Matthew Arnold | Page 9

is called in to teach us the secret of successful labour. Her forces are incessantly at work, and in that work they are entirely concentrated--
Bounded by themselves, and unregardful In what state God's other works may be, In their own tasks all their powers pouring, These attain the mighty life you see.
But those who had the happiness of knowing Arnold in the flesh will feel that they never so clearly recognize his natural voice as when, by his criticism of life, he is inculcating the great law of Love. Even in the swirl of Revolution he clings to his fixed idea of love as duty. After discussing the rise and fall of dynasties, the crimes of diplomacy, the characteristic defects of rival nations, and all the stirring topics of the time, he abruptly concludes his criticism with an appeal to Love. "Be kind to the neighbours--'this is all we can.'"
And as in his prose, so in his poetry. Love, even in arrest of formal justice, is the motive of The Sick King in Bokhara; love, that wipes out sin, of Saint Brandan--
That germ of kindness, in the womb Of mercy caught, did not expire; Outlives my guilt, outlives my doom, And friends me in the pit of fire.
The Neckan and The Forsaken Merman tell the tale of contemptuous unkindness and its enduring poison. A Picture at Newstead depicts the inexpiable evils wrought by violent wrong. Poor Matthias tells in a parable the cruelty, not less real because unconscious, of imperfect sympathy--
Human longings, human fears, Miss our eyes and miss our ears. Little helping, wounding much, Dull of heart, and hard of touch, Brother man's despairing sign Who may trust us to divine?
In Geist's Grave, the "loving heart," the "patient soul" of the dog-friend are made to "read their homily to man"; and the theme of the homily is still the same: the preciousness of the love which outlives the grave. But nowhere perhaps is his doctrine about the true divinity of love so exquisitely expressed as in The Good Shepherd with the Kid--
He saves the sheep, the goats He doth not save. So rang Tertullian's sentence . . . . . . . . But she sigh'd, The infant Church! Of love she felt the tide Stream on her from her Lord's yet recent grave. And then she smiled; and in the Catacombs, With eye suffused but heart inspirèd true, On those walls subterranean, where she hid Her head 'mid ignominy, death, and tombs, She the Good Shepherd's hasty image drew-- And on His shoulders not a lamb, a kid.
So much, then, for his Criticism of Life, as applied in and through his poems. It is not easy to estimate, even approximately, the effect produced by a loved and gifted poet, who for thirty years taught an audience, fit though few, that the main concerns of human life were Truth, Work, and Love. Those "two noblest of things, Sweetness and Light" (though heaven only knows what they meant to Swift), meant to him Love and Truth; and to these he added the third great ideal, Work--patient, persistent, undaunted effort for what a man genuinely believes to be high and beneficent ends. Such a "Criticism of Life," we must all admit, is not unworthy of one who seeks to teach his fellow-men; even though some may doubt whether poetry is the medium best fitted for conveying it.
We must now turn our attention to his performances in the field of literary criticism; and we begin in the year 1853. He had won the prize for an English poem at Rugby, and again at Oxford. In 1849 he had published without his name, and had recalled, a thin volume, called The Strayed Reveller, and other Poems. He had done the same with Empedocles on Etna, and other Poems in 1852. The best contents of these two volumes were combined in Poems, 1853, and to this book he gave a Preface, which was his first essay in Literary Criticism. In this essay he enounces a certain doctrine of poetry, and, true to his lifelong practice, he enounces it mainly by criticism of what other people had said. A favourite cry of the time was that Poetry, to be vital and interesting, must "leave the exhausted past, and draw its subjects from matters of present import." It was the favourite theory of Middle Class Liberalism. The Spectator uttered it with characteristic gravity; Kingsley taught it obliquely in Alton Locke. Arnold assailed it as "completely false," as "having a philosophical form and air, but no real basis in fact." In assailing it, he justified his constant recourse to Antiquity for subject and method; he exalted Achilles, Prometheus, Clytemnestra, and Dido as eternally interesting; he asserted that the most famous poems of the nineteenth century "left the