which it was kindled and insisted on proceeding, or yet perhaps failed to proceed, to a larger combustion, and the draughts, blowing about the world, that were either, as may have happened, to quicken its native force or perhaps to extinguish it in a gust of undue violence. It is naturally when the poet has emerged unmistakably clear, or has at a happy moment of his story seemed likely to, that our attention and our suspense in the matter are most intimately engaged; and we are at any rate in general beset by the impression and haunted by the observed law, that the growth and the triumph of the faculty at its finest have been positively in proportion to certain rigours of circumstance.
It is doubtless not indeed so much that this appearance has been inveterate as that the quality of genius in fact associated with it is apt to strike us as the clearest we know. We think of Dante in harassed exile, of Shakespeare under sordidly professional stress, of Milton in exasperated exposure and material darkness; we think of Burns and Chatterton, and Keats and Shelley and Coleridge, we think of Leopardi and Musset and Emily Brontë and Walt Whitman, as it is open to us surely to think even of Wordsworth, so harshly conditioned by his spareness and bareness and bleakness—all this in reference to the voices that have most proved their command of the ear of time, and with the various examples added of those claiming, or at best enjoying, but the slighter attention; and their office thus mainly affects us as that of showing in how jostled, how frequently arrested and all but
