Chapter 5 HIS PLACE AS A CRITIC

Mr. Mill's achievements as an economist, logician, psychologist, and politician are known more or less vaguely to all educated men; but his capacity and his actual work as a critic are comparatively little regarded. In the three volumes of his collected miscellaneous writings, very few of the papers are general reviews either of books or of men; and even these volumes derive their character from the essays they contain on the severer subjects with which Mr. Mill's name has been more peculiarly associated.

Nobody buys his "Dissertations and Discussions" for the sake of his theory of poetry, or his essays on Armand Carrel and Alfred de Vigny, noble though these are in many ways. His essay on Coleridge is very celebrated; but it deals, not with Coleridge's place as a poet, but with his place as a thinker-with Coleridge as the antagonistic power to Bentham in forming the opinions of the generation now passing away. Still at such a time as this it is interesting to make some endeavor to estimate the value of what Mr. Mill has done in the way of criticism. It is at least worth while to examine whether one who has shown himself capable of grappling effectively with the driest and most abstruse problems that vex the human intellect was versatile enough to study poetry with an understanding heart, and to be alive to the distinctive powers of individual poets.

It was in his earlier life, when his enthusiasm for knowledge was fresh, and his active mind, "all as hungry as the sea," was reaching out eagerly and strenuously to all sorts of food for thought,-literary, philosophical, and political,-that Mr. Mill set himself, among other things, to study and theorize upon poetry and the arts generally. He could hardly have failed to know the most recent efflorescence of English poetry, living as he did in circles where the varied merits of the new poets were largely and keenly discussed. He had lived also for some time in France, and was widely read in French poetry. He had never passed through the ordinary course of Greek and Latin at school and college, but he had been taught by his father to read these languages, and had been accustomed from the first to regard their literature as literature, and to read their poetry as poetry. These were probably the main elements of his knowledge of poetry. But it was not his way to dream or otherwise luxuriate over his favorite poets for pure enjoyment. Mr. Mill was not a cultivator of art for art's sake. His was too fervid and militant a soul to lose itself in serene love and culture of the calmly beautiful. He read poetry for the most part with earnest, critical eye, striving to account for it, to connect it with the tendencies of the age, or he read to find sympathy with his own aspirations after heroic energy. He read De Vigny and other French poets of his generation, with an eye to their relations to the convulsed and struggling state of France, and because they were compelled by their surroundings to take life au sérieux, and to pursue, with all the resources of their art, something different from beauty in the abstract. Luxurious passive enjoyment or torpid half-enjoyment must have been a comparatively rare condition of his finely-strung, excitable, and fervid system. I believe that his moral earnestness was too imperious to permit much of this. He was capable indeed of the most passionate admiration of beauty, but even that feeling seems to have been interpenetrated by a certain militant apostolic fervor; his love was as the love of a religious soldier for a patron saint who extends her aid and countenance to him in his wars. I do not mean to say that his mind was in a perpetual glow: I mean only that this surrender to impassioned transports was more characteristic of the man than serene openness to influx of enjoyment. His "Thoughts on Poetry and its Varieties," while clear and strenuous as most of his thoughts were, are neither scientifically precise, nor do they contain any notable new idea not previously expressed by Coleridge, except perhaps the idea, that emotions are the main links of association in the poetic mind: still his working out of the definition of poetry, his distinction between novels and poems, and between poetry and eloquence, is interesting as throwing light upon his own poetic susceptibilities. He holds that poetry is the delineation of the deeper and more secret workings of human emotion. It is curious to find one who is sometimes assailed as the advocate of a grovelling philosophy complaining that the chivalrous spirit has almost disappeared from books of education, that the youth of both sexes of the educated classes are growing up unromantic. "Catechisms," he says, "will be found a poor substitute for the old romances, whether of chivalry or faery, which, if they did not give a true picture of actual life, did not give a false one, since they did not profess to give any, but (what was much better) filled the youthful imagination with pictures of heroic men, and of what are at least as much wanted,-heroic women."

If Mr. Mill did not love poetry with a purely disinterested love, but with an eye to its moral causes and effects, neither did he study character from mere delight in observing the varieties of mankind. Armand Carrel the Republican journalist, Alfred de Vigny the Royalist poet, Coleridge the Conservative, and Bentham the Reformer, are taken up and expounded, not as striking individuals, but as types of influences and tendencies. This habit of keeping in view mind in the abstract, or men in the aggregate, may have been in a large measure a result of his education by his father; but I am inclined to think that he was of too ardent and pre-occupied a disposition, perhaps too much disposed to take favorable views of individuals, to be very sensitive to differences of character. It should not, however, be forgotten that in one memorable case he showed remarkable discrimination. Soon after Mr. Tennyson published his second issue of poems, Mr. Mill reviewed them in "The Westminster Review" for July, 1835, and, with his usual earnestness and generosity, applied all his powers to making a just estimate of the new aspirant. To have reprinted this among his miscellaneous writings might have seemed rather boastful, as claiming credit for the first full recognition of a great poet: still it is a very remarkable review; and one would hope it will not be omitted if there is to be any further collection of his casual productions. I shall quote two passages which seem obvious enough now, but which required true insight, as well as courageous generosity, to write them in 1835-

"Of all the capacities of a poet, that which seems to have arisen earliest in Mr. Tennyson, and in which he most excels, is that of scene-painting in the higher sense of the term; not the mere power of producing that rather vapid species of composition usually termed descriptive poetry,-for there is not in these volumes one passage of pure description,-but the power of creating scenery in keeping with some state of human feeling, so fitted to it as to be the embodied symbol of it, and to summon up the state of feeling itself with a force not to be surpassed by any thing but reality."

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"The poems which we have quoted from Mr. Tennyson prove incontestably that he possesses in an eminent degree the natural endowment of a poet,-the poetic temperament. And it appears clearly, not only from a comparison of the two volumes, but of different poems in the same volume, that with him the other element of poetic excellence, intellectual culture, is advancing both steadily and rapidly; that he is not destined, like so many others, to be remembered for what he might have done rather than for what he did; that he will not remain a poet of mere temperament, but is ripening into a true artist.... We predict, that, as Mr. Tennyson advances in general spiritual culture, these higher aims will become more and more predominant in his writings; that he will strive more and more diligently, and, even without striving, will be more and more impelled by the natural tendencies of an expanding character, towards what has been described as the highest object of poetry,-'to incorporate the everlasting reason of man in forms visible to his sense, and suitable to it.'"

This last sentence might easily be construed into a prediction of "In Memoriam" and "The Idyls of the King."

If it is asked why Mr. Mill, with all his width of knowledge and sympathy, has achieved so little of a reputation as a miscellaneous writer, part of the reason no doubt is, that he sternly repressed his desultory tendencies, and devoted his powers to special branches of knowledge, attaining in them a distinction that obscured his other writings. Another reason is, that, although his style is extremely clear, he was for popular purposes dangerously familiar with terms belonging more or less to the schools. He employed these in literary generalizations, without remembering that they were not equally familiar to his readers; and thus general readers, like Tom Moore, or the author of the recent notice in "The Times," who read more for amusement than instruction, were disposed to consider Mr. Mill's style "vastly unreadable."

W. MINTO.

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