The sobriety of his arguments with the
philosopher has sometimes been interpreted by the man of the street as
cowardly side-stepping. On the other hand, the poet's bravado in defying
the man of the street might be interpreted by the philosopher as an
acknowledgment of imperviousness to reason.
It seems as though the first impulse of the poet were to set his back
against the wall and deal with all his antagonists at once, by
challenging their right to pry into his private conduct. It is true that
certain poets of the last century have believed it beneath their dignity
to pay any attention to the insults and persecution of the public. But
though a number have maintained an air of stolid indifference so long as
the attacks have remained personal, few or none have been content to
disregard defamation of a departed singer.
The public cannot maintain, in many instances, that this vicarious
indignation arises from a sense of sharing the frailties of the dead
poet who is the direct object of attack. Not thus may one account for
the generous heat of Whittier, of Richard Watson Gilder, of Robert
Browning, of Tennyson, in rebuking the public which itches to make a
posthumous investigation of a singer's character.
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