of humanity, does not make her less conscious of that supreme beauty of form and language which Truth demands as the garment in which to present its shining purposes and the convincing realization of its secrets. But with all its subtle artistic forms, Mrs. Coates's poetry renders a lucid interpretation of life. Her lyrical work is at once poignant in feeling, melodious in tone, and emphatic in the substantive meaning that lies embedded in the thought or emotion. The purely art lyric is never deliberately shaped by her with that classical detachment practised by the poets of the sixteenth and seventeenth centuries; nor yet the over-elaborate decoration of the romanticist modern poet, that gives freedom to ambiguous sentiment rather than to spiritual grace. The chastity of thought and emotion is so deep in her as to create a poetic imagery tinctured with subtle and unfading coloring from the mystery of life itself, and consequently her lyrics, both in music and substance, are as pure as crystal. Compelling lyric art must be personal, which does not imply that it must be emotionally subjective. In its significance, as the language of humanity rather than the voice of an individual, its authenticity widens into a sort of testament of the spirit, that all men, not of one particular class or creed, social condition or nationality, accept as the symbol of their aspirations and hopes. Mrs. Coates's lyrics fulfil this personate-universality, they are so distinctively a language, because the voice in which she speaks it is full of the feelings that lie dumb, or are imperfectly expressed, in the heart of the human race. No art could be more one's own than Mrs. Coates's. In this she is not different from many another of the world's accomplished poets. What I mean is, though she sees the world made up of individuals, each with their particular and isolated hopes and aspirations, joys and sorrows, desires and ambitions, these individuals make humanity as a whole, and it is the life of the whole, full of its mysteries, unaccountable promptings and progress, which she sings, bringing it into communion with destiny and fulfilment.
Once we recognize this completeness, this inclusive grasp of humanity, in Mrs. Coates's outlook upon life and the world, we come to realize the significance of that line already quoted, in which poetry is said to "envisage the veiled heart of things," and accept it as the particular function of her own work. Through the four books of her poetry, this steady purpose is seen. It never works in any isolated passion, in any emphasis where the emotion is the outcome of some detached motive of the individual. In all her poems the ideal is rendered articulate through some particular aspiration. Despite all the unhappiness and pain in the world, it is far better than it seems, because there is an ideal existence that man experiences in his nature, and this he strives to realize in his outer acts and relationships. His failure to realize these ideals fully, but which he perpetually acknowledges and sets as the standard of conduct, is what creates those intense aspirations of the soul, out of which are born those
