Page:Essays and Studies - Swinburne (1875).pdf/122

 and ease of flight, the scope and sweep of wing to impel the might and weight of thought through the air and light of speech with a motion as of mere musical impulse; and not less the live bloom of perfect words, warm as breath and fine as flower-dust, which lies light as air upon the parting of lyric leaves that open into song; the rare and ineffable mark of a supreme singing power, an element too subtle for solution in any crucible of analysis, though its presence or absence be patent at a first trial to all who have a sense of taste. All these this poet has, and the mastery over all these which melts and fuses all into form and use; the cunning to turn his own gifts to service which is the last great apanage of great workmen. Colour and sound are servants of his thought, and his thought is servant of his will; in him the will and the instinct are not two forces, but one strength; are not two leaders, but one guide; there is no shortcoming, no pain or compulsion in the homage of hand to soul. The subject-matter of his work is always great and fit; nothing trivial, nothing illicit, nothing unworthy the workmanship of a masterhand, is to be swept up from any corner of the floor; there is no misuse or waste of good work on stuff too light or hard to take the impression of his noble style. He builds up no statues of snow at the bidding of any fool, with the hand that can carve itself a godlike model in ivory or gold; not though all the fools of the place and hour should recommend snow as the best material, for its softness and purity. Time and work and art are too precious to him and too serious to be spent on anything less than the best. An artist worthy of the highest work will make his least work worthy of himself. In