Matthew Arnold by George Saintsbury (parable of the sower read online .txt) 📕

regard to his second series of Poems ( v. infra ) he thinks Balder will "consolidate the peculiar sort of reputation he got by Sohrab and Rustum ;" and a little later, in April 1856, we have his own opinion of himself as a poet, whose charm is "literalness and simplicity." Mr Ruskin is also treated - with less appreciation than one could wish.

The second series just mentioned was issued in 1855, a second edition of the first having been called for the year before. It contained, like its predecessor, such of his earlier work as he chose to republish and had not yet republished, chiefly from the
Empedocles volume. But Empedocles itself was only represented by some scraps, mainly grouped as The Harp-Player on Etna. Faded Leaves , grouped with an addition, here appear:
Stagirius is called Desire , and the Stanzas in Memory of the Author of Obermann now become Obermann simply. Only two absolutely new poems, a longer and a shorter, appear: the first is
Balder Dead , the second Separation , the added number of
Faded Leaves . This is of no great value. Balder is interesting, though not extremely good. Its subject is connected with that of Gray's Descent of Odin , but handled much more fully, and in blank-verse narrative instead of ballad form. The story, like most of those in Norse mythology, has great capabilities; but it may be questioned whether the Greek-Miltonic chastened style which the poet affects is well calculated to bring them out. The death of Nanna, and the blind fratricide Hoder, are touchingly done, and Hermod's ride to Hela's realm is stately. But as a whole the thing is rather dim and tame.

Mr Arnold's election to the Professorship of Poetry at Oxford (May 1857) was a really notable event, not merely in his own career, but to some, and no small, extent in the history of English literature during the nineteenth century. The post is of no great value. I remember the late Sir Francis Doyle, who was Commissioner of Customs as well as Professor, saying to me once with a humorous melancholy, "Ah! Eau de Cologne pays much better than Poetry!" But its duties are far from heavy, and can be adjusted pretty much as the holder pleases. And as a position it is unique. It is, though not of extreme antiquity, the oldest purely literary Professorship in the British Isles; and it remained, till long after Mr Arnold's time, the only one of the kind in the two great English Universities. In consequence partly of the regulation that it can be held for ten years only - nominally five, with a practically invariable re-election for another five - there is at least the opportunity, which, since Mr Arnold's own time, has been generally taken, of maintaining and refreshing the distinction of the occupant of the chair. Before his time there had been a good many undistinguished professors, but Warton and Keble, in their different ways, must have adorned even a Chair of Poetry even in the University of Oxford. Above all, the entire (or almost entire) freedom of action left to the Professor should have, and in the case of Keble at least had already had, the most stimulating effect on minds capable of stimulation. For the Professor of Poetry at Oxford is neither, like some Professors, bound to the chariot-wheels of examinations and courses of set teaching, nor, like others, has he to feel that his best, his most original, efforts can have no interest, and hardly any meaning, for all but a small circle of experts. His field is illimitable; his expatiation in it is practically untrammelled. It is open to all; full of flowers and fruits that all can enjoy; and it only depends on his own choice and his own literary and intellectual powers whether his prelections shall take actual rank as literature with the very best of that other literature, with the whole of which, by custom, as an extension from poetry, he is at liberty to deal. In the first century of the chair the custom of delivering these Prelections in Latin had been a slight hamper - indeed to this day it prevents the admirable work of Keble from being known as it should be known. But this was now removed, and Mr Arnold, whose reputation (it could hardly be called fame as yet) was already great with the knowing ones, had not merely Oxford but the English reading world as audience.

And he had it at a peculiarly important time, to the importance of which he himself, in this very position, was not the least contributor. Although the greatest writers of the second period of the century - Tennyson, Browning, Carlyle, Thackeray - had, in all cases but the last, a long, and in the two first a very long and a wonderfully fruitful career still before them, yet the phase to which they belonged was as a dominant phase at its height, and as a crescent was beginning to give place to another. Within a few years - in most cases within a few months - of Mr Arnold's installation, The Defence of Guenevere and FitzGerald's Omar Khayyam heralded fresh forms of poetry which have not been superseded yet; The Origin of Species and Essays and Reviews announced changed attitudes of thought; the death of Macaulay removed the last writer who, modern as he was in some ways, and popular, united popularity with a distinctly eighteenth-century tone and tradition; the death of Leigh Hunt removed the last save Landor (always and in all things an outsider) of the great Romantic generation of the first third of the century; The Ordeal of Richard Feverel started a new kind of novel.

The division which Mr Arnold, both by office and taste, was called to lead in this newly levied army, was not far from being the most important of all; and it was certainly that of all which required the most thorough reformation of staff, morale ,[3] and tactics. The English literary criticism of 1830-1860, speaking in round numbers, is curiously and to this day rather unintelligibly bad. There is, no doubt, no set of matters in which it is less safe to generalise than in matters literary, and this is by no means the only instance in which the seemingly natural anticipation that a period of great criticism will follow a period of great creation is falsified. But it most certainly is falsified here. The criticism of the great Romantic period of 1798-1830 was done for it by itself, and in some cases by its greatest practitioners, not by its immediate successors. The philosophic as well as poetical intuition of Coleridge; the marvellous if capricious sympathy and the more marvellous phrase of Lamb; the massive and masculine if not always quite trustworthy or well-governed intellect of Hazlitt, had left no likes behind. Two survivors of this great race, Leigh Hunt and De Quincey, were indeed critics, and no inconsiderable ones; but the natural force of both had long been much abated, and both had been not so much critics as essayists; the tendency of Hunt to flowery sentimentality or familiar chat, and that of De Quincey to incessant divergences of "rigmarole," being formidable enemies to real critical competence. The greatest prosemen
- not novelists - of the generation now closing, Carlyle and Macaulay, were indeed both considerable critics. But the shadow of death in the one case, the "shadow of Frederick" in the other, had cut short their critical careers: and presumptuous as the statement may seem, it may be questioned whether either had been a great critic - in criticism pure and simple - of literature.

What is almost more important is that the average literary criticism of William IV.'s reign and of the first twenty years of her present Majesty's was exceedingly bad. At one side, of course, the work of men like Thackeray, who were men of genius but not critics by profession, or in some respects by equipment, escapes this verdict. At the other were men (very few of them indeed) like Lockhart, who had admirable critical qualifications, but had allowed certain theories and predilections to harden and ossify within them, and who in some cases had not outgrown the rough uncivil ways of the great revolutionary struggle. Between these the average critic, if not quite so ignorant of literature as a certain proportion of the immensely larger body of reviewers to-day, was certainly even more blind to its general principles. Such critical work as that of Phillips, long a favourite pen on the Times , and enjoying (I do not know with how much justice) the repute of being the person whom Thackeray's
Thunder and Small Beer has gibbeted for ever, excites amazement nowadays at its bland but evidently sincere ignoring of the very rudiments of criticism. I do not know that even in the most interesting remains of George Brimley (who, had fate spared him, might have grown into a great as he already was a good critic) we may not trace something of the same hopeless amateurishness, the same uncertainty and "wobbling" between the expression of unconnected and unargued likes and dislikes concerning the matter of the piece, and real critical considerations on its merits or demerits of scheme and form.

Not for the first time help came to us Trojans Graia ab urbe . Of the general merits of French literary criticism it is possible to entertain a somewhat lower idea than that which (in consequence of the very circumstances with which we are now dealing) it has been for many years fashionable in England to hold. But between 1830 and 1860 the French had a very strong critical school indeed - a school whose scholars and masters showed the dæmonic, or at least prophetic, inspiration of Michelet, the milder and feebler but still inspiring enthusiasm of Quinet, the academic clearness and discipline of Villemain and Nisard, the Lucianic wit of Mérimée, the matchless appreciation of Gautier, and, above all, the great new critical idiosyncrasy of Sainte-Beuve. Between these men there were the widest possible differences, not merely of personal taste and genius, but of literary theory and practice. But where they all differed quite infinitely from the lower class of English critics, and favourably from all but the highest in their happiest moments, was in a singular mixture of scholarship and appreciation. Even the most Romantic of them usually tried to compare the subject with its likes in his own and even, to some extent, in other literatures; even the most Classical acknowledged, to some extent, that it was his duty to appreciate, to understand, to grasp the case of the victim before ordering him off to execution.

In the practice of Sainte-Beuve himself, these two acknowledgments of the duty of the critic embraced each other in the happiest union. The want of enthusiasm which has been sometimes rather sillily charged against him, comes in reality to no more than this - that he is too busy in analysing, putting together again, comparing, setting things in different lights and in different companies, to have much time for dithyrambs. And the preference of second-to first-class subjects, which has been also urged, is little more than the result of the fact that these processes are more telling, more interesting, and more needed in the case of the former than in the case of the latter. Homer, Æschylus, Lucretius, Dante, Shakespeare will always make their own way with all fit readers sooner or later: it is not so with Meleager or Macrobius or Marmontel, with William Langland or with Thomas Love