Читать книгу The Bridling of Pegasus: Prose Papers on Poetry - Alfred Austin - Страница 3

Women, to whom a barbarous description, willingly accepted by themselves, has been applied, have recently been much in the public eye, and still more in the public prints. But I should not class them under the designation of feminine; and, though they may have invaded prose fiction, they have not been, and I think they never will be, met with in Poetry. They are noisy, but numerically weak. Eve listening to the Tempter, then bewailing her weakness; Ruth amid the alien corn; Magdalen and her box of spikenard; Helen of Troy following evil-hearted Paris; Beatrice in heaven; Una and the milk-white lamb; Rosalind and Celia in As You Like It; the Lily Maid of Astolat in the Idylls of the King– these are women of whom, or, at least, of the sentiments and sympathies of whom, as manifested in English poetry, I wish to speak. The most progressive age one can possibly conceive will never succeed in leaving human nature behind, and I have not the smallest doubt that women will continue to be womanly to the end of time.

What, then, is feminine as contrasted with masculine? what is womanly as compared with manly, whether in literature or in life? Men and women have many qualities in common, and resemble more than they differ from each other. But while, speaking generally, the man’s main occupations lie abroad, the woman’s main occupation is at home. He has to deal with public and collective interests; she has to do with private and individual interests. We need not go so far as to say, with Kingsley, that man must work and woman must weep; but at least he has to fight and to struggle, she has to solace and to heal. Ambition, sometimes high, sometimes low, but still ambition – ambition and success are the main motives and purpose of his life. Her noblest ambition is to foster domestic happiness, to bring comfort to the afflicted, and to move with unostentatious but salutary step over the vast territory of human affection. While man busies himself with the world of politics, with the world of commerce, with the rise and fall of empires, with the fortunes and fate of humanity, woman tends the hearth, visits the sick, consoles the suffering – in a word, in all she does, fulfils the sacred offices of love.

Now the highest literature – and Poetry is confessedly the highest literature – is a transfiguring reflex of life; and in its magic mirror we perforce see reflected all the thoughts, feelings, interests, passions, and events of human existence. In English poetry, therefore, we shall expect to hear both the masculine note and the feminine note; and in what proportions we hear them will be incidentally indicated in the course of my remarks. But it is the Feminine Note in which we are at present specially interested, and if I am asked to define briefly what I mean by this Feminine Note, I should say that I mean the private or domestic note, the compassionate note or note of pity, and the sentimental note or note of romantic love.

Now I am well aware there are numbers of people who look on poetry as something essentially and necessarily feminine, and who will say, “What do you mean by speaking of the Feminine Note in English poetry? Surely it has no other note, poetry being an effeminate business altogether, with which men, real robust men, need not concern themselves.” The people who hold this opinion can have but a very limited acquaintance with English poetry, and a yet more limited familiarity with the poetry of other ages and other nations that has come down to us. As a matter of fact, though the feminine note has rarely, if ever, been wholly absent from poetry, it is only of late years comparatively that it has become a very audible note. I should be carried too far away from my subject if I attempted to demonstrate the accuracy of this assertion by a survey, however rapid, of all the best-known poetry in languages, dead and living, of other times and other peoples. But to cite one or two familiar examples, is the feminine note, I may ask, the predominant, or even a frequent, note in the Iliad? The poem opens, it is true, with a dispute among the Argive chiefs, and mainly between Agamemnon and Achilles, concerning two young women. But how quickly Chryseis and Bryseis fall into the background, and in place of any further reference to them, we have a tempest of manly voices, the clang of arms, the recriminations of the Gods up in Olympus, and the cataloguing of the Grecian ships! Lest perhaps tender interest should be absent overmuch, just when Paris is being worsted in his duel with Menelaus for the determination of the siege, Venus carries him off under cover of a cloud, and brings Helen to his side. Then follows a scene in which the fair cause of strife and slaughter stands distracted between her passion for Paris, her shame at his defeat and flight, and her recollection of the brave Argive Chief she once called her lord. But more fighting promptly supervenes, and, save in such a passing episode as the lovely leave-taking of Hector and Andromache, the poem moves on through a magnificent medley of fighting, plotting, and speech-making. Even in that exceptionally tender episode what are the farewell words of Hector to his wife, “Go to your house and see to your own duties, the loom and the distaff, and bid your handmaidens perform their tasks. But for war shall man provide.” It is over the dead body of Patroclus that Achilles weeps; and whatever tears are shed in the Iliad are shed by heroes for heroes. Life, as represented in that poem, is a life in which woman plays a shadowy and insignificant part, and wherein domestic sentiments are subordinated to the rivalries of the Gods and the clash of chariot-wheels.

This subordinating of woman to man, of individual aims and private feelings to great aims and public issues, is equally present in the great Latin poem, the Æneid. “Arms and the Man, I sing,” says Virgil at once, and in the very first line of his poem; and though in one book out of the twelve of which it consists he sings of the woman likewise, it is but to leave her to her fate and to liberate Æneas from her seductions. Virgil is rightly esteemed the most tender and refined writer of antiquity. Yet to the modern reader, accustomed to the feminine note in poetry, there is something amazingly callous, almost cruel, in the lines with which, while the funeral pyre of Dido is still smoking, he tells us how Æneas, without a moment’s hesitation, makes for the open sea, and sails away from Carthage. But then the main business of Æneas was not to soothe or satisfy the Carthaginian queen, but to build the city and found the Empire of Rome. “Spirits,” says Shakespeare, “are not finely touched save to fine issues”; and it never would have occurred to Virgil to allow the hero of the Æneid to be diverted from his masculine purpose by anything so secondary as the love, or even the self-immolation, of a woman.

Let us, however, overleap the intervening centuries, and betake ourselves to the poetry of our own land and our own language. Chaucer, the first great English poet, was, like all writers of supreme genius, a prolific and voluminous writer, and we have thousands of verses of his besides the Prologue to the Canterbury Tales. But it is by this latter work that he is best known; and it is pre-eminently and adequately representative, both of his own genius and of the temper of the times in which he lived. You will have to hunt very diligently through his description of the Knight, the Squire, the Yeoman, the Prioress, the Monk, the Merchant, the Sergeant of the Law, the Franklin, the Miller, the Manciple, and the rest of his jovial company, in order to find anything approaching the feminine note. He says little about what any of them thought, and absolutely nothing concerning what they felt, but confines himself to descriptions of their personal appearance, of their conduct and their character, in a word, of their external presentation of themselves. The Knight who wore a doublet all stained by his coat of mail, was well mounted, and had ridden far, no man farther. The Squire, or page, had curly locks, and had borne himself well in Flanders and Picardy. The Yeoman bore a weighty bow, handled his arrows and tackle in admirable fashion, and was dressed in a coat of green. The Monk was fat and in good case, and loved a roast swan more than any other dish. The Friar, we are told, had made many a marriage at his own cost, and would get a farthing out of a poor widow, though she had only one shoe left. The Franklin had a white beard and a high complexion, kept a capital table, and blew up his cook loudly if the sauces were not to his liking. The Wife of Bath had married five husbands, not to speak of other company in her youth; and the Sumpnor loved garlic, onions, and leeks, had a fiery face, and doated on strong wine. There is nothing very feminine in all this, is there? The one sole touch of tenderness that I can remember, and it is very elementary and introduced quite casually, is that in which we are told that the Prioress is so full of pity that she would weep if she saw a mouse caught in a trap. One can easily surmise what sort of tales would proceed from such downright, hearty, unromantic personages; and, save where any of them recite well-known stories from ancient poets, their own narratives are as buxom, burly, and as unsentimental as themselves. If princes and princesses, fine lords and ladies, be the heroes and heroines of the Tale, a certain amount of conventional pity is extended to their woes. But if the personages of the story be, as they for the most part are, common folk, and such as the story-tellers themselves would be likely to know, their misfortunes and mishaps are used merely as a theme for mirth and merciless banter. The humour displayed is excellent, but it is not the humour of charity. It is not compassionate, and it is not feminine. The feminine note is not absent from Chaucer’s Tales, but it is generally a subordinate note, a rare note, a note scarcely heard in his great concert of masculine voices.

Passing from the pages of Chaucer to those of Spenser is like passing from some cheery tavern where the ale is good and the jokes are excellent, but a trifle coarse, and the company diverting but a little mixed, to the banqueting-hall of some stately palace, where the wines and meats are of the choicest, where all the guests are of high degree, the women all fair, the men all courtly, and where fine manners and dignified speech leave no place for loud lewd laughter or even for homely familiarity. Surely in one who is such a poet, and such a gentleman, and in every respect, to quote a line of his own “a very perfect gentle knight,” we shall come across, ever and anon at least, the feminine note. And indeed we do. The first three stanzas of the Fairy Queen are dedicated to the description of the Knight that was pricking on the plain. But listen to the fourth:

Her name, as doubtless you well know, was Una, and, when by foul enchantment she is severed a while from her true knight, harken with what a truly feminine note Spenser bewails her misfortune:

Spenser cannot endure the thought of beauty in distress. So at once he brings upon the scene a ramping lion, which, in the ordinary course of things would have put a speedy end to her woes. But not so Spenser’s lion:

And thus he goes on:

This allegiance and fast fealty which Spenser declares he owes unto all womankind is the attitude, not only of all true knights and all true gentlemen, but likewise, I trust, of all true poets. But do not suppose on that account that Spenser is a feminine poet. He is very much the reverse. It would be impossible for a poet to be more masculine than he.

he says at once of his hero, and describes how the knight’s heart groaned to prove his prowess in battle brave. Spenser has the feminine note, but in subordination to the masculine note; and if I were asked to name some one quality by which you may know whether a poet be of the very highest rank, I should be disposed to say, “See if in his poetry you meet with the feminine note and the masculine note, and if the first be duly subordinated to the second.”

I wish it were possible, within the limit I have here assigned myself, to apply this test and pursue this enquiry at length in regard to Shakespeare, in regard to Milton, and likewise in regard to Dryden and Pope. But of this I am sure that the wider and deeper the survey the more clear would be the conclusion that in Shakespeare, as we might have expected, the masculine note and the feminine note are heard in perfect harmony, but by far the larger volume of sound proceeds from the former.

When, then, was it that the feminine note, the domestic or personal note, the compassionate note or note of pity, the purely sentimental note, was first heard in English poetry as a note asserting equality with the masculine note, and tending to assert itself as the dominant note?

One of the most beautiful and best-known poems in the English language is Gray’s Elegy written in a Country Churchyard; and in the following stanzas which many of you will recognise as belonging to it, do we not seem to overhear something like the note of which we are in search? —

Here our sympathy is asked, not for kings and princesses, not for great lords and fine ladies, not for the rise and fall of empires, but for the rude forefathers of the hamlet, for the busy housewife, for the hard-working peasant and his children, for homely joys and the annals of the poor. But Gray does not maintain this note beyond the five stanzas I have just quoted. He quickly again lapses into the traditional, the classic, the purely masculine note:

The stanzas that follow are splendid stanzas, but they are the stately and sonorous verse of a detached and moralising mind, not the pathetic verse of a sympathising heart. We have to wait another twenty years before we come upon a poem of consequence in which the feminine note is not only present, but paramount. In the year 1770, nearly a century and a half ago, appeared Goldsmith’s poem, The Deserted Village, and in it I catch, for the first time, as the prevailing and predominant note, the note of feminine compassion, the note of humble happiness and humble grief. In Goldsmith’s verse we hear nothing of great folks except to be told how small and insignificant are the ills which they can cause or cure.

Goldsmith’s themes in The Deserted Village are avowedly:

We seem to have travelled centuries away from the Troilus and Cressida, or the Palamon and Arcite of Chaucer, from the Red Cross Knight and Una, from the Britomart, the Florimel, the Calidore, the Gloriana of Spenser, from the kingly ambitions and princely passions of Shakespeare, from the throes and denunciations of Paradise Lost, and equally from the coffee-house epigrams and savage satire of Pope. We have at last got among ordinary people, among humble folk, people of our own flesh and blood, with simple joys and simple sorrows. What could be more unlike the poetry we have so far been surveying than these lines from The Deserted Village? —

Which of you does not remember the description in the same poem of the Village Clergyman? the man who was to all his country dear, etc. Some of you, I daresay, know it by heart. Nothing is too lowly, some would say, nothing too mean, for Goldsmith’s tender Muse. He loves to dwell on the splendour of the humble parlour, on the whitewashed wall, the sanded floor, the varnished clock, the chest of drawers, and the chimney-piece with its row of broken teacups. Truly it is a feminine Muse which can make poetry, and, in my opinion, very charming poetry, out of broken teacups.

The feminine note once struck, the note of personal tenderness, of domestic interest, of compassion for the homely, the suffering, or the secluded was never again to be absent from English poetry; and Cowper continued, without a break, the still sad music of humanity first clearly uttered by Goldsmith. What is the name of Cowper’s principal and most ambitious poem? As you know, it is called The Task; and what are the respective titles of the six books into which it is divided? They are: The Sofa, The Time-Piece, The Garden, The Winter Evening, The Winter Morning Walk, The Winter Walk at Noon. Other poems of a kindred character are entitled Hope, Charity, Conversation, Retirement. Open what page you will of Cowper’s verse, and you will be pretty sure to find him either denouncing things which women, good women, at least, find abhorrent, such as the slave-trade, gin-drinking, gambling, profligacy, profane language, or dwelling on occupations which are dear to them.

he exclaims —

These are the opening lines of the Time-Piece, and they sound what may be called the note of feminine indignation; a note which is reverted to by him again and again.

More placidly but still in the same spirit, he exclaims:

Farther on, he describes how —

Again, invoking evening, he says:

Could there well be a more feminine picture than that? All the politics, commerce, passions, conflicts of the world are shut out by Mrs. Unwin’s comfortable curtains, and, with her and Lady Austen for sympathising companions, the poet fills his time, with perfect satisfaction, by holding their skeins of wool, and meditating such homely lines as these:

Cowper was never married, nor ever, as far as I know, in love, though Lady Austen, to her and his misfortune, for a time seemed to fancy he was; and in his verse therefore we do not meet with the note of amatory sentiment. But what love is there in this world more beautiful, more touching, more truly romantic, than the love of a mother for her son, and of a son for his mother? And where has it been more charmingly expressed than in Cowper’s lines on the receipt of his mother’s picture? After that beautiful outburst —

– he proceeds to recall the home, the scenes, the tender incidents of his childhood, but, most of all, the fond care bestowed on him by his mother:

The lines are not in what is called the highest vein of poetry. They have not the bluff masculinity of Chaucer. They lack the magic of Spenser. They do not purify the passions through terror as is done by Lear or Macbeth, and they are much inferior in majesty to the of Milton. But they come straight from the heart, and go straight to the heart. They are thoroughly human, what we all have felt, or are much to be pitied if we have not felt. They are instinct with the holiest form of domestic piety. They are feminine in the best sense, and have all the feminine power to attract, to chasten, and to subdue.

As far as character and conduct are concerned, there could not well be two poets more unlike than Cowper and Burns; and their poetry is as unlike as their temperament. I fear Burns indulged in most of the vices against which Cowper inveighs; and not unoften he glorified them in verse. Upon that theme do not ask me to dwell this evening. All it is necessary to point out here is, that in Burns, as in Cowper, and as in Goldsmith, we have the compassionate note, the note of pity for suffering, of sympathy with the lowly; in a word, we again have the feminine note. In The Cotter’s Saturday Night Burns paints a picture, as complete as it is simple, of humble life. We have the cotter returning home through the chill November blast with the weary beasts; the collecting of his spades, his mattocks, and his hoes; the arrival at his cottage; the expectant wee things running out to meet him; the ingle-nook blinking bonnily; the cheerful supper of wholesome porridge; the reading of a passage from the Bible, the evening hymn, and the family prayer before retiring to rest. There is a line in The Cotter’s Saturday Night which might be taken as the text on which most of Burns’s poems are written:

All his sympathies are with cottages and cottagers, whether he be expressly describing their existence, writing A Man’s a Man for a’ that, The Birks of Aberfeldy, Auld Lang Syne, or addressing lines to a mouse whose nest he has turned up with his plough. All are written in a spirit of compassion for suffering, of sympathy with the lowly, of admiration for honest poverty. They are fundamentally tender, and, though expressed in manly fashion enough, fundamentally feminine, the poetry of a man who lived habitually under the influence of women.

I think it will be allowed that I have given no grudging admiration to the feminine note in English poetry, and in so far as it is a note of sympathy with the more humble and less fortunate ones of the earth. But, in verse, kindly and compassionate sentiment is not everything. Indeed, it is nothing at all unless it be expressed in such a manner, the manner suffused with charm of style, that it is thereby raised to the dignity of true poetry. There are many excellent persons who accept as poetry any sentiment, or any opinion expressed in metre with which they happen to agree. But neither sound opinion nor wholesome sentiment suffices to produce that exceedingly delicate and subtle thing which alone is rightly termed poetry, and, in abandoning lofty themes, and descending to humbler ones, writers of verse unquestionably expose themselves to the danger not only of not rising above the level of their subject, but even of sinking below it. The Romans had a proverb that you cannot carve a Mercury out of every piece of wood, meaning thereby that by reason of Mercury not being a standing or reposing figure, but a figure flying through the air, and therefore with limbs and wings extended, the material out of which he is made has to be both considerable in size and excellent in quality. What is true of Mercury is truer still of Apollo. You cannot make poetry out of every subject; and your only chance of making poetry out of any subject is to do so by treating the subject either nobly, or with charm. Realism, unadulterated Realism, which is a dangerous experiment in prose, is a sheer impossibility in poetry; for in poetry what is offered us, and what delights us, is not realistic but ideal representation. No doubt the very music of verse is part of the means whereby this ideal representation is effected; but it will not of itself suffice, as may easily be proved by reciting mere nonsense verses in which the rhythm or music may be faultless. I could quote page after page from Cowper, which is verse only, and not poetry, because it is nothing more than the bare statement of a fact set forth in lines consisting of so many feet. Here, for instance, is a specimen. It comes in his poem on The Sofa:

Perhaps you think this is a parody of Cowper. But I can assure you it is nothing of the kind. It was written by the poet himself; and in his abounding pages you will find hundreds of verses of this realistic and pedestrian character. But not Cowper alone, one much greater than Cowper, one who rose over and over again to the very heaven of poesy, Wordsworth himself, has likewise left hundreds, aye, thousands of verses, little better than the passage I have just read from Cowper, through the mistaken notion that kindly feeling, compassion for the poor and the patient, and sound moral sentiments, when expressed in verse, must result in poetry. There is no one here whose admiration of Wordsworth at his best can be greater than mine, but, in order to show you how the feminine note in poetry, the note of sympathy with the weak, the obscure, and the unfortunate, can even in the voice of a great master of poetry, lapse into verse utterly destitute of the soul and spirit of poetry, I will ask you to allow me to read you a portion of Simon Lee, the Old Huntsman:

Is not that sorry stuff, regarded as poetry? Wordsworth here had the assistance of the music, not only of verse, but of rhyme; and with what a result! It is the feminine note of pity in its dotage, whereby we see that it is not enough to have a warm heart, to have tender feelings, to be full of sympathy for the suffering, and then to express them in verse. In the prose of conversation and of everyday life, kindly feeling is all well enough. But the Heavenly Muse will not place herself at our disposal so readily and cheaply. She is a very difficult lady, is the Heavenly Muse, not easily won, and never allowing you, if you want to remain in her good graces, to approach her, that is to say, in dressing gown and slippers. She is the noblest and most gracious lady in the world, and the best, the most refined, the most elevating of companions. Therefore you must come into her presence and win her favour, not with free-and-easy gait and in slovenly attire, but arrayed in your very best, and with courtly and deferential mien. When poets wrote of gods and goddesses, of mighty sieges, and of the foundation and fall of empires; when their theme was the madness of princes, and the tragic fate of kings, when their hero was Lucifer, Son of the Morning, nay, even when they discoursed of free will and fate, or of the drawing-room intrigues of persons to whom powder, patches, billets-doux were the chief things in existence, there was no need to remind them that their style must be as lofty, as dignified, as refined, or as finished as their subject. No doubt, they sometimes waxed stilted and fell into excess, whether in rhetoric or in conceits, but they never forgot themselves so far as to be slovenly or familiar. Stella, you know, said Swift could write beautifully about a broomstick. Possibly he could; but note the concession, that if a man writes, at least if he would write poetry, he must write beautifully. Both Cowper and Wordsworth set the example of writing verse that is not beautiful, though indeed Young in his Night Thoughts, and Thomson in The Seasons, had already done something of the same kind. But they have not the authority of Cowper, much less the authority of Wordsworth. Let who will be the authority for it, prosaic utterance in verse, realism in rhyme, no matter what the subject, is an incongruity that cannot be too severely condemned. A very large proportion of the verse of Crabbe, once so popular, but now, I fancy, but little read, is of little value, by reason of the presence of this defect. Yet while I indicate, and venture to reprove, the feebleness into which the feminine note in English poetry has too often declined and deteriorated, never let us forget that it has contributed lovely and immortal poetry to the language, poetry to be found in Wordsworth, poetry such as melts us almost to tears in Hood’s Song of the Shirt, or in Mrs. Barrett Browning’s The Cry of the Children. Horace, who was a great critic as well as a great poet, said long ago that it is extremely difficult to express oneself concerning ordinary everyday facts and feelings in a becoming and agreeable manner; and to do this in verse demands supreme genius. As a set-off to the example of feebleness I just now cited in Wordsworth, listen how, when the mood of inspiration is on him, he can see a Highland girl reaping in a field – surely an ordinary everyday sight – and threw around her the heavenly halo of the divinest poetry:

But there is another manifestation of the feminine note in English poetry, distinct from, though doubtless akin to, the one we have been considering; a note which likewise was not heard in it till about a hundred years ago, but which has been heard very frequently since, and which seems at times to threaten to become its dominant and all-prevailing note, or at any rate the only one that is keenly listened to. Instead of the note of interest in and pity for others, it has become the note of interest in and pity either for oneself, or for one’s other self; a note so strongly personal and suggestive as to become egotistic and entirely self-regarding. This is the amatory or erotic note, which I think you will all recognise when I give it that designation; the note which appears to consider the love of the sexes as the only important thing in life, and certainly the only thing worth writing or singing about. More than two thousand years ago, a Greek poet wrote a lyric beginning, “I would fain sing of the heroes of the House of Atreus, I would fain chant the glories of the line of Cadmus; but my lyre refuses to sound any note save that of love.” In these days the poet who expressed that sentiment and acted on it would have a great many listeners; and no doubt Anacreon, too, had his audience in ancient Greece. But he was not ranked by them side by side with their great poets who did take the tragic story of the House of Atreus for their theme. It can only be when feminine influence is supreme in society and in literature, and when the feminine note in poetry has become, or threatens to become, paramount, that the sentiment and practice of Anacreon is viewed with approbation and favour. Byron has said in a well-known passage:

If I know anything about women, that is a gross exaggeration, unless in the term love be included love of parents, love of brothers and sisters, love of children, in a word, every form and manifestation of affection. Still it is not necessary to deny – indeed if it be true it is necessary to admit – that love, in the narrower if more intense signification of the word, does play a larger part in the lives, or at any rate in the imagination, of most women than it does in the lives and the imagination of most men; and it is not to be denied that practically all women, and a fair sprinkling of men, now take an almost exclusive interest in the amatory note in poetry. Nor let any one say that this was always so, and that poetry and poets have from time immemorial occupied themselves mainly with the passion of love. Indeed they have not done so. It would be to show an utter ignorance of the genius of Homer, of the great Greek dramatists, of Virgil, of Dante, of Spenser, of Shakespeare, of Milton, and of the temper of the times in which they lived, to say that they could sound only notes of love. They sounded these sometimes, but seldom and rarely, in comparison with their other and more masculine notes, and always in due subordination to these. I will not go so far as to say that they thought, with Napoleon, that love is the occupation of the idle, and the idleness of the occupied, but they knew that however absorbing for a season the passion of love as described by many poets and by nearly all modern novelists may be, it is a thing apart; and, as such, they dealt with it. They did not ignore its existence, or even its importance, but they did not exaggerate its existence and its importance, relatively to other interests, other occupations, other duties in life. It was because of the high fealty and allegiance which Spenser declared he owed to all womankind that he did not represent women as perpetually sighing or being sighed for by men. It was because Shakespeare had such absolute familiarity, not with this or that part of life, but with the whole of it, that even in Romeo and Juliet, in Othello, in Measure for Measure, and again in As You Like It, he represented the passion of love at work and in operation along with other sentiments and other passions; and, in the greater portion of his dramas either does not introduce it at all, or assigns to it a quite subordinate place. In Romeo and Juliet the brave Mercutio, the Tybalt “deaf to peace,” the garrulous nurse, the true apothecary, the comfortable Friar, as Juliet calls him, all these and more, have their exits and their entrances, and all, in turn, demand our attention. Romeo and Juliet is a love-drama indeed; but even in Romeo and Juliet, though love occupies the foremost place and plays the leading part, it stands in relation to other passions and other characters, and moves onward to its doom surrounded and accompanied by a medley of other circumstances and occurrences; just as true love, even the most engrossing, does in real life. The same just apprehension of life, the same observance of accurate proportion between the action of love and the action of other passions and other interests, may be observed in Othello. Othello is not represented merely as a man who is consumed and maddened by jealousy, but as a citizen and a soldier, encompassed by friends and enemies, and brought into contact, not with Desdemona and Iago alone, but with the Duke of Venice, with valiant Cassio, with witty Montano, with Brabantio, with Gratiano, in a word with people and things in general.

Neither would it be any more to the purpose to object that Herrick, that Suckling, that Lovelace, and other poets of the seventeenth century wrote love-lyrics by the score, with many of which I have no doubt you are acquainted, and some of which are very beautiful. For these, for the most part, were amatory exercises, not real breathing and burning love-poems; dainty works of art sometimes, but not sicklied o’er with the pale cast of amatory passion. They were seventeenth-century reminiscences of the conventional love-lyrics of the Troubadours of Provence, when there existed an imaginary court of Love and a host of imaginary lovers. Indeed, if I were asked what was the truest and most succinct note uttered by their English imitators, I think I should have to say that I seem to catch it most distinctly in the lines of Suckling beginning:

– and ending with:

But we catch a very different amatory note, and that of the most personal and earnest kind, when the voice of Burns, and then the voice of Byron, were heard in English poetry. In Byron the note is almost always passionate. In Burns it is sometimes sentimental, sometimes jovial, sometimes humorous, sometimes frankly and offensively coarse. Many readers cannot do full justice to the North-Country dialect in the following lines, but the most Southern of accents could not quite spoil their simple beauty:

That is one amatory, one feminine note in Burns. Here is another:

I have no fault to find with these lines. They express a profound and enduring truth; and, if they do so with some little exaggeration, they do it half humorously, and so protect themselves against criticism. But I really think – I hope you will not deem me unchivalrous in saying so – we have, during the present century, heard too much, both in poetry and in prose romance, as we are now hearing too much in newspapers and magazines, of “the lasses, O.” Not that we can hear too much of them in their relation to each other, to men, and to life. The “too much” I indicate is the too much of romantic love, that leaves no place for other emotions and other passions equally worthy, or relegates these to an inferior position and to a narrower territory. I should say that there is rather too much of the sentimental note in Byron, in Shelley, in Keats, just as I should say that there is not too much of it in Wordsworth or in Scott. To say this is not to decry Byron, Shelley, and Keats – what lover of poetry would dream of decrying such splendid poets as they? – but only to indicate a certain tendency against which I cannot help feeling it is well to be on our guard. The tendency of the times is to encourage writers, whether in prose or verse, to deal with this particular theme and to deal with it too frequently and too pertinaciously. Moreover, there is always a danger that a subject, in itself so delicate, should not be quite delicately handled, and indeed that it should be treated with indelicacy and grossness. That, too, unfortunately, has happened in verse; and when that happens, then I think the Heavenly Muse veils her face and weeps. It must have been through some dread of poetry thus dishonouring itself that Plato in his ideal Republic proposed that poets should be crowned with laurel, and then banished from the city. For my part, I would willingly see such poets banished from the city, but not crowned with laurel. No doubt Plato’s notion that poets should chant nothing but hymns to the Gods and praises of virtue is a little narrow and exacting, but if they are to sing songs worthy of themselves, and of mankind, they must be on the side of virtue and of the Gods. Hark with what perfect delicacy a masculine poet like Scott can deal with a feminine theme:

That is how manly poets write and think of women. But they do not dwell over much on the theme; they do not harp on it; and when you turn the page, you read in a totally different key:

Does it not remind you of the passage I quoted from Homer, where Hector says to Andromache, “Go! to your house, and see to your loom and distaff, but for war men will provide”? Scott, like Homer, observed the due proportion between love and life, giving love ample room, but not allotting it excessive space. If again one wants to hear how delicately, how worthily, how manfully, poets can write of love and of women, what can one do better than recall this perfect lyric of Wordsworth’s? —

Neither should I like it to be supposed that I think Byron could not write on this same theme in the noblest manner. He did so frequently; he would not have been the great poet he is if he had not done so. Listen to this, for example:

Women are honoured and exalted when they are sung of in that manner. They are neither honoured nor exalted, they are dishonoured and degraded, when they are represented, either in prose or verse, as consuming their days in morbid longings and sentimental regrets, and men are represented as having nothing to do save to stimulate or satisfy such feelings. What is written in prose is not here my theme. I am writing of poets and poetry, and of the readers of poetry. Novelists and novel-readers are a different and separate subject. But I may say in passing that poetry and the readers of poetry have suffered somewhat during the present generation from novels and novel-readers. A newer and narrower standard of human interest has been set up; and while the great bulk of readers have turned from poetry to prose romances, writers of verse have too frequently tried to compete with novelists, by treating love as the central interest and the main business of life. Homer did not think it such, neither did Virgil, nor Dante, nor Chaucer, nor Spenser, nor Shakespeare, nor Milton, and let us not think so. I urge every one, every now and again at least, to lay down the novel and open the poem: but let it be a poem that will enlarge one’s conception of life, that will help one to think loftily, and to feel nobly, will teach us that there is something more important to ourselves even than ourselves, something more important and deserving of attention than one’s own small griefs and own petty woes, the vast and varied drama of History, the boundless realm of the human imagination, and the tragic interests and pathetic struggles of mankind. We need not close our ear to the feminine note, but should not listen to it over much. The masculine note is necessarily dominant in life; and the note that is dominant in life should be dominant in literature, and, most of all, in poetry.