but, so far as we know, she never bore children."[1] Goethe's pupil, the young Matthew Arnold, accepted without reserve the antique notion of poetry. "Actions, human actions," he cried, "are the eternal objects of the muse." In after years, as we shall see, he formed a more sympathetic conception.
Other poets have thrown different and priceless alloys into the crucible from which is to The Romantic view. Poetry as the lyrical expression of Emotion.flow the metal of our seeking, adding fire and sweetness to its tone. The chiefs of the romantic movement, so near our own time, believed Passion to be the one thing needful. Byron was its fervent exemplar. In certain Byron.moods, it is true, he affected to think that he and his compeers were upon a wrong system, and he extolled the genius and style of Pope. But this was after all had got the seed of his own flower. It was plainly an affectation of revolt from his own affectation, with haply some prophetic sense of naturalism as a basis for genuine emotion. His summing up is given in "Don Juan":—
"Thus to their extreme verge the passions brought
Dash into poetry, which is but passion,
Or at least was so, ere it grew a fashion."
Moore, light-weight as he was, aptly stated the Byronic creed: "Poetry ought only to be employed as an interpreter of feeling." This is certainly true, as far as it goes, and agrees with Mill's
