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lives within garments and veils； and art is chiefly concerned with making
mysteries of these for the loveliness of his life； when they are rent asunder
it is impossible not to be aware that an overwhelming human emotion has
been in action。 Thus DEPARTURE； IF I WERE DEAD； A FAREWELL；
EURYDICE； THE TOYS； ST。 VALENTINE'S DAY though here there is
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in the exquisite imaginative play a mitigation of the bare vitality of
feelinggroup themselves apart as the innermost of the poet's
achievements。
Second to these come the Odes that have splendid thought in great
images； and displayrather than； as do the poems first glanced at； betray
the beauties of poetic art。 Emotion is here； too； and in shocks and throes；
never frantic when almost intolerable。 It is mortal pathos。 If any other
poet has filled a cup with a draught so unalloyed； we do not know it。
Love and sorrow are pure in The Unknown Eros； and its author has not
refused even the cup of terror。 Against love often； against sorrow nearly
always； against fear always； men of sensibility instantaneously guard the
quick of their hearts。 It is only the approach of the pang that they will
endure； from the pang itself； dividing soul and spirit； a man who is
conscious of a profound capacity for passion defends himself in the
twinkling of an eye。 But through nearly the whole of Coventry Patmore's
poetry there is an endurance of the mortal touch。 Nay； more； he has the
endurance of the immortal touch。 That is； his capacity for all the things
that men elude for their greatness is more than the capacity of other men。
He endures therefore what they could but will not endure and； besides this；
degrees that they cannot apprehend。 Thus； to have studied The Unknown
Eros is to have had a certain experienceat least the impassioned
experience of a compassion； but it is also to have recognised a soul
beyond our compassion。
What some of the Odes have to sing of； their author does not insist
upon our knowing。 He leaves more liberty for a well…intentioned reader's
error than makes for peace and recollection of mind in reading。 That the
general purpose of the poems is obscure is inevitable。 It has the
obscurity of profound clear waters。 What the poet chiefly secures to us is
the understanding that love and its bonds； its bestowal and reception； does
but rehearse the action of the union of God with humanitythat there is no
essential man save Christ； and no essential woman except the soul of
mankind。 When the singer of a Song of Songs seems to borrow the phrase
of human love； it is rather that human love had first borrowed the truths of
the love of God。 The thought grows gay in the three Psyche odes； or
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attempts a gaietythe reader at least being somewhat reluctant。 How is it？
Mr。 Coventry Patmore's play more often than not wins you to but a slow
participation。 Perhaps because some thrust of his has left you still
tremulous。
But the inequality of equal lovers； sung in these Odes with a Divine
allusion； is a most familiar truth。 Love that is passionate has much of the
impulse of gravitationgravitation that is not falling； as there is no
downfall in the precipitation of the sidereal skies。 The love of the great for
the small is the passionate love； the upward love hesitates and is fugitive。
St。 Francis Xavier asked that the day of his ecstasy might be shortened；
Imogen； the wife of all poetry； 'prays forbearance；' the child is 'fretted with
sallies of his mothers kisses。' It might be drawing an image too
insistently to call this a centrifugal impulse。
The art that utters an intellectual action so courageous； an emotion so
authentic； as that of Mr。 Coventry Patmore's poetry； cannot be otherwise
than consummate。 Often the word has a fulness of significance that gives
the reader a shock of appreciation。 This is always so in those simplest
odes which we have taken as the heart of the author's work。 Without
such wonderful rightness； simplicity of course is impossible。 Nor is that
beautiful precision less in passages of description； such as the landscape
lines in Amelia and elsewhere。 The words are used to the uttermost yet
with composure。 And a certain justness of utterance increases the
provocation of what we take leave to call unjust thought in the few poems
that proclaim an intemperate scornpolitical； social； literary。 The poems
are but two or three； they are to be known by their subjects we might as
well do something to justify their scorn by using the most modern of
adjectivesand call them topical。 Here assuredly there is no composure。
Never before did superiority bear itself with so little of its proper； signal；
and peculiar grace reluctance。
If Mr。 Patmore really intends that his Odes shall be read with minim；
or crochet； or quaver rests； to fill up a measure of beaten time； we are free
to hold that he rather arbitrarily applies to liberal verse the laws of verse
set for usecradle verse and march… marking verse （we are； of course； not
considering verse set to music； and thus compelled into the musical time）。
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Liberal verse； dramatic； narrative； meditative； can surely be bound by no
time measuresif for no other reason； for this： that to prescribe pauses is
also to forbid any pauses unprescribed。 Granting； however； his principle
of catalexis； we still doubt whether the irregular metre of The Unknown
Eros is happily used except for the large sweep of the flight of the Ode
more properly so called。 Lycidas； the Mrs。 Anne Killigrew； the Intimations；
and Emerson's Threnody； considered merely for their versification； fulfil
their laws so perfectly that they certainly move without checks as without
haste。 So with the graver Odesmuch in the majorityof Mr。 Coventry
Patmore's series。 A more lovely dignity of extension and re