it, with a face of unmoved gravity, to the nation and the world, that whenever he said King Arthur he meant Prince Albert. No satirist could have ventured on either stroke of sarcasm.... Not as yet had the blameless Albert, at the bidding of his Merlin Palmerston, led forth--we will not say his Guinevere--to clasp the thievish hand of a then uncrowned a.s.sa.s.sin.

I said, a little while back, that I would not accuse Mr. Swinburne of intentional want of generosity. Yet I am compelled to aver that a more ungenerous pa.s.sage than the above I never read; and it would seem still more ungenerous were it to be quoted from more freely. Mr. Swinburne has not the excuse that might be pleaded by a critic who was stupid. He is a poet, and he knows what fine, delicate, subtle a.n.a.logies are as well as any one. There _is_ a striking resemblance between the n.o.bler qualities of Mr. Tennyson's "ideal knight" and those of the late Prince Consort, and it was a true and fresh stroke of poetry to a.s.sociate them as Mr. Tennyson has done. But is it true, or fair, or "manly," to a.s.sert that the poet wished the one to be entirely identified with the other, much more that when he mentions the one he means the other? I fear some people will conclude that the above unmagnanimous pa.s.sage was dictated by Mr.

Swinburne's hatred of princes; and less indulgent persons will add, by his want of love for Mr. Tennyson.

Now, to my thinking, the most loathsome of all characters is a sycophant.

Perhaps I am more comprehensive in my contempt for that tribe even than Mr. Swinburne himself; for I hold in equal disdain the flatterers of princes and the flatterers of the people. The folly, the feebleness, and the fury of kings is to be matched only by the feebleness, the folly, and the fury of crowds. Sensible men entertain a careful distrust of each, and devise and maintain every possible barrier against the selfish vagaries of both alike. It is the rare distinction of Prince Albert that he imposed upon himself those checks which most men require to have imposed upon them by others, and against which, whether proceeding from within or from without, princes usually rebel. When we are shown a _demos_ as wise, as patriotic, as conscientious, and as capable of self-abnegation, as Prince Albert, the time will have come for an honest man to chant its virtues, and we shall be able to look forward to the future of our race with more hopeful feelings than are at present possible to a sane philanthropy.

Sycophants, therefore, can dance attendance on the Many as easily and as mischievously as on the One; and of all the unmeasured adulators of the mult.i.tude I know no one to compare with the poet before whom Mr. Swinburne is perpetually prostrating himself, and before whom he bows and bobs and genuflects an almost countless number of times in the course of the paper on which I am commenting--to wit, M. Victor Hugo.

I have no wish to a.s.sail any man of letters, be his foibles what they may.

But when Mr. Swinburne girds at both De Musset and Mr. Tennyson for having written civilly of princes, and observes that "poeticules love princelings as naturally as poets abhor tyrants," it is perhaps pertinent to ask him if he is aware that the first verses of M. Victor Hugo were pa.s.sionately Royalist; that the refrain of one of his early poems is "_Vive le Roi! Vive la France!_" that he celebrated the Duc d'Angoulme as "the greatest of warriors"; that he mourned the death of Louis XVIII. with loyal pathos; that he wrote a tragedy whose last line was "_Quand on hat les tyrans, on doit aimer les rois_"; that the first patron of the author of _Odes et Posies Diverses_ was a king, who gave M. Victor Hugo a pension of a thousand francs out of his privy purse, which was afterwards doubled, and which I believe was not resigned till the year 1832, or when M. Victor Hugo was thirty years of age; and that though he for a time seemed disposed to declare himself a Republican, he sought for and obtained a seat in the House of Peers from Louis Philippe as recently as 1845. Far be it from me to attempt to turn these facts against the reputation of M. Victor Hugo. I entertain no doubt they are capable of a perfectly satisfactory explanation. But let us not have two weights and two measures; and before Mr. Swinburne takes to throwing stones against those who incur his displeasure, let him look carefully round to see if some of those who excite his admiration are not living in a house with a good many gla.s.s windows.

Against M. Victor Hugo as a man I have necessarily no word to utter. But Mr. Swinburne compels one to say something about him as a poet. In this paper upon Mr. Tennyson and De Musset alone, we come upon the following phrases, all of them applied to M. Victor Hugo: "The mightiest master of the nineteenth century"; "One far greater than Byron or Lamartine"; "The greatest living poet"; "The G.o.dlike hand of Victor Hugo"; "Only Victor Hugo himself can make words thunder and lighten like these." There is more, I think, of the same kind; but it perhaps suffices to mention these, for previous experience has made us familiar with the a.s.sumption that underlies them.

It would be as presumptuous in me to make the world a present of my opinion as to who is the greatest of modern poets, as I conceive it is in Mr. Swinburne to be perpetually pursuing that course. I will therefore content myself with saying that to attribute that distinction to M. Hugo seems to me simply ludicrous, unless clatter be the same thing as fame, and confident copiousness is to be accepted as a conclusive credential of superiority; that in the opinion of Sainte-Beuve, De Musset was far more of a poet than M. Victor Hugo; and that, with the exception of Mr.

Swinburne himself, all English critics, with whom I am acquainted, entertain no sort of doubt that Mr. Tennyson is a more considerable poet than both De Musset and M. Victor Hugo put together with a large margin to spare. In any case, does Mr. Swinburne think that, by "d.a.m.nable iteration"

about the "great master," he will alter the fact, or convert any human being to a creed in the propagation of which he seems unaccountably zealous? If he does, I recommend to his perusal the following brief observation of Sainte-Beuve, which he will find in a "Causerie" upon George Sand:

Ceux qui cherchent imposer aux autres une foi qu'ils ne sont pas bien srs d'avoir eux-mmes, s'chauffent en parlant, affirment sur tous les tons, et se font prophtes afin de tcher d'tre croyants.

I have said that the zeal of Mr. Swinburne in perpetually a.s.severating the unapproachable superiority of M. Victor Hugo is unaccountable. Perhaps, however, it is to be accounted for by reading between the lines of the following pa.s.sage:

"As lyric poet and as republican leader, the master poet of the world has equally deserved to attain this obloquy, to incur this tribute from a journal"--the reference, I believe, is to the _Figaro_ of Paris--"to which the principles of republican faith, a writer to whom the pretensions of lyric poetry are naturally and equally abhorrent and contemptible: nor could any law of nature or any result of chance be more equitably satisfactory than one which should gratify the wish--or the three wishes--that all who do not love the one should hate the other: that all such men should be even as M. Zola: and that all such writers as M. Zola, should be haters and scorners alike of republican principles and of lyric song."

With every desire not to be intolerant, and to inform oneself of what is going on in this world, I think one may be pardoned for being unable to read M. Zola. I should as soon think of doing things I will not even name, as of reading _L'a.s.sommoir_; and I fancy most Englishmen, whether Monarchists or Republicans, whether lyrists or the most prosaic folk in the world, entertain the same repugnance. But what, in the name of all that is fair, and manly, and magnanimous, have political opinions got to do with literary merit? Politics and literature are distinct, and though, as abundant experience has shown, one and the same man may make his mark in both, they are separate spheres of the same brain, and a man may be a good poet and a bad politician, or a bad poet and a good politician, or either good or bad in each capacity alike. Once you care one straw what are the political opinions of a poet, there is an end of you as a critic.

Royalist, Republican, Communist, Deist, Pantheist,--what care I which of these a poet is, so he is a poet? As a fact, I fancy the greater sort of poets usually wear their creeds rather loosely; and if we find a poet, in his character of poet, a perpetually pa.s.sionate advocate, misgivings as to his permanent fame may reasonably be entertained. Still no absolute rule can be applied to these irregular planets. One likes a poet to love his country, on the same principle which Cicero says made Ulysses love Ithaca, "not because it was broad, but because it was his own." Mr. Tennyson loves his country warmly, and for this Mr. Swinburne rebukes him with indulging in the "beardless bl.u.s.ter of the Tory member, not of a provincial deputy, but of a provincial schoolboy." This is perhaps the most inapt of all the inapt observations in his amazing piece of criticism.

I might say more, but I feel I have said enough, I hope, not too much of a paper which, it seems to me, would be not unjustly described, in Mr.

Swinburne's own words, as "pseudo-poetic rhapsody in hermaphroditic prose," and concerning which a person whose authority all would recognise were I to mention him, observed to me, "This is the _Carmagnole_ of criticism." But, before concluding, I should like, if Mr. Swinburne will not think me presuming, to remind him, in all friendliness, that he, no more than I, is any longer in the consulship of Plancus; that some of us would have been thankful to have had our youthful follies treated as leniently as his have been; and that the least return he can make for the indulgence that has been extended to him in consideration of his genius, is to remember the lines of the really "great master,"--not M. Victor Hugo, but Shakespeare:

... Reverence, That angel of the world, doth make distinction Of place 'tween high and low.

ON THE RELATION OF LITERATURE TO POLITICS

It occasionally happens to men of letters, at political gatherings, to be asked to respond to the toast of Literature; so one may fairly conclude that, in the opinion of many persons, there is between literature and politics a close and familiar relation. I have long believed that there is; and observation of the opinions of others has led me to inquire whether the relation be one of amity or of antagonism. I propose to endeavour, even though it be by reflections that may appear deliberative rather than dogmatic, to elucidate a question that is not devoid of interest.

Mr. Trevelyan has recorded a saying of Macaulay to this effect, that a man who, endowed with equal capacity for achieving distinction in literature and in politics, selects a political career, gives proof of insanity. Most men of letters, I fancy, would endorse that sentiment. But the decisions which men have to make in this world are not, as a rule, presented to them with the definiteness that gives artistic charm, as well as moral meaning, to a well-known masterpiece in the Palazzo Borghese. Between Sacred and Profane Love, between the love of literature and the pursuit of politics, the line is not, in practice, drawn so hard and fast as in the beautiful apologue immortalised by t.i.tian. Loves that are altogether sacred and in no degree profane, are not, I imagine, frequently offered to any one; and though loves wholly profane and in no measure sacred, are, perhaps, not so uncommon, they are not likely in that absolutely coa.r.s.e form to exercise enduring attraction over the finer spirits. It is the curious and inextricable amalgam of the two that const.i.tutes the embarra.s.sment.

Literature entirely divorced from politics is a thing by no means so easily attained, or so disinterestedly sought after, as it is sometimes a.s.sumed to be; and though, with much Parliamentary and extra-Parliamentary oratory before our minds, we should hesitate to affirm that politics are not occasionally cultivated with a fine disregard for literature, yet the literary flavour that is still present in the speeches of some Party Politicians, suffices to show that literature and politics are in practice not so much distinct territories as border-lands whose boundaries are not easily defined, but that continually run into, overlap, and are frequently confounded with, each other.

But is it to be desired, even should it appear to be possible, to restrict literature and politics each to its own particular sphere, and forbid either to trespa.s.s upon the territory of the other? Would they be gainers by this absolute severance? I am disposed to think that both would be losers; and the loss, I fancy, would fall more heavily upon literature even than upon politics. d.i.c.kens is said to have expressed his regret that, as he worded it, a man like Disraeli should have thrown himself away by becoming a politician. The observation, perhaps, smacks a little of the too narrow estimate of life with which that man of genius may not unjustly be reproached. But few people, if any, would think of denying that Lord Beaconsfield might have won more enduring distinction in the Republic of Letters than can be accurately placed to his account, had he dedicated himself with less ardour--or, perhaps it would be more correct to say, with less tenacity--to party politics. Like most persons of a contemplative disposition, he read sparingly, and found in the pages of others not so much what they themselves put there, as a provocation and stimulus to fresh thoughts of his own. "See what my gracious Sovereign sent me as a present at Christmas," he said to me one day. It was a copy of the edition de luxe of _Romola_; and in it was written, in the beautiful flowing hand of the Queen, "To the Earl of Beaconsfield, K.G., from his affectionate and grateful friend, Victoria." "But," he added, "I cannot read it." I ventured to recommend him not to make that confession to everybody, for it would not raise their estimate of his literary ac.u.men. "Well," he said, "it's no use. I can't." No doubt _Romola_ not unoften smells overmuch of the lamp, and in all probability will not permanently occupy the position a.s.signed to it with characteristic over-confidence by contemporaneous enthusiasm. But, if a man can read novels at all, and if he demands from the novelist something more than the mere craft of the story-teller, surely _Romola_ ought to give him pleasure; and I suspect it would have pleased him, had he permitted his taste as a man of letters the same amount of expansion he afforded to his tendencies as a practical politician. At the same time, I could well understand a person arguing, though I could hardly agree with him, that he was not designed by nature to be a more complete and finished man of letters than he actually became, and that his keen interest in politics, and the knowledge of political and social life he in consequence acquired, contribute to his written works their princ.i.p.al charm and their most valuable ingredients. I suspect the truth to be, that he was compounded in such equal proportions of the man of meditation and the man of action, that under no circ.u.mstances would he have been content to be merely a man of letters, or merely a politician, and that he fulfilled his nature by being alternately one and the other. That a man should attain to supreme eminence in literature by pursuing such a course, is out of the question.

The wonder is that, having achieved even such literary distinction as he did, he should have attained to such supreme eminence as a statesman.

If, therefore, Lord Beaconsfield might have been a more distinguished man of letters, had he not been so keen a politician, the proper conclusion would seem to be that literature in his case suffered hurt, not from politics, but from an excess of politics. It would not be easy to name a character more utterly unlike his than Wordsworth--a man of letters pure and simple, if we are ever to find one. True it is that Wordsworth in extreme youth wrote some political verse, that he loved his country with ardour, and that the word England had for him great and stimulating a.s.sociations; but, as a rule, he lived remote from human ken, divorced from human business, amid the silence of the starry sky and the sleep of the everlasting hills. What was the result? I admire the best and highest poetry of Wordsworth with a fervour and an enthusiasm not exceeded by those who will, perhaps, forgive me for calling them his more fanatical worshippers. But I must continue to think that Wordsworth would have given himself the chance of being a yet greater poet than he was, had he--I do not say quitted his lakes, and hills, and streams; heaven forbid!--but had he consorted at times more freely and fully with his fellow-men, had he been not a poet only, but something in addition to a poet; had he led a rather more mixed life; had he done, in fact, what we know was done by the great Athenian dramatists, by Virgil, by Dante, by Chaucer, Spenser, Shakespeare, Milton, Byron, and even by Sh.e.l.ley. Politics do not necessarily mean party politics, though in this country, at this moment, the one runs dangerously near to implying the other. Politics mean, or ought to mean, the practical concerns of the many, of the state, of the Empire, or of mankind at large, as contradistinguished from the mere personal or cla.s.s interests. But with those wider concerns Wordsworth would have little or nothing to do, except in the most abstract way; and the consequence is that his poetry is the poetry of the individual, and nearly always of the same individual, and is lacking in the element of variety, especially in the greatest element of all, viz. action, in which is necessarily included the portrayal of pa.s.sion and character.

Would not the proper conclusion, therefore--a conclusion not overstrained and if not stated with excessive dogmatism--seem to be, that literature, though demanding precedence in the affections, and exacting the chief attention of one who professes really to love it, is not a jealous mistress, but, on the contrary, is only too well pleased to see even its most attached votaries combine with their one supreme pa.s.sion a number of minor interests and even minor affections. A very sagacious person has said, "Action may not bring happiness; but there is no happiness without action." I am not sure that that is quite true, for Epictetus, and even Epicurus, would have something to say on the other side. But I entertain little doubt that it is strictly true to affirm that the highest literary eminence is not attainable by persons who stand aloof, and have always stood aloof, from the field of action; that mere contemplation, no matter how lofty, how profound, or how persistent, will not make a man a supreme poet or a supreme artist of any kind; and that the doctrine of "art for art's sake," if applied in a perverse signification, must end by narrowing and finally debasing what it is intended to elevate. Action helps thought, and thought helps action. By action thought is rendered more masculine, attains to greater breadth, and acquires a certain n.o.bleness and dignity.

Thanks to thought, action may become more definite, more precise, more fruitful. But that is on the a.s.sumption that each exerts itself in due times and seasons, and leaves to the other abundant opportunities and ample lat.i.tude. When we are bidden to observe that

the native hue of resolution Is sicklied o'er with the pale cast of thought,

we well understand that thought has been excessive, that action has not had fair play, and that the brain has paralysed the hand.

No one can read the _Iliad_ without feeling that the writer, or writers, of the stirring debates with which it is thronged had consorted with, and was intimately familiar with public life. Many years ago, addressing an a.s.sembling of Cambridge undergraduates at a political meeting, and seeking to justify the toast of literature they had given me as a text, I ventured, with a certain levity congenial to my young but cla.s.sical audience, to ask if the _Iliad_ is not a political poem, for is it not full of discussions as animated as any of our own Parliamentary ones, in which Agamemnon, Nestor, Ulysses, to say nothing of Thersites, successively take part; and are not these succeeded, as in our own case, by deliberations in an Upper House, where Juno, Venus, Vulcan, and even Jove himself, partic.i.p.ate in the oratorical debate? The first and last note of the _neid_, indeed the one text of the great poem of Virgil, is _Romanam condere gentem_, to show how was established, and to intimate how might be extended, the Empire of Rome. Virgil, the most tender, the most finished, the most literary of poets, took the warmest interest in the politics of his country, or he would never have got much beyond the range of his Pastorals and Bucolics. The first word in the first ode of Horace is the name of an Augustan minister, quickly to be followed by the ode, _Jam satis terris_, with its patriotic allusions to national pride and military honour. Most people, I imagine, a.s.sociate Dante with the period of his exile, forgetting why he was exiled. He had to thank the interest he displayed in the politics of his native city for that prolonged banishment; and so keen a politician was this great contemplative bard, that in the same poem in which Beatrice reproves him in heaven, Dante represents his political enemies as gnashing their teeth in h.e.l.l. That was when he had become the man of letters pure and simple. But, in the hey-day of his fortunes, and long after he had first seen and become enamoured of Beatrice, and had written the _Vita Nuova_, he had taken so active a part and become so influential a personage in the public affairs of Florence, that, when invited to go on a difficult emba.s.sy, he exclaimed, "If I go, who will stay? Yet, if I stay, who will go?" It was no backsliding, therefore, no hesitation, that made Dante a public character for a moment, quickly to repent his infidelity to the Muse. To the last, it is abundantly evident that he would fain have combined in his career the poet and the politician. Yet the first words addressed by Virgil to Dante, when they met _nel gran diserto_, and Dante asked him whether he was _ombra od uomo certo_, seem almost to imply that Virgil meant to reprove the intruder upon the _selva oscura_ with condescending to mix in the turmoil of public life, instead of confining himself to literature and philosophy.

These are the words, which students of the _Divina Commedia_ will scarcely require to have cited for them:

Poeta fui, e cantai di quel giusto Figliuol d'Anchise, che venne da Troia, Poich il superbo Ilion fu combusto.

Ma tu perch ritorni a tanta noia?

Perch non sali il dilettoso monte, Ch' principio e cagion di tutta gioia?

I was a poet, and I sang of that just son of Anchises, who came from Troy after proud Ilion was laid in ashes. But you--why do you return to worries of that sort! Why do you not ascend the delectable mountain, which is the principle and cause of all true happiness?

We must bear in mind, however, that the words are not the real words of Virgil, but words put into his mouth by Dante at a period when Dante himself was weary and sick to death of _tanta noia_, the annoyances and mortifications of political life, and had cast longing eyes upon the _dilettoso monte_. What real man of letters that ever ventured into the arid and somewhat vulgar domain of Party-politics has not felt the same feeling of revulsion, the same longing for the water-brooks? But, years after Dante wrote that pa.s.sage, he strove, pet.i.tioned, and conspired to be allowed to return to Florence and its perpetual civic strife, and envied, as Byron makes him say, in _The Prophecy of Dante_:

... Every dove its nest and wings, Which waft it where the Apennine look down On Arno, till it perches, it may be, Within my all inexorable town.

If the Crusades were not politics, we should have to narrow the meaning of the word very considerably; and if the Crusades were political, another Italian poet must be added to the list of those who have not disdained to draw inspiration from public affairs, Torquato Ta.s.so, the author of _Gerusalemme Liberata_. And what are the first two lines of the _Orlando Furioso_?--

Le donne, i cavallier, l'arme, gli amori, Le cortesie, l'audaci imprese, io canto.

_L'audaci imprese!_ The loves of fair ladies were not enough for Ariosto, but with them he needs must blend the clash of arms and mighty enterprise.

Both these poets were, in the phrase of Elizabeth Barrett Browning, "unscrupulously epic," and fused the red-hot lava of their time in the mould of their enduring verse. No one should need to be reminded that Chaucer was the friend of statesmen and the colleague of amba.s.sadors. In him we find the two salient characteristics of all the best English poetry--a close observation and tender love of external nature, and a keen interest in the characters and doings of men; and, for this reason, he has often been hailed as the precursor of Shakespeare. The lofty symbolism of Spenser, and the unvarying elevation and dignity of his style, seem to place him rather remote from the common herd, and to make him, in a sense, a little less human than some might wish him to be. But in his writings he holds himself aloof from the vulgar no more than Dante does; and like Dante, he was a man of the world, and partic.i.p.ated in the art of government and the administration of public affairs. The "poet of the poets" combined literature with politics.

The days of Burleigh were hardly days when the son of a provincial wool-stapler was likely to be much heard of in the domain of politics. But the historical plays of Shakespeare traverse a s.p.a.ce of more than two hundred years, or from King John to Henry VIII., and could not have been written by one who did not combine with his unmatched poetic gifts a lively interest in the politics of his country. Shakespeare is the idol of us all, the only reproach I have ever heard addressed to him being that he was rather too aristocratic in his sympathies, and too Conservative in the non-Party sense, in his views; foibles which perhaps ought not to surprise us in one who had so intimate a knowledge of human nature, and so shrewd an appreciation of its strong and weak points. Nor was it an injury, but a distinct gain, to the prince of dramatic poets, that he should have been compelled to concern himself with the practical affairs of life, and to busy himself actively with the management of a theatre. The lament about his nature being subdued to what it worked in, may be taken as an ebullition of momentary weakness, even in that robust and manly temperament. Shakespeare was compounded of too many and too large elements to have been a poet only; and "art for art's sake," wrongly interpreted, could never have found lodgment in his wide sympathies, his capacious understanding, and his versatile imagination.

If Conservatism may, in a non-party sense, claim Shakespeare as an authority in its favour, in Milton, on the other hand, I suppose Liberalism again in a non-party sense would recognise a support. At any rate, Cromwell's secretary was a keen politician, and even a pa.s.sionate partisan. I have always thought the allusion made by Walter Scott to him in his Life of Dryden hasty and unfair. "Waller was awed into silence," he says, "by the rigour of the puritanic spirit; and even the muse of Milton was scared from him by the clamour of religious and political controversy, and only returned, like a sincere friend, to cheer the adversity of one who had neglected her during his career of worldly importance." A more recent writer seems to echo the same charge. "In 1641," he says, "Milton stepped into the lists of controversy as a prose writer, beginning the series of works which, far more than his poetry, gave him his conspicuous public standing during his lifetime, and have doubtless bereaved the world of many an immortal verse which it would otherwise have to treasure." That Milton's controversial writings gave him more conspicuous public standing in his lifetime than his poetry is indisputable, and not to be wondered at. A man's contemporaries would naturally rather have him useful than ornamental, provided he be useful on their side; and while persons whose opinions were furthered by his political writings were, as might have been expected, more interested in these than in poems from which they reaped no advantage, those people, on the other hand, to whom his political writings were obnoxious, felt themselves, as might also have been expected, but little disposed to extol, or even to read, his poetry. It may, perhaps, be taken as an absolute rule that a man of letters who takes a conspicuous interest in contemporary politics thereby debars himself to a considerable extent from literary popularity in his lifetime; a matter of little moment, however, since to every reflective mind contemporary popularity is no pledge of enduring fame, while contemporary neglect is not necessarily an omen of eternal oblivion. But it is quite another thing to affirm that men of letters who, like Milton, partic.i.p.ate freely in the political controversies of their time "bereave the world of many an immortal verse,"

or to insinuate, with Scott, that they desert the Muse for "a career of worldly importance," and only remember its charms in the season of their adversity. I think any one who has read _Paradise Lost_ and _Paradise Regained_ will be of opinion that Milton wrote quite as much verse as was desirable, whether for our delectation or for his own fame. We see the appalling result of always writing verse and never doing anything else, in the portentous bulk bequeathed to us by even so eminent a poet as Wordsworth, of matter that his idolaters persist in asking the world to accept as a precious revelation, but which the world persists, and I cannot doubt will always persist, in regarding as verse that ought to have gone up the chimney. Matthew Arnold has, in current phrase, "boiled down"

Wordsworth, in order to make him more palatable to general consumption; and he gives excellent reasons for having done so.

"In Wordsworth's seven volumes," he says, "the pieces of high merit are mingled with a ma.s.s of pieces very inferior to them: so inferior to them, that it seems wonderful how the same poet should have produced both. Work altogether inferior, work quite uninspired, flat and dull, is produced by him with evident unconsciousness of its defects, and he presents it to us with the same faith and seriousness as his best work."

Even in the edition of Wordsworth's poetry Matthew Arnold has given us, and which contains not a tenth of what Wordsworth published, he has himself exhibited a little too much "faith and seriousness" respecting what he has laboured to save from Lethe, and the "boiling down" process will have to be gone through again by somebody else. The tenth part will have to undergo the operation applied to the whole, and be itself reduced to another one-tenth. The corn must be winnowed by a yet finer sieve; all the chaff and husk must be blown away; and what then remains will be the _fine fleur_ of poetry indeed. In a word, had Wordsworth, like Milton, devoted himself, at some season of his life, to public affairs, he would doubtless have written less verse, and possibly more poetry. Had Milton abstained altogether from politics, he would possibly have written more verse, but it is improbable that he would have written more poetry. What he wrote acquired strength, and even elevation, from his temporary contact with affairs and his judicious co-operation with the active interests of the State. "As the giant Antus," says Heine, "remained invincible in strength as long as he touched mother earth with his feet, and lost this power when Hercules lifted him into the air, so also is the poet strong and mighty as long as he does not abandon the firm ground of reality, but forfeits his power when he loses himself in the blue ether." No doubt the poet must have his head in the air, and no ether need be too high or too rarefied for his imagination to breathe; but without a strong foothold of the ground he runs the risk of too often lapsing, as Matthew Arnold affirms Wordsworth constantly lapsed, into "abstract verbiage," or of falling into intolerable puerilities.

Nor is it just to a.s.sert that Milton neglected the Muse during his career of worldly importance. It would be as fair to say the same of Dante, between whom and Milton, in point of genius as well as in vicissitudes of life, there is a striking similarity. Dante wrote the _Vita Nuova_ at a comparatively early age, just as Milton wrote _L'Allegro_, _Il Penseroso_, _Comus_, and _Lycidas_ in the springtime of his life. Then came a pause, indeed a long silence, for each of them, and it was not till they had reached the meridian of intellectual life that they betook themselves each to his _magnum opus_, Dante to the _Divina Commedia_, Milton to _Paradise Lost_. Any one observant of the habit of our best English song-birds must be aware that after singing, with a rapturous lyrical carelessness, through the vernal months, they become silent during the heat of summer.