It might reasonably be supposed that the last drop in Ireland’s cup of bitterness was Mr. William Butler Yeats. An emotional and misfortunate people with the tyrant’s heel on its neck, and poverty and disaster always in attendance upon it, may be excused if it does not altogether dance to the pipings of a pretty fellow like Mr. Yeats. In point of fact, however, Ireland fails to dance not because of her sadness, but because Mr. Yeats’s minstrelsy is to all intents and purposes utterly alien to her. In England, or more correctly speaking, in London, it is true, there has been and possibly is now, a small cult of what is commonly called the Keltic Muse. And the head and front of it, of course, is Mr. Yeats. He has found ardent, if undiscriminating, support among the Irish reporters and reviewers on the daily papers; he enjoys the patronage of Mr. Clement Shorter, and he is received respectfully at the Irish Literary Club. Further I am told that there is a musically-minded elocutionist in London who goes about chanting his numbers to the three-stringed psaltery. That Mr. Yeats is a poet of some parts nobody in his senses will attempt to deny. That he is a vast, or potent, or as he himself would no doubt phrase it, a Druid poet, I am not disposed to admit. The strength of him is slight indeed; the thought of him prattles forever round the trivial. He has a still small voice with a wistfulness about it; and it is on this wistfulness that he has builded up his business. His contemporaries, the men among whom, whether he likes it or no, he will always have to range, are every one of them stronger men than he. They are ruder and more forceful, more gusty and less attenuated, if only by fits and starts. They do their best to try to belong to the great British poetical tradition. They fail lamentably, but their work bears marks of aspiration. Mr. Yeats, on the other hand, has been particular to pose on a little hill of his own. He imagines that he has discovered a sort of private tradition, the which he calls Keltic. Out of Ireland he believes himself to have captured Druid music, and this he has put up for us in sundry lyrical pieces and sundry plays. His lyrical pieces are admired in all the drawing-rooms and all the sub-editors’ rooms, and his plays have been stamped with the heartfelt approval of the Chief Secretary for Ireland, and Mr. Max Beerbohm. The general opinion of him may be summed up in three words—How charmingly Keltic! It is an old contention of mine that Mr. Yeats’s qualities are not Keltic at all. I go further and say that as a fact there are no Keltic qualities which are not common in good English poetry. The best Kelt we ever had was Mr. Yeats’s own master, one William Blake, who was sheer Cockney. Mr. Yeats is just Blake spun out, and overconscious.

Which is Blake, and which is Yeats? You may put the name of either under any of these stanzas, without being guilty of an unpardonable critical lapse. Mr. Yeats took Blake and imitated him as frankly, and it may be, as unconsciously, as many less sophisticated versifiers have imitated Tennyson, or Mr. Swinburne, or Rossetti. It is creditable to him that he should have had discernment enough to perceive in Blake an exceptional and individual content; but why having got hold of that content, having saturated himself with it, as it were, and having found the exploitation of it easy and provocative of praise, Mr. Yeats should turn round and call it Keltic is something of a puzzle. Of course, one has to remember that among a people whose interests are material, rather than spiritual, the poet who would get a hearing is compelled to have resort to a certain amount of adventitiousness and empyricism.

saith Wordsworth. We poets in our youth also begin in sincerity and with a single eye to the glory of the Muses. But too frequently, even while our youth is still with us, we begin to think about the glory of ourselves, and take steps accordingly. It is good for us, if we have any gift at all, to organize and advertise a school, with ourselves carefully elected by ourselves to the position of archpriest. The critic who in an idle hour set down “Cockney School,” has a great deal to answer for. Somebody followed him hard with the “Lake School.” And in due course we had the “Fleshly School.” It is to be noted, however, that these epithets were bestowed by the critics upon the poets, and not by the poets upon the poets themselves. I venture to suggest that it has been slightly different in the case of Mr. Yeats and his following. In Mr. Yeats’s mind—perhaps without his being wholly alive to it—something like the following has taken place: “To be of any account in this world a poet must have a quality or cry of his own. There is a quality, or poignancy of individualism, about Blake which has not yet become obvious to the multitude. I admire it, and I can imitate it, and possibly improve upon it; therefore let me adopt it for my own. And as I am an Irishman I shall cause it to be known not as the spirit of Blake, but as the Keltic quality. Selah!” I do not suggest for a moment that Mr. Yeats’s conduct in this matter has been either wicked or unjustifiable. I do not even suggest that Mr. Yeats has been quite aware of what he was doing; but not to put too fine a point upon it, I do say that he has been “modern,” and that it is a thousand pities. There is nothing in Ireland, and there never has been anything in Ireland which will justify the appropriation of Blake as a sort of exclusive Irish product; and Mr. Yeats has written nothing which he could not have written just as well had he been a Cockney, or a Hebrew, capable of appreciating the spiritual and technical parts of Blake, and of perceiving the beauty of certain scraps of Irish history and folk-lore. As an Irish poet, Mr. Yeats, in my opinion, fails completely. It is as reasonable to call him an Irish poet as it would be to call Milton a Hebrew poet because he wrote “Paradise Lost,” or Mr. Swinburne a Greek poet because he wrote “Atalanta.” There is not an Irishman, qua Irishman, who wants Mr. Yeats; any more than there is an Irishman, qua Irishman, who wants Mr. Yeats’s Irish Literary Theater. Mr. Yeats’s poetry and Mr. Yeats’s Irish Literary Theater are Blake’s poetry and Blake’s Literary Theater. They belong to the Euston Road, and not to Tara; they are cultivated, wary, wistful, minor English, and not Irish at all. You have to be English, and a trifle subtle at that, to get on with them. Blake’s laurels are very posthumous and recent because the Englishmen of his time were busy with Pope and Crabbe, and had a sort of suspicion that Wordsworth was a lunatic. Englishmen did not know even Shakespeare in those days; at any rate not in the way that we know him nowadays. To the Pope-suckled Englishman of culture, Shakespeare, if he was anything at all, was a sort of robustious and flowery dramatist. They played him in full-bottomed wigs and small clothes. To-day the tendencies are all the other way. Shakespeare we shall tell you was no playwright, but a poet, and the biggest of them. Our modern actors spoil him for us, not by their cuts and modifications, but by their raree-shows and mouthings. Who of them can say for you to your soul’s satisfaction:

Shakespeare is for all time and more and more for the closet. Blake is a greater poet than the critical are disposed to admit, even in this age of tender enthusiasms. And Mr. Yeats is a poet, not because he is Irish or Keltic, but in so far and precisely as far as he has had the good sense to take Blake for his master. For Kelticism as it is understood by its professors, Shakespeare abounds in it.

There is enough Keltic quality here, surely, to satisfy both Mr. Yeats and Mr. Shorter. In fine, this tiny episode out of A Winter’s Tale is quite as good, and quite as Keltic, as anything the Blake School, to give it its honest title, has managed hitherto to produce. What the average Irishman would think about it is another story. It is a pity to take from Ireland even a trifle over which she might, not improperly, plume herself. But Mr. Yeats in the figure of Irish poet reminds us of nothing so much as a peacock butterfly purchased in the chrysalis state out of France by the careful entomologist, hidden in a plant-pot at his parlor window, and slaughtered and labeled British so soon as it has had time to spread its wistful wings.