THE SUPERIORITY of the English poets who lead the way into the modern age is that sudden almost unaccountable spiritual impulse, insistent but vague in some, strong but limited in one or two, splendid and supreme in its rare moments of vision and clarity, which breaks out from their normal poetic mentality and strives constantly to lift their thought and imagination to its own heights, a spirit or Daemon who does not seem to trouble at all with his voice or his oestrus the contemporary poets of continental Europe. But they have no clearly seen or no firmly based constant idea of the greater work which this spirit demands from them; they get at its best only in an inspiration over which they have not artistic control, and they have only an occasional or uncertain glimpse of its self motives. Thus they give to it often a form of speech and movement which is borrowed from their intellect, normal temperament or culture rather than wells up as the native voice and rhythm of the spirit within, and they fall away easily to a lower kind of work. They have a greater thing to reveal than the Elizabethan poets, but they do not express it with that constant fullness of native utterance or that more perfect correspondence between substance and form which is the greatness of Shakespeare and Spenser.

This failure to grasp the conditions of a perfect intuitive and spiritual poetry has not yet been noted, because the attempt itself has not been understood by the critical mind of the nineteenth century. That mind was heavily intellectualised, sometimes lucid, reasonable and acute, sometimes cloudily or fierily romantic, sometimes scientific, minutely delving, analytic, psychological, but in none of these moods and from none of these outlooks capable of understanding the tones of this light which for a moment flushed the dawning skies of its own age

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or tracing it to the deep and luminous fountains from which it welled. Taine's grotesquely misproportioned appreciation in which Byron figures as the colossus and Titan of the age while the greater and more significant work of Wordsworth and Shelley is dismissed as an ineffective attempt to poetise a Germanic transcendentalism, Carlyle's ill-tempered and dyspeptic depreciation of Keats, Arnold's inability to see in Shelley anything but an unsubstantially beautiful poet of cloud and dawn and sunset, a born musician who had made a mistake in taking hold of the word as his instrument, are extreme, but still characteristic misunderstandings. In our own day we see the singers who lead the van of the future entering with a nearer intimacy into the domains of which these earlier poets only just crossed the threshold, but the right art and technique of this poetry have been rather found by the intuitive sense of their creators than yet intellectually understood so as to disengage their form from the obstruction of old-world ideas and standards of appreciation.

Each essential motive of poetry must find its own characteristic speech, its own law of rhythms, — even though metrically the mould may appear to be the same, — its own structure and development in the lyric, dramatic, narrative and, if that can still be used, the epic form and medium. The objective poetry of external life, the vital poetry of the life-spirit, the poetry of the intellect or the inspired reason, each has its own spirit and, since the form and word are the measure, rhythm, body of the spirit, must each develop its own body. There may be a hundred variations within the type which spring from national difference, the past of the civilisation, the cultural atmosphere, the individual idiosyncrasy, but some fundamental likeness of spirit will emerge. Elizabethan poetry was the work of the life-spirit in a new, raw and vigorous people not yet tamed by a restraining and formative culture, a people with the crude tendencies of the occidental mind rioting almost in the exuberance of a state of nature. The poetry of the classical Sanskrit writers was the work of Asiatic minds, scholars, court-poets in an age of

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immense intellectual development and an excessive, almost over-cultivated refinement, but still that too was a poetry of the life-spirit. In spite of a broad gulf of difference we yet find an extraordinary basic kinship between these two very widely separated great ages of poetry, though there was never any possibility of contact between that earlier oriental and this later occidental work, — the dramas of Kalidasa and some of the dramatic romances of Shakespeare, plays like the Sanskrit Seal of Rakshasa and Toy-Cart and Elizabethan historic and melodramatic pieces, the poetry of the CloudMessenger and erotic Elizabethan poetry, the romantically vivid and descriptive narrative method of Spenser's Faerie Queene and the more intellectually romantic vividness and descriptive elaborateness of the Line of Raghu, the tone and manner of Drayton and that of the much greater work of Bharavi. This kinship arises from the likeness of essential motive and psychological basic type and emerges and asserts itself in spite of the enormous cultural division. A poetry of spiritual vision and the sense of things behind life and above the intellect must similarly develop from its essence a characteristic voice, cry, mould of speech, natural way of development, habits of structure.

The great poets of this earlier endeavour had all to deal with the same central problem of creation and were embarrassed by the same difficulty of a time which was not ready for work of this kind, not prepared for it by any past development, not fitted for it by anything in the common atmosphere of the age. They breathed the rarity of heights lifted far beyond the level of the contemporary surrounding temperament, intellect and life. But each besides had an immense development of that force of separate personality which is in art at least the characteristic of our later humanity. Each followed his own way, was very little influenced by the others, was impelled by a quite distinct spiritual idea, worked it out in a quite individual method and, when he fell away from it or short of it, failed in his own way and by shortcomings peculiar to his own nature. There is nothing of that common aim and manner which brings into one category

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the Elizabethan dramatists or the contemporaries of Pope and Dryden. We have to cast an eye upon them successively at their separate work and see how far they carried their achievement and where they stopped short or else deviated from the path indicated by their own highest genius.

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