I suppose thousands upon thousands of persons possessed of what our great-grandfathers used to call "sensibility," have felt at eventide, when alone in certain spots, a kind of subduing awe, as if some great spirit-existence pervading all nature were laying a solemn hush upon the world. In various degrees one here and one there can express that feeling, but how many can express it as simply and yet effectually as Wordsworth does:—
It is a beauteous evening, calm and free;
The holy time is quiet as a nun
Breathless with adoration; the broad sun
Is sinking down in its tranquillity;
The gentleness of heaven broods o'er the sea:
Listen! the mighty Being is awake,
And doth with his eternal motion make
A sound like thunder—everlastingly!
To express and body forth: there is room for the manifestation of this prime literary gift in all sort of subjects. It may be shown in a fable of Æsop, in Robinson Crusoe, in a children's story, in Mark Twain's boyish experiences on the Mississippi, in a Barrack-room Ballad of Rudyard Kipling, in Thackeray's Esmond, in Shelley's Ode to a Skylark, in either a comedy of Shakespeare or his Hamlet, in a sonnet of Dante's Vita Nuova or in his Inferno. Æsop's communication of his point of view is final. So is Defoe's communication of mental pictures. So is Mark Twain's of that Mississippi pilotage. So is Kipling's in his Drums of the Fore and Aft, or his Mandalay. These men are all admirable literary artists in their own domains. Each fulfils all that is demanded of his art. If we could keep this fact clearly before us, our judgments of writers might be more discriminating. Do we think Kipling possessed of an extraordinary degree of the literary gift? Who could think otherwise, seeing that he can effect exactly what he sets out to effect by means of words? His scenes and his thoughts—such as they are—start forth living before us. But do we then think a Kipling proved equal to a Shakespeare in sheer excellence of his gift? That is another question. The things which Shakespeare realizes and expresses demand powers of realization and expression more far-reaching and more subtle than are required by those things to which a Kipling gives shape and form. In Shakespeare are multitudes of deep and rare reflections, vivid imaginings, penetrations of sympathy and insight, and all so clearly crystallized, with such apparent ease, that they become ours at once, as if they were natural to us. His communication of the most subtle states of mind is complete. But in a Kipling we cannot pretend that there is infinite subtlety and elusiveness, that there is a cosmic condensing of a whole nebula of spiritual experience. His task was less hard.
And what then of Homer? Can we call his task a difficult one? Is he, too, full of infinitely delicate or far-reaching thoughts and feelings? No. But his aim is to reproduce all the freshness and breeziness of a fresh and breezy atmosphere, to make us live again amid all that simple wholesome strenuousness of the childhood of the western world. That, too, is exceedingly elusive, and almost impossible to catch—immeasurably more difficult than all those coarsely, if strenuously, marked characteristics of the British soldier and other bold figures on the canvas of Kipling.
That, I believe, is the right attitude to assume, when we endeavour to measure the literary power of one writer against that of another—if we must do such a thing at all. It is not the morality or non-morality, the importance or non-importance, the beauty or ugliness, inherent in what is said, which determine the degree of the literary gift. It is rather the relative elusiveness of the thing said, the difficulty of surrounding it, of condensing it, of giving it perfect body, and communicating it in that body. And that is why it is an error to put, let us say Gray, in the foremost rank of literary artists. How well he does this thing! But was it, after all, so transcendently difficult to do?
The vaguer, the deeper, the more comprehensive, the subtler the thought or feeling or fancy, the greater demand is there upon the literary power. One can say no more. It is as in sculpture, which finds it infinitely easier to give embodiment to straining muscles and an agonized face than to carve a statue in perfect restful beauty and with a countenance of benign and strong tranquillity.
Ask a hundred people to write about the spring—simply to describe it with its sights and sounds and odours—and most of them can perform the task more or less well. Ask them to bring home the physical and emotional influence of spring, and many of those who feel that influence most keenly will give up the task. And then comes Chaucer with his few touches, his "blissful briddes" and "fressche flowres," and tells us how "full is my heart of revel and solace," and behold! the passage breathes to the reader's heart the very spirit of youth and springtide.
A simple statement of a simple fact calls for no "literary" gift. A description of externals demands some, but not often a great, degree of it. A thought or feeling, which is suggested by the fact or object, may require either little or much in proportion as the thought or feeling is fine and fugitive. But a mood induced by the thought or feeling generally demands the gift in its highest degree. "A primrose by the river's brim," whether "a yellow primrose 'tis to him," or a dicotyledon, may be outwardly described more and less well; but we require for that purpose only the rudiments of literary prose. But, next, there is the pure and appealing beauty of the flower; and that evokes gathering recognitions of the beauty of nature and its grace to us. Then upon this there steals a feeling of exhilaration in the glad and gay atmosphere of the re-awakening world; and this, again, may open into a whole vista of recollections far back from childhood; and so the result may be one of many moods. We have all this time been brought up a sort of gradient of literary difficulty; and he is the supreme of supreme literary artists who can body forth the most subtle of all these thoughts and moods.
Let me illustrate. Take for the purpose of contrast this passage of purely external description from Cowper:—