Are there no other poets in the crowd save Tennyson and Swinburne? God bless my soul, you don't suppose I am going to offend a whole mob of verse-writers—no other poets? Of course there are others! no end of others. Poets over-run our land even as the locusts over-ran Egypt, and they are all "as good, and a darned sight better," as the Yankees say, than either the Laureate or Algernon Charles, in their own opinion. Mark that last clause, please; it is important. The number of "poets" so styled by themselves is legion; only I, who am a rudely-opiniated and fastidious masquer, decline to recognise their clamorous claims to the deathless laurel. But this does not matter. Who cares what I either decline or accept? My opinions are "nothing to nobody." I only express them for my own satisfaction and amusement; I have no other good to gain thereby. As for the chance of offending the "poets" alluded to, I certainly care not a jot. I have no desire to please them in any way, as I consider most of them an offence and an obstruction in literature. Some people run away with the notion that Edwin Arnold (I give him the full glory of his "Sir" and C.S.I. elsewhere) is a poet. Certainly his books sell. The "Light of Asia," with all its best bits taken out of the original "Mahabhârata," is a perfect triumph of verse-making. All the religious ladies read it because it is so very unexciting and heavenly and harmless, and because, like all pious poetry, it preaches virtue that no one ever dreams of practising. It is a capital book for school prizes, too; it will not hurt any boy or girl to read it, and it may providentially check them in time from trying to write verse themselves. As for the "Light of the World," it will probably meet with the same success among the same class of readers, though it is much inferior to the "Light of Asia," owing to having no "Mahabhârata" in it. But Lewis Morris is quite as great a favourite with the "goodys" of society as Sir Edwin. The "goodys" don't know, and don't want to know, anything about Dante's "Inferno," and are therefore quite satisfied to accept "The Epic of Hades" as bonâ fide "original" matter,—and there are some "sweetly pretty" lines in "A Vision of Saints." Both productions are well adapted for gift-books, and will suit the taste of the demure provincial "misses" who wish to be discovered reading poetry under a shady tree what time the bachelor curate of the parish passeth by. All the same, I, who am a Nobody, decline to consider either Morris or Arnold poets. They are excellent verse-compilers though, and suit the tastes of those who do not care about either originality or inspiration.
I am nothing if not eccentric, and so I am disposed to place one Alfred C. Calmour among the poets. He has published no poems—he has only produced "poetical" plays, failures all, save "The Amber Heart," and he has been generally "sent to the right about" by persons with infinitely less brain than himself. It is curious to observe what spite and meanness waken in the manly breasts of certain of his fellows at the mere mention of his name. I spoke in praise of "The Amber Heart" on one occasion to a critical brother, and he at once said—"All filched out of Wills's waste-paper basket; he was Wills's secretary." "What of 'Cyrene'?" I asked. "Oh, I don't know anything about 'Cyrene'; but if there's anything good in it, depend upon it, it is stolen from Wills." I relapsed into silence, for I never thought and never shall think anything of Wills, whereas I do think something of Calmour. He is writing a drama, I hear, on "Dante and Beatrice," and I confess to anticipating it with intense interest. I want him to do as my dear friend Oscar Wilde has done—pulverise his enemies by a big success. And why? Because I hate to see a hard-working man "sat upon." And Calmour does work hard, lives hard too, and never complains or "girds" at fate, wherefore I venture to prophecy fame for him one of these days. I have been assured he is conceited. I have never found him so. Suppose he were, is conceit a singular fault in authors? Are we to believe that they are more boastfully disposed than actors, for instance?
"What do you think of Calmour?" I asked E. S. Willard on one occasion, when, in all the grave consciousness of "looking" Judah to the life, he stood beside me sipping convivial tea in Wilson Barrett's drawing-room.
"Think of Calmour?" he replied, with an inimitable air of self-sufficiency. "I never think of Calmour!"
Magnificent wind-bag assertiveness! but hopelessly unreasonable. Calmour is more worth thinking about than Willard, only Willard doesn't see it. The creator of a part merits greater consideration than the mime who performs it. I confess to being a lover of fair play, and when a lot of people try to "hustle" a man, I am disposed to fight for him. Anyway, Calmour has a clean and delicate pen, and does not pander to vulgar vice like that wretched old Scandinavian humbug, Ibsen. Why we should abuse Calmour and praise Ibsen passes my comprehension. Except that "foreign" scribblers are all "geniuses" with us at once—they must be, you know, simply because they are foreign; they have a "subtlety," a "flavour," an "ardour," a "naturalism," and—a Nastiness which is not the legitimate inheritance of the English School. Had any one of our own men dared to offer us a "Hedda Gabler," or a "Rosmersholm," or Maeterlinck's piece of bathos, "L'Intruse," he would have been shrieked and howled down with derisive laughter.
I often wonder what on earth the faddists of the poor old doddering, doting Athenæum mean by poking and prodding about for sparks of genius in their new "heavy man," William Watson? It is very funny to call him a poet—very funny, indeed. He is a sort of fifth-rate Wordsworth—and while we can just stand the sonnets and shorter poems of Wordsworth at first-hand, a diluted example of his pattern in these days is too much for our patience. I know a good many people—in fact, I meet in social intercourse nearly everybody worth knowing—but as yet I have come upon nobody who reads Watson's poems, or who appear to know anything about Watson. Curious, isn't it? The Athenæum seems to carry no conviction whatever to the Ass-public.
Messrs. Trübner sent to me some time ago a book of poems, which first surprised and then fascinated me into the belief that I had discovered an English Petrarch. I think I have, too. If absolute music, perfect rhythm, and exquisite wording of love-thoughts are Petrarchian, then my man is a Petrarch. His book is called "A Lover's Litanies," and the "litanies" are the poems. There are ten of them, and each one has a title borrowed from the old church missal—rather a quaint idea. It would be difficult to match the one called "Vox Amoris" among all the love-poems of the world. Does the dear old purblind Athenæum know anything about this real poet, who has perhaps not been "discovered" by Mr. Grant Allen or Andrew Lang? Cheer up, old Athenæum, put on thy spectacles, and look about for the author of these "Litanies," lest the outer world should say thou art napping! People are reading "A Lover's Litanies"—those people who do not know anything about William Watson.
Robert Louis Stevenson started as a "poet," I believe. Now he has become the "Thucydides of literature"—vide Pall Mall Gazette. Such nice, pretty classical names the Pall Mall discovers for its particular darlings. Has the Pall Mall read Thucydides? I rather doubt it. I have, and find no resemblance to Mr. Stevenson. And, truth to tell, I preferred Mr. Stevenson's past poetry to his present prose. Yet why should I murmur, remembering the sweet, sound slumber into which I fell over "The Wrecker"—that trying mixture of Marryat and Clark Russell. I think it is a capital story for schoolboys though, and that is why the Pall Mall admires it. I am not a schoolboy; the Pall Mall is; a dear, bright, gamesome, peg-top-and-marble creature, who thinks the greatest joke in life is to break a neighbour's window or ring a neighbour's bell, and then run away laughing. Its animal spirits are too delightfully boisterous for it to appreciate any sort of deep sentiment; a story of strong human passions, or a romance in which love has the most prevailing share, would not appeal to its unlessoned fancy. And, very naturally, it appreciates Stevenson, because he gives it no hard, uncomfortable life-problems to think about.
Another "poet" who calls himself so is Hall Caine. He says the "Scapegoat" is not so much a novel as a drama, and not so much a drama as a "poem." Very good indeed! Excellent fooling, upon my life. Hall Caine can be very funny if he likes, though you wouldn't think it to look at him. When he called his story of the "Bondman" a "New Saga," it was only his fun. His wit is quite irrepressible. Among other humorous things, he has had his portrait taken in a loose shirt and knickers, seated facing the bust of Shakespeare, like a day-labourer fronting the Sphynx. It is altogether refreshing to find a Lilliputian literary ephemera so entirely delighted with himself as Hall Caine. He is much more convinced of the intrinsic value of his own genius than Oscar Wilde, with less reason than Oscar for his conviction. Oscar is a really clever man; Hall Caine tries to be clever and does not succeed. Oscar is a born wit, moreover, and though he does crib a few bon-mots from Molière and a few paradoxes from Rochefoucauld, what does it matter for the English who do not understand French, and have to get "books of the words" in order to "follow" Sarah Bernhardt. Besides, Hall Caine borrows from the French also; the plot of his "Scapegoat" is taken from the French, so one of my critical friends assures me, and critics are always right. Francis Adams (also a "poet") "went" for Hall Caine not long ago in the Fortnightly—a regular good knock-down thrust it was, too. But Adams's prowess is of no avail in these things. The more you abuse a fellow, the more his books sell. The best way to utterly damn an author is to say that his novels are "nicely written," "prettily told," "harmless fiction," or "innocuous literature." If these phrases do not finish him off, nothing will. An original, powerful, passionate writer is always "slated," and always "sells." Witness the career of one Emile Zola. With all his faults, the man is a great poet; realism and romance unite in strange colours on his literary palette, and with his forceful brush he paints life in all its varied aspects fearlessly and without any regard for outside opinions. His one blemish is the blemish of the whole French nation—moral Nastiness. But if we talk of "poets" who, though making their bread-and-butter out of the writing of prose, still insist on belonging to the gods of Parnassus, none of the stringers of rhyme and jinglers of ballads, and weavers of "sagas" and the like, that afflict this enlightened and imaginative nation, could write such a true poem from end to end as "Le Rêve." Such consummate art, such unravelling of exquisite romance out of commonplace material, is not to be discovered in the English literary brain. The English literary brain is dull, lumpish, and heavy—the English literary worker is dominated by one idea, and that is, how much hard cash shall he get for his work? And thus it is that poets, real poets, are rarer than swallows in snow; so that is why I am slightly exercised in my mind respecting the Petrarch sort of minstrel I spoke of a while ago. He is unquestionably a poet, and seems to get on without any "booming." This strikes me as very odd. However, most of the "best" men go unboomed. No occasion to puff a good article. As for the pretended poets, countless as the sands of the sea, there is a great consolation in the reflection that in a few more years they will all be as though they never had been. Good old Posterity will know nothing about them, and herein Posterity is to be heartily congratulated. Poetical gnats must live like other gnats, I suppose—they are rather troublesome, and make a buzzing noise in one's ears, but as their whole existence lasts no more than a day, we must have patience till the sun sets.