IF WORDSWORTH and Byron failed by an excess of the alloy of untransmuted intellect in their work, two other poets of the time, Blake and Coleridge, miss the highest greatness they might otherwise have attained by an opposite defect, by want of the gravity and enduring substance which force of thought gives to the poetical inspiration. They are, Coleridge in his scanty best work, Blake almost always, strong in sight, but are unable to command the weight and power in the utterance which arises from the thinking mind when it is illumined and able to lay hold on and express the reality behind the idea. They have the faculty of revelatory sense in a high degree, but little of the revelatory thought which should go with it; or at least though they can suggest this sometimes with the intense force which comes from spiritual feeling, they cannot command it and constantly give it greatness and distinctness of body. And their sight is only of the middle kind; it is not the highest things they see, but only those of a borderland or middle region. Their poetry has a strange and unique quality and charm, but it stops short of something which would have made it supreme. They are poets of the supernatural and of such spiritual truth as may be shadowed by it or penetrate through it, but not of the greatest truths of the spirit. And this supernature remains in them a thing seen indeed and objectively real, but abnormal; but it is only when supernature becomes normal to the inner experience that it can be turned into material of the very greatest poetry.

Coleridge more than any of his great contemporaries missed his poetic crown; he has only found and left to us three or four scattered jewels of a strange and singular beauty. The rest of his work is a failure. There is a disparateness in his gifts, an inconsequence and incoherence which prevented him from bringing them together, aiding one with the other and producing

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great work rich in all the elements of his genius. Intellectuality he had in abundance, a wide, rich and subtle intellect, but he squandered rather than used it in discursive metaphysics and criticism and was most at home when pouring it out in the spontaneity of conversation or rather monologue, an outlet in which the labour of giving it the firmness of an enduring form could be avoided. The poet in him never took into himself the thinker. The consequence is that very much the greater part of his poetry, though his whole production is small enough in bulk, is unconvincing in the extreme. It has at best a certain eloquence or a turn of phrase and image which has some intellectual finish but not either force or magic, or a fluidity of movement which fails to hold the ear. But there are three poems of his which are unique in English poetry, written in moments when the too active intellect was in abeyance, an occult eye of dream and vision opened to supraphysical worlds and by a singular felicity the other senses harmonised, the speech caught strange subtleties and marvellous lights and hues and the ear the melodies of other realms. It is indeed only just over the mystic border that his sight penetrates and to its most inferior forms, and he does not enter into these worlds as did Blake, but catches only their light and influence upon the earth life; but it is caught with a truth and intensity which makes magical the scenes and movements of the earth life and transforms light of physical nature into light of supernature. This is to say that for the first time, except for rare intimations, the middle worlds and their beings have been seen and described with something of reality and no longer in the crude colours of vulgar tradition or in the forms of myth. The Celtic genius of second sight has begun to make its way into poetry. It is by these poems that he lives, though he has also two or three others of a more human charm and grace; but here Coleridge shows within narrow limits a superlative power and brings in a new element and opens a new field in the realms of poetic vision.

Blake lives ordinarily far up in this middle world of which Coleridge only catches some glimpses or at most stands occasionally just over its border. Blake's seeing teems with images of

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this other world, he hears around him the echoes of its sounds and voices. He is not only a seer, but almost an inhabitant of other planes, another domain of being; or at least this second subtle sight is his normal sight. His power of expression is akin in its strangeness to his eye of vision. His speech like his seeing has a singular other-world clarity and sheerness of expression in it, the light of supernature. When he prophetises as in some of his more ambitious efforts, he mentalises too much the mystic and misses the marvel and the magic. It is when he casts into some echo of the language of the luminous children of those shores the songs of their childhood and their innocence, that he becomes limpid to us and sheds upon our earth some clear charm, felicity, wonder of a half divine otherwhere. Here again we have something unique, a voice of things which had not been heard before nor has it been heard since; for the Celtic poets who sometimes give us something that is in its source akin, bring a ripe reflective knowledge and a colour of intellectuality into their speech and vision, but Blake seeks to put away from him as much as possible the intellectual mind, to see only and sing. By this effort and his singularity and absorption he stands apart solitary and remote, a unique voice among the poets of the time; he occupies indeed a place unique in the poetry of the English language, for there is no other singer of the beyond who is like him or equal to him in the strangeness, supernatural lucidity, power and directness of vision of the beyond and the rhythmic clarity and beauty of his singing.

A greater poet by nature than almost any of these, Shelley was alone of them all very nearly fitted to be a sovereign voice of the new spiritual force that was at the moment attempting to break into poetry and possess there its kingdom. He has on the one hand, one feels, been a native of the heights to which he aspires and the memory of them, not indeed quite distinct, but still environing his imagination with its luminous ethereality, is yet with him. If the idea of a being not of our soil fallen into the material life and still remembering his skies can be admitted as an actual fact of human birth, then Shelley was certainly a living example of one of these luminous spirits half obscured by earth;

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the very stumblings of his life came from the difficulty of such a nature moving in the alien terrestrial environment in which he is not at home nor capable of accepting its muddy vesture and iron chain, attempting impatiently to realise there the law of his own being in spite of the obstruction of the physical clay. This mind and nature cannot live at ease in their dusk day and time, but escape to dwell prophetically in a future heaven and earth in which the lower life shall have accepted the law of his own celestial worlds. As a poet his intellect is suffused with their light and his imagination is bathed in it; they are steeped in the brilliances of a communion with a higher law, another order of existence, another meaning behind Nature and terrestrial things. But in addition he possesses the intellectual equipment possible in his age and can speak with a subtle beauty and perfect melody the tongue of the poetic intelligence. He is a seer of spiritual realities, much more radiantly near to them than Wordsworth, has, what Coleridge had not, a poetic grasp of metaphysical truths, can see the forms and hear the voices of higher elemental spirits and natural godheads than those seen and heard by Blake, while he has a knowledge too of some fields of the same middle realm, is the singer of a greater and deeper liberty and a purer and nobler revolt than Byron, has the constant feeling of a high spiritual and intellectual beauty, not sensuous in the manner of Keats, but with a hold on the subtler beauty of sensible things which gives us not their glow of vital warmth and close material texture, but their light and life and the rarer atmosphere that environs them on some meeting line between spirit and body. He is at once seer, poet, thinker, prophet, artist. In his own day and after, the strangeness of his genius made him unintelligible to the rather gross and mundane intellectual mind of the nineteenth century; those who admired him most, were seized only by the externalities of his work, its music, delicacy, diffusely lavish imaginative opulence, enthusiasm, but missed its inner significance. Now that we are growing more into the shape of his ideas and the forms of his seeing, we can get nearer to the hidden heart of his poetry. Still high-pinnacled as is his flight, great as is his work and his name, there is in him too a limitation

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which prevents the perfect self-expression that we find only in the few supreme poets.

This was due to the conditions under which the evolution of his poetry had to take place and to the early death which found him at the time when it was rounding towards the full orb of its maturity. His earlier poetry shows him striving with the difficulty of the too intellectual manner of speech from which these poets of supra-intellectual truth had to take their departure. Shelley uses language throughout as a poet; he was incapable of falling into the too hard and outward manner of Byron or yielding to the turn towards mere intellectuality which always beset Wordsworth. The grain of his mind was too saturated with the hues of poetic vision, he had too splendid and opulent an imagination, too great a gift of flowing and yet uplifted and inspired speech for such descents, and even in his earlier immature poetry, Queen Mab, Alastor, The Revolt of Islam, these powers are there and sustain him, but still the first form of his diction is a high, sometimes a magnificent poetic eloquence, which sometimes enforces the effect of what he has to say, but more often loses it in a flood of diffuse and overabundant expression. It is not yet the native language of his spirit. As his power develops, the eloquence remains, but is subdued to the growing splendour of his vision and its hints and images, but the thought seems almost to disappear from the concrete grasp of the intelligence into a wonder of light and a music of marvellous sound. The Prometheus and Epipsychidion show this turn of his genius at its height; they are two of the three greatest things he has left to us on the larger scale. Here he does come near to something like the natural speech of his strange, beautiful and ethereal spirit; but the one thing that is wanting is a more ascetic force of tapasyā economising and compressing its powers to bring in a new full and seizing expression of the thought element in his poetry, not merely opulent and eloquent or bright with the rainbow hues of imagination, but sovereign in poetic perfection and mastery. Towards this need his later style is turning, but except once in Adonais he does not seize on the right subject matter for his genius. Only in the lyric of which he has always

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the secret, — for of all English poets he has perhaps the most natural, spontaneous, sweet and unfailing gift of melody, and his emotion and lyrical cry are at once of the most delicate and the most intense, — is he frequently and constantly equal alike in his thought, feeling, imagery, music. But it is not often that he uses the pure lyrical form for his greatest sight, for what would now be called his "message". When he turns to that, he attempts always a larger and more expansive form. The greatness of Prometheus Unbound which remains, when all is said, his supreme effort and one of the masterpieces of poetry, arises from the combination of this larger endeavour and profounder substance with the constant use of the lyrical mould in which he most excelled, because it agreed with the most intimate turn of his temperament and subtly exalted spirit.

The spiritual truth which had possession of Shelley's mind was higher than anything opened to the vision of any of his contemporaries, and its power and reality which was the essence of his inspiration can only be grasped, when it is known and lived, by a changed and future humanity. Light, Love, Liberty are the three godheads in whose presence his pure and radiant spirit lived; but a celestial light, a celestial love, a celestial liberty. To bring them down to earth without their losing their celestial lustre and hue is his passionate endeavour, but his wings constantly buoy him upward and cannot beat strongly in an earthlier atmosphere. The effort and the unconquered difficulty are the cause of the ethereality, the want of firm earthly reality that some complain of in his poetry. There is an air of luminous mist surrounding his intellectual presentation of his meaning which shows the truths he sees as things to which the mortal eye cannot easily pierce or the life and temperament of earth rise to realise and live; yet to bring about the union of the mortal and the immortal, the terrestrial and the celestial is always his passion. He is himself too much at war with his age to ignore its contradictions and pass onward to the reconciliation. He has to deny God in order to affirm the Divine, and his denial brings in a note too high, discordant and shrill. He has not the symbols or the thought-forms through which he can make the spirit of

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light, love and freedom intimate and near to men; he has, as in the Prometheus, to go for them to his imagination or to some remote luminous experience of ideal worlds and to combine these beautiful ideal images, too delicately profound in their significance, too veiled in robe upon robe of light to be distinct in limb and form, with traditional names and symbols which are converted into this other sense and fail to be perfect links because by the conversion they cease to be familiar to the mind. To bring his difficult significance home he lavishes inexhaustibly image on radiant image, line on dazzling beauty of line, the sense floats in a storm of coruscations and dissolving star-showers; the more we look and accustom our eyes to this new kind of light, the more loveliness and light we see, but there is not that immediate seizing and taking captive of the whole intelligence which is the sign of an assured and sufficient utterance.

He is in revolt too against the law of earth, in arms against its dominations and powers, and would substitute for it by some immediate and magical change the law of heaven; but so he fails to make the needed transition and reconciliation and his image of the thing to be remains too ideal, too fine and abstract in spite of the beauty of the poetical forms he gives it as its raiment or atmosphere. Heaven cannot descend to take possession of the gross, brute and violent earth he sees around him, therefore he carries up the delivered earth into a far and ideal heaven. Something of the same excess of another light than ours surrounds and veils his intercourse with the spirit in Nature. He sees her earthly forms in a peculiar radiance and light and through them the forms and spirits of his ideal world. He has not Wordsworth's distinctness and intimate spiritual communion with Nature as she is on earth; the genii of the worlds of dream and sleep cluster too thickly round all that his waking eye seizes. He tries to let them in through the force of crowding images, brilliant tossings .¯ aside of the lucent curtain, tiraskarini, which veils them from us: but they remain half-hidden in their means of revelation. The earth-nature is seen in the light of another nature more than in its own, and that too is only half visible in the mixed luminosity, "burning through the vest that hides it." Tradition governs very

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largely his choice of rhythms, but wonderfully melodious as is his use or conversion of them to the mould of his spirit, one feels that he would have done better to seek more often for self-formed movements. Shelley is the bright archangel of this dawn and he becomes greater to us as the light he foresaw and lived in returns and grows, but he sings half concealed in the too dense halo of his own ethereal beauty.

As with Wordsworth and Byron, so too we find Shelley and Keats standing side by side, but with a certain antinomy. They are perhaps the two most purely poetic minds that have used the English tongue; but one sings from the skies earthwards, the other looks from earth towards Olympus. Keats is the first entire artist in word and rhythm in English poetry, — not grandiose, classical and derived like Milton, but direct and original in his artistry, he begins a new era. His astonishing early performance leaves us wondering what might have been the masterpieces of his prime, of which even Hyperion and the Odes are only the unfulfilled promise. His death in the beginning of his powers is the greatest loss ever suffered by human achievement in this field. Alone of all the chief poets of his time he is in possession of a perfect or almost perfected instrument of his native temperament and genius, but he had not yet found the thing he had to say, not yet seen what he was striving to see. All the other high things that interested his great equals, had for him no interest; one godhead only he worshipped, the image of divine Beauty, and through this alone he wished to see Truth and by her to achieve spiritual delight and not so much freedom as completeness. And he saw her in three of her four forms, sensuous beauty, imaginative beauty, intellectual and ideal beauty. But it is the first only which he had entirely expressed when his thread was cut short in its beginning; the second he had carried far, but it was not yet fullorbed; towards the third and highest he was only striving, "to philosophise he dared not yet", but it was from the first the real sense and goal of his genius.

On life he had like the others — Byron alone excepted — no hold; such work as Lamia, Isabella, The Eve of St. Agnes, in which he followed the romantic tendency of the time, was not

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his own deeper self-expression; they are wonderful richly woven robes of sound and word and image curiously worked and brocaded, but they clothe nothing. The Odes, where fulfilment of imaginative beauty rises out of a higher sensuous seeking and satisfaction to an admirable sweetness, fullness, largeness and opulence and admits intimations of the ideal goddess, are almost all of them among the scanty number of the chief masterpieces in this high and deliberate lyrical form. But the real soul of Keats, his inner genius, the thing he was striving to bring out of himself is not to be altogether found even here; it lay in that attempt which, first failing in Endymion, was again resumed in Hyperion. It was the discovery of the divine Idea, Power and living norm of Beauty which by its breath of delight has created the universe, supports it and moves towards a greater perfection, inspires the harmonies of inward sight and outward form, yearns and strives towards the fullness of its own self-discovery by love and delight. Not yet in possession of his idea, he tries to find and to figure it in Endymion by sensuous images of a rich and dim moonlit dream with a sort of allegory or weft of symbols behind the words and thoughts, but his hand is still inexpert and fails in the execution. In Hyperion the idea is clearer and in bolder relief, but it is misconceived under a too intellectual, external and conventionally epic Miltonic influence, and in his second version he turns not quite happily to a renewal of the form of his first attempt. He has found a clue in thought and imagination, but not quite its realisation in the spiritual idea, has already its imaginative, sensuous, something of its intellectual suggestion, but not yet what the spirit in him is trying to reveal, its mystically intellectual, mystically sensuous, mystically imaginative vision, form and word. The intimation of it in his work, his growing endeavour to find it and the unfulfilled promise of its discovery and unique fullness of expression are the innermost Keats and by it he belongs in spirit to these prophetic, but half-foiled singers of the dawn. He lives more than any other poet in the very temple of Beauty, traverses its sculptured and frescoed courts with a mind hued and shaped to her forms and colours and prepares, but is never permitted, to enter the innermost sanctuary.

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The stime had not yet come when these spiritual significances could be more than hinted. Therefore Keats and Shelley were taken before their powers could fully expand, Byron led far out of the path, Blake isolated in his own splendour of remoteness, Coleridge and Wordsworth drawn away to lose the poet and seer in the mere intellectual mind. All wandered round their centre of inspiration, missed something needed and stopped or were stopped short. Another age had to arrive which worshipped other and lesser godheads.

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