Famous Reviews, Selected and Edited with Introductory Notes Part 10

ON MATURIN'S "MELMOTH"

[From _The Edinburgh Review_, July, 1821]

_Melmoth, the Wanderer_. 4 vols. By the Author of _Bertram_. Constable & Co. Edinburgh, 1820.

It was said, we remember, of Dr. Darwin's Botanic Garden--that it was the sacrifice of Genius in the Temple of False Taste; and the remark may be applied to the work before us, with the qualifying clause, that in this instance the Genius is less obvious, and the false taste more glaring. No writer of good judgment would have attempted to revive the defunct horrors of Mrs. Radcliffe's School of Romance, or the demoniacal incarnations of Mr. Lewis: But, as if he were determined not to be arraigned for a single error only, Mr. Maturin has contrived to render his production almost as objectionable in the manner as it is in the matter. The construction of his story, which is singularly clumsy and inartificial, we have no intention to a.n.a.lyze:--many will probably have perused the work, before our review reaches them; and to those who have not, it may be sufficient to announce, that the imagination of the author runs riot, even beyond the usual license of romance;--that his hero is a modern Faustus, who has bartered his soul with the powers of darkness for protracted life, and unlimited worldly enjoyment;--his heroine, a species of insular G.o.ddess, a virgin Calypso of the Indian ocean, who, amid flowers and foliage, lives upon figs and tamarinds; a.s.sociates with peac.o.c.ks, loxias and monkeys; is worshipped by the occasional visitants of her island; finds her way to Spain, where she is married to the aforesaid hero by the hand of a dead hermit, the ghost of a murdered domestic being the witness of their nuptials; and finally dies in the dungeons of the Inquisition at Madrid!--To complete this phantasmagoric exhibition, we are presented with sybils and misers; parricides; maniacs in abundance; monks with scourges pursuing a naked youth streaming with blood; subterranean Jews surrounded by the skeletons of their wives and children; lovers blasted by lightning; Irish hags, Spanish grandees, shipwrecks, caverns, Donna Claras and Donna Isidoras, all opposed to each other in glaring and violent contrast, and all their adventures narrated with the same undeviating display of turgid, vehement, and painfully elaborated language. Such are the materials, and the style of this expanded nightmare: And as we can plainly perceive, among a certain cla.s.s of writers, a disposition to haunt us with similar apparitions, and to describe them with a corresponding tumor of words, we conceive it high time to step forward and abate a nuisance which threatens to become a besetting evil, unless checked in its outset.

Political changes were not the sole cause of the rapid degeneracy in letters that followed the Augustan era of Rome. Similar corruptions and decay have succeeded to the intellectual eminence of other nations; and we might be almost led to conclude, that mental as well as physical power, after attaining a certain perfection, became weakened by expansion, and sunk into a state of comparative imbecility, until time and circ.u.mstance gave it a new progressive impetus. One great cause of this deterioration is the insatiable thirst for novelty, which, becoming weary even of excellence, will "sate itself in a celestial bed, and prey on garbage." In the torpidity produced by an utter exhaustion of sensual enjoyment, the Arreoi Club of Otaheite is recorded to have found a miserable excitement, by swallowing the most revolting filth; and the jaded intellectual appet.i.tes of more civilized communities will sometimes seek a new stimulus in changes almost as startling. Some adventurous writer, unable to obtain distinction among a host of compet.i.tors, all better qualified than himself to win legitimate applause, strikes out a fantastic or monstrous innovation; and arrests the attention of many who would fall asleep over monotonous excellence.

Imitators are soon found;--fashion adopts the new folly;--the old standard of perfection is deemed stale and obsolete;--and thus, by degrees, the whole literature of a country becomes changed and deteriorated. It appears to us, that we are now labouring in a crisis of this nature. In our last Number, we noticed the revolution in our poetry; the transition from the lucid terseness and exquisite polish of Pope and Goldsmith, to the rambling, diffuse, irregular, and imaginative style of composition by which the present era is characterized; and we might have added, that a change equally complete, though diametrically opposite in its tendency, has been silently introduced into our prose.

In this we have oscillated from freedom to restraint;--from the easy, natural, and colloquial style of Swift, Addison and Steele, to the perpetually strained, ambitious, and overwrought stiffness, of which the author we are now considering affords a striking exemplification. "He's knight o' the shire, and represents them all." There is not the smallest keeping in his composition:--less solicitous what he shall say, than how he shall say it, he exhausts himself in a continual struggle to produce effect by dazzling, terrifying, or surprising. Annibal Caracci was accused of an affectation of muscularity, and an undue parade of anatomical knowledge, even upon quiescent figures: But the artist whom we are now considering has no quiescent figures:--even his repose is a state of rigid tension, if not extravagant distortion. He is the Fuseli of novelists. Does he deem it necessary to be energetic, he forthwith begins foaming at the mouth, and falling into convulsions; and this o.r.g.a.s.m is so often repeated, and upon such inadequate occasions, that we are perpetually reminded of the tremendous puerilities of the Della Cruscan versifiers, or the ludicrous grand eloquence of the Spaniard, who tore a certain portion of his attire, "as if heaven and earth were coming together." In straining to reach the sublime, he perpetually takes that single unfortunate step which conducts him to the ridiculous --a failure which, in a less gifted author, might afford a wicked amus.e.m.e.nt to the critic, but which, when united with such undoubted genius as the present work exhibits, must excite a sincere and painful regret in every admirer of talent.

Whatever be the cause, the fact, we think, cannot be disputed, that a peculiar tendency to this gaudy and ornate style, exists among the writers of Ireland. Their genius runs riot in the wantonness of its own uncontrolled exuberance;--their imagination, disdaining the restraint of judgment, imparts to their literature the characteristics of a nation in one of the earlier stages of civilization and refinement. The florid imagery, gorgeous diction, and Oriental hyperboles, which possess a sort of wild propriety in the vehement sallies of Antar the Bedoween chieftain of the twelfth century, become cold extravagance and floundering fustian in the mouth of a barrister of the present age; and we question whether any but a native of the sister island would have ventured upon the experiment of their adoption. Even in the productions of Mr. Moore, the sweetest lyric poet of this or perhaps any age, this national peculiarity is not infrequently perceptible; and we were compelled, in our review of his Lalla Rookh, a subject which justified the introduction of much Eastern splendour and elaboration, to point out the excessive finery, the incessant sparkle and efflorescence by which the attention of the reader was fatigued, and his senses overcome. He rouged his roses, and poured perfume upon his jessamines, until we fainted under the oppression of beauty and odour, and were ready to "die of a rose in aromatic pain."

Dryden, in alluding to the metaphysical poets, exclaims "rather than all things wit, let none be there":--though we would not literally adopt this dictum, we can safely confirm the truth of the succeeding lines--

Men doubt, because so thick they lie, If those be stars that paint the Galaxy:--

And we scruple not to avow, whatever contempt may be expressed for our taste by the advocates of the toiling and turgid style, both in and out of Ireland, that the prose works which we have lately perused with the greatest pleasure, so far as their composition was concerned, have been Belzoni's Travels, and Salame's Account of the Attack upon Algiers.

Unable, from their insufficient mastery of our tongue, to rival the native manufacture of stiff and laborious verbosity, these foreigners have contented themselves with the plainest and most colloquial language that was consistent with a clear exposition of their meaning;--a practice to which Swift was indebted for the lucid and perspicuous character of his writings, and which alone has enabled a great living purveyor of "twopenny trash" to retain a certain portion of popularity, in spite of his utter abandonment of all consistency and public principle. If the writers to whom we are alluding will not condescend to this unstudied and familiar mode of communing with the public, let them at least have the art to conceal their art, and not obtrude the conviction that they are more anxious to display themselves than inform their readers; and let them, above all things, consent to be intelligible to the plainest capacity; for though speech, according to the averment of a wily Frenchman, was given to us to conceal our thoughts, no one has yet ventured to extend the same mystifying definition to the art of writing ...

After this, let us no longer smile at the furious hyperboles of Della Crusca upon Mrs. Robinson's eyes. In the same strain we are told of a convent whose "walls sweat, and its floors quiver," when a contumacious brother treads them;--and when the parents of the same personage are torn from his room by the Director of the convent, we are informed that "the rushing of their robes as he dragged them out, seemed like the whirlwind that attends the presence of the destroying angel." In a similar spirit, of pushing every thing to extremes when he means to be impressive, the author is sometimes offensively minute; as when he makes the aforesaid persecuted monk declare, that "the cook had learned the secret of the convent (that of tormenting those whom they had no longer hopes of commanding), and mixed the fragments he threw to me with ashes, hair, and dust;"--and sometimes the extravagance of his phrases becomes simply ludicrous. Two persons are trying to turn a key--"It grated, resisted; the lock seemed invincible. Again we tried with cranched teeth, indrawn breath, and fingers stripped almost to the bone--in vain." And yet, after they had almost stripped their fingers to the bone, they succeed in turning that which they could not move when their hands were entire.

We have said that Mr. Maturin had contrived to render his work as objectionable in the matter as in the manner; and we proceed to the confirmation of our a.s.sertion. We do not arraign him solely for the occasional indecorousness of his conceptions, or the more offensive tone of some of his colloquies, attempted to be palliated by the flimsy plea, that they are, appropriate in the mouths that utter them. Dr. Johnson, as a proof of the total suppression of the reasoning faculty in dreams, used to cite one of his own, wherein he imagined himself to be holding an argument with an adversary, whose superior powers filled him with a mortification which a moment's reflection would have dissipated, by reminding him that he himself supplied the repartees of his opponent as well as his own. In his waking dreams, Mr. Maturin is equally the parent of all the parties who figure in his Romance; and, though not personally responsible for their sentiments, he is amenable to the bar of criticism for every phrase or thought which transgresses the bounds of decorum, or violates the laws that regulate the habitual intercourse of polished society. It is no defence to say, that profane or gross language is natural to the characters whom he embodies. Why does he select such? It may be proper in them; but what can make it proper to us? There are wretches who never open their lips but to blaspheme; but would any author think himself justified in filling his page with their abominations? It betrays a lamentable deficiency of tact and judgment, to imagine, as the author of Melmoth appears to do, that he may seize upon nature in her most unhallowed or disgusting moods, and dangle her in the eyes of a decorous and civilized community. We shall not stop to stigmatize, as it deserves, the wild and flagrant calumnies which he insinuates against three-fourths of his countrymen, by raking in the long-forgotten rubbish of Popery for extinct enormities, which he exaggerates as the inevitable result, rather than the casual abuse of the system, and brands with an intolerant zeal, quite as uncharitable as that which he condemns. These faults are either so peculiar to the individual, or in their nature so obviously indefensible, as to repel rather than invite imitation. But there is another peculiarity in the productions of this gentleman which claims a more detailed notice, because it seems likely to have extensive effects in corrupting others: --we mean his taste for horrible and revolting subjects. We thought we had supped full of this commodity; but it seems as if the most ghastly and disgusting portion of the meal was reserved for the present day, and its most hideous concoction for the writer before us,--who is never so much in his favourite element as when he can "on horror's head horrors acc.u.mulate." He a.s.similates the sluggish sympathies of his readers to those of sailors and vulgar ballad readers, who cannot be excited to an interest in the battle of the Arethusa, unless they learn that "her sails smoaked with brains, and her scuppers ran blood;"--a line which threatens him with formidable compet.i.tors from before the mast. Mere physical horror, unalleviated by an intense mental interest, or redeeming charities of the heart, may possess a certain air of originality, not from the want of ability in former writers to delineate such scenes, but from then-deference to the "_multaque tolles ex oculis_" of Horace; from the conviction of their utter unfitness for public exhibition. There is, however, a numerous cla.s.s of inferior caterers to the public, ready to minister to any appet.i.te, however foul and depraved, if they be once furnished with a precedent; and we foresee an inundation of blood and abomination if they be not awed or ridiculed into silence. We have quietly submitted to these inflictions from two or three distinguished writers, whose talents may extenuate, though they cannot justify, such outrages upon feeling. When regular artists and professors conduct us into their dissecting room, the skill with which they anatomise may reconcile us to the offensiveness of the operation; but if butchers and resurrection-men are to drag us into their shambles, while they mangle human carcases with their clumsy and unhallowed hands, the stoutest spectators must turn from the exhibition with sickness and disgust.

Were any proof wanting that this Golgotha style of writing is likely to become contagious, and to be pushed to a more harrowing extravagance at each successive imitation, Mr. Maturin would himself supply it....

We have omitted this miscreant's flippant allusion to Madame de Sevigne and his own d.a.m.nation, uttered in a spirit which (to use the author's own words upon another occasion), "mingled ridicule with horror, and seemed like a Harlequin in the infernal regions flirting with the furies:"--But we must not forget to mention, as little characteristic touches in this scene of preposterous horrors, that the monster who describes it was also a parricide, and that the female, on whose dying agonies he had feasted, was his only sister! After this appalling extract, we need not pursue our quotations from pages which, as more than one of the personages say of themselves, seem to swim in blood and fire; and we shall conclude with the following pa.s.sage from a dream--

The next moment I was chained to my chair again,--the fires were lit, the bells rang out, the litanies were sung;--my feet were scorched to a cinder,--my muscles cracked, my blood and marrow hissed, my flesh consumed like shrinking leather,--the bones of my leg hung two black withering and moveless sticks in the ascending blaze;--it ascended, caught my hair,--I was crowned with fire,--my head was a ball of molten metal, my eyes flashed and melted in their sockets:--I opened my mouth, it drank fire,--I closed it, the fire was within,--and still the bells rang on, and the crowd shouted, and the king and queen, and all the n.o.bility and priesthood looked on, and we burned and burned! I was a cinder, body and soul, in my dream. II. 301.

These, and other scenes equally wild and abominable, luckily counteract themselves;--they present such a Fee-fa-fum for grown up people, such a burlesque upon tragic horrors, that a sense of the ludicrous irresistibly predominates over the terrific; and, to avoid disgust, our feelings gladly take refuge in contemptuous laughter. Pathos like this may affect women, and people of weak nerves, with sickness at the stomach;--it may move those of stouter fibre to scornful derision; but we doubt whether, in the whole extensive circle of novel readers, it has ever drawn a single tear. The Society for the Suppression of Mendicity has fortunately cleared our streets of the offensive vagrants who used to thrust their mangled limbs and putrid sores into our faces to extort from our disgust what they could not wring from our compa.s.sion:--Be it _our_ care to suppress those greater nuisances who, infesting the high ways of literature, would attempt, by a still more revolting exhibition, to terrify or nauseate us out of those sympathies which they might not have the power to awaken by any legitimate appeal.

Let it not be imagined, from any thing we have now said, that we think meanly of Mr. Maturin's genius and abilities. It is precisely because we hold both in respect that we are sincerely anxious to point out their misapplication; and we have extended our observations to a greater length than we contemplated, partly because we fear that his strong though unregulated imagination, and unlimited command of glowing language, may inflict upon us a herd of imitators who, "possessing the contortions of the Sybil without her inspiration," will deluge us with dull, turgid, and disgusting enormities;--and partly because we are not without hopes that our animadversions, offered in a spirit of sincerity, may induce the Author himself to abandon this new Apotheosis of the old Raw-head-and-b.l.o.o.d.y-bones, and a.s.sume a station in literature more consonant to his high endowments, and to that sacred profession to which, we understand, he does honour by the virtues of his private life.

THE QUARTERLY REVIEW

If Macaulay represents a new _Edinburgh_ from the days of Jeffrey, Brougham, and Sydney Smith, the variety of criticism embraced by the _Quarterly_ is even more startling. There was more malice, and far coa.r.s.er personalities in the early days, and almost continuously while Gifford, Croker, and Lockhart held the reins: it is--almost certainly-- among these three that the responsibility for our "anonymous" group of onslaughts may be distributed. The two earliest appreciations of Jane Austen (from Scott and Whately) offer an interlude--actually in the same period--which positively startles us by the honesty of its attempt at fair criticism and the entire freedom from personality.

Gladstone's interesting recognition of Tennyson, and the "Church in Arms" against Darwin (so ably pleaded by Wilberforce), belong to yet another school of criticism which comes much nearer to our day, though retaining the solemnity, the prolixity, and the _ex cathedra_ a.s.sumption of authority with which all the Reviews began their career; and is singularly cautious in its independence.

WILLIAM GIFFORD

(1757-1826)

Gifford was the editor of the _Quarterly_ from its foundation in February, 1809, until September, 1824, and undoubtedly established its reputation for scurrility. It is probable that more reviews were written, or directly inspired, by him than have been actually traced to his pen; and, in any case, as Leigh Hunt puts it, he made it his business to

See that others Misdeem and miscontrue, like miscreant brothers; Misquote, and misplace, and mislead, and misstate, Misapply, misinterpret, misreckon, misdate, Missinform, misconjecture, misargue, in short Miss all that is good, that ye miss not the court.

Gifford was hated even more than his a.s.sociates; not only, we fear, for his venal sycophancy, but because he had been apprenticed to a shoemaker and never concealed the lowness of his origin. Moreover, "the little man, dumpled up together and so ill-made as to seem almost deformed,"

received from Fortune--

One eye not overgood, Two sides that to their cost have stood A ten years' hectic cough, Aches, st.i.tches, all the various ills That swell the devilish doctor's bills, And sweep poor mortals off.

Scott is almost alone in his generosity towards the learning and industry of an editor who helped to make infamous the t.i.tle of critic.

His original poems (_The Baviad_ and _The Moeviad_) have a certain sledge-hammer merit; and he did yeoman service by suppressing the _Della Cruscans_.

It was Gifford also "who did the butchering business in the Anti-Jacobin." He was far heavier, in bludgeoning, than Jeffrey; while Hazlitt epitomized his principles of criticism with his accustomed vigour:--"He believes that modern literature should wear the fetters of cla.s.sical antiquity; that truth is to be weighed in the scales of opinion and prejudice; that power is equivalent to right; that genius is dependent on rules; that taste and refinement of language consist in _word-catching_."

Gifford's review of _Ford's Weber_ is, perhaps, no more than can be expected of the man who had edited _Ma.s.singer_ six years before he wrote it; and produced a _Ben Jonson_ in 1816 and a _Ford_ in 1827. Of these works Thomas Moore exclaimed "What a canker'd carle it is! Strange that a man should be able to lash himself up into such a spiteful fury, not only against the living but the dead, with whom he engages in a sort of _sciomachy_ in every page. Poor dull and dead Malone is the shadow at which he thrusts his 'Jonson,' as he did at poor Monck Mason, still duller and deader, in his _Ma.s.singer_." Mr. A.H. Bullen, again, remarks of his Ford, "Gifford was so intent on denouncing the inaccuracy of others that he frequently failed to secure accuracy himself.... In reading the old dramatists we do not want to be distracted by editorial invectives and diatribes."

The review of _Endymion_ called forth Byron's famous apostrophe to--

John Keats, who was killed off by one critique Just as he really promised something great, If not intelligible, without Greek Contrived to talk about the G.o.ds of late Much as they might have been supposed to speak.

Poor fellow! his was an untoward fate; 'Tis strange the mind, that very fiery particle, Should let itself be snuff'd out by one article.

It is but just to say, however, that the _Blackwood_ review of the same poem, printed below, was scarcely less virulent; and later critics have scouted the notion of the poet not having more strength of mind than he is credited with by Byron. It is strange to notice that De Quincey found in _Endymion_ "the very midsummer madness of affectation, of false vapoury sentiment, and of fantastic effeminacy"; while one is ashamed for the timidity of the publisher who chose to return all unsold copies to George Keats because of "the ridicule which has, time after time, been showered upon it."

JOHN WILSON CROKER

(1780-1857)

Croker was certainly unfortunate in his enemies, though they have given him immortality. The contemptible Rigby in Disraeli's _Coningsby_ (admittedly drawn from him) is scarcely more damaging to his reputation than the sound, if prejudiced, onslaught of Macaulay's review, of which we find echoes, after twelve years, in the same essayist's Madame D'Arblay. Dr. Hill tells us that he "added considerably to our knowledge of Johnson," yet he was a thoroughly bad editor and had no real sympathy with either the subject or the author of that incomparable "Life": through his essentially low mind. He was not a scholar, and he was inaccurate.

Croker was intimately a.s.sociated with the _Quarterly_ from its foundation until 1857, retaining his bitterness and spite to the year of his death. But he was a born fighter, and never happier than in the heat of controversy. That he secured the friendship of Scott, Peel, and Wellington must go to prove that his political, and literary prejudices, had not destroyed altogether his private character. He is credited with being the first writer to use the word "conservatives" in the _Quarterly_, January, 1830. He was a member of the Irish Bar, M.P. for Dublin, Acting Chief Secretary for Ireland, Secretary of the Admiralty (where his best work was accomplished), and a Privy Councillor.

The veiled sarcasm of his attack on _Sydney Smith_ was only to be expected from a Tory reviewer, and was probably inflamed by that heated loyalty to the Church which characterised his paper.

_Macaulay_ had certainly provoked his retaliation, and we may notice here the same eager partisanship of Church and State, pervading even his personal malice.

JOHN GIBSON LOCKHART

(1794-1854)

It is to be regretted that Lockhart, who is so honourably remembered by his great _Life of Scott_, his "fine and animated translation" of Spanish Ballads, and his neglected--but powerful--_Adam Blair_, should be so intimately a.s.sociated with the black record of the _Quarterly_. He was also a contributor to _Blackwood_ from October, 1817, succeeding Gifford in the editorial chair of Mr. Murray's Review in 1825 until 1853.