Lectures on the English Poets Part 14

"That pleasure over, our work became very arduous, for we were to mount a rock, and in many places of the road, over natural stairs of stone. I submitted to this, which they told me was but a taste of the country, and to prepare me for worse things to come. However, worse things did not come that morning, for we dined soon after out of our own wallets; and though our inn stood in a place of the most frightful solitude, and the best formed for the habitation of monks (who once possessed it) in the world, yet we made a cheerful meal. The novelty of the thing gave me spirits, and the air gave me appet.i.te much keener than the knife I ate with. We had our music too; for there came in a harper, who soon drew about us a group of figures that Hogarth would have given any price for. The harper was in his true place and att.i.tude; a man and woman stood before him, singing to his instrument wildly, but not disagreeably; a little dirty child was playing with the bottom of the harp; a woman in a sick night-cap hanging over the stairs; a boy with crutches fixed in a staring attention, and a girl carding wool in the chimney, and rocking a cradle with her naked feet, interrupted in her business by the charms of the music; all ragged and dirty, and all silently attentive. These figures gave us a most entertaining picture, and would please you or any man of observation; and one reflection gave me a particular comfort, that the a.s.sembly before us demonstrated, that even here, the influential sun warmed poor mortals, and inspired them with love and music."

I could wish that Mr. Wilkie had been recommended to take this group as the subject of his admirable pencil; he has painted a picture of Bathsheba, instead.

In speaking of the old Scotch ballads, I need do no more than mention the name of Auld Robin Gray. The effect of reading this old ballad is as if all our hopes and fears hung upon the last fibre of the heart, and we felt that giving way. What silence, what loneliness, what leisure for grief and despair!

"My father pressed me sair, Though my mother did na' speak; But she looked in my face Till my heart was like to break."

The irksomeness of the situations, the sense of painful dependence, is excessive; and yet the sentiment of deep-rooted, patient affection triumphs over all, and is the only impression that remains. Lady Ann Bothwell's Lament is not, I think, quite equal to the lines beginning--

"O waly, waly, up the bank, And waly, waly, down the brae, And waly, waly, yon burn side, Where I and my love wont to gae.

I leant my back unto an aik, I thought it was a trusty tree; But first it bow'd, and syne it brak, Sae my true-love's forsaken me.

O waly, waly, love is bonny, A little time while it is new; But when its auld, it waxeth cauld, And fades awa' like the morning dew.

When c.o.c.kle-sh.e.l.ls turn siller bells, And muscles grow on every tree, Whan frost and snaw sall warm us aw, Then sall my love prove true to me.

Now Arthur seat sall be my bed, The sheets sall ne'er be fyld by me: Saint Anton's well sall be my drink, Since my true-love's forsaken me.

Martinmas wind, when wilt thou blaw, And shake the green leaves aff the tree?

O gentle death, whan wilt thou c.u.m, And tak' a life that wearies me!

'Tis not the frost that freezes sae, Nor blawing snaw's inclemencie, 'Tis not sic cauld, that makes me cry, But my love's heart grown cauld to me.

Whan we came in by Glasgow town, We were a comely sight to see, My love was clad in black velvet, And I myself in cramasie.

But had I wist before I kist, That love had been sae hard to win; I'd lockt my heart in case of gowd, And pinn'd it with a siller pin.

And oh! if my poor babe were born, And set upon the nurse's knee, And I mysel in the cold grave!

Since my true-love 's forsaken me."

The finest modern imitation of this style is the Braes of Yarrow; and perhaps the finest subject for a story of the same kind in any modern book, is that told in Turner's History of England, of a Mahometan woman, who having fallen in love with an English merchant, the father of Thomas a Becket, followed him all the way to England, knowing only the word London, and the name of her lover, Gilbert.

But to have done with this, which is rather too serious a subject.-- The old English ballads are of a gayer and more lively turn.

They are adventurous and romantic; but they relate chiefly to good living and good fellows.h.i.+p, to drinking and hunting scenes. Robin Hood is the chief of these, and he still, in imagination, haunts Sherwood Forest. The archers green glimmer under the waving branches; the print on the gra.s.s remains where they have just finished their noon-tide meal under the green-wood tree; and the echo of their bugle-horn and tw.a.n.ging bows resounds through the tangled mazes of the forest, as the tall slim deer glances startled by.

"The trees in Sherwood Forest are old and good; The gra.s.s beneath them now is dimly green: Are they deserted all? Is no young mien, With loose-slung bugle, met within the wood?

No arrow found--foil'd of its antler'd food-- Struck in the oak's rude side?--Is there nought seen To mark the revelries which there have been, In the sweet days of merry Robin Hood?

Go there with summer, and with evening--go In the soft shadows, like some wand'ring man-- And thou shalt far amid the forest know The archer-men in green, with belt and bow, Feasting on pheasant, river-fowl, and swan, With Robin at their head, and Marian." [9]

___ [9] Sonnet on Sherwood Forest, by J.H. Reynolds, Esq.

___

LECTURE VIII.

ON THE LIVING POETS.

"No more of talk where G.o.d or Angel guest With man, as with his friend, familiar us'd To sit indulgent."------

Genius is the heir of fame; but the hard condition on which the bright reversion must be earned is the loss of life. Fame is the recompense not of the living, but of the dead. The temple of fame stands upon the grave: the flame that burns upon its altars is kindled from the ashes of great men. Fame itself is immortal, but it is not begot till the breath of genius is extinguished. For fame is not popularity, the shout of the mult.i.tude, the idle buzz of fas.h.i.+on, the venal puff, the soothing flattery of favour or of friends.h.i.+p; but it is the spirit of a man surviving himself in the minds and thoughts of other men, undying and imperishable. It is the power which the intellect exercises over the intellect, and the lasting homage which is paid to it, as such, independently of time and circ.u.mstances, purified from partiality and evil-speaking. Fame is the sound which the stream of high thoughts, carried down to future ages, makes as it flows--deep, distant, murmuring evermore like the waters of the mighty ocean. He who has ears truly touched to this music, is in a manner deaf to the voice of popularity.--The love of fame differs from mere vanity in this, that the one is immediate and personal, the other ideal and abstracted. It is not the direct and gross homage paid to himself, that the lover of true fame seeks or is proud of; but the indirect and pure homage paid to the eternal forms of truth and beauty as they are reflected in his mind, that gives him confidence and hope. The love of nature is the first thing in the mind of the true poet: the admiration of himself the last.

A man of genius cannot well be a c.o.xcomb; for his mind is too full of other things to be much occupied with his own person. He who is conscious of great powers in himself, has also a high standard of excellence with which to compare his efforts: he appeals also to a test and judge of merit, which is the highest, but which is too remote, grave, and impartial, to flatter his self-love extravagantly, or puff him up with intolerable and vain conceit. This, indeed, is one test of genius and of real greatness of mind, whether a man can wait patiently and calmly for the award of posterity, satisfied with the unwearied exercise of his faculties, retired within the sanctuary of his own thoughts; or whether he is eager to forestal his own immortality, and mortgage it for a newspaper puff. He who thinks much of himself, will be in danger of being forgotten by the rest of the world: he who is always trying to lay violent hands on reputation, will not secure the best and most lasting. If the restless candidate for praise takes no pleasure, no sincere and heartfelt delight in his works, but as they are admired and applauded by others, what should others see in them to admire or applaud? They cannot be expected to admire them because they are _his_; but for the truth and nature contained in them, which must first be inly felt and copied with severe delight, from the love of truth and nature, before it can ever appear there. Was Raphael, think you, when he painted his pictures of the Virgin and Child in all their inconceivable truth and beauty of expression, thinking most of his subject or of himself? Do you suppose that t.i.tian, when he painted a landscape, was pluming himself on being thought the finest colourist in the world, or making himself so by looking at nature? Do you imagine that Shakspeare, when he wrote Lear or Oth.e.l.lo, was thinking of any thing but Lear and Oth.e.l.lo?

Or that Mr. Kean, when he plays these characters, is thinking of the audience?--No: he who would be great in the eyes of others, must first learn to be nothing in his own. The love of fame, as it enters at times into his mind, is only another name for the love of excellence; or it is the ambition to attain the highest excellence, sanctioned by the highest authority--that of time.

Those minds, then, which are the most ent.i.tled to expect it, can best put up with the postponement of their claims to lasting fame. They can afford to wait. They are not afraid that truth and nature will ever wear out; will lose their gloss with novelty, or their effect with fas.h.i.+on.

If their works have the seeds of immortality in them, they will live; if they have not, they care little about them as theirs. They do not complain of the start which others have got of them in the race of everlasting renown, or of the impossibility of attaining the honours which time alone can give, during the term of their natural lives. They know that no applause, however loud and violent, can antic.i.p.ate or over-rule the judgment of posterity; that the opinion of no one individual, nor of any one generation, can have the weight, the authority (to say nothing of the force of sympathy and prejudice), which must belong to that of successive generations. The brightest living reputation cannot be equally imposing to the imagination, with that which is covered and rendered venerable with the h.o.a.r of innumerable ages. No modern production can have the same atmosphere of sentiment around it, as the remains of cla.s.sical antiquity. But then our moderns may console themselves with the reflection, that they will be old in their turn, and will either be remembered with still increasing honours, or quite forgotten!

I would speak of the living poets as I have spoken of the dead (for I think highly of many of them); but I cannot speak of them with the same reverence, because I do not feel it; with the same confidence, because I cannot have the same authority to sanction my opinion. I cannot be absolutely certain that any body, twenty years hence, will think any thing about any of them; but we may be pretty sure that Milton and Shakspeare will be remembered twenty years hence. We are, therefore, not without excuse if we husband our enthusiasm a little, and do not prematurely lay out our whole stock in untried ventures, and what may turn out to be false bottoms. I have myself out-lived one generation of favourite poets, the Darwins, the Hayleys, the Sewards. Who reads them now?--If, however, I have not the verdict of posterity to bear me out in bestowing the most unqualified praises on their immediate successors, it is also to be remembered, that neither does it warrant me in condemning them. Indeed, it was not my wish to go into this ungrateful part of the subject; but something of the sort is expected from me, and I must run the gauntlet as well as I can. Another circ.u.mstance that adds to the difficulty of doing justice to all parties is, that I happen to have had a personal acquaintance with some of these jealous votaries of the Muses; and that is not the likeliest way to imbibe a high opinion of the rest. Poets do not praise one another in the language of hyperbole.

I am afraid, therefore, that I labour under a degree of prejudice against some of the most popular poets of the day, from an early habit of deference to the critical opinions of some of the least popular. I cannot say that I ever learnt much about Shakspeare or Milton, Spenser or Chaucer, from these professed guides; for I never heard them say much about them. They were always talking of themselves and one another. Nor am I certain that this sort of personal intercourse with living authors, while it takes away all real relish or freedom of opinion with regard to their contemporaries, greatly enhances our respect for themselves. Poets are not ideal beings; but have their prose-sides, like the commonest of the people. We often hear persons say, What they would have given to have seen Shakspeare! For my part, I would give a great deal not to have seen him; at least, if he was at all like any body else that I have ever seen. But why should he; for his works are not! This is, doubtless, one great advantage which the dead have over the living. It is always fortunate for ourselves and others, when we are prevented from exchanging admiration for knowledge. The splendid vision that in youth haunts our idea of the poetical character, fades, upon acquaintance, into the light of common day; as the azure tints that deck the mountain's brow are lost on a nearer approach to them. It is well, according to the moral of one of the Lyrical Ballads,--"To leave Yarrow unvisited." But to leave this "face-making," and begin.--

I am a great admirer of the female writers of the present day; they appear to me like so many modern Muses. I could be in love with Mrs.

Inchbald, romantic with Mrs. Radcliffe, and sarcastic with Madame D'Arblay: but they are novel-writers, and, like Audrey, may "thank the G.o.ds for not having made them poetical." Did any one here ever read Mrs.

Leicester's School? If they have not, I wish they would; there will be just time before the next three volumes of the Tales of My Landlord come out. That is not a school of affectation, but of humanity. No one can think too highly of the work, or highly enough of the author.

The first poetess I can recollect is Mrs. Barbauld, with whose works I became acquainted before those of any other author, male or female, when I was learning to spell words of one syllable in her story-books for children. I became acquainted with her poetical works long after in Enfield's Speaker; and remember being much divided in my opinion at that time, between her Ode to Spring and Collins's Ode to Evening. I wish I could repay my childish debt of grat.i.tude in terms of appropriate praise. She is a very pretty poetess; and, to my fancy, strews the flowers of poetry most agreeably round the borders of religious controversy. She is a neat and pointed prose-writer. Her "Thoughts on the Inconsistency of Human Expectations," is one of the most ingenious and sensible essays in the language. There is the same idea in one of Barrow's Sermons.

Mrs. Hannah More is another celebrated modern poetess, and I believe still living. She has written a great deal which I have never read.

Miss Baillie must make up this trio of female poets. Her tragedies and comedies, one of each to ill.u.s.trate each of the pa.s.sions, separately from the rest, are heresies in the dramatic art. She is a Unitarian in poetry. With her the pa.s.sions are, like the French republic, one and indivisible: they are not so in nature, or in Shakspeare. Mr. Southey has, I believe, somewhere expressed an opinion, that the Basil of Miss Baillie is superior to Romeo and Juliet. I shall not stay to contradict him. On the other hand, I prefer her De Montfort, which was condemned on the stage, to some later tragedies, which have been more fortunate--to the Remorse, Bertram, and lastly, Fazio. There is in the chief character of that play a nerve, a continued unity of interest, a setness of purpose and precision of outline which John Kemble alone was capable of giving; and there is all the grace which women have in writing. In saying that De Montfort was a character which just suited Mr. Kemble, I mean to pay a compliment to both. He was not "a man of no mark or likelihood": and what he could be supposed to do particularly well, must have a meaning in it. As to the other tragedies just mentioned, there is no reason why any common actor should not "make mouths in them at the invisible event,"--one as well as another. Having thus expressed my sense of the merits of this auth.o.r.ess, I must add, that her comedy of the Election, performed last summer at the Lyceum with indifferent success, appears to me the perfection of baby-house theatricals. Every thing in it has such a _do-me-good_ air, is so insipid and amiable.

Virtue seems such a pretty playing at make-believe, and vice is such a naughty word. It is a theory of some French author, that little girls ought not to be suffered to have dolls to play with, to call them _pretty dears_, to admire their black eyes and cherry cheeks, to lament and bewail over them if they fall down and hurt their faces, to praise them when they are good, and scold them when they are naughty. It is a school of affectation: Miss Baillie has profited of it. She treats her grown men and women as little girls treat their dolls--makes moral puppets of them, pulls the wires, and they talk virtue and act vice, according to their cue and the t.i.tle prefixed to each comedy or tragedy, not from any real pa.s.sions of their own, or love either of virtue or vice.

The transition from these to Mr. Rogers's Pleasures of Memory, is not far: he is a very lady-like poet. He is an elegant, but feeble writer.

He wraps up obvious thoughts in a glittering cover of fine words; is full of enigmas with no meaning to them; is studiously inverted, and scrupulously far-fetched; and his verses are poetry, chiefly because no particle, line, or syllable of them reads like prose. He differs from Milton in this respect, who is accused of having inserted a number of prosaic lines in Paradise Lost. This kind of poetry, which is a more minute and inoffensive species of the Della Cruscan, is like the game of asking what one's thoughts are like. It is a tortuous, tottering, wriggling, fidgetty translation of every thing from the vulgar tongue, into all the tantalizing, teasing, tripping, lisping _mimminee-pimminee_ of the highest brilliancy and fas.h.i.+on of poetical diction. You have nothing like truth of nature or simplicity of expression. The fastidious and languid reader is never shocked by meeting, from the rarest chance in the world, with a single homely phrase or intelligible idea. You cannot see the thought for the ambiguity of the language, the figure for the finery, the picture for the varnish. The whole is refined, and frittered away into an appearance of the most evanescent brilliancy and tremulous imbecility.--There is no other fault to be found with the Pleasures of Memory, than a want of taste and genius. The sentiments are amiable, and the notes at the end highly interesting, particularly the one relating to the Countess Pillar (as it is called) between Appleby and Penrith, erected (as the inscription tells the thoughtful traveller) by Anne Countess of Pembroke, in the year 1648, in memory of her last parting with her good and pious mother in the same place in the year 1616--

"To shew that power of love, how great Beyond all human estimate."

This story is also told in the poem, but with so many artful innuendos and tinsel words, that it is hardly intelligible; and still less does it reach the heart.

Campbell's Pleasures of Hope is of the same school, in which a painful attention is paid to the expression in proportion as there is little to express, and the decomposition of prose is subst.i.tuted for the composition of poetry. How much the sense and keeping in the ideas are sacrificed to a jingle of words and epigrammatic turn of expression, may be seen in such lines as the following:--one of the characters, an old invalid, wishes to end his days under

"Some hamlet shade, to yield his sickly form Health in the breeze, and shelter in the storm."

Now the ant.i.thesis here totally fails: for it is the breeze, and not the tree, or as it is quaintly expressed, _hamlet shade_, that affords health, though it is the tree that affords shelter in or from the storm.

Instances of the same sort of _curiosa infelicitas_ are not rare in this author. His verses on the Battle of Hohenlinden have considerable spirit and animation. His Gertrude of Wyoming is his princ.i.p.al performance. It is a kind of historical paraphrase of Mr. Wordsworth's poem of Ruth. It shews little power, or power enervated by extreme fastidiousness. It is

"------Of outward show Elaborate; of inward less exact."

There are painters who trust more to the setting of their pictures than to the truth of the likeness. Mr. Campbell always seems to me to be thinking how his poetry will look when it comes to be hot-pressed on superfine wove paper, to have a disproportionate eye to points and commas, and dread of errors of the press. He is so afraid of doing wrong, of making the smallest mistake, that he does little or nothing.

Lest he should wander irretrievably from the right path, he stands still. He writes according to established etiquette. He offers the Muses no violence. If he lights upon a good thought, he immediately drops it for fear of spoiling a good thing. When he launches a sentiment that you think will float him triumphantly for once to the bottom of the stanza, he stops short at the end of the first or second line, and stands s.h.i.+vering on the brink of beauty, afraid to trust himself to the fathomless abyss. _Tutus nimium, timidusque procellarum_. His very circ.u.mspection betrays him. The poet, as well as the woman, that deliberates, is undone. He is much like a man whose heart fails him just as he is going up in a balloon, and who breaks his neck by flinging himself out of it when it is too late. Mr. Campbell too often maims and mangles his ideas before they are full formed, to fit them to the Procustes' bed of criticism; or strangles his intellectual offspring in the birth, lest they should come to an untimely end in the Edinburgh Review. He plays the hypercritic on himself, and starves his genius to death from a needless apprehension of a plethora. No writer who thinks habitually of the critics, either to tremble at their censures or set them at defiance, can write well. It is the business of reviewers to watch poets, not of poets to watch reviewers.--There is one admirable simile in this poem, of the European child brought by the sooty Indian in his hand, "like morning brought by night." The love-scenes in Gertrude of Wyoming breathe a balmy voluptuousness of sentiment; but they are generally broken off in the middle; they are like the scent of a bank of violets, faint and rich, which the gale suddenly conveys in a different direction. Mr. Campbell is careful of his own reputation, and economical of the pleasures of his readers. He treats them as the fox in the fable treated his guest the stork; or, to use his own expression, his fine things are

"Like angels' visits, few, and far between." [10]

There is another fault in this poem, which is the mechanical structure of the fable. The most striking events occur in the shape of ant.i.theses.

The story is cut into the form of a parallelogram. There is the same systematic alternation of good and evil, of violence and repose, that there is of light and shade in a picture. The Indian, who is the chief agent in the interest of the poem, vanishes and returns after long intervals, like the periodical revolutions of the planets. He unexpectedly appears just in the nick of time, after years of absence, and without any known reason but the convenience of the author and the astonishment of the reader; as if nature were a machine constructed on a principle of complete contrast, to produce a theatrical effect. _Nec Deus intersit, nisi dignus vindice nodus_. Mr. Campbell's savage never appears but upon great occasions, and then his punctuality is preternatural and alarming. He is the most wonderful instance on record of poetical _reliability_. The most dreadful mischiefs happen at the most mortifying moments; and when your expectations are wound up to the highest pitch, you are sure to have them knocked on the head by a premeditated and remorseless stroke of the poet's pen. This is done so often for the convenience of the author, that in the end it ceases to be for the satisfaction of the reader.

___ [10] There is the same idea in Blair's Grave.

"------Its visits, Like those of angels, short, and far between."