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It was the fashion for poets to tell of their loves; in following the fashion, he not only gave expression to real feeling, but claimed his rank among the poets, and set a new style, from which love-poetry was to take a fresh date. This first essay of his poetic powers exhibits the foundation upon which his later life was built.

These, sometimes singly, sometimes skilfully blended, make the theme of those who have perhaps loved the most honestly and the most humanly; these yet render Tibullus pathetic, and Ovid a master over tender affections; and these, above all, make that irresistible and all-touching inspiration which subdues the romantic, the calculating, the old, the young, the courtier, the peasant, the poet, the man of business, in the glorious love-poetry of Robert Burns.

Such is the vital note struck amid the artificial and soul-enfeebling atmosphere of mediæval love-poetry! This is the note which Marie set ringing down the centuries whilst her manuscripts lay unused on library shelves. This is Marie’s gift to the world, and this it is that gives her stories immortality.

These, sometimes singly, sometimes skilfully blended, make the theme of those who have perhaps loved the most honestly and the most humanly; these yet render Tibullus pathetic, and Ovid a master over tender affections; and these, above all, make that irresistible and all-touching inspiration which subdues the romantic, the calculating, the old, the young, the courtier, the peasant, the poet, the man of business, in the glorious love-poetry of Robert Burns.

He knew that he loved her, and he desired her as he had never before desired anything in his life. He had loved poetry for beauty's sake; but since he met her the gates to the vast field of love-poetry had been opened wide. She had given him understanding even more than Bulfinch and Gayley.

This element of self finds its intense expression in lyrical love-poetry, one of the most enduring forms of literature because of its elementariness and universality; but it is also found in other parts of the emotional field. In seeking concrete material for lyrical use the poet may take some autobiographical incident, but commonly the world of inanimate nature yields the most plastic mould.

For the rest, all the traits of this love-poetry are familiar enough. One of them is the absence of the word of promise and pledge, the loss of the earliest and simplest of the impulses of love: which is the vow. "Till death!" "For ever!" are cries too simple and too natural to be commonplace, and in their denial there is the least tolerable of banalities that of other men's disillusions.

The central love-poetry of Provence, the poetry of the Tenson and the Aubade, of Bernard de Ventadour and Pierre Vidal, is poetry for the few, for the elect and peculiar people of the kingdom of sentiment.

A genuine poet is incapable of loving a woman." "Pshaw! You exaggerate. Of course, there is a measure of truth in what you say, but it is only one side of the truth, and the truth, you know, is always Janus-faced. In fact, it often has more than two faces. I can assure you that I have cared deeply for the women to whom my love-poetry was written. And you will not deny that it is genuine."

The marvellous love-poetry of mysticism, the rhapsodies which extol the spirit's Lover, Friend, Companion, Bridegroom; which describe the "deliberate speed, majestic instancy" of the Hound of Heaven chasing the separated soul, the onslaughts, demands, and caresses of this "stormy, generous, and unfathomable love" all this is an attempt, often of course oblique and symbolic in method, to express and impart this transcendent secret, to describe that intense yet elusive state in which alone union with the living heart of Reality is possible.