lyrical poems-第3节
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Scatters his loose notes in the waste of air
are not； in truth； the results of exquisite art working in co… operation with the gifts of nature。 The various readings which our few remaining manuscripts or printed versions have supplied to Mr Grosart's 'Introduction；' attest the minute and curious care with which Herrick polished and strengthened his own work： his airy facility； his seemingly spontaneous melodies； as with Shelleyhis counterpart in pure lyrical art within this century were earned by conscious labour； perfect freedom was begotten of perfect art；nor； indeed； have excellence and permanence any other parent。
With the error that regards Herrick as a careless singer is closely twined that which ranks him in the school of that master of elegant pettiness who has usurped and abused the name Anacreon； as a mere light…hearted writer of pastorals； a gay and frivolous Renaissance amourist。 He has indeed those elements： but with them is joined the seriousness of an age which knew that the light mask of classicalism and bucolic allegory could be worn only as an ornament； and that life held much deeper and further… reaching issues than were visible to the narrow horizons within which Horace or Martial circumscribed the range of their art。 Between the most intensely poetical； and so； greatest； among the French poets of this century； and Herrick； are many points of likeness。 He too； with Alfred de Musset； might have said
Quoi que nous puissions faire； Je souffre； il est trop tard； le monde s'est fait vieux。 Une immense esperance a traverse la terre； Malgre nous vers le ciel il faut lever les yeux。
Indeed； Herrick's deepest debt to ancient literature lies not in the models which he directly imitated； nor in the Anacreontic tone which with singular felicity he has often taken。 These are common to many writers with him：nor will he who cannot learn more from the great ancient world ever rank among poets of high order； or enter the innermost sanctuary of art。 But； the power to describe men and things as the poet sees them with simple sincerity； insight； and grace： to paint scenes and imaginations as perfect organic wholes；carrying with it the gift to clothe each picture； as if by unerring instinct； in fit metrical form； giving to each its own music； beginning without affectation； and rounding off without effort； the power； in a word； to leave simplicity； sanity； and beauty as the last impressions lingering on our minds； these gifts are at once the true bequest of classicalism； and the reason why （until modern effort equals them） the study of that Hellenic and Latin poetry in which these gifts are eminent above all other literatures yet created； must be essential。 And it is success in precisely these excellences which is here claimed for Herrick。 He is classical in the great and eternal sense of the phrase： and much more so； probably； than he was himself aware of。 No poet in fact is so far from dwelling in a past or foreign world： it is the England； if not of 1648； at least of his youth； in which he lives and moves and loves： his Bucolics show no trace of Sicily： his Anthea and Julia wear no 'buckles of the purest gold；' nor have anything about them foreign to Middlesex or Devon。 Herrick's imagination has no far horizons： like Burns and Crabbe fifty years since； or Barnes （that exquisite and neglected pastoralist of fair Dorset； perfect within his narrower range as Herrick） to…day； it is his own native land only which he sees and paints： even the fairy world in which； at whatever inevitable interval； he is second to Shakespeare； is pure English； or rather； his elves live in an elfin county of their own； and are all but severed from humanity。 Within that greater circle of Shakespeare； where Oberon and Ariel and their fellows move； aiding or injuring mankind； and reflecting human life in a kind of unconscious parody； Herrick cannot walk： and it may have been due to his good sense and true feeling for art； that here； where resemblance might have seemed probable； he borrows nothing from MIDSUMMER NIGHT'S DREAM or TEMPEST。 if we are moved by the wider range of Byron's or Shelley's sympathies； there is a charm； also； in this sweet insularity of Herrick； a narrowness perhaps； yet carrying with it a healthful reality absent from the vapid and artificial 'cosmopolitanism' that did such wrong on Goethe's genius。 If he has not the exotic blooms and strange odours which poets who derive from literature show in their conservatories； Herrick has the fresh breeze and thyme…bed fragrance of open moorland； the grace and greenery of English meadows： with Homer and Dante； he too shares the strength and inspiration which come from touch of a man's native soil。
What has been here sketched is not planned so much as a criticism in form on Herrick's poetry as an attempt to seize his relations to his predecessors and contemporaries。 If we now tentatively inquire what place may be assigned to him in our literature at large； Herrick has no single lyric to show equal； in pomp of music； brilliancy of diction； or elevation of sentiment to some which Spenser before； Milton in his own time； Dryden and Gray； Wordsworth and Shelley； since have given us。 Nor has he； as already noticed； the peculiar finish and reserve （if the phrase may be allowed） traceable； though rarely； in Ben Jonson and others of the seventeenth century。 He does not want passion； yet his passion wants concentration： it is too ready； also； to dwell on externals： imagination with him generally appears clothed in forms of fancy。 Among his contemporaries； take Crashaw's 'Wishes'： Sir J。 Beaumont's elegy on his child Gervase： take Bishop King's 'Surrender'：
My once…dear Love！hapless； that I no more Must call thee so。 。 。 。 The rich affection's store That fed our hopes； lies now exhaust and spent； Like sums of treasure unto bankrupts lent： We that did nothing study but the way To love each other； with which thoughts the day Rose with delight to us； and with them set； Must learn the hateful art； how to forget！ Fold back our arms； take home our fruitless loves； That must new fortunes try； like turtle doves Dislodged from their haunts。 We must in tears Unwind a love knit up in many years。 In this one kiss I here surrender thee Back to thyself： so thou again art free：…
take eight lines by some old unknown Northern singer：
When I think on the happy days I spent wi' you； my dearie； And now what lands between us lie； How can I be but eerie！
How slow ye move； ye heavy hours； As ye were wae and weary！ It was na sae ye glinted by When I was wi' my dearie：
O！ there is an intensity here； a note of passion beyond the deepest of Herrick's。 This tone （whether from temperament or circumstance or scheme of art）； is wanting to the HESPERIDES and NOBLE NUMBERS： nor does Herrick's lyre； sweet and varied as it is； own that purple chord； that more inwoven harmony； possessed by poets of greater depth and splendour；by Shakespeare and Milton often； by Spenser more rarely。 But if we put aside these 'greater gods' of song； with Sidney；in the Editor's judgment Herrick's mastery （to use a brief expression）； both over Nature and over Art； clearly assigns to him the first place as lyrical poet； in the strict and pure sense of the phrase； among all who flourished during the interval between Henry V and a hundred years since。 Single pieces of equal； a few of higher； quality； we have； indeed； meanwhile received； not only from the master… singers who did not confine themselves to the Lyric； but from many poetssome the unknown contributors to our early anthologies； then Jonson； Marvell； Waller； Collins； and others； with whom we reach the beginning of the wider sweep which lyrical poetry has since taken。 Yet； looking at the whole work； not at the selected jewels； of this great and noble multitude； Herrick； as lyrical poet strictly； offers us by far the most homogeneous； attractive； and varied treasury。 No one else among lyrists within the period defined； has such unfailing freshness： so much variety within the sphere prescribed to himself： such closeness to nature； whether in description or in feeling： such easy fitness in language： melody so unforced and delightful。 His dull pages are much less frequent： he has more lines； in his own phrase； 'born of the royal blood'： the
Inflata rore non Achaico verba
are rarer with him： although superficially mannered； nature is so much nearer to him； that far fewer of his pieces have lost vitality and interest through adherence to forms of feeling or fashions of thought now obsolete。 A Roman contemporary is described by the younger Pliny in words very appropriate to Herrick： who； in fact； if Greek in respect of his method and style； in the contents of his poetry displays the 'frankness of nature and vivid sense of life' which criticism assigns as marks of the great Roman poets。 FACIT VERSUS； QUALES CATULLUS AUT CALVUS。 QUANTUM ILLIS LEPORIS； DULCEDINIS； AMARITUDINIS AMORIS！ INSERIT SANE； SED DATA OPERA； MOLLIBUS LENIBUSQUE DURIUSCULOS QUOSDAM； ET HOC； QUASI CATULLUS AUT CALVUS。 Many pieces have been； here refused admittance； whether from coarseness of phrase or inferior value
