his rapturous devotion to music, especially to Pergolesi and the contemporary Roman School, whose airs he would sit crooning to himself, playing his own accompaniment on the harpsichord in the high unvisited rooms at Pembroke; his penchant for heraldry, his educational theories, his minute and accurate investigations of Nature, as close and loving as Gilbert White's, recording as he does the break of dry clear weather into warm wet winds, the first flight of ladybirds, the first push of crocuses, the first time he heard the redstart's note in the bushes and the thrush fluting about the butts of the old college-gardens, "scattering ", as he said in a lovely impromptu line that he made in a walk near Cambridge, "her loose notes in the waste of air." In 1740 he wrote from Florence to a friend:

"To me there hardly appears any medium between a public life and a private one; he who prefers the first must feel himself in a way of being serviceable to the rest of mankind, if he has a mind to be of any consequence among them. Nay, he must not refuse being in a certain degree dependent upon some men who are so already; if he has the good fortune to light on such as will make no ill use of his humility, there is no shame in this. If not, his ambition ought to give place to a reasonable pride, and he should apply to the cultivation of his own mind those abilities which he has not been permitted to use for others' service; such a private happiness (supposing a small competence of fortune) is almost in every one's power, and is the proper enjoyment of age, as the other is the proper employment of youth."

And this was the programme to which Gray settled down. In what vast schemes of study he indulged we do not know; but we do know that he gave five years to a comprehensive survey of Greek literature, taking prose and verse alternately, like bread and cheese; he contemplated and wrote notes for an edition of Strabo; he translated many Greek epigrams into Latin verse, curiously weighing his words for weeks together; he read history exhaustively, with such tenacious accuracy that he could correct in the margin with the everlasting pencil dates and names in a Chinese

dynasty-"a dismal waste of energy and power", sigh his biographers. No, it was no waste, for this was Gray. He wrote no poetry, except a few "autumnal verses" still unidentified. He could not write any. Mr. Matthew Arnold, in his delicate essay, blames the age for this; he puts Gray's reticence down to a want of literary sympathy and intellectual stimulus. Had Gray been born with Milton or with Burns, he says, he would have been a different man. We may thankfully doubt it. Gray's nature, Gray's powers of production, would have been far more liable to be crushed into extinction by the consciousness of the existence of a superior artist, fluent and sublime. He would have read and wondered, and thrown aside his pen. The fact that he could strike out better verse and nobler thoughts than his contemporaries, though it did not urge him to prolific production, made him at least not ashamed of work that gained by comparison with the work of all living artists; but a genius on the scene would have elbowed Gray out altogether. To take the very first instance that comes to hand of his fastidious discontent, consider the two exquisite stanzas which he struck out of the Elegy for no more adequate reason than that "they made too long a parenthesis ".

"There scattered oft, the earliest of the year, By hands unseen, are showers of violets found;

The redbreast loves to build and warble there, And little footsteps lightly print the ground.

"Him have we seen the green-wood side along, While o'er the heath we hied, our labours

done,

Oft as the woodlark piped her farewell song, With wistful eyes pursue the setting sun.'

Akenside or Mason, Dyer or Armstrong, if they had lit upon any one of these delightful lines, would have made a whole poem in which to set it, and have been well content.

Perhaps his own words best describe the intrinsic characteristics of his writings: "Thoughts that breathe and

words that burn". Gray's thoughts, the elegiac poet's thoughts, are common property, after all; every one has felt them, or something like them; the poet has got, so to speak, to make a formula which shall cover all the vague, blind variations of which every one is conscious. When he has thus made thought live, expression comes next, and here Gray surpasses almost every English poet. The words lite rally eat their way into memory and imagination; the epithets seize upon the nouns and crown them. Take such a stanza as the one to which Dr. Johnson gave a grudging admiration : "For who to dumb forgetfulness a prey,

This pleasing anxious being e'er resigned, Left the warm precincts of the cheerful day, Nor cast one longing lingering look behind?"

Try the effect of substitution or suppression on a stanza like that! Nothing can be spared; the gap if created could not be filled. A good instance of this is in a little poem of Gray's, written on a sheet of paper from which the lower right-hand corner has been unfortunately torn, thus depriving the last three lines of the last stanza of their last words. Both Mason and Mitford tried their hands at restoring the text. Mason's is the best, but they are both hopelessly far away. The lines run thus, Mitford's emendations being given above Mason's.

convey,

My lines a secret sympathy impart, is exprest And as the pleasing influence flows confest dies away. A sigh of soft reflection heaves the heart."

The only thing of which we feel certain is that neither is near the truth.

It is not only in his poetry that this sure touch is visible. I do not know any more simple or yet more worthy epitaph than the one that he wrote for his mother. "In the same pious confidence, beside her friend and sister, sleep the remains of Dorothy Gray, widow, the careful tender mother of

many children, one of whom alone had the misfortune to survive her." Given the circumstances and, so to speak, the sense, how many people could have produced such an ideal of tender dignity?

It is not within the scope of this paper to make large quotations, but page after page of Gray's letters illustrate this felicitous and apposite handling. In Horace Walpole's quaint diction: "His letters are the best I ever saw, and had more novelty and wit." But besides the perfection of style they have a charming meditative tone, combined with a certain subtle humour running through them which is hardly English. Moreover, Gray wielded to the full the power of allusion. Out of his teeming mind, echoes and memories, images and unsuspected likenesses streamed, encircling all that he thought or wrote. The perfection of classical culture, the departure of which we cannot help deploring, even though it may have been succeeded by a wider and freer sentiment, is seen in him; not only are his quotations exquisite, but there is a forgotten music which haunts his sentences and words, even in the very nicknames with which it was his delight to dub his friends.

I venture to quote the exquisite description of Burnham Beeches, which cannot be too well-known.

"I have at the distance of half a mile through a green lane, a forest (the vulgar call it a common) all my own, at least as good as so, for I spy no human thing in it but myself. It is a little chaos of mountains and precipices, mountains it is true that do not ascend much above the clouds, nor are the declivities quite so amazing as Dover Cliff, but just such hills as people who love their necks as well as I do may venture to climb, and crags that give the eye as much pleasure as if they were more dangerous. Both vale and hill are covered with most venerable beeches and other very reverend vegetables, that like most other ancient people are always dreaming out their old stories to the winds. At the foot of one of these squats ME (Il Penseroso), and there I grow to the trunk for a whole morning. The timorous hare and sportive squirrel gambol around me like Adam in Paradise before he had an Eve, but I think he did not use to read Virgil as I commonly do."

In this letter emerges that fact which at least no one disputes, that Gray discovered and introduced the taste for natural scenery. He was nearly

the first to love the hills and woods for themselves. He found out Wordsworth's favourite prospects in the lakes when Wordsworth was a dumb baby; he gazed upon Scotland and the Alps with a reverent awe. It was a time when writers about Nature's loveliness were accustomed to describe her with their back to the study-window, and the only Nature that such men as Shenstone and Bowles revelled in was Nature as they had themselves adapted her. Gray was the first to take her as he found her.

To any one who is familiar with it, the quiet Buckinghamshire country where Gray lived comes to have a peculiar charm. Lower down, nearer the Thames, the land is oppressively flat, but Burnham and Stoke are on higher ground, broken into innumerable little undulations, with copses in the hollows, and little lanes meandering about for no apparent purpose except their own pleasure. It is a gravel soil, and immemorial excavations which indent the surfaces of all the hills and fields give a pleasant character to the whole.

The way

farer is for ever looking down into pits full nearly to the brim of ferns and brambles, elder plants and young ash-suckers; the great bare sweeps of the fields, with the rounded gravel lying thick among the thin vegetation, are broken by little hollows full of ragwort and the brisk hardy bugloss and a dozen other light-soil plants. Of Burnham Beeches itself it is unnecessary to speak. The old wreathed trunks full of gaping mouths and eyes, standing in the green twilight kneedeep in ferns, have a character that no other trees wear, and the breaks of moorland scenery, heathery sweeps dotted with tall fir spinnies, out of which the owls call on summer nights, -all this is true forest, and needs no praise; but the roads and lanes themselves, with the venerable hump

to

backed Buckinghamshire cottages, with houseleek and stonecrop on the roof, the moated farms, the parks set with noble cedars, the high-shouldered barns, all these are full of delight. The pedestrian may climb the long slope to Burnham and gaze up its straggling red-brick street, with the quaint cupola of the church (just about to give way before the whirlwind of restoration) topping restoration) topping the red-tiled roofs; he may pass on to Britwell, a house, half-grange, half-farm, with a high modern tower, where Gray used live with his gouty uncle, a Nimrod emeritus, who, too broken to ride out, used to regale himself upon the "comfortable sound and stink of his hounds by filling the house with The elm-girt paddocks and the tall plane-trees must be much as they were then. By Nut Hall, with its close of ancient walnuts, he may pass through East Burnham village, and finally descend upon Stoke itself by Westend House, still nestling in trees, where Gray was petted and coddled by his old aunts till he was too lazy even to go down to Eton, which lay full in view from the brow that spread half a mile below him. The tall chimneys of the manor, the hideous white dome of the park, the church ivy-girt and irregular, the churchyard surrounded by old brick walls on three sides, over which tower the sombre foliage of yews and cedars -all these he may see. The only memorial of Gray, save a tablet, is the one thing which he himself would have loathed. On a rising ground stands a huge cube of stone with marble panels, crowned with a dismal sarcophagus of the kind that suggests a hopeless prisoner for ever trying to force up the lid. This was the best that they could do for Gray! The only other task that has been undertaken in his honour, is the hopeless and irremediable vulgarizing of the quaint and quiet college which he

loved so well.

Shelley's letters are said by some to be the best ever written, but I cannot

think that they come near to Gray's. With that independence so characteristic of him, Gray is perhaps the only writer of the time who entirely escapes the Johnsonian contagion. Johnson's style, as written by Johnson himself, has indeed most of the elements of magnificence; unfortunately it is also very useful for concealing the absence of ideas. Gray's English, on the other hand, is pure and stately, and never diffuse; he said what he had to say and was done with it; he never appears to be endeavouring to "get in diction" as so many of the imitators of the Doctor undeniably did. In this respect it resembles Johnson's conversation, and for the art of statement it is hardly possible to say more.

Some slight affectation is traceable in the earliest letters. They are mostly written to his young and brilliant friend, West, by whose premature death literature, we may believe, was a loser. "Take my word and expe rience upon it," he writes, for example, "doing nothing is a most amusing business, and yet neither something nor nothing give me any pleasure. For this little while past I have been playing at Statius. We yesterday had a game of quoits together. You will easily forgive me for having broke his head, as you have a little pique with him." He means to say that he has been translating him. West replies in the same strain. "I agree with you that you have broke Statius' head, but it is in like manner as Apollo broke Hyacinth's-you have foiled him infinitely at his own weapons."

This is sad posturing, and only excusable in very young and clever men. These letters are, however, fortunately relieved by a short note, in which he is very humanly rude to his tutor.

As a specimen of the early style at its best, I may quote the following, written from Rome in imitation of a classical epistle :

"I am to-day just returned from Alba, a good deal fatigued, for you know the Appian is somewhat tiresome. We dined at Pompey's;

he indeed was gone for a few days to his Tusculan, but by the care of his villicus we made an admirable meal. We had the dugs of a pregnant sow, a peacock, a dish of thrushes, a noble scarus just fresh from the Tyrrhene, and some conchylia of the lake with garum sauce. For my part I never eat better at Lucullus' table. We drank half-a-dozen cyathi apiece of ancient Alban to Pholoe's health, and after bathing and playing an hour at ball, we mounted our essedum again, and proceeded up the mount to the temple. The priests there entertained us with an account of a wonderful shower of birds' eggs that had fallen two days before, which had no sooner touched the ground but they were converted into gudgeons; as also that the night past a dreadful voice had been heard out of the Adytum, which spoke Greek during a full half hour, but nobody understood it."

That is nothing short of admirable; it catches the subtle classical flavour, and intermingles it with the later humour of which the Roman mind seemed so singularly destitute.

Among these earlier letters, however, there are charming passages in his natural manner. What could be better than this humorous description of Peterhouse and his life there?

"My motions at present (which you are pleased to ask after) are much like those of a pendulum or oscillatory. I swing from Chapel or Hall home, and from home to Chapel or Hall. All the strange incidents that happen in my journeys and returns I shall be sure to acquaint you with. The most wonderful is that it now rains exceedingly; this has refreshed the prospect, as the way for the most part lies between green fields on either hand terminated with buildings at some distancecastles I presume, and of great antiquity. The roads are very good, being as I presume the work of Julius Cæsar's army, for they still preserve in many places the appearance of a pavement in pretty good repair, and if they were not so near home, might perhaps be as much admired as the Via Appia. There are at present several rivulets to be crossed, and which serve to enliven the view all around; the country is exceeding fruitful in ravens and such black cattle; but not to trouble you with my travels I abruptly conclude."

But perhaps the most striking characteristic throughout the whole series are the extraordinarily felicitous. criticisms, and the soundness of the taste which he brought to bear on an author. It is true he made mistakes; he spoke of Collins as a writer that

deserved to live, but that would not; and he, like many other clever men, was carried off his feet by the rage for Ossian. Like other critics he was misled by the accounts of interviews with Macpherson, who appeared to be a dull unintelligent person, incapable of originating or of putting together even such a composition as Fingal; besides, the difficulty of getting solid testimony on the subject seems to have been extreme. Gray's last word on the subject is: "For me, I admire nothing but Fingal, yet I remain still in doubt about the authenticity of these poems, though inclining to believe them genuine in spite of the world. Whether they are the inventions of antiquity, or of a modern Scotchman, either case is to me alike unaccountable. Je m'y perds." We, nowadays, with all the barbarous treasures of Indian and Scandinavian literatures about us, find it hard to understand how fascinating the opening of such a mine must have been, even when the ore extracted was such thin stuff as Ossian; the old rude primitive world, as simple as Homer, fighting and singing in desolate Northern forests, seems to have been altogether too much even for the discrimination of Gray; his imagination was taken captive; he dreamed of little else; we have several disappointing attempts of his own of this nature, and of Ossian, or rather Macpherson, he writes: "This man in short is the very Dæmon of poetry, or he has lighted on a treasure hid for ages." We may forgive him for having floundered here. Dr. Johnson, whose imagination was not so strong as his common-sense, was the only man not misled.

But Gray on Aristotle, Gray on Froissart is admirable; his pungent criticism on Shaftesbury, too long to quote, is a perfect masterpiece; even his verbal criticisms on the poor stuff with which Mason inundated him, are wonderfully patient and acute. It may be worth while to hear

He

Gray on other people's elegies. writes to Mason: "All I can say is,

that your elegy must not end with the worst line in it; it is flat, it is prose, whereas that above all ought to sparkle, or at least to shine. If the sentiment must stand, twist it a little into an apophthegm, stick a flower into it, gild it with a costly expression, let it strike the fancy, the ear or the heart, and I am satisfied." Again he writes, on the nature of elegiac writing: "Nature and sorrow and tenderness are the true genius of such things; poetical ornaments are foreign to the purpose, for they only show that a man is not sorry-and devotion worse, for that teaches him that he ought not to be sorry, which is all the pleasure of the thing."

Yet he could condescend to a little good-natured puffing of his friend's writings. He sends Mason's tragedy, "Caractacus," a tiresome work, to a friend. "You will receive to-morrow 'Caractacus,' piping hot, I hope before any one else has it. Observe it is I that send it, for Mason makes no presents to any one whatever; and moreover you are desired to lend it to nobody, that we may sell the more of them, for money, not fame, is the declared purpose of all we do. He has had infinite fits of affectation as the hour approached, and is now gone into the country for a week, like a new-married couple."

He mistrusts his powers as a critic: "You know I do not love, much less pique myself on criticism, and think even a bad verse as good a thing or better than the best observation that was ever made upon it." Indeed his diffidence with regard to his own work was profound. This is the first announcement of the completion of the Elegy: "I have been here at Stoke a few days, and having put an end to a thing, whose beginning you have seen long ago, I immediately send it to you.

You will, I hope, look upon

it in the light of a thing with an end to it, a merit that most of my writings have wanted, and are like to want."