CHAPTER XIV.

LITERATURE.

A STRONG common sense, which it is not easy to unseat or disturb, marks the English mind for a thousand years: a rude strength newly applied to thought, as of sailors and soldiers who had lately learned to read. They have no fancy, and never are surprised into a covert or witty word, such as pleased the Athenians and Italians, and was convertible into a fable not long after; but they delight in strong earthy expression, not mistakable, coarsely true to the human body, and, though spoken among princes, equally fit and welcome to the mob. This homeliness, veracity and plain style appear in the earliest extant works and in the latest. It imports into songs and ballads the smell of the earth, the breath of cattle, and, like a Dutch painter, seeks a household charm, though by pails and pans. They ask their constitutional utility in verse. The kail and herrings are never out of sight. The poet nimbly recovers himself from every sally of the imagination. The English muse loves the farmyard, the lane and market.

must be

She says, with De Staël, "I tramp in the mire with wooden shoes, whenever they would force me into the clouds." For the Englishman has accurate perceptions; takes hold of things by the right end, and there is no slipperiness in his grasp. He loves the axe, the spade, the oar, the gun, the steampipe: he has built the engine he uses. He is ma terialist, economical, mercantile. He treated with sincerity and reality; with muffins, and not the promise of muffins; and prefers his hot chop, with perfect security and convenience in the eating of it, to the chances of the amplest and Frenchiest bill of fare, engraved on embossed pa per. When he is intellectual, and a poet or a philosopher, he carries the same hard truth and the same keen machinery into the mental sphere. His mind must stand on a fact. He will not be baffled, or catch at clouds, but the mind must have a symbol palpable and resisting. What he relishes in Dante is the vise-like tenacity with which he holds a mental image before the eyes, as if it were a scutcheon painted on a shield. Byron "liked something craggy to break his mind upon." taste for plain strong speech, what is called a biblical style, marks the English. It is in Alfred and the Saxon Chronicle and in the Sagas of the Northmen. Latimer was homely. Hobbes was perfect in the "noble vulgar speech." Donne,

A

Bunyan, Milton, Taylor, Evelyn, Pepys, Hooker, Cotton and the translators wrote it. How realistic or materialistic in treatment of his subject is Swift. He describes his fictitious persons as if for the police. Defoe has no insecurity or choice. Hudibras has the same hard mentality, -keeping the truth at once to the senses and to the intellect.

It is not less seen in poetry. Chaucer's hard painting of his Canterbury pilgrims satisfies the senses. Shakspeare, Spenser and Milton, in their loftiest ascents, have this national grip and exactitude of mind. This mental materialism makes the value of English transcendental genius; in these writers and in Herbert, Henry More, Donne and Sir Thomas Browne. The Saxon materialism and narrowness, exalted into the sphere of intellect, makes the very genius of Shakspeare and Milton. When it reaches the pure element, it treads the clouds as securely as the adamant. Even in its elevations materialistic, its poetry is common sense inspired; or iron raised to white heat.

The marriage of the two qualities is in their speech. It is a tacit rule of the language to make the frame or skeleton of Saxon words, and, when elevation or ornament is sought, to interweave Roman, but sparingly; nor is a sentence made of Roman words alone, without loss of strength. The children and laborers use the Saxon unmixed. The

Latin unmixed is abandoned to the colleges and Parliament. Mixture is a secret of the English island; and, in their dialect, the male principle is the Saxon, the female, the Latin; and they are combined in every discourse. A good writer, if he has indulged in a Roman roundness, makes haste to chasten and nerve his period by English monosyllables.

When the Gothic nations came into Europe they found it lighted with the sun and moon of Hebrew and of Greek genius. The tablets of their brain, long kept in the dark, were finely sensible to the double glory. To the images from this twin source (of Christianity and art), the mind became fruitful as by the incubation of the Holy Ghost. The English mind flowered in every faculty. The commonsense was surprised and inspired. For two centuries England was philosophic, religious, poetic. The mental furniture seemed of larger scale: the memory capacious like the storehouse of the rains. The ardor and endurance of study, the boldness and facility of their mental construction, their fancy and imagination and easy spanning of vast distances of thought, the enterprise or accosting of new subjects, and, generally, the easy exertion of power, astonish, like the legendary feats of Guy of Warwick. The union of Saxon precision and Oriental soaring, of which Shakspeare is the perfect example, is

shared in less degree by the writers of two centuries. I find not only the great masters out of all rivalry and reach, but the whole writing of the time charged with a masculine force and freedom.

There is a hygienic simpleness, rough vigor and closeness to the matter in hand even in the second and third class of writers; and, I think, in the common style of the people, as one finds it in the citation of wills, letters and public documents; in proverbs and forms of speech. The more hearty and sturdy expression may indicate that the savageness of the Norseman was not all gone. Their dynamic brains hurled off their words as the revolving stone hurls off scraps of grit. I could cite from the seventeenth century sentences and phrases of edge not to be matched in the nineteenth. Their poets by simple force of mind equalized themselves with the accumulated science of ours. The country gentlemen had a posset or drink they called October; and the poets, as if by this hint, knew how to distil the whole season into their autumnal verses: and as nature, to pique the more, sometimes works up deformities into beauty in some rare Aspasia or Cleopatra; and as the Greek art wrought many a vase or column, in which too long or too lithe, or nodes, or pits and flaws are made a beauty of; — so these were so quick and vital that they could charm and enrich by mean and vulgar objects.