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Part VI

If I were asked where English poetry got these three things, its turn for style, its turn for melancholy, and its turn for natural magic, for catching and rendering the charm of nature in a wonderfully near and vivid way,--I should answer, with some doubt, that it got much of its turn for style from a Celtic source; with less doubt, that it got much of its melancholy from a Celtic source; with no doubt at all, that from a Celtic source it got nearly all its natural magic.

Any German with penetration and tact in matters of literary criticism will own that the principal deficiency of German poetry is in style; that for style, in the highest sense, it shows but little feeling. Take the eminent masters of style, the poets who best give the idea of what the peculiar power which lies in style is, Pindar, Virgil, Dante, Milton. An example of the peculiar effect which these poets produce, you can hardly give from German poetry. Examples enough you can give from German poetry of the effect produced by genius, thought, and feeling expressing themselves in clear language, simple language, passionate language, eloquent language, with harmony and melody; but not of the peculiar effect exercised by eminent power of style. Every reader of Dante can at once call to mind what the peculiar effect I mean is; I spoke of it in my lectures on translating Homer, and there I took an example of it from Dante, who perhaps manifests it more eminently than any other poet. But from Milton, too, one may take examples of it abundantly; compare this from Milton:--

with this from Goethe:--

Nothing can be better in its way than the style in which Goethe there presents his thought, but it is the style of prose as much as of poetry; it is lucid, harmonious, earnest, eloquent, but it has not received that peculiar kneading, heightening, and re-casting which is observable in the style of the passage from Milton,--a style which seems to have for its cause a certain pressure of emotion, and an ever-surging, yet bridled, excitement in the poet, giving a special intensity to his way of delivering himself. In poetical races and epochs this turn for style is peculiarly observable; and perhaps it is only on condition of having this somewhat heightened and difficult manner, so different from the plain manner of prose, that poetry gets the privilege of being loosed, at its best moments, into that perfectly simple, limpid style, which is the supreme style of all, but the simplicity of which is still not the simplicity of prose. The simplicity of Menander's style is the simplicity of prose, and is the same kind of simplicity as that which Goethe's style, in the passage I have quoted, exhibits; but Menander does not belong to a great poetical moment, he comes too late for it; it is the simple passages in poets like Pindar or Dante which are perfect, being masterpieces of poetical simplicity. One may say the same of the simple passages in Shakspeare; they are perfect, their simplicity being a poetical simplicity. They are the golden, easeful, crowning moments of a manner which is always pitched in another key from that of prose; a manner changed and heightened; the Elizabethan style, regnant in most of our dramatic poetry to this day, is mainly the continuation of this manner of Shakspeare's. It was a manner much more turbid and strewn with blemishes than the manner of Pindar, Dante, or Milton; often it was detestable; but it owed its existence to Shakspeare's instinctive impulse towards style in poetry, to his native sense of the necessity for it; and without the basis of style everywhere, faulty though it may in some places be, we should not have had the beauty of expression, unsurpassable for effectiveness and charm, which is reached in Shakspeare's best passages. The turn for style is perceptible all through English poetry, proving, to my mind, the genuine poetical gift of the race; this turn imparts to our poetry a stamp of high distinction, and sometimes it doubles the force of a poet not by nature of the very highest order, such as Gray, and raises him to a rank beyond what his natural richness and power seem to promise. Goethe, with his fine critical perception, saw clearly enough both the power of style in itself, and the lack of style in the literature of his own country; and perhaps if we regard him solely as a German, not as a European, his great work was that he laboured all his life to impart style into German literature, and firmly to establish it there. Hence the immense importance to him of the world of classical art, and of the productions of Greek or Latin genius, where style so eminently manifests its power. Had he found in the German genius and literature an element of style existing by nature and ready to his hand, half his work, one may say, would have been saved him, and he might have done much more in poetry. But as it was, he had to try and create out of his own powers, a style for German poetry, as well as to provide contents for this style to carry; and thus his labour as a poet was doubled.

It is to be observed that power of style, in the sense in which I am here speaking of style, is something quite different from the power of idiomatic, simple, nervous, racy expression, such as the expression of healthy, robust natures so often is, such as Luther's was in a striking degree. Style, in my sense of the word, is a peculiar re-casting and heightening, under a certain condition of spiritual excitement, of what a man has to say, in such a manner as to add dignity and distinction to it; and dignity and distinction are not terms which suit many acts or words of Luther. Deeply touched with the Gemeinheit which is the bane of his nation, as he is at the same time a grand example of the honesty which is his nation's excellence, he can seldom even show himself brave, resolute and truthful, without showing a strong dash of coarseness and commonness all the while; the right definition of Luther, as of our own Bunyan, is that he is a Philistine of genius. So Luther's sincere idiomatic German,--such language is this: 'Hilf lieber Gott, wie manchen Jammer habe ich gesehen, dass der gemeine Mann doch so gar nichts weiss von der christlichen Lehre!'--no more proves a power of style in German literature, than Cobbett's sinewy idiomatic English proves it in English literature. Power of style, properly so-called, as manifested in masters of style like Dante or Milton in poetry, Cicero, Bossuet or Bolingbroke in prose, is something quite different, and has, as I have said, for its characteristic effect, this: to add dignity and distinction.

Style, then, the Germans are singularly without, and it is strange that the power of style should show itself so strongly as it does in the Icelandic poetry, if the Scandinavians are such genuine Teutons as is commonly supposed. Fauriel used to talk of the Scandinavian Teutons and the German Teutons, as if they were two divisions of the same people, and the common notion about them, no doubt, is very much this. Since the war in Schleswig-Holstein, however, all one's German friends are exceedingly anxious to insist on the difference of nature between themselves and the Scandinavians; when one expresses surprise that the German sense of nationality should be so deeply affronted by the rule over Germans, not of Latins or Celts, but of brother Teutons or next door to it, a German will give you I know not how long a catalogue of the radical points of unlikeness, in genius and disposition, between himself and a Dane. This emboldens me to remark that there is a fire, a sense of style, a distinction, in Icelandic poetry, which German poetry has not. Icelandic poetry, too, shows a powerful and developed technic; and I wish to throw out, for examination by those who are competent to sift the matter, the suggestion that this power of style and development of technic in the Norse poetry seems to point towards an early Celtic influence or intermixture. It is curious that Zeuss, in his grammar, quotes a text which gives countenance to this notion; as late as the ninth century, he says, there were Irish Celts in Iceland; and the text he quotes to show this, is as follows: -'In 870 A.D., when the Norwegians came to Iceland, there were Christians there, who departed, and left behind them Irish books, bells, and other things; from whence it may be inferred that these Christians were Irish.' I speak, and ought to speak, with the utmost diffidence on all these questions of ethnology; but I must say that when I read this text in Zeuss, I caught eagerly at the clue it seemed to offer; for I had been hearing the Nibelungen read and commented on in German schools (German schools have the good habit of reading and commenting on German poetry, as we read and comment on Homer and Virgil, but do not read and comment on Chaucer and Shakspeare), and it struck me how the fatal humdrum and want of style of the Germans had marred their way of telling this magnificent tradition of the Nibelungen, and taken half its grandeur and power out of it; while in the Icelandic poems which deal with this tradition, its grandeur and power are much more fully visible, and everywhere in the poetry of the Edda there is a force of style and a distinction as unlike as possible to the want of both in the German Nibelungen. [a] At the same time the Scandinavians have a realism, as it is called, in their genius, which abundantly proves their relationship with the Germans; any one whom Mr. Dasent's delightful books have made acquainted with the prose tales of the Norsemen, will be struck with the stamp of a Teutonic nature in them; but the Norse poetry seems to have something which from Teutonic sources alone it could not have derived; which the Germans have not, and which the Celts have.

This something is style, and the Celts certainly have it in a wonderful measure. Style is the most striking quality of their poetry. Celtic poetry seems to make up to itself for being unable to master the world and give an adequate interpretation of it, by throwing all its force into style, by bending language at any rate to its will, and expressing the ideas it has with unsurpassable intensity, elevation, and effect. It has all through it a sort of intoxication of style,--a Pindarism, to use a word formed from the name of the poet, on whom, above all other poets, the power of style seems to have exercised an inspiring and intoxicating effect; and not in its great poets only, in Taliesin, or Llywarch Hen, or Ossian, does the Celtic genius show this Pindarism, but in all its productions:--

That comes from the Welsh Memorials of the Graves of the Warriors, and if we compare it with the familiar memorial inscriptions of an English churchyard (for we English have so much Germanism in us that our productions offer abundant examples of German want of style as well as of its opposite):--

if, I say, we compare the Welsh memorial lines with the English, which in their Gemeinheit of style are truly Germanic, we shall get a clear sense of what that Celtic talent for style I have been speaking of is.

Or take this epitaph of an Irish Celt, Angus the Culdee, whose Felire, or festology, I have already mentioned; a festology in which, at the end of the eighth or beginning of the ninth century, he collected from 'the countless hosts of the illuminated books of Erin' (to use his own words) the festivals of the Irish saints, his poem having a stanza for every day in the year. The epitaph on Angus, who died at Cluain Eidhnech, in Queen's County, runs thus:--

That is by no eminent hand; and yet a Greek epitaph could not show a finer perception of what constitutes propriety and felicity of style in compositions of this nature. Take the well-known Welsh prophecy about the fate of the Britons:--

To however late an epoch that prophecy belongs, what a feeling for style, at any rate, it manifests! And the same thing may be said of the famous Welsh triads. We may put aside all the vexed questions as to their greater or less antiquity, and still what important witness they bear to the genius for literary style of the people who produced them!

Now we English undoubtedly exhibit very often the want of sense for style of our German kinsmen. The churchyard lines I just now quoted afford an instance of it: but the whole branch of our literature,--and a very popular branch it is, our hymnology,--to which those lines are to be referred, is one continued instance of it. Our German kinsmen and we are the great people for hymns. The Germans are very proud of their hymns, and we are very proud of ours; but it is hard to say which of the two, the German hymn-book or ours, has least poetical worth in itself, or does least to prove genuine poetical power in the people producing it. I have not a word to say against Sir Roundell Palmer's choice and arrangement of materials for his Book of Praise; I am content to put them on a level (and that is giving them the highest possible rank) with Mr. Palgrave's choice and arrangement of materials for his Golden Treasury; but yet no sound critic can doubt that, so far as poetry is concerned, while the Golden Treasury is a monument of a nation's strength, the Book of Praise is a monument of a nation's weakness. Only the German race, with its want of quick instinctive tact, of delicate, sure perception, could have invented the hymn as the Germans and we have it; and our non-German turn for style,--style, of which the very essence is a certain happy fineness and truth of poetical perception,--could not but desert us when our German nature carried us into a kind of composition which can please only when the perception is somewhat blunt. Scarcely any one of us ever judges our hymns fairly, because works of this kind have two sides,--their side for religion and their side for poetry. Everything which has helped a man in his religious life, everything which associates itself in his mind with the growth of that life, is beautiful and venerable to him; in this way, productions of little or no poetical value, like the German hymns and ours, may come to be regarded as very precious. Their worth in this sense, as means by which we have been edified, I do not for a moment hold cheap; but there is an edification proper to all our stages of development, the highest as well as the lowest, and it is for man to press on towards the highest stages of his development, with the certainty that for those stages, too, means of edification will not be found wanting. Now certainly it is a higher state of development when our fineness of perception is keen than when it is blunt. And if,--whereas the Semitic genius placed its highest spiritual life in the religious sentiment, and made that the basis of its poetry,--the Indo-European genius places its highest spiritual life in the imaginative reason, and makes that the basis of its poetry, we are none the better for wanting the perception to discern a natural law, which is, after all, like every natural law, irresistible; we are none the better for trying to make ourselves Semitic, when Nature has made us Indo-European, and to shift the basis of our poetry. We may mean well; all manner of good may happen to us on the road we go; but we are not on our real right road, the road we must in the end follow.

That is why, when our hymns betray a false tendency by losing a power which accompanies the poetical work of our race on our other more suitable lines, the indication thus given is of great value and instructiveness for us. One of our main gifts for poetry deserts us in our hymns, and so gives us a hint as to the one true basis for the spiritual work of an Indo-European people, which the Germans, who have not this particular gift of ours, do not and cannot get in this way, though they may get it in others. It is worth noticing that the masterpieces of the spiritual work of Indo-Europeans, taking the pure religious sentiment, and not the imaginative reason, for their basis, are works like the Imitation, the Dies Irae, the Stabat Mater--works clothing themselves in the middle-age Latin, the genuine native voice of no Indo-European nation. The perfection of their kind, but that kind not perfectly legitimate, they take a language not perfectly legitimate; as if to show, that when mankind's Semitic age is once passed, the age which produced the great incomparable monuments of the pure religious sentiment, the books of Job and Isaiah, the Psalms,--works truly to be called inspired, because the same divine power which worked in those who produced them works no longer,--as if to show us, that, after this primitive age, we Indo-Europeans must feel these works without attempting to re-make them; and that our poetry, if it tries to make itself simply the organ of the religious sentiment, leaves the true course, and must conceal this by not speaking a living language. The moment it speaks a living language, and still makes itself the organ of the religious sentiment only, as in the German and English hymns, it betrays weakness;-- the weakness of all false tendency.

But if by attending to the Germanism in us English and to its works, one has come to doubt whether we, too, are not thorough Germans by genius and with the German deadness to style, one has only to repeat to oneself a line of Milton,--a poet intoxicated with the passion for style as much as Taliesin or Pindar,--to see that we have another side to our genius beside the German one. Whence do we get it? The Normans may have brought in among us the Latin sense for rhetoric and style,--for, indeed, this sense goes naturally with a high spirit and a strenuousness like theirs,--but the sense for style which English poetry shows is something finer than we could well have got from a people so positive and so little poetical as the Normans; and it seems to me we may much more plausibly derive it from a root of the poetical Celtic nature in us.

Its chord of penetrating passion and melancholy, again, its Titanism as we see it in Byron,--what other European poetry possesses that like the English, and where do we get it from? The Celts, with their vehement reaction against the despotism of fact, with their sensuous nature, their manifold striving, their adverse destiny, their immense calamities, the Celts are the prime authors of this vein of piercing regret and passion,--of this Titanism in poetry. A famous book, Macpherson's Ossian, carried in the last century this vein like a flood of lava through Europe. I am not going to criticise Macpherson's Ossian here. Make the part of what is forged, modern, tawdry, spurious, in the book, as large as you please; strip Scotland, if you like, of every feather of borrowed plumes which on the strength of Macpherson's Ossian she may have stolen from that vetus et major Scotia, the true home of the Ossianic poetry, Ireland; I make no objection. But there will still be left in the book a residue with the very soul of the Celtic genius in it, and which has the proud distinction of having brought this soul of the Celtic genius into contact with the genius of the nations of modern Europe, and enriched all our poetry by it. Woody Morven, and echoing Sora, and Selma with its silent halls!--we all owe them a debt of gratitude, and when we are unjust enough to forget it, may the Muse forget us! Choose any one of the better passages in Macpherson's Ossian and you can see even at this time of day what an apparition of newness and power such a strain must have been to the eighteenth century:--

'I have seen the walls of Balclutha, but they were desolate. The fox looked out from the windows, the rank grass of the wall waved round her head. Raise the song of mourning, O bards, over the land of strangers. They have but fallen before us, for one day we must fall. Why dost thou build the hall, son of the winged days? Thou lookest from thy towers to-day; yet a few years, and the blast of the desert comes; it howls in thy empty court, and whistles round thy half-worn shield. Let the blast of the desert come! we shall be renowned in our day.'

All Europe felt the power of that melancholy; but what I wish to point out is, that no nation of Europe so caught in its poetry the passionate penetrating accent of the Celtic genius, its strain of Titanism, as the English. Goethe, like Napoleon, felt the spell of Ossian very powerfully, and he quotes a long passage from him in his Werther. But what is there Celtic, turbulent, and Titanic about the German Werther, that amiable, cultivated, and melancholy young man, having for his sorrow and suicide the perfectly definite motive that Lotte cannot be his? Faust, again, has nothing unaccountable, defiant and Titanic in him; his knowledge does not bring him the satisfaction he expected from it, and meanwhile he finds himself poor and growing old, and baulked of the palpable enjoyment of life; and here is the motive for Faust's discontent. In the most energetic and impetuous of Goethe's creations,--his Prometheus,--it is not Celtic self-will and passion, it is rather the Germanic sense of justice and reason, which revolts against the despotism of Zeus. The German Sehnsucht itself is a wistful, soft, tearful longing, rather than a struggling, fierce, passionate one. But the Celtic melancholy is struggling, fierce, passionate; to catch its note, listen to Llywarch Hen in old age, addressing his crutch:--

There is the Titanism of the Celt, his passionate, turbulent, indomitable reaction against the despotism of fact; and of whom does it remind us so much as of Byron

Or, again:--

One has only to let one's memory begin to fetch passages from Byron striking the same note as that passage from Llywarch Hen, and she will not soon stop. And all Byron's heroes, not so much in collision with outward things, as breaking on some rock of revolt and misery in the depths of their own nature; Manfred, self-consumed, fighting blindly and passionately with I know not what, having nothing of the consistent development and intelligible motive of Faust,--Manfred, Lara, Cain, what are they but Titanic? Where in European poetry are we to find this Celtic passion of revolt so warm-breathing, puissant, and sincere; except perhaps in the creation of a yet greater poet than Byron, but an English poet, too, like Byron,--in the Satan of Milton?

There, surely, speaks a genius to whose composition the Celtic fibre was not wholly a stranger!

And as, after noting the Celtic Pindarism or power of style present in our poetry, we noted the German flatness coming in in our hymns, and found here a proof of our compositeness of nature; so, after noting the Celtic Titanism or power of rebellious passion in our poetry, we may also note the Germanic patience and reasonableness in it, and get in this way a second proof how mixed a spirit we have. After Llywarch Hen's:-- How evil was the lot allotted to Llywarch, the night when he was brought forth--after Byron's:--

There we have the other side of our being; the Germanic goodness, docility, and fidelity to nature, in place of the Celtic Titanism.

The Celt's quick feeling for what is noble and distinguished gave his poetry style; his indomitable personality gave it pride and passion; his sensibility and nervous exaltation gave it a better gift still, the gift of rendering with wonderful felicity the magical charm of nature. The forest solitude, the bubbling spring, the wild flowers, are everywhere in romance. They have a mysterious life and grace there; they are nature's own children, and utter her secret in a way which makes them something quite different from the woods, waters, and plants of Greek and Latin poetry. Now of this delicate magic, Celtic romance is so pre-eminent a mistress, that it seems impossible to believe the power did not come into romance from the Celts. [b] Magic is just the word for it,--the magic of nature; not merely the beauty of nature,--that the Greeks and Latins had; not merely an honest smack of the soil, a faithful realism,--at the Germans had; but the intimate life of nature, her weird power and her fairy charm. As the Saxon names of places, with the pleasant wholesome smack of the soil in them,--Weathersfield, Thaxted, Shalford,--are to the Celtic names of places, with their penetrating, lofty beauty,--Velindra, Tyntagel, Caernarvon,--so is the homely realism of German and Norse nature to the fairy-like loveliness of Celtic nature. Gwydion wants a wife for his pupil: 'Well,' says Math, 'we will seek, I and thou, by charms and illusions, to form a wife for him out of flowers. So they took the blossoms of the oak, and the blossoms of the broom, and the blossoms of the meadow-sweet, and produced from them a maiden, the fairest and most graceful that man ever saw. And they baptized her, and gave her the name of Flower-Aspect.' Celtic romance is full of exquisite touches like that, showing the delicacy of the Celt's feeling in these matters, and how deeply nature lets him come into her secrets. The quick dropping of blood is called 'faster than the fall of the dewdrop from the blade of reed-grass upon the earth, when the dew of June is at the heaviest.' And thus is Olwen described: 'More yellow was her hair than the flower of the broom, and her skin was whiter than the foam of the wave, and fairer were her hands and her fingers than the blossoms of the wood-anemony amidst the spray of the meadow fountains.' For loveliness it would be hard to beat that; and for magical clearness and nearness take the following:--

'And in the evening Peredur entered a valley, and at the head of the valley he came to a hermit's cell, and the hermit welcomed him gladly, and there he spent the night. And in the morning he arose, and when he went forth, behold, a shower of snow had fallen the night before, and a hawk had killed a wild-fowl in front of the cell. And the noise of the horse scared the hawk away, and a raven alighted upon the bird. And Peredur stood and compared the blackness of the raven, and the whiteness of the snow, and the redness of the blood, to the hair of the lady whom best he loved, which was blacker than the raven, and to her skin, which was whiter than the snow, and to her two cheeks, which were redder than the blood upon the snow appeared to be.'

And this, which is perhaps less striking, is not less beautiful:--

'And early in the day Geraint and Enid left the wood, and they came to an open country, with meadows on one hand and mowers mowing the meadows. And there was a river before them, and the horses bent down and drank the water. And they went up out of the river by a steep bank, and there they met a slender stripling with a satchel about his neck; and he had a small blue pitcher in his hand, and a bowl on the mouth of the pitcher.'

And here the landscape, up to this point so Greek in its clear beauty, is suddenly magicalised by the romance touch:--

'And they saw a tall tree by the side of the river, one-half of which was in flames from the root to the top, and the other half was green and in full leaf.'

Magic is the word to insist upon,--a magically vivid and near interpretation of nature; since it is this which constitutes the special charm and power of the effect I am calling attention to, and it is for this that the Celt's sensibility gives him a peculiar aptitude. But the matter needs rather fine handling, and it is easy to make mistakes here in our criticism. In the first place, Europe tends constantly to become more and more one community, and we tend to become Europeans instead of merely Englishmen, Frenchmen, Germans, Italians; so whatever aptitude or felicity one people imparts into spiritual work, gets imitated by the others, and thus tends to become the common property of all. Therefore anything so beautiful and attractive as the natural magic I am speaking of, is sure, now-a-days, if it appears in the productions of the Celts, or of the English, or of the French, to appear in the productions of the Germans also, or in the productions of the Italians; but there will be a stamp of perfectness and inimitableness about it in the literatures where it is native, which it will not have in the literatures where it is not native. Novalis or Ruckert, for instance, have their eye fixed on nature, and have undoubtedly a feeling for natural magic; a rough-and-ready critic easily credits them and the Germans with the Celtic fineness of tact, the Celtic nearness to nature and her secret; but the question is whether the strokes in the German's picture of nature [c] have ever the indefinable delicacy, charm, and perfection of the Celt's touch in the pieces I just now quoted, or of Shakspeare's touch in his daffodil, Wordsworth's in his cuckoo, Keats's in his Autumn, Obermann's in his mountain birch-tree, or his Easter-daisy among the Swiss farms. To decide where the gift for natural magic originally lies, whether it is properly Celtic or Germanic, we must decide this question.

In the second place, there are many ways of handling nature, and we are here only concerned with one of them; but a rough-and-ready critic imagines that it is all the same so long as nature is handled at all, and fails to draw the needful distinction between modes of handling her. But these modes are many; I will mention four of them now: there is the conventional way of handling nature, there is the faithful way of handling nature, there is the Greek way of handling nature, there is the magical way of handling nature. In all these three last the eye is on the object, but with a difference; in the faithful way of handling nature, the eye is on the object, and that is all you can say; in the Greek, the eye is on the object, but lightness and brightness are added; in the magical, the eye is on the object, but charm and magic are added. In the conventional way of handling nature, the eye is not on the object; what that means we all know, we have only to think of our eighteenth-century poetry:-- As when the moon, refulgent lamp of night--to call up any number of instances. Latin poetry supplies plenty of instances too; if we put this from Propertius's Hylas:--

side by side with the line of Theocritus by which it was suggested:--

[Greek verse]--

we get at the same moment a good specimen both of the conventional and of the Greek way of handling nature. But from our own poetry we may get specimens of the Greek way of handling nature, as well as of the conventional: for instance, Keats's:--

is Greek, as Greek as a thing from Homer or Theocritus; it is composed with the eye on the object, a radiancy and light clearness being added. German poetry abounds in specimens of the faithful way of handling nature; an excellent example is to be found in the stanzas called Zueignung, prefixed to Goethe's poems; the morning walk, the mist, the dew, the sun, are as faithful as they can be, they are given with the eye on the object, but there the merit of the work, as a handling of nature, stops; neither Greek radiance nor Celtic magic is added; the power of these is not what gives the poem in question its merit, but a power of quite another kind, a power of moral and spiritual emotion. But the power of Greek radiance Goethe could give to his handling of nature, and nobly too, as any one who will read his Wanderer--the poem in which a wanderer falls in with a peasant woman and her child by their hut, built out of the ruins of a temple near Cuma,--may see. Only the power of natural magic Goethe does not, I think, give; whereas Keats passes at will from the Greek power to that power which is, as I say, Celtic; from his:--

What little town, by river or seashore--to his:--

or his:--

in which the very same note is struck as in those extracts which I quoted from Celtic romance, and struck with authentic and unmistakeable power.

Shakspeare, in handling nature, touches this Celtic note so exquisitely, that perhaps one is inclined to be always looking for the Celtic note in him, and not to recognise his Greek note when it comes. But if one attends well to the difference between the two notes, and bears in mind, to guide one, such things as Virgil's

then, I think, we shall be disposed to say that in Shakspeare's--

it is mainly a Greek note which is struck. Then, again in his:--

we are at the very point of transition from the Greek note to the Celtic; there is the Greek clearness and brightness, with the Celtic aerialness and magic coming in. Then we have the sheer, inimitable Celtic note in passages like this:--

or this, the last I will quote:--

And those last lines of all are so drenched and intoxicated with the fairy-dew of that natural magic which is our theme, that I cannot do better then end with them.

And now, with the pieces of evidence in our hand, let us go to those who say it is vain to look for Celtic elements in any Englishman, and let us ask them, first, if they seize what we mean by the power of natural magic in Celtic poetry; secondly, if English poetry does not eminently exhibit this power; and, thirdly, where they suppose English poetry got it from?

I perceive that I shall be accused of having rather the air, in what I have said, of denying this and that gift to the Germans, and of establishing our difference from them a little ungraciously and at their expense. The truth is, few people have any real care to analyse closely in their criticism; they merely employ criticism as a means for heaping all praise on what they like, and all blame on what they dislike. Those of us (and they are many) who owe a great debt of gratitude to the German spirit and to German literature, do not like to be told of any powers being lacking there; we are like the young ladies who think the hero of their novel is only half a hero unless he has all perfections united in him. But nature does not

work, either in heroes or races, according to the young ladies' notion. We all are what we are, the hero and the great nation are what they are, by our limitations as well as by our powers, by lacking something as well as by possessing something. It is not always gain to possess this or that gift, or loss to lack this or that gift. Our great, our only first-rate body of contemporary poetry is the German; the grand business of modern poetry,--a moral interpretation, from an independent point of view, of man and the world,--it is only German poetry, Goethe's poetry, that has, since the Greeks, made much way with. Campbell's power of style, and the natural magic of Keats and Wordsworth, and Byron's Titanic personality, may be wanting to this poetry; but see what it has accomplished without them! How much more than Campbell with his power of style, and Keats and Wordsworth with their natural magic, and Byron with his Titanic personality! Why, for the immense serious task it had to perform, the steadiness of German poetry, its going near the ground, its patient fidelity to nature, its using great plainness of speech, poetical drawbacks in one point of view, were safeguards and helps in another. The plainness and earnestness of the two lines I have already quoted from Goethe:--

compared with the play and power of Shakspeare's style or Dante's, suggest at once the difference between Goethe's task and theirs, and the fitness of the faithful laborious German spirit for its own task. Dante's task was to set forth the lesson of the world from the point of view of mediaeval Catholicism; the basis of spiritual life was given, Dante had not to make this anew. Shakspeare's task was to set forth the spectacle of the world when man's spirit re-awoke to the possession of the world at the Renaissance. The spectacle of human life, left to bear its own significance and tell its own story, but shown in all its fulness, variety, and power, is at that moment the great matter; but, if we are to press deeper, the basis of spiritual life is still at that time the traditional religion, reformed or unreformed, of Christendom, and Shakspeare has not to supply a new basis. But when Goethe came, Europe had lost her basis of spiritual life; she had to find it again; Goethe's task was,--the inevitable task for the modern poet henceforth is,--as it was for the Greek poet in the days of Pericles, not to preach a sublime sermon on a given text like Dante, not to exhibit all the kingdoms of human life and the glory of them like Shakspeare, but to interpret human life afresh, and to supply a new spiritual basis to it. This is not only a work for style, eloquence, charm, poetry; it is a work for science; and the scientific, serious German spirit, not carried away by this and that intoxication of ear, and eye, and self-will, has peculiar aptitudes for it.

We, on the other hand, do not necessarily gain by the commixture of elements in us; we have seen how the clashing of natures in us hampers and embarrasses our behaviour; we might very likely be more attractive, we might very likely be more successful, if we were all of a piece. Our want of sureness of taste, our eccentricity, come in great measure, no doubt, from our not being all of a piece, from our having no fixed, fatal, spiritual centre of gravity. The Rue de Rivoli is one thing, and Nuremberg is another, and Stonehenge is another; but we have a turn for all three, and lump them all up together. Mr. Tom Taylor's translations from Breton poetry offer a good example of this mixing; he has a genuine feeling for these Celtic matters, and often, as in the Evil Tribute of Nomenoe, or in Lord Nann and the Fairy, he is, both in movement and expression, true and appropriate; but he has a sort of Teutonism and Latinism in him too, and so he cannot forbear mixing with his Celtic strain such disparates as:--

which is evidently Lowland-Scotchy; or as:--

which is English-stagey; or as:--

which is Anacreontic in the manner of Tom Moore. Yes, it is not a sheer advantage to have several strings to one's bow! if we had been all Germ an, we might have had the science of Germany; if we had been all Celtic, we might have been popular and agreeable; if we had been all Latinised, we might have governed Ireland as the French govern Alsace, without getting ourselves detested. But now we have Germanism enough to make us Philistines, and Normanism enough to make us imperious, and Celtism enough to make us self-conscious and awkward; but German fidelity to Nature, and Latin precision and clear reason, and Celtic quick-wittedness and spirituality, we fall short of. Nay, perhaps, if we are doomed to perish (Heaven avert the omen!), we shall perish by our Celtism, by our self-will and want of patience with ideas, our inability to see the way the world is going; and yet those very Celts, by our affinity with whom we are perishing, will be hating and upbraiding us all the time.

This is a somewhat unpleasant view to take of the matter; but if it is true, its being unpleasant does not make it any less true, and we are always the better for seeing the truth. What we here see is not the whole truth, however. So long as this mixed constitution of our nature possesses us, we pay it tribute and serve it; so soon as we possess it, it pays us tribute and serves us. So long as we are blindly and ignorantly rolled about by the forces of our nature, their contradiction baffles us and lames us; so soon as we have clearly discerned what they are, and begun to apply to them a law of measure, control, and guidance, they may be made to work for our good and to carry us forward. Then we may have the good of our German part, the good of our Latin part, the good of our Celtic part; and instead of one part clashing with the other, we may bring it in to continue and perfect the other, when the other has given us all the good it can yield, and by being pressed further, could only give us its faulty excess. Then we may use the German faithfulness to Nature to give us science, and to free us from insolence and self-will; we may use the Celtic quickness of perception to give us delicacy, and to free us from hardness and Philistinism; we may use the Latin decisiveness to give us strenuous clear method, and to free us from fumbling and idling. Already, in their untrained state, these elements give signs, in our life and literature, of their being present in us, and a kind of prophecy of what they could do for us if they were properly observed, trained, and applied. But this they

have not yet been; we ride one force of our nature to death; we will be nothing but Anglo-Saxons in the Old World or in the New; and when our race has built Bold Street, Liverpool, and pronounced it very good, it hurries across the Atlantic, and builds Nashville, and Jacksonville, and Milledgeville, and thinks it is fulfilling the designs of Providence in an incomparable manner. But true Anglo- Saxons, simply and sincerely rooted in the German nature, we are not and cannot be; all we have accomplished by our onesidedness is to blur and confuse the natural basis in ourselves altogether, and to become something eccentric, unattractive, and inharmonious.

A man of exquisite intelligence and charming character, the late Mr. Cobden, used to fancy that a better acquaintance with the United States was the grand panacea for us; and once in a speech he bewailed the inattention of our seats of learning to them, and seemed to think that if our ingenuous youth at Oxford were taught a little less about Ilissus, and a little more about Chicago, we should all be the better for it. Chicago has its claims upon us, no doubt; but it is evident that from the point of view to which I have been leading, a stimulation of our Anglo-Saxonism, such as is intended by Mr. Cobden's proposal, does not appear the thing most needful for us;seeing our American brothers themselves have rather, like us, to try and moderate the flame of Anglo-Saxonism in their own breasts, than to ask us to clap the bellows to it in ours. So I am inclined to beseech Oxford, instead of expiating her over-addiction to the Ilissus by lectures on Chicago, to give us an expounder for a still more remote-looking object than the Ilissus,--the Celtic languages and literature. And yet why should I call it remote? if, as I have been labouring to show, in the spiritual frame of us English ourselves, a Celtic fibre, little as we may have ever thought of tracing it, lives and works. Aliens in speech, in religion, in blood! said Lord Lyndhurst; the philologists have set him right about the speech, the physiologists about the blood; and perhaps, taking religion in the wide but true sense of our whole spiritual activity, those who have followed what I have been saying here will think that the Celt is not so wholly alien to us in religion. But, at any rate, let us consider that of the shrunken and diminished remains of this great primitive race, all, with one insignificant exception, belongs to the English empire; only Brittany is not ours; we have Ireland, the Scotch Highlands, Wales, the Isle of Man, Cornwall. They are a part of ourselves, we are deeply interested in knowing them, they are deeply interested in being known by us; and yet in the great and rich universities of this great and rich country there is no chair of Celtic, there is no study or teaching of Celtic matters; those who want them must go abroad for them. It is neither right nor reasonable that this should be so. Ireland has had in the last half century a band of Celtic students,--a band with which death, alas! has of late been busy,--from whence Oxford or Cambridge might have taken an admirable professor of Celtic; and with the authority of a university chair, a great Celtic scholar, on a subject little known, and where all would have readily deferred to him, might have by this time doubled our facilities for knowing the Celt, by procuring for this country Celtic documents which were inaccessible here, and preventing the dispersio n of others which were accessible. It is not much that the English Government does for science or literature; but if Eugene O'Curry, from a chair of Celtic at Oxford, had appealed to the Government to get him copies or the originals of the Celtic treasures in the Burgundian Library at Brussels, or in the library of St. Isidore's College at Rome, even the English Government could not well have refused him. The invaluable Irish manuscripts in the Stowe Library the late Sir Robert Peel proposed, in 1849, to buy for the British Museum; Lord Macaulay, one of the trustees of the Museum, declared, with the confident shallowness which makes him so admired by public speakers and leading-article writers, and so intolerable to all searchers for truth, that he saw nothing in the whole collection worth purchasing for the Museum, except the correspondence of Lord Melville on the American war. That is to say, this correspondence of Lord Melville's was the only thing in the collection about which Lord Macaulay himself knew or cared. Perhaps an Oxford or Cambridge professor of Celtic might have been allowed to make his voice heard, on a matter of Celtic manuscripts, even against Lord Macaulay. The manuscripts were bought by Lord Ashburnham, who keeps them shut up, and will let no one consult them (at least up to the date when O'Curry published his Lectures he did so), 'for fear an actual acquaintance with their contents should decrease their value as matter of curiosity at some future transfer or sale.' Who knows? Perhaps an Oxford professor of Celtic might have touched the flinty heart of Lord Ashburnham.

At this moment, when the narrow Philistinism which has long had things its own way in England, is showing its natural fruits, and we are beginning to feel ashamed, and uneasy, and alarmed at it; now, when we are becoming aware that we have sacrificed to Philistinism culture, and insight, and dignity, and acceptance, and weight among the nations, and hold on events that deeply concern us, and control of the future, and yet that it cannot even give us the fool's paradise it promised us, but is apt to break down, and to leave us with Mr. Roebuck's and Mr. Lowe's laudations of our matchless happiness, and the largest circulation in the world assured to the Daily Telegraph, for our only comfort; at such a moment it needs some moderation not to be attacking Philistinism by storm, but to mine it through such gradual means as the slow approaches of culture, and the introduction of chairs of Celtic. But the hard unintelligence, which is just now our bane, cannot be conquered by storm; it must be suppled and reduced by culture, by a growth in the variety, fulness, and sweetness of our spiritual life; and this end can only be reached by studying things that are outside of ourselves, and by studying them disinterestedly. Let us reunite ourselves with our better mind and with the world through science; and let it be one of our angelic revenges on the Philistines, who among their other sins are the guilty authors of Fenianism, to found at Oxford a chair of Celtic, and to send, through the gentle ministration of science, a message of peace to Ireland.

[a] Lord Strangford's note on this is:--'The Irish monks whose bells and books were found in Iceland could not have contributed anything to the old Norse spirit, for they had perished before the first Norseman had set foot on the island. The form of the old Norse poetry known to us as Icelandic, from the accident of its preservation in that island alone, is surely Pan-Teutonic from old times; the ar and method of its strictly literary cultivation must have been much influenced by the contemporary Old-English national poetry, with which the Norsemen were in constant contact; and its larger, freer, and wilder spirit must have been owing to their freer and wilder life, to say nothing of their roused and warring paganism. They could never have known any Celts save when living in embryo with other Teutons.'

Very likely Lord Strangford is right, but the proposition with which he begins is at variance with what the text quoted by Zeuss alleges.

[b] Rhyme,-- the most striking characteristic of our modern poetry as distinguished from that of the ancients, and a main source, to our poetry, of its magic and charm, of what we call its romantic element,--rhyme itself, all the weight of evidence tends to show, comes into our poetry from the Celts.

[c] Take the following attempt to render the natural magic supposed to pervade Tieck's poetry:--'In diesen Dichtungen herrscht eine geheimnissvolle Innigkeit, ein sonderbares Einverstandniss mit der Natur, besonders mit der Pflanzen--und Steinreich. Der Leser fuhlt sich da wie in einem verzauberten Walde; er hort die unterirdischen Quellen melodisch rauschen; wildfremde Wunderblumen schauen ihn an mit ihren bunten schnsuchtigen Augen; unsichtbare Lippen kussen seine Wangen mit neckender Zartlichkeit; hohe Pilze, wie goldne Glocken, wachsen klingend empor am Fusse der Baume;' and so on. Now that stroke of the hohe Pilze, the great funguses, would have been impossible to the tact and delicacy of a born lover of nature like the Celt, and could only have come from a German who has hineinstudirt himself into natural magic. It is a crying false note, which carries us at once out of the world of nature-magic and the breath of the woods, into the world of theatre-magic and the smell of gas and orange-peel.