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genius in verse and prose. We turn now to our investigation of what he accomplished. The field which he included in his purview was widealmost as wide as our national life. We will consider, one by one, the various departments of it in which his influence was most distinctly felt; but first of all a word must be said about his Method.

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CHAPTER II

METHOD

THE Matthew Arnold whom we know begins in 1848; and, when we first make his acquaintance, in his earliest letters to his mother and his eldest sister, he is already a Critic. He is only twentyfive years old, and he is writing in the year of Revolution. Thrones are going down with a crash all over Europe; the voices of triumphant freedom are in the air; the long-deferred millennium of peace and brotherhood seems to be just on the eve of realization. But, amid all this glorious hurlyburly, this "joy of eventful living," the young philosopher stands calm and unshaken; interested indeed, and to some extent sympathetic, but wholly detached and impartially critical. He thinks that the fall of the French Monarchy is likely to produce social changes here, for "no one looks on, seeing his neighbour mending, without asking himself if he cannot mend in the same way." He is convinced that "the hour of the hereditary peerage and eldest sonship and immense properties has struck"; he thinks that a five years' continuance

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of these institutions is "long enough, certainly, for patience, already at death's door, to have to die in." He pities (in a sonnet) "the armies of the homeless and unfed." But all the time he rewhich people are talk

sents the "hot, dizzy trash ing" about the Revolution. He sees a torrent of American vulgarity and "laideur" threatening to overflow Europe. He thinks England, as it is,

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not liveable-in," but is convinced that a Government of Chartists would not mend matters; and, after telling a Republican friend that " God knows it, I am with you," he thus qualifies his sympathy

Yet, when I muse on what life is, I seem

Rather to patience prompted, than that proud

Prospect of hope which France proclaims so loud-
France, famed in all great arts, in none supreme.

In fine, he is critical of his own country, critical of all foreign nations, critical of existing institutions, critical of well-meant but uninstructed attempts to set them right. And, as he was in the beginning, so he continued throughout his life and to its close. It is impossible to conceive of him as an enthusiastic and unqualified partisan of any cause, creed, party, society, or system. Admiration he had, for worthy objects, in abundant store; high appreciation for what was excellent; sympathy with all sincere and upward-tending endeavour.

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