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 seems unreasonable to draw any argument from them, we may surely say that there are at least six poets of the Elizabethan era, the meanest of whom showed more workmanlike conception of what was needed for dramatic representation of effective plot and situations than is to be found in Shelley, Byron, Browning, and Swinburne, though the least of these is superior in poetic feeling and taste to Beaumont, Webster, and Ford, and to Marlowe in all but two or three passages. There are, in fact, only two classes of poetry in which modern craftsmen have vindicated themselves. One of these is the epic of society of which Don Juan is the best instance for light sarcastic workmanship, and Childe Harold the most perfect for serious style. In each of these great poems, however, though social subjects are more or less touched upon, the treatment is more purely subjective—more concerned with individual characteristics and feelings—than as they would have been rendered by an old artist handling them. In this particular the story of society, as distinguished from the story of national life, is true to the spirit of its age. Where modern poetry has really discovered a new world, and is unapproachable, has been in its lyrical reproduction of moods and passions. The first part of Faust, perhaps altogether the most consummate poem of the last hundred years, derives its singular perfection from the blending of three distinct forms of art in a very exquisite form. There is an epical thought in the background of the piece. The idealist destroying his own past that he may build it up anew reflects the genius of the times when the French Revolution was in the air. Only it was not natural to the poet to conceive an epical movement in an epical form. Then again, there is a dramatic action in the scene where