The Prose Works of William Wordsworth Part 26

When a Stranger has walked round a Country Church-yard and glanced his eye over so many brief chronicles, as the tomb-stones usually contain, of faithful wives, tender husbands, dutiful children, and good men of all cla.s.ses; he will be tempted to exclaim in the language of one of the characters of a modern Tale, in a similar situation, 'Where are all the _bad_ people buried?' He may smile to himself an answer to this question, and may regret that it has intruded upon him so soon. For my own part such has been my lot; and indeed a man, who is in the habit of suffering his mind to be carried pa.s.sively towards truth as well as of going with conscious effort in search of it, may be forgiven, if he has sometimes insensibly yielded to the delusion of those flattering recitals, and found a pleasure in believing that the prospect of real life had been as fair as it was in that picture represented. And such a transitory oversight will without difficulty be forgiven by those who have observed a trivial fact in daily life, namely, how apt, in a series of calm weather, we are to forget that rain and storms have been, and will return to interrupt any scheme of business or pleasure which our minds are occupied in arranging. Amid the quiet of a church-yard thus decorated as it seemed by the hand of Memory, and shining, if I may so say, in the light of love, I have been affected by sensations akin to those which have risen in my mind while I have been standing by the side of a smooth sea, on a Summer's day. It is such a happiness to have, in an unkind world, one enclosure where the voice of Detraction is not heard; where the traces of evil inclinations are unknown; where contentment prevails, and there is no jarring tone in the peaceful concert of amity and grat.i.tude. I have been rouzed from this reverie by a consciousness suddenly flashing upon me, of the anxieties, the perturbations, and in many instances, the vices and rancorous dispositions, by which the hearts of those who lie under so smooth a surface and so fair an outside have been agitated. The image of an unruffled sea has still remained; but my fancy has penetrated into the depths of that sea,--with accompanying thoughts of shipwreck, of the destruction of the mariner's hopes, the bones of drowned men heaped together, monsters of the deep, and all the hideous and confused sights which Clarence saw in his dream.

Nevertheless, I have been able to return (and who may _not_?) to a steady contemplation of the benign influence of such a favourable Register lying open to the eyes of all. Without being so far lulled as to imagine I saw in a village church-yard the eye or central point of a rural Arcadia, I have felt that with all the vague and general expressions of love, grat.i.tude, and praise, with which it is usually crowded, it is a far more faithful representation of homely life as existing among a community in which circ.u.mstances have not been untoward, than any report which might be made by a rigorous observer deficient in that spirit of forbearance and those kindly prepossessions, without which human life can in no condition be profitably looked at or described. For we must remember that it is the nature of vice to force itself upon notice, both in the act and by its consequences.

Drunkenness, cruelty, brutal manners, sensuality and impiety, thoughtless prodigality and idleness, are obstreperous while they are in the height and heyday of their enjoyment; and when that is pa.s.sed away, long and obtrusive is the train of misery which they draw after them.

But on the contrary, the virtues, especially those of humble life, are retired; and many of the highest must be sought for or they will be overlooked. Industry, economy, temperance, and cleanliness, are indeed made obvious by flourishing fields, rosy complexions, and smiling countenances; but how few know anything of the trials to which men in a lonely condition are subject, or of the steady and triumphant manner in which those trials are often sustained, but they themselves? The afflictions which peasants and rural citizens have to struggle with are for the most part secret; the tears which they wipe away, and the sighs which they stifle,--this is all a labour of privacy. In fact their victories are to themselves known only imperfectly; for it is inseparable from virtue, in the pure sense of the word, to be unconscious of the might of her own prowess. This is true of minds the most enlightened by reflection; who have forecast what they may have to endure, and prepared themselves accordingly. It is true even of these, when they are called into action, that they necessarily lose sight of their own accomplishments and support their conflicts in self-forgetfulness and humility. That species of happy ignorance, which is the consequence of these n.o.ble qualities, must exist still more frequently, and in a greater degree, in those persons to whom duty has never been matter of laborious speculation, and who have no intimations of the power to act and to resist which is in them, till they are summoned to put it forth. I could ill.u.s.trate this by many examples, which are now before my eyes; but it would detain me too long from my princ.i.p.al subject which was to suggest reasons for believing that the encomiastic language of rural tomb-stones does not so far exceed reality as might lightly be supposed. Doubtless, an inattentive or ill-disposed Observer, who should apply to surrounding cottages the knowledge which he may possess of any rural neighbourhood, would upon the first impulse confidently report that there was little in their living inhabitants which reflected the concord and the virtue there dwelt upon so fondly.

Much has been said in a former Paper tending to correct this disposition; and which will naturally combine with the present considerations. Besides, to slight the uniform language of these memorials as on that account not trustworthy would obviously be unjustifiable.

Enter a church-yard by the sea-coast, and you will be almost sure to find the tomb-stones crowded with metaphors taken from the sea and a sea-faring life. These are uniformly in the same strain; but surely we ought not thence to infer that the words are used of course, without any heartfelt sense of their propriety. Would not the contrary conclusion be right? But I will adduce a fact which more than a hundred a.n.a.logical arguments will carry to the mind a conviction of the strength and sanct.i.ty of those feelings which persons in humble stations of society connect with their departed friends and kindred. We learn from the Statistical Account of Scotland that in some districts, a general transfer of inhabitants has taken place; and that a great majority of those who live, and labour, and attend public worship in one part of the country, are buried in another. Strong and unconquerable still continues to be the desire of all, that their bones should rest by the side of their forefathers, and very poor persons provide that their bodies should be conveyed if necessary to a great distance to obtain that last satisfaction. Nor can I refrain from saying that this natural interchange by which the living inhabitants of a parish have small knowledge of the dead who are buried in their church-yard is grievously to be lamented, wherever it exists. For it cannot fail to preclude not merely much but the best part of the wholesome influence of that communion between living and dead which the conjunction in rural districts of the place of burial and place of worship tends so effectually to promote. Finally, let us remember that if it be the nature of man to be insensible to vexations and afflictions when they have pa.s.sed away, he is equally insensible to the height and depth of his blessings till they are removed from him. An experienced and well-regulated mind, will not, therefore, be insensible to this monotonous language of sorrow and affectionate admiration; but will find under that veil a substance of individual truth. Yet upon all men, and upon such a mind in particular, an Epitaph must strike with a gleam of pleasure, when the expression is of that kind which carries conviction to the heart at once that the author was a sincere mourner, and that the inhabitant of the grave deserved to be so lamented. This may be done sometimes by a naked e.j.a.c.u.l.a.t.i.o.n; as in an instance which a friend of mine met with in a church-yard in Germany, thus literally translated: 'Ah! they have laid in the grave a brave man: he was to me more than many!'

Ach! sie haben Einen Braven Mann begraben Mir war er mehr als viele.

An effect as pleasing is often produced by the recital of an affliction endured with fort.i.tude, or of a privation submitted to with contentment; or by a grateful display of the temporal blessings with which Providence had favoured the deceased, and the happy course of life through which he had pa.s.sed. And where these individualities are untouched upon, it may still happen that the estate of man in his helplessness, in his dependence upon his Maker, or some other inherent of his nature shall be movingly and profitably expressed. Every Reader will be able to supply from his own observation instances of all these kinds, and it will be more pleasing for him to refer to his memory than to have the page crowded with unnecessary quotations. I will however give one or two from an old book cited before. The following of general application, was a great favourite with our forefathers:

Farwel my Frendys, the tyd abidyth no man, I am departed hens, and so sal ye, But in this pa.s.sage the best song I can Is _Requiem Eternam_, now Jesu grant it me.

When I have ended all myn adversity Grant me in Paradys to have a mansion That shedst Thy bloud for my redemption.

This epitaph might seem to be of the age of Chaucer, for it has the very tone and manner of the Prioress's Tale.

The next opens with a thought somewhat interrupting that complacency and gracious repose which the language and imagery of a church-yard tend to diffuse, but the truth is weighty and will not be less acceptable for the rudeness of the expression.

When the bells be mearely roung And the Ma.s.se devoutly soung And the meate merrely eaten Then sall Robert Trappis his Wyffs and his Chyldren be forgotten.

Wherfor Iesu that of Mary sproung Set their soulys Thy Saynts among, Though it be undeservyd on their syde Yet good Lord let them evermor Thy mercy abyde!

It is well known how fond our ancestors were of a play upon the name of the deceased when it admitted of a double sense. The following is an instance of this propensity not idly indulged. It brings home a general truth to the individual by the medium of a pun, which will be readily pardoned for the sake of the image suggested by it, for the happy mood of mind in which the epitaph is composed, for the beauty of the language, and for the sweetness of the versification, which indeed, the date considered, is not a little curious. It is upon a man whose name was Palmer. I have modernized the spelling in order that its uncouthness may not interrupt the Reader's gratification.

Palmers all our Fathers were I a Palmer lived here And travelled still till worn with age I ended this world's pilgrimage, On the blest Ascension-day In the chearful month of May; One thousand with four hundred seven, And took my journey hence to heaven.

With this join the following, which was formerly to be seen upon a fair marble under the portraiture of one of the abbots of St. Albans.

Hic quidem terra tegitur Peccati solvens debitum Cujus nomen non impositum In libro vitae sit inscriptum.

The spirit of it may be thus given: 'Here lies, covered by the earth, and paying his debt to sin, one whose name is not set forth: may it be inscribed in the Book of Life!'

But these instances, of the humility, the pious faith and simplicity of our forefathers, have led me from the scene of our contemplations--a Country Church-yard! and from the memorials at this day commonly found in it. I began with noticing such as might be wholly uninteresting from the uniformity of the language which they exhibit; because, without previously partic.i.p.ating the truths upon which these general attestations are founded, it is impossible to arrive at that state of disposition of mind necessary to make those epitaphs thoroughly felt which have an especial recommendation. With the same view, I will venture to say a few words upon another characteristic of these compositions almost equally striking; namely, the homeliness of some of the inscriptions, the strangeness of the ill.u.s.trative images, the grotesque spelling, with the equivocal meaning often struck out by it, and the quaint jingle of the rhymes. These have often excited regret in serious minds, and provoked the unwilling to good-humoured laughter.

Yet, for my own part, without affecting any superior sanct.i.ty, I must say that I have been better satisfied with myself, when in these evidences I have seen a proof how deeply the piety of the rude forefathers of the hamlet, is seated in their natures; I mean how habitual and const.i.tutional it is, and how awful the feeling which they attach to the situation of their departed friends,--a proof of this rather than of their ignorance or of a deadness in their faculties to a sense of the ridiculous. And that this deduction may be just, is rendered probable by the frequent occurrence of pa.s.sages according to our present notion, full as ludicrous, in the writings of the most wise and learned men of former ages, divines and poets, who in the earnestness of their souls have applied metaphors and ill.u.s.trations, taken either from Holy Writ or from the usages of their own country, in entire confidence that the sacredness of the theme they were discussing would sanctify the meanest object connected with it; or rather without ever conceiving it was possible that a ludicrous thought could spring up in any mind engaged in such meditations. And certainly, these odd and fantastic combinations are not confined to epitaphs of the peasantry, or of the lower orders of society, but are perhaps still more commonly produced among the higher, in a degree equally or more striking. For instance, what shall we say to this upon Sir George Vane, the noted Secretary of State to King Charles I.?

His Honour wonne i'th' field lies here in dust, His Honour got by grace shall never rust: The former fades, the latter shall fade never For why? He was Sr George once but St George ever.

The date is 1679. When we reflect that the father of this personage must have had his taste formed in the punning Court of James I., and that the epitaph was composed at a time when our literature was stuffed with quaint or out-of-the-way thoughts, it will seem not unlikely that the author prided himself upon what he might call a clever hit: I mean his better affections were less occupied with the several a.s.sociations belonging to the two ideas than his vanity delighted with that act of ingenuity by which they had been combined. But the first couplet consists of a just thought naturally expressed; and I should rather conclude the whole to be a work of honest simplicity; and that the sense of worldly dignity a.s.sociated with the t.i.tle, in a degree habitual to our ancestors, but which at this time we can but feebly sympathize with, and the imaginative feeling involved--viz. the saintly and chivalrous name of the champion of England, were unaffectedly linked together: and that both were united and consolidated in the author's mind, and in the minds of his contemporaries whom no doubt he had pleased, by a devout contemplation of a happy immortality, the reward of the just.

At all events, leaving this particular case undecided, the general propriety of these notices cannot be doubted; and I gladly avail myself of this opportunity to place in a clear view the power and majesty of impa.s.sioned faith, whatever be its object: to shew how it subjugates the lighter motions of the mind, and sweeps away superficial difference in things. And this I have done, not to lower the witling and the worldling in their own esteem, but with a wish to bring the ingenuous into still closer communion with those primary sensations of the human heart, which are the vital springs of sublime and pathetic composition, in this and in every other kind. And as from these primary sensations such composition speaks, so, unless correspondent ones listen promptly and submissively in the inner cell of the mind to whom it is addressed, the voice cannot be heard; its highest powers are wasted.

These suggestions may be further useful to establish a criterion of sincerity, by which a writer may be judged; and this is of high import.

For, when a man is treating an interesting subject, or one which he ought not to treat at all unless he be interested, no faults have such a killing power as those which prove that he is not in earnest, that he is acting a part, has leisure for affectation, and feels that without it he could do nothing. This is one of the most odious of faults; because it shocks the moral sense, and is worse in a sepulchral inscription, precisely in the same degree as that mode of composition calls for sincerity more urgently than any other. And indeed where the internal evidence proves that the writer was moved, in other words where this charm of sincerity lurks in the language of a tomb-stone and secretly pervades it, there are no errors in style or manner for which it will not be, in some degree, a recompence; but without habits of reflection a test of this inward simplicity cannot be come at; and as I have said, I am now writing with a hope to a.s.sist the well-disposed to attain it.

Let us take an instance where no one can be at a loss. The following lines are said to have been written by the ill.u.s.trious Marquis of Montrose with the point of his sword, upon being informed of the death of his master, Charles I.:

Great, good, and just, could I but rate My griefs, and thy so rigid fate; I'd weep the world to such a strain, As it should deluge once again.

But since thy loud-tongued blood demands supplies, More from Briareus' hands than Argus' eyes, I'll sing thy obsequies with trumpets' sounds And write thy epitaph with blood and wounds.

These funereal verses would certainly be wholly out of their place upon a tomb-stone; but who can doubt that the writer was transported to the height of the occasion? that he was moved as it became an heroic soldier, holding those principles and opinions, to be moved? His soul labours;--the most tremendous event in the history of the planet--namely, the deluge, is brought before his imagination by the physical image of tears,--a connection awful from its very remoteness and from the slender band that unites the ideas:--it pa.s.ses into the region of fable likewise; for all modes of existence that forward his purpose are to be pressed into the service. The whole is instinct with spirit, and every word has its separate life; like the chariot of the Messiah, and the wheels of that chariot, as they appeared to the imagination of Milton aided by that of the prophet Ezekiel. It had power to move of itself, but was conveyed by cherubs.

--with stars their bodies all And wings were set with eyes, with eyes the wheels Of beryl, and careering fires between.

Compare with the above verses of Montrose the following epitaph upon Sir Philip Sidney, which was formerly placed over his grave in St. Paul's Church.

England, Netherland, the Heavens, and the Arts, The Soldiers, and the World, have made six parts Of n.o.ble Sidney; for who will suppose That a small heap of stones can Sidney enclose?

England hath his Body, for she it fed, Netherland his Blood, in her defence shed: The Heavens have his Soul, the Arts have his Fame, The Soldiers the grief, the World his good Name.

There were many points in which the case of Sidney resembled that of Charles I. He was a sovereign, but of a n.o.bler kind--a sovereign in the hearts of men; and after his premature death he was truly, as he hath been styled, 'the world-mourned Sidney.' So fondly did the admiration of his contemporaries settle upon him, that the sudden removal of a man so good, great, and thoroughly accomplished, wrought upon many even to repining, and to the questioning the dispensations of Providence. Yet he, whom Spenser and all the men of genius of his age had tenderly bemoaned, is thus commemorated upon his tomb-stone; and to add to the indignity, the memorial is nothing more than the second-hand coat of a French commander! It is a servile translation from a French epitaph, which says Weever, 'was by some English Wit happily imitated and ingeniously applied to the honour of our worthy chieftain.' Yet Weever in a foregoing paragraph thus expresses himself upon the same subject; giving without his own knowledge, in my opinion, an example of the manner in which an epitaph ought to have been composed: 'But I cannot pa.s.s over in silence Sir Philip Sidney, the elder brother, being (to use Camden's words) the glorious star of this family, a lively pattern of virtue, and the lovely joy of all the learned sort; who fighting valiantly with the enemy before Zutphen in Geldesland, dyed manfully.

This is that Sidney, whom, as G.o.d's will was, he should therefore be born into the world even to shew unto our age a sample of ancient virtues: so His good pleasure was, before any man looked for it, to call for him again and take him out of the world, as being more worthy of heaven than earth. Thus we may see perfect virtue suddenly vanisheth out of sight, and the best men continue not long.'

There can be no need to a.n.a.lyse this simple effusion of the moment in order to contrast it with the laboured composition before given; the difference will flash upon the Reader at once. But I may say it is not likely that such a frigid composition as the former would have ever been applied to a man whose death had so stirred up the hearts of his contemporaries, if it had not been felt that something different from that nature which each man carried in his own breast was in his case requisite; and that a certain straining of mind was inseparable from the subject. Accordingly, an epitaph is adopted in which the Writer had turned from the genuine affections and their self-forgetting inspirations, to the end that his understanding, or the faculty designated by the word _head_ as opposed to _heart_, might curiously construct a fabric to be wondered at. Hyperbole in the language of Montrose is a mean instrument made mighty because wielded by an afflicted soul, and strangeness is here the order of Nature. Montrose stretched after remote things, but was at the same time propelled towards them; the French Writer goes deliberately in search of them: no wonder then if what he brings home does not prove worth the carriage.

Let us return to an instance of common life. I quote it with reluctance, not so much for its absurdity as that the expression in one place will strike at first sight as little less than impious; and it is indeed, though unintentionally so, most irreverent. But I know no other example that will so forcibly ill.u.s.trate the important truth I wish to establish. The following epitaph is to be found in a church-yard in Westmoreland; which the present Writer has reason to think of with interest as it contains the remains of some of his ancestors and kindred. The date is 1678.

Under this Stone, Reader, inter'd doth lye, Beauty and Virtue's true epitomy.

At her appearance the noone-son Blush'd and shrunk in 'cause quite outdon.

In her concentered did all graces dwell: G.o.d pluck'd my rose that He might take a smel.

I'll say no more: but weeping wish I may Soone with thy dear chaste ashes com to lay.

Sic efflevit Maritus.

Can anything go beyond this in extravagance? yet, if the fundamental thoughts be translated into a natural style, they will be found reasonable and affecting--'The woman who lies here interred, was in my eyes a perfect image of beauty and virtue; she was to me a brighter object than the sun in heaven: G.o.d took her, who was my delight, from this earth to bring her nearer to Himself. Nothing further is worthy to be said than that weeping I wish soon to lie by thy dear chaste ashes.

Thus did the husband pour out his tears.'

These verses are preceded by a brief account of the lady, in Latin prose, in which the little that is said is the uncorrupted language of affection. But, without this introductory communication I should myself have had no doubt, after recovering from the first shock of surprize and disapprobation, that this man, notwithstanding his extravagant expressions, was a sincere mourner; and that his heart, during the very act of composition, was moved. These fantastic images, though they stain the writing, stained not her soul,--they did not even touch it; but hung like globules of rain suspended above a green leaf, along which they may roll and leave no trace that they have pa.s.sed over it. This simple-hearted man must have been betrayed by a common notion that what was natural in prose would be out of place in verse;--that it is not the Muse which puts on the garb but the garb which makes the Muse. And having adopted this notion at a time when vicious writings of this kind accorded with the public taste, it is probable that, in the excess of his modesty, the blankness of his inexperience, and the intensity of his affection, he thought that the further he wandered from Nature in his language the more would he honour his departed consort, who now appeared to him to have surpa.s.sed humanity in the excellence of her endowments.

The quality of his fault and its very excess are both in favour of this conclusion.

Let us contrast this epitaph with one taken from a celebrated Writer of the last century.

_To the memory of_ LUCY LYTTLETON, _Daughter &c. who departed this life &c. aged_ 20._ Having employed the short time a.s.signed to her here in the uniform practice of religion and virtue_.

Made to engage all hearts, and charm all eyes, Though meek, magnanimous; though witty, wise; Polite, as all her life in Courts had been; Yet good, as she the world had never seen; The n.o.ble fire of an exalted mind, With gentle female tenderness combined.

Her speech was the melodious voice of love, Her song the warbling of the vernal grove; Her eloquence was sweeter than her song, Soft as her heart, and as her reason strong; Her form each beauty of the mind express'd, Her mind was Virtue by the Graces drest.

The prose part of this inscription has the appearance of being intended for a tomb-stone; but there is nothing in the verse that would suggest such a thought. The composition is in the style of those laboured portraits in words which we sometimes see placed at the bottom of a print to fill up lines of expression which the bungling Artist had left imperfect. We know from other evidence that Lord Lyttleton dearly loved his wife; he has indeed composed a monody to her memory which proves this, and she was an amiable woman; neither of which facts could have been gathered from these inscriptive verses. This epitaph would derive little advantage from being translated into another style as the former was; for there is no under current; no skeleton or staminae of thought and feeling. The Reader will perceive at once that nothing in the heart of the Writer had determined either the choice, the order or the expression, of the ideas; that there is no interchange of action from within and from without; that the connections are mechanical and arbitrary, and the lowest kind of these--heart and eyes: petty alliterations, as meek and magnanimous, witty and wise, combined with oppositions in thoughts where there is no necessary or natural opposition. Then follow voice, song, eloquence, form, mind--each enumerated by a separate act as if the Author had been making a _Catalogue Raisonne_.

These defects run through the whole; the only tolerable verse is,

Her speech was the melodious voice of love.

Observe, the question is not which of these epitaphs is better or worse; but which faults are of a worse kind. In the former case we have a mourner whose soul is occupied by grief and urged forward by his admiration. He deems in his simplicity that no hyperbole can transcend the perfections of her whom he has lost; for the version which I have given fairly demonstrates that, in spite of his outrageous expressions, the under current of his thoughts was natural and pure. We have therefore in him the example of a mind during the act of composition misled by false taste to the highest possible degree; and, in that of Lord Lyttleton, we have one of a feeling heart, not merely misled, but wholly laid asleep by the same power. Lord Lyttleton could not have written in this way upon such a subject, if he had not been seduced by the example of Pope, whose sparkling and tuneful manner had bewitched the men of letters his contemporaries, and corrupted the judgment of the nation through all ranks of society. So that a great portion of original genius was necessary to embolden a man to write faithfully to Nature upon any affecting subject if it belonged to a cla.s.s of composition in which Pope had furnished examples.

I am anxious not to be misunderstood. It has already been stated that in this species of composition above every other, our sensations and judgments depend upon our opinion or feeling of the Author's state of mind. Literature is here so far identified with morals, the quality of the act so far determined by our notion of the aim and purpose of the agent, that nothing can please us, however well executed in its kind, if we are persuaded that the primary virtues of sincerity, earnestness and a moral interest in the main object are wanting. Insensibility here shocks us, and still more so if manifested by a Writer going wholly out of his way in search of supposed beauties, which if he were truly moved he could set no value upon, could not even think of. We are struck in this case not merely with a sense of disproportion and unfitness, but we cannot refrain from attributing no small part of his intellectual to a moral demerit. And here the difficulties of the question begin, namely in ascertaining what errors in the choice of or the mode of expressing the thoughts, most surely indicate the want of that which is most indispensible. Bad taste, whatever shape it may put on, is injurious to the heart and the understanding. If a man attaches much interest to the faculty of taste as it exists in himself and employs much time in those studies of which this faculty (I use the word taste in its comprehensive though most unjustifiable sense) is reckoned the arbiter, certain it is his moral notions and dispositions must either be purified and strengthened or corrupted and impaired. How can it be otherwise, when his ability to enter into the spirit of works in literature must depend upon his feelings, his imagination and his understanding, that is upon his recipient, upon his creative or active and upon his judging powers, and upon the accuracy and compa.s.s of his knowledge, in fine upon all that makes up the moral and intellectual man. What is true of individuals is equally true of nations. Nevertheless a man called to a task in which he is not practised, may have his expression thoroughly defiled and clogged by the style prevalent in his age, yet still, through the force of circ.u.mstances that have roused him, his under feeling may remain strong and pure; yet this may be wholly concealed from common view. Indeed the favourite style of different ages is so different and wanders so far from propriety that if it were not that first rate Writers in all nations and tongues are governed by common principles, we might suppose that truth and nature were things not to be looked for in books; hence to an unpractised Reader the productions of every age will present obstacles in various degrees hard to surmount; a deformity of style not the worst in itself but of that kind with which he is least familiar will on the one hand be most likely to render him insensible to a pith and power which may be within, and on the other hand he will be the least able to see through that sort of falsehood which is most prevalent in the works of his own time. Many of my Readers, to apply these general observations to the present case, must have derived pleasure from the epitaph of Lord Lyttleton and no doubt will be startled at the comparison I have made; but bring it to the test recommended it will then be found that its faults, though not in degree so intolerable, are in kind more radical and deadly than those of the strange composition with which it has been compared.

The course which we have taken having brought us to the name of this distinguished Writer--Pope--I will in this place give a few observations upon his Epitaphs,--the largest collection we have in our language, from the pen of any Writer of eminence. As the epitaphs of Pope and also those of Chiabrera, which occasioned this dissertation, are in metre, it may be proper here to enquire how far the notion of a perfect epitaph, as given in a former Paper, may be modified by the choice of metre for the vehicle, in preference to prose. If our opinions be just, it is manifest that the basis must remain the same in either case; and that the difference can only lie in the superstructure; and it is equally plain, that a judicious man will be less disposed in this case than in any other to avail himself of the liberty given by metre to adopt phrases of fancy, or to enter into the more remote regions of ill.u.s.trative imagery. For the occasion of writing an epitaph is matter-of-fact in its intensity, and forbids more authoritatively than any other species of composition all modes of fiction, except those which the very strength of pa.s.sion has created; which have been acknowledged by the human heart, and have become so familiar that they are converted into substantial realities. When I come to the epitaphs of Chiabrera, I shall perhaps give instances in which I think he has not written under the impression of this truth; where the poetic imagery does not elevate, deepen, or refine the human pa.s.sion, which it ought always to do or not to act at all, but excludes it. In a far greater degree are Pope's epitaphs debased by faults into which he could not I think have fallen if he had written in prose as a plain man and not as a metrical Wit. I will transcribe from Pope's Epitaphs the one upon Mrs.

Corbet (who died of a cancer), Dr. Johnson having extolled it highly and p.r.o.nounced it the best of the collection.