And now, with the pieces of evidence in our hand, let us go to those who say it is vain to look for Celtic elements in any Englishman, and let us ask them, first, if they seize what we mean by the power of natural magic in Celtic poetry; secondly, if English poetry does not eminently exhibit this power; and, thirdly, where they suppose English poetry got it from?

I perceive that I shall be accused of having rather the air, in what I have said, of denying this and that gift to the Germans, and of establishing our difference from them a little ungraciously and at their expense.  The truth is, few people have any real care to analyse closely in their criticism; they merely employ criticism as a means for heaping all praise on what they like, and all blame on what they dislike.  Those of us (and they are many) who owe a great debt of gratitude to the German spirit and to German literature, do not like to be told of any powers being lacking there; we are like the young ladies who think the hero of their novel is only half a hero unless he has all perfections united in him.  But nature does not work, either in heroes or races, according to the young ladies’ notion.  We all are what we are, the hero and the great nation are what they are, by our limitations as well as by our powers, by lacking something as well as by possessing something.  It is not always gain to possess this or that gift, or loss to lack this or that gift.  Our great, our only first-rate body of contemporary poetry is the German; the grand business of modern poetry,—­a moral interpretation, from an independent point of view, of man and the world,—­it is only German poetry, Goethe’s poetry, that has, since the Greeks, made much way with.  Campbell’s power of style, and the natural magic of Keats and Wordsworth, and Byron’s Titanic personality, may be wanting to this poetry; but see what it has accomplished without them!  How much more than Campbell with his power of style, and Keats and Wordsworth with their natural magic, and Byron with his Titanic personality!  Why, for the immense serious task it had to perform, the steadiness of German poetry, its going near the ground, its patient fidelity to nature, its using great plainness of speech, poetical drawbacks in one point of view, were safeguards and helps in another.  The plainness and earnestness of the two lines I have already quoted from Goethe:-

Es bildet ein Talent sich in der Stille,
Sich ein Character in dem Strom der Welt —

compared with the play and power of Shakspeare’s style or Dante’s, suggest at once the difference between Goethe’s task and theirs, and the fitness of the faithful laborious German spirit for its own task.  Dante’s task was to set forth the lesson of the world from the point of view of mediaeval Catholicism; the basis of spiritual life was given, Dante had not to make this anew.  Shakspeare’s task was to set forth the spectacle of the world when man’s spirit re-awoke to the possession of the