moment that it became obvious that the only way of arriving at a conclusion upon the subject was by consulting the poets themselves, the whole situation completely changed. The judge had to bow to the prisoner's ruling. In other words, the critic discovered that his first duty was, not to criticise, but to understand the object of his criticism. That is the essential distinction between the school of Johnson and the school of Sainte-Beuve. No one can doubt the greater width and profundity of the modern method; but it is not without its drawbacks. An excessive sympathy with one's author brings its own set of errors: the critic is so happy to explain everything, to show how this was the product of the age, how that was the product of environment, and how the other was the inevitable result of inborn qualities and tastes—that he sometimes forgets to mention whether the work in question has any value. It is then that one cannot help regretting the Johnsonian black cap.
But other defects, besides lack of sympathy, mar the Lives of the Poets. One cannot help feeling that no matter how anxious Johnson might have been to enter into the spirit of some of the greatest of the masters with whom he was concerned, he never could have succeeded. Whatever critical method he might have adopted, he still would have been unable to appreciate certain literary qualities, which, to our minds at any rate, appear to be the most important of all. His opinion of Lycidas is well known: he found that poem 'easy, vulgar, and therefore disgusting.' Of the songs in Comus he remarks: 'they are harsh in their diction, and not very musical in their numbers.' He could see nothing in the splendour and elevation of Gray, but 'glittering accumulations of ungraceful ornaments.' The passionate intensity of Donne escaped him altogether; he could only wonder how so ingenious a writer could be so absurd. Such preposterous judgments can only be accounted for by inherent deficiencies of taste; Johnson had no ear, and he had no imagination. These are, indeed, grievous disabilities in a critic. What could have induced such a man, the impatient reader is sometimes tempted to ask, to set himself up as a judge of poetry?
The answer to the question is to be found in the remarkable change which has come over our entire conception of poetry, since the time when Johnson wrote. It has often been stated that the essential characteristic of that great Romantic Movement which began at the end of the eighteenth century, was the re-introduction of Nature into the domain of poetry. Incidentally, it is curious to observe that nearly every literary revolution has been hailed by its supporters as a return to Nature. No less than the school of Coleridge and Wordsworth, the school of Denham, of Dryden, and of Pope, proclaimed itself as the champion of Nature; and there can be little doubt that Donne himself—the father of all the conceits and elaborations of the seventeenth century—wrote under the impulse of a Naturalistic reaction against the conventional classicism of the Renaissance. Precisely the same contradictions took place in France. Nature was the watchword of Malherbe and of Boileau; and it was equally the watchword of Victor Hugo. To judge by the successive proclamations of poets, the development of literature offers a singular paradox. The further it goes back, the more sophisticated it becomes; and it grows more and more natural as it grows distant from the State of Nature. However this may be, it is at least certain that the Romantic revival peculiarly deserves to be called Naturalistic, because it succeeded in bringing into vogue the operations of the external world—'the Vegetable Universe,' as Blake called it—as subject-matter for poetry. But it would have done very little, if it had done nothing more than this. Thomson, in the full meridian of the eighteenth century, wrote poems upon the subject of Nature; but it would be foolish to suppose that Wordsworth and Coleridge merely carried on a fashion which Thomson had begun. Nature, with them, was something more than a peg for descriptive and didactic verse; it was the manifestation of the vast and mysterious forces of the world. The publication of The Ancient Mariner is a landmark in the history of letters, not because of its descriptions of natural objects, but because it swept into the poet's vision a whole new universe of infinite and eternal things; it was the discovery of the Unknown. We are still under the spell of The Ancient Mariner; and poetry to us means, primarily, something which suggests, by means of words, mysteries and infinitudes. Thus, music and imagination seem to us the most essential qualities of poetry, because they are the most potent means by which such suggestions may be invoked. But the eighteenth century knew none of these things. To Lord Chesterfield and to Pope, to Prior and to Horace Walpole, there was nothing at all strange about the world; it was charming, it was disgusting, it was ridiculous, and it was just what one might have expected. In such a world, why should poetry, more than anything else, be mysterious? No! Let it be sensible; that was enough.
The new edition of the Lives, which Dr. Birkbeck Hill prepared for publication before his death, and which has been issued by the Clarendon Press, with a brief Memoir of the editor, would probably have astonished Dr. Johnson. But, though the elaborate erudition of the notes and appendices might have surprised him, it would not have put him to shame. One can imagine his growling scorn of the scientific conscientiousness of the present day. And indeed, the three tomes of Dr. Hill's edition, with all their solid wealth of information, their voluminous scholarship, their accumulation of vast research, are a little ponderous and a little ugly; the hand is soon wearied with the weight, and the eye is soon distracted by the varying types, and the compressed columns of the notes, and the paragraphic numerals in the margins. This is the price that must be paid for increased efficiency. The wise reader will divide his attention between the new business-like edition and one of the charming old ones, in four comfortable volumes, where the text is supreme upon the page, and the paragraphs follow one another at leisurely intervals. The type may be a little faded, and the paper a little yellow; but what of that? It is all quiet and easy; and, as one reads, the brilliant sentences seem to come to one, out of the Past, with the friendliness of a conversation.
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