to our approved measure, of this grace and proof; and that truly, to cut my argument short, is what sets us straight down before a sudden case in which the old discrimination quite drops to the ground—in which we neither on the one hand miss anything that the general association could have given it, nor on the other recognise the pomp that attends the grand exceptions I have mentioned.
Rupert Brooke, young, happy, radiant, extraordinarily endowed and irresistibly attaching, virtually met a soldier's death, met it in the stress of action and the all but immediate presence of the enemy; but he is before us as a new, a confounding and superseding example altogether, an unprecedented image, formed to resist erosion by time or vulgarisation by reference, of quickened possibilities, finer ones than ever before, in the stuff poets may be noted as made of. With twenty reasons fixing the interest and the charm that will henceforth abide in his name and constitute, as we may say, his legend, he submits all helplessly to one in particular which is, for appreciation, the least personal to him or inseparable from him, and he does this because, while he is still in the highest degree of the distinguished faculty and quality, we happen to feel him even more markedly and significantly "modern." This is why I speak of the mixture of his elements as new, feeling that it governs his example, put by it in a light which nothing else could have equally contributed—so that Byron for instance, who startled his contemporaries by taking for granted scarce one of the articles that formed
