The breadth of phrasing here is noticeable; and it is by such qualities as this, as well as by the careful accuracy with which every note is produced, that Watson is distinguished alike from older men of the type of Alfred Austin, and from younger men of such varying capacities as John Davidson and Yeats. If he has not the making of a great poet, he is already an accomplished poet; and if he does not possess the highest qualities, he possesses several of the secondary qualities in the highest degree.
Watson's _Ode on the Day of Coronation of King Edward the Seventh_ is a fine piece of verse writing, and can hardly fail to remind the reader of great poetry. It is constructed with care, it flows, it has gravity, an air of amplitude, many striking single lines, and its sentiments are unexceptionable. When we read such lines as these:
All these, O King, from their seclusion dread, And guarded palace of eternity, Mix in thy pageant with phantasmal tread, Hear the long waves of acclamation roll, And with yet mightier silence marshal thee To the awful throne thou hast inherited----
we feel that this is at least workman-like work, written by a man who has studied great masters, and who takes himself and his art seriously. There is not an undignified line in the whole poem, nor a break in the slow, deliberate movement. Watson has style, he is never facile or common. He has frequent felicities of phrase, but he subordinates separate effects to the effect of the whole, and he is almost the only living writer of verse of whom this could be said. His ode is excellently made, from every external point of view. Yet, after reading it over and over, with a full recognition of its technical qualities, we are unable to accept it as genuine poetry, as the equal of the thing which it resembles.
Great poetry is not often written for official occasions, but that it can be so written we need only turn to Marvell's _Horatian Ode upon Cromwell's Return from Ireland_ to realize. Watson looks instinctively to public events for his inspiration, and there is something in his temper of mind and of style which seems to set him naturally apart as a commentator upon the destinies of nations. He has never put any vital part of himself into his work; he has told us nothing of what he is when he is not a writer. All his utterances have been themselves official, the guarded statement of just so much of his own thoughts and feelings as he cares to betray to the public. His kind is rather critical than creative, and it was by his epigrams that he first attracted attention. His technique is so accomplished that he seems very often to be thinking only of what he is saying, when it is evident, on a closer examination, that he is thinking much more of how he is saying it. For the poet who concerns himself with public events this might seem to be a useful part of his poetic equipment. Court ceremonies demand court dress. Undoubtedly, but the art of the courtier requires him to forget that he is dressed for an occasion, to forget everything but the occasion. Throughout the whole of his coronation ode Watson never forgets that he is celebrating an important ceremony. His costume is perfectly adjusted, he wears it with grace and dignity; his elocution, as he delivers his lines, is a model of clearness and discreet emphasis. Everything that he says is perfectly appropriate; good taste can go no further. But the occasion itself, the meaning, the emotion, of the occasion? That does not come into the poem; the poem tells us all about it.