Passages from Matthew Arnold.

[The permission of Macmillan and Company has been given for the republication of a few passages, taken from an essay by Matthew Arnold on "The Study of Celtic Literature."]

Any German with penetration and tact in matters of literary criticism will own that the principle deficiency of German poetry is in style; that for style, in the highest sense, it shows but little feeling. Take the eminent masters of style, the poets who best give the idea of what the peculiar power which lies in style is,- Pindar, Virgil, Dante, Milton. An example of the peculiar effect which these poets produce, you can hardly give from German poetry. Examples enough you can give from German poetry of the effect produced by genius, thought, and feeling expressing themselves in clear language, simple language, passionate language, eloquent language, with harmony and melody; but not of the peculiar effect exercised by eminent power of style. Every reader of Dante can at once call to mind what the peculiar effect I mean is; I spoke of it in my lectures on translating Homer, and there I took an example of it from Dante, who perhaps manifests it more eminently than any other poet. But from Milton, too, one may take examples of it abundantly; compare this from Milton:- nor sometimes forget

Those other two equal with me in fate,

So were I equaled with them in renown,

Blind Thamyris and blind Maeonides-

with this from Goethe:-

Esbildet ein Talent sich in der Stille,

Sich ein Character in dem Strom der Welt.

Nothing can be better in its way than the style in which Goethe there presents his thought, but it is the style of prose as much as of poetry; it is lucid, harmonious, earnest, eloquent, but it has not received that peculiar kneading, heightening, and recasting which is observable in the style of the passage from Milton,- a style which seems to have for its cause a certain pressure of emotion, and an ever-surging, yet bridled, excitement in the poet, giving a special intensity to his way of delivering himself. In poetical races and epochs this turn for style is peculiarly observable; and perhaps it is only on condition of having this somewhat heightened and difficult manner, so different from the plain manner of prose, that poetry gets the privilege of being loosed, at its best moments, into that perfectly simple, limpid style, which is the supreme style of all, but the simplicity of which is still not the simplicity of prose. The simplicity of Menander's style is the simplicity of prose, and is the same kind of simplicity as that which Goethe's style, in the passage which I have quoted, exhibits; but Menander does not belong to a great poetical moment, he comes too late for it; it is the simple passages in poets like Pindar or Dante which are perfect, being masterpieces of poetical simplicity. One may say the same of the simple passages in Shakespeare; they are perfect; their simplicity being a poetical simplicity. They are the golden, easeful, crowning moments of a manner which is always pitched in another key from that of prose, a manner changed and heightened; the Elizabethan style, regnant in most of our dramatic poetry to this day, is mainly the continuation of this manner of Shakespeare's. It was a manner much more turbid and strewn with blemishes than the manner of Pindar, Dante, or Milton; often it was detestable; but it owed its existence to Shakespeare's instinctive impulse towards style in poetry, to his native sense of the necessity for it; and without the basis of style everywhere, faults though it may in some place be, we should not have had the beauty of expression, unsurpassable for effectiveness and charm, which is reached in Shakespeare's best passages. The turn for style is perceptible all through English poetry, proving, to my mind, the genuine poetical gift of the race; this turn imparts to our poetry a stamp of high distinction, and sometimes it doubles the force of a poet not by nature of the very highest order, such as Gray, and raises him to a rank beyond what his natural richness and power seem to promise. Goethe, with his fine critical perception, saw clearly enough both the power of style in itself, and the lack of style in the literature of his own country; and perhaps if we regard him solely as a German, not as an European, his great work was that he labored all his life to impart style into German literature, and firmly to establish it there. Hence the immense importance to him of the world of classical art, and of the productions of Greek or Latin genuine, where style so eminently manifests its power. Had he found in the German genius and literature an element of style existing by nature and ready to his hand, half his work, one may say, would have been saved him, and he might have done much more in poetry. But as it was, he had to try and create, out of his own powers, a style for German poetry, as well as to provide contests for this style to carry; and thus his labour as a poet was doubled.

It is to be observed that power of style, in the sense in which I am here speaking of style. is something quite different from the power of the idiomatic, simple, nervous, racy expression, such as the expression of healthy robust natures so often is, such as Luther's was it a striking degree. Style, in my sense of the word, is a peculiar