susceptibility to all impressions, alive to the heart as well as to the logic of creation. But English science puts humanity to the door. It wants the connection which is the test of genius. The science is false by not being poetic. It isolates the reptile or mollusk it assumes to explain; whilst reptile or mollusk only exists in system, in relation. The poet only sees it as an inevitable step in the path of the Creator. But, in England, one hermit finds this fact, and another finds that, and lives and dies ignorant of its value. There are great exceptions, of John Hunter, a man of ideas; perhaps of Robert Brown, the botanist; and of Richard Owen, who has imported into Britain the German homologies, and enriched science with contributions of his own, adding sometimes the divination of the old masters to the unbroken power of labor in the English mind. But for the most part, the natural science in England is out of its loyal alliance with morals, and is as void of imagination and free play of thought, as conveyancing. It stands in strong contrast with the genius of the Germans, those semiGreeks, who love analogy, and, by means of their height of view, preserve their enthusiasm, and think for Europe.

No hope, no sublime augury, cheers the student, no secure striding from experiment onward to a foreseen law, but only a casual dipping here and there, like diggers in California "prospecting for a placer" that will pay. A horizon of brass of the diameter of his umbrella shuts down around his senses. Squalid contentment with conventions, satire at the names of philosophy and religion, parochial and shop-till politics, and idolatry of usage, betray the ebb of life and spirit. As they trample on nationalities to reproduce London and Londoners in Europe and Asia, so they fear the hostility of ideas, of poetry, of religion, ghosts which they cannot lay; and, having attempted to domesticate and dress the Blessed Soul itself in English broadcloth and gaiters, they are tormented with fear that herein lurks a force that will sweep their system away. The artists say, "Nature puts us out"; the scholars have become un-ideal. They parry earnest speech with banter and levity; they laugh you down, or they change the subject. "The fact is," say they over their wine, "all that about liberty, and so forth, is gone by; it won't do any longer." The practical and comfortable oppress them with inexorable claims, and the smallest fraction of power remains for heroism and poetry. No poet dares murmur of beauty out of the precinct of his rhymes. No priest dares hint at a Providence which

does not respect English utility. The island is a roaring volcano of fate, of material values, of tariffs, and laws of repression, glutted markets and low prices.

Pope and

In the absence of the highest aims, of the pure love of knowledge, and the surrender to nature, there is the suppression of the imagination, the priapism of the senses and the understanding; we have the factitious instead of the natural; tasteless expense, arts of comfort, and the rewarding as an illustrious inventor whosoever will contrive one impediment more to interpose between the man and his objects. Thus poetry is degraded, and made ornamental. his school wrote poetry fit to put round frosted cake. What did Walter Scott write without stint? a rhymed traveller's guide to Scotland. And the libraries of verses they print have this Birmingham character. How many volumes of well-bred metre we must jingle through, before we can be filled, taught, renewed ! We want the miraculous; the beauty which we can manufacture at no mill, can give no account of; the beauty of which Chaucer and Chapman had the secret. The poetry of course is low and prosaic; only now and then, as in Wordsworth, conscientious; or in Byron, passional; or in Tennyson, factitious. But if I should count the poets who have contributed to the Bible of existing England sentences of guidance and consolation which are still glowing and effective, - how few! Shall I find my heavenly bread in the reigning poets? Where is great design in modern English poetry? The English have lost sight of the fact that poetry exists to speak the spiritual law, and that no wealth of description or of fancy is yet essentially new, and out of the limits of prose, until this condition is reached. Therefore the grave old poets, like the Greek artists, heeded their designs, and less considered the finish. It was their office to lead to the divine sources, out of which all this, and much more, readily springs; and, if this religion is in the poetry, it raises us to some purpose, and we can well afford some staidness, or hardness, or want of popular tune in the verses.

His

The exceptional fact of the period is the genius of Wordsworth. He had no master but nature and solitude. "He wrote a poem," says Landor, "without the aid of war." verse is the voice of sanity in a worldly and ambitious age. One regrets that his temperament was not more liquid and musical. He has written longer than he was inspired. But for the rest, he has no competitor.

Tennyson is endowed precisely in points where Wordsworth wanted. There is no finer ear than Tennyson's, nor more command of the keys of language. Color, like the dawn, flows over the horizon from his pencil, in waves so rich that we do not miss the central form. Through all his refinements, too, he has reached the public, a certificate of good sense and general power, since he who aspires to be the English poet must be as large as London, not in the same kind as London, but in his own kind. But he wants a subject, and climbs no mount of vision to bring its secrets to the people. He contents himself with describing the Englishman as he is, and proposes no better. There are all degrees in poetry, and we must be thankful for every beautiful talent. But it is only a first success, when the ear is gained. The best office of the best poets has been to show how low and uninspired was their general style, and that only once or twice they have struck the high chord.

That expansiveness which is the essence of the poetic element, they have not. It was no Oxonian, but Hafiz, who said: "Let us be crowned with roses, let us drink wine, and break up the tiresome old roof of heaven into new forms." A stanza of the 'song of nature the Oxonian has no ear for, and he does not value the salient and curative influence of intellectual action, studious of truth, without a by-end.

By the law of contraries, I look for an irresistible taste for Orientalism in Britain. For a self-conceited modish life, made up of trifles, clinging to a corporeal civilization, hating ideas, there is no remedy like the Oriental largeness. That astonishes and disconcerts English decorum. For once there is thunder it never heard, light it never saw, and power which trifles with time and space. I am not surprised, then, to find an Englishman like Warren Hastings, who had been struck with the grand style of thinking in the Indian writings, deprecating the prejudices of his countrymen, while offering them a translation of the Bhagvat. 'Might I," he says, an unlettered man, venture to prescribe bounds to the latitude of criticism, I should exclude, in estimating the merit of such a production, all rules drawn from the ancient or modern literature of Europe, all references to such sentiments or manners as are become the standards of propriety for opinion and action in our own modes, and, equally, all appeals to our revealed tenets, of religion and moral duty." He goes on to bespeak indul*Preface to Wilkins's Translation of the Bhagvat Geeta.

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gence to "ornaments of fancy unsuited to our taste, and passages elevated to a tract of sublimity into which our habits of judgment will find it difficult to pursue them."

Meantime, I know that a retrieving power lies in the English race, which seems to make any recoil possible; in other words, there is at all times a minority of profound minds existing in the nation, capable of appreciating every soaring of intellect and every hint of tendency. While the constructive talent seems dwarfed and superficial, the criticism is often in the noblest tone, and suggests the presence of the invisible gods. I can well believe what I have often heard, that there are two nations in England; but it is not the Poor and the Rich; nor is it the Normans and Saxons; nor the Celt and the Goth. These are each always becoming the other; for Robert Owen does not exaggerate the power of circumstance. But the two complexions, or two styles of mind, the perceptive class, and the practical finality class, are ever in counterpoise, interacting mutually; one, in hopeless minorities; the other, in huge masses; one studious, contemplative, experimenting; the other, the ungrateful pupil, scornful of the source, whilst availing itself of the knowledge for gain; these two nations, of genius and of animal force, though the first consist of only a dozen souls, and the second of twenty millions, forever by their discord and their accord yield the power of the English State.

CHAPTER XV.

THE "TIMES."

HE power of the newspaper is familiar in America, and in accordance with our political system. In England, it stands in antagonism with the feudal institutions, and it is all the more beneficent succor against the secretive tendencies of a monarchy. The celebrated Lord Somers "knew of no good law proposed and passed in his time, to which the public papers had not directed his attention." There is no corner and no night. A relentless inquisition drags every secret to the day, turns the glare of this solar microscope on every malfaisance, so as to make the public a more terrible spy than

any foreigner; and no weakness can be taken advantage of by an enemy, since the whole people are already forewarned. Thus England rids herself of those incrustations which have been the ruin of old states. Of course, this inspection is feared. No antique privilege, no comfortable monopoly, but sees surely that its days are counted; the people are familiarized with the reason of reform, and, one by one, take away every argument of the obstructives. "So your Grace likes the comfort of reading the newspapers," said Lord Mansfield to the Duke of Northumberland; "mark my words; you and I shall not live to see it, but this young gentleman (Lord Eldon) may, or it may be a little later; but a little sooner or later, these newspapers will most assuredly write the dukes of Northumberland out of their titles and possessions, and the country out of its king." The tendency in England towards social and political institutions like those of America, is inevitable, and the ability of its journals is the driving force.

England is full of manly, clever, well-bred men who possess the talent of writing off-hand pungent paragraphs, expressing with clearness and courage their opinion on any person or performance. Valuable or not, it is a skill that is rarely found, out of the English journals. The English do this, as they write poetry, as they ride and box, by being educated to it. Hundreds of clever Praeds, and Freres, and Froudes, and Hoods, and Hooks, and Maginns, and Mills, and Macaulays, make poems, or short essays for a journal, as they make speeches in Parliament and on the hustings, or, as they shoot and ride. It is a quite accidental and arbitrary direction of their general ability. Rude health and spirits, an Oxford education, and the habits of society are implied, but not a ray of genius. It comes of the crowded state of the professions, the violent interest which all men take in politics, the facility of experimenting in the journals, and high pay.

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The most conspicuous result of this talent is the Times newspaper. No power in England is more felt, more feared, or more obeyed. What you read in the morning in that journal, you shall hear in the evening in all society. It has ears everywhere, and its information is earliest, completest, and surest. It has risen, year by year, and victory by victory, to its present authority. I asked one of its old contributors, whether it had once been abler than it is now? "Never," he

said; "these are its palmiest days." It has shown those qualities which are dear to Englishmen, unflinching adherence