things, the creation of a modern poet, to be worth much, implies a great
critical effort behind it; else it must be a comparatively poor, barren,
and short-lived affair. This is why Byron's poetry had so little
endurance in it, and Goethe's so much; both Byron and Goethe had a great
productive power, but Goethe's was nourished by a great critical effort
providing the true materials for it, and Byron's was not; Goethe knew
life and the world, the poet's necessary subjects, much more
comprehensively and thoroughly than Byron. He knew a great deal more of
them, and he knew them much more as they really are.

It has long seemed to me that the burst of creative activity in our
literature, through the first quarter of this century, had about it in
fact something premature; and that from this cause its productions are
doomed, most of them, in spite of the sanguine hopes which accompanied
and do still accompany them, to prove hardly more lasting than the
productions of far less splendid epochs. And this prematureness comes
from its having proceeded without having its proper data, without
sufficient materials to work with. In other words, the English poetry of
the first quarter of this century, with plenty of energy, plenty of
creative force, did not know enough. This makes Byron so empty of
matter, Shelley so incoherent, Wordsworth even, profound as he is, yet
so wanting in completeness and variety. Wordsworth cared little for
books, and disparaged Goethe. I admire Wordsworth, as he is, so much
that I cannot wish him different; and it is vain, no doubt, to imagine
such a man different from what he is, to suppose that he _could_ have
been different. But surely the one thing wanting to make Wordsworth an
even greater poet than he is,--his thought richer, and his influence of
wider application,--was that he should have read more books, among them,
no doubt, those of that Goethe whom he disparaged without reading him.