It may be said, truly, that some of Mr. Swinburne's poetry shows the influence of the later French Romanticists, of the reaction toward mediævalism which is represented in England by Scott, and which culminated in France with Victor Hugo, for whom the English poet's admiration is unmeasured. That movement, however, had almost ceased on our side of the Channel at the time when it had reached, or was just passing, its climax in France. And, indeed, by 1835 the style and sentiment of English poetry was undergoing a remarkable change. Its magnificent efflorescence, which the first quarter of the nineteenth century had seen in full bloom, had faded away. It had sprung up in an era of great wars and revolution, amid the struggles of nations to shake off the incubus of despotisms, to free themselves from the yoke of foreigners. The cause of political liberty inspired the noblest verse of Shelley, Coleridge, and Byron:
Yet Freedom, yet, thy banner, torn but flying, Streams like a thunderstorm against the wind--'
But in England this ardent spirit had evaporated during the years of industrial prosperity and mechanical progress which came in with a long peace after twenty years of fighting; and during the next generation a milder tone prevailed. For an interval we had only second-rate artists in verse. The fiery enthusiasts, the despisers of respectability, were succeeded by poets who were decently emotional, pensive in thought, tame or affected in style, domestic in theme, with feeble echoes of the true romantic note in Mrs. Hemans and others. Next, in the fulness of time, came Tennyson and Browning, to raise the level of English poetry by their deeper views of life, their elevation of thought, and their incomparably greater imaginative power. Tennyson's composition is pellucid and exquisitely refined. Browning is rugged and often obscure; he cares more for the force than for the form of expression. The great problems of religion and politics are seriously and cautiously handled. Browning analyses them with caustic irony, while Tennyson, after making vain attempts to solve them, finds consolation in the 'Higher Pantheism.' They are soon joined by Matthew Arnold and Clough, who represent the melancholy resignation of sensitive minds that have discarded the creeds, for whom the miraculous history of Christianity is an illusion that has faded into the common light of day. Meredith, poet and novelist, falls back upon communion with Nature; he preaches the doctrine of duty, of working while the light lasts; he is a high moralist who accepts stoically the conclusion that nothing beyond terrestrial existence is knowable.