In 1884 appeared Epigrams of Art, Life, and Nature. I do not think these have been sufficiently admired. As an epigrammatist Mr. Watson has no rival in Victorian or in contemporary verse. The epigram is a quite definite form of art, especially cultivated by the poets in the first half of the seventeenth century. Their formula the terse expression of obscene thoughts. Mr. Watson excels the best of them in wit, concision, and grace; it is needless to say he makes no attempt to rival them as a garbage-collector. Of the large number of epigrams that he has contributed to English literature, I find the majority not only interesting, but richly stimulating. This one ought to please Mr. H. G. Wells:
When whelmed are altar, priest, and creed;
When all the faiths have passed;
Perhaps, from darkening incense freed,
God may emerge at last.
This one, despite its subject, is far above doggerel:
His friends he loved. His direst earthly foes—
Cats—believe he did but feign to hate.
My hand will miss the insinuated nose,
Mine eyes the tail that wagg'd contempt at fate.
But his best epigrams are on purely literary themes:
Your Marlowe's page I close, my Shakespeare's ope.
How welcome—after gong and cymbal's din—
The continuity, the long slow slope
And vast curves of the gradual violin!
With the publication in 1890 of his masterpiece, Wordsworth's Grave, William Watson came into his own. This is worthy of the man it honours, and what higher praise could be given? It is superior, both in penetration and in beauty, to Matthew Arnold's famous Memorial Verses. Indeed, in the art of writing subtle literary criticism in rhythmical language that is itself high and pure poetry, Mr. Watson is unapproachable by any of his contemporaries, and I do not know of any poet in English literature who has surpassed him. This is his specialty, this is his clearest title to permanent fame. And although his criticism is so valuable, when employed on a sympathetic theme, that he must be ranked among our modern interpreters of literature, his style in expressing it could not possibly be translated into prose, sure test of its poetical greatness. In his Apologia, he says
I have full oft
In singers' selves found me a theme of song,
Holding these also to be very part
Of Nature's greatness, and accounting not
Their descants least heroical of deeds.
The poem Wordsworth's Grave not only expresses, as no one else has expressed, the quality of Wordsworth's genius, but in single lines assigned to each, the same service is done for Milton, Shakespeare, Shelley, Coleridge, and Byron. This is a matchless illustration of the kind of criticism that is in itself genius; for we may quarrel with Mr. Spingarn as much as we please on his general dogmatic principle of the identity of genius and taste; here we have so admirable an example of what he means by creative criticism, that it is a pity he did not think of it himself. "For it still remains true," says Mr. Spingarn, "that the aesthetic critic, in his moments of highest power, rises to heights where he is at one with, the creator whom he is interpreting. At that moment criticism and 'creation' are one."
All great poets have the power of noble indignation, a divine wrath against wickedness in high places. The poets, like the prophets of old, pour out their irrepressible fury against what they believe to be cruelty and oppression. Milton's magnificent Piedmont sonnet is a glorious roar of righteous rage; and since his time the poets have ever been the spokesmen for the insulted and injured. Robert Burns, more than most statesmen, helped to make the world safe for democracy. I do not know what humanity would do without its poets—they are the champions of the individual against the tyranny of power, the cruel selfishness of kings, and the artificial conventions of society. We may or may not agree with Mr. Watson's anti-imperialistic sentiments as expressed in the early days of our century, he himself, like most of us, has changed his mind on many subjects since the outbreak of the world-war, and unless he ceases to develop, will probably change it many times in the future. But whatever our opinions, we cannot help admiring lines like these, published in 1897: