Part 24

while Mr. Swinburne hears in the rushing south-western gale

'the sound of wings gigantic, Wings whose measure is the measure of the measureless Atlantic,'

and, after the storm,

'The grim sea swell, grey, sleepless and sad as a soul estranged.'

'A Swimmer's Dream' gives us the poetry of floating on the slow roll of the waves, some cloudy November morning.

'Dawn is dim on the dark soft water, Soft and passionate, dark and sweet.'

'Loch Torridon' preserves the charm of what might be a landlocked lake, if it were not that the rippling tide flows in by an almost invisible inlet from the sea. From his earliest to his latest poems the magic of nature's changing aspects fascinates him; they inspire him with a kind of ecstasy that finds utterance in the variety of his verse, which reflects all the lights and shades of earth, sea, and atmosphere. One may remark, by the way, that in proportion as his poetic strength matures, the pagan gods and goddesses, who disported themselves so freely in his juvenile verse, visit him much more rarely; his imagery draws much less profusely upon the classic mythology for symbols and figures of divinities whose diaphanous robes are ill suited to our northern climate and Puritanic traditions, in the wolds and forests once sacred to Thor and Woden.

It will be admitted by Mr. Swinburne's least indulgent critics that his poetry displays throughout a marvellous power of execution. He runs over all the lyrical and elegiac chords with unabated facility; his metrical variations and musical phrasing bring out and extend the capacity and fertility of our language as a poetic instrument; he is master of his materials. No doubt there is some repetition, some iteration, which becomes slightly wearisome, of his favourite rhymes, indicating, what has been observed independently of reference to this particular writer, that the resources of the English language for terminal assonance, under the stringent conditions required by the modern rules of versification, are inevitably limited and show signs of exhaustion.

In a Note on Poetry appended to his latest volume of verses, Mr. John Davidson has classed rhyme as a kind of disease of poetry. Rhyme, he says, is probably more than seven hundred years old—in Europe, he must mean, for it is far older in Asia, whence it originally came—and since the days of the troubadours and Minnesingers it has corrupted, in his opinion, the ear of the world. At best it is, he thinks, a decadent mode, imposing shackles on free poetic expression; and though in these fetters great poets have done magnificent work, in their finest rhymed verse he finds a feeling of effort. They have always been obliged to throw in something that need not have been said, some words inserted under compulsion, to bring the rhyme about. Mr. Davidson declares that the true glory of free untrammelled poetry shines out in the rhythmic periods of blank verse. That there may be some truth, or at least some convenience, in this theory of the poetic art, the modern poet may not be concerned to deny; for, as we have already said, rhymes will not withstand incessant and familiar usage; they become commonplaces, and the rhymer wanders away from the natural direction of his thought in search of fresh ones. The most devout admirers of Browning must admit that his verse is often distorted in this way—so that a fine stanza sometimes finishes with a jolt and ends with a tag—and it must be allowed that this necessity of making both ends meet is bad for the poetic conscience, a temptation to indefensible laxities. Even Mr. Swinburne, the inventor of exquisite harmonies, whose work is indisputably sincere, can be occasionally observed to be diverging from the straight line of his impetuous flight, hovering and making circuits that lead up skilfully to the indispensable rhyme. More frequently, perhaps, there is a tendency to interpose some metaphor, or rather far-fetched allusion, for the sake of the clear, full, recurrent intonation of echoing words that can only be marshalled into their places by artistic ingenuity.

We may so far agree with Mr. Davidson that most of the sublime passages in English poetry are in blank verse, though it may be noticed that the four lines which he quotes from Macbeth, as containing the 'topmost note in the stupendous agony of the drama,' are rhymed. The management of rhyme is a difficult and very delicate art; it is an instrument that requires a first-class performer, like Mr. Swinburne, to bring out its potency; to this art the English lyric, the ode and the song, owe their musical perfection. Mr. Swinburne, in an essay upon Matthew Arnold's New Poems (1867), has said, truly, that 'rhyme is the native condition of lyric verse in England'; and that 'to throw away the natural grace of rhyme from a modern song is a wilful abdication of half the charm and half the power of verse.' To this general rule he might possibly admit one exception—Tennyson's short poem beginning with 'Tears, idle tears,' which is so delicately modulated that the absence of rhyme is not missed. At any rate it is certain that all popular verse needs this terminal note; for a ballad in blank verse is inconceivable. On the other hand, the proper use of rhyme demands a fine ear, which is a rare gift; for our language has no formal rules of prosody, so that in maladroit hands rhyme becomes an intolerable jingle. At the present day, however, there is a tendency to run into excessive elaboration, largely due to superficial imitation of such masters of the poetic art as Tennyson, and especially Swinburne, so that we have a copious outpouring of feeble melodies.

Mr. Swinburne, on the contrary, is never feeble; he combines technical excellence with the power of vehement, often much too violent, expression. His character may be defined by the French word 'entier'; he is uncompromising in praise or blame. He insists (to quote his own words) that 'the worship of beauty, though beauty be itself transformed and incarnate in shapes diverse without end, must be simple and absolute'; nor will he tolerate reserve or veiled intimations of a poet's inmost thought.

'Nothing,' he has written, 'in verse or out of verse is more wearisome than the delivery of reluctant doubt, of half-hearted hope and half-incredulous faith. A man who suffers from the strong desire either to believe or disbelieve something he cannot, may be worthy of sympathy, is certainly worthy of pity, until he begins to speak; and if he tries to speak in verse, he misses the implement of an artist.'

He is pained by Matthew Arnold's 'occasional habit of harking back and loitering in mind among the sepulchres.... Nothing which leaves us depressed is a true work of art.' Yet, it may be answered, the habit of musing among tombs has inspired good poetry; and when doubt and dejection, perplexed meditation over insoluble problems, are in the air, a poet does well to express the dominant feelings of his time; and a modern Hamlet is no inartistic figure.

In this respect, however, Mr. Swinburne may have found reason to qualify, latterly, the absoluteness of his poetic principles. He has been from the first a generous critic of those contemporary poets whom he recognised as kindred souls. He awards unmeasured praise to Matthew Arnold, while of his defects and shortcomings he speaks plainly. He does loyal homage to Browning in a sequence of sonnets, and his tribute to Tennyson was paid in a lofty 'Threnody,' when that noble spirit passed away. For Victor Hugo he proclaimed, as all know, nothing short of unbounded adoration—he is 'the greatest writer whom the world has seen since Shakespeare'; though it may be doubted whether in his own country Hugo now stands upon so supreme a pinnacle. To other eminent men of his time his poetry accords admiration, chiefly to the champions of free thought and of resistance to oppression; and, in a poem entitled 'Two Leaders,' he salutes two antagonists as he might do before crossing swords with them. The leaders are not named; the first is evidently Newman:

'O great and wise, clear-souled and high of heart, One the last flower of Catholic love, that grows Amid bare thorn their only thornless rose, From the fierce juggling of the priest's loud mart Yet alien, yet unspotted and apart From the blind hard foul rout whose shameless shows Mock the sweet heaven whose secret no man knows With prayers and curses and the soothsayers' art.'

The second is

'Like a storm-god of the northern foams Strong, wrought of rock that breasts and breaks the sea,'

in whom we recognise Carlyle. They are the powers of darkness, doomed to fall and to vanish before the light; yet their genius commands respect and even sympathy.

'With all our hearts we praise you whom ye hate, High souls that hate us; for our hopes are higher,

Honour not hate we give you, love not fear, Last prophets of past kind, who fill the dome Of great dead Gods with wrath and wail, nor hear Time's word and man's: "Go honoured hence, go home, Night's childless children; here your hour is done; Pass with the stars, and leave us with the sun."'

The concise energy of these lines, their slow metrical movement, invest them with singular weight and dignity. The poet is confronting two representatives, in principle, of Force and Authority, whose prototypes in bygone times would undoubtedly have sent him to the scaffold or to the stake; nor is it improbable that both Carlyle and Newman, though in all other opinions they differed widely, would have agreed that a revolutionary firebrand and a pestilent infidel deserved some such fate. The poet might console himself with the reflection that they must have abhorred each other's principles quite as much as they detested his own.

In his later verse Mr. Swinburne still continues to wield his flaming sword against priests and despots, against intellectual and political servility. What may be termed the historical plea, the excuse for ideas and institutions that they are the relics of evil days long past, is no palliation for them to his mind; he would stamp them out and utterly destroy them. In this respect his temperament has unconsciously a strong tincture of the intolerance which he denounces; he would sweep away Christianity as Christianity swept away polytheism. Toward its Founder, as the type of human love and purity, he is uniformly reverential; there is nothing in that supreme figure that jars with that Religion of Humanity, which 'The Altar of Righteousness' proclaims with high dithyrambic enthusiasm:

'Christ the man lives yet, remembered of man as dreams that leave Light on eyes that wake and know not if memory bids them grieve.

Far above all wars and gospels, all ebb and flow of time, Lives the soul that speaks in silence, and makes mute the earth sublime.'

But of theology reigning by force and terror he is the implacable enemy; and his intemperate violence leaves a stain on the bright radiance of his poetry. It amounts to an artistic fault, undiminished even in the later years which should have brought the philosophic mind. Moreover, it has materially lessened the influence which so fine a poetic genius should have exercised over the present generation, among whom polemical ardour and bitterness may be thought to have perceptibly cooled down, and to have become much less aggressive, in science, philosophy, and literature, than among the preceding generation. An age of tacit indifference, content with rationalistic explanations, with the slow working of disillusion, dislikes and discountenances outrageous scorn poured upon things that are traditionally sacred; and to the English character extremes are always distressing.

Mr. Swinburne's dramatic work, at any rate, takes us out of the strife and turmoil of theologic war; we are on firm historic ground, dealing with authentic events and persons. The plays of Chastelard, Bothwell, and Mary Stuart form a trilogy in which the most romantic and eventful period of Scottish history is presented; they constitute the epic-drama of Scotland, to adopt a definition applied by Victor Hugo to the tragedy of Bothwell. It is impossible, in this article, to find space for an adequate criticism of these remarkable productions. Every leading poet of the nineteenth century has made excursions into the dramatic field. We doubt whether any of them has come out of the adventure much better than Mr. Swinburne. All of them have given us, each in his own way, fine poetry, and, if we except Byron, they have shown that the masters of lyrical music can strike with power the high chords of blank verse. None of them have produced plays that took any hold of a theatrical audience; in most cases they were not intended for the stage.

The play of Chastelard is too deeply saturated with amorous essences throughout to be forcibly dramatic. The hero is in a high love-fever from first to last, the passionate strain becomes monotonous, and though he dies to save the Queen's honour, our minds are not purged with much pity for him. In the long historical drama of Bothwell, which has twenty-one scenes in its two acts, we have spirited portraits of the fierce nobles who surrounded Mary Stuart during her brief and distracted reign. The love passages are pauses in a course of violent action, the assassination of Rizzio, the murder of Darnley are not overcoloured melodramatically, and the scenes in and about the Kirk of Field are darkened with the shadow of Darnley's imminent fate. But Darnley's dream, presaging his coming doom, inevitably recalls the dream of Clarence, and cannot but suffer from the reminiscence. We might have something to say on the metrical construction of Swinburne's blank verse, for he shares with Tennyson, though in a minor degree, the distinction of having enlarged its scope and varied its measure. But the subject would demand careful comparative examination and analysis of different styles, such as is to be read, with profit to all students of the art poetic, in Mr. J. B. Mayor's Chapters on English Metres.

It will be understood that this article attempts no more than to review the salient characteristics of Mr. Swinburne's poetry, to indicate in some degree their connexion and development. It cannot but fall far short, obviously, of being a comprehensive survey of his contributions to English literature. We have made no reference, for lack of space, to his treatment of chivalrous romance in Tristram of Lyonesse, which Mr. Swinburne has rightly called 'the deathless legend,' though, since its fascination has made it a subject for three other contemporary poets, a comparison of their diverse manners of handling the story would be interesting. It is with regret that we have been compelled, also, to refrain from any adequate notice of Mr. Swinburne's prose writings, for in regard to the poetry of his own period the dissertations and judgments of one who combines high imaginative faculty with scientific mastery of the metrical art must have special value. Of the ordinary untrained criticism, the 'chorus of indolent reviewers,' to use Tennyson's phrase, he is, we think, too impatient. From a passage in his Dedicatory Epistle we gather that some of the tribe have ventured so far as to insinuate that poetry ought not to become a mere musical exercise. Mr. Swinburne's rejoinder is that

'except to such ears as should always be closed against poetry, there is no music in verse which has not in it sufficient fulness and ripeness of meaning, sufficient adequacy of emotion or of thought, to abide the analysis of any other than the purblind scrutiny of prepossession or the squint-eyed inspection of malignity.'

Apart from the wrathful form, the substance of what is here said merits consideration, for undoubtedly the most musical of our poets, from Shakespeare and Milton to Coleridge and Shelley, are those whose verse has embodied the richest thought and has been instinct with the deeper emotions. We must muster up courage to remark, nevertheless, that while in Mr. Swinburne's finest poems the musical setting accompanies and illuminates the thought or feeling, in some others the underlying idea is too unsubstantial; its real presence is only visible to the eye of implicit faith. Toward his fellow poets, his equals and contemporaries, Mr. Swinburne's attitude is that of generous enthusiasm, not excluding outspoken, yet courteous, indication of defects, as may be seen in the essay on Matthew Arnold's New Poems, which is full of important observations on poetry in general, beside some well-deserved strictures on Arnold's shortcomings, in criticism as well as in verse. For Victor Hugo he has nothing but panegyric. His articles on Byron and Coleridge are luminous appreciations of the very diverse excellences belonging to two illustrious predecessors; while in his Notes on the Text of Shelley, high-soaring and incomparable, an unlucky emendation of a line in 'The Skylark—the insertion of a superfluous word conjecturally—by an editor whose work he commends on the whole, provokes him to sheer exasperation:

'For the conception of this atrocity the editor is not responsible; for its adoption he is. A thousand years of purgatorial fire would be insufficient expiation for the criminal on whose deaf and desperate head must rest the original guilt of defacing the text of Shelley with this damnable corruption.'

'Fas est et ab hoste doceri.' Mr. Swinburne has borrowed the style of sacerdotal anathema from his mortal enemies, and pronounces it no less inexorably. But these Notes were written nigh forty years ago, so we may hope that by this time he has cast out, or at least subdued by diligent exorcism, that same hyperbolic fiend which entered in and rent him at certain seasons of his youth.

Mr. Swinburne has, indeed, the defects of his qualities. He is an ardent friend and an unflinching adversary, but we have seen that in prose no less than in poetry, in polemics as in politics, his style is liable to become overheated and thunderous. He has no patience with mediocrity in art; he disdains the via media in thought and action. In these respects he stands alone among the Victorian poets, most of whom anticipate with misgivings the evaporation of faith in the supernatural, while they acknowledge that for themselves such faith has little meaning, and are inclined to melancholy musing over the 'doubtful doom of human kind' which haunted the imagination of Tennyson. And his attitude is still further apart from the intellectual tendencies discernible at the present moment in pure literature, which is now less concerned, we think, with these questions than when Mr. Arnold wrote Literature and Dogma, and seems more disposed to leave theology in the hands of the physical scientists and the professional metaphysicians. However this may be, it is to be seriously regretted that Mr. Swinburne's peremptory, unscrupulous manner of dealing with religious forms and beliefs which the world, perhaps, would not unwillingly let die, though by painless extinction rather than by violence, has alienated reverent minds from him, and has tarnished the brilliancy of his strenuous verse. The sensuous frenzy of his juvenile poems is still remembered against him; it betrayed a lack of moral dignity, of what the Greek poets, whom he so much admired, meant by the word [Greek: aidos]. But we very willingly acknowledge that of these excesses hardly a trace is to be found in the very numerous pieces that fill the later volumes of his collected poetry.

From these causes it has resulted that Mr. Swinburne does not, in our opinion, now hold the position or command the influence which would otherwise be accorded to one who may be reckoned the chief lyrical poet of the second half of the nineteenth century; for after the publication, in 1855, of Maud, Tennyson had passed his lyrical climax, and Mr. Swinburne's superiority, as a lyrist, over all other writers of that period is incontestable. His neo-paganism, moreover, jars upon the realistic modernity of a generation for whom primitive symbolism is obsolete as a form of expression, and whose prevailing thought is too profoundly rationalistic to be attracted by a pagan paradise. All this is to be regretted, since Mr. Swinburne undoubtedly has the pagan virtues. His aspirations are concentrated on ideals that ennoble the present life, on justice, inflexible courage, patriotism, the unsophisticated intelligence; he loves liberty and he hates oppression in all their shapes. He is throughout an optimist, who believes and predicts that a clearer and brighter prospect is before humanity. To Mr. Swinburne, in short, may be applied the words with which Matthew Arnold summed up his essay upon Heine: 'He is not an adequate interpreter of the modern world; he is a brilliant soldier in the liberation war of humanity.' And future generations may remember him as the poet who passed on to them the message of his spiritual forefather, Shelley:

'O man, hold thee on in courage of soul Through the stormy shades of thy worldly way; And the billows of clouds that round thee roll Shall sleep in the light of a wondrous day, When heaven and hell shall leave thee free To the universe of destiny.'