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

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СКАЧАТЬ style="font-size:15px;">       The Mountain Infant to the Sun comes forth

       Like human life from darkness.—

      The ameliorating effects of song and music on the minds which most delight in them, are likewise very poetically expressed.

      —And when the stream

       Which overflowed the soul was passed away,

       A consciousness remained that it had left,

       Deposited upon the silent shore

       Of Memory, images and precious thoughts,

       That shall not die, and cannot be destroyed.

      Nor is any thing more elegant than the representation of the graceful tranquillity occasionally put on by one of the author's favourites; who, though gay and airy, in general—

      Was graceful, when it pleased him, smooth and still

       As the mute Swan that floats adown the stream,

       Or on the waters of th' unruffled lake

       Anchored her placid beauty. Not a leaf

       That flutters on the bough more light than he,

       And not a flower that droops in the green shade,

       More winningly reserved.—

      Nor are there wanting morsels of a sterner and more majestic beauty; as when, assuming the weightier diction of Cowper, he says, in language which the hearts of all readers of modern history must have responded—

      —Earth is sick,

       And Heaven is weary of the hollow words

       Which States and Kingdoms utter when they speak

       Of Truth and Justice.

      These examples, we perceive, are not very well chosen—but we have not leisure to improve the selection; and, such as they are, they may serve to give the reader a notion of the sort of merit which we meant to illustrate by their citation.—When we look back to them, indeed, and to the other passages which we have now extracted, we feel half inclined to rescind the severe sentence which we passed on the work at the beginning:—But when we look into the work itself, we perceive that it cannot be rescinded. Nobody can be more disposed to do justice to the great powers of Mr. Wordsworth than we are; and, from the first time that he came before us, down to the present moment, we have uniformly testified in their favour, and assigned indeed our high sense of their value as the chief ground of the bitterness with which we resented their perversion. That perversion, however, is now far more visible than their original dignity; and while we collect the fragments, it is impossible not to lament the ruins from which we are condemned to pick them. If any one should doubt of the existence of such a perversion, or be disposed to dispute about the instances we have hastily brought forward, we would just beg leave to refer him to the general plan and the characters of the poem now before us.—Why should Mr. Wordsworth have made his hero a superannuated Pedlar? What but the most wretched and provoking perversity of taste and judgment, could induce any one to place his chosen advocate of wisdom and virtue in so absurd and fantastic a condition? Did Mr. Wordsworth really imagine, that he favourite doctrines were likely to gain any thing in point of effect or authority by being put into the mouth of a person accustomed to higgle about tape, or brass sleeve-buttons? Or is it not plain that, independent of the ridicule and disgust which such a personification must give to many of his readers, its adoption exposes his work throughout to the charge of revolting incongruity, and utter disregard of probability or nature? For, after he has thus wilfully debased his moral teacher by a low occupation, is there one word that he puts into his mouth, or one sentiment of which he makes him the organ, that has the most remote reference to that occupation? Is there any thing in his learned, abstracted, and logical harangues, that savours of the calling that is ascribed to him? Are any of their materials such as a pedlar could possibly have dealt in? Are the manners, the diction, the sentiments, in any, the very smallest degree, accommodated to a person in that condition? or are they not eminently and conspicuously such as could not by possibility belong to it? A man who went about selling flannel and pocket-handkerchiefs in this lofty diction, would soon frighten away all his customers; and would infallibly pass either for a madman, or for some learned and affected gentleman, who, in a frolic, had taken up a character which he was peculiarly ill qualified for supporting.

      The absurdity in this case, we think, is palpable and glaring; but it is exactly of the same nature with that which infects the whole substance of the work—a puerile ambition of singularity engrafted on an unlucky predilection for truisms; and an affected passion for simplicity and humble life, most awkwardly combined with a taste for mystical refinements, and all the gorgeousness of obscure phraseology. His taste for simplicity is evinced, by sprinkling up and down his interminable declamations, a few descriptions of baby-houses, and of old hats with wet brims; and his amiable partiality for humble life, by assuring us, that a wordy rhetorician, who talks about Thebes, and allegorizes all the heathen mythology, was once a pedlar—and making him break in upon his magnificent orations with two or three awkward notices of something that he had seen when selling winter raiment about the country—or of the changes in the state of society, which had almost annihilated his former calling.

ON KEATS

       Table of Contents

      [From The Edinburgh Review, August, 1820]

      1. Endymion: A Poetic Romance. By JOHN KEATS. 8vo. pp. 207. London, 1818.

      2. Lamia, Isabella, The Eve of St. Agnes, and other Poems. By JOHN KEATS, Author of Endymion. 12mo. pp. 200. London, 1820.

      We had never happened to see either of these volumes till very lately—and have been exceedingly struck with the genius they display, and the spirit of poetry which breathes through all their extravagance. That imitation of our older writers, and especially of our older dramatists, to which we cannot help flattering ourselves that we have somewhat contributed, has brought on, as it were, a second spring in our poetry;—and few of its blossoms are either more profuse of sweetness or richer in promise, than this which is now before us. Mr. Keats, we understand, is still a very young man; and his whole works, indeed, bear evidence enough of the fact. They are full of extravagance and irregularity, rash attempts at originality, interminable wanderings, and excessive obscurity. They manifestly require, therefore, all the indulgence that can be claimed for a first attempt:—but we think it no less plain that they deserve it; for they are flushed all over with the rich lights of fancy, and so coloured and bestrewn with the flowers of poetry, that even while perplexed and bewildered in their labyrinths, it is impossible to resist the intoxication of their sweetness, or to shut our hearts to the enchantments they so lavishly present. The models upon which he has formed himself, in the Endymion, the earliest and by much the most considerable of his poems, are obviously the Faithful Shepherdess of Fletcher, and the Sad Shepherd of Ben Jonson;—the exquisite metres and inspired diction of which he has copied with great boldness and fidelity—and, like his great originals, has also contrived to impart to the whole piece that true rural and poetical air which breathes only in them and in Theocritus—which is at once homely and majestic, luxurious and rude, and sets before us the genuine sights and sounds and smells of the country, with all the magic and grace of Elysium. His subject has the disadvantage of being mythological; and in this respect, as well as on account of the raised and rapturous tone it consequently assumes, his poetry may be better compared perhaps to the Comus and the Arcades of Milton, of which, also, there are many traces of СКАЧАТЬ