forms with all their felicities of diction for which she has earned as well so wide and enviable a reputation.
In summing up Mrs. Coates's achievement as a poet, one may refer to these rare and admirable qualities. The variety of her lyric forms are astonishing; and in them are moulded substances that in no case deflect from the precise intention which instinct and taste have guided. Her lyrics, always spontaneous in communicative suggestion, possess nevertheless a deliberate ecstasy which hints an indwelling pondering of mood, bearing it full ripe fruitage of thought and feeling. Her kinship in this is very close to Wordsworth and Matthew Arnold, and like them her soul is receptive of objective influences that have a wide application in their personal shaping. She draws from the Olympian world figures that typify some motive or desire in human conduct, and in the modern world the praise of men and women, heroic in attainment or sacrifice; or laments events that effect social and ethical progress, showing how beneficently she has brought her art, without modifying in the least its abstract function as a creator of beauty and pleasure, into the service of profound and vital problems.
No American poet of to-day has mirrored life so faithfully. Adhering to the best traditions of English poetry, Mrs. Coates is one of a small group of contemporary singers who are intensely American in spirit. The note of this group may be an ethical note, against which the unstaple exuberance and passion of some younger poets rebel, but it is the very essence of our national life and institutions, and must be reflected in our truest art. This ethical quality was the virtue above all others that Ruskin, none too liberal in his recognition of America's artistic efforts, praised in Longfellow and Lowell, setting its value above the beautiful but unmoral art of Keats and Shelley. The social conscience of Whitman is only a more emphatic rousing of the ethical spirit to action. The cardinal virtues of democracy are Love and Justice; Whitman insisted on their being recognized in social and political relationships, as well as in private and domestic intercourse. The distinction of this sound human quality does not prevent an increasing elaboration of the art that preserves it, as Mrs. Coates's poetry exemplifies. Its contagious appeal reaches beyond the limitations set by the reiteration of a single note, which generally attempts to enforce a philosophic or psychologic attitude. By assertion and affirmation, not of a mood or a dream or a passion, but of life itself as a whole, equalizing all these substances in one optimistic glow of aspiration, does one succeed in "envisaging the veiled heart of things," and come to interpret and express what the vision reveals of those secrets which lie shimmering on the surface of mortal experience.
And this is what the poetry of Florence Earle Coates accomplishes.
