WHEN a power of poetry in a highly evolved language describes so low a downward curve as to reach this dry and brazen intellectualism, it is in danger of losing much of its vitality and flexibilities of expression and it may even, if it has lived too long, enter into a stage of decadence and perish by a dull slow decay of its creative force. That has happened more than once in literary history; but there can always be a saving revulsion, a return of life by a shock from without or a liberating impulse from within. And this saving revulsion, when it comes, is likely, if bold enough, to compensate for the past prone descent by an equally steep ascension to an undreamed of novelty of revealing vision and illumined motive. This is the economy of Nature's lapses in the things of the mind no less than in the movements of life. For when the needed energy is within, these falls are an obscure condition for an unprecedented elevation, these emptyings a preface to large inrushes of plenty. In the recoil, in the rush or upwinging to the opposite extreme, some discovery is made which would otherwise have been long postponed or not have arrived at all; doors are burst open which might have been passed by unseen or would have resisted any less vehement or rapidly illumined effort to unlock them. On the other hand it is a frequent disadvantage of these revolutions or these forced rapidities of evolution, that they carry in them a premature light and an element of quick unripeness and a subsequent reaction and return to lower levels becomes inevitable. For the contemporary mind is not really ready for the complete implanting of this new seed or stock; and what is accomplished is itself rather an intuitive anticipation than a firmly based knowledge or an execution of the thing seen equal to its true significance. All these familiar phenomena are visible in the new swift and far-reaching upward curve, which carries

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English poetry from the hard, glittering, well-turned and well-rhymed intellectual superficialities of a thin pseudo-classicism to its second luminous outbreak of sight and beauty and an inspired creative impulse.

Intellect, reason, a firm clarity of the understanding and arranging intelligence are not the highest powers of our nature. If this were our summit, many things which have now a great or a supreme importance for human culture, religion, art, poetry, would either be no more than a lure or a graceful play of the imagination and emotions, or, though admissible and useful for certain human ends, would still be deprived of the truth of their own highest indications. Poetry, even when it is dominated by intellectual tendency and motive, cannot really live and work by intellect alone. Its impetus is not created and its functioning and results are not shaped either wholly or predominantly by reason and judgment; an intuitive seeing and an inspired hearing are its natural means or its native sources. But intuition and inspiration are not only spiritual in their essence, they are the characteristic means of all spiritual vision and utterance; they are rays from a greater and intenser Light than the tempered clarity of our intellectual understanding. Ordinarily these powers are turned in human action and creation to a use which is not spiritual and not perhaps their last or most intrinsic purpose. Their common use in poetry is to give a deeper and more luminous force and a heightened beauty to the perceptions of outward life or to sublimate the more inward but still untransformed and comparatively surface movements of human emotion and passion or to empower thought to perceive and utter certain individual and universal truths which enlighten or which raise to a greater meaning the sensible appearances of the inner and outer life of Nature and man. But every power in the end finds itself drawn towards its own proper home and own highest capacity and field of expression and one day or another the spiritual faculties of intuitive hearing and seeing must climb at last to the expression of things spiritual and eternal and their power and working in temporal things. Poetry will yet find in that supreme interpretation its own richest account, its largest and

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most satisfied possible action, its purest zenith of native force. An ideal and spiritual poetry revealing the spirit in itself and in things, showing to us the unseen present in the seen, unveiling ranges of existence which the physical mind ignores, pointing man himself to undreamed capacities of godhead, future heights of being, truth, beauty, power, joy which are beyond the highest of his common or his now realised values of existence, — this will surely appear as the last potentiality of this high and beautiful creative power. When the eye of the poet has seen the life of man and the world externally or penetrated into its more vital inwardness or has risen to the clarities and widenesses of a thought which observantly perceives or intimately understands it, and when his word has caught some revealing speech and rhythm of what he has seen, much has been done, but not all that is possible to poetic vision and utterance. This other and greater realm still remains open for a last transcendence.

For the first time in occidental literature, we get in this fourth turn of the evolution of English poetry some faint initial falling of this higher light upon the poetic intelligence. Some ancient poets may have received something of it through myth and symbol; a religious mystic here and there may have attempted to give his experience rhythmic and imaginative form. But here is the first poetic attempt of the intellectual faculty striving at a high height of its own development to look beyond its own level directly into the unseen and the unknown and to unveil some ideal truth of its own highest universal conceptions hidden behind the veil of the ordinary mind and supporting them in their return to their eternal source. This high departure was not an inevitable outcome of the age that preceded Wordsworth, Blake and Shelley. The intellectual endeavour had been in Milton inadequate in range, subtlety and depth, in those who followed paltry, narrow and elegantly null, in both supported by an insufficient knowledge. A new and larger endeavour in the same field might rather have been expected which would have set before it the aim of a richer, deeper, wider, more curious intellectual humanism, poetic, artistic, many-sided, sounding by the poetic reason the ascertainable truth of God and man and Nature. That was

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the line followed by the main stream of European thought and culture, and to that too English poetry had eventually to turn in the intellectual fullness of the nineteenth century. It was already the indistinct and half-conscious drift of the slow transitional movement which intervenes between Pope and Wordsworth; but as yet this movement was obscure, faltering and poor in its achievement. When a greater force came streaming in, the influences that were abroad were those which elsewhere found expression in the revolutionary idealism of the French Revolution and in German transcendentalism and romanticism. Intellectual in their idea and substance, they were in the mind of five or six English poets, each of them a remarkable individuality, carried beyond themselves by the sudden emergence of some half-mystical Celtic turn of the national mind into supraintellectual sources of inspiration. Insufficiently supported by any adequate spiritual knowledge, unable to find except rarely the right and native word of their own meaning, these greater tendencies faded away or were lost by the premature end of the poets who might, had they lived, have given them a supreme utterance. But still theirs was the dawn of whose light we shall find the noon in the age now opening before us if it fulfils all its intimations. Blake, Shelley, Wordsworth were first explorers of a new world of poetry other than that of the ancients or of the intermediate poets, which may be the familiar realm of the aesthetic faculty in the future, must be in fact if we are not continually to describe the circle of efflorescence, culmination and decay within the old hardly changing circle.

Certain motives which led up to this new poetry are already visible in the work of the middle eighteenth century. There is, first, a visible attempt to break quite away from the prison of the formal metrical mould, rhetorical style, limited subject-matter, absence of imagination and vision imposed by the high pontiffs of the pseudo-classical cult. Poets like Gray, Collins, Thomson, Chatterton, Cowper seek liberation by a return to Miltonic blank verse and manner, to the Spenserian form, — an influence which prolonged itself in Byron, Keats and Shelley, — to lyrical movements, but more prominently the classical ode form, or

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to freer and richer moulds of verse. Some pale effort is made to recover something of the Shakespearian wealth of language or of the softer, more pregnant colour of the pre-Restoration diction and to modify it to suit the intellectualised treatment of thought and life which was now an indispensable element; for the old rich vital utterance was no longer possible, an intellectualised speech had become a fixed and a well-acquired need of a more developed mentality. Romanticism of the modern type now makes its first appearance in the choice of the subjects of poetic interest and here and there in the treatment, though not yet quite in the grain and the spirit. Especially, there is the beginning of a direct gaze of the poetic intelligence and imagination upon life and Nature and of another and a new power in English speech, the poetry of sentiment as distinguished from the inspired voice of sheer feeling or passion. But all these newer motives are only incipient and unable to get free expression because there is still a heavy weight of the past intellectual tradition. Rhetoric yet loads the style or, when it is avoided, still the purer intensity of poetic emotion is not altogether found. Verse form tends to be still rather hard and external or else ineffective in its movement; the native lyric note has not yet returned, but only the rhetorical stateliness of the ode, not lyricised as in Keats and Shelley, or else lyrical forms managed with only an outward technique but without any cry in them. Romanticism is still rather of the intellect than in the temperament, sentiment runs thinly and feebly and is weighted with heavy intellectual turns. Nature and life and things are seen accurately as objects and forms, but not with any vision, emotion or penetration into the spirit behind them. Many of the currents which go to make up the great stream of modern poetry are beginning to run in thin tricklings, but still in a hard and narrow bed. There is no sign of the swift uplifting that was to come as if upon the sudden wings of a splendid moment.

In Burns these new-born imprisoned spirits break out from their bounds and get into a free air of natural, direct and living reality, find a straightforward speech and a varied running or bounding movement of freedom. This is the importance of this

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solitary voice from the north in the evolution, apart from the intrinsic merits of his poetry. His work has its limitations; the language is often too intellectualised to give the lyrical emotion, though it comes from the frank, unartificial and sturdy intellect of a son of the soil; the view on life is close, almost too close to give the deeper poetic or artistic effect, but it deals much with outsides and surfaces and the commonnesses and realisms of action, sometimes only does it suggest to us the subtler something which gives lyrical poetry not only its form and lilt and its power to stir, — all these he has, — but its more moving inmost appeal. Nevertheless, Burns has in him the things which are most native to the poetry of our modern times; he brings in the new naturalness, the nearness of the fuller poetic mind, intellectualised, informed with the power of clear reflective thought awake to life and nature, the closely observing eye, the stirring force of great general ideas, the spirit of revolt and self-assertion, the power of personality and the free play of individuality, the poignant sentiment, sometimes even a touch of psychological subtlety. These things are in him fresh, strong, initial as in a forerunner impelled by the first breath of the coming air, but not in that finished possession of the new motives which is to be the greatness of the future master-singers. That we begin to get first in Wordsworth. His was the privilege of the earliest initiation.

This new poetry has six great voices who fall naturally in spite of their pronounced differences into pairs, Wordsworth and Byron, Blake and Coleridge, Shelley and Keats. Byron sets out with a strangely transformed echo of the past intellectualism, is carried beyond it by the elemental force of his personality, has even one foot across the borders of the spiritual, but never quite enters into that kingdom. Wordsworth breaks away with deliberate purpose from the past, forces his way into this new realm, but finally sinks under the weight of the narrower intellectual tendencies which he carries with him into its amplitudes. Blake and Coleridge open magical gates, pass by flowering sidelanes with hedges laden with supernatural blooms into a middle world whence their voices come to us ringing with an unearthly melody. In Shelley the idealism and spiritual impulse rise to almost giddy

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heights in a luminous ether and are lost there, unintelligible to contemporary humanity, only now beginning to return to us with their message. Keats, the youngest and in many directions the most gifted of these initiators, enters the secret temple of ideal Beauty, but has not time to find his way into the deepest mystic sanctuary. In him the spiritual seeking stops abruptly short and prepares to fall away down a rich sensuous incline to a subsequent poetry which turns from it to seek poetic Truth or pleasure through the senses and an artistic or curiously observing or finely psychologising intellectualism. This dawn has no noon, hardly even a morning.

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