Henry A. Beers

“ This was the very mood of the Renaissance—this genial heat which fuses together the pagan and the Christian systems—this indifference of the creative imagination to the mere sources and materials of its creations. Indeed, there is in Keats' style a "natural magic" which forces us back to Shakspere for comparison, a noticeable likeness to the diction of the Elizabethans, when the classics were still a living spring of inspiration, and not a set of copies held in terrorem over the head of every new poet.
Keats' break with the classical tradition was early and decisive. ”

“ Balin's simple faith in the ideal chivalry of Arthur's court is rudely dispelled when he hears from Vivien, and sees for himself, that the two chief objects of his reverence, Lancelot and the queen, are guilty lovers and false to their lord; and in his bitter disappointment, he casts his life away in the first adventure that offers. Moreover, in consonance with his main design, Tennyson seeks, so far as may be, to discard whatever in Malory is merely accidental or irrational; whatever is stuff of romance rather than of epic or drama—whose theatre is the human will. ”

“ As a Border minstrel, Hogg ranks next to Scott—is, in fact, a sort of inferior Scott. His range was narrower, but he was just as thoroughly saturated with the legendary lore of the countryside, and in some respects he stood closer to the spirit of that peasant life in which popular poetry has its source. As a ballad poet, indeed, he is not always Scott's inferior, though even his ballads are apt to be too long and without the finish and the instinct for selection which marks the true artist. ”

“ At that time painting and poetry fraternised. The artists read the poets and the poets visited the artists. Shakspere, Dante, Goethe, Lord Byron, and Walter Scott were to be found in the studio as in the study. There were as many splotches of colour as of ink on the margins of those beautiful volumes that were so incessantly thumbed. Imaginations, already greatly excited by themselves, were heated to excess by the reading of those foreign writings of a colouring so rich, of a fancy so free and so strong. Enthusiasm mounted to delirium. ”

“ The first number of the Athenaeum contained the manifesto of the new school, written by Friedrich Schlegel, the seminal mind of the coterie. The terms of this pronunciamento are somewhat rapt and transcendental; but through its mist of verbiage, one discerns that the ideal of romantic art is announced to be: beauty for beauty's sake, the union of poetry and life, and the absolute freedom of the artist to express himself. "Romantic poetry," says Schlegel—"and, in a certain sense, all poetry ought to be romantic—should, in representing outward objects, also represent itself." ”

“ The treatment in Dryden is cool, unimpassioned, objective—like Boccaccio's, in fact. The story is firmly told, with a masculine energy of verse and language. Sigismonda and Tancred are characters, confronted wills, as in drama, and their speeches are like tirades from a tragedy of Racine. But here Dryden's rhetorical habit and his fondness for reasoning in rime run away with him, and make his art inferior to Boccaccio's. Sigismonda argues her case like counsel for the defendant. She even enjoys her own argument and carries it out with a gusto into abstractions. ”

“ Fair speed your sails over the lucid waters, ye lovers, on a lover-like sea! Fair speed them, yet never land; for where the poet has left you, there ought ye, as ye are, to be living forever—forever gliding about a summer sea, touching at its flowery islands and reposing beneath its moon."
Hunt's sojourn in Italy, where he lived in close association with Byron and Shelley, enabled him to préciser his knowledge of the Italian language and literature. ”

“ He excelled also in setting the persons of poem, drama, or romance in ornamented frames like the Gothic shrines with triple colonettes, arches, canopied and bracketed niches, with statuettes, figurines, emblematic animals, male and female saints on a background of gold. He entered so deeply into the sentiment of the old Gothic imagery that he could make a Lady of the Pillar in a brocade dalmatica, a Mater Dolorosa with the seven swords in her breast, a St. Christopher with the child Jesus on his shoulder and leaning on a palm tree, worthy to serve as types to the Byzantine painters of Epinal. ”

“ The whole mass of the architecture, founded on Greek and Roman models, which we have been in the habit of building for the last three centuries, is utterly devoid of all life, virtue, honourableness, or power of doing good. It is base, unnatural, unfruitful, unenjoyable, and impious. Pagan in its origin, proud and unholy in its revival, paralysed in its old age." [29]
Ruskin loved the religious spirit of the mediaeval builders, Byzantine, Lombard, or Gothic; and the pure and holy faith of the early sacred painters like Fra Angelico, Orcagna, and Perugino. ”

“ Hall Caine informs us that Rossetti "was no great lover of landscape beauty." His scenery does not, like Wordsworth's or Tennyson's, carry an impression of life, of the real outdoors. Nature with Rossetti has been passed through the medium of another art before it comes into his poetry; it is a doubly distilled nature. It is nature as we have it in the "Roman de la Rose," or the backgrounds of old Florentine painters: flowery pleasances and orchard closes, gardens with trellises and singing conduits, where ladies are playing at the palm play. ”

“ It is my habit to follow at all hazards what I take for inspiration, and to change the mould as often as I change the composition. Dogmatism in the arts is what I avoid above all things. God forbid that I should aspire to be of the number of those, either romantics or classics, who make works according to their system; who condemn themselves never to have more than one form in mind, to always be proving something, to follow any other laws than those of their organization and of their nature. The artificial work of such men as those, whatever talents they may possess, does not exist for art. ”

“ The point of honour is pushed to a fantastic excess; all the characters display the most delicate chivalry, the noblest magnanimity, the loftiest Castilian pride. Don Ruy Gomez allows the King to carry off his bride, rather than yield up the outlaw who has taken refuge in his castle; and that although he has just caught this same outlaw paying court to this same bride, whose accepted lover he is. Hernani, not to be outdone in generosity, offers his life to his enemy and preserver, giving him his horn and promising to come to meet his death at its summons. ”

“ It was easier and more natural for Stendhal or Hugo to appeal to the example of living masters like Goethe and Scott, whose works went everywhere in translation and who held the ear of Europe, than to revive an interest all at once in Villon or Guillaume de Lorris or Chrestien de Troyes. Again, in no country had the divorce between fashionable and popular literature been so complete as in France; in none had so thick and hard a crust of classicism overlain the indigenous product of the national genius. ”

“ The popular ballad, the Gothic romance, the Ossianic poetry, the new German literature, the Scandinavian discoveries, these and other scattered rays of influence reach a focus in Scott. It is true that his delineation of feudal society is not final. There were sides of mediaeval life which he did not know, or understand, or sympathize with, and some of these have been painted in by later artists. That his pictures have a coloring of modern sentiment is no arraignment of him but of the genre. All romanticists are resurrectionists; their art is an elaborate make-believe. ”

“ After so many great things which our fathers have done and which we have witnessed, here we are, issued forth from old forms of society; why should we not issue out of the old forms of poetry? A new people, a new art. While admiring the literature of Louis XIV., so well adapted to his monarchy, France will know how to have its own literature, peculiar, personal, and national—this actual France, this France of the nineteenth century to which Mirabeau has given its freedom and Napoleon its power. ”

“ Gothic architecture was the expression of Teutonic genius, which is realistic and stands for the reason, while Italian sacred painting was idealistic and stands for the imagination. In the most perfect art, as in the highest type of religion, reason and imagination are in balance. Hence, the influence of Van Eyck, Memling, and Dürer on Italian painters was wholesome; and the Reformation, the work of the reasoning Teutonic mind, is not to be condemned. Reason is to blame only when it goes too far and extinguishes imagination. ”

“ The spectral object, so crude, so impossible, has become plausible, as 'the spot upon the brain that will show itself without,' and is understood to be but a condition of one's own mind, for which—according to the scepticism latent at least in so much of our modern philosophy—the so-called real things themselves are but spectra after all. It is this finer, more delicately marvellous supernaturalism, the fruit of his more delicate psychology, which Coleridge infuses into romantic narrative, itself also then a new or revived thing in English literature ”

“ He had the copious vein of the mediaeval chroniclers and romancers, without their tiresome prolixity and with finer resources of invention. He had none of Chaucer's humour, realism, or skill in character sketching. In its final impression his poetry resembles Spenser's more than Chaucer's. Like Spenser's, it grows monotonous—without quite growing languid—from the steady flow of the metre and the exhaustless profusion of the imagery. The reader becomes, somewhat ungratefully, surfeited with beauty, and seeks relief in poetry more passionate or intellectual. ”

“ There is nothing but tourneying, love-making, and enchantment. Compare the rumour of the Crusades and Richard the Lion Heart in "Der Zauberring" with the stalwart flesh-and-blood figures in "Ivanhoe" and "The Talisman." A wavering moonshine lies all over the world of the Fouqué romances, like the magic light which illumines the Druda's castle in "Der Zauberring," on whose battlements grow tall white flowers, and whose courts are filled with unearthly music from the perpetual revolution of golden wheels. ”

“ But the special service of Tennyson to romantic poetry lay in his being the first to give a worthy form to the great Arthurian saga; and the modern masterpiece of that poetry, all things considered, is his "Idylls of the King." Not so perfect and unique a thing as "The Ancient Mariner"; less freshly spontaneous, less stirringly alive than "The Lay of the Last Minstrel," Tennyson's Arthuriad has so much wider a range than Coleridge's ballad, and is sustained at so much higher a level than Scott's romance, that it outweighs them both in importance. ”

“ So completely is it beyond the skill of the painter or the poet to render bearable the productions of the moderns, . . . and so fast are the poor neglected works of Christian antiquity falling to ruin, that it is hard to conceive how the fine arts can be cultivated after another century has elapsed; for when children are taught in infant schools to love accounts from their cradle, and to study political economy before they have heard of the Red Cross Knight or the Wild Hunter, the manner and taste of such an age will smother the sparks of nature. ”

“ If a poem cast in the mould of classic or feudal times, of Greek drama or mediaeval romance, be lifeless and worthless, it is not because the subject or the form was ancient, but because the poet was inadequate. . . . For neither epic nor romance of chivalrous quest or classic war is obsolete yet, or ever can be; there is nothing in the past extinct . . . [Life] is omnipresent and eternal, and forsakes neither Athens nor Jerusalem, Camelot nor Troy, Argonaut nor Crusader, to dwell, as she does with equal good will, among modern appliances in London and New York. ”

“ Lace and brocade, powder and patch, Dutch gardens, Reynolds' portraits, Watteau fans, Dresden china, the sedan chair, the spinet, the hoop-skirt, the talon rouge—all these have receded so far into the perspective as to acquire picturesqueness. To Scott's generation they seemed eminently modern and prosaic, while buff jerkins and coats of mail were poetically remote. But so the whirligig of time brings in its revenges, and the old-fashioned, as distinguished from the antique, begins to have a romanticness of its own. ”

“ The impotent feelings of romance, so singularly characteristic of this century, may indeed gild, but never save the remains of those mightier ages to which they are attached like climbing flowers, and they must be torn away from the magnificent fragments, if we would see them as they stood in their own strength. ”

“ The mystic and romantic school of Germany lost itself in the Middle Ages, was overpowered by their influence, came to ruin by its vain dreams of renewing them. Heine, with a far profounder sense of the mystic and romantic charm of the Middle Age than Görres, or Brentano, or Arnim; Heine, the chief romantic poet of Germany, is yet also much more than a romantic poet; he is a great modern poet, he is not conquered by the Middle Age, he has a talisman by which he can feel, along with but above the power of the fascinating Middle Age itself, the power of modern ideas. ”

“ Among all the writers of his generation, Keats was most purely the poet, the artist of the beautiful. His sensitive imagination thrilled to every touch of beauty from whatever quarter. That his work is mainly retrospective and eclectic in subject is because a young poet's mind responds more readily to books than to life, and this young poet did not outlive his youth. In the Greek mythology he found a world of lovely images ready to his hand, in the poetry of Spenser, Chaucer, and Ariosto, he found another such world. ”

“ In his famous apostrophe to Oxford, Matthew Arnold personifies the university as a "queen of romance," an "adorable dreamer whose heart has been so romantic," "spreading her gardens to the moonlight, and whispering from her towers the last enchantments of the Middle Age," and "ever calling us nearer to . . . beauty." Newman himself was a poet, as well as one of the masters of English prose. The movement left an impress upon general literature in books like Keble's "Christian Year" (1827) and "Lyra Innocentium" (1847) ”

“ If they could not away with definite words in the verse, they endured very impatiently, too, epithets, metaphors, comparisons, poetic words—lyricism, in short; those swift escapes into nature, those soarings of the soul above the situation, those openings of poetry athwart drama, so frequent in Shakspere, Calderon, and Goethe, so rare in our great authors of the eighteenth century. ”