Famous Reviews, Selected and Edited with Introductory Notes by R. Brimley Johnson. Various

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ON WORDSWORTH'S "THE EXCURSION"

       Table of Contents

      [From The Edinburgh Review, November, 1814]

      The Excursion, being a portion of the Recluse, a Poem. By WILLIAM WORDSWORTH. 4to. pp. 447. London, 1814.

      This will never do. It bears no doubt the stamp of the author's heart and fancy; but unfortunately not half so visibly as that of his peculiar system. His former poems were intended to recommend that system, and to bespeak favour for it by their individual merit;—but this, we suspect, must be recommended by the system—and can only expect to succeed where it has been previously established. It is longer, weaker, and tamer, than any of Mr. Wordsworth's other productions; with less boldness of originality, and less even of that extreme simplicity and lowliness of tone which wavered so prettily, in the Lyrical Ballads, between silliness and pathos. We have imitations of Cowper, and even of Milton here, engrafted on the natural drawl of the Lakers—and all diluted into harmony by that profuse and irrepressible wordiness which deluges all the blank verse of this school of poetry, and lubricates and weakens the whole structure of their style.

      Though it fairly fills four hundred and twenty good quarto pages, without note, vignette, or any sort of extraneous assistance, it is stated in the title—with something of an imprudent candour—to be but "a portion" of a larger work; and in the preface, where an attempt is rather unsuccessfully made to explain the whole design, it is still more rashly disclosed, that it is but "a part of the second part of a long and laborious work"—which is to consist of three parts.

      What Mr. Wordsworth's ideas of length are, we have no means of accurately judging; but we cannot help suspecting that they are liberal, to a degree that will alarm the weakness of most modern readers. As far as we can gather from the preface, the entire poem—or one of them, for we really are not sure whether there is to be one or two—is of a biographical nature; and is to contain the history of the author's mind, and of the origin and progress of his poetical powers, up to the period when they were sufficiently matured to qualify him for the great work on which he has been so long employed. Now, the quarto before us contains an account of one of his youthful rambles in the vales of Cumberland, and occupies precisely the period of three days; so that, by the use of a very powerful calculus, some estimate may be formed of the probable extent of the entire biography.

      This small specimen, however, and the statements with which it is prefaced, have been sufficient to set our minds at rest in one particular. The case of Mr. Wordsworth, we perceive, is now manifestly hopeless; and we give him up as altogether incurable, and beyond the power of criticism. We cannot indeed altogether omit taking precautions now and then against the spreading of the malady;—but for himself, though we shall watch the progress of his symptoms as a matter of professional curiosity and instruction, we really think it right not to harass him any longer with nauseous remedies—but rather to throw in cordials and lenitives, and wait in patience for the natural termination of the disorder. In order to justify this desertion of our patient, however, it is proper to state why we despair of the success of a more active practice.

      A man who has been for twenty years at work on such matter as is now before us, and who comes complacently forward with a whole quarto of it after all the admonitions he has received, cannot reasonably be expected to "change his hand, or check his pride," upon the suggestion of far weightier monitors than we can pretend to be. Inveterate habit must now have given a kind of sanctity to the errors of early taste; and the very powers of which we lament the perversion, have probably become incapable of any other application. The very quantity, too, that he has written, and is at this moment working up for publication upon the old pattern, makes it almost hopeless to look for any change of it. All this is so much capital already sunk in the concern; which must be sacrificed if it be abandoned: and no man likes to give up for lost the time and talent and labour which he has embodied in any permanent production. We were not previously aware of these obstacles to Mr. Wordsworth's conversion; and, considering the peculiarities of his former writings merely as the result of certain wanton and capricious experiments on public taste and indulgence, conceived it to be our duty to discourage their repetition by all the means in our power. We now see clearly, however, how the case stands;—and, making up our minds, though with the most sincere pain and reluctance, to consider him as finally lost to the good cause of poetry, shall endeavour to be thankful for the occasional gleams of tenderness and beauty which the natural force of his imagination and affections must still shed over all his productions—and to which we shall ever turn with delight, in spite of the affectation and mysticism and prolixity, with which they are so abundantly contrasted.

      Long habits of seclusion, and an excessive ambition of originality, can alone account for the disproportion which seems to exist between this author's taste and his genius; or for the devotion with which he has sacrificed so many precious gifts at the shrine of those paltry idols which he has set up for himself among his lakes and his mountains. Solitary musings, amidst such scenes, might no doubt be expected to nurse up the mind to the majesty of poetical conception—(though it is remarkable, that all the greater poets lived or had lived, in the full current of society):—But the collision of equal minds—the admonition of prevailing impressions—seems necessary to reduce its redundancies, and repress that tendency to extravagance or puerility, into which the self-indulgence and self-admiration of genius is so apt to be betrayed, when it is allowed to wanton, without awe or restraint, in the triumph and delight of its own intoxication. That its flights should be graceful and glorious in the eyes of men, it seems almost to be necessary that they should be made in the consciousness that men's eyes are to behold them—and that the inward transport and vigour by which they are inspired, should be tempered by an occasional reference to what will be thought of them by those-ultimate dispensers of glory. An habitual and general knowledge of the few settled and permanent maxims, which form the canon of general taste in all large and polished societies—a certain tact, which informs us at once that many things, which we still love and are moved by in secret, must necessarily be despised as childish, or derided as absurd, in all such societies—though it will not stand in the place of genius, seems necessary to the success of its exertions; and though it will never enable any one to produce the higher beauties of art, can alone secure the talent which does produce them, from errors that must render it useless. Those who have most of the talent, however, commonly acquire this knowledge with the greatest facility;—and if Mr. Wordsworth, instead of confining himself almost entirely to the society of the dalesmen and cottagers, and little children, who form the subjects of his book, had condescended to mingle a little more with the people that were to read and judge of it, we cannot help thinking, that its texture would have been considerably improved: At least it appears to us to be absolutely impossible, that any one who had lived or mixed familiarly with men of literature and ordinary judgment in poetry (of course we exclude the coadjutors and disciples of his own school), could ever have fallen into such gross faults, or so long mistaken them for beauties. His first essays we looked upon in a good degree as poetical paradoxes—maintained experimentally, in order to display talent, and court notoriety;—and so maintained, with no more serious belief in their truth, than is usually generated by an ingenious and animated defence of other paradoxes. But when we find, that he has been for twenty years exclusively employed upon articles of this very fabric, and that he has still enough of raw material on hand to keep him so employed for twenty years to come, we cannot refuse him the justice of believing that he is a sincere convert to his own system, and must ascribe the peculiarities of his composition, not to any transient affectation, or accidental caprice of imagination, but to a settled perversity of taste or understanding, which has been fostered, if not altogether created, by the circumstances to which we have already alluded.

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