Biographia Literaria Part 5

Putting aside the too manifest and too frequent interference of national party, and even personal predilection or aversion; and reserving for deeper feelings those worse and more criminal intrusions into the sacredness of private life, which not seldom merit legal rather than literary chastis.e.m.e.nt, the two princ.i.p.al objects and occasions which I find for blame and regret in the conduct of the review in question are first, its unfaithfulness to its own announced and excellent plan, by subjecting to criticism works neither indecent nor immoral, yet of such trifling importance even in point of size and, according to the critic's own verdict, so devoid of all merit, as must excite in the most candid mind the suspicion, either that dislike or vindictive feelings were at work; or that there was a cold prudential pre-determination to increase the sale of the review by flattering the malignant pa.s.sions of human nature. That I may not myself become subject to the charge, which I am bringing against others, by an accusation without proof, I refer to the article on Dr. Rennell's sermon in the very first number of the EDINBURGH REVIEW as an ill.u.s.tration of my meaning. If in looking through all the succeeding volumes the reader should find this a solitary instance, I must submit to that painful forfeiture of esteem, which awaits a groundless or exaggerated charge.

The second point of objection belongs to this review only in common with all other works of periodical criticism: at least, it applies in common to the general system of all, whatever exception there may be in favour of particular articles. Or if it attaches to THE EDINBURGH REVIEW, and to its only corrival (THE QUARTERLY), with any peculiar force, this results from the superiority of talent, acquirement, and information which both have so undeniably displayed; and which doubtless deepens the regret though not the blame. I am referring to the subst.i.tution of a.s.sertion for argument; to the frequency of arbitrary and sometimes petulant verdicts, not seldom unsupported even by a single quotation from the work condemned, which might at least have explained the critic's meaning, if it did not prove the justice of his sentence. Even where this is not the case, the extracts are too often made without reference to any general grounds or rules from which the faultiness or inadmissibility of the qualities attributed may be deduced; and without any attempt to show, that the qualities are attributable to the pa.s.sage extracted. I have met with such extracts from Mr. Wordsworth's poems, annexed to such a.s.sertions, as led me to imagine, that the reviewer, having written his critique before he had read the work, had then p.r.i.c.ked with a pin for pa.s.sages, wherewith to ill.u.s.trate the various branches of his preconceived opinions. By what principle of rational choice can we suppose a critic to have been directed (at least in a Christian country, and himself, we hope, a Christian) who gives the following lines, portraying the fervour of solitary devotion excited by the magnificent display of the Almighty's works, as a proof and example of an author's tendency to downright ravings, and absolute unintelligibility?

"O then what soul was his, when on the tops Of the high mountains he beheld the sun Rise up, and bathe the world in light! He looked-- Ocean and earth, the solid frame of earth, And ocean's liquid ma.s.s, beneath him lay In gladness and deep joy. The clouds were touched, And in their silent faces did he read Unutterable love. Sound needed none, Nor any voice of joy: his spirit drank The spectacle! sensation, soul, and form, All melted into him; they swallowed up His animal being; in them did he live, And by them did he live: they were his life."

Can it be expected, that either the author or his admirers, should be induced to pay any serious attention to decisions which prove nothing but the pitiable state of the critic's own taste and sensibility? On opening the review they see a favourite pa.s.sage, of the force and truth of which they had an intuitive certainty in their own inward experience confirmed, if confirmation it could receive, by the sympathy of their most enlightened friends; some of whom perhaps, even in the world's opinion, hold a higher intellectual rank than the critic himself would presume to claim. And this very pa.s.sage they find selected, as the characteristic effusion of a mind deserted by reason!--as furnishing evidence that the writer was raving, or he could not have thus strung words together without sense or purpose! No diversity of taste seems capable of explaining such a contrast in judgment.

That I had over-rated the merit of a pa.s.sage or poem, that I had erred concerning the degree of its excellence, I might be easily induced to believe or apprehend. But that lines, the sense of which I had a.n.a.lysed and found consonant with all the best convictions of my understanding; and the imagery and diction of which had collected round those convictions my n.o.blest as well as my most delightful feelings; that I should admit such lines to be mere nonsense or lunacy, is too much for the most ingenious arguments to effect. But that such a revolution of taste should be brought about by a few broad a.s.sertions, seems little less than impossible. On the contrary, it would require an effort of charity not to dismiss the criticism with the aphorism of the wise man, in animam malevolam sapientia haud intrare potest.

What then if this very critic should have cited a large number of single lines and even of long paragraphs, which he himself acknowledges to possess eminent and original beauty? What if he himself has owned, that beauties as great are scattered in abundance throughout the whole book? And yet, though under this impression, should have commenced his critique in vulgar exultation with a prophecy meant to secure its own fulfilment? With a "This won't do!" What? if after such acknowledgments extorted from his own judgment he should proceed from charge to charge of tameness and raving; flights and flatness; and at length, consigning the author to the house of incurables, should conclude with a strain of rudest contempt evidently grounded in the distempered state of his own moral a.s.sociations? Suppose too all this done without a single leading principle established or even announced, and without any one attempt at argumentative deduction, though the poet had presented a more than usual opportunity for it, by having previously made public his own principles of judgment in poetry, and supported them by a connected train of reasoning!

The office and duty of the poet is to select the most dignified as well as "The gayest, happiest att.i.tude of things."

The reverse, for in all cases a reverse is possible, is the appropriate business of burlesque and travesty, a predominant taste for which has been always deemed a mark of a low and degraded mind. When I was at Rome, among many other visits to the tomb of Julius II. I went thither once with a Prussian artist, a man of genius and great vivacity of feeling. As we were gazing on Michael Angelo's MOSES, our conversation turned on the horns and beard of that stupendous statue; of the necessity of each to support the other; of the super-human effect of the former, and the necessity of the existence of both to give a harmony and integrity both to the image and the feeling excited by it. Conceive them removed, and the statue would become un-natural, without being super-natural. We called to mind the horns of the rising sun, and I repeated the n.o.ble pa.s.sage from Taylor's HOLY DYING. That horns were the emblem of power and sovereignty among the Eastern nations, and are still retained as such in Abyssinia; the Achelous of the ancient Greeks; and the probable ideas and feelings, that originally suggested the mixture of the human and the brute form in the figure, by which they realized the idea of their mysterious Pan, as representing intelligence blended with a darker power, deeper, mightier, and more universal than the conscious intellect of man; than intelligence;--all these thoughts and recollections pa.s.sed in procession before our minds. My companion who possessed more than his share of the hatred, which his countrymen bore to the French, had just observed to me, "a Frenchman, Sir! is the only animal in the human shape, that by no possibility can lift itself up to religion or poetry:" when, lo! two French officers of distinction and rank entered the church! "Mark you," whispered the Prussian, "the first thing which those scoundrels will notice--(for they will begin by instantly noticing the statue in parts, without one moment's pause of admiration impressed by the whole)--will be the horns and the beard. And the a.s.sociations, which they will immediately connect with them will be those of a he-goat and a cuckold." Never did man guess more luckily. Had he inherited a portion of the great legislator's prophetic powers, whose statue we had been contemplating, he could scarcely have uttered words more coincident with the result: for even as he had said, so it came to pa.s.s.

In THE EXCURSION the poet has introduced an old man, born in humble but not abject circ.u.mstances, who had enjoyed more than usual advantages of education, both from books and from the more awful discipline of nature. This person he represents, as having been driven by the restlessness of fervid feelings, and from a craving intellect to an itinerant life; and as having in consequence pa.s.sed the larger portion of his time, from earliest manhood, in villages and hamlets from door to door, "A vagrant Merchant bent beneath his load."

Now whether this be a character appropriate to a lofty didactick poem, is perhaps questionable. It presents a fair subject for controversy; and the question is to be determined by the congruity or incongruity of such a character with what shall be proved to be the essential const.i.tuents of poetry. But surely the critic who, pa.s.sing by all the opportunities which such a mode of life would present to such a man; all the advantages of the liberty of nature, of solitude, and of solitary thought; all the varieties of places and seasons, through which his track had lain, with all the varying imagery they bring with them; and lastly, all the observations of men, "Their manners, their enjoyments, and pursuits, Their pa.s.sions and their feelings="

which the memory of these yearly journeys must have given and recalled to such a mind--the critic, I say, who from the mult.i.tude of possible a.s.sociations should pa.s.s by all these in order to fix his attention exclusively on the pin-papers, and stay-tapes, which might have been among the wares of his pack; this critic, in my opinion, cannot be thought to possess a much higher or much healthier state of moral feeling, than the Frenchmen above recorded.

CHAPTER XXII.

The characteristic defects of Wordsworth's poetry, with the principles from which the judgment, that they are defects, is deduced--Their proportion to the beauties--For the greatest part characteristic of his theory only.

If Mr. Wordsworth have set forth principles of poetry which his arguments are insufficient to support, let him and those who have adopted his sentiments be set right by the confutation of those arguments, and by the subst.i.tution of more philosophical principles. And still let the due credit be given to the portion and importance of the truths, which are blended with his theory; truths, the too exclusive attention to which had occasioned its errors, by tempting him to carry those truths beyond their proper limits. If his mistaken theory have at all influenced his poetic compositions, let the effects be pointed out, and the instances given. But let it likewise be shown, how far the influence has acted; whether diffusively, or only by starts; whether the number and importance of the poems and pa.s.sages thus infected be great or trifling compared with the sound portion; and lastly, whether they are inwoven into the texture of his works, or are loose and separable. The result of such a trial would evince beyond a doubt, what it is high time to announce decisively and aloud, that the supposed characteristics of Mr. Wordsworth's poetry, whether admired or reprobated; whether they are simplicity or simpleness; faithful adherence to essential nature, or wilful selections from human nature of its meanest forms and under the least attractive a.s.sociations; are as little the real characteristics of his poetry at large, as of his genius and the const.i.tution of his mind.

In a comparatively small number of poems he chose to try an experiment; and this experiment we will suppose to have failed. Yet even in these poems it is impossible not to perceive that the natural tendency of the poet's mind is to great objects and elevated conceptions. The poem ent.i.tled FIDELITY is for the greater part written in language, as unraised and naked as any perhaps in the two volumes. Yet take the following stanza and compare it with the preceding stanzas of the same poem.

"There sometimes doth a leaping fish Send through the tarn a lonely cheer; The crags repeat the raven's croak, In symphony austere; Thither the rainbow comes--the cloud-- And mists that spread the flying shroud; And sun-beams; and the sounding blast, That, if it could, would hurry past; But that enormous barrier holds it fast."

Or compare the four last lines of the concluding stanza with the former half.

"Yes, proof was plain that, since the day On which the Traveller thus had died, The Dog had watched about the spot, Or by his Master's side: How nourish'd here through such long time He knows, who gave that love sublime,-- And gave that strength of feeling, great Above all human estimate!"

Can any candid and intelligent mind hesitate in determining, which of these best represents the tendency and native character of the poet's genius? Will he not decide that the one was written because the poet would so write, and the other because he could not so entirely repress the force and grandeur of his mind, but that he must in some part or other of every composition write otherwise? In short, that his only disease is the being out of his element; like the swan, that, having amused himself, for a while, with crushing the weeds on the river's bank, soon returns to his own majestic movements on its reflecting and sustaining surface. Let it be observed that I am here supposing the imagined judge, to whom I appeal, to have already decided against the poet's theory, as far as it is different from the principles of the art, generally acknowledged.

I cannot here enter into a detailed examination of Mr. Wordsworth's works; but I will attempt to give the main results of my own judgment, after an acquaintance of many years, and repeated perusals. And though, to appreciate the defects of a great mind it is necessary to understand previously its characteristic excellences, yet I have already expressed myself with sufficient fulness, to preclude most of the ill effects that might arise from my pursuing a contrary arrangement. I will therefore commence with what I deem the prominent defects of his poems. .h.i.therto published.

The first characteristic, though only occasional defect, which I appear to myself to find in these poems is the inconstancy of the style. Under this name I refer to the sudden and unprepared transitions from lines or sentences of peculiar felicity--(at all events striking and original)--to a style, not only unimpa.s.sioned but undistinguished. He sinks too often and too abruptly to that style, which I should place in the second division of language, dividing it into the three species; first, that which is peculiar to poetry; second, that which is only proper in prose; and third, the neutral or common to both. There have been works, such as Cowley's Essay on Cromwell, in which prose and verse are intermixed (not as in the Consolation of Boetius, or the ARGENIS of Barclay, by the insertion of poems supposed to have been spoken or composed on occasions previously related in prose, but) the poet pa.s.sing from one to the other, as the nature of the thoughts or his own feelings dictated. Yet this mode of composition does not satisfy a cultivated taste. There is something unpleasant in the being thus obliged to alternate states of feeling so dissimilar, and this too in a species of writing, the pleasure from which is in part derived from the preparation and previous expectation of the reader. A portion of that awkwardness is felt which hangs upon the introduction of songs in our modern comic operas; and to prevent which the judicious Metastasio (as to whose exquisite taste there can be no hesitation, whatever doubts may be entertained as to his poetic genius) uniformly placed the aria at the end of the scene, at the same time that he almost always raises and impa.s.sions the style of the recitative immediately preceding. Even in real life, the difference is great and evident between words used as the arbitrary marks of thought, our smooth market-coin of intercourse, with the image and superscription worn out by currency; and those which convey pictures either borrowed from one outward object to enliven and particularize some other; or used allegorically to body forth the inward state of the person speaking; or such as are at least the exponents of his peculiar turn and unusual extent of faculty. So much so indeed, that in the social circles of private life we often find a striking use of the latter put a stop to the general flow of conversation, and by the excitement arising from concentred attention produce a sort of damp and interruption for some minutes after. But in the perusal of works of literary art, we prepare ourselves for such language; and the business of the writer, like that of a painter whose subject requires unusual splendour and prominence, is so to raise the lower and neutral tints, that what in a different style would be the commanding colours, are here used as the means of that gentle degradation requisite in order to produce the effect of a whole. Where this is not achieved in a poem, the metre merely reminds the reader of his claims in order to disappoint them; and where this defect occurs frequently, his feelings are alternately startled by anticlimax and hyperclimax.

I refer the reader to the exquisite stanzas cited for another purpose from THE BLIND HIGHLAND BOY; and then annex, as being in my opinion instances of this disharmony in style, the two following: "And one, the rarest, was a sh.e.l.l, Which he, poor child, had studied well: The sh.e.l.l of a green turtle, thin And hollow;--you might sit therein, It was so wide, and deep."

"Our Highland Boy oft visited The house which held this prize; and, led By choice or chance, did thither come One day, when no one was at home, And found the door unbarred."

Or page 172, vol. I.

"'Tis gone forgotten, let me do My best. There was a smile or two-- I can remember them, I see The smiles worth all the world to me. Dear Baby! I must lay thee down: Thou troublest me with strange alarms; Smiles hast thou, sweet ones of thine own; I cannot keep thee in my arms; For they confound me: as it is, I have forgot those smiles of his!"

Or page 269, vol. I.

"Thou hast a nest, for thy love and thy rest And though little troubled with sloth Drunken lark! thou would'st be loth To be such a traveller as I. Happy, happy liver! _With a soul as strong as a mountain river Pouring out praise to th' Almighty giver,_ Joy and jollity be with us both! Hearing thee or else some other, As merry a brother I on the earth will go plodding on By myself cheerfully till the day is done."

The incongruity, which I appear to find in this pa.s.sage, is that of the two n.o.ble lines in italics with the preceding and following. So vol. II. page 30.

"Close by a Pond, upon the further side, He stood alone; a minute's s.p.a.ce I guess, I watch'd him, he continuing motionless To the Pool's further margin then I drew; He being all the while before me full in view."

Compare this with the repet.i.tion of the same image, the next stanza but two.

"And, still as I drew near with gentle pace, Beside the little pond or moorish flood Motionless as a Cloud the Old Man stood, That heareth not the loud winds when they call; And moveth altogether, if it move at all."

Or lastly, the second of the three following stanzas, compared both with the first and the third.

"My former thoughts returned; the fear that kills; And hope that is unwilling to be fed; Cold, pain, and labour, and all fleshly ills; And mighty Poets in their misery dead. But now, perplex'd by what the Old Man had said, My question eagerly did I renew, 'How is it that you live, and what is it you do?'

"He with a smile did then his words repeat; And said, that gathering Leeches far and wide He travell'd; stirring thus about his feet The waters of the Ponds where they abide. `Once I could meet with them on every side; 'But they have dwindled long by slow decay; 'Yet still I persevere, and find them where I may.'

While he was talking thus, the lonely place, The Old Man's shape, and speech, all troubled me In my mind's eye I seemed to see him pace About the weary moors continually, Wandering about alone and silently."

Indeed this fine poem is especially characteristic of the author. There is scarce a defect or excellence in his writings of which it would not present a specimen. But it would be unjust not to repeat that this defect is only occasional. From a careful reperusal of the two volumes of poems, I doubt whether the objectionable pa.s.sages would amount in the whole to one hundred lines; not the eighth part of the number of pages. In THE EXCURSION the feeling of incongruity is seldom excited by the diction of any pa.s.sage considered in itself, but by the sudden superiority of some other pa.s.sage forming the context.

The second defect I can generalize with tolerable accuracy, if the reader will pardon an uncouth and new-coined word. There is, I should say, not seldom a matter-of-factness in certain poems. This may be divided into, first, a laborious minuteness and fidelity in the representation of objects, and their positions, as they appeared to the poet himself; secondly, the insertion of accidental circ.u.mstances, in order to the full explanation of his living characters, their dispositions and actions; which circ.u.mstances might be necessary to establish the probability of a statement in real life, where nothing is taken for granted by the hearer; but appear superfluous in poetry, where the reader is willing to believe for his own sake. To this actidentality I object, as contravening the essence of poetry, which Aristotle p.r.o.nounces to be spoudaiotaton kai philosophotaton genos, the most intense, weighty and philosophical product of human art; adding, as the reason, that it is the most catholic and abstract. The following pa.s.sage from Davenant's prefatory letter to Hobbes well expresses this truth. "When I considered the actions which I meant to describe; (those inferring the persons), I was again persuaded rather to choose those of a former age, than the present; and in a century so far removed, as might preserve me from their improper examinations, who know not the requisites of a poem, nor how much pleasure they lose, (and even the pleasures of heroic poesy are not unprofitable), who take away the liberty of a poet, and fetter his feet in the shackles of an historian. For why should a poet doubt in story to mend the intrigues of fortune by more delightful conveyances of probable fictions, because austere historians have entered into bond to truth? An obligation, which were in poets as foolish and unnecessary, as is the bondage of false martyrs, who lie in chains for a mistaken opinion. But by this I would imply, that truth, narrative and past, is the idol of historians, (who worship a dead thing), and truth operative, and by effects continually alive, is the mistress of poets, who hath not her existence in matter, but in reason."

For this minute accuracy in the painting of local imagery, the lines in THE EXCURSION, pp. 96, 97, and 98, may be taken, if not as a striking instance, yet as an ill.u.s.tration of my meaning. It must be some strong motive--(as, for instance, that the description was necessary to the intelligibility of the tale)--which could induce me to describe in a number of verses what a draughtsman could present to the eye with incomparably greater satisfaction by half a dozen strokes of his pencil, or the painter with as many touches of his brush. Such descriptions too often occasion in the mind of a reader, who is determined to understand his author, a feeling of labour, not very dissimilar to that, with which he would construct a diagram, line by line, for a long geometrical proposition. It seems to be like taking the pieces of a dissected map out of its box. We first look at one part, and then at another, then join and dove-tail them; and when the successive acts of attention have been completed, there is a retrogressive effort of mind to behold it as a whole. The poet should paint to the imagination, not to the fancy; and I know no happier case to exemplify the distinction between these two faculties. Master- pieces of the former mode of poetic painting abound in the writings of Milton, for example: "The fig-tree; not that kind for fruit renown'd, "But such as at this day, to Indians known, "In Malabar or Decan spreads her arms "Branching so broad and long, that in the ground "The bended twigs take root, and daughters grow "About the mother tree, a pillar'd shade "High over-arch'd and ECHOING WALKS BETWEEN; "There oft the Indian herdsman, shunning heat, "Shelters in cool, and tends his pasturing herds "At hoop-holes cut through thickest shade."

This is creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flashed at once upon the eye, as the sun paints in a camera obscura. But the poet must likewise understand and command what Bacon calls the vestigia communia of the senses, the latency of all in each, and more especially as by a magical penny duplex, the excitement of vision by sound and the exponents of sound. Thus, "The echoing walks between," may be almost said to reverse the fable in tradition of the head of Memnon, in the Egyptian statue. Such may be deservedly ent.i.tled the creative words in the world of imagination.

The second division respects an apparent minute adherence to matter- of-fact in character and Incidents; a biographical attention to probability, and an anxiety of explanation and retrospect. Under this head I shall deliver, with no feigned diffidence, the results of my best reflection on the great point of controversy between Mr. Wordsworth and his objectors; namely, on the choice of his characters. I have already declared, and, I trust justified, my utter dissent from the mode of argument which his critics have hitherto employed. To their question, "Why did you choose such a character, or a character from such a rank of life?"--the poet might in my opinion fairly retort: why with the conception of my character did you make wilful choice of mean or ludicrous a.s.sociations not furnished by me, but supplied from your own sickly and fastidious feelings? How was it, indeed, probable, that such arguments could have any weight with an author, whose plan, whose guiding principle, and main object it was to attack and subdue that state of a.s.sociation, which leads us to place the chief value on those things on which man differs from man, and to forget or disregard the high dignities, which belong to Human Nature, the sense and the feeling, which may be, and ought to be, found in all ranks? The feelings with which, as Christians, we contemplate a mixed congregation rising or kneeling before their common Maker, Mr. Wordsworth would have us entertain at all times, as men, and as readers; and by the excitement of this lofty, yet prideless impartiality in poetry, he might hope to have encouraged its continuance in real life. The praise of good men be his! In real life, and, I trust, even in my imagination, I honour a virtuous and wise man, without reference to the presence or absence of artificial advantages. Whether in the person of an armed baron, a laurelled bard, or of an old Pedlar, or still older Leech-gatherer, the same qualities of head and heart must claim the same reverence. And even in poetry I am not conscious, that I have ever suffered my feelings to be disturbed or offended by any thoughts or images, which the poet himself has not presented.

But yet I object, nevertheless, and for the following reasons. First, because the object in view, as an immediate object, belongs to the moral philosopher, and would be pursued, not only more appropriately, but in my opinion with far greater probability of success, in sermons or moral essays, than in an elevated poem. It seems, indeed, to destroy the main fundamental distinction, not only between a poem and prose, but even between philosophy and works of fiction, inasmuch as it proposes truth for its immediate object, instead of pleasure. Now till the blessed time shall come, when truth itself shall be pleasure, and both shall be so united, as to be distinguishable in words only, not in feeling, it will remain the poet's office to proceed upon that state of a.s.sociation, which actually exists as general; instead of attempting first to make it what it ought to be, and then to let the pleasure follow. But here is unfortunately a small hysteron-proteron. For the communication of pleasure is the introductory means by which alone the poet must expect to moralize his readers. Secondly: though I were to admit, for a moment, this argument to be groundless: yet how is the moral effect to be produced, by merely attaching the name of some low profession to powers which are least likely, and to qualities which are a.s.suredly not more likely, to be found in it? The Poet, speaking in his own person, may at once delight and improve us by sentiments, which teach us the independence of goodness, of wisdom, and even of genius, on the favours of fortune. And having made a due reverence before the throne of Antonine, he may bow with equal awe before Epictetus among his fellow-slaves ------"and rejoice In the plain presence of his dignity."

Who is not at once delighted and improved, when the Poet Wordsworth himself exclaims, "Oh! many are the Poets that are sown By Nature; men endowed with highest gifts The vision and the faculty divine, Yet wanting the accomplishment of verse, Nor having e'er, as life advanced, been led By circ.u.mstance to take unto the height The measure of themselves, these favoured Beings, All but a scattered few, live out their time, Husbanding that which they possess within, And go to the grave, unthought of. Strongest minds Are often those of whom the noisy world Hears least."

To use a colloquial phrase, such sentiments, in such language, do one's heart good; though I for my part, have not the fullest faith in the truth of the observation. On the contrary I believe the instances to be exceedingly rare; and should feel almost as strong an objection to introduce such a character in a poetic fiction, as a pair of black swans on a lake, in a fancy landscape. When I think how many, and how much better books than Homer, or even than Herodotus, Pindar or Aeschylus, could have read, are in the power of almost every man, in a country where almost every man is instructed to read and write; and how restless, how difficultly hidden, the powers of genius are; and yet find even in situations the most favourable, according to Mr. Wordsworth, for the formation of a pure and poetic language; in situations which ensure familiarity with the grandest objects of the imagination; but one Burns, among the shepherds of Scotland, and not a single poet of humble life among those of English lakes and mountains; I conclude, that Poetic Genius is not only a very delicate but a very rare plant.

But be this as it may, the feelings with which, "I think of Chatterton, the marvellous Boy, The sleepless Soul, that perished in his pride; Of Burns, who walk'd in glory and in joy Behind his plough, upon the mountain-side"-- are widely different from those with which I should read a poem, where the author, having occasion for the character of a poet and a philosopher in the fable of his narration, had chosen to make him a chimney-sweeper; and then, in order to remove all doubts on the subject, had invented an account of his birth, parentage and education, with all the strange and fortunate accidents which had concurred in making him at once poet, philosopher, and sweep! Nothing, but biography, can justify this. If it be admissible even in a novel, it must be one in the manner of De Foe's, that were meant to pa.s.s for histories, not in the manner of Fielding's: In THE LIFE OF MOLL FLANDERS, Or COLONEL JACK, not in a TOM JONES, or even a JOSEPH ANDREWS. Much less then can it be legitimately introduced in a poem, the characters of which, amid the strongest individualization, must still remain representative. The precepts of Horace, on this point, are grounded on the nature both of poetry and of the human mind. They are not more peremptory, than wise and prudent. For in the first place a deviation from them perplexes the reader's feelings, and all the circ.u.mstances which are feigned in order to make such accidents less improbable, divide and disquiet his faith, rather than aid and support it. Spite of all attempts, the fiction will appear, and unfortunately not as fict.i.tious but as false. The reader not only knows, that the sentiments and language are the poet's own, and his own too in his artificial character, as poet; but by the fruitless endeavours to make him think the contrary, he is not even suffered to forget it. The effect is similar to that produced by an Epic Poet, when the fable and the characters are derived from Scripture history, as in THE MESSIAH of Klopstock, or in c.u.mBERLAND'S CALVARY; and not merely suggested by it as in the PARADISE LOST of Milton. That illusion, contradistinguished from delusion, that negative faith, which simply permits the images presented to work by their own force, without either denial or affirmation of their real existence by the judgment, is rendered impossible by their immediate neighbourhood to words and facts of known and absolute truth. A faith, which transcends even historic belief, must absolutely put out this mere poetic a.n.a.logon of faith, as the summer sun is said to extinguish our household fires, when it shines full upon them. What would otherwise have been yielded to as pleasing fiction, is repelled as revolting falsehood. The effect produced in this latter case by the solemn belief of the reader, is in a less degree brought about in the instances, to which I have been objecting, by the balked attempts of the author to make him believe.

Add to all the foregoing the seeming uselessness both of the project and of the anecdotes from which it is to derive support. Is there one word, for instance, attributed to the pedlar in THE EXCURSION, characteristic of a Pedlar? One sentiment, that might not more plausibly, even without the aid of any previous explanation, have proceeded from any wise and beneficent old man, of a rank or profession in which the language of learning and refinement are natural and to be expected? Need the rank have been at all particularized, where nothing follows which the knowledge of that rank is to explain or ill.u.s.trate? When on the contrary this information renders the man's language, feelings, sentiments, and information a riddle, which must itself be solved by episodes of anecdote? Finally when this, and this alone, could have induced a genuine Poet to inweave in a poem of the loftiest style, and on subjects the loftiest and of most universal interest, such minute matters of fact, (not unlike those furnished for the obituary of a magazine by the friends of some obscure "ornament of society lately deceased" in some obscure town,) as "Among the hills of Athol he was born There, on a small hereditary Farm, An unproductive slip of rugged ground, His Father dwelt; and died in poverty; While He, whose lowly fortune I retrace, The youngest of three sons, was yet a babe, A little One--unconscious of their loss. But ere he had outgrown his infant days His widowed Mother, for a second Mate, Espoused the teacher of the Village School; Who on her offspring zealously bestowed Needful instruction."

"From his sixth year, the Boy of whom I speak, In summer tended cattle on the Hills; But, through the inclement and the perilous days Of long-continuing winter, he repaired To his Step-father's School,"-etc.

For all the admirable pa.s.sages interposed in this narration, might, with trifling alterations, have been far more appropriately, and with far greater verisimilitude, told of a poet in the character of a poet; and without incurring another defect which I shall now mention, and a sufficient ill.u.s.tration of which will have been here antic.i.p.ated.

Third; an undue predilection for the dramatic form in certain poems, from which one or other of two evils result. Either the thoughts and diction are different from that of the poet, and then there arises an incongruity of style; or they are the same and indistinguishable, and then it presents a species of ventriloquism, where two are represented as talking, while in truth one man only speaks.

The fourth cla.s.s of defects is closely connected with the former; but yet are such as arise likewise from an intensity of feeling disproportionate to such knowledge and value of the objects described, as can be fairly antic.i.p.ated of men in general, even of the most cultivated cla.s.ses; and with which therefore few only, and those few particularly circ.u.mstanced, can be supposed to sympathize: In this cla.s.s, I comprise occasional prolixity, repet.i.tion, and an eddying, instead of progression, of thought. As instances, see pages 27, 28, and 62 of the Poems, vol. I. and the first eighty lines of the VIth Book of THE EXCURSION.

Fifth and last; thoughts and images too great for the subject. This is an approximation to what might be called mental bombast, as distinguished from verbal: for, as in the latter there is a disproportion of the expressions to the thoughts so in this there is a disproportion of thought to the circ.u.mstance and occasion. This, by the bye, is a fault of which none but a man of genius is capable. It is the awkwardness and strength of Hercules with the distaff of Omphale.

It is a well-known fact, that bright colours in motion both make and leave the strongest impressions on the eye. Nothing is more likely too, than that a vivid image or visual spectrum, thus originated, may become the link of a.s.sociation in recalling the feelings and images that had accompanied the original impression. But if we describe this in such lines, as "They flash upon that inward eye, Which is the bliss of solitude!"

in what words shall we describe the joy of retrospection, when the images and virtuous actions of a whole well-spent life, pa.s.s before that conscience which is indeed the inward eye: which is indeed "the bliss of solitude?" a.s.suredly we seem to sink most abruptly, not to say burlesquely, and almost as in a medley, from this couplet to-- "And then my heart with pleasure fills, And dances with the daffodils." Vol. I. p. 328.

The second instance is from vol. II. page 12, where the poet having gone out for a day's tour of pleasure, meets early in the morning with a knot of Gipsies, who had pitched their blanket-tents and straw-beds, together with their children and a.s.ses, in some field by the road- side. At the close of the day on his return our tourist found them in the same place. "Twelve hours," says he, "Twelve hours, twelve bounteous hours are gone, while I Have been a traveller under open sky, Much witnessing of change and cheer, Yet as I left I find them here!"

Whereat the poet, without seeming to reflect that the poor tawny wanderers might probably have been tramping for weeks together through road and lane, over moor and mountain, and consequently must have been right glad to rest themselves, their children and cattle, for one whole day; and overlooking the obvious truth, that such repose might be quite as necessary for them, as a walk of the same continuance was pleasing or healthful for the more fortunate poet; expresses his indignation in a series of lines, the diction and imagery of which would have been rather above, than below the mark, had they been applied to the immense empire of China improgressive for thirty centuries: "The weary Sun betook himself to rest:-- --Then issued Vesper from the fulgent west, Outshining, like a visible G.o.d, The glorious path in which he trod. And now, ascending, after one dark hour, And one night's diminution of her power, Behold the mighty Moon! this way She looks, as if at them--but they Regard not her:--oh, better wrong and strife, Better vain deeds or evil than such life! The silent Heavens have goings on The stars have tasks!--but these have none!"

The last instance of this defect,(for I know no other than these already cited) is from the Ode, page 351, vol. II., where, speaking of a child, "a six years' Darling of a pigmy size," he thus addresses him: "Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the Eternal Mind,-- Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find! Thou, over whom thy Immortality Broods like the Day, a Master o'er a Slave, A Present which is not to be put by!"

Now here, not to stop at the daring spirit of metaphor which connects the epithets "deaf and silent," with the apostrophized eye: or (if we are to refer it to the preceding word, "Philosopher"), the faulty and equivocal syntax of the pa.s.sage; and without examining the propriety of making a "Master brood o'er a Slave," or "the Day" brood at all; we will merely ask, what does all this mean? In what sense is a child of that age a Philosopher? In what sense does he read "the eternal deep?" In what sense is he declared to be "for ever haunted" by the Supreme Being? or so inspired as to deserve the splendid t.i.tles of a Mighty Prophet, a blessed Seer? By reflection? by knowledge? by conscious intuition? or by any form or modification of consciousness? These would be tidings indeed; but such as would pre-suppose an immediate revelation to the inspired communicator, and require miracles to authenticate his inspiration. Children at this age give us no such information of themselves; and at what time were we dipped in the Lethe, which has produced such utter oblivion of a state so G.o.dlike? There are many of us that still possess some remembrances, more or less distinct, respecting themselves at six years old; pity that the worthless straws only should float, while treasures, compared with which all the mines of Golconda and Mexico were but straws, should be absorbed by some unknown gulf into some unknown abyss.

But if this be too wild and exorbitant to be suspected as having been the poet's meaning; if these mysterious gifts, faculties, and operations, are not accompanied with consciousness; who else is conscious of them? or how can it be called the child, if it be no part of the child's conscious being? For aught I know, the thinking Spirit within me may be substantially one with the principle of life, and of vital operation. For aught I know, it might be employed as a secondary agent in the marvellous organization and organic movements of my body. But, surely, it would be strange language to say, that I construct my heart! or that I propel the finer influences through my nerves! or that I compress my brain, and draw the curtains of sleep round my own eyes! Spinoza and Behmen were, on different systems, both Pantheists; and among the ancients there were philosophers, teachers of the EN KAI PAN, who not only taught that G.o.d was All, but that this All const.i.tuted G.o.d. Yet not even these would confound the part, as a part, with the whole, as the whole. Nay, in no system is the distinction between the individual and G.o.d, between the Modification, and the one only Substance, more sharply drawn, than in that of Spinoza. Jacobi indeed relates of Lessing, that, after a conversation with him at the house of the Poet, Gleim, (the Tyrtaeus and Anacreon of the German Parna.s.sus,) in which conversation Lessing had avowed privately to Jacobi his reluctance to admit any personal existence of the Supreme Being, or the possibility of personality except in a finite Intellect, and while they were sitting at table, a shower of rain came on unexpectedly. Gleim expressed his regret at the circ.u.mstance, because they had meant to drink their wine in the garden: upon which Lessing in one of his half-earnest, half-joking moods, nodded to Jacobi, and said, "It is I, perhaps, that am doing that," i.e. raining!--and Jacobi answered, "or perhaps I;" Gleim contented himself with staring at them both, without asking for any explanation.

So with regard to this pa.s.sage. In what sense can the magnificent attributes, above quoted, be appropriated to a child, which would not make them equally suitable to a bee, or a dog, or afield of corn: or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they. It cannot surely be, that the four lines, immediately following, are to contain the explanation?

"To whom the grave Is but a lonely bed without the sense or sight Of day or the warm light, A place of thought where we in waiting lie;"-- Surely, it cannot be that this wonder-rousing apostrophe is but a comment on the little poem, "We are Seven?"--that the whole meaning of the pa.s.sage is reducible to the a.s.sertion, that a child, who by the bye at six years old would have been better instructed in most Christian families, has no other notion of death than that of lying in a dark, cold place? And still, I hope, not as in a place of thought! not the frightful notion of lying awake in his grave! The a.n.a.logy between death and sleep is too simple, too natural, to render so horrid a belief possible for children; even had they not been in the habit, as all Christian children are, of hearing the latter term used to express the former. But if the child's belief be only, that "he is not dead, but sleepeth:" wherein does it differ from that of his father and mother, or any other adult and instructed person? To form an idea of a thing's becoming nothing; or of nothing becoming a thing; is impossible to all finite beings alike, of whatever age, and however educated or uneducated. Thus it is with splendid paradoxes in general. If the words are taken in the common sense, they convey an absurdity; and if, in contempt of dictionaries and custom, they are so interpreted as to avoid the absurdity, the meaning dwindles into some bald truism. Thus you must at once understand the words contrary to their common import, in order to arrive at any sense; and according to their common import, if you are to receive from them any feeling of sublimity or admiration.

Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarcely just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest a.n.a.lysis; and yet few as they are, they are exactly those pa.s.sages which his blind admirers would be most likely, and best able, to imitate. But Wordsworth, where he is indeed Wordsworth, may be mimicked by copyists, he may be plundered by plagiarists; but he cannot be imitated, except by those who are not born to be imitators. For without his depth of feeling and his imaginative power his sense would want its vital warmth and peculiarity; and without his strong sense, his mysticism would become sickly--mere fog, and dimness!

To these defects which, as appears by the extracts, are only occasional, I may oppose, with far less fear of encountering the dissent of any candid and intelligent reader, the following (for the most part correspondent) excellencies. First, an austere purity of language both grammatically and logically; in short a perfect appropriateness of the words to the meaning. Of how high value I deem this, and how particularly estimable I hold the example at the present day, has been already stated: and in part too the reasons on which I ground both the moral and intellectual importance of habituating ourselves to a strict accuracy of expression. It is noticeable, how limited an acquaintance with the masterpieces of art will suffice to form a correct and even a sensitive taste, where none but master- pieces have been seen and admired: while on the other hand, the most correct notions, and the widest acquaintance with the works of excellence of all ages and countries, will not perfectly secure us against the contagious familiarity with the far more numerous offspring of tastelessness or of a perverted taste. If this be the case, as it notoriously is, with the arts of music and painting, much more difficult will it be, to avoid the infection of multiplied and daily examples in the practice of an art, which uses words, and words only, as its instruments. In poetry, in which every line, every phrase, may pa.s.s the ordeal of deliberation and deliberate choice, it is possible, and barely possible, to attain that ultimatum which I have ventured to propose as the infallible test of a blameless style; namely: its untranslatableness in words of the same language without injury to the meaning. Be it observed, however, that I include in the meaning of a word not only its correspondent object, but likewise all the a.s.sociations which it recalls. For language is framed to convey not the object alone but likewise the character, mood and intentions of the person who is representing it. In poetry it is practicable to preserve the diction uncorrupted by the affectations and misappropriations, which promiscuous authorship, and reading not promiscuous only because it is disproportionally most conversant with the compositions of the day, have rendered general. Yet even to the poet, composing in his own province, it is an arduous work: and as the result and pledge of a watchful good sense of fine and luminous distinction, and of complete self-possession, may justly claim all the honour which belongs to an attainment equally difficult and valuable, and the more valuable for being rare. It is at all times the proper food of the understanding; but in an age of corrupt eloquence it is both food and antidote.

In prose I doubt whether it be even possible to preserve our style wholly unalloyed by the vicious phraseology which meets us everywhere, from the sermon to the newspaper, from the harangue of the legislator to the speech from the convivial chair, announcing a toast or sentiment. Our chains rattle, even while we are complaining of them. The poems of Boetius rise high in our estimation when we compare them with those of his contemporaries, as Sidonius Apollinaris, and others. They might even be referred to a purer age, but that the prose, in which they are set, as jewels in a crown of lead or iron, betrays the true age of the writer. Much however may be effected by education. I believe not only from grounds of reason, but from having in great measure a.s.sured myself of the fact by actual though limited experience, that, to a youth led from his first boyhood to investigate the meaning of every word and the reason of its choice and position, logic presents itself as an old acquaintance under new names.

On some future occasion, more especially demanding such disquisition, I shall attempt to prove the close connection between veracity and habits of mental accuracy; the beneficial after-effects of verbal precision in the preclusion of fanaticism, which masters the feelings more especially by indistinct watch-words; and to display the advantages which language alone, at least which language with incomparably greater ease and certainty than any other means, presents to the instructor of impressing modes of intellectual energy so constantly, so imperceptibly, and as it were by such elements and atoms, as to secure in due time the formation of a second nature. When we reflect, that the cultivation of the judgment is a positive command of the moral law, since the reason can give the principle alone, and the conscience bears witness only to the motive, while the application and effects must depend on the judgment when we consider, that the greater part of our success and comfort in life depends on distinguishing the similar from the same, that which is peculiar in each thing from that which it has in common with others, so as still to select the most probable, instead of the merely possible or positively unfit, we shall learn to value earnestly and with a practical seriousness a mean, already prepared for us by nature and society, of teaching the young mind to think well and wisely by the same unremembered process and with the same never forgotten results, as those by which it is taught to speak and converse. Now how much warmer the interest is, how much more genial the feelings of reality and practicability, and thence how much stronger the impulses to imitation are, which a contemporary writer, and especially a contemporary poet, excites in youth and commencing manhood, has been treated of in the earlier pages of these sketches. I have only to add, that all the praise which is due to the exertion of such influence for a purpose so important, joined with that which must be claimed for the infrequency of the same excellence in the same perfection, belongs in full right to Mr. Wordsworth. I am far however from denying that we have poets whose general style possesses the same excellence, as Mr. Moore, Lord Byron, Mr. Bowles, and, in all his later and more important works, our laurel-honouring Laureate. But there are none, in whose works I do not appear to myself to find more exceptions, than in those of Wordsworth. Quotations or specimens would here be wholly out of place, and must be left for the critic who doubts and would invalidate the justice of this eulogy so applied.

The second characteristic excellence of Mr. Wordsworth's work is: a correspondent weight and sanity of the Thoughts and Sentiments,--won, not from books; but--from the poet's own meditative observation. They are fresh and have the dew upon them. His muse, at least when in her strength of wing, and when she hovers aloft in her proper element, Makes audible a linked lay of truth, Of truth profound a sweet continuous lay, Not learnt, but native, her own natural notes!

Even throughout his smaller poems there is scarcely one, which is not rendered valuable by some just and original reflection.

See page 25, vol. II.: or the two following pa.s.sages in one of his humblest compositions.

"O Reader! had you in your mind Such stores as silent thought can bring, O gentle Reader! you would find A tale in every thing;"

and "I've heard of hearts unkind, kind deeds With coldness still returning; Alas! the grat.i.tude of men Has oftener left me mourning;"

or in a still higher strain the six beautiful quatrains, page 134.

"Thus fares it still in our decay: And yet the wiser mind Mourns less for what age takes away Than what it leaves behind.

The Blackbird in the summer trees, The Lark upon the hill, Let loose their carols when they please, Are quiet when they will.

With Nature never do they wage A foolish strife; they see A happy youth, and their old age Is beautiful and free!

But we are pressed by heavy laws; And often glad no more, We wear a face of joy, because We have been glad of yore.

If there is one, who need bemoan His kindred laid in earth, The household hearts that were his own, It is the man of mirth.

My days, my Friend, are almost gone, My life has been approved, And many love me; but by none Am I enough beloved;"

or the sonnet on Buonaparte, page 202, vol. II. or finally (for a volume would scarce suffice to exhaust the instances,) the last stanza of the poem on the withered Celandine, vol. II. p. 312.

"To be a Prodigal's Favorite--then, worse truth, A Miser's Pensioner--behold our lot! O Man! That from thy fair and shining youth Age might but take the things Youth needed not."

Both in respect of this and of the former excellence, Mr. Wordsworth strikingly resembles Samuel Daniel, one of the golden writers of our golden Elizabethan age, now most causelessly neglected: Samuel Daniel, whose diction bears no mark of time, no distinction of age which has been, and as long as our language shall last, will be so far the language of the to-day and for ever, as that it is more intelligible to us, than the transitory fashions of our own particular age. A similar praise is due to his sentiments. No frequency of perusal can deprive them of their freshness. For though they are brought into the full day-light of every reader's comprehension; yet are they drawn up from depths which few in any age are privileged to visit, into which few in any age have courage or inclination to descend. If Mr. Wordsworth is not equally with Daniel alike intelligible to all readers of average understanding in all pa.s.sages of his works, the comparative difficulty does not arise from the greater impurity of the ore, but from the nature and uses of the metal. A poem is not necessarily obscure, because it does not aim to be popular. It is enough, if a work be perspicuous to those for whom it is written, and "Fit audience find, though few."

To the "Ode on the Intimations of Immortality from Recollections of early Childhood" the poet might have prefixed the lines which Dante addresses to one of his own Canzoni-- "Canzone, i' credo, che saranno radi Color, che tua ragione intendan bene, Tanto lor sei faticoso ed alto."

"O lyric song, there will be few, I think, Who may thy import understand aright: Thou art for them so arduous and so high!"

But the ode was intended for such readers only as had been accustomed to watch the flux and reflux of their inmost nature, to venture at times into the twilight realms of consciousness, and to feel a deep interest in modes of inmost being, to which they know that the attributes of time and s.p.a.ce are inapplicable and alien, but which yet can not be conveyed, save in symbols of time and s.p.a.ce. For such readers the sense is sufficiently plain, and they will be as little disposed to charge Mr. Wordsworth with believing the Platonic pre- existence in the ordinary interpretation of the words, as I am to believe, that Plato himself ever meant or taught it.

Polla oi ut' anko- nos okea belae endon enti pharetras phonanta synetoisin; es de to pan hermaeneon chatizei; sophos o pol- la eidos phua; mathontes de labroi panglossia, korakes os, akranta garueton Dios pros ornicha theion.

Third (and wherein he soars far above Daniel) the sinewy strength and originality of single lines and paragraphs: the frequent curiosa felicitas of his diction, of which I need not here give specimens, having antic.i.p.ated them in a preceding page. This beauty, and as eminently characteristic of Wordsworth's poetry, his rudest a.s.sailants have felt themselves compelled to acknowledge and admire.

Fourth; the perfect truth of nature in his images and descriptions as taken immediately from nature, and proving a long and genial intimacy with the very spirit which gives the physiognomic expression to all the works of nature. Like a green field reflected in a calm and perfectly transparent lake, the image is distinguished from the reality only by its greater softness and l.u.s.tre. Like the moisture or the polish on a pebble, genius neither distorts nor false-colours its objects; but on the contrary brings out many a vein and many a tint, which escape the eye of common observation, thus raising to the rank of gems what had been often kicked away by the hurrying foot of the traveller on the dusty high road of custom.

Let me refer to the whole description of skating, vol. I. page 42 to 47, especially to the lines "So through the darkness and the cold we flew, And not a voice was idle. with the din Meanwhile the precipices rang aloud; The leafless trees and every icy crag Tinkled like iron; while the distant hills Into the tumult sent an alien sound Of melancholy, not unnoticed, while the stars, Eastward, were sparkling clear, and in the west The orange sky of evening died away."

Or to the poem on THE GREEN LINNET, vol. I. page 244. What can be more accurate yet more lovely than the two concluding stanzas?

"Upon yon tuft of hazel trees, That twinkle to the gusty breeze, Behold him perched in ecstasies, Yet seeming still to hover; There! where the flutter of his wings Upon his back and body flings Shadows and sunny glimmerings, That cover him all over.

While thus before my eyes he gleams, A Brother of the Leaves he seems; When in a moment forth he teems His little song in gushes As if it pleased him to disdain And mock the Form which he did feign While he was dancing with the train Of Leaves among the bushes."

Or the description of the blue-cap, and of the noontide silence, page 284; or the poem to the cuckoo, page 299; or, lastly, though I might multiply the references to ten times the number, to the poem, so completely Wordsworth's, commencing "Three years she grew in sun and shower"-- Fifth: a meditative pathos, a union of deep and subtle thought with sensibility; a sympathy with man as man; the sympathy indeed of a contemplator, rather than a fellow-sufferer or co-mate, (spectator, haud particeps) but of a contemplator, from whose view no difference of rank conceals the sameness of the nature; no injuries of wind or weather, or toil, or even of ignorance, wholly disguise the human face divine. The superscription and the image of the Creator still remain legible to him under the dark lines, with which guilt or calamity had cancelled or cross-barred it. Here the Man and the Poet lose and find themselves in each other, the one as glorified, the latter as substantiated. In this mild and philosophic pathos, Wordsworth appears to me without a compeer. Such as he is: so he writes. See vol. I. page 134 to 136, or that most affecting composition, THE AFFLICTION OF MARGARET ---- OF ----, page 165 to 168, which no mother, and, if I may judge by my own experience, no parent can read without a tear. Or turn to that genuine lyric, in the former edition, ent.i.tled, THE MAD MOTHER, page 174 to 178, of which I cannot refrain from quoting two of the stanzas, both of them for their pathos, and the former for the fine transition in the two concluding lines of the stanza, so expressive of that deranged state, in which, from the increased sensibility, the sufferer's attention is abruptly drawn off by every trifle, and in the same instant plucked back again by the one despotic thought, bringing home with it, by the blending, fusing power of Imagination and Pa.s.sion, the alien object to which it had been so abruptly diverted, no longer an alien but an ally and an inmate.

"Suck, little babe, oh suck again! It cools my blood; it cools my brain; Thy lips, I feel them, baby! They Draw from my heart the pain away. Oh! press me with thy little hand; It loosens something at my chest About that tight and deadly band I feel thy little fingers prest. The breeze I see is in the tree! It comes to cool my babe and me."

"Thy father cares not for my breast, 'Tis thine, sweet baby, there to rest; 'Tis all thine own!--and if its hue Be changed, that was so fair to view, 'Tis fair enough for thee, my dove! My beauty, little child, is flown, But thou wilt live with me in love; And what if my poor cheek be brown? 'Tis well for me, thou canst not see How pale and wan it else would be."

Last, and pre-eminently, I challenge for this poet the gift of Imagination in the highest and strictest sense of the word. In the play of fancy, Wordsworth, to my feelings, is not always graceful, and sometimes recondite. The likeness is occasionally too strange, or demands too peculiar a point of view, or is such as appears the creat