It is as though suddenly it had been revealed to Gray that poetry is not a mere literary exercise but the image of reality; that it does not consist in vain admiration of models far off in time and place, but that it is as near to one as one's breath and one's country. Not that the _Elegy_ would have been one of the great poems of the world if it had never plunged deeper into the heart than in this verse. It is a poem of beauty and sorrow that cannot be symbolized by such public figures as Cromwell and Milton. Here the genius of the parting day, and all that it means to the imagination, its quiet movement and its music, its pensiveness and its regrets, have been given a form more lasting than bronze. Perhaps the poem owes a part of its popularity to the fact that it is a great homily, though a homily transfigured. But then does not _Hamlet_ owe a great part of its popularity to the fact that it is (among other things) a great blood-and-thunder play with duels and a ghost? One of the so-called mysteries of literature is the fact that Gray, having written so greatly, should have written so little. He spoke of himself as a "shrimp of an author," and expressed the fear that his works might be mistaken for those of "a pismire or a flea." But to make a mystery of the indolence of a rather timid, idle, and unadventurous scholar, who was blessed with more fastidiousness than passion, is absurd. To say perfectly once and for all what one has to say is surely as fine an achievement as to keep restlessly trying to say it a thousand times over. Gray was no blabber. It is said that he did not even let his mother and his aunts know that he wrote poetry. He lacked boldness, volubility and vital energy. He stood aside from life. He would not even take money from his publishers for his poetry. No wonder that he earned the scorn of Dr. Johnson, who said of him to Boswell, "Sir, he was dull in his company, dull in his closet, dull everywhere. He was dull in a new way, and that made many think him great." Luckily, Gray's reserve tempted him into his own heart and into external nature for safety and consolation. Johnson could see in him only a "mechanical poet." To most of us he seems the first natural poet in modern literature. XI.--ASPECTS OF SHELLEY (1) THE CHARACTER HALF-COMIC