A History of English Romanticism in the Nineteenth Century. Henry A. Beers

Чтение книги онлайн.

СКАЧАТЬ "the pale moonlight in the midnight aisle"; "some convent's ancient walls," along the Rhine. Weak winds complain like spirits through the ruined arches of Netley Abbey:

      "The beam

       Of evening smiles on the gray battlement,

       And yon forsaken tower that time has rent."

      His lines on Shakspere recall Collins in their insistence upon the "elvish" things in the plays; "The Tempest," "Midsummer Night's Dream," the weird sisters in "Macbeth," Ophelia's songs, the melancholy Jacques. The lines to Burke on his "Reflections on the Revolution in France," echo his celebrated dirge over fallen chivalry:

      "Though now no more proud chivalry recalls

       The tourneys bright and pealing festivals;

       Though now on high her idle spear is hung,

       Though time her mouldering harp has half unstrung," etc.[13]

      The "Hymn to Woden" alludes to Gray's "Fatal Sisters." "St. Michael's

       Mount" summons up the forms of the ancient Druids, and sings how Fancy,

      "Sick of the fluttering fancies that engage

       The vain pursuits of a degenerate age, …

       Would fain the shade of elder days recall,

       The Gothick battlements, the bannered hall;

       Or list of elfin harps the fabling rhyme;

       Or, wrapt in melancholy trance sublime,

       Pause o'er the working of some wondrous tale,

       Or bid the spectres of the castle hail!"

      Bowles' influence is traceable in Coleridge's earliest volume of verse (1796) in a certain diffused softness and gentle sensibility. This elegiac tone appears particularly in effusions like "Happiness," "The Sigh," "To a Young Ass," "To the Autumnal Moon," "Lines on an Autumnal Evening," "To the Nightingale"; in "Melancholy: A Fragment" and "Elegy; imitated from Akenside," both in the "Sibylline Leaves" (1797); and in numerous "lines," "monodies," "epitaphs," "odes," and "stanzas." [14] Coleridge soon came to recognise the weakness of his juvenile verses, and parodied himself—and incidentally Bowles—in three sonnets printed at the end of Chapter I. of the "Biographia Literaria," designed to burlesque his own besetting sins, a "doleful egotism," an affected simplicity, and the use of "elaborate and swelling language and imagery." He never attained much success in the use of the sonnet form. A series of twelve sonnets in his first collection opens with one to Bowles:

      "My heart has thanked thee, Bowles! for those soft strains

       Whose sadness soothes me, like the murmuring

       Of wild bees in the sunny showers of spring," etc.

      More important to our inquiries than the poetry of Bowles is the occasion which he gave to the revival, under new conditions, of the Pope controversy. For it was over the body of Pope that the quarrel between classic and romantic was fought out in England, as it was fought out in France, a few years later, over the question of the dramatic unities and the mixture of tragedy and comedy in the drame. In 1806, just a half century after Joseph Warton published the first volume of his "Essay on Pope," Bowles' edition of the same poet appeared. In the life of Pope which was prefixed, the editor made some severe strictures on Pope's duplicity, jealousy, and other disagreeable traits, though not more severe than have been made by Pope's latest editor, Mr. Elwin, who has backed up his charges with an array of evidence fairly overwhelming. The edition contained likewise an essay on "The Poetical Character of Pope," in which Bowles took substantially the same ground that had been taken by his master, Joseph Warton, fifty years before. He asserted in brief that, as compared with Spenser, Shakspere, and Milton, Pope was a poet of the second order; that in his descriptions of nature he was inferior to Thomson and Cowper, and in lyrical poetry to Dryden and Gray; and that, except in his "Eloisa" and one or two other pieces, he was the poet of artificial manners and of didactic maxims, rather than of passions. Bowles' chief addition to Warton's criticism was the following paragraph, upon which the controversy that ensued chiefly hinged: "All images drawn from what is beautiful or sublime in the works of nature are more beautiful and sublime than any images drawn from art, and they are therefore per se (abstractedly) more poetical. In like manner those passions of the human heart, which belong to nature in general, are per se more adapted to the higher species of poetry than those derived from incidental and transient manners."

      The admirers of Pope were not slow in joining issue with his critic, not only upon his general estimate of the poet, but upon the principle here laid down. Thomas Campbell, in his "Specimens of the British Poets" (1819), defended Pope both as a man and a poet, and maintained that "exquisite descriptions of artificial objects are not less characteristic of genius than the description of simple physical appearances." He instanced Milton's description of Satan's spear and shield, and gave an animated picture of the launching of a ship of the line as an example of the "sublime objects of artificial life." Bowles replied in a letter to Campbell on "The Invariable Principles of Poetry." He claimed that it was the appearances of nature, the sea and the sky, that lent sublimity to the launch of the ship, and asked: "If images derived from art are as beautiful and sublime as those derived from nature, why was it necessary to bring your ship off the stocks?" He appealed to his adversary whether the description of a game of ombre was as poetical as that of a walk in the forest, and whether "the sylph of Pope, 'trembling over the fumes of a chocolate pot,' be an image as poetical as that of delicate and quaint Ariel, who sings 'Where the bee sucks, there lurk (sic) I.'" Campbell replied in the New Monthly Magazine, of which he was editor, and this drew out another rejoinder from Bowles. Meanwhile Byron had also attacked Bowles in two letters to Murray (1821), to which the indefatigable pamphleteer made elaborate replies. The elder Disraeli, Gifford, Octavius Gilchrist, and one Martin M'Dermot also took a hand in the fight—all against Bowles—and William Roscoe, the author of the "Life of Lorenzo de Medici," attacked him in an edition of Pope which he brought out in 1824. The rash detractor of the little Twitnam nightingale soon found himself engaged single-handed against a host; but he was equal to the occasion, in volubility if not in logic, and poured out a series of pamphlets, covering in all some thousand pages, and concluding with "A Final Appeal to the Literary Public" (1825), followed by "more last words of Baxter," in the shape of "Lessons in Criticism to William Roscoe" (1825).

      The opponents of Bowles maintained, in general, that in poetry the subject is nothing, but the execution is all; that one class of poetry has, as such, no superiority over another; and that poets are to be ranked by their excellence as artists, and not according to some imaginary scale of dignity in the different orders of poetry, as epic, didactic, satiric, etc. "There is, in fact," wrote Roscoe, "no poetry in any subject except what is called forth by the genius of the poet. … There are no great subjects but such as are made so by the genius of the artist." Byron said that to the question "whether 'the description of a game of cards be as poetical, supposing the execution of the artists equal, as a description of a walk in a forest,' it may be answered that the materials are certainly not equal, but that the artist who has rendered the game of cards poetical is by far the greater of the two. But all this 'ordering' of poets is purely arbitrary on the part of Mr. Bowles. There may or may not be, in fact, different 'orders' of poetry, but the poet is always ranked according to his execution, and not according to his branch of the art." Byron also contended, like Campbell, that art is just as poetical as nature, and that it was not the water that gave interest to the ship but the ship to the water. "What was it attracted the thousands to the launch? They might have seen the poetical 'calm water' at Wapping or in the London lock or in the Paddington Canal or in a horse-pond or in a slop-basin." Without natural accessories—the sun, the sky, the sea, the wind—Bowles had said, the ship's properties are only СКАЧАТЬ