These have a subtle likeness to Wordsworth's purer notes, a likeness undefined and unborrowed; the use of words usually kept back for prose (such as "convey") is a trick of Wordsworth's which either makes or mars a passage; here the touch, it may be by accident, strikes the exact chord wanted, elicits the exact tone.

But indeed, as with all poets of his rank, so with Mr. Arnold, the technical beauty of his work is one with the spiritual; art, a poet's art above all others, cannot succeed in this and fail in that. Success or achievement of an exalted kind on the spiritual side ensures and enforces a like executive achievement or success; if the handiwork be flawed, there must also have been some distortion or defect of spirit, a shortcoming or a misdirection of spiritual supply. There is no such thing as a dumb poet or a handless painter. The essence of an artist is that he should be articulate. It is the mere impudence of weakness to arrogate the name of poet or painter with no other claim than a susceptible and impressible sense of outward or inward beauty, producing an impotent desire to paint or sing. The poets that are made by nature are not many; and whatever "vision" an aspirant may possess, he has not the "faculty divine" if he cannot use his vision to any poetic purpose. There is no cant more pernicious to such as these, more wearisome to all other men, than that which asserts the reverse. It is a drug which weakens the feeble and intoxicates the drunken; which makes those swagger who have not learnt to walk, and teach who have not been taught to learn. Such talk as this of Wordsworth's is the poison of poor souls like