And all Byron's heroes, not so much in collision with
outward things, as breaking on some rock of revolt and misery in the
depths of their own nature; Manfred, self-consumed, fighting blindly and
passionately with I know not what, having nothing of the consistent
development and intelligible motive of Faust,--Manfred, Lara, Cain,[268]
what are they but Titanic? Where in European poetry are we to find this
Celtic passion of revolt so warm-breathing, puissant, and sincere;
except perhaps in the creation of a yet greater poet than Byron, but an
English poet, too, like Byron,--in the Satan of Milton?
"... What though the field be lost?
All is not lost; the unconquerable will,
And study of revenge, immortal hate,
And courage never to submit or yield,
And what is else not to be overcome."[269]
There, surely, speaks a genius to whose composition the Celtic fibre was
not wholly a stranger!
* * * * *
The Celt's quick feeling for what is noble and distinguished gave his
poetry style; his indomitable personality gave it pride and passion; his
sensibility and nervous exaltation gave it a better gift still, the gift
of rendering with wonderful felicity the magical charm of nature.
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