if, to the foregoing, thought or reflection be superadded, there is a conspicuous rise in dignity, majesty, and relative excellence; and finally, that the employment of these in narrative action, whether epic or dramatic, carries us on to a stage of supreme excellence which can rarely be predicated of any poetry in which action is absent? If this be so, we have to the successive development of observation, feeling, thought, and action, an exact analogy or counterpart in (1) Descriptive Poetry; (2) Lyrical Poetry; (3) Reflective Poetry; (4) Epic or Dramatic Poetry; in each of which, melody and lucidity being always present, there is an advance in poetic value over the preceding stage, without the preceding one being eliminated from its progress.
Once again let us have recourse to illustration, which, when fairly chosen, is probably the most effective method for securing assent. Wordsworth presents us with an ample supply of illustrations in three out of the four different kinds of poetry; and therefore to him let us have recourse. In reading the first stanza of The Pet Lamb, and two or three stanzas that follow, we have descriptive verse which may be regarded as very elementary poetry, but to which it would seem to many to be hypercritical to refuse that designation. It is too well known to need citation. The opening lines of The Leech-Gatherer display the same elementary descriptive character.
There was a roaring in the wind all night;
The rain came heavily and fell in floods;
But now the sun is rising calm and bright;
The birds are singing in the distant woods;
Over his own sweet voice the Stock-dove broods;
The Jay makes answer as the Magpie chatters;
And all the air is filled with pleasant noise of waters.
All things that love the Sun are out of doors;
The sky rejoices in the morning’s birth;
The grass is bright with rain-drops; on the moors
The Hare is running races in her mirth;
And with her feet she from the plashy earth
Raises a mist, that, glittering in the sun,
Runs with her all the way, wherever she doth run.
I was a traveller then upon the moor;
I saw the Hare that raced about with joy;
I heard the woods and distant waters roar;
Or heard them not, as happy as a boy:
The pleasant season did my heart employ;
My old remembrances went from me wholly,
And all the ways of men, so vain and melancholy.
I perceive that, in my copy of the volume of Selections made by Matthew Arnold from the poems of Wordsworth, already alluded to, I have written at the end of Margaret, “If this be poetry, surely many people may say they have written poetry all their lives without knowing it.” But as Matthew Arnold’s critical opinions will carry more weight than mine, and he has included Margaret in his Selection, let me quote a dozen lines or so from its opening passage:
’Twas Summer, and the Sun had mounted high:
Southward the landscape indistinctly glared
Through a pale steam; but all the northern downs,
In clearest air ascending, showed far off
A surface dappled o’er with shadows flung
From brooding clouds; shadows that lay in spots
Determined and unmoved, with steady beams
Of bright and pleasant sunshine interposed;
Pleasant to him who on the soft cool moss
Extends his careless limbs along the front
Of some huge cave, whose rocky ceiling casts
A twilight of its own, an ample shade,
Where the Wren warbles.
But there is, it must not be overlooked, merely Descriptive Poetry of a much higher kind than the foregoing, though Wordsworth may not be the best source from which to draw it. Perhaps its highest possibilities are to be found in Byron, and conspicuously in the third and fourth cantos of Childe Harold. Many of the passages of the kind that one remembers there are, however, either too much suffused with the poet’s personal feeling, or too closely connected with great incidents in history and the fall of empires, to be quite pertinent examples. A minor but sufficient example taken from Childe Harold may suffice for illustration:
It is the hush of night, and all between
Thy margin and the mountains, dusk, yet clear,
Mellow’d and mingling, yet distinctly seen,
Save darken’d Jura, whose capt heights appear
Precipitously steep; and drawing near,
There breathes a living fragrance from the shore,
Of flowers yet fresh with childhood; on the ear
Drops the light drip of the suspended oar,
Or chirps the grasshopper one good-night carol more.
Far finer instances of poetry essentially descriptive in the same poem may be referred to, e. g. Canto IV., stanza xcix., beginning “There is a stern round tower of other days”; stanza cvii., beginning with “Cypress and ivy, weed and wallflower grown”; stanza clxxiii., descriptive of Lake Nemi; and even – for it also is strictly descriptive – stanza cxl., opening with the well-known line “I see before me the gladiator lie.”
It could not be allowed that any of these, considered separately, satisfies the conditions or essentials of great poetry, though, in company with others, they contribute to that character in a very great poem indeed. Moreover, they serve to show that even mere Descriptive Poetry, which I have spoken of as the “lowest” or most elementary kind of poetry, may rise to striking elevation of merit, and has its counterpart in the sliding scale of observation in various individuals.
Let us now take a step, and a long one, in the scale of importance attained by the various kinds of poetry, and consider the classics of Lyrical Poetry. Here extensive quotation will be less necessary, partly by reason of the wide ground Lyrical Poetry covers, and partly because of its relative popularity in our time, and the familiarity of so many readers with its most enchanting specimens. There is ample room for personal taste and individual idiosyncrasy within the vast boundaries of this fruitful field. Many persons are sadly wanting in observation; and to only a minority can real, serious thought be ascribed. But we all feel, we all have visitations of sentiment; and therefore to all of us is Lyrical Poetry more or less welcome.
The causes, personal and social, that have given to Lyrical Poetry in our time almost exclusive favour in public taste will be dealt with presently. It will distract less from our main purpose to confine ourselves for the present to the recognition of the fact, and to seek to show how very various are the degrees of eminence in Lyrical Poetry. The lyrical note is so natural to poets and poetry that we may expect to find it in the verse of all poets, though in a minor degree in didactic verse; while in some poets it almost monopolises their utterance. Though perhaps not obvious to many ears to-day, it lurks in no little of Pope’s Epistle of Eloisa to Abelard, and is unmistakably present in his Ode on St. Cecilia’s Day. If I am asked if the lyrical note is to be found in Chaucer, the reply must be that, though Chaucer has left nothing which the modern reader would recognise as lyrical, what is called his iambic or five-foot metre is far more anapæstic and lyrical than is the case with any subsequent poet, except Shakespeare. There is a lilt in it equivalent to the lyrical note, which those who read as Chaucer wrote recognise at once. One has only to read the opening lines of the Prologue to the Canterbury Tales to perceive this. Not quite to the same extent perhaps as in Chaucer, but withal very noticeably to the ear, the lyrical note is frequently to be caught in Spenser,
