Biographia Literaria Part 3

Sebomai noeron Kruphian taxin Ch.o.r.ei TI MESON Ou katachuthen. [60]

Des Cartes, speaking as a naturalist, and in imitation of Archimedes, said, give me matter and motion and I will construct you the universe. We must of course understand him to have meant; I will render the construction of the universe intelligible. In the same sense the transcendental philosopher says; grant me a nature having two contrary forces, the one of which tends to expand infinitely, while the other strives to apprehend or find itself in this infinity, and I will cause the world of intelllgences with the whole system of their representations to rise up before you. Every other science presupposes intelligence as already existing and complete: the philosopher contemplates it in its growth, and as it were represents its history to the mind from its birth to its maturity.

The venerable sage of Koenigsberg has preceded the march of this master-thought as an effective pioneer in his essay on the introduction of negative quant.i.ties into philosophy, published 1763. In this he has shown, that instead of a.s.sailing the science of mathematics by metaphysics, as Berkeley did in his a.n.a.lYST, or of sophisticating it, as Wolf did, by the vain attempt of deducing the first principles of geometry from supposed deeper grounds of ontology, it behoved the metaphysician rather to examine whether the only province of knowledge, which man has succeeded in erecting into a pure science, might not furnish materials, or at least hints, for establis.h.i.+ng and pacifying the unsettled, warring, and embroiled domain of philosophy. An imitation of the mathematical method had indeed been attempted with no better success than attended the essay of David to wear the armour of Saul. Another use however is possible and of far greater promise, namely, the actual application of the positions which had so wonderfully enlarged the discoveries of geometry, mutatis mutandis, to philosophical subjects. Kant having briefly ill.u.s.trated the utility of such an attempt in the questions of s.p.a.ce, motion, and infinitely small quant.i.ties, as employed by the mathematician, proceeds to the idea of negative quant.i.ties and the transfer of them to metaphysical investigation. Opposites, he well observes, are of two kinds, either logical, that is, such as are absolutely incompatible; or real, without being contradictory. The former he denominates Nihil negativum irrepraesentabile, the connection of which produces nonsense. A body in motion is something-- Aliquid cogitabile; but a body, at one and the same time in motion and not in motion, is nothing, or, at most, air articulated into nonsense. But a motory force of a body in one direction, and an equal force of the same body in an opposite direction is not incompatible, and the result, namely, rest, is real and representable. For the purposes of mathematical calculus it is indifferent which force we term negative, and which positive, and consequently we appropriate the latter to that, which happens to be the princ.i.p.al object in our thoughts. Thus if a man's capital be ten and his debts eight, the subtraction will be the same, whether we call the capital negative debt, or the debt negative capital. But in as much as the latter stands practically in reference to the former, we of course represent the sum as 10-8. It is equally clear that two equal forces acting in opposite directions, both being finite and each distinguished from the other by its direction only, must neutralize or reduce each other to inaction. Now the transcendental philosophy demands; first, that two forces should be conceived which counteract each other by their essential nature; not only not in consequence of the accidental direction of each, but as prior to all direction, nay, as the primary forces from which the conditions of all possible directions are derivative and deducible: secondly, that these forces should be a.s.sumed to be both alike infinite, both alike indestructible. The problem will then be to discover the result or product of two such forces, as distinguished from the result of those forces which are finite, and derive their difference solely from the circ.u.mstance of their direction. When we have formed a scheme or outline of these two different kinds of force, and of their different results, by the process of discursive reasoning, it will then remain for us to elevate the thesis from notional to actual, by contemplating intuitively this one power with its two inherent indestructible yet counteracting forces, and the results or generations to which their inter-penetration gives existence, in the living principle and in the process of our own self- consciousness. By what instrument this is possible the solution itself will discover, at the same time that it will reveal to and for whom it is possible. Non omnia possumus omnes. There is a philosophic no less than a poetic genius, which is differenced from the highest perfection of talent, not by degree but by kind.

The counteraction then of the two a.s.sumed forces does not depend on their meeting from opposite directions; the power which acts in them is indestructible; it is therefore inexhaustibly re-ebullient; and as something must be the result of these two forces, both alike infinite, and both alike indestructible; and as rest or neutralization cannot be this result; no other conception is possible, but that the product must be a tertium aliquid, or finite generation. Consequently this conception is necessary. Now this tertium aliquid can be no other than an inter-penetration of the counteracting powers, partaking of both.

Thus far had the work been transcribed for the press, when I received the following letter from a friend, whose practical judgment I have had ample reason to estimate and revere, and whose taste and sensibility preclude all the excuses which my self-love might possibly have prompted me to set up in plea against the decision of advisers of equal good sense, but with less tact and feeling.

"Dear C.

"You ask my opinion concerning your Chapter on the Imagination, both as to the impressions it made on myself, and as to those which I think it will make on the Public, i.e. that part of the public, who, from the t.i.tle of the work and from its forming a sort of introduction to a volume of poems, are likely to const.i.tute the great majority of your readers.

"As to myself, and stating in the first place the effect on my understanding, your opinions and method of argument were not only so new to me, but so directly the reverse of all I had ever been accustomed to consider as truth, that even if I had comprehended your premises sufficiently to have admitted them, and had seen the necessity of your conclusions, I should still have been in that state of mind, which in your note in Chap. IV you have so ingeniously evolved, as the ant.i.thesis to that in which a man is, when he makes a bull. In your own words, I should have felt as if I had been standing on my head.

"The effect on my feelings, on the other hand, I cannot better represent, than by supposing myself to have known only our light airy modern chapels of ease, and then for the first time to have been placed, and left alone, in one of our largest Gothic cathedrals in a gusty moonlight night of autumn. 'Now in glimmer, and now in gloom;' often in palpable darkness not without a chilly sensation of terror; then suddenly emerging into broad yet visionary lights with coloured shadows of fantastic shapes, yet all decked with holy insignia and mystic symbols; and ever and anon coming out full upon pictures and stone-work images of great men, with whose names I was familiar, but which looked upon me with countenances and an expression, the most dissimilar to all I had been in the habit of connecting with those names. Those whom I had been taught to venerate as almost super-human in magnitude of intellect, I found perched in little fret-work niches, as grotesque dwarfs; while the grotesques, in my hitherto belief, stood guarding the high altar with all the characters of apotheosis. In short, what I had supposed substances were thinned away into shadows, while everywhere shadows were deepened into substances: If substance might be call'd that shadow seem'd, For each seem'd either!

"Yet after all, I could not but repeat the lines which you had quoted from a MS. poem of your own in the FRIEND, and applied to a work of Mr. Wordsworth's though with a few of the words altered: ------An Orphic tale indeed, A tale obscure of high and pa.s.sionate thoughts To a strange music chanted!

"Be a.s.sured, however, that I look forward anxiously to your great book on the CONSTRUCTIVE PHILOSOPHY, which you have promised and announced: and that I will do my best to understand it. Only I will not promise to descend into the dark cave of Trophonius with you, there to rub my own eyes, in order to make the sparks and figured flashes, which I am required to see.

"So much for myself. But as for the Public I do not hesitate a moment in advising and urging you to withdraw the Chapter from the present work, and to reserve it for your announced treatises on the Logos or communicative intellect in Man and Deity. First, because imperfectly as I understand the present Chapter, I see clearly that you have done too much, and yet not enough. You have been obliged to omit so many links, from the necessity of compression, that what remains, looks (if I may recur to my former ill.u.s.tration) like the fragments of the winding steps of an old ruined tower. Secondly, a still stronger argument (at least one that I am sure will be more forcible with you) is, that your readers will have both right and reason to complain of you. This Chapter, which cannot, when it is printed, amount to so little as an hundred pages, will of necessity greatly increase the expense of the work; and every reader who, like myself, is neither prepared nor perhaps calculated for the study of so abstruse a subject so abstrusely treated, will, as I have before hinted, be almost ent.i.tled to accuse you of a sort of imposition on him. For who, he might truly observe, could from your t.i.tle-page, to wit, "My Literary Life and Opinions," published too as introductory to a volume of miscellaneous poems, have antic.i.p.ated, or even conjectured, a long treatise on Ideal Realism which holds the same relation in abstruseness to Plotinus, as Plotinus does to Plato. It will be well, if already you have not too much of metaphysical disquisition in your work, though as the larger part of the disquisition is historical, it will doubtless be both interesting and instructive to many to whose unprepared minds your speculations on the esemplastic power would be utterly unintelligible. Be a.s.sured, if you do publish this Chapter in the present work, you will be reminded of Bishop Berkeley's Siris, announced as an Essay on Tar-water, which beginning with Tar ends with the Trinity, the omne scibile forming the inters.p.a.ce. I say in the present work. In that greater work to which you have devoted so many years, and study so intense and various, it will be in its proper place. Your prospectus will have described and announced both its contents and their nature; and if any persons purchase it, who feel no interest in the subjects of which it treats, they will have themselves only to blame.

"I could add to these arguments one derived from pecuniary motives, and particularly from the probable effects on the sale of your present publication; but they would weigh little with you compared with the preceding. Besides, I have long observed, that arguments drawn from your own personal interests more often act on you as narcotics than as stimulants, and that in money concerns you have some small portion of pig-nature in your moral idiosyncrasy, and, like these amiable creatures, must occasionally be pulled backward from the boat in order to make you enter it. All success attend you, for if hard thinking and hard reading are merits, you have deserved it. Your affectionate, etc."

In consequence of this very judicious letter, which produced complete conviction on my mind, I shall content myself for the present with stating the main result of the chapter, which I have reserved for that future publication, a detailed prospectus of which the reader will find at the close of the second volume.

The Imagination then I consider either as primary, or secondary. The primary Imagination I hold to be the living power and prime agent of all human perception, and as a repet.i.tion in the finite mind of the eternal act of creation in the infinite I AM. The secondary Imagination I consider as an echo of the former, co-existing with the conscious will, yet still as identical with the primary in the kind of its agency, and differing only in degree, and in the mode of its operation. It dissolves, diffuses, dissipates, in order to recreate: or where this process is rendered impossible, yet still at all events it struggles to idealize and to unify. It is essentially vital, even as all objects (as objects) are essentially fixed and dead.

FANCY, on the contrary, has no other counters to play with, but fixities and definites. The fancy is indeed no other than a mode of memory emanc.i.p.ated from the order of time and s.p.a.ce; while it is blended with, and modified by that empirical phaenomenon of the will, which we express by the word Choice. But equally with the ordinary memory the Fancy must receive all its materials ready made from the law of a.s.sociation.

CHAPTER XIV.

Occasion of the Lyrical Ballads, and the objects originally proposed-- Preface to the second edition--The ensuing controversy, its causes and acrimony--Philosophic definitions of a Poem and Poetry with scholia.

During the first year that Mr. Wordsworth and I were neighbours, our conversations turned frequently on the two cardinal points of poetry, the power of exciting the sympathy of the reader by a faithful adherence to the truth of nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm, which accidents of light and shade, which moon-light or sunset diffused over a known and familiar landscape, appeared to represent the practicability of combining both. These are the poetry of nature. The thought suggested itself--(to which of us I do not recollect)-- that a series of poems might be composed of two sorts. In the one, the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions, as would naturally accompany such situations, supposing them real. And real in this sense they have been to every human being who, from whatever source of delusion, has at any time believed himself under supernatural agency. For the second cla.s.s, subjects were to be chosen from ordinary life; the characters and incidents were to be such as will be found in every village and its vicinity, where there is a meditative and feeling mind to seek after them, or to notice them, when they present themselves.

In this idea originated the plan of the LYRICAL BALLADS; in which it was agreed, that my endeavours should be directed to persons and characters supernatural, or at least romantic; yet so as to transfer from our inward nature a human interest and a semblance of truth sufficient to procure for these shadows of imagination that willing suspension of disbelief for the moment, which const.i.tutes poetic faith. Mr. Wordsworth, on the other hand, was to propose to himself as his object, to give the charm of novelty to things of every day, and to excite a feeling a.n.a.logous to the supernatural, by awakening the mind's attention to the lethargy of custom, and directing it to the loveliness and the wonders of the world before us; an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude, we have eyes, yet see not, ears that hear not, and hearts that neither feel nor understand.

With this view I wrote THE ANCIENT MARINER, and was preparing among other poems, THE DARK LADIE, and the CHRISTABEL, in which I should have more nearly realized my ideal, than I had done in my first attempt. But Mr. Wordsworth's industry had proved so much more successful, and the number of his poems so much greater, that my compositions, instead of forming a balance, appeared rather an interpolation of heterogeneous matter. Mr. Wordsworth added two or three poems written in his own character, in the impa.s.sioned, lofty, and sustained diction, which is characteristic of his genius. In this form the LYRICAL BALLADS were published; and were presented by him, as an experiment, whether subjects, which from their nature rejected the usual ornaments and extra-colloquial style of poems in general, might not be so managed in the language of ordinary life as to produce the pleasurable interest, which it is the peculiar business of poetry to impart. To the second edition he added a preface of considerable length; in which, notwithstanding some pa.s.sages of apparently a contrary import, he was understood to contend for the extension of this style to poetry of all kinds, and to reject as vicious and indefensible all phrases and forms of speech that were not included in what he (unfortunately, I think, adopting an equivocal expression) called the language of real life. From this preface, prefixed to poems in which it was impossible to deny the presence of original genius, however mistaken its direction might be deemed, arose the whole long- continued controversy. For from the conjunction of perceived power with supposed heresy I explain the inveteracy and in some instances, I grieve to say, the acrimonious pa.s.sions, with which the controversy has been conducted by the a.s.sailants.

Had Mr. Wordsworth's poems been the silly, the childish things, which they were for a long time described as being had they been really distinguished from the compositions of other poets merely by meanness of language and inanity of thought; had they indeed contained nothing more than what is found in the parodies and pretended imitations of them; they must have sunk at once, a dead weight, into the slough of oblivion, and have dragged the preface along with them. But year after year increased the number of Mr. Wordsworth's admirers. They were found too not in the lower cla.s.ses of the reading public, but chiefly among young men of strong sensibility and meditative minds; and their admiration (inflamed perhaps in some degree by opposition) was distinguished by its intensity, I might almost say, by its religious fervour. These facts, and the intellectual energy of the author, which was more or less consciously felt, where it was outwardly and even boisterously denied, meeting with sentiments of aversion to his opinions, and of alarm at their consequences, produced an eddy of criticism, which would of itself have borne up the poems by the violence with which it whirled them round and round. With many parts of this preface in the sense attributed to them and which the words undoubtedly seem to authorize, I never concurred; but on the contrary objected to them as erroneous in principle, and as contradictory (in appearance at least) both to other parts of the same preface, and to the author's own practice in the greater part of the poems themselves. Mr. Wordsworth in his recent collection has, I find, degraded this prefatory disquisition to the end of his second volume, to be read or not at the reader's choice. But he has not, as far as I can discover, announced any change in his poetic creed. At all events, considering it as the source of a controversy, in which I have been honoured more than I deserve by the frequent conjunction of my name with his, I think it expedient to declare once for all, in what points I coincide with the opinions supported in that preface, and in what points I altogether differ. But in order to render myself intelligible I must previously, in as few words as possible, explain my views, first, of a Poem; and secondly, of Poetry itself, in kind, and in essence.

The office of philosophical disquisition consists in just distinction; while it is the privilege of the philosopher to preserve himself constantly aware, that distinction is not division. In order to obtain adequate notions of any truth, we must intellectually separate its distinguishable parts; and this is the technical process of philosophy. But having so done, we must then restore them in our conceptions to the unity, in which they actually co-exist; and this is the result of philosophy. A poem contains the same elements as a prose composition; the difference therefore must consist in a different combination of them, in consequence of a different object being proposed. According to the difference of the object will be the difference of the combination. It is possible, that the object may be merely to facilitate the recollection of any given facts or observations by artificial arrangement; and the composition will be a poem, merely because it is distinguished from prose by metre, or by rhyme, or by both conjointly. In this, the lowest sense, a man might attribute the name of a poem to the well-known enumeration of the days in the several months; "Thirty days hath September, April, June, and November," etc.

and others of the same cla.s.s and purpose. And as a particular pleasure is found in antic.i.p.ating the recurrence of sounds and quant.i.ties, all compositions that have this charm super-added, whatever be their contents, may be ent.i.tled poems.

So much for the superficial form. A difference of object and contents supplies an additional ground of distinction. The immediate purpose may be the communication of truths; either of truth absolute and demonstrable, as in works of science; or of facts experienced and recorded, as in history. Pleasure, and that of the highest and most permanent kind, may result from the attainment of the end; but it is not itself the immediate end. In other works the communication of pleasure may be the immediate purpose; and though truth, either moral or intellectual, ought to be the ultimate end, yet this will distinguish the character of the author, not the cla.s.s to which the work belongs. Blest indeed is that state of society, in which the immediate purpose would be baffled by the perversion of the proper ultimate end; in which no charm of diction or imagery could exempt the BATHYLLUS even of an Anacreon, or the ALEXIS of Virgil, from disgust and aversion!

But the communication of pleasure may be the immediate object of a work not metrically composed; and that object may have been in a high degree attained, as in novels and romances. Would then the mere superaddition of metre, with or without rhyme, ent.i.tle these to the name of poems? The answer is, that nothing can permanently please, which does not contain in itself the reason why it is so, and not otherwise. If metre be superadded, all other parts must be made consonant with it. They must be such, as to justify the perpetual and distinct attention to each part, which an exact correspondent recurrence of accent and sound are calculated to excite. The final definition then, so deduced, may be thus worded. A poem is that species of composition, which is opposed to works of science, by proposing for its immediate object pleasure, not truth; and from all other species--(having this object in common with it)--it is discriminated by proposing to itself such delight from the whole, as is compatible with a distinct gratification from each component part.

Controversy is not seldom excited in consequence of the disputants attaching each a different meaning to the same word; and in few instances has this been more striking, than in disputes concerning the present subject. If a man chooses to call every composition a poem, which is rhyme, or measure, or both, I must leave his opinion uncontroverted. The distinction is at least competent to characterize the writer's intention. If it were subjoined, that the whole is likewise entertaining or affecting, as a tale, or as a series of interesting reflections; I of course admit this as another fit ingredient of a poem, and an additional merit. But if the definition sought for be that of a legitimate poem, I answer, it must be one, the parts of which mutually support and explain each other; all in their proportion harmonizing with, and supporting the purpose and known influences of metrical arrangement. The philosophic critics of all ages coincide with the ultimate judgment of all countries, in equally denying the praises of a just poem, on the one hand, to a series of striking lines or distiches, each of which, absorbing the whole attention of the reader to itself, becomes disjoined from its context, and forms a separate whole, instead of a harmonizing part; and on the other hand, to an unsustained composition, from which the reader collects rapidly the general result unattracted by the component parts. The reader should be carried forward, not merely or chiefly by the mechanical impulse of curiosity, or by a restless desire to arrive at the final solution; but by the pleasureable activity of mind excited by the attractions of the journey itself. Like the motion of a serpent, which the Egyptians made the emblem of intellectual power; or like the path of sound through the air;--at every step he pauses and half recedes; and from the retrogressive movement collects the force which again carries him onward. Praecipitandus est liber spiritus, says Petronius most happily. The epithet, liber, here balances the preceding verb; and it is not easy to conceive more meaning condensed in fewer words.

But if this should be admitted as a satisfactory character of a poem, we have still to seek for a definition of poetry. The writings of Plato, and Jeremy Taylor, and Burnet's Theory of the Earth, furnish undeniable proofs that poetry of the highest kind may exist without metre, and even without the contradistringuis.h.i.+ng objects of a poem. The first chapter of Isaiah--(indeed a very large portion of the whole book)--is poetry in the most emphatic sense; yet it would be not less irrational than strange to a.s.sert, that pleasure, and not truth was the immediate object of the prophet. In short, whatever specific import we attach to the word, Poetry, there will be found involved in it, as a necessary consequence, that a poem of any length neither can be, nor ought to be, all poetry. Yet if an harmonious whole is to be produced, the remaining parts must be preserved in keeping with the poetry; and this can be no otherwise effected than by such a studied selection and artificial arrangement, as will partake of one, though not a peculiar property of poetry. And this again can be no other than the property of exciting a more continuous and equal attention than the language of prose aims at, whether colloquial or written.

My own conclusions on the nature of poetry, in the strictest use of the word, have been in part antic.i.p.ated in some of the remarks on the Fancy and Imagination in the early part of this work. What is poetry? --is so nearly the same question with, what is a poet?--that the answer to the one is involved in the solution of the other. For it is a distinction resulting from the poetic genius itself, which sustains and modifies the images, thoughts, and emotions of the poet's own mind.

The poet, described in ideal perfection, brings the whole soul of man into activity, with the subordination of its faculties to each other according to their relative worth and dignity. He diffuses a tone and spirit of unity, that blends, and (as it were) fuses, each into each, by that synthetic and magical power, to which I would exclusively appropriate the name of Imagination. This power, first put in action by the will and understanding, and retained under their irremissive, though gentle and unnoticed, control, laxis effertur habenis, reveals "itself in the balance or reconcilement of opposite or discordant" qualities: of sameness, with difference; of the general with the concrete; the idea with the image; the individual with the representative; the sense of novelty and freshness with old and familiar objects; a more than usual state of emotion with more than usual order; judgment ever awake and steady self-possession with enthusiasm and feeling profound or vehement; and while it blends and harmonizes the natural and the artificial, still subordinates art to nature; the manner to the matter; and our admiration of the poet to our sympathy with the poetry. Doubtless, as Sir John Davies observes of the soul--(and his words may with slight alteration be applied, and even more appropriately, to the poetic Imagination)-- Doubtless this could not be, but that she turns Bodies to spirit by sublimation strange, As fire converts to fire the things it burns, As we our food into our nature change.

From their gross matter she abstracts their forms, And draws a kind of quintessence from things; Which to her proper nature she transforms To bear them light on her celestial wings.

Thus does she, when from individual states She doth abstract the universal kinds; Which then re-clothed in divers names and fates Steal access through the senses to our minds.

Finally, Good Sense is the Body of poetic genius, Fancy its Drapery, Motion its Life, and Imagination the Soul that is everywhere, and in each; and forms all into one graceful and intelligent whole.

CHAPTER XV.

The specific symptoms of poetic power elucidated in a critical a.n.a.lysis of Shakespeare's VENUS AND ADONIS, and RAPE of LUCRECE.

In the application of these principles to purposes of practical criticism, as employed in the apprais.e.m.e.nt of works more or less imperfect, I have endeavoured to discover what the qualities in a poem are, which may be deemed promises and specific symptoms of poetic power, as distinguished from general talent determined to poetic composition by accidental motives, by an act of the will, rather than by the inspiration of a genial and productive nature. In this investigation, I could not, I thought, do better, than keep before me the earliest work of the greatest genius, that perhaps human nature has yet produced, our myriad-minded [61] Shakespeare. I mean the VENUS AND ADONIS, and the LUCRECE; works which give at once strong promises of the strength, and yet obvious proofs of the immaturity, of his genius. From these I abstracted the following marks, as characteristics of original poetic genius in general.

1. In the VENUS AND ADONIS, the first and most obvious excellence is the perfect sweetness of the versification; its adaptation to the subject; and the power displayed in varying the march of the words without pa.s.sing into a loftier and more majestic rhythm than was demanded by the thoughts, or permitted by the propriety of preserving a sense of melody predominant. The delight in richness and sweetness of sound, even to a faulty excess, if it be evidently original, and not the result of an easily imitable mechanism, I regard as a highly favourable promise in the compositions of a young man. The man that hath not music in his soul can indeed never be a genuine poet. Imagery,--(even taken from nature, much more when transplanted from books, as travels, voyages, and works of natural history),--affecting incidents, just thoughts, interesting personal or domestic feelings, and with these the art of their combination or intertexture in the form of a poem,--may all by incessant effort be acquired as a trade, by a man of talent and much reading, who, as I once before observed, has mistaken an intense desire of poetic reputation for a natural poetic genius; the love of the arbitrary end for a possession of the peculiar means. But the sense of musical delight, with the power of producing it, is a gift of imagination; and this together with the power of reducing mult.i.tude into unity of effect, and modifying a series of thoughts by some one predominant thought or feeling, may be cultivated and improved, but can never be learned. It is in these that "poeta nascitur non fit."

2. A second promise of genius is the choice of subjects very remote from the private interests and circ.u.mstances of the writer himself. At least I have found, that where the subject is taken immediately from the author's personal sensations and experiences, the excellence of a particular poem is but an equivocal mark, and often a fallacious pledge, of genuine poetic power. We may perhaps remember the tale of the statuary, who had acquired considerable reputation for the legs of his G.o.ddesses, though the rest of the statue accorded but indifferently with ideal beauty; till his wife, elated by her husband's praises, modestly acknowledged that she had been his constant model. In the VENUS AND ADONIS this proof of poetic power exists even to excess. It is throughout as if a superior spirit more intuitive, more intimately conscious, even than the characters themselves, not only of every outward look and act, but of the flux and reflux of the mind in all its subtlest thoughts and feelings, were placing the whole before our view; himself meanwhile unpartic.i.p.ating in the pa.s.sions, and actuated only by that pleasurable excitement, which had resulted from the energetic fervour of his own spirit in so vividly exhibiting what it had so accurately and profoundly contemplated. I think, I should have conjectured from these poems, that even then the great instinct, which impelled the poet to the drama, was secretly working in him, prompting him--by a series and never broken chain of imagery, always vivid and, because unbroken, often minute; by the highest effort of the picturesque in words, of which words are capable, higher perhaps than was ever realized by any other poet, even Dante not excepted; to provide a subst.i.tute for that visual language, that constant intervention and running comment by tone, look and gesture, which in his dramatic works he was ent.i.tled to expect from the players. His Venus and Adonis seem at once the characters themselves, and the whole representation of those characters by the most consummate actors. You seem to be told nothing, but to see and hear everything. Hence it is, from the perpetual activity of attention required on the part of the reader; from the rapid flow, the quick change, and the playful nature of the thoughts and images; and above all from the alienation, and, if I may hazard such an expression, the utter aloofness of the poet's own feelings, from those of which he is at once the painter and the a.n.a.lyst; that though the very subject cannot but detract from the pleasure of a delicate mind, yet never was poem less dangerous on a moral account. Instead of doing as Ariosto, and as, still more offensively, Wieland has done, instead of degrading and deforming pa.s.sion into appet.i.te, the trials of love into the struggles of concupiscence; Shakespeare has here represented the animal impulse itself, so as to preclude all sympathy with it, by dissipating the reader's notice among the thousand outward images, and now beautiful, now fanciful circ.u.mstances, which form its dresses and its scenery; or by diverting our attention from the main subject by those frequent witty or profound reflections, which the poet's ever active mind has deduced from, or connected with, the imagery and the incidents. The reader is forced into too much action to sympathize with the merely pa.s.sive of our nature. As little can a mind thus roused and awakened be brooded on by mean and indistinct emotion, as the low, lazy mist can creep upon the surface of a lake, while a strong gale is driving it onward in waves and billows.

3. It has been before observed that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant pa.s.sion; or by a.s.sociated thoughts or images awakened by that pa.s.sion; or when they have the effect of reducing mult.i.tude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's own spirit, Which shoots its being through earth, sea, and air.

In the two following lines for instance, there is nothing objectionable, nothing which would preclude them from forming, in their proper place, part of a descriptive poem: Behold yon row of pines, that shorn and bow'd Bend from the sea-blast, seen at twilight eve.

But with a small alteration of rhythm, the same words would be equally in their place in a book of topography, or in a descriptive tour. The same image will rise into semblance of poetry if thus conveyed: Yon row of bleak and visionary pines, By twilight glimpse discerned, mark! how they flee From the fierce sea-blast, all their tresses wild Streaming before them.

I have given this as an ill.u.s.tration, by no means as an instance, of that particular excellence which I had in view, and in which Shakespeare even in his earliest, as in his latest, works surpa.s.ses all other poets. It is by this, that he still gives a dignity and a pa.s.sion to the objects which he presents. Unaided by any previous excitement, they burst upon us at once in life and in power,-- "Full many a glorious morning have I seen Flatter the mountain tops with sovereign eye."

"Not mine own fears, nor the prophetic soul Of the wide world dreaming on things to come-- * * * * * * * * * * * *

The mortal moon hath her eclipse endured, And the sad augurs mock their own presage; Incertainties now crown themselves a.s.sur'd, And Peace proclaims olives of endless age. Now with the drops of this most balmy time My love looks fresh, and Death to me subscribes, Since spite of him, I'll live in this poor rhyme, While he insults o'er dull and speechless tribes. And thou in this shalt find thy monument, When tyrants' crests, and tombs of bra.s.s are spent."

As of higher worth, so doubtless still more characteristic of poetic genius does the imagery become, when it moulds and colours itself to the circ.u.mstances, pa.s.sion, or character, present and foremost in the mind. For unrivalled instances of this excellence, the reader's own memory will refer him to the LEAR, OTh.e.l.lO, in short to which not of the "great, ever living, dead man's" dramatic works? Inopem em copia fecit. How true it is to nature, he has himself finely expressed in the instance of love in his 98th Sonnet.

From you have I been absent in the spring, When proud-pied April drest in all its trim, Hath put a spirit of youth in every thing; That heavy Saturn laugh'd and leap'd with him. Yet nor the lays of birds, nor the sweet smell Of different flowers in odour and in hue, Could make me any summer's story tell, Or from their proud lap pluck them, where they grew Nor did I wonder at the lilies white, Nor praise the deep vermilion in the rose; They were, tho' sweet, but figures of delight, Drawn after you, you pattern of all those. Yet seem'd it winter still, and, you away, As with your shadow, I with these did play!"

Scarcely less sure, or if a less valuable, not less indispensable mark Gonimon men poiaetou------ ------hostis rhaema gennaion lakoi, will the imagery supply, when, with more than the power of the painter, the poet gives us the liveliest image of succession with the feeling of simultaneousness:-- With this, he breaketh from the sweet embrace Of those fair arms, which bound him to her breast, And homeward through the dark laund runs apace;-- * * * * * *

Look! how a bright star shooteth from the sky, So glides he in the night from Venus' eye.

4. The last character I shall mention, which would prove indeed but little, except as taken conjointly with the former;--yet without which the former could scarce exist in a high degree, and (even if this were possible) would give promises only of transitory flashes and a meteoric power;--is depth, and energy of thought. No man was ever yet a great poet, without being at the same time a profound philosopher. For poetry is the blossom and the fragrancy of all human knowledge, human thoughts, human pa.s.sions, emotions, language. In Shakespeare's poems the creative power and the intellectual energy wrestle as in a war embrace. Each in its excess of strength seems to threaten the extinction of the other. At length in the drama they were reconciled, and fought each with its s.h.i.+eld before the breast of the other. Or like two rapid streams, that, at their first meeting within narrow and rocky banks, mutually strive to repel each other and intermix reluctantly and in tumult; but soon finding a wider channel and more yielding sh.o.r.es blend, and dilate, and flow on in one current and with one voice. The VENUS AND ADONIS did not perhaps allow the display of the deeper pa.s.sions. But the story of Lucretia seems to favour and even demand their intensest workings. And yet we find in Shakespeare's management of the tale neither pathos, nor any other dramatic quality. There is the same minute and faithful imagery as in the former poem, in the same vivid colours, inspirited by the same impetuous vigour of thought, and diverging and contracting with the same activity of the a.s.similative and of the modifying faculties; and with a yet larger display, a yet wider range of knowledge and reflection; and lastly, with the same perfect dominion, often domination, over the whole world of language. What then shall we say? even this; that Shakespeare, no mere child of nature; no automaton of genius; no pa.s.sive vehicle of inspiration, possessed by the spirit, not possessing it; first studied patiently, meditated deeply, understood minutely, till knowledge, become habitual and intuitive, wedded itself to his habitual feelings, and at length gave birth to that stupendous power, by which he stands alone, with no equal or second in his own cla.s.s; to that power which seated him on one of the two glory-smitten summits of the poetic mountain, with Milton as his compeer not rival. While the former darts himself forth, and pa.s.ses into all the forms of human character and pa.s.sion, the one Proteus of the fire and the flood; the other attracts all forms and things to himself, into the unity of his own ideal. All things and modes of action shape themselves anew in the being of Milton; while Shakespeare becomes all things, yet for ever remaining himself. O what great men hast thou not produced, England, my country!--Truly indeed-- We must be free or die, who speak the tongue, Which Shakespeare spake; the faith and morals hold, Which Milton held. In everything we are sprung Of earth's first blood, have t.i.tles manifold.

CHAPTER XVI.

Striking points of difference between the Poets of the present age and those of the fifteenth and sixteenth centuries--Wish expressed for the union of the characteristic merits of both.

Christendom, from its first settlement on feudal rights, has been so far one great body, however imperfectly organized, that a similar spirit will be found in each period to have been acting in all its members. The study of Shakespeare's poems--(I do not include his dramatic works, eminently as they too deserve that t.i.tle)--led me to a more careful examination of the contemporary poets both in England and in other countries. But my attention was especially fixed on those of Italy, from the birth to the death of Shakespeare; that being the country in which the fine arts had been most sedulously, and hitherto most successfully cultivated. Abstracted from the degrees and peculiarities of individual genius, the properties common to the good writers of each period seem to establish one striking point of difference between the poetry of the fifteenth and sixteenth centuries, and that of the present age. The remark may perhaps be extended to the sister art of painting. At least the latter will serve to ill.u.s.trate the former. In the present age the poet--(I would wish to be understood as speaking generally, and without allusion to individual names)--seems to propose to himself as his main object, and as that which is the most characteristic of his art, new and striking images; with incidents that interest the affections or excite the curiosity. Both his characters and his descriptions he renders, as much as possible, specific and individual, even to a degree of portraiture. In his diction and metre, on the other hand, he is comparatively careless. The measure is either constructed on no previous system, and acknowledges no justifying principle but that of the writer's convenience; or else some mechanical movement is adopted, of which one couplet or stanza is so far an adequate specimen, as that the occasional differences appear evidently to arise from accident, or the qualities of the language itself, not from meditation and an intelligent purpose. And the language from Pope's translation of Homer, to Darwin's Temple of Nature [62], may, notwithstanding some ill.u.s.trious exceptions, be too faithfully characterized, as claiming to be poetical for no better reason, than that it would be intolerable in conversation or in prose. Though alas! even our prose writings, nay even the style of our more set discourses, strive to be in the fas.h.i.+on, and trick themselves out in the soiled and over-worn finery of the meretricious muse. It is true that of late a great improvement in this respect is observable in our most popular writers. But it is equally true, that this recurrence to plain sense and genuine mother English is far from being general; and that the composition of our novels, magazines, public harangues, and the like is commonly as trivial in thought, and yet enigmatic in expression, as if Echo and Sphinx had laid their heads together to construct it. Nay, even of those who have most rescued themselves from this contagion, I should plead inwardly guilty to the charge of duplicity or cowardice, if I withheld my conviction, that few have guarded the purity of their native tongue with that jealous care, which the sublime Dante in his tract De la volgare Eloquenza, declares to be the first duty of a poet. For language is the armoury of the human mind; and at once contains the trophies of its past, and the weapons of its future conquests. Animadverte, says Hobbes, quam sit ab improprietate verborum p.r.o.num hominihus prolabi in errores circa ipsas res! Sat [vero], says Sennertus, in hac vitae brevitate et naturae obscuritate, rerum est, quibus cognoscendis tempus impendatur, ut [confusis et multivotis] sermonibus intelligendis illud consumere opus non sit. [Eheu! quantas strages paravere verba nubila, quae tot dic.u.n.t ut nihil dic.u.n.t;--nubes potius, e quibus et in rebus politicis et in ecclesia turbines et tonitrua erumpunt!] Et proinde recte dictum putamus a Platone in Gorgia: os an ta onomata eidei, eisetai kai ta pragmata: et ab Epicteto, archae paideuseos hae ton onomaton episkepsis: et prudentissime Galenus scribit, hae ton onomaton chraesis tarachtheisa kai taen ton pragmaton epitarattei gnosin.

Egregie vero J. C. Scaliger, in Lib. I. de Plantis: Est primum, inquit, sapientis officium, bene sentire, ut sibi vivat: proximum, bene loqui, ut patriae vivat.

Something a.n.a.logous to the materials and structure of modern poetry I seem to have noticed--(but here I beg to be understood as speaking with the utmost diffidence)--in our common landscape painters. Their foregrounds and intermediate distances are comparatively unattractive: while the main interest of the landscape is thrown into the background, where mountains and torrents and castles forbid the eye to proceed, and nothing tempts it to trace its way back again. But in the works of the great Italian and Flemish masters, the front and middle objects of the landscape are the most obvious and determinate, the interest gradually dies away in the background, and the charm and peculiar worth of the picture consists, not so much in the specific objects which it conveys to the understanding in a visual language formed by the subst.i.tution of figures for words, as in the beauty and harmony of the colours, lines, and expression, with which the objects are represented. Hence novelty of subject was rather avoided than sought for. Superior excellence in the manner of treating the same subjects was the trial and test of the artist's merit.

Not otherwise is it with the more polished poets of the fifteenth and sixteenth centuries, especially those of Italy. The imagery is almost always general: sun, moon, flowers, breezes, murmuring streams, warbling songsters, delicious shades, lovely damsels cruel as fair, nymphs, naiads, and G.o.ddesses, are the materials which are common to all, and which each shaped and arranged according to his judgment or fancy, little solicitous to add or to particularize. If we make an honourable exception in favour of some English poets, the thoughts too are as little novel as the images; and the fable of their narrative poems, for the most part drawn from mythology, or sources of equal notoriety, derive their chief attractions from the manner of treating them; from impa.s.sioned flow, or picturesque arrangement. In opposition to the present age, and perhaps in as faulty an extreme, they placed the essence of poetry in the art. The excellence, at which they aimed, consisted in the exquisite polish of the diction, combined with perfect simplicity. This their prime object they attained by the avoidance of every word, which a gentleman would not use in dignified conversation, and of every word and phrase, which none but a learned man would use; by the studied position of words and phrases, so that not only each part should be melodious in itself, but contribute to the harmony of the whole, each note referring and conducting to the melody of all the foregoing and following words of the same period or stanza; and lastly with equal labour, the greater because unbetrayed, by the variation and various harmonies of their metrical movement. Their measures, however, were not indebted for their variety to the introduction of new metres, such as have been attempted of late in the Alonzo and Imogen, and others borrowed from the German, having in their very mechanism a specific overpowering tune, to which the generous reader humours his voice and emphasis, with more indulgence to the author than attention to the meaning or quant.i.ty of the words; but which, to an ear familiar with the numerous sounds of the Greek and Roman poets, has an effect not unlike that of galloping over a paved road in a German stage-waggon without springs. On the contrary, the elder bards both of Italy and England produced a far greater as well as more charming variety by countless modifications, and subtle balances of sound in the common metres of their country. A lasting and enviable reputation awaits that man of genius, who should attempt and realize a union;--who should recall the high finish, the appropriateness, the facility, the delicate proportion, and above all, the perfusive and omnipresent grace, which have preserved, as in a shrine of precious amber, the Sparrow of Catullus, the Swallow, the Gra.s.shopper, and all the other little loves of Anacreon; and which, with bright, though diminished glories, revisited the youth and early manhood of Christian Europe, in the vales of [63] Arno, and the groves of Isis and of Cam; and who with these should combine the keener interest, deeper pathos, manlier reflection, and the fresher and more various imagery, which give a value and a name that will not pa.s.s away to the poets who have done honour to our own times, and to those of our immediate predecessors.

CHAPTER XVII.

Examination of the tenets peculiar to Mr. Wordsworth--Rustic life (above all, low and rustic life) especially unfavourable to the formation of a human diction--The best parts of language the product of philosophers, not of clowns or shepherds--Poetry essentially ideal and generic--The language of Milton as much the language of real life, yea, incomparably more so than that of the cottager.

As far then as Mr. Wordsworth in his preface contended, and most ably contended, for a reformation in our poetic diction, as far as he has evinced the truth of pa.s.sion, and the dramatic propriety of those figures and metaphors in the original poets, which, stripped of their justifying reasons, and converted into mere artifices of connection or ornament, const.i.tute the characteristic falsity in the poetic style of the moderns; and as far as he has, with equal acuteness and clearness, pointed out the process by which this change was effected, and the resemblances between that state into which the reader's mind is thrown by the pleasurable confusion of thought from an unaccustomed train of words and images; and that state which is induced by the natural language of impa.s.sioned feeling; he undertook a useful task, and deserves all praise, both for the attempt and for the execution. The provocations to this remonstrance in behalf of truth and nature were still of perpetual recurrence before and after the publication of this preface. I cannot likewise but add, that the comparison of such poems of merit, as have been given to the public within the last ten or twelve years, with the majority of those produced previously to the appearance of that preface, leave no doubt on my mind, that Mr. Wordsworth is fully justified in believing his efforts to have been by no means ineffectual. Not only in the verses of those who have professed their admiration of his genius, but even of those who have distinguished themselves by hostility to his theory, and depreciation of his writings, are the impressions of his principles plainly visible. It is possible, that with these principles others may have been blended, which are not equally evident; and some which are unsteady and subvertible from the narrowness or imperfection of their basis. But it is more than possible, that these errors of defect or exaggeration, by kindling and feeding the controversy, may have conduced not only to the wider propagation of the accompanying truths, but that, by their frequent presentation to the mind in an excited state, they may have won for them a more permanent and practical result. A man will borrow a part from his opponent the more easily, if he feels himself justified in continuing to reject a part. While there remain important points in which he can still feel himself in the right, in which he still finds firm footing for continued resistance, he will gradually adopt those opinions, which were the least remote from his own convictions, as not less congruous with his own theory than with that which he reprobates. In like manner with a kind of instinctive prudence, he will abandon by little and little his weakest posts, till at length he seems to forget that they had ever belonged to him, or affects to consider them at most as accidental and "petty annexments," the removal of which leaves the citadel unhurt and unendangered.

My own differences from certain supposed parts of Mr. Wordsworth's theory ground themselves on the a.s.sumption, that his words had been rightly interpreted, as purporting that the proper diction for poetry in general consists altogether in a language taken, with due exceptions, from the mouths of men in real life, a language which actually const.i.tutes the natural conversation of men under the influence of natural feelings. My objection is, first, that in any sense this rule is applicable only to certain cla.s.ses of poetry; secondly, that even to these cla.s.ses it is not applicable, except in such a sense, as hath never by any one (as far as I know or have read,) been denied or doubted; and lastly, that as far as, and in that degree in which it is practicable, it is yet as a rule useless, if not injurious, and therefore either need not, or ought not to be practised. The poet informs his reader, that he had generally chosen low and rustic life; but not as low and rustic, or in order to repeat that pleasure of doubtful moral effect, which persons of elevated rank and of superior refinement oftentimes derive from a happy imitation of the rude unpolished manners and discourse of their inferiors. For the pleasure so derived may be traced to three exciting causes. The first is the naturalness, in fact, of the things represented. The second is the apparent naturalness of the representation, as raised and qualified by an imperceptible infusion of the author's own knowledge and talent, which infusion does, indeed, const.i.tute it an imitation as distinguished from a mere copy. The third cause may be found in the reader's conscious feeling of his superiority awakened by the contrast presented to him; even as for the same purpose the kings and great barons of yore retained, sometimes actual clowns and fools, but more frequently shrewd and witty fellows in that character. These, however, were not Mr. Wordsworth's objects. He chose low and rustic life, "because in that condition the essential pa.s.sions of the heart find a better soil, in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simplicity, and consequently may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings; and from the necessary character of rural occupations are more easily comprehended, and are more durable; and lastly, because in that condition the pa.s.sions of men are incorporated with the beautiful and permanent forms of nature."

Now it is clear to me, that in the most interesting of the poems, in which the author is more or less dramatic, as THE BROTHERS, MICHAEL, RUTH, THE MAD MOTHER, and others, the persons introduced are by no means taken from low or rustic life in the common acceptation of those words! and it is not less clear, that the sentiments and language, as far as they can be conceived to have been really transferred from the minds and conversation of such persons, are attributable to causes and circ.u.mstances not necessarily connected with "their occupations and abode." The thoughts, feelings, language, and manners of the shepherd- farmers in the vales of c.u.mberland and Westmoreland, as far as they are actually adopted in those poems, may be accounted for from causes, which will and do produce the same results in every state of life, whether in town or country. As the two princ.i.p.al I rank that independence, which raises a man above servitude, or daily toil for the profit of others, yet not above the necessity of industry and a frugal simplicity of domestic life; and the accompanying unambitious, but solid and religious, education, which has rendered few books familiar, but the Bible, and the Liturgy or Hymn book. To this latter cause, indeed, which is so far accidental, that it is the blessing of particular countries and a particular age, not the product of particular places or employments, the poet owes the show of probability, that his personages might really feel, think, and talk with any tolerable resemblance to his representation. It is an excellent remark of Dr. Henry More's, that "a man of confined education, but of good parts, by constant reading of the Bible will naturally form a more winning and commanding rhetoric than those that are learned: the intermixture of tongues and of artificial phrases debasing their style."

It is, moreover, to be considered that to the formation of healthy feelings, and a reflecting mind, negations involve impediments not less formidable than sophistication and vicious intermixture. I am convinced, that for the human soul to prosper in rustic life a certain vantage-ground is prerequisite. It is not every man that is likely to be improved by a country life or by country labours. Education, or original sensibility, or both, must pre-exist, if the changes, forms, and incidents of nature are to prove a sufficient stimulant. And where these are not sufficient, the mind contracts and hardens by want of stimulants: and the man becomes selfish, sensual, gross, and hard- hearted. Let the management of the Poor Laws in Liverpool, Manchester, or Bristol be compared with the ordinary dispensation of the poor rates in agricultural villages, where the farmers are the overseers and guardians of the poor. If my own experience have not been particularly unfortunate, as well as that of the many respectable country clergymen with whom I have conversed on the subject, the result would engender more than scepticism concerning the desirable influences of low and rustic life in and for itself. Whatever may be concluded on the other side, from the stronger local attachments and enterprising spirit of the Swiss, and other mountaineers, applies to a particular mode of pastoral life, under forms of property that permit and beget manners truly republican, not to rustic life in general, or to the absence of artificial cultivation. On the contrary the mountaineers, whose manners have been so often eulogized, are in general better educated and greater readers than men of equal rank elsewhere. But where this is not the case, as among the peasantry of North Wales, the ancient mountains, with all their terrors and all their glories, are pictures to the blind, and music to the deaf.

I should not have entered so much into detail upon this pa.s.sage, but here seems to be the point, to which all the lines of difference converge as to their source and centre;--I mean, as far as, and in whatever respect, my poetic creed does differ from the doctrines promulgated in this preface. I adopt with full faith, the principle of Aristotle, that poetry, as poetry, is essentially ideal, that it avoids and excludes all accident; that its apparent individualities of rank, character, or occupation must be representative of a cla.s.s; and that the persons of poetry must be clothed with generic attributes, with the common attributes of the cla.s.s: not with such as one gifted individual might possibly possess, but such as from his situation it is most probable before-hand that he would possess. If my premises are right and my deductions legitimate, it follows that there can be no poetic medium between the swains of Theocritus and those of an imaginary golden age.

The characters of the vicar and the shepherd-mariner in the poem of THE BROTHERS, and that of the shepherd of Green-head Ghyll in the MICHAEL, have all the verisimilitude and representative quality, that the purposes of poetry can require. They are persons of a known and abiding cla.s.s, and their manners and sentiments the natural product of circ.u.mstances common to the cla.s.s. Take Michael for instance: An old man stout of heart, and strong of limb. His bodily frame had been from youth to age Of an unusual strength: his mind was keen, Intense, and frugal, apt for all affairs, And in his shepherd's calling he was prompt And watchful more than ordinary men. Hence he had learned the meaning of all winds, Of blasts of every tone; and oftentimes When others heeded not, He heard the South Make subterraneous music, like the noise Of bagpipers on distant Highland hills. The Shepherd, at such warning, of his flock Bethought him, and he to himself would say, `The winds are now devising work for me!' And truly, at all times, the storm, that drives The traveller to a shelter, summoned him Up to the mountains: he had been alone Amid the heart of many thousand mists, That came to him and left him on the heights. So lived he, until his eightieth year was past. And grossly that man errs, who should suppose That the green valleys, and the streams and rocks, Were things indifferent to the Shepherd's thoughts. Fields, where with cheerful spirits he had breathed The common air; the hills, which he so oft Had climbed with vigorous steps; which had impressed So many incidents upon his mind Of hards.h.i.+p, skill or courage, joy or fear; Which, like a book, preserved the memory Of the dumb animals, whom he had saved, Had fed or sheltered, linking to such acts, So grateful in themselves, the certainty Of honourable gain; these fields, these hills Which were his living Being, even more Than his own blood--what could they less? had laid Strong hold on his affections, were to him A pleasurable feeling of blind love, The pleasure which there is in life itself.

On the other hand, in the poems which are pitched in a lower key, as the HARRY GILL, and THE IDIOT BOY, the feelings are those of human nature in general; though the poet has judiciously laid the scene in the country, in order to place himself in the vicinity of interesting images, without the necessity of ascribing a sentimental perception of their beauty to the persons