Goethe says in a little poem[A] that “Poems are stained glass windows”—“Gedichte sind gemalte Fensterscheiben”—to be seen aright not from the “market-place” but only from the interior of the church, “die heilige Kapelle”: and that “der Herr Philister” (equivalent for “indolent Reviewer”) glances at them from without and gets out of temper because he finds them unintelligible from his “market-place” standpoint. This comparison is a pretty conceit, and holds good as a half truth—but not more than a half: for while the artist who paints his “church windows” needs only to make them beautiful from within, the maker of poems must so shape and colour his work that its outer side—the technical, towards the “market-place” of the public—shall have no lack of beauty, though differing from the beauty visible from the spiritual interior.

The old volume of Edward Dowden’s Poems of 1876, which is now reprinted with additions, has been, to a limited extent, long before the public—seen from the “market-place” by general critics, who, for the most part, approved the outer side of the “painted windows,” and seen perhaps from within by some few like-minded readers, who, though no definite door was opened into “die heilige Kapelle,” somehow entered in.

But a great many people, to whom the author’s prose works are well known, have never even heard that he had written poetry. This is due in a measure to the fact that the published book of poems only got into circulation by its first small edition. Its second edition found a silent apotheosis in flame at a great fire at the publisher’s in London, in which nearly the whole of it perished.

Edward Dowden’s chief work has been as a prose writer. That fact remains—yet it is accidental rather than essential. In the early seventies he felt the urge very strongly towards making verse his vocation in life, and he probably would have yielded to it, but for the necessity to be bread-winner for a much-loved household. Poetry is a ware of small commercial value, as most poets—at least for a long space of their lives—have known, and prose, for even a young writer of promise, held out prospects of bread for immediate eating. Hence to prose he turned, and on that road went his way, and whether the accidental circumstances that determined his course at the parting of the ways wrought loss or gain for our literature, who can say?

But he never wholly abandoned verse, and all through his life, even to the very end, he would fitfully, from time to time, utter in it a part of himself which never found complete issue in prose and which was his most real self.

Perhaps the nearest approaches to his utterance in poetry occurred sometimes in his College lecturing, when in the midst of a written discourse he would interrupt it and stop and liberate his heart in a little rush of words—out of the depths, accompanied by that familiar gesture of his hands which always came to him when emotionally stirred in speaking. Some of his students have told me that they usually found those little extempore bits in a lecture by far the most illuminated and inspiring parts of it, especially as it was then that his voice, always musical in no common degree, vibrated, and acquired a richer tone.

In his prose writings in general he seemed to curb and restrain himself. That he did so was by no means an evil, for the habitual retinence in his style gave to the little rare outbreaks of emotion the quality of charm that we find in a tender flower growing out of a solid stone wall unexpectedly.

Not infrequently a sort of hard irony was employed by him, as restraint on enthusiasm, with occasional loosening of the curb.

In Edward Dowden’s soul there seemed to be capacities which might, under other circumstances, have made him more than a minor poet. His was a more than usually rich, sensuous nature. This, combined with absolute purity—the purity not of ice and snow, but of fire. And, superadded, was an unlimited capacity for sternness—that quality which, as salt, acts as preservative of all human ardours. He came from his Maker, fashioned out of the stuff whereof are made saints, patriots, martyrs, and the great lovers in the world. His work as a scholar never obliterated anything of this in him. By this, his erudition gained richness—the richness of vital blood. It was as no anÆmic recluse that he dwelt amongst his book-shelves, and hence no Faust-like weariness of intellectual satiety ever came to him, no sense of being “beschrÄnkt mit diesem BÜcherhauf” in his surroundings of his library (which latterly had grown to some twenty-four thousand volumes). He lived in company with these in a twofold way, keenly and accurately grasping all their textual details, and at the same time valuing them for the sake, chiefly, of spiritual converse with the writers.

Besides the spiritual converse he gained thus, he found, as a book-lover, a fertile source of recreation in the collecting of literary rarities, old books, MSS. and curiosities. In this he felt the keen zest of a sportsman. This was his shooting on the moors, his fishing in the rivers. No living creature ever lost its life for his amusement, but in this innocuous play he found unfailing pleasure, and many a piece of luck he had with his gun or rod in hitting some rare bird, or landing some big prize of a fish out of old booksellers’ catalogues or the “carts” in the back streets.

His physical nature was fully and strongly developed, and it is out of strong physical instincts that strong spiritual instincts often grow—the boundary line between them being undefined.

His one athletic exercise—swimming—was to him a joy of no common sort. He gave himself to the sea with an eagerness of body, soul and spirit, breasting the bright waters exultingly on many a summer’s day on some West of Ireland or Cornish shore, revelling in the sea’s life and in his own.

And akin to that, in the sensuous, spiritual region of the soul, was his feeling for all External Nature, his deep delight in the coming of each new Spring—its blackthorn blossoms, its hazel and willow catkins, its daffodils—and his response, as the year went on in its procession, to the glory of the furze and heather glow and to all Earth’s sounds and silences.

And of a like sort was his enjoyment of music which had the depth of a passion.

Very possibly, if his lot had been cast in early Christian or mediÆval times, all these impulses towards the joy and beauty of the earth might have been sternly crushed out by the moral forces of his character.

Looking at a picture of St. Jerome one day—not unlike E. D. in feature—I said to him, “There’s what you would have been if you had lived in those times.” (The saint is depicted there as lean, emaciated and woefully dirty!).

It was well for Edward Dowden that he was laid hold of in his early life by that great non-ascetic soul, William Wordsworth. He was initiated into the inner secret of Wordsworth. He had experience of the Wordsworthian ecstasy—that ecstasy which comes, if at all, straight as a gift from God, and is not to be taught by the teaching of the scribes.

Through kinship a man who is born potentially a poet comes first into relation with poets, and with E. Dowden’s sensuousness of capacities it was natural that he should be in his early years attracted to Keats, to the long, deep, rich dwelling of his verse on the vision and the sounds of Nature. It was not until he had advanced some way towards middle life that he came into vital contact with Shelley. He had felt aloof from him; but the attraction, when once owned, became very powerful, and he yielded to the delight of the swift motion of the Shelleyan utterances.

He always recognized Robert Browning’s greatness profoundly, and responded to all his best truths, especially as regards the relation, in love, of Man and Woman, but he never became pledged to an all-round Browning worship; his admiration had no discipleship in it.

For Walt Whitman, with whom a personal friendship, strong on both sides, was formed, he felt the cordial reverence due to the giver of what he reckoned as a gift of immense value. While condemning whatever was unreticent in Leaves of Grass, he at the same time saw there the great flood of spirituality available as a force for emancipation of our hearts from pressure of sordidnesses in the world.

It is somewhat remarkable that with all his trend towards the great spiritual and mystical forces in literature he was all along never without a keen appreciation of the writers who brought mundane shrewdness and wisdom. The first book he bought for himself in childhood with the hoarded savings of his pocket-money was Bacon’s Essays, with which as a small boy he became very familiar. And all through his life he sought with unfailing pleasure the companionship of Jane Austen again and again. And amongst the books which he himself made, it was perhaps his Montaigne that gave him, in the process of making, the delicatest satisfaction—the satisfaction of witnessing and analysing the dexterous play of human intellect and character on low levels.

His attraction to Goethe—very dominant with him in middle life—came, I imagine, from the fact that he saw in that mightiest of the Teutons two diverse qualities in operation—the measureless intellectual spirituality and the vast common-sense of mundane wisdom.

In this attraction there was also the element of the magnetism which draws together opposites—not less forcible than the attraction between affinities.

As regards the moral nature, his own was as far as the North Pole is from the South from that of the great sage of Weimar, whose serenely-wise beneficence contained no potentialities of sainthood, martyrdom or absolute human love. He sought gain from Goethe just because of that unlikeness to what was in himself.

At one period of his literary work he was intending to make as his “opus magnus” a full study of Goethe’s life and works, and with that intent he carried on a course of reading, and laid in a great equipment of workman’s tools—Goethe books in German, French and English. From this project he was turned aside by a call to write the life of Shelley—a long and difficult task. But he never lost sight of Goethe. In one of the later years of his life, as recreation in a summer’s holiday in Cornwall, he translated the whole of the “West-Eastern Divan” into English verse, and previously, from time to time, isolated essays on Goethe themes appeared amongst his prose writings. And yet it is not unlikely that even if the task of Shelley’s biography had not intervened, no complete study, such as he had at first planned, might have been ever accomplished by him on Goethe, for with experience there came to him a growing conviction that his best work in criticism could only be done in dealing with what was written in his mother-tongue.

Some of Edward Dowden’s friends, Nationalist and Unionist both, have felt regret that he, the gentle scholar, gave such large share of his energies to the strife of politics, as if force were subtracted thereby from his work in Literature. They are mistaken. The output of energy thus given came back to the giver, reinforcing his prose writing with a mundane vigour and virility, exceeding what it might have had if he had kept himself aloof from the affairs of the nation.

Yet, strangely enough, between his politics and his poetry there was a water-tight wall of separation. Other men, to take scattered instances, Kipling, Wordsworth, Milton, fused in various ways their political feeling and their poetical. This Edward Dowden never attempted. I cannot analyse the “why.”

Confining myself to some points which seem left out of sight in most of the admirably appreciative obituary notices in last April’s newspapers, I have tried to say here, in a fragmentary way, a few things about a man of whom many things—infinitely many—might be said without exhausting the total. He was himself at the same time many and one. He had multiform aspects—interests very diverse—and yet life was for him in no wise “patchy and scrappy,” but had unity throughout.

In Shakespeare, whose faithful scholar he was, there are diversities: and yet, do we not image Shakespeare to our minds as one and a whole?

In the volumes now issued by Messrs. J. M. Dent & Sons is contained all the verse that the author left available for publication, with the exception of a sequence of a hundred and one lyrics (which by desire is separately published under the somewhat transparent disguise of editorship). That little sequence, named A Woman’s Reliquary, is his latest work in verse. Much in it re-echoes sounds that can be heard in his old poems of the early seventies.

E. D. D.

September 1913.