The Practice of Optimism
must be a believer, must have a fundamental optimism in his philosophy. He may bluster and disagree and lament as Carlyle and Ruskin do sometimes; but a basic confidence in the good destiny of life and of the world must underlie his work.
Shakespeare is the prince of optimists. His tragedies are a revelation of moral order. In “Lear” and “Hamlet” there is a looking forward to something better, some one is left at the end of the play to right wrong, restore society and build the state anew. The later plays, “The Tempest” and “Cymbeline,” show a beautiful, placid optimism which delights in reconciliations and reunions and which plans for the triumph of external as well as internal good.
If Browning were less difficult to read, he would surely be the dominant poet in this century. I feel the ecstasy with which he exclaims,
