poet. For what does the poet mean when he calls himself the voice of
God, but that he is intuitively aware of the eternal verities in the
world? Poets who speak in this way ever conceive of God as Shelley did,
in what is perhaps the most profoundly sincere invocation of the last
century, his _Hymn to Intellectual Beauty_. All poets are
idealists.

There is yet another view of the spirit who inspires poetry, which may
seem more characteristic of our poets than are these others. It
is expressed in the opening of Shelley's _Alastor_, and informs the
whole of the _Ode to the West Wind_. It pervades Wordsworth, for if
he seldom calls upon his natural environment as muse, he is yet
profoundly conscious that his song is an inflowing from the heart of
nature. This power has become such a familiar divinity to later singers
that they are scarcely aware how great is their dependence upon her.
There is nothing artificial or in any sense affected in the modern
poet's conviction that in walking out to meet nature he is, in fact,
going to the source of poetic power. Perhaps nineteenth and twentieth
century writers, with their trust in the power of nature to breathe song
into their hearts, are closer to the original faith in the muses than
most of the poets who have called the sisters by name during the
intervening centuries. This deification of nature, like the other modern
conceptions of the spirit of song, signifies the poet's need of bringing
himself into harmony with the world-spirit, which moulds the otherwise
chaotic universe into those forms of harmony and beauty which constitute
poetry.

Whether the poet ascribes his infilling to a specific goddess of song or
to a mysterious harmony between his soul and the world spirit, a coming
"into tune with the infinite," as it has been called, the mode of his