[SECTION V.—Wherein Lies the Strength of the Poetry of this Period]
Sidney was only a soldier in an army; there is a multitude about him, a multitude of poets. In fifty-two years, without counting the drama, two hundred and thirty-three are enumerated,[329] of whom forty have genius or talent: Breton, Donne, Drayton, Lodge, Greene, the two Fletchers, Beaumont, Spenser, Shakespeare, Ben Jonson, Marlowe, Wither, Warner, Davison, Carew, Suckling, Herrick; we should grow tired in counting them. There is a crop of them, and so there is at the same time in Catholic and heroic Spain; and as in Spain it was a sign of the times, the mark of a public want, the index to an extraordinary and transient condition of the mind. What is this condition which gives rise to so universal a taste for poetry? What is it breathes life into their books? How happens it that amongst the least, in spite of pedantries, awkwardnesses, in the rhyming chronicles or descriptive cyclopedias, we meet with brilliant pictures and genuine love-cries? How happens it that when this generation was exhausted, true poetry ended in England, as true painting in Italy and Flanders? It was because an epoch of the mind came and passed away—that, namely, of instinctive and creative conception. These men had new senses, and no theories in their heads. Thus, when they took a walk, their emotions were not the same as ours. What is sunrise to an ordinary man? A white smudge on the edge of the sky, between bosses of clouds, amid pieces of land, and bits of road, which he does not see because he has seen them a hundred times. But for them, all things have a soul; I mean that they feel within themselves, indirectly, the uprising and severance of the outlines, the power and contrast of tints, the sad or delicious sentiment, which breathes from this combination and union like a harmony or a cry. How sorrowful is the sun, as he rises in a mist above the sad sea-furrows; what an air of resignation in the old trees rustling in the night rain; what a feverish tumult in the mass of waves, whose dishevelled locks are twisted forever on the surface of the abyss! But the great torch of heaven, the luminous god, emerges and shines; the tall, soft, pliant herbs, the evergreen meadows, the expanding roof of lofty oaks—the whole English landscape, continually renewed and illumined by the flooding moisture, diffuses an inexhaustible freshness. These meadows, red and white with flowers, ever moist and ever young, slip off their veil of golden mist, and appear suddenly, timidly, like beautiful virgins. Here is the cuckoo-flower, which springs up before the coming of the swallow; there the hare-bell, blue as the veins of a woman; the marigold, which sets with the sun, and, weeping, rises with him. Drayton, in his "Polyolbion," sings
"Then from her burnisht gate the goodly glittring East
Guilds every lofty top, which late the humorous Night
Bespangled had with pearle, to please the Mornings sight;
On which the mirthfull Quires, with their cleere open throats,
Unto the joyfull Morne so straine their warbling notes,
That Hills and Valleys ring, and even the ecchoing Ayre
Seemes all compos'd of sounds, about them everywhere....
Thus sing away the Morne, untill the mounting Sunne,
Through thick exhaled fogs, his golden head hath runne,
And through the twisted tops of our close Covert creeps,
To kiss the gentle Shade, this while that sweetly sleeps."[330]
A step further, and you will find the old gods reappear. They reappear, these living gods—these living gods mingled with things which you cannot help meeting as soon as you meet nature again. Shakespeare, in the "Tempest," sings:
"Ceres, most bounteous lady thy rich leas
Of wheat, rye, barley, vetches, oats, and pease;
Thy turfy mountains, where live nibbling sheep,
And flat meads thatch'd with stover, them to keep;
Thy banks with peoned and lilied brims,
Which spongy April at thy hest betrims,
To make cold nymphs chaste crowns...
Hail, many-colour'd messenger (Iris)...
Who, with thy saffron wings, upon my flowers
Diffusest honey-drops, refreshing showers,
And with each end of thy blue bow dost crown
My bosky acres and my unshrubb'd down."[331]
In "Cymbeline" he says:
"They are as gentle as zephyrs, blowing below the violet.
Not wagging his sweet head."[332]
Greene writes:
"When Flora, proud in pomp of all her flowers,
Sat bright and gay,
And gloried in the dew of Iris' showers,
And did display
Her mantle chequered all with gaudy green."[333]
The same author also says: