Studies in Literature. John Morley

to perceive the visionary gleam, less and less alive to the glory and the dream of external nature, as infancy recedes further from us, is, with all respect for the declaration of Mr. Ruskin to the contrary, contrary to notorious fact, experience, and truth. It is a beggarly conception, no doubt, to judge as if poetry should always be capable of a prose rendering; but it is at least fatal to the philosophic pretension of a line or a stanza if, when it is fairly reduced to prose, the prose discloses that it is nonsense, and there is at least one stanza of the great Ode that this doom would assuredly await. Wordsworth's claim, his special gift, his lasting contribution, lies in the extraordinary strenuousness, sincerity, and insight with which he first idealises and glorifies the vast universe around us, and then makes of it, not a theatre on which men play their parts, but an animate presence, intermingling with our works, pouring its companionable spirit about us, and "breathing grandeur upon the very humblest face of human life." This twofold and conjoint performance, consciously and expressly—perhaps only too consciously—undertaken by a man of strong inborn sensibility to natural impressions, and systematically carried out in a lifetime of brooding meditation and active composition, is Wordsworth's distinguishing title to fame and gratitude. In "words that speak of nothing more than what we are," he revealed new faces of nature; he dwelt on men as they are, men themselves; he strove to do that which has been declared to be the true secret of force in art, to make the trivial serve the expression of the sublime. "Wordsworth's distinctive work," Mr. Ruskin has justly said (Modern Painters, iii. 293), "was a war with pomp and pretence, and a display of the majesty of simple feelings and humble hearts, together with high reflective truth in his analysis of the courses of politics and ways of men; without these, his love of nature would have been comparatively worthless."

      Yet let us not forget that he possessed the gift which to an artist is the very root of the matter. He saw Nature truly, he saw her as she is, and with his own eyes. The critic whom I have just quoted boldly pronounces him "the keenest eyed of all modern poets for what is deep and essential in nature." When he describes the daisy, casting the beauty of its star-shaped shadow on the smooth stone, or the boundless depth of the abysses of the sky, or the clouds made vivid as fire by the rays of light, every touch is true, not the copying of a literary phrase, but the result of direct observation.

      It is true that Nature has sides to which Wordsworth was not energetically alive—Nature "red in tooth and claw." He was not energetically alive to the blind and remorseless cruelties of life and the world. When in early spring he heard the blended notes of the birds, and saw the budding twigs and primrose tufts, it grieved him, amid such fair works of nature, to think "what man has made of man." As if nature itself, excluding the conscious doings of that portion of nature which is the human race, and excluding also nature's own share in the making of poor Man, did not abound in raking cruelties and horrors of her own. "Edel sei der Mensch," sang Goethe in a noble psalm, "Hulfreich und gut, Denn das allein unterscheidet ihn, Von allen Wesen die wir kennen." "Let man be noble, helpful, and good, for that alone distinguishes him from all beings that we know. No feeling has nature: to good and bad gives the sun his light, and for the evildoer as for the best shine moon and stars." That the laws which nature has fixed for our lives are mighty and eternal, Wordsworth comprehended as fully as Goethe, but not that they are laws pitiless as iron. Wordsworth had not rooted in him the sense of Fate—of the inexorable sequences of things, of the terrible chain that so often binds an awful end to some slight and trivial beginning.

      This optimism or complacency in Wordsworth will be understood if we compare his spirit and treatment with that of the illustrious French painter whose subjects and whose life were in some ways akin to his own. Millet, like Wordsworth, went to the realities of humble life for his inspiration. The peasant of the great French plains and the forest was to him what the Cumbrian dalesman was to Wordsworth. But he saw the peasant differently. "You watch figures in the fields," said Millet, "digging and delving with spade or pick. You see one of them from time to time straightening his loins, and wiping his face with the back of his hand. Thou shalt eat thy bread in the sweat of thy brow. Is that the gay lively labour in which some people would have you believe? Yet it is there that for me you must seek true humanity and great poetry. They say that I deny the charm of the country; I find in it far more than charms, I find infinite splendours. I see in it, just as they do, the little flowers of which Christ said that Solomon in all his glory was not arrayed like one of them. I see clearly enough the sun as he spreads his splendour amid the clouds. None the less do I see on the plain, all smoking, the horses at the plough. I see in some stony corner a man all worn out, whose han han have been heard ever since daybreak—trying to straighten himself a moment to get breath." The hardness, the weariness, the sadness, the ugliness, out of which Millet's consummate skill made pictures that affect us like strange music, were to Wordsworth not the real part of the thing. They were all absorbed in the thought of nature as a whole, wonderful, mighty, harmonious, and benign.

      We are not called upon to place great men of his stamp as if they were collegians in a class-list. It is best to take with thankfulness and admiration from each man what he has to give. What Wordsworth does is to assuage, to reconcile, to fortify. He has not Shakespeare's richness and vast compass, nor Milton's sublime and unflagging strength, nor Dante's severe, vivid, ardent force of vision. Probably he is too deficient in clear beauty of form and in concentrated power to be classed by the ages among these great giants. We cannot be sure. We may leave it to the ages to decide. But Wordsworth, at any rate, by his secret of bringing the infinite into common life, as he evokes it out of common life, has the skill to lead us, so long as we yield ourselves to his influence, into inner moods of settled peace, to touch "the depth and not the tumult of the soul," to give us quietness, strength, steadfastness, and purpose, whether to do or to endure. All art or poetry that has the effect of breathing into men's hearts, even if it be only for a space, these moods of settled peace, and strongly confirming their judgment and their will for good—whatever limitations may be found besides, however prosaic may be some or much of the detail—is great art and noble poetry, and the creator of it will always hold, as Wordsworth holds, a sovereign title to the reverence and gratitude of mankind.

APHORISMS.[1]

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      [Footnote 1: An Address delivered before the Edinburgh Philosophical

       Institution, November 11, 1887.]

      Since I accepted the honour of the invitation to deliver the opening address of your course, I have found no small difficulty in settling down on an appropriate subject. I half wrote a discourse on modern democracy—how the rule of numbers is to be reconciled with the rule of sage judgment, and the passion for liberty and equality is to be reconciled with sovereign regard for law, authority, and order; and how our hopes for the future are to be linked to wise reverence for tradition and the past. But your secretary had emphatically warned me off all politics, and I feared that however carefully I might be on my guard against every reference to the burning questions of the hour, yet the clever eyes of political charity would be sure to spy out party innuendoes in the most innocent deliverances of purely abstract philosophy. Then for a day or two I lingered over a subject in a little personal incident. One Saturday night last summer I found myself dining with an illustrious statesman on the Welsh border, and on the Monday following I was seated under the acacias by the shore of the Lake of Geneva, where Gibbon, a hundred years ago almost to the day, had, according to his own famous words, laid down his pen after writing the last lines of his last page, and there under a serene sky, with the silver orb of the moon reflected from the waters, and amid the silence of nature, felt his joy at the completion of an immortal task, dashed by melancholy that he had taken everlasting leave of an old and agreeable companion. It was natural that I should meditate on the contrast that might be drawn between great literary performance and great political performance, between the making of history and the writing of it—a contrast containing matter enough not only for one, but for a whole series of edifying and instructive discourses. But there were difficulties here too, and the edifying discourse remains, like many another, incomplete.

      So I am going to ask you after all to pass a tranquil hour with me in pondering a quiet chapter in the history of books. There is a loud cry