One of these signs is the fact that the same movement[80] which effected the elevation of what was called the lowest class in the state assumed in literature a very marked and as benign an aspect.  Instead of the sublime and beautiful, the near, the low, the common, was explored and poetized.  That which had been negligently trodden under foot by those who were harnessing and provisioning themselves for long journeys into far countries, is suddenly found to be richer than all foreign parts.  The literature of the poor, the feelings of the child, the philosophy of the street, the meaning of household life, are the topics of the time.  It is a great stride.  It is a sign—­is it not?—­of new vigor when the extremities are made active, when currents of warm life run into the hands and the feet.  I ask not for the great, the remote, the romantic; what is doing in Italy or Arabia; what is Greek art, or Provencal minstrelsy; I embrace the common, I explore and sit at the feet of the familiar, the low.  Give me insight into to-day, and you may have the antique and future worlds.  What would we really know the meaning of?  The meal in the firkin; the milk in the pan; the ballad in the street; the news of the boat; the glance of the eye; the form and the gait of the body;—­show me the ultimate reason of these matters; show me the sublime presence of the highest spiritual cause lurking, as always it does lurk, in these suburbs and extremities of nature; let me see every trifle bristling with the polarity that ranges it instantly on an eternal law;[81] and the shop, the plow, and the ledger referred to the like cause by which light undulates and poets sing;—­and the world lies no longer a dull miscellany and lumber-room, but has form and order:  there is no trifle, there is no puzzle, but one design unites and animates the farthest pinnacle and the lowest trench.

This idea has inspired the genius of Goldsmith,[82] Burns,[83] Cowper,[84] and, in a newer time, of Goethe,[85] Wordsworth,[86] and Carlyle.[87] This idea they have differently followed and with various success.  In contrast with their writing, the style of Pope,[88] of Johnson,[89] of Gibbon,[90] looks cold and pedantic.  This writing is blood-warm.  Man is surprised to find that things near are not less beautiful and wondrous than things remote.  The near explains the far.  The drop is a small ocean.  A man is related to all nature.  This perception of the worth of the vulgar is fruitful in discoveries.  Goethe, in this very thing the most modern of the moderns, has shown us, as none ever did, the genius of the ancients.