It is remarkable that Mr. Bailey, while seeming to approve of the classicism of Racine's dramatic form, nevertheless finds fault with him for his lack of a quality with which, by its very nature, the classical form is incompatible. Racine's vision, he complains, does not 'take in the whole of life'; we do not find in his plays 'the whole pell-mell of human existence'; and this is true, because the particular effects which Racine wished to produce necessarily involved this limitation of the range of his interests. His object was to depict the tragic interaction of a small group of persons at the culminating height of its intensity; and it is as irrational to complain of his failure to introduce into his compositions 'the whole pell-mell of human existence' as it would be to find fault with a Mozart quartet for not containing the orchestration of Wagner. But it is a little difficult to make certain of the precise nature of Mr. Bailey's criticism. When he speaks of Racine's vision not including 'the whole of life,' when he declares that Racine cannot be reckoned as one of the 'world-poets,' he seems to be taking somewhat different ground and discussing a more general question. All truly great poets, he asserts, have 'a wide view of humanity,' 'a large view of life'—a profound sense, in short, of the relations between man and the universe; and, since Racine is without this quality, his claim to true poetic greatness must be denied. But, even upon the supposition that this view of Racine's philosophical outlook is the true one—and, in its most important sense, I believe that it is not—does Mr. Bailey's conclusion really follow? Is it possible to test a poet's greatness by the largeness of his 'view of life'? How wide, one would like to know, was Milton's 'view of humanity'? And, though Wordsworth's sense of the position of man in the universe was far more profound than Dante's, who will venture to assert that he was the greater poet? The truth is that we have struck here upon a principle which lies at the root, not only of Mr. Bailey's criticism of Racine, but of an entire critical method—the method which attempts to define the essential elements of poetry in general, and then proceeds to ask of any particular poem whether it possesses these elements, and to judge it accordingly. How often this method has been employed, and how often it has proved disastrously fallacious! For, after all, art is not a superior kind of chemistry, amenable to the rules of scientific induction. Its component parts cannot be classified and tested, and there is a spark within it which defies foreknowledge. When Matthew Arnold declared that the value of a new poem might be gauged by comparing it with the greatest passages in the acknowledged masterpieces of literature, he was falling into this very error; for who could tell that the poem in question was not itself a masterpiece, living by the light of an unknown beauty, and a law unto itself? It is the business of the poet to break rules and to baffle expectation; and all the masterpieces in the world cannot make a precedent. Thus Mr. Bailey's attempts to discover, by quotations from Shakespeare, Sophocles, and Goethe, the qualities without which no poet can be great, and his condemnation of Racine because he is without them, is a fallacy in criticism. There is only one way to judge a poet, as Wordsworth, with that paradoxical sobriety so characteristic of him, has pointed out—and that is, by loving him. But Mr. Bailey, with regard to Racine at any rate, has not followed the advice of Wordsworth. Let us look a little more closely into the nature of his attack.

'L'épithète rare,' said the De Goncourts,'voilà la marque de l'écrivain.' Mr. Bailey quotes the sentence with approval, observing that if, with Sainte-Beuve, we extend the phrase to 'le mot rare,' we have at once one of those invaluable touch-stones with which we may test the merit of poetry. And doubtless most English readers would be inclined to agree with Mr. Bailey, for it so happens that our own literature is one in which rarity of style, pushed often to the verge of extravagance, reigns supreme. Owing mainly, no doubt, to the double origin of our language, with its strange and violent contrasts between the highly-coloured crudity of the Saxon words and the ambiguous splendour of the Latin vocabulary; owing partly, perhaps, to a national taste for the intensely imaginative, and partly, too, to the vast and penetrating influence of those grand masters of bizarrerie—the Hebrew Prophets—our poetry, our prose, and our whole conception of the art of writing have fallen under the dominion of the emphatic, the extraordinary, and the bold. No one in his senses would regret this, for it has given our literature all its most characteristic glories, and, of course, in Shakespeare, with whom expression is stretched to the bursting point, the national style finds at once its consummate example and its final justification. But the result is that we have grown so unused to other kinds of poetical beauty, that we have now come to believe, with Mr. Bailey, that poetry apart from 'le mot rare' is an impossibility. The beauties of restraint, of clarity, of refinement, and of precision we pass by unheeding; we can see nothing there but coldness and uniformity; and we go back with eagerness to the fling and the bravado that we love so well. It is as if we had become so accustomed to looking at boxers, wrestlers, and gladiators that the sight of an exquisite minuet produced no effect on us; the ordered dance strikes us as a monotony, for we are blind to the subtle delicacies of the dancers, which are fraught with such significance to the practised eye. But let us be patient, and let us look again.

 
Ariane ma soeur, de quel amour blessée,
Vous mourûtes aux bords où vous fûtes laissée.
 

Here, certainly, are no 'mots rares'; here is nothing to catch the mind or dazzle the understanding; here is only the most ordinary vocabulary, plainly set forth. But is there not an enchantment? Is there not a vision? Is there not a flow of lovely sound whose beauty grows upon the ear, and dwells exquisitely within the memory? Racine's triumph is precisely this—that he brings about, by what are apparently the simplest means, effects which other poets must strain every nerve to produce. The narrowness of his vocabulary is in fact nothing but a proof of his amazing art. In the following passage, for instance, what a sense of dignity and melancholy and power is conveyed by the commonest words!

 
Enfin j'ouvre les yeux, et je me fais justice:
C'est faire à vos beautés un triste sacrifice
Que de vous présenter, madame, avec ma foi,
Tout l'âge et le malheur que je traîne avec moi.
Jusqu'ici la fortune et la victoire mêmes
Cachaient mes cheveux blancs sous trente diadèmes.
Mais ce temps-là n'est plus: je régnais; et je fuis:
Mes ans se sont accrus; mes honneurs sont detruits.
 

Is that wonderful 'trente' an 'épithète rare'? Never, surely, before or since, was a simple numeral put to such a use—to conjure up so triumphantly such mysterious grandeurs! But these are subtleties which pass unnoticed by those who have been accustomed to the violent appeals of the great romantic poets. As Sainte-Beuve says, in a fine comparison between Racine and Shakespeare, to come to the one after the other is like passing to a portrait by Ingres from a decoration by Rubens. At first, 'comme on a l'oeil rempli de l'éclatante vérité pittoresque du grand maître flamand, on ne voit dans l'artiste français qu'un ton assez uniforme, une teinte diffuse de pâle et douce lumière. Mais qu'on approche de plus près et qu'on observe avec soin: mille nuances fines vont éclore sous le regard; mille intentions savantes vont sortir de ce tissu profond et serré; on ne peut plus en détacher ses yeux.'

Similarly when Mr. Bailey, turning from the vocabulary to more general questions of style, declares that there is no 'element of fine surprise' in Racine, no trace of the 'daring metaphors and similes of Pindar and the Greek choruses—the reply is that he would find what he wants if he only knew where to look for it. 'Who will forget,' he says, 'the comparison of the Atreidae to the eagles wheeling over their empty nest, of war to the money-changer whose gold dust is that of human bodies, of Helen to the lion's whelps?… Everyone knows these. Who will match them among the formal elegances of Racine?' And it is true that when Racine wished to create a great effect he did not adopt the romantic method; he did not chase his ideas through the four quarters of the universe to catch them at last upon the verge of the inane; and anyone who hopes to come upon 'fine surprises' of this kind in his pages will be disappointed. His daring is of a different kind; it is not the daring of adventure but of intensity; his fine surprises are seized out of the very heart of his subject, and seized in a single stroke. Thus many of his most astonishing phrases burn with an inward concentration of energy, which, difficult at first to realise to the full, comes in the end to impress itself ineffaceably upon the mind.

 
C'était pendant l'horreur d'une profonde nuit.
 

The sentence is like a cavern whose mouth a careless traveller might pass by, but which opens out, to the true explorer, into vista after vista of strange recesses rich with inexhaustible gold. But, sometimes, the phrase, compact as dynamite, explodes upon one with an immediate and terrific force—

 
C'est Vénus toute entière à sa proie attachée!
 

A few 'formal elegances' of this kind are surely worth having.

But what is it that makes the English reader fail to recognise the beauty and the power of such passages as these? Besides Racine's lack of extravagance and bravura, besides his dislike of exaggerated emphasis and far-fetched or fantastic imagery, there is another characteristic of his style to which we are perhaps even more antipathetic—its suppression of detail. The great majority of poets—and especially of English poets—produce their most potent effects by the accumulation of details—details which in themselves fascinate us either by their beauty or their curiosity or their supreme appropriateness. But with details Racine will have nothing to do; he builds up his poetry out of words which are not only absolutely simple but extremely general, so that our minds, failing to find in it the peculiar delights to which we have been accustomed, fall into the error of rejecting it altogether as devoid of significance. And the error is a grave one, for in truth nothing is more marvellous than the magic with which Racine can conjure up out of a few expressions of the vaguest import a sense of complete and intimate reality. When Shakespeare wishes to describe a silent night he does so with a single stroke of detail—'not a mouse stirring'! And Virgil adds touch upon touch of exquisite minutiae:

 
Cum tacet omnis ager, pecudes, pictaeque volucres,
Quaeque lacus late liquidos, quaeque aspera dumis
Rura tenent, etc.
 

Racine's way is different, but is it less masterly?

 
Mais tout dort, et l'armée, et les vents, et Neptune.
 

What a flat and feeble set of expressions! is the Englishman's first thought—with the conventional 'Neptune,' and the vague 'armée,' and the commonplace 'vents.' And he forgets to notice the total impression which these words produce—the atmosphere of darkness and emptiness and vastness and ominous hush.

It is particularly in regard to Racine's treatment of nature that this generalised style creates misunderstandings. 'Is he so much as aware,' exclaims Mr. Bailey, 'that the sun rises and sets in a glory of colour, that the wind plays deliciously on human cheeks, that the human ear will never have enough of the music of the sea? He might have written every page of his work without so much as looking out of the window of his study.' The accusation gains support from the fact that Racine rarely describes the processes of nature by means of pictorial detail; that, we know, was not his plan. But he is constantly, with his subtle art, suggesting them. In this line, for instance, he calls up, without a word of definite description, the vision of a sudden and brilliant sunrise:

 
Déjà le jour plus grand nous frappe et nous éclaire.
 

And how varied and beautiful are his impressions of the sea! He can give us the desolation of a calm:

 
La rame inutile
Fatigua vainement une mer immobile;
 

or the agitated movements of a great fleet of galleys:

 
Voyez tout l'Hellespont blanchissant sous nos rames;
 

or he can fill his verses with the disorder and the fury of a storm:

 
Quoi! pour noyer les Grecs et leurs mille vaisseaux,
Mer, tu n'ouvriras pas des abymes nouveaux!
Quoi! lorsque les chassant du port qui les recèle,
L'Aulide aura vomi leur flotte criminelle,
Les vents, les mêmes vents, si longtemps accusés,
Ne te couvriront pas de ses vaisseaux brisés!
 

And then, in a single line, he can evoke the radiant spectacle of a triumphant flotilla riding the dancing waves:

 
Prêts à vous recevoir mes vaisseaux vous attendent;
Et du pied de l'autel vous y pouvez monter,
Souveraine des mers qui vous doivent porter.
 

The art of subtle suggestion could hardly go further than in this line, where the alliterating v's, the mute e's, and the placing of the long syllables combine so wonderfully to produce the required effect.

But it is not only suggestions of nature that readers like Mr. Bailey are unable to find in Racine—they miss in him no less suggestions of the mysterious and the infinite. No doubt this is partly due to our English habit of associating these qualities with expressions which are complex and unfamiliar. When we come across the mysterious accent of fatality and remote terror in a single perfectly simple phrase—

 
La fille de Minos et de Pasiphaé
 

we are apt not to hear that it is there. But there is another reason—the craving, which has seized upon our poetry and our criticism ever since the triumph of Wordsworth and Coleridge at the beginning of the last century, for metaphysical stimulants. It would be easy to prolong the discussion of this matter far beyond the boundaries of 'sublunary debate,' but it is sufficient to point out that Mr. Bailey's criticism of Racine affords an excellent example of the fatal effects of this obsession. His pages are full of references to 'infinity' and 'the unseen' and 'eternity' and 'a mystery brooding over a mystery' and 'the key to the secret of life'; and it is only natural that he should find in these watchwords one of those tests of poetic greatness of which he is so fond. The fallaciousness of such views as these becomes obvious when we remember the plain fact that there is not a trace of this kind of mystery or of these 'feelings after the key to the secret of life,' in Paradise Lost, and that Paradise Lost