here, to admit compensation for it there; to strike a balance, and to see how our poets stand in respect to one another when that balance has been struck. Let us observe how this is so.

We will take three poets, among the most considererable of our century: Leopardi, Byron, Wordsworth. Giacomo Leopardi was ten years younger than Byron, and he died thirteen years after him; both of them, therefore, died young, Byron at the age of thirty-six, Leopardi at the age of thirty-nine. Both of them were of noble birth, both of them suffered from physical defect, both of them were in revolt against the established facts and beliefs of their age; but here the likeness between them ends. The stricken poet of Recanati had no country, for an Italy in his day did not exist; he had no audience, no celebrity. The volume of his poems, published in the very year of Byron's death, hardly sold, I suppose, its tens, while the volumes of Byron's poetry were selling their tens of thousands. And yet Leopardi has the very qualities which we have found wanting to Byron; he has the sense for form and style, the passion for just expression, the sure and firm touch of the true artist. Nay, more, he has a grave fulness of knowledge, an insight into the real bearings of the questions which as a sceptical poet he raises, a power of seizing the real point, a lucidity, with which the author of Cain has nothing to compare. I can hardly imagine Leopardi reading the

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. . . And thou would'st go on aspiring

To the great double Mysteries! the two Principles!"

or following Byron in his theological controversy with

Dr. Kennedy, without having his features overspread by a calm and fine smile, and remarking of his brilliant contemporary, as Goethe did, that "the moment he begins to reflect, he is a child." But indeed whoever wishes to feel the full superiority of Leopardi over Byron in philosophic thought and in the expression of it, has only to read one paragraph of one poem, the paragraph of La Ginestra, beginning

and ending

"Sovente in queste piagge,"

"Non so se il riso o la pietà prevale."

In like manner, Leopardi is at many points the poetic superior of Wordsworth too. He has a far wider culture than Wordsworth, more mental lucidity, more freedom from illusions as to the real character of the established fact and of reigning conventions; above all, this Italian, with his pure and sure touch, with his fineness of perception, is far more of the artist. Such a piece of pomp

ous dulness as

"O for the coming of that glorious time,"

and all the rest of it, or such lumbering verse as Mr. Ruskin's enemy,

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Parching summer hath no warrant,”

would have been as impossible to Leopardi as to Dante. Where, then, is Wordsworth's superiority? for the worth of what he has given us in poetry' I hold to be greater, on the whole, than the worth of what Leopardi has

given us. It is in Wordsworth's sound and profound

sense

"Of joy in widest commonalty spread';"

whereas Leopardi remains with his thoughts ever fixed upon the essenza insanabile, upon the acerbo, indegno mistero delle cose. It is in the power with which Wordsworth feels the resources of joy offered to us in nature, offered to us in the primary human affections and duties, and in the power with which in his moments of inspiration he renders this joy and makes us, too, feel it; a force greater than himself seeming to lift him and to prompt his tongue, so that he speaks in a style far above any style of which he has the constant command, and with a truth far beyond any philosophic truth of which he has the conscious and assured possession. Neither Leopardi nor Wordsworth is of the same order with the great poets who made such verse as

Their going hence, even as their coming hither;
Ripeness is all,”

But as compared with Leopardi, Wordsworth, though at many points less lucid, though far less a master of style, far less of an artist, gains so much by his criticism of life, being, in certain matters of profound importance, health

ful and true, whereas Leopardi's pessimism is not, that the value of Wordsworth's poetry, on the whole, stands higher for us than that of Leopardi's, as it stands higher for us, I think, than that of any modern poetry except Goethe's.

Byron's poetic value is also greater, on the whole, than Loepardi's; and his superiority turns, in the same way, upon the surpassing worth of something which he had and was, after all deduction has been made for his shortcomings. We talk of Byron's personality, "a personality in eminence such as has never been yet, and is not likely to come again; " and we say that by this personality Byron is "different from all the rest of English poets, and, in the main, greater." But can we not be a little more circumstantial, and name that in which the wonderful power of this personality consisted? We can; with the instinct of a poet Mr. Swinburne has seized upon it and named it for us. The power of Byron's personality lies in "the splendid and imperishable excellence which covers all his offences and outweighs all his defects: the excellence of sincerity and strength.”

Byron found our nation, after its long and victorious struggle with revolutionary France, fixed in a system of established facts and dominant ideas which revolted him. The mental bondage of the most powerful part of our nation, of its strong middle class, to a narrow and false system of this kind, is what we call British Philistinism. That bondage is unbroken to this hour, but in Byron's time it was even far more deep and dark than it is now. Byron was an aristocrat, and it is not difficult for an aristocrat to look on the prejudices and habits of the

British Philistine with scepticism and disdain. Plenty of young men of his own class Byron met at Almack's or at Lady Jersey's, who regarded the established facts and reigning beliefs of the England of that day with as little reverence as he did. But these men, disbelievers in British Philistinism in private, entered English public life, the most conventional in the world, and at once they saluted with respect the habits and ideas of British Philistinism as if they were a part of the order of creation, and as if in public no sane man would think of warring against them. With Byron it was different. What he called the cant of the great middle part of the English nation, what we call its Philistinism, revolted him; but the cant of his own class, deferring to this Philistinism and profiting by it, while they disbelieved in it, revolted him even more. "Come what may," are his own words, "I will never flatter the million's canting in any shape." His class in general, on the other hand, shrugged their shoulders at this cant, laughed at it, pandered to it, and ruled by it. The falsehood, cynicism, insolence, misgovernment, oppression, with their consequent unfailing crop of human misery, which were produced by this state of things, roused Byron to irreconcilable revolt and battle. They made him indignant, they infuriated him; they were so strong, so defiant, so maleficent, - and yet he felt that they were doomed. "You have seen every trampler down in turn," he comforts himself with saying, "from Buonaparte to the simplest individuals." The old order, as after 1815 it stood victorious, with its ignorance and misery below, its cant, selfishness, and cynicism above, was at home and abroad equally hateful to him.