One friend was left, a falcon, famed for beauty, skill and size,Kept from his fortune's ruin, for the sake of its great eyes.
One friend was left, a falcon, famed for beauty, skill and size,Kept from his fortune's ruin, for the sake of its great eyes.
One friend was left, a falcon, famed for beauty, skill and size,
Kept from his fortune's ruin, for the sake of its great eyes.
All sense, not merely of the delicacy, but of the correctness of rhythm, seems to have left him suddenly, without warning.
And then, the straightening and tightening of the bonds of metre having had its due effect, an unprecedented thing occurred. In theOdesof 1868, absorbed finally intoThe Unknown Erosof 1877, the iambic metre is still used; but with what a new freedom, and at the summons of how liberating an inspiration! At the same time Patmore's substance is purged and his speech loosened, and, in throwing off that burden of prose stuff which had tied down the very wings of his imagination, he findshimself rising on a different movement. Never was a development in metre so spiritually significant.
In spite of Patmore's insistence to the contrary, as in the letter which I have already quoted, there is no doubt that the difference betweenThe Angel in the HouseandThe Unknown Erosis the difference between what is sometimes poetry in spite of itself, and what is poetry alike in accident and essence. In all his work before theOdesof 1868, Patmore had been writing down to his conception of what poetry ought to be; when, through I know not what suffering, or contemplation, or actual inner illumination, his whole soul had been possessed by this new conception of what poetry could be, he began to write as finely, and not only as neatly, as he was able. The poetry which came, came fully clothed, in a form of irregular but not lawless verse, which Mr. Gosse states was introduced into English by thePindarique Odesof Cowley, but which may be more justly derived, as Patmore himself, in one of his prefaces, intimates, from an older and more genuine poet, Drummond of Hawthornden.
Mr. Gosse is cruel enough to say that Patmore had 'considerable affinities' with Cowley, and that 'when Patmore is languid and Cowley is unusually felicitous, it is difficult to see much difference in the form of their odes.' But Patmore, in his essay on metre, has said,
If there is not sufficient motive power of passionate thought, no typographical aids will make anything of this sort of verse but metrical nonsense—which it nearly always is—even in Cowley, whose brilliant wit and ingenuity are strangely out of harmony with most of his measures;
If there is not sufficient motive power of passionate thought, no typographical aids will make anything of this sort of verse but metrical nonsense—which it nearly always is—even in Cowley, whose brilliant wit and ingenuity are strangely out of harmony with most of his measures;
and it seems to me that he is wholly right in saying so. The difference between the two is an essential one. In Patmore the cadence follows the contours of the thought or emotion, like a transparent garment; in Cowley the form is a misshapen burden, carried unsteadily. It need not surprise us that to the ears of Cowley (it is he who tells us) the verse of Pindar should have sounded 'little better than prose.' The fault of his own 'Pindarique' verse is that it is so much worse than prose. The pauses in Patmore, left as they are to be a kind of breathing, or pause for breath, may not seem to beeverywhere faultless to all ears; but theyarethe pauses in breathing, while in Cowley the structure of his verse, when it is irregular, remains as external, as mechanical, as the couplets of theDavideis.
Whether Patmore ever acknowledged it or no, or indeed whether [says Mr. Gosse] the fact has ever been observed, I know not, but the true analogy of theOdesis with the Italian lyric of the early Renaissance. It is in the writings of Petrarch and Dante, and especially in theCanzoniereof the former, that we must look for examples of the source of Patmore's later poetic form.
Whether Patmore ever acknowledged it or no, or indeed whether [says Mr. Gosse] the fact has ever been observed, I know not, but the true analogy of theOdesis with the Italian lyric of the early Renaissance. It is in the writings of Petrarch and Dante, and especially in theCanzoniereof the former, that we must look for examples of the source of Patmore's later poetic form.
Here again, while there may be a closer 'analogy,' at least in spirit, there is another, and even clearer difference in form. The canzoni of Petrarch are composed in stanzas of varying, but in each case uniform, length, and every stanza corresponds precisely in metrical arrangement with every other stanza in the same canzone. In English theEpithalamionand theProthalamionof Spenser (except for their refrain) do exactly what Petrarch had done in Italian; and whatever further analogy there may be between the spirit of Patmore's writing and that of Spenser in these two poems, the formis essentially different. The resemblance withLycidasis closer, and closer still with the poems of Leopardi, though Patmore has not followed the Italian habit of mingling rhymed and non-rhymed verse, nor did he ever experiment, like Goethe, Heine, Matthew Arnold, and Henley, in wholly unrhymed irregular lyrical verse.
Patmore's endeavour, inThe Unknown Eros, is certainly towards a form ofvers libre, but it is directed only towards the variation of the normal pause in the normal English metre, the iambic 'common time,' and is therefore as strictly tied by law as a metre can possibly be when it ceases to be wholly regular. Verse literally 'free,' as it is being attempted in the present day in France, every measure being mingled, and the disentangling of them left wholly to the ear of the reader, has indeed been attempted by great metrists in many ages, but for the most part only very rarely and with extreme caution. The warning, so far, of all these failures, or momentary half-successes, is to be seen in the most monstrous and magnificent failure of the nineteenth century, theLeaves of Grassof Walt Whitman. Patmorerealised that without law there can be no order, and thus no life; for life is the result of a harmony between opposites. For him, cramped as he had been by a voluntary respect for far more than the letter of the law, the discovery of a freer mode of speech was of incalculable advantage. It removed from him all temptation to that 'cleverness' which Mr. Gosse rightly finds in the handling of 'the accidents of civilised life,' the unfortunate part of his subject-matter inThe Angel in the House; it allowed him to abandon himself to the poetic ecstasy, which in him was almost of the same nature as philosophy, without translating it downward into the terms of popular apprehension; it gave him a choice, formal, yet flexible means of expression for his uninterrupted contemplation of divine things.
1906.
It was at my persuasion thatThe Golden Thresholdwas published. The earliest of the poems were read to me in London in 1896, when the writer was seventeen; the later ones were sent to me from India in 1904, when she was twenty-five; and they belong, I think, almost wholly to those two periods. As they seemed to me to have an individual beauty of their own, I thought they ought to be published. The writer hesitated. 'Your letter made me very proud and very sad,' she wrote. 'Is it possible that I have written verses that are "filled with beauty," and is it possible that you really think them worthy of being given to the world? You know how high my ideal of Art is; and to me my poor casual little poems seem to be less than beautiful—I mean with that final enduring beauty that I desire.' And, in another letter, she writes: 'I am not a poetreally. I have the vision and the desire, but not the voice. If I could write just one poem full of beauty and the spirit of greatness, I should be exultantly silent for ever; but I sing just as the birds do, and my songs are as ephemeral.' It is for this bird-like quality of song, it seems to me, that they are to be valued. They hint, in a sort of delicately evasive way, at a rare temperament, the temperament of a woman of the East, finding expression through a Western language and under partly Western influences. They do not express the whole of that temperament; but they express, I think, its essence; and there is an Eastern magic in them.
Sarojini Chattopâdhyây was born at Hyderabad on February 13, 1879. Her father, Dr. Aghorenath Chattopâdhyây, is descended from the ancient family of Chattorajes of Bhramangram, who were noted throughout Eastern Bengal as patrons of Sanskrit learning, and for their practice of Yoga. He took his degree of Doctor of Science at the University of Edinburgh in 1877, and afterwards studied brilliantly at Bonn. On his return to India he founded the NizamCollege at Hyderabad, and has since laboured incessantly, and at great personal sacrifice, in the cause of education.
Sarojini was the eldest of a large family, all of whom were taught English at an early age. 'I,' she writes, 'was stubborn and refused to speak it. So one day, when I was nine years old, my father punished me—the only time I was ever punished—by shutting me in a room alone for a whole day. I came out of it a full-blown linguist. I have never spoken any other language to him, or to my mother, who always speaks to me in Hindustani. I don't think I had any special hankering to write poetry as a little child, though I was of a very fanciful and dreamy nature. My training under my father's eye was of a sternly scientific character. He was determined that I should be a great mathematician or a scientist, but the poetic instinct, which I inherited from him and also from my mother (who wrote some lovely Bengali lyrics in her youth), proved stronger. One day, when I was eleven, I was sighing over a sum in algebra; itwouldn'tcome right; but instead a whole poem came to me suddenly. I wrote it down.
'From that day my "poetic career" began. At thirteen I wrote a long poemà la"Lady of the Lake"—1300 lines in six days. At thirteen I wrote a drama of 2000 lines, a full-fledged passionate thing that I began on the spur of the moment, without forethought, just to spite my doctor, who said I was very ill and must not touch a book. My health broke down permanently about this time, and, my regular studies being stopped, I read voraciously. I suppose the greater part of my reading was done between fourteen and sixteen. I wrote a novel, I wrote fat volumes of journals: I took myself very seriously in those days.'
Before she was fifteen the great struggle of her life began. Dr. Govindurajulu Naidu, now her husband, is, though of an old and honourable family, not a Brahmin. The difference of caste roused an equal opposition, not only on the side of her family, but of his; and in 1895 she was sent to England, against her will, with a special scholarship from the Nizam. She remained in England, with an interval of travel in Italy, till 1898, studying first at King's College, London, then, till her health again broke down, atGirton. She returned to Hyderabad in September 1898, and in the December of that year, to the scandal of all India, broke through the bonds of caste, and married Dr. Naidu. 'Do you know I have some very beautiful poems floating in the air,' she wrote to me in 1904; 'and if the gods are kind I shall cast my soul like a net and capture them, this year. If the gods are kind—and grant me a little measure of health. It is all I need to make my life perfect, for the very "Spirit of Delight" that Shelley wrote of dwells in my little home; it is full of the music of birds in the garden and children in the long-arched verandah.' There are songs about the children in this book; they are called the Lord of Battles, the Sun of Victory, the Lotus-born, and the Jewel of Delight.
'My ancestors for thousands of years,' I find written in one of her letters, 'have been lovers of the forest and mountain caves, great dreamers, great scholars, great ascetics. My father is a dreamer himself, a great dreamer, a great man whose life has been a magnificent failure. I suppose in the whole of India there are few men whoselearning is greater than his, and I don't think there are many men more beloved. He has a great white beard, and the profile of Homer, and a laugh that brings the roof down. He has wasted all his money on two great objects: to help others, and on alchemy. He holds huge courts every day in his garden of all the learned men of all religions—Rajahs and beggars and saints, and downright villains, all delightfully mixed up, and all treated as one. And then his alchemy! Oh dear, night and day the experiments are going on, and every man who brings a new prescription is welcome as a brother. But this alchemy is, you know, only the material counterpart of a poet's craving for Beauty, the eternal Beauty. "The makers of gold and the makers of verse," they are the twin creators that sway the world's secret desire for mystery; and what in my father is the genius of curiosity—the very essence of all scientific genius—in me is the desire for beauty. Do you remember Pater's phrase about Leonardo da Vinci, "curiosity and the desire of beauty"?'
It was the desire of beauty that made hera poet; her 'nerves of delight' were always quivering at the contact of beauty. To those who knew her in England, all the life of the tiny figure seemed to concentrate itself in the eyes; they turned towards beauty as the sunflower turns towards the sun, opening wider and wider until one saw nothing but the eyes. She was dressed always in clinging dresses of Eastern silk, and, as she was so small, and her long black hair hung straight down her back, you might have taken her for a child. She spoke little, and in a low voice, like gentle music; and she seemed, wherever she was, to be alone.
Through that soul I seemed to touch and take hold upon the East. And first there was the wisdom of the East. I have never known any one who seemed to exist on such 'large draughts of intellectual day' as this child of seventeen, to whom one could tell all one's personal troubles and agitations, as to a wise old woman. In the East maturity comes early; and this child had already lived through all a woman's life. But there was something else, something hardly personal, something which belonged to aconsciousness older than the Christian, which I realised, wondered at, and admired, in her passionate tranquillity of mind, before which everything mean and trivial and temporary caught fire and burnt away in smoke. Her body was never without suffering, or her heart without conflict; but neither the body's weakness nor the heart's violence could disturb that fixed contemplation, as of Buddha on his lotus-throne.
And along with this wisdom, as of age or of the age of a race, there was what I can hardly call less than an agony of sensation. Pain or pleasure transported her, and the whole of pain or pleasure might be held in a flower's cup or the imagined frown of a friend. It was never found in those things which to others seemed things of importance. At the age of twelve she passed the Matriculation of the Madras University, and awoke to find herself famous throughout India. 'Honestly,' she said to me, 'I was not pleased; such things did not appeal to me.' But here, in a letter from Hyderabad, bidding one 'share a March morning' with her, there is, at the mere contact of the sun, this outburst: 'Come and share my exquisiteMarch morning with me: this sumptuous blaze of gold and sapphire sky; these scarlet lilies that adorn the sunshine; the voluptuous scents of neem and champak and serisha that beat upon the languid air with their implacable sweetness; the thousand little gold and blue and silver breasted birds bursting with the shrill ecstasy of life in nesting time. All is hot and fierce and passionate, ardent and unashamed in its exulting and importunate desire for life and love. And, do you know that the scarlet lilies are woven petal by petal from my heart's blood, these little quivering birds are my soul made incarnate music, these heavy perfumes are my emotions dissolved into aerial essence, this flaming blue and gold sky is the "very me," that part of me that incessantly and insolently, yes, and a little deliberately, triumphs over that other part—a thing of nerves and tissues that suffers and cries out, and that must die to-morrow perhaps, or twenty years hence.'
Then there was her humour, which was part of her strange wisdom, and was always awake and on the watch. In all her letters,written in exquisite English prose, but with an ardent imagery and a vehement sincerity of emotion which make them, like the poems, indeed almost more directly, un-English, Oriental, there was always this intellectual, critical sense of humour, which could laugh at one's own enthusiasm as frankly as that enthusiasm had been set down. And partly the humour, like the delicate reserve of her manner, was a mask or a shelter. 'I have taught myself,' she writes to me from India, 'to be commonplace and like everybody else superficially. Every one thinks I am so nice and cheerful, so "brave," all the banal things that are so comfortable to be. My mother knows me only as "such a tranquil child, but so strong-willed." A tranquil child!' And she writes again, with deeper significance: 'I too have learnt the subtle philosophy of living from moment to moment. Yes, it is a subtle philosophy though it appears merely an epicurean doctrine: "Eat, drink, and be merry, for to-morrow we die." I have gone through so many yesterdays when I strove with Death that I have realised to its full the wisdom of that sentence; and it is to me not merely a figure of speech,but a literal fact. Any to-morrow I might die. It is scarcely two months since I came back from the grave: is it worth while to be anything but radiantly glad? Of all things that life or perhaps my temperament has given me I prize the gift of laughter as beyond price.'
Her desire, always, was to be 'a wild free thing of the air like the birds, with a song in my heart.' A spirit of too much fire in too frail a body, it was rarely that her desire was fully granted. But in Italy she found what she could not find in England, and from Italy her letters are radiant. 'This Italy is made of gold,' she writes from Florence, 'the gold of dawn and daylight, the gold of the stars, and, now dancing in weird enchanting rhythms through this magic month of May, the gold of fireflies in the perfumed darkness—"aerial gold." I long to catch the subtle music of their fairy dances and make a poem with a rhythm like the quick irregular wild flash of their sudden movements. Would it not be wonderful? One black night I stood in a garden with fireflies in my hair like darting restless stars caught in a mesh of darkness. It gave mea strange sensation, as if I were not human at all, but an elfin spirit. I wonder why these little things move me so deeply? It is because I have a most "unbalanced intellect," I suppose.' Then, looking out on Florence, she cries, 'God! how beautiful it is, and how glad I am that I am alive to-day!' And she tells me that she is drinking in the beauty like wine, 'wine, golden and scented, and shining, fit for the gods; and the gods have drunk it, the dead gods of Etruria, two thousand years ago. Did I say dead? No, for the gods are immortal, and one might still find them loitering in some solitary dell on the grey hillsides of Fiesole. Have I seen them? Yes, looking with dreaming eyes, I have found them sitting under the olives, in their grave, strong, antique beauty—Etruscan gods!'
In Italy she watches the faces of the monks, and at one moment longs to attain to their peace by renunciation, longs for Nirvana; 'then, when one comes out again into the hot sunshine that warms one's blood, and sees the eager hurrying faces of men and women in the street, dramatic faces over which the disturbing experiences of lifehave passed and left their symbols, one's heart thrills up into one's throat. No, no, no, a thousand times no! how can one deliberately renounce this coloured, unquiet, fiery human life of the earth?' And, all the time, her subtle criticism is alert, and this woman of the East marvels at the women of the West, 'the beautiful worldly women of the West,' whom she sees walking in the Cascine, 'taking the air so consciously attractive in their brilliant toilettes, in the brilliant coquetry of their manner!' She finds them 'a little incomprehensible,' 'profound artists in all the subtle intricacies of fascination,' and asks if these 'incalculable frivolities and vanities and coquetries and caprices' are, to us, an essential part of their charm? And she watches them with amusement as they flutter about her, petting her as if she were a nice child, a child or a toy, not dreaming that she is saying to herself sorrowfully: 'How utterly empty their lives must be of all spiritual beautyifthey are nothing more than they appear to be.'
She sat in our midst, and judged us, and few knew what was passing behind that face'like an awakening soul,' to use one of her own epithets. Her eyes were like deep pools, and you seemed to fall through them into depths below depths.
1905.
There is certainly a reason for at least suggesting to those who concern themselves, for good or evil, with Celtic literature, what Celtic literature really is when it is finest; what a 'reaction against the despotism of fact' really means; what 'natural magic' really means, and why the phrase 'Celtic glamour' is perhaps the most unfortunate that could well have been chosen to express the character of a literature which is above all things precise, concrete, definite.
Lamartine, in the preface to theMéditations, describes the characteristics of Ossian, very justly, asle vague, la rêverie, l'anéantissement dans la contemplation, le regard fixé sur des apparitions confuses dans le lointain; and it is those very qualities, still looked upon by so many as the typically Celtic qualities, which prove the spuriousness of Ossian. That gaze fixed on formless anddistant shadows, that losing of oneself in contemplation, that vague dreaminess, which Lamartine admired in Ossian, will be found nowhere in theBlack Book of Carmarthen, in theBook of Taliesin, in theRed Book of Hergest, however much a doubtful text, uncertain readings, and confusing commentators may leave us in uncertainty as to the real meaning of many passages. Just as the true mystic is the man who sees obscure things clearly, so the Welsh poets (whom I take for the moment as representing the 'Celtic note,' the quality which we find in the work of primitive races) saw everything in the universe, the wind itself, under the images of mortality, hands and feet and the ways and motions of men. They filled human life with the greatness of their imagination, they ennobled it with the pride of their expectancy of noble things, they were boundless in praising and in cursing; but poetical excitement, in them, only taught them the amplitude and splendour of real things. A chief is an eagle, a serpent, the bull of battle, an oak; he is the strength of the ninth wave, an uplifted pillar of wrath, impetuous as the fire through achimney; the ruddy reapers of war are his desire. The heart of Cyndyllan was like the ice of winter, like the fire of spring; the horses of Geraint are ruddy ones, with the assault of spotted eagles, of black eagles, of red eagles, of white eagles; an onset in battle is like the roaring of the wind against the ashen spears. These poets are the poets of 'tumults, shouting, swords, and men in battle-array.' The sound of battle is heard in them; they are 'where the ravens screamed over blood'; they are among 'crimsoned hair and clamorous sorrow'; they praise 'war with the shining wing,' and they know all the piteousness of the death of heroes, the sense of the 'delicate white body,' 'the lovely, slender, blood-stained body,' that will be covered with earth, and sand, and stones, and nettles, and the roots of the oak. They know too the piteousness of the hearth left desolate, the hearth that will be covered with nettles, and slender brambles, and thorns, and dock-leaves, and scratched up by fowls, and turned up by swine. And they praise the gentleness of strength and courage: 'he was gentle, with a hand eager for battle.' Women are knownchiefly as the widows and the 'sleepless' mothers of heroes; rarely so much esteemed as to be a snare, rarely a desire, rarely a reward; 'a soft herd.' They praise drunkenness for its ecstasy, its uncalculating generosity, and equal with the flowing of blood in battle, and the flowing of mead in the hall, is the flowing of song. They have the haughtiness of those who, if they take rewards, 'ale for the drinking, and a fair homestead, and beautiful clothing,' give rewards: 'I am Taliesin, who will repay thee thy banquet.'
And they have their philosophy, always a close, vehemently definite thing, crying out for precise images, by which alone it can apprehend the unseen. Taliesin knows that 'man is oldest when he is born, and is younger and younger continually.' He wonders where man is when he is sleeping, and where the night waits until the passing of day. He is astonished that books have not found out the soul, and where it resides, and the air it breathes, and its form and shape. He thinks, too, of the dregs of the soul, and debates what is the best intoxication for its petulance and wonder andmockery. And, in a poem certainly late, or interpolated with fragments of a Latin hymn, he uses the eternal numeration of the mystics, and speaks of 'the nine degrees of the companies of heaven, and the tenth, saints a preparation of sevens'; numbers that are 'clean and holy.' And even in poems plainly Christian there is a fine simplicity of imagination; as when, at the day of judgment, an arm reaches out, and hides the sea and the stars; or when Christ, hanging on the cross, laments that the bones of his feet are stretched with extreme pain.
It is this sharp physical apprehension of things that really gives its note to Welsh poetry; a sense of things felt and seen, so intense, that the crutch on which an old man leans becomes the symbol of all the bodily sorrow of the world. In the poem attributed to Llywarch Hen there is a fierce, loud complaint, in which mere physical sickness and the intolerance of age translate themselves into a limitless hunger, and into that wisdom which is the sorrowful desire of beauty. The cuckoos at Aber Cuawg, singing 'clamorously' to the sick man: 'there are that hear them that will nothear them again!' the sound of the large wave grating sullenly on the pebbles,—
The birds are clamorous; the strand is wet:Clear is the sky; large the wave:The heart is palsied with longing:
The birds are clamorous; the strand is wet:Clear is the sky; large the wave:The heart is palsied with longing:
The birds are clamorous; the strand is wet:
Clear is the sky; large the wave:
The heart is palsied with longing:
all these bright, wild outcries, in which wind and wave and leaves and the song of the cuckoo speak the same word, as if all came from the same heart of things; and, through it all, the remembrance: 'God will not undo what he is doing'; have indeed, and supremely, the 'Celtic note.' 'I love the strand, but I hate the sea,' says theBlack Book of Carmarthen, and in all these poems we find a more than mediæval hatred of winter and cold (so pathetic, yet after all so temperate, in the Latin students' songs), with a far more unbounded hatred of old age and sickness and the disasters which are not bred in the world, but are a blind part of the universe itself; older than the world, as old as chaos, out of which the world was made.
Yet, wild and sorrowful as so much of this poetry is, with its praise of slaughter and its lament over death, there is much also ofa gentle beauty, a childlike saying over of wind and wave and the brightness in the tops of green things, as a child counts over its toys. In the 'Song of Pleasant Things' there is no distinction between the pleasantness of sea-gulls playing, of summer and slow long days, of the heath when it is green, of a horse with a thick mane in a tangle, and of 'the word that utters the Trinity.' 'The beautiful I sang of, I will sing,' says Taliesin; and with him the seven senses become in symbol 'fire and earth, and water and air, and mist and flowers, and southerly wind.' And touches of natural beauty come irrelevantly into the most tragical places, like the 'sweet apple-tree of delightful branches' in that song of battles and of the coming of madness, where Myrddin says: 'I have been wandering so long in darkness and among spirits that it is needless now for darkness and spirits to lead me astray.' The same sense of the beauty of earth and of the elements comes into those mysterious riddle-rhymes, not so far removed from the riddle-rhymes which children say to one another in Welsh cottages to this day: 'I have been a tear in the air, I have been the dullest of stars; Iwas made of the flower of nettles, and of the water of the ninth wave; I played in the twilight, I slept in purple; my fingers are long and white, it is long since I was a herdsman.'
And now, after looking at these characteristics of Welsh poetry, look at Ossian, and that 'gaze fixed on formless and distant shadows,' which seemed so impressive and so Celtic to Lamartine. 'In the morning of Saturday,' or 'On Sunday, at the time of dawn, there was a great battle'; that is how the Welsh poet tells you what he had to sing about. And he tells you, in his definite way, more than that; he tells you: 'I have been where the warriors were slain, from the East to the North, and from the East to the South: I am alive, they are in their graves!' It is human emotion reduced to its elements; that instinct of life and death, of the mystery of all that is tangible in the world, of its personal meaning, to one man after another, age after age, which in every age becomes more difficult to feel simply, more difficult to say simply. 'I am alive, they are in their graves!' and nothing remains to be said in the face of that immense problem. Well, the Welsh poetleaves you with his thought, and that simple emphasis of his seems to us now so large and remote and impressive, just because it was once so passionately felt, and set down as it was felt. And so with his sense for nature, with that which seems like style in him; it is a wonderful way of trusting instinct, of trusting the approaches of natural things. He says, quite simply: 'I was told by a sea-gull that had come a great way,' as a child would tell you now. And when he tells you that 'Cynon rushed forward with the green dawn,' it is not what we call a figure of speech: it is his sensitive, literal way of seeing things. More definite, more concrete, closer to the earth and to instinctive emotion than most other poets, the Welsh poet might have said of himself, in another sense than that in which he said it of Alexander: 'What he desired in his mind he had from the world.'
1898.
Printed in Great Britain byT. and A.Constable, Printers to His Majestyat the University Press, Edinburgh