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

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СКАЧАТЬ Much stress is laid upon it in the preface, and the poems are connected with this general statement of his case, by particular dates, substantiating the age at which each was written. Now, the law upon the point of morality, we hold to be perfectly clear. It is a plea available only to the defendant; no plaintiff can offer it as a supplementary ground of action. Thus, if any suit could be brought against Lord Byron, for the purpose of compelling him to put into court a certain quantity of poetry; and if judgment were given against him, it is highly probable that an exception would be taken, were he to deliver for poetry, the contents of this volume. To this he might plead minority; but as he now makes voluntary tender of the article, he hath no right to sue, on that ground, for the price is in good current praise, should the goods be unmarketable. This is our view of the law on the point, and we dare to say, so will it be ruled. Perhaps, however, in reality, all that he tells us about his youth, is rather with a view to increase our wonder, than to soften our censures. He possibly means to say, "See how a minor can write! This poem was actually composed by a young man of eighteen, and this by one of only sixteen!" But, alas, we all remember the poetry of Cowley at ten, and Pope at twelve; and so far from hearing, with any surprise, that very poor verses were written by a youth from his leaving school to his leaving college, inclusive, we really believe this to be the most common of all occurrences; that it happens in the life of nine men in ten who are educated in England; and that the tenth man writes better verse than Lord Byron.

      His other plea of privilege, our author rather brings forward to wave it. He certainly, however, does allude frequently to his family and ancestors—sometimes in poetry, sometimes in notes; and while giving up his claim on the score of rank, he takes care to remember us of Dr. Johnson's saying, that when a nobleman appears as an author, his merit should be handsomely acknowledged. In truth, it is this consideration only, that induces us to give Lord Byron's poems a place in our review, besides our desire to counsel him, that he do forthwith abandon poetry, and turn his talents, which are considerable, and his opportunities, which are great, to better account.

      With this view, we must beg leave seriously to assure him, that the mere rhyming of the final syllable, even when accompanied by a certain number of feet; nay, although (which does not always happen) those feet should scan regularly, and have been all counted accurately upon the fingers—is not the whole art of poetry. We would entreat him to believe, that a certain portion of liveliness, somewhat of fancy, is necessary to constitute a poem; and that a poem in the present day, to be read, must contain at least one thought, either in a little degree different from the ideas of former writers, or differently expressed. We put it to his candour, whether there is anything so deserving the name of poetry in verses like the following, written in 1806, and whether, if a youth of eighteen could say anything so uninteresting to his ancestors, a youth of nineteen should publish it.

      Shades of heroes farewell! your descendant, departing

       From the seat of his ancestors, bids you, adieu! etc., etc.

      Lord Byron should also have a care of attempting what the greatest poets have done before him, for comparisons (as he must have had occasion to see at his writing-master's) are odious. Gray's ode on Eton College, should really have kept out the ten hobbling stanzas "on a distant view of the village and school of Harrow." …

      However, be this as it may, we fear his translations and imitations are great favourites with Lord Byron. We have them of all kinds, from Anacreon to Ossian; and, viewing them as school exercises, they may pass. Only why print them after they have had their day and served their turn? …

      It is a sort of privilege of poets to be egotists; but they should "use it as not abusing it"; and particularly one who piques himself (though indeed at the ripe age of nineteen) of being "an infant bard"—("The artless Helicon I boast is youth";)—should either not know, or not seem to know, so much about his own ancestry. Besides a poem on the family seat of the Byrons, we have another on the self same subject, introduced with an apology, "he certainly had no intention of inserting it"; but really, "the particular request of some friends," etc., etc. It concludes with five stanzas on himself, "the last and youngest of a noble line." There is a good deal also about his maternal ancestors, in a poem on Lachin-y-gair, a mountain where he spent part of his youth, and might have learnt that a pibroch is not a bagpipe, any more than a duet means a fiddle. …

      But whatever judgment may be passed on the poems of this noble junior, it seems we must take them as we find them, and be content; for they are the last we shall ever have from him. He is at best, he says, but an intruder into the groves of Parnassus; he never lived in a garret, like thorough-bred poets; and "though he once roved a careless mountaineer in the Highlands of Scotland," he has not of late enjoyed this advantage. Moreover, he expects no profit from his publication; and whether it succeeds or not, "it is highly improbable, from his situation and pursuits hereafter," that he should again condescend to become an author. Therefore, let us take what we can get and be thankful. What right have we poor devils to be nice? We are well off to have got so much from a man of this Lord's station, who does not live in a garret, but "has the sway" of Newstead Abbey. Again we say, let us be thankful; and, with honest Sancho, bid God bless the giver, nor look the gift horse in the mouth.

SYDNEY SMITH ON HANNAH MOORE

       Table of Contents

      [From The Edinburgh Review, April, 1809]

      Caelebs in Search of a Wife; comprehending Observations on Domestic Habits and Manners, Religion and Morals. 2 vols. London, 1809.

      This book is written, or supposed to be written (for we would speak timidly of the mysteries of superior beings), by the celebrated Mrs. Hannah Moore! We shall probably give great offence by such indiscretion; but still we must be excused for treating it as a book merely human—an uninspired production—the result of mortality left to itself, and depending on its own limited resources. In taking up the subject in this point of view, we solemnly disclaim the slightest intention of indulging in any indecorous levity, or of wounding the religious feelings of a large class of very respectable persons. It is the only method in which we can possibly make this work a proper object of criticism. We have the strongest possible doubts of the attributes usually ascribed to this authoress; and we think it more simple and manly to say so at once, than to admit nominally superlunary claims, which, in the progress of our remarks, we should virtually deny.

      Caelebs wants a wife; and, after the death of his father, quits his estate in Northumberland to see the world, and to seek for one of its best productions, a woman, who may add materially to the happiness of his future life. His first journey is to London, where, in the midst of the gay society of the metropolis, of course, he does not find a wife; and his next journey is to the family of Mr. Stanley, the head of the Methodists, a serious people, where, of course, he does find a wife. The exaltation, therefore, of what the authoress deems to be the religious, and the depretiation of what she considers to be the worldly character, and the influence of both upon matrimonial happiness, form the subject of this novel—rather of this dramatic sermon.

      The machinery upon which the discourse is suspended, is of the slightest and most inartificial texture, bearing every mark of haste, and possessing not the slightest claim to merit. Events there are none; and scarcely a character of any interest. The book is intended to convey religious advice; and no more labour appears to have been bestowed upon the story, than was merely sufficient to throw it out of the dry, didactic form. Lucilla is totally uninteresting; so is Mr. Stanley; Dr. Barlow still worse; and Caelebs a mere clod or dolt. Sir John and Lady Belfield are rather more interesting—and for a very obvious reason, they have some faults;—they put us in mind of men and women;—they seem to belong to one common nature with ourselves. As we read, we seem to think we might act as such people act, and therefore we attend; whereas imitation is hopeless in the more perfect characters which Mrs. Moore has set before us; and СКАЧАТЬ