perfectly throughout that literature of modern England which has its roots in and which derives the best of its life's blood from the wonderful half-century: 1580- 1630. Reasons, causes must exist, nor—let me here forestall a possible objection—do we wrong genius by seeking to discover them. Rather, I hope, may individual genius, however pre-eminent, acquire fresh claims to our love and gratitude when we note that it is no arbitrary and isolated phenomenon, but stands in necessary relation to the totality of causes and circumstances which have shaped the national character. And, should we find these causes and circumstances still potent for influence, may we not look forward with better confidence to the future of our poetic literature?
Early in the half-century of which I have just spoken, some time between 1590 and 1595, appeared the Midsummer Night's Dream, the crown and glory of English delineation of the fairy world. Scarce any one of Shakespeare's plays has had a literary influence so immediate, so widespread, and so enduring. As pictured by Shakespeare, the fairy realm became, almost at once, a convention of literature in which numberless poets sought inspiration and material. I need only mention Drayton, Ben Jonson, Herrick, Randolph, and Milton himself. Apart from any question of its relation to popular belief, of any grounding in popular fancy, Shakespeare's vision stood by itself, and was accepted as the ideal presentment of fairydom, which, for two centuries at least, has signified to the average Englishman of culture the world depicted in the Midsummer Night's Dream. To this day, works are being produced deriving form and circumstance and inspiration (such as it is) wholly from Shakespeare.
Now if we compare these literary presentations (especially the latest) of Faery, with knowledge derived from study of living folklore, where the latter has retained the fairy belief with any distinctness, we find almost complete disagreement; and if, here and there, a trait seems common.
