A simple statement of a simple fact calls for no "literary" gift. A description of externals demands some, but not often a great, degree of it. A thought or feeling, which is suggested by the fact or object, may require either little or much in proportion as the thought or feeling is fine and fugitive. But a _mood_ induced by the thought or feeling generally demands the gift in its highest degree. "A primrose by the river's brim," whether "a yellow primrose 'tis to him," or a dicotyledon, may be outwardly described more and less well; but we require for that purpose only the rudiments of literary prose. But, next, there is the pure and appealing beauty of the flower; and that evokes gathering recognitions of the beauty of nature and its grace to us. Then upon this there steals a feeling of exhilaration in the glad and gay atmosphere of the re-awakening world; and this, again, may open into a whole vista of recollections far back from childhood; and so the result may be one of many moods. We have all this time been brought up a sort of gradient of literary difficulty; and he is the supreme of supreme literary artists who can body forth the most subtle of all these thoughts and moods. Let me illustrate. Take for the purpose of contrast this passage of purely external description from Cowper:-- Forth goes the woodman, leaving unconcerned The cheerful haunts of man, to wield the axe And drive the wedge in yonder forest drear, From morn to eve his solitary task. Shaggy and lean and shrewd, with pointed ears And tail cropped short, half lurcher and half cur, His dog attends him. Close behind his heel Now creeps he slow, and now with many a frisk, Wide-scampering, snatches up the drifted snow With ivory teeth, or ploughs it with his snout: Then shakes his powdered coat and barks for joy-- and so forth. There you have clear and faithful observation, clearly and faithfully reproduced. I do not want to depreciate the amount of literary skill necessary for putting those right words in their right places. Nevertheless I cannot bring myself to think it particularly remarkable. The picture is distinct, but it is of the eye alone; it involves nothing in the way of imagination, nothing in the way of subtle feeling blending with the sight in the brain of the writer. Next take a stanza from Matthew Arnold's _Thyrsis_:-- So, some tempestuous morn in early June, When the year's primal burst of bloom is o'er, Before the roses and the longest day-- When garden walks and all the grassy floor With blossoms red and white of fallen May And chestnut flowers are strewn-- So have I heard the cuckoo's parting cry, From the wet field, through the vext garden trees, Come with the volleying rain and tossing breeze: "_The bloom is gone, and with the bloom go I._"