The Unity of Western Civilization Part 8

But they all represent the sense of the glory and splendour of the great fighting man, of the stout heart, which rises with rising danger and is never so great or so splendid as when it faces overwhelming odds and defies the inexorable fates. The epic poet is so possessed by this sense of the greatness of human nature that it does not matter much even whether the man is wrong or perverse: he loves the obstinacy of Roland, who will not, till too late, sound his horn to call Charlemagne and his armies, but prefers to face the enemy, and if need be to die, by himself, rather than to ask for help; he is filled with the sense of the magnificence of the stark figure of Hagen, who had indeed treacherously murdered the great Siegfried, but whose heart is so high and his hand so heavy, that when he is overpowered, and Chriemhilda at last avenges upon him the murder of her husband, the old knight standing by kills Chriemhilda herself--it was not meet that so great a fighter should be slain by a woman. These are the men of the epics.

And beside them stand the figures of women great and gracious, women for whose love men die and perish, but who themselves also can hate and love pa.s.sionately and fiercely. It has sometimes been said by those who only know the epics in one or other of the various languages, that women and the love of women have no place in the epic, but belong to the romance, but this is a mistake. In the mediaeval epic there is little talk about emotion, but in the Nibelungenlied and in some of the Icelandic sagas the woman is, like Helen in the Homeric epic, the motive and source of all the action.

The epic is the story of great and heroic figures, abstracted in that sense from the common or ordinary circ.u.mstances of life, but the background of the action is always realistic and even detailed in its realism, so that, just as again in the Homeric poems, we can frequently reconstruct the life and manners of the time to which the poems belong from that which they tell us. And it is impossible to say that there is any really national difference between the epics as we find them in different languages; they are indeed the expression of the temperament and personality of the great artists who produced them, and they are each unique and individual in proportion to the greatness of their authors, but in their general characteristics they are the same.

There are few changes in the history of literature more remarkable than that which came over European art in the later years of the eleventh century and the beginning of the twelfth. The epic is concerned with the world of action, the romance is occupied almost exclusively with the world of feeling and emotion. For this is the real character of the romance. It has sometimes been said that the essence of the romance lies in the strange and mysterious circ.u.mstances of the world, in stories of mystery and wonder, of fairyland and magic. And it is quite true that it often uses these forms of human experience. But this is not its real quality. From the story of Tristan and the 'lais' of Mary of France, down to the _Vita Nuova_ of Dante, that with which it is occupied is the human heart, its hopes and fears, its joys and sorrows, its exultation and despair. We have only to read the earliest and greatest forms in which the story of Tristan and Iseult have come down to us to see this for ourselves. It is indeed true that we can see or that we can conjecture that behind the present romance there may have lain an epic story of the hero's actions, but what we see now is nothing but the story of the 'infinite pa.s.sion', the 'infinite pain' of the human heart.

It is the story of their fatal love, of the pa.s.sion which drives them out of the homes of men into the wilderness, the fatal pa.s.sion which separation only makes deeper, which nothing can change, nothing can end, the story of a man and woman to whom the world is well lost for love.

And if you wish to see the whole meaning of life as the romance actually understood it, you have but to turn again to that 'lai' of Mary of France, which tells us in a few lines how Tristan and Iseult, long parted, succeed in meeting in the forest for a few moments--meet and then part--and over it all there is nothing but a certain exquisite sentiment of love and pain, of love and tears.

This romance poetry is indeed strange, so strange that no one has yet succeeded in finding or explaining its real origin. Only the day before, the great artists were singing the gallant deeds of men, but now they can see nothing, think of nothing but the human heart. And what is perhaps strangest of all, this great reality of feeling, of pa.s.sion, is presented under the form of a world almost wholly unreal and conventional. The men and women of the epic were great heroic figures, of larger stature, of greater pa.s.sions than the common run, but they were quite real people, moving and acting in the real world. The figures of romance are for the most part, but for the intense reality of their love, the unreal, conventional figures of a world of knights and ladies, of unreal and conventional actions. We understand the epic world, we see and recognize their people, their dwellings, their ways of acting and thinking, but the romantic knights and ladies are mere conventions.

The truth is that the chivalrous or romantic world is unreal, partly perhaps because the artists are occupied with nothing but the emotions, and profound though these are, it is perhaps because of their abstraction that the romance ended in the strange allegorical movement of the thirteenth century. In the hands of the later and lesser poets, the romantic method finally loses almost all sense of personality, and becomes a picture and a.n.a.lysis of abstract emotion. It is to these abstractions that Guillaume de Lorris gave a new life and a singular grace in the personifications of the _Romance of the Rose_, and the charm and grace of his art carried Europe off its feet, so that for nearly three hundred years it tended to dominate European poetry. Even the greatest artists of these centuries, Dante and Chaucer, at least started with this method, and at the very end of the fifteenth century William Dunbar in Scotland still used it with grace and vivacity.

But I have lingered too long in the Middle Ages. I have done so because, if we could only make more clear to ourselves the h.o.m.ogeneity of the Europe out of which we all came, it would, I think, greatly help to clear up the superst.i.tious exaggeration of the conception of nationality in art. There is not time to deal with it, or we might stay to observe that the characteristic of mediaeval literature is that of all mediaeval art and life. To myself, indeed, it is clear that the notion that the people of the Middle Ages desired or worked for a unified political organization is indeed a great mistake. But, on the other hand, it is equally certain that in general civilization, as in religion, there was a real unity, and that it was only very slowly indeed that the self-conscious nationalities of the modern world were formed out of the welter of the confused races and tribes of Europe: indeed, in some parts of Europe this development was not reached till the nineteenth century and in south-eastern Europe it is only coming to-day.

European art still transcends nationality; in its essence it is differentiated by the personality of the artist, not by the distinction of nationality. This may seem at first sight a paradox, for you may be inclined to say that surely the modern national literatures are in many ways different, you will say that there is surely some great difference between Dutch and Italian painting, some great contrast between English and French poetry. Many people used to speak, perhaps some do still, of the warm and pa.s.sionate and romantic south, and of the cold and ungracious and pa.s.sionless north. But this is merely a delusion. Dante is not more imaginative or pa.s.sionate than Shakespeare.

What is it then which has produced this impression? The answer to the question and the best evidence of the unity of European art will perhaps be found in examining some of the great movements in its history, since the time when the civilization of the Middle Ages reached its highest point in the thirteenth century.

With the fourteenth century we come to the beginning of a movement which culminated in the greatest literature of the modern world, in the drama of England and Spain. But its beginnings are at first sight strangely different from its fulfilment, and it is almost impossible therefore to find any phrase or term under which we can justly represent it. The first great master of the new world was Dante, but not the Dante of the exquisite sentiment but artificial form of the _Vita Nuova_, but the great imaginative realist of the _Divine Comedy_, the artist who could portray the pa.s.sion and pain of Francesca and her lover, and with equal power the masterful figure of Farinata, whose dauntless soul not h.e.l.l itself could quell; who could pa.s.s from the vivid drama of the fierce contemporary life of Italy to the infinite peace of those to whom 'la sua voluntade e nostra pace'. For indeed it is this which places Dante among the supreme poets of the world, that there is no aspect of the reality of human life and experience which is strange to him, and which the greatness of his imagination cannot make living to us. It has often been said that Dante is the greatest and most representative artist of the Middle Ages, but so far as this is true, and it is only partially true, it may make plain to us that there are no boundaries of time in art any more than of race or country. Dante is the first great artist of a new world, but it was not till three centuries had pa.s.sed, it was not until Shakespeare, that the whole meaning of the new literature was made clear. The new literature has been thought to begin with two great artists, an Italian and an Englishman: with Boccaccio in the south and Chaucer in the north.

What is, then, the characteristic quality or note of the _Decameron_ and the _Canterbury Tales_? It is not, as some absurd persons think, to be discovered in the licentiousness or grossness of some of these tales, this only represents one aspect of their realism, and indeed in this they do little more than continue the characteristics of what we know as the 'Fabliaux' of the Middle Ages. The quality of the new art lies just in this, that there is nothing in human life which is uninteresting or insignificant to these great artists, that they are bound by no traditions, hampered by no conventions. They had begun as artists of romance, and the romantic sentiment of life never ceased to interest and move them, but they had learned to go beyond the romantic conventions, and to find the material of their art in everything which was part of the reality of life. To them, as to the other tale-writers of these centuries, it was quite immaterial whether they were retelling a story which had come down from immemorial antiquity, or relating something which had happened but yesterday in their own town or village, and they knew nothing of distinctions of cla.s.s or rank or circ.u.mstance; it is the universal human interest which arrests them. The example which we shall find most representative is that which is to us English people the most familiar, that is the 'Prologue' to the _Canterbury Tales_. Was there ever anything greater of its kind than this? Who can ever forget these figures: the Knight, the Franklyn, the Prioress, the Wife of Bath?

As we read there pa.s.ses before us all the company of human life, wise and foolish, grave and gay, good and bad. Chaucer and Boccaccio are the greatest artists of what has often been called the 'realistic' type, they are at least very easy to distinguish from the epic and romantic artists.

They are great artists, but it is also clear enough that their powers and their insight into human life were limited. What they began was carried out to its fulfilment by the great dramatists of the sixteenth and seventeenth centuries. For this is indeed the relation of the tale-writers to the dramatists, that they furnish the materials upon which the dramatists built up their presentation of human life, or rather, the elements which are transformed by the imagination of the great dramatists from bare 'realism' into the highest expression of reality. No doubt the dramatists take into their work other materials and influences, but the substantial quality whether of the tragedy or the comedy is intimately related to that of the tales. How often were the great dramas built up on materials which they drew from Bandello or the other Italians who continued the tradition of Boccaccio, or from similar northern sources. But the great dramatists gave their stories a life, a pa.s.sion, a breadth and fullness which is far removed from that of their sources. In their hands, or rather in their creative imagination, we see not merely the external circ.u.mstance, the bare fact, but we see all the fullness and completeness, all the exquisite grace and beauty, all the pa.s.sion and terror of human experience. We may call Boccaccio and Chaucer 'realists', but it is only in Marlowe and Webster, and above all in Shakespeare, that we reach reality itself.

We all know the world of Shakespeare, how he ranges from Falstaff to Hamlet, from Bottom to Lear, from Mrs. Quickly and Doll Tearsheet to Rosalind and Imogen and Cordelia; we know how to Shakespeare, and in a lesser degree to some of the other great Elizabethans like Marlowe and Webster, there is nothing common and insignificant in life, nothing which the creative imagination of the artist cannot transform, trans.m.u.te, from mere dross into pure gold. We say, and we say rightly, that here is the greatest thing that England has brought forth, and we think of it as representing the splendid youth and the first maturity of a great nation.

But now, do we remember and understand that alongside of the English drama there is another drama, not indeed so great as that of Shakespeare, but greater, I think, than that of any other Elizabethan, the drama of Spain, of Lope de Vega and Calderon, a drama of the same character, inspired by the same spirit, living under the power of the same creative imagination, a drama in which the same vivid reality is informed by the same breath of magical romance. In the tragedy of Lope de Vega, in the comedies of Calderon, with all the distinctive individuality of the great artists, and of each great work of art, we have a poetic drama which is in its essential characteristics the same as that of England.

And yet how different were the circ.u.mstances of the two nations, Spain was decadent, bankrupt, defeated; England was rising to the supreme heights of its greatness under Elizabeth and Cromwell. At the end of the sixteenth century, Spain had pa.s.sed its splendid meridian and was falling into the grey obscurity of a clouded evening. It had quickly lost the great place which for a few years it had held in the world, every day brought a new failure, every year a new disaster; the great Armada had perished miserably on the dunes of Flanders and Holland, on the cliffs of Scotland and Ireland; a handful of valiant Dutchmen had defied its power and broken its wealth; the real enemy of Spain, that is France, had gathered itself together after forty years of ruin and misery, and had driven out the Spanish power. Indeed, so great, so overwhelming, was--as we can now see it--the ruin, that Philip II, who to the English imagination has stood for the embodiment of cruel and masterful malignity, has become to the historical student one of the tragic figures in history, a sincere, stupid, bigoted man, vainly striving to hold together the great empire which had been created by Ferdinand and Isabella, by Cortez and Pizarro and Charles V.

England, on the other hand, was rising from obscurity to its place as the mistress of the seas; Englishmen were raiding and plundering the New World, which Spain and Portugal had looked on as their own; England was sending out its sailors and merchants to all the seas, and to all lands, from the frozen north to the Indies.

And again, Spain was possessed by a fierce and pa.s.sionate love for the old religious order, it was the one country in which devotion to the forms and conceptions of mediaeval religion had proved unshakeable, while England was the representative power of the new religious temper, and was soon to hold almost the foremost place in the new intellectual life of Europe.

And yet the drama of Spain is in all its most essential and intimate characteristics the same as that of England; represents on the one side the same overwhelming sense of the tragic conflicts of life, the same sense of the greatness, the splendour of human nature, which is most triumphant when most it seems to fail; and on the other side at least something of that exquisite, that almost unimaginable grace of the romantic comedy, of the world of Portia and Viola and Beatrice and Miranda. I do not think that the unity of the great art of Europe, the comparative insignificance of merely national characteristics and historical circ.u.mstances can find a more convincing ill.u.s.tration.

I could wish that I were able to deal adequately with the parallel movements of painting and sculpture during these centuries, but I have neither the capacity nor is there now the time to deal with them. This much only may be said, that the movement of these arts is very closely parallel during these centuries, from the fourteenth to the seventeenth, to that of literature. I cannot discuss the characteristics of mediaeval sculpture and painting, but I would remind you that the notion that these were merely conventional and abstract is just as mistaken as the notion that mediaeval literature deals only with conventions or allegories. It is of course obviously true that the ecclesiastical or religious purpose served by the greater part of the decorative art of the Middle Ages which has survived to us, limits and restrains its subjects and its forms. But no one who is at any pains to consider mediaeval sculpture and mosaic painting can fail to see that alongside of much which became conventional, and was fixed in what has been called the 'Byzantine' style, there is an immense amount of work both in sculpture and in mosaic which expresses the determination of the mediaeval artist to represent the world as he experienced and saw it, and that the main obstacle to the free expression of this spirit was not the acquiescence or satisfaction of the mediaeval artist in conventional forms, but the lack of technical dexterity. This will become evident to any one who will turn his attention, in studying the mosaics, from what are no doubt the somewhat conventional and hieratic figures of saints and angels to the realistic attempts to portray the stories of the Bible. And it will be clear to any one who will study, for instance, the sculpture of Wells or Amiens or Chartres that by the thirteenth century the artists were rapidly learning how to represent the world as they knew it, and something of its grace and beauty. If we say that the history of the plastic arts in Europe from the fourteenth to the seventeenth centuries is the history of the discovery and presentation first of reality, and then of reality as transformed by the highest imaginative conception of beauty, this must not be understood to mean that reality and beauty had been absent from those arts in the Middle Ages.

If then we trace the development of Italian art, we shall first observe in such work as that of Masaccio in the Brancacci chapel at Florence just the same characteristic interest in the appearance and the varieties of human life as we find in the work of Boccaccio and Chaucer, and in the succession of the great Tuscan and Umbrian and Venetian painters and sculptors the same transformation of the bare reality of life by the magic of the imaginative sense of beauty and of pa.s.sion as in the great drama. It is not, I think, merely fanciful to say that the real counterpart of the English and Spanish drama is to be found in the Italian painters and sculptors of the fifteenth and sixteenth centuries and in the Flemish artists of the early seventeenth. It is certainly true that each of these great artists had his own individual and distinctive genius, but the exquisite grace and beauty of the Umbrians and Tuscans have never been matched save in the romantic comedy of Shakespeare, and the presentation of the tragic pa.s.sion of the human soul in _King Lear_ has only once been equalled, and that is in the dreadful beauty and horror of the Night and Day, the Evening and the Morning of Michelangelo.

I do not think I need say much about the cla.s.sical movement in art and literature, for we all know that it was international. It was begun by Petrarch, not indeed the Petrarch of the sonnets, for these are only a later form of the Troubadour lyric, and do not show any special trace of the cla.s.sical influence, but the Petrarch whose letters were the first summons of Europe to a new and indefatigable work of the rediscovery of the ancient world. It was an Italian with whom the cla.s.sical movement began, but it was only in the hands of two northern artists that it achieved a satisfying development in literature: the one a Frenchman, Racine, the other an Englishman, Milton. Neither are, I imagine, really cla.s.sical at all, but of the two, Milton, as he was by far the more learned in ancient art, was also probably nearer to the ancient world both in form and in spirit.

Nor need I say anything about the deplorable ravages of the movement of good taste and common sense, which produced Boileau and, in some measure, Pope. It did some good, but far more evil, but happily it is long past and dead and done with, and we can afford to remember the little good and to forget the evil. Good or evil, it was at least very clearly a European and not a national movement.

I must ask you now to consider the extraordinary changes which pa.s.sed over Europe in the eighteenth century, to trace the beginnings of that change which culminated in what we generally call the Romantic movement.

We all know, though not as well as we should, the work of Defoe, and beside Defoe there stands a painter whom also we all know, the great Hogarth. We all at least have read _Robinson Crusoe_, and we have probably all seen Hogarth's engravings of the good and bad apprentices, and the series of paintings in the National Gallery known as the 'Marriage a la mode'.

What is it now that we find in Defoe and Hogarth? An infinite mult.i.tude of detail--we all remember the 'three Dutch cheeses' and the 'fowling-pieces' which Robinson carefully ferried on his raft from the wreck to the island--an unsparing presentation of all the ugly and sordid realities of life; you might almost say, by preference the ugly realities, the squalid vices, the stupid and brutal ferocity of human nature. It is not a pretty or a pleasing world which we see in Hogarth or in Defoe's _Colonel Jack_. But they are great artists. If you see human nature often on its most repulsive side, in its harshest and most repellent form, at least you see in their novels or pictures, the world as they saw it in the streets and taverns, in the police courts and prisons of their day, as for that matter you can still see it everywhere in town or country. The world which they see may often, perhaps usually, be ugly, but at least there is no conventional prettiness, there is no smug veneer of an artificial good taste which refuses to call a spade a spade, and which deliberately turns away from those things in life which are irritating to its sense of decorum and propriety.

Here there is something new, and we can imagine a defender of the nationalist conception of art saying that here at last we have an obvious example of the revolt of northern realism against the southern or cla.s.sical grace. But there could not be a greater delusion. For though it is true that the new realism was not fully developed all over Europe until the eighteenth century, it had its beginnings in the sixteenth century, and not in the 'cold' north, but in the 'romantic'

south. The first signs of the new movement are to be found not in England or in Flanders, but in Spain in the sixteenth century. It was the _Lazarillo de Tormes_, the first of the Picaresque novels which struck the new note, which turned from the fantastic and conventional world of the romances in which Don Quixote had nourished his soul, and from the heroic world of beauty and grace of the dramatists, to the bare and hard reality of the life of the beggar and the vagabond. Not even Defoe himself ever surpa.s.sed the clearness and precision of the _Lazarillo_, and it was the first work of a type, whose slow development can be traced in almost every country in Europe: in England, in the realistic attempts of Greene and Nash and Deloney, in Germany in _Simplicissimus_, in France in the _Roman comique_ of Scarron and in the _Gil Blas_ of Le Sage, who was an almost exact contemporary of Defoe.

And all this can be traced just as clearly in the history of painting.

The great Italian painting had ended with the gorgeous magnificence of the Venetian school, with Giorgione and t.i.tian and Tintoretto, and its mastery pa.s.sed for a few years to Flanders, to Rubens and Vandyck; but in the painting of Spain and of the Low Countries in the later seventeenth century we find ourselves in another world. The little beggar boys of Murillo may perhaps show a somewhat mannered realism, but the Spanish painting, as a whole, while it would be absurd to try to describe it under any one phrase, shows very clearly the determination to present the reality of the world under terms which are very different from those of the great Italians of the fifteenth and sixteenth centuries. And when we turn to the art of the Low Countries in the latter part of the seventeenth and in the eighteenth centuries, leaving for the moment out of account the new art of landscape painting, we find ourselves in the same world as that of Defoe and Hogarth.

What was this, then, that had come to European art and literature?

Clearly what we see is the transition from the heroic world of the tragedy, from the splendid beauty and force of the Italian painters, from the infinite grace of the romantic comedy, to some other artistic apprehension of the world. The movement was not indeed wholly dependent upon a reaction, but in its development it corresponds with the reaction against the continuance of a great tradition which had become merely a convention, when it had lost its vitality and sincerity. The best examples of this may perhaps be found in Dryden's attempt to carry on the heroic tradition in English tragedy, and in Voltaire's strenuous and meritorious efforts to continue the work of Racine and Corneille. They meant well, and their tragic dramas are not without merit, but it is clear enough that they could not bend the bow of Ulysses. They were great artists, as we can see clearly enough in _Absalom and Ahitophel_, or in _Candide_, but their genius lay in other directions. 'Il faut cultiver notre jardin' is a great judgement of life, one very wholesome and necessary for all time, but it was not the mood of Oth.e.l.lo or of Hamlet.

European art had to come down from the empyrean, and though the descent was great, yet it gained new life by once again touching mother earth.

No doubt, however, the harsh reality of Hogarth and Defoe was not the whole of life, and, by a strange transition, before the middle of the eighteenth century we find the novelists and, though they are less important, the dramatists, turning from the faithful and minute study of the outward appearance and form of things to the study of sensibility and emotion, and the world, which had seemed so hard and unmoved, was dissolved in tears.

We find this a strange and even a ridiculous spectacle, the men who had prided themselves on their common sense and reasonableness, whose literature had sparkled with wit and epigram, blubbering and crying like great children; but whatever we think of it, that is what happened. The first artist of the new type was a Frenchman, Marivaux, and his _Vie de Marianne_ is a study of a young woman who is the embodiment of sensibility and self-consciousness, an amiable and virtuous girl, who is hardly able to enjoy the good that life brings her, for fear lest she should miss the opportunity of renunciation. The first great novel of sentiment is also French, the Abbe Prevost's _Manon Lescaut_, and here indeed we are in the deep waters of affliction; there are but few moments between the beginning and the end of his sad story when the hero is not in tears. And yet it is a great novel, for there are few studies of human nature, as absorbed and almost lost in emotion, which are more moving.

These novels, however, which appeared between 1730 and 1740, are overshadowed by the works of the great Englishmen, by Richardson and Sterne and Goldsmith, for these are not artists of England alone, but of all Europe, known and loved and imitated in every country in Europe. The sorrows of _Clarissa_, the pathetic or maudlin humour of Sterne, the idyllic grace and gentle laughter of Goldsmith, these, as they moved every heart, influenced even the greatest of European artists. The influence of _Clarissa_ on Rousseau, of Goldsmith on Goethe and Jean Paul Richter need no exposition.

The sentimental movement reached almost its highest level in the great and morbid genius of Rousseau, who was himself the living embodiment of the movement. Far more than even his creations, more than Julie or Saint-Preux, was he himself possessed by an emotionalism which finally became a disease. But, strangely enough, it was the Olympic genius of Goethe which gave its supreme form to the treatment of life under the terms of feeling. In _Werther_ this whole phase of art pa.s.sed beyond itself into the tragedy of the vain and hopeless efforts of an honest but over-sensitive nature to control his emotion and to master his life.

Not indeed that it was with _Werther_ the movement ended: it was continued in Byron: it was perhaps the most important element in what the Germans call specifically their _Romantische Schule_, and in the work of the French Romantic artists from Chateaubriand to Alfred de Musset. If you wish to see it in painting you have only to look at the work of Greuze, and at the engravings in our grandmothers'

'Forget-me-nots'. In spite of all its absurdities this sentimental movement played a great part in preparing men for the great revolution itself, for it opened men's hearts, it set free their emotions; if the realism of Defoe and Hogarth had enabled men to escape from convention and the mannerisms of good taste into a world of reality, the emotional movement gave this reality fullness and content, represented a larger and more intimate apprehension of life.

This brings us to another aspect of the art of the seventeenth and eighteenth centuries, to the poetry and painting of 'nature', to the beginnings of that great artistic movement which culminates in Wordsworth and Turner, and whose influence dominated all Europe in the eighteenth century and continues to do so in our own time. It seems a strange thing, but it is true, that it was not till the seventeenth and eighteenth centuries that there appeared a school of painting which took landscape, and a poetry which took 'nature' specifically for its subject. There is indeed frequent reference to 'nature' in the poetry of the Middle Ages and of the sixteenth century, and this is often significant in the early English poetry and charming in the romances and in Petrarch and Chaucer, while in Dante and the Elizabethans, and especially in Shakespeare, it reaches an almost incomparable beauty; yet in all these it is, as in the backgrounds of the great Tuscan and Umbrian painters, exquisite and significant and true, but not the prime subject which engages their attention.

There are indeed two great poets in whom we begin to feel that the background begins to be almost as important as the figures of the foreground; Spenser is genuinely interested in his stories of chivalry and honour, and in his moral allegory, but we sometimes wonder whether the most important thing in his poetry is not the chequered light and shade of his forests, the picturesque splendour of his castles, and the gloom of his caverns and dungeons. Spenser's poetry is like a tapestry on which indeed some story of human life is presented, but which is in the end a great work of decorative art, to which the immediate subject contributes form and pattern and colour, but in which it is in a measure lost.

In Milton the matter is different: no one can doubt that he is a great artist of human life and fate; even if _Paradise Lost_ were to leave us in some uncertainty, the _Samson_ would convince us all. But, while I think this is true, it is also clear that not only in the grace of his earlier poetry, but in the maturity of his genius, in the _Lycidas_ and even in the _Paradise_, Milton is at least as great an artist of nature and its beauty as he is of life. And near Milton there stands a poet, lesser indeed, but individual and unique, that is Henry Vaughan, who had unhappily strayed into the 'metaphysical' maze, and who helplessly enough tries to endue himself with the giant armour of Donne, but who, when he is himself, is one of the most exquisite and gracious poets of nature.

We may perhaps, without being fanciful, find a parallel to these poets in the great Venetian painters of the sixteenth century, in whose work we see the landscape of Venetia and the Cadore compelling more and more our attention, as not a mere background, but as an integral part of the picture; but it was not till the seventeenth century and the Flemish and Dutch painters that we see the transition complete, and the artist sets before us not some scene in human life, but simply the beauty and splendour of 'nature' herself.

It was not till Thomson began to publish _The Seasons_ in 1726 that the development was complete in poetry. Thomson is a difficult poet to appreciate rightly, for though his subject was 'nature' his method was often as conventional and artificial as that of any Augustan; but he was a lover of the fields and woods, and his imagination, if it is not very powerful, is often very sincere. What was begun by Thomson was carried on with greater sincerity and reality by Cowper, and was transformed by the imagination of Gray and Collins. We sometimes think of this development as specifically English, and it is true that in Wordsworth and Sh.e.l.ley the poetry of nature grew into something which is unique and unmatched, but we must not think of the poetry of Wordsworth as though it were the only form under which nature can be presented. That would be to ignore the qualities, in England of Keats and Tennyson, and in Europe of great artists in whom the treatment of nature a.s.sumed other forms.

The great poetry of nature began in England, but it was carried on in all the European countries, and for more than a century it was dominated mainly by the genius of Rousseau in France and of Goethe in Germany. I cannot here pretend to deal with the treatment of nature in Rousseau, or with the outcome of his influence first in Bernardin de Saint-Pierre and Chateaubriand, and then in the elegiac beauty of Lamartine and de Musset's _Nuits_; nor can I deal with the poetry of nature in Goethe, and its lesser but often beautiful expression in the German 'Romanticists', and in Heine. It is only possible here to remind ourselves that neither the poetry nor the painting of nature belongs to any one country, but is an intimate part of all modern art.

And thus at last we come to the great revolution itself, that great revolution in art and thought and life, of which the political and social revolution is one form, and of which we are all the children. In this, all the elements of which we have been thinking are gathered up and come to perfection; reality, sentiment, nature. And this was of no one country or nationality. The first and also the greatest artist of the revolution is Goethe himself, for it all culminates and reaches its highest expression in _Faust_. The pa.s.sion for freedom, for the complete experience of life, for life itself, and not mere knowledge or mere words--this is the motive which drives Faust till he is willing to make his bargain with any power which will give him this. The infinite, the insatiable desire of the human soul, which can never be wholly satisfied, which can never reach its term, this is the pa.s.sion which possesses Faust, this is the rock upon which the hopes of the poor devil are shipwrecked, the poor devil who in the limitation of the merely critical and negative temper cannot understand that Faust can never be satisfied, will never say to the moment, 'Verweile doch, du bist zu schon.' For the drama of _Faust_ is not a drama of d.a.m.nation, but of redemption, and though the breadth and scope of the whole conception pa.s.s beyond all presentation in complete and rounded form, the great tragedy of Gretchen takes us from the splendid but abstract world of ideas into the simplest experience of human life, where Faust becomes human through love itself, but too slowly, too late to avert the tragedy.

If Goethe represents the great humane conceptions of the revolution most profoundly, Wordsworth comes very near him in the depth of his knowledge of humanity, and in his supreme sense of the unity of all life and nature with the living spirit who is in all things; and the great romantic artists of France are governed by the same sense of nature and love and the spiritual, and in Victor Hugo this reaches a level only just below that of Goethe himself.

You must not misunderstand me, nationality has real meaning, it has something akin, but distantly, to personality; but in the main it affects the more superficial aspects of art. In painting and sculpture the European artists use a language which we can all understand, imagine life and nature under terms which we all feel and know to be true. And, though in literature the language creates a real difference, and causes a difficulty in recognizing the unity which lies behind the difference, yet the moment we begin to overcome that difficulty we find ourselves in a world intelligible, familiar, moving to us all; and intelligible just in proportion to the greatness of the artist.