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Concluding Remarks.
Probably Swinburne will never be counted among
the great «Makers of English» in whose mi(fctD^K)ski
places Tennyson: two causes combine to prodjflj^^^A
First and foremost, all his work bears th^^^^Bof
the utmost aristocratic aloofness; his poems bre^^ the
cold air of the highest mountain-tops in the world of poetry,
which frightens the majority of men, and more or less
keeps everyone at a distance. Outwardly, it is true,
Tennyson also was an aristocratic writer; but in reality he
chose his subjects from the sphere of ideas of the average
reader as whose poet laureate he will now stand in the
history of English literature. If, like Keats, he had died
after the publication of his first poems, this would perhaps
not have been the case. — At any rate, Swinburne is not
popular, either in the good or in the bad meaning of the word,
and it is hardly likely that he ever will be. Only for this
reason, his work as a new-creator of English will probably
never be counted equal to that of the other great writers
of the nineteenth century.
But there are other reasons, too. If we divide his
formations, as before, into derivations and compounds, we
shall find at once how comparatively small is the number
of the former. While Dyboski, somewhat liberally, I
admit, puts down 200 cases to the account of Tennyson, in
10
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