Arthur hugh clough the critical heritage

ARTHUR HUGH CLOUGH: THE CRITICAL HERITAGE THE CRITICAL HERITAGE SERIES General Editor: B.C.Southam The Critical Heritage series collects together a large body of criticism on major figures in literature Each volume presents the contemporary responses to a particular writer, enabling the student to follow the formation of critical attitudes to the writer’s work and its place within a literary tradition The carefully selected sources range from landmark essays in the history of criticism to fragments of contemporary opinion and little published documentary material, such as letters and diaries Significant pieces of criticism from later periods are also included in order to demonstrate fluctuations in reputation following the writer’s death ARTHUR HUGH CLOUGH THE CRITICAL HERITAGE Edited by MICHAEL THORPE London and New York First Published in 1972 11 New Fetter Lane London EC4P4EE & 29 West 35th Street New York, NY 10001 This edition published in the Taylor & Francis e-Library, 2002 Compilation, introduction, notes and index © 1972 Michael Thorpe All rights reserved No part of this book may be reprinted or reproduced or utilized in any form or by any electronic, mechanical, or other means, now known or hereafter invented, including photocopying and recording, or in any information storage or retrieval system, without permission in writing from the publishers British Library Cataloguing in Publication Data ISBN 0-415-13452-8 (Print Edition) ISBN 0-203-19443-8 Master e-book ISBN ISBN 0-203-19446-2 (Glassbook Format) General Editor’s Preface The reception given to a writer by his contemporaries and nearcontemporaries is evidence of considerable value to the student of literature On one side we learn a great deal about the state of criticism at large and in particular about the development of critical attitudes towards a single writer; at the same time, through private comments in letters, journals or marginalia, we gain an insight upon the tastes and literary thought of individual readers of the period Evidence of this kind helps us to understand the writer’s historical situation, the nature of his immediate reading-public, and his response to these pressures The separate volumes in the Critical Heritage Series present a record of this early criticism Clearly, for many of the highly productive and lengthily reviewed nineteenth- and twentieth-century writers, there exists an enormous body of material; and in these cases the volume editors have made a selection of the most important views, significant for their intrinsic critical worth or for their representative quality— perhaps even registering incomprehension! For earlier writers, notably pre-eighteenth century, the materials are much scarcer and the historical period has been extended, sometimes far beyond the writer’s lifetime, in order to show the inception and growth of critical views which were initially slow to appear In each volume the documents are headed by an Introduction, discussing the material assembled and relating the early stages of the author’s reception to what we have come to identify as the critical tradition The volumes will make available much material which would otherwise be difficult of access and it is hoped that the modern reader will be thereby helped towards an informed understanding of the ways in which literature has been read and judged B.C.S v Contents page xi xiii xvi ACKNOWLEDGMENTS PREFACE CHRONOLOGICAL TABLE INTRODUCTION 10 11 12 13 The Bothie of Tober-na-Vuolich (1848) MATTHEW ARNOLD to Clough 1848 THACKERAY to Clough 1848 Notice in Spectator 1848 EDWARD QUILLINAN to Henry Crabb Robinson 1849 EMERSON to Clough 1849 J.A.FROUDE to Clough 1849 CHARLES KINGSLEY, review in Fraser’s Magazine 1849 EMERSON, review in Massachusetts Quarterly Review 1849 Review in Literary Gazette 1849 ELIZABETH BARRETT BROWNING to Miss Mitford 1849 W.M.ROSSETTI, review in the Germ 1850 WILLIAM WHEWELL, review in North British Review 1853 MATTHEW ARNOLD, from On Translating Homer 1861 28 30 31 32 33 34 37 47 49 53 54 65 69 14 15 16 17 18 19 20 21 Ambarvalia (1849) MATTHEW ARNOLD to Clough 1847–9 Review in Spectator 1849 Review in Athenaeum 1849 Review in Guardian 1849 Review in Literary Gazette 1849 JOHN CONINGTON (?), from a review in Fraser’s Magazine 1849 Review in Rambler 1849 Review in Prospective Review 1850 71 74 76 78 85 88 93 98 Two tributes (1861) 22 A Commemorative Appreciation in Saturday Review 1861 23 MATTHEW ARNOLD’S Oxford Tribute 1861 vii 101 106 CONTENTS 24 25 26 27 28 29 30 31 32 33 34 35 Poems by Arthur Hugh Clough (1862) (including Amours de Voyage, 1858) FRANCIS TURNER PALGRAVE’S ‘Memoir’ 1862 Clough and J.C.SHAIRP, an exchange on Amours de Voyage 1849 EMERSON on Amours de Voyage 1858 CHARLES ELIOT NORTON in Atlantic Monthly 1862 Review in Saturday Review 1862 HENRY FOTHERGILL CHORLEY, review in Athenaeum 1862 DAVID MASSON, review in Macmillan’s Magazine 1862 G.H.LEWES, review in Cornhill Magazine 1862 Review in Church and State Review 1862 WALTER BAGEHOT on Clough, National Review 1862 W.Y.SELLAR, from a review in North British Review 1862 From a review in Boston Review 1863 108 121 124 125 130 135 139 155 157 161 175 195 Letters and Remains of Arthur Hugh Clough (1865) 36 WILLIAM ALLINGHAM, from an article in Fraser’s Magazine 1866 200 37 W.H.SMITH, from an article in Macmillan’s Magazine 1866 207 The Poems and Prose Remains (1869) 38 JOHN ADDINGTON SYMONDS, a new appraisal in Fortnightly Review 1868 39 R.H.HUTTON, from a review in Spectator 1869 40 Review in Saturday Review 1869 41 HENRY SIDGWICK, review in Westminster Review 1869 42 From a review in Putnam’s Magazine 1869 43 44 45 46 47 48 49 50 51 52 53 Later estimates (to 1920) EDWARD DOWDEN on Clough, 1874, 1877 BISHOP ARTHUR T.LYTTELTON on Arnold and Clough 1878 Clough and Arnold, review in Nation 1878 SAMUEL WADDINGTON, from the first biography 1883 R.H.HUTTON on Clough’s unpopularity, Spectator 1882 R.H.HUTTON, ‘Amiel and Clough’, Spectator 1886 Review in Saturday Review 1888 COVENTRY PATMORE on Clough, St James’s Gazette 1888 LIONEL JOHNSON, from a review in Academy 1891 A.C.SWINBURNE debunks Clough in Forum 1891 GEORGE SAINTSBURY on Clough 1896 viii 219 250 261 268 293 296 298 310 311 320 324 330 335 339 340 341 CONTENTS 54 55 56 57 58 59 J.M.ROBERTSON re-appraises Clough 1897 A retort to Robertson in Academy 1897 E.FORSTER supports Robertson in Academy 1897 STOPFORD A.BROOKE on Clough 1908 Article on Clough in Contemporary Review 1914 MARTHA HALE SHACKFORD, essay for the Clough Centenary 1919 60 JAMES INSLEY OSBORNE, from his centenary biography 1920 61 A.S.MCDOWALL reviews Osborne, The Times Literary Supplement 1920 SELECT BIBLIOGRAPHY INDEX 343 365 368 370 384 388 397 399 404 405 ix 60 James Insley Osborne, from Arthur Hugh Clough 1920, Conclusion 187–91 Clough was even less fortunate in his second English biographer than in his first, so far as criticism was concerned The extract given below fairly summarizes the content of the book, which is handled with considerable generosity by MacDowall in his review in The Times Literary Supplement (see the next item) The respect in which Clough was most consistently of the nineteenth century is that all of the settings he uses are nineteenth-century settings His long narrative poems are all of them about people of his own time; and so are the stories that his lyrics suggest—for a lyric always suggests a story of some sort as its background Tennyson and Browning and Arnold took much of their material, most of it indeed, from the past, and often from the traditions of other nations than their own But Clough’s criticism of life is invariably of the life of Britons of his day and generation This is a real peculiarity Its importance is lessened, but by no means destroyed, by remembering what modern poems Idylls of the King and Empedocles on Etna and The Statue and the Bust are, and how English, in spite of their foreign or antique subject matter Clough found human life enough in the world about him without going far afield for it His mind, indeed, however powerful, had not the intrepidity for travelling It was still finding plenty to feed on in the home pasture when it ceased its activities It is not to be denied that the problems Clough worked at are also all of them nineteenth-century problems, though it might be urged that the nineteenth century made its own nearly all problems of all times And it was the most universal and timeless of these problems that interested Clough The nature of friendship and love and marriage and parenthood, the service of God and fellow service—he examines directly these large and eternal things, and not merely abnormal or unusual instances of them, or aspects of them considered to be new He was not the man to 397 CLOUGH care much whether his works were up-to-date or not and whether they were novel or not Pettiness of all sorts, over-valuation of little things, was what he hated most, and he was singularly successful in avoiding it Differentiating a vast number of aspects of a thing, and arranging them, perhaps chronologically, is the kind of thing he called ‘fiddle-faddling’: just as the people who find profit and delight in that kind of juggling find ‘fiddle-faddling’ Clough’s disposition to sit for ever on large problems he could not solve instead of deserting them for little problems that he could solve But others than philosophers of the pigeon-holing school may fairly object to this disposition of Clough’s And it is certainly a respect in which he was not typical of his age Archbishop Whately said of Clough that he had no following: meaning, specifically, that his defection carried out of the Church no other men than himself This is true, and may be taken as showing on Clough’s part either sense and consideration or a lack of courage To call his refusal to proselytize good sense is perhaps to be reminded of the great chapter in which Dean Swift so satisfactorily proves that all revolutions and discoveries in human thought are varieties of madness; and calling it lack of courage, one may remember Emerson’s dictum that ‘there is a certain headiness in all action,’ and that courage is willingness to act If Clough had been willing, early in his life, to set limits to his thinking, to pick a direction and a road and to keep the road and pay no attention to byways, however highly recommended— if he had been willing to this, he might have added a new form of protest against the Church to the other fine enthusiasms of his day, and might have ridden off on it and cut a figure But before he could mount for his ride and gallop off to become another Great Victorian, it was necessary that he should tell himself that he had settled problems which he felt that he had not settled, and this for better and for worse he was unable to In a world in which a man’s chances of accomplishing anything memorable are small, it may appear graceless to be asking so insistently why this man did not accomplish more, instead of marvelling that he accomplished so much as he did New, though perhaps small, editions of Clough have been appearing at rather short intervals ever since his death He wrote and he is read Public taste, on the whole, seems to be moving in his direction rather than away from him, so that he will probably continue to find readers And so long as he finds them they will probably, even though they like him, keep on finding him something of a failure, and speculating on why 398 THE CRITICAL HERITAGE he failed Lack of determination, inadequate opportunity, limited comprehension—here are the causes of failure; but Clough had a strong and steady will, the best of training and of friends, a wealth of good sense More careful examination will show, perhaps, that the determination was too content to remain determination instead of removing the need for itself, that the training, though splendid for the usual boy, was of the wrong kind for at least one boy, and that a disproportionate share of the good sense rested on merely vicarious experience But behind these suppositions will lurk a presentiment of some unescapable limitation in the man’s physical nature He was not sufficiently sensuous He did the best he could with a nervous system that was simply not finely enough organized, not delicate enough, to delight and gloriously to succeed in creative effort 61 A.S.McDowall on Osborne’s Arthur Hugh Clough in The Times Literary Supplement March 1920, 153 The spell which Clough threw over his contemporaries has become a memory, and yet his poems are by no means dead It ought to be possible, therefore, to survey them candidly, and this acute and interesting book is a great help towards doing so It disabuses one of the idea that Clough is out of date because he wrote about ‘problems.’ As a conscientious intellectual he could not help doing that, but his musings are not of the single type which they have often been supposed to be Nothing ages so quickly for new generations as the religious perplexities of the old, and it is unlucky for Clough that a simplifying legend has labelled him the poet of doubt With the emphatic notes of ‘Easter Day’ in our mind, or the more subtle avowals of poems like it is rather hard not to yield to this impression But it is O 399 CLOUGH scarcely true of the first or last current of his poetry; nor does it represent the ruling one, except for a time What preoccupies him most is the relation of feeling to action, and the purity or falsity of both As his difficulties came largely from his intellectual nature, he puts them in a speculative way And as the conscience and the intellect in him were equally exigent he is bound to raise the final query about ‘the purpose of our being here.’ But, as Mr Osborne reminds us, he deals more and more with these matters on their human and universal side ‘The nature of friendship and love and marriage and parenthood, the service of God and fellow-service’ — these are the problems to which he continually comes back He is facing immediate questions, whether mental or practical, and this necessity determines his imaginative form Whatever may be thought of Clough’s quality as an artist, there is much in his comment which is not easily brushed aside No other English poet has so anatomized the idea of duty, or the possibilities of acting truly, or even (Hamlet always excepted) the possibility of acting at all Idealist though he was, no one has faced more honestly the perplexities of love and marriage If Matthew Arnold’s view of poetry as a criticism of life applies to anyone, it certainly applies to Clough In spite of this, his position as a poet is more uncertain than that of many who have had less interesting things to say The final reason of that, no doubt, is the one Mr Osborne puts succinctly in the last words of his book ‘He did the best he could with a nervous system that was simply not finely enough organized, not delicate enough, to delight and gloriously to succeed in creative effort.’ Yet even this is hardly the whole of the matter Strange as it may be to say it of anyone so persevering, we are not at all sure that as a poet he did the best he could Serious, even over-serious, as he was about so many things, did he take poetry seriously enough? He could not live by it, and he did not live for it; only partially does he serve the Muse The occupations of his life lay elsewhere, like Arnold’s; yet Arnold, one feels, surmounted the difficulty as Clough did not Arnold never gives us the feeling that he is writing poetry as an amateur, but Clough, with all his earnestness, gives this fairly often It may be too much to expect a man to live for the pleasure of posterity, and Clough was too modest to calculate on a second life with the immortals But, knowing what he had to say, and guessing at finer possibilities behind, we are tempted to grudge the honest work which he gave to other things than poetry From this point of view it is hard not to treat his conscience as a personal enemy It invades him like a grey shadow, inhibiting the 400 THE CRITICAL HERITAGE aesthetic faculties From the beginning we see it urgent for the lion’s share, and stipulating that his happier moments shall not be wasted on the ‘trifler, Poesy.’ Much, if not all, of the responsibility for this can be transferred to Rugby and its Headmaster, who strung Clough’s moral sensibility to so extreme a pitch Mr Osborne is no doubt right in thinking that this tension, and the reactions from it, affected Clough far more deeply than the seething Tractarianism of Oxford The early poems express the mood and yet provide relief from it, in their shy and tentative simplicity Mainly Wordsworthian exercises, as Mr Osborne calls them, they still have a charm and promise which were never quite fulfilled The paths are not yet closed But the dilemma of innocence and worldliness, which was the simplest and most touching form of Clough’s moral problem, appears plainly in ‘The Higher Courage,’1 and was to have long echoes in Dipsychus There seems to be more in the former poem than the revolt from willing and desire to remain undecided which his critic finds Behind Clough’s mental probings is a feeling very like that yearning for a lost candour, that recoils to the first vision of the soul, which Vaughan has once for all expressed: — Some men a forward motion love, But I by backward steps would move.2 If Clough had never gathered up his self-communings into one complete and poignant expression, we should have had, for this side of him, only the shorter introspective poems—sensitive records of the fluctuations of his soul, full of true though reticent emotion, yet inviting a wish that the thoughts which returned so often should be fused in a more coherent form The prompting came to this, and yielded Dipsychus Tastes have differed about that poem To Mr Osborne it seems the most honest and thoughtful of Clough’s long poems; the best of them, for anyone who wants to understand him, but by no means the best in point of art It was written in a dark hour, and the poet is still entangled in some wisps of the cloud But his distress has made him less deliberate; and out of it, as Mr Osborne reminds us, he plucks a new and precious gift—the gift of irony Hence come those deft interjections of Dipsychus’s other self, which are the salt and sparkle of the poem, and almost the only relief to that long soliloquy of introspection which is staged so oddly in the fairest city of Europe Mr Osborne would I.e ‘Come back again my olden heart’ Vaughan, ‘The Retreat’ 401 CLOUGH gladly have had it otherwise But when he says that a good train of narrative might have satisfied all objections, and that never did a work of art stand in greater need of a story, he makes us feel unregenerately that we would rather have the hazardous performance as it stands than a more conventional achievement The execution wavers; we are vague at moments as to whether the hero is deciding to live like plain people, or to live ambitiously, or to drop into an easy sin Agir, c’est nuire.1 Clough gives his various readings of that thought, and his emotion cannot be gainsaid Perhaps it was well that one drama of the mind should have clung so resolutely to mental scenery, and it was rare that an Englishman should choose that way to write it It is possible—Mr Osborne himself has an inkling of it—that Dipsychus may carry farther in the end than the Bothie and Amours de Voyage, which take the fancy more obviously The Bothie is acquiring an exquisitely Early Victorian bloom; it has almost become a document This may it no harm; it makes a wider appeal than the spell of Oxford But the fate of the Bothie and Amours de Voyage must turn on the value of Clough’s response to the world outside him—the world of man and nature Here, in the glimpses of moor and tumbling stream throughout the Bothie and the Roman landscape of the other poem, are those ‘sights and sounds of the country’ which were held dear by him Here are his reflections on character and the general life, sane and penetrating, advancing beyond his time to ours when he speaks of women and of society And here, not least, is a genial sense of humour There is the stuff of novels and stories in these, poems; Amours de Voyage might be an early Henry James, and it has its likenesses to Swinburne’s excursion into prose fiction All this is enough to make poetry which can be read with real interest and amusement, perhaps even with delight; but it is not enough to make great poetry The hexameter tells against it, not so much from any metrical uncouthness as because it wakes the suspicion that Clough does not mean to go too far It was disarming of him to choose this form for the Bothie and so forestall the charge of donnishness But his second choice of it suggests the line of least resistance He has gained in experience and decision by the time he comes to Mari Magno; he is close, now, to a synthesis of reason, love and duty But this late work, which he never had the chance to go over, stands as a fragment, in a form still too curt and narrow to express his feeling adequately ‘To act is to err’ (source untraced) 402 THE CRITICAL HERITAGE It is tiresome, however, to hunt for missing excellences If there is a defect in Mr Osborne’s book, it is that he seems less inclined to dwell on the positive qualities of Clough’s poetry than on its shortcomings The plan of the book accounts partly for this, as it is not primarily a discussion of the poems, but takes them as they come in a psychological and critical study of Clough’s life There it is masterly; the analysis is searching, but there is sympathy as well as justice in the author’s intuition He notices how every one who writes of Clough’s poetry quickly begins talking of the man, and it is as natural to end as to begin there Do we really wish that Clough had been different? Mr Osborne allows that his character is a fine one; and it is not certain how far he could have been changed as a poet In the end he almost persuades us that his defects are qualities We give up asking for the keen sense of beauty which he did not possess We make terms with the encroaching conscience, recognizing how much of his flavour is due just to that The unprofessional nature of his poetry has, at any rate, one advantage: no one who feels him uncongenial is obliged to try to read him Those who read him allow for his shyness and his inhibitions, and find something real beneath them—a fidelity of thought and feeling which is uncommon and wears well 403 Select Bibliography GOLLIN, RICHARD M., HOUGHTON, WALTER E., and TIMKO, MICHAEL, Arthur Hugh Clough, a Descriptive Catalogue, The New York Public Library, 1968 A comprehensive annotated bibliographydivided into three parts: Poetry, Prose, Biography and Criticism The critical section lists 500 items ARMSTRONG, ISOBEL, Arthur Hugh Clough, London, 1962 A pamphlet in the British Council’s ‘Writers and Their Work’ series CHORLEY, KATHARINE, Arthur Hugh Clough: the Uncommitted Mind, Oxford, 1962 A thoroughgoing attempt to explain Clough’s ‘failure’ in terms of his psychological defects GOODE, JOHN and HARDY, BARBARA, Major Victorian Poets: Reconsiderations, Routledge & Kegan Paul, 1969 Two important essays in revaluation HOUGHTON, WALTER E., The Poetry of Clough: an Essay in Revaluation, New Haven, 1963 The fullest critical study of Clough to date LEVY, GOLDIE, Arthur Hugh Clough: 1819–1861, London, 1938 A full, but non-critical, biographical study LOWRY, H.F., The Letters of Matthew Arnold to Arthur Hugh Clough, Oxford, 1932 Includes a valuable introduction THORPE, MICHAEL, Introduction to A Choice of Clough’s Verse, Faber and Faber, 1969 A plea for revaluation TIMKO, MICHAEL, Innocent Victorian: the Satiric Poetry of Arthur Hugh Clough, Ohio University Press, 1966 Stressing Clough’s ‘positive naturalism’ or ‘moral realism’, Timko seeks to counter the myth of failure by demonstrating the constructive nature of the satirical poetry VEYRIRAS, PAUL, Arthur Hugh Clough (1819–1861), Paris, 1964 (published 1965) A detailed study of the man and the ‘milieu’ WILLIAMS, DAVID, Too Quick Despairer: A Life of Arthur Hugh Clough, Rupert Hart-Davis, 1969 404 Index I ARTHUR HUGH CLOUGH: CHARACTERISTICS 173, 189, 198, 217, 248, 266, 285, 331, 348f, 366f, 386, 402 Homeric note, 43, 48, 69, 79, 106, 189–90, 198, 253–4, 350, 352, 365 humour, 4, 22, 29, 33, 40, 69, 105, 127, 149, 159, 199, 205, 210, 254, 266, 273, 276, 285, 299, 306, 323, 349, 352, 377, 387 artistic achievement, 12, 23, 69, 79f, 90, 96, 99, 154, 172, 186, 215, 266– 267, 270, 276f, 287f, 297, 317, 321–2, 331, 348f, 373–4, 386–7 artistic defects, 4, 18, 31, 34–6, 49, 53, 56, 68, 72f, 75, 76, 85, 88, 98, 112, 131–2, 137, 172, 178, 206, 248, 286, 289, 290, 294, 321, 331, 339, 366f, 380, 383, 385, 393, 400 imagery, 48, 63, 159, 302, 341, 381 irony, 11, 14, 23, 145, 174, 227, 232, 256, 278, 285, 299, 395, 401 characterization, 6, 16, 38, 48, 58f, 66, 89, 232, 238f, 287, 347f, 352, 354f, 361, 393, 402 classicism, 40f, 57, 159, 180, 190 Clough on Amours de Voyage, 6–7, 122–3, 124n compared to Arnold, 1–2, 12, 14, 21, 53, 78, 84, 88, 253, 260–1, 298f, 310, 315, 316, 321–2, 331, 334, 339, 349, 365, 369, 370, 374, 380, 382–3, 384, 388, 397, 400 love and sex, treatment of, 3, 13, 35, 92, 97, 104, 105, 137–8, 150, 157, 159, 170, 184, 203, 212, 229f, 253, 281f, 308, 323, 328, 338, 353, 356f, 375, 402 ‘morbidity’, 15, 82, 121, 158, 169, 192, 198, 229, 251, 333–4, 339 Mrs Clough’s editing, xiii, 9–10, 18, 25, 218, 228, 239n, 262, 336, 377 descriptive power, 30, 33, 62, 106, 159, 188, 190, 201, 249, 287, 300, 331, 352, 380 duty, ethic of, 46, 80, 95, 103, 109, 114, 144, 158, 183, 209, 247, 304– 5, 308, 337, 373, 396, 400 nature, treatment of, 48, 62, 92, 106, 110, 112, 127, 148, 159, 188, 190, 198, 285, 287, 300, 379, 402 ‘failure’, 7–8, 14, 16, 19, 21, 101, 118f, 136f, 155, 161, 194, 220f, 267, 271, 320, 330f, 336f, 341–2, 365, 399 hexameters, 16–17, 29, 32, 33, 41f, 48, 49, 55, 65, 69, 105, 121, 123, 160, realism, 14, 19, 22, 40, 48, 63, 68, 73, 79, 109, 128, 166, 174, 178, 188, 230, 249, 253, 257, 267, 276, 306, 321, 353, 359 reception in the U.S.A., 5, 12–13, 20, 23, 33, 47, 112, 116, 124, 125, 127, 195, 199, 201, 266, 293, 310, 388 religious attitude, 23, 88, 92, 94f, 98, 113, 132, 147, 164f, 181, 195, 199, 405 INDEX religous attitude—contd 221f, 247, 259, 264, 280, 291–2, 295, 296–7, 299f, 323, 332, 369, 386, 399–400 ‘republicanism’, 114, 126, 135, 151–2, 160, 185, 193 satire, 331, 342, 367, 392, 393–4 ‘scepticism’, 14, 80, 91, 110, 123, 132, 142f, 157, 159, 164f, 183, 195, 197, 225, 228, 236, 259, 269, 273f, 302, 328, 341, 363, 371 sincerity 33, 40, 73, 107, 109, 118, 125, 138, 179, 192, 221, 230, 251, 267, 298, 312, 317, 371, 382, 403 II ARTHUR HUGH CLOUGH: WRITINGS ‘Ah love, high dove’, 80 Ambarvalia, xiii, xv, 1, 3–7 passim, 9, 36, 53, 63, 71–100, 111, 121, 128, 137, 176, 202, 267 Amours de Voyage, 2, 6–7, 8–9, 11, 15, 16, 17, 22, 23, 115, 121–4, 128, 133, 137, 145, 148, 150, 157, 166, 169, 176, 184, 192, 197, 202, 229, 231f, 249, 255f, 266, 280, 284f, 299, 306, 324, 328, 331, 338, 341, 344, 348, 354f, 365, 369, 375, 386, 388, 402 277, 280, 298, 299, 305, 306, 331, 334, 338, 341, 360, 369, 378, 380, 392f, 401 ‘Duty—That’s to say complying’, 95, 145, 187, 204 ‘Bethesda’, 181 ‘Blank Misgivings’, 90, 96, 143–4, 181 Bothie of Tober-na-Vuolich, The, xiii, xv, 1, 3–7, passim, 15, 16, 17, 22, 28– 70, 79, 89, 106, 107, 111, 121, 127, 133, 137, 149, 156, 159, 172, 176, 179, 184, 188, 198, 201, 207, 220, 250, 253, 266, 280, 285, 287, 300, 306, 323, 331, 336, 338, 341, 344, 348, 351f, 365, 369, 378, 386, 388, 402 ‘Farewell, my Highland Lassie!’, 97, 199 ‘Fragments Of the Mystery Of the Fall’, 73, 280 ‘Come back again, my olden heart’, 401 ‘Come back, come back’, 113, 158 ‘Come, poet, come!’, 322 Consideration of Objections against the Retrenchment Association, A, 81, 109, 126 Dipsychus, xiii–xiv, xv, 9–10, 18, 22, 25, 110, 115, 162, 202, 204, 207, 209f, 220, 227–8, 235f, 248, 265, ‘Easter Day’, xiii, 9, 210, 217, 228, 238, 240, 247, 266, 278, 294, 331, 334, 342, 369, 386, 399 ‘Enough, small room’, 71 ‘Epi-Straussium’, 307 ‘Hope evermore and believe’, 319 ‘How in Heaven’s name, did Columbus get over?’, 199, 378 ‘Human spirits saw I, The’ [‘The Questioning Spirit’], 76, 80, 90, 95, 99, 147, 158, 181, 204, 247, 306 ‘In a Lecture-Room’, 71, 143 ‘It fortifies my soul’, 223, 304, 371, 390 ‘Jacob’, 187, 199 ‘Land of Empire’, 18 ‘Latest Decalogue, The’, 15, 187, 228, 331, 342, 365, 386, 389 ‘Les Vaches’, 289, 374 406 INDEX Poems of Arthur Hugh Clough (1913), 384–5 ‘Put forth thy leaf’, 186 Letters and Remains (1865), xiii, 200–17 ‘Letters of Parepidemus, 5, 293, 351 ‘Light words they were’, 96 ‘Like a child…’, 71 ‘Look you, my simple friend’, 96 Mari Magno, 12, 15, 18, 22, 117, 134, 154, 160, 184, 193, 199, 203, 206, 220, 230, 247, 252, 257, 267, 283, 290, 331, 334, 360, 377, 387, 388f, 402 ‘Music of the World and of the Soul, The’, 72 ‘My wind is turned to bitter north’, 76, 81 ‘Natura Naturans’, 9, 85, 97 ‘New Sinai, The’, 72, 80, 96, 99, 146, 181, 227, 298 303 Notes on the Religious Tradition’, 224, 291, 333 ‘Old things need not be therefore true’, 182, 228, 304 ‘On Grass, on Gravel, in the Sun’, 217, 284 ‘O Stream, descending to the Sea’, 307 ‘O Thou, whose image in the shrine’, 147, 165, 204, 209, 227, 303, 390 ‘Peschiera’, 135, 185 Poems (1862), xiii, 7–9, 108–99 Poems (1951), xiii-xv, 20, 22 Poems and Prose Remains (1869), xiii, 2, 218–95 Poems of Clough (1910), xiii, 17 ‘Qua Cursum Ventus’, 8, 9, 80, 96, 99, 128, 133, 156, 183, 261, 267, 307, 331, 344 ‘Questioning Spirit, The’, see ‘The, human spirits saw I’ ‘Qui Laborat, Orat’, 6, 83, 99, 146, 181, 226, 248, 277, 298 ‘Recent English Poetry’, 5, 14, 312f ‘Say not the struggle availeth’, 9, 186, 228, 260, 302, 341, 382 ‘Shadow, The’, 279, 386 ‘Sic Itur’, 96 ‘Silver wedding, The’, 80, 99, 187 ‘Some future day’, 175 ‘Song of Lamech, The’, 187, 199 ‘Songs in Absence’, 267, 274 ‘Thought may well be ever ranging’, 184 ‘To spend uncounted years of pain’, 259, 373 ‘Well, well—Heaven bless you all’, 128, 196 ‘Wen Gott betrügt’, 299 ‘What we, when face to face’, 183, 223, 258, 305, 323 ‘Where lies the land’, 158, 372 ‘Why should I say I see’, 96 ‘Wordsworth’, 288 ‘When panting sighs the bosom fill’, 81, 204 III GENERAL Academy, 16, 339, 365, 368 Allingham, William, 200, 219 Amiel, Henri Fredéric, 324, 332 Angel in the House, The, 331, 335 Aristotle, 255, 276 Arnold, Matthew, 1–2, 3, 4, 5, 9, 12, 13, 14, 20, 21, 22, 24, 28–9, 32, 53, 69, 71, 78, 84, 88, 106, 138, 171, 407 INDEX Arnold, Matthew—contd 189, 249, 253, 260, 263, 267, 286, 298, 310, 314, 315, 316, 317, 321–2, 324, 331, 334, 339, 340, 341, 343, 349, 364, 365, 369, 370, 374, 380, 382– 3, 384, 388, 397, 400 Arnold, Dr Thomas, 19, 28, 94, 97, 108, 166, 196, 197, 297, 317, 332, 390, 401 Arnold, Thomas (the younger), Athenæum, 76, 135 Atlantic Monthly, 13, 125, 256 Austen, Jane, 345–6 Austin, Alfred, 314 Coleridge, S.T., 78, 81 Collins, W.L., Conington, John, 88, 264 Contemporary Review, 18, 296, 384 Cornhill Magazine, 155, 219 Courthope, W.J., 11 Cowper, William, 315–16 Crabbe, George, 154, 160, 194, 201, 230, 263, 267, 290, 361 Defoe, Daniel, 344 De Musset, Alfred, 230, 232, 276, 393 Dickens, Charles, 344, 347 Dickinson, Emily, Donne, John, 13 Dowden, Edward, 14, 296 Dryden, John, 5, 25, 194, 394 Bagehot, Walter, 9, 24, 161, 279 Bailey, Philip, 72, 382 Balzac, Honoré de, 174 Béranger, Pierre-Jean de, 154, 205 Blake, William, 390 Bleak House, 124, 313, 344 Boston Review, 195 Bridges, Robert, 17 Brontë, Charlotte, 344 Brooke, Rev Stopford, 17, 316, 370 Browning, Elizabeth Barrett, 53, 138, 159, 316, 318, 327, 331 Browning, Robert, xiv, 2, 11, 12, 13, 14, 20, 111, 135, 214, 266, 272, 296, 298, 299, 316, 317, 331, 340, 384, 387, 397 Burbidge, Thomas, xv, 5, 53, 72, 75, 76, 86, 90, 98 Burns, Robert, 154 Eliot, George, 8, 344, 346, 354–5 Eliot, T.S., 17, 22, 23–4 Emerson, R.W., 1, 3, 6, 7, 20, 25, 31, 33, 47, 124, 256, 263, 282, 296, 331, 337, 388, 392 Essays and Reviews, 141, 197 Evangeline, 5, 7, 17, 65, 70, 249 368 Calverley, C.S., 340 Carlyle, Thomas, 6, 25, 33, 197, 262, 296–7, 314, 318, 331 Chaucer, Geoffrey, 117, 193, 201, 257– 60, 300, 385 Chorley, Henry Fothergill, 8, 135 Chorley, Lady Katherine, 22 Church and State Review, 157 Church Quarterly Review, 298 Faust, 209, 236–7, 281, 298, 331, 393 Festus, 72 Fielding, Henry, 345 Forster, E., 17, 368 Forster, E.M., 23–4 Fortnightly Review, 219 Forum, 340 Fraser’s Magazine, 37, 65, 88, 200 Froude, J.A., 1, 3, 34 Gardner, Helen, 17 Germ, The, 54 Goethe, Johann Wolfgang von, 40–1, 65, 122, 149, 155, 159, 205, 209, 237, 248, 253, 281, 282, 319, 322 Goldsmith, Oliver, 194 408 INDEX Goode, John, 23 Guardian, 1, 6, 78 Guyot, Edouard, 26 Hardy, Barbara, 23–4 Hawkins, Provost, Hawthorne, Nathaniel, 344 Heath-Stubbs, John, 22 Hermann and Dorothea, 41, 65, 137, 249, 253, 338 Hood, Thomas, 318 Hooker, Richard, 336 Hopkins, G.M., 17 Horace, 205, 248 Houghton, Walter E., 12, 23, 26 Hudson, W.H., 26 Hutton, R.H., xiv, 9, 11, 12, 14, 24, 150, 300, 311, 320, 324 Huxley, T.E., 389 James, Henry, 16, 356, 402 Johnson, Lionel, 14, 339 Jowett, Benjamin, 197, 219 Jump, J.D., 1, 22, 26 Keats, John, 7, 201, 312, 313, 315, 316 Keble, Francis, 382 Kingsley, Charles, 3, 31, 37–47, 98 Krutch, J.W., 20, 26 Leavis, F.R., 18 Leighton, Sir Frederick, 318 Letters of Matthew Arnold to Arthur Hugh Clough, 21, 71–4 Levy, Goldie, 8, 21, 26 Lewes, G.H., 8, 155 Literary Gazette, 3, 49, 85 Longfellow, H.W., 5, 7, 33, 65, 70, 263, 331, 350 Louise (Voss), 137 Lowell, J.R., 4, 6, 12, 20, 320, 323, 340, 343, 360n, 388 Lowry, H.F., 20–1, 71 Lucas, F.L., 21, 24 Lucille, 138 Lucretius, 190, 264 Lyra Apostolica, 37, 91, 326 Lyttelton, Bishop Arthur, 14, 298 MacCarthy, Desmond, 21 McDowall, A.S., 19, 399 Macmillan’s Magazine, 139, 207 MacNeice, Louis, 22 Marcus Steven, 25 Massachusetts Quarterly Review, 47 Masson, David, 8, 139, 348 Milford, H.S., 17, 218 Mill, John Stuart, 317 Milton, John, 71, 181, 247, 385 Moore, George, 359 Moore, Thomas, 78, 89, 173 Morris, William, 296 Mozley, J.B., Nation, 310 National Review, 16, 161 Newman, Cardinal Henry, 167, 256, 264, 295, 326, 363–4, 391 Newman, Francis, 30, 69, 189, 363 North American Review, 5, 312 North British Review, 65, 139, 175 Norton, C.E., xiii, 6, 9, 13, 20, 125, 197, 388 Novalis, 72 Osborne, J.I., 19, 397, 400 Oxford Movement, 102, 109, 167, 196, 363, 391 Palgrave, Francis, xiii, 2, 5, 8, 13, 108, 130, 135–6, 141, 176, 218, 270, 318, 320, 379 Pascal, 113 Patmore, Coventry, 15, 138, 230, 290, 331, 335 Philip van Artevelde, 215 Plato, 255, 264, 390 Poe, Edgar Allan, 213, 350 409 INDEX Pope, Alexander, 5, 194, 314 Pound, Ezra, 22 Prospective Review, 98 Putnam’s Magazine, 5, 293 Quarterly Review, Quillinan, Edward, 32 St James’s Gazette, 335 Strachey, Lytton, 19, 20, 21, 24 Statham, F.R., 16 Strauss, D.F., 364 Sunday Times, 22 Swinburne, A.C., 11, 12, 15, 16, 19, 21, 247, 298, 340, 348, 350, 402 Symonds, J.A., xiii-xiv, 10–12, 13, 19, 25, 218f, 268 Rambler, xv, 4, 93 Richardson, Samuel, 345 Richter, Jean Paul, 279 Robert Elsmere, 330, 332 Roberts, Michael, 22 Robertson, J.M., xiv, 11, 12, 15–16, 343, 365 Robinson, Henry Crabb, 32 Rossetti, Dante Gabriel, 296 Rossetti, William, 5, 54–64, 352 Rousseau, 306 Ruskin, John, 314 Saintsbury, George, 15, 340, 341 Saturday Review, 8, 14–15, 101, 130, 261, 330 Schiller, 319 Scott, Sir Walter, 345, 383 Sellar, W.Y., 28, 175 Sewanee Review, 388 Shackford, Martha, 19, 388 Shairp, J.C, 2, 6, 121, 362 Shakespeare, 300, 360, 385 Shelley, 165, 201, 247, 297 Sidgwick, Henry xiv, 11, 13, 14, 24, 268 Smith, Alexander, 312, 382 Smith, W.H., 207 Spectator, 3, 8, 9, 31, 33, 74, 111, 250, 320 Spender, Stephen, 22 Spenser, Edmund, 319 Spinoza, 224 Stanley, Dean, 7–8, 29, 72, 108, 317 Ste Beuve, Sterling, John, 196–8, 208, 262 Tagore, 390 Taine, Hippolyte, 3, 343 Taylor, Henry, 171, 215 Tennyson, Alfred, xiv, 1, 2, 3, 12, 13, 20, 25, 32, 33, 40, 71, 72, 78, 80, 81, 84, 89, 111, 118, 124, 158, 159, 178, 181, 186, 193, 210, 214, 232, 247, 258, 263, 272, 294, 298, 331, 338, 340, 349, 384, 397 Thackeray, William, 3, 30, 46, 313, 340, 344, 347, 352, 354, 363 Theocritus, 159, 184 Times, Literary Supplement, The, 18, 19, 22, 399 Timko, Michael, 22–3, 26 Tomkins, J.M S., 22 Trench, Richard, 98 Trilling, Lionel, 22 Trollope, Anthony, 287 Turgenev, 355 Vaughan, Henry, 390, 401 Veyriras, Paul, 26 Virgil, 260, 339, 350 Voltaire, 163 Waddington, Samuel, 2, 5, 14, 311, 320 Ward, Mrs Humphry, 324, 330 Werther, 121, 232, 253 Westminster Review, 1, 268 Whewell, William, 7, 65 410 INDEX Whibley, Charles, 17, 384 White, Blanco, 196–8 Whitman, Walt, Williams, David, 27 Wolfe, Humbert, 21 Wordsworth, William, 32, 40, 71, 112, 113, 118, 159, 173, 190, 204, 208, 248, 255, 260, 264, 272, 287– 290, 296, 301, 311, 314–15, 318, 319, 322, 379, 401 Yeats, W.B., 339 Yeoman, John, 22 411 .. .ARTHUR HUGH CLOUGH: THE CRITICAL HERITAGE THE CRITICAL HERITAGE SERIES General Editor: B.C.Southam The Critical Heritage series collects together a large body of criticism... selected with the object of giving a fair impression of the contemporary and nearcontemporary response to the work of Arthur Hugh Clough The period covered by the pieces I have chosen is 1848, the year... appeared: The Poems of Arthur Hugh Clough, edited by his friend C.E.Norton and published in Boston, and in England Poems by Arthur Hugh Clough, with a Memoir by F.T.Palgrave The contents of these