Beruflich Dokumente
Kultur Dokumente
STUDIES
-"""
IN
POETRY
AND
CRITICISM
BY
JOHN
(PROFESSOR
OF
CHURTON
ENGLISH OF
LITERATURE
COLLINS
IN THE UNIVERSITY
BIRMINGHAM)
a'xvf Si TraAcyKoroig
fyfdpog
PINDAR
LONDON
GEORGE
BELL
AND
SONS
1905
CHISWICK TOOKS
PRESS: COURT,
CHARLES
CHANCERY
WHITTINGHAM
LANE,
AND
co.
LONDON.
TO
SIR
OLIVER
LODGE,
WHOSE
SYMPATHIES
EXTEND
EVEN
TO
TRIFLES
LIKE
THESE,
THIS
VOLUME
IS
INSCRIBED.
PREFACE
THOUGH
one
the essays
here
collected
in current
have,
with
exception,
appeared
and
they are not reviews, merely have been have two one or them much enlarged, been almost been carefully re-written all have and Though the revised. subjectsof which they treat
are
I venture to hope that a certain unity various, in them, from be discerned an enmay arising deavour both to criticism regard and poetry more is at present The first the fashion. than seriously
seems
itself almost into universally impressions, loose record of personal a the second be regarded little more to as a than medium of degradation into aesthetic trifling. In the wretched
to
be
resolving
which
all
sense
fallen
we
seem
to
be losing
to
importance
once
attached
them,
scholars poets and something In the essay on Longinus more an than aesthetes. has, therefore, been made to recall criticism attempt to its old sources and traditions, and thus to illustrate
when
how,
rest
if it is to
on
be what
far
more
to
be, it must
than
and
vii
viii
So,
too,
PREFACE
in the essay
on
the True
Functions
I have
once
were
ventured
truisms,
to
re-state
and will
bring
now
but
what
appear
and
to
too
How
many"paradox and extravagance. far my estimates of the poets whom review I know not, in will recommend but this I should
not
were
I have
to
passed
themselves
will
even
be
mistaken
they than
Such
estimates,
to
those
I
can
critic
to
no
entitled
possess,
far
more
authority
must
be
approximation
pretend have
be attempted. they should well-weighed can be the literary product age of each thus only the balance at last proved,
sifted and
adjusted.
of the North the articles
to
My
thanks
are
due
to
the
proprietors
use
American
on
Review Poets
the
and
Mr.
on
John
Long-
Murray inus
for permission
Quarterly
the
editor
of the
Contemporar
for permission to reproduce that Massey; on to the editor the poetry of Mr. Gerald for allowing Review and proprietor of the National Myths. The original me the use of that on Miltonic Watson's Mr. William on sketch of the essay poetry appeared has been much
The Poetry has
not
in the
Westminster
Gazette,
almost
but
it
enlarged
and,
indeed,
rewritten
Functions
of
CONTENTS
PAGE
POETRY
AND
POETS
OF
AMERICA
...
COLLECTED COLLECTED
WORKS
POEMS
OF
LORD MR.
BYRON
78
OF
WILLIAM
124
MR.
AND
GERALD
THEIR
MASSEY AUTHORS
....
142
MYTHS
AND
167 204
263 293
GREEK
CRITICISM
OF
FUNCTIONS
POETRY
....
APPENDIX
INDEX
297
IX
ERRATA
Page
205,
214,
for for
Gerald
Walton Kames'
read read
read Hall
Gerard.
Wotton. Kames's.
2ig,for
297,
for
William
read
John
Hall.
ESSAYS
i
THE
POETRY
AND
POETS
OF
AMERICA
r
I AHERE
J_
the editor of the Golden Treasury by an American lady was asked supplement American
of English
he
Poetry
why Golden
did
not
Treasury he who
of
exclaimed
are
Poetry!"
' '
with your
"we was
a
surprise.
Why,
fair as it was
not
it
seems
one;
review only
too
of American
the
"
is necessarily
to, we
with
others
on
referred
relation of those others to the on the essential patriarchs of Anglo-Saxon song finds expression in the all of what unity of almost in poetry of England and in the poetry of America,
strongly
the
"
inspires
both,
forms inown
great
as
war,
that in
Roundheads
at
Cavaliers
and
at
other
Marston
POETRY
on
AND
CRITICISM
in another sphere. hemiof both drawn, was till not sheathed independent. and America
forced
England What
Atlantic
elements
was
followed,
followed
with
inevitably.
and
With
the
intervening,
the Puritan
republican
in overwhelming
potentialities
much the
that Mother
a
was
ascendency, with colossal development, of expansion with and irreconcilable to subordination with itself, reunion rapidly defining flag, even had it been desired, became But,
Country
under
common
impossible.
if the years,
effect of
to
the
great
alienate, and to if it sowed the seeds of all that has since canker; mutual mistrust and jealousy, from resulted from conflicting interests, from rival aims and competitive
schism
was,
during
many
never
"
common
creeds language,
O
Englishmen
and
are
political of
a
well
common
religious, literature.
as
of
! in hope tongue
our
and
In blood
We And Are
"
creed, brothers !
;
too
Cromwell's
deed
not
mother's.
water,"
Thicker Through
than
in
one
rill
Our We
centuries of story Saxon blood has flowed, and still share with you its good and ill, The and the glory. shadow and length is
Joint heirs
Nor Your The
kinsfolk,
of years
leagues
can
of
us
wave
:
part and
right
common
ours
to shrine
grave,
The
POETRY
AND
POETS
gave
OF
AMERICA
In these words,
which
Whittier
perhaps
appealed generally
fifty years than ago they do to-day ; but to-day and for all time will they find response, in will they be very creed, wherever,
countrymen
our
fellow
mutual In
the
prevail. of America
in
by
regarding
and
tacitly, comparisons
it necessarily which do it justice. For by such possibly focus of criticism is deranged. whole
more
it is reasonable disto expect, appointe are and for which find much our ; we criteria are insufficient, and And are the English perplexed.
than
done justice to the poetry not assuredly Our leading critics have always regarded as the Greek the critics regarded much
; for what
was
indigenous them
in
from
what
reminded
their
own
about
artists they turned with contemptuous The silence of Dionysius and Longinus erature litare the glory of Roman the poems which
of indiffere
is not
of Arnold,
to the silence only exactly analogous Pater, and their schools about the poems literature, but the pride of Transatlantic
the
same
causes.
Where
originality
not
existed,
them
it
was
originality
which
did
appeal
to
; where
with
which
comparison with the genius and art familiar, and from which they were their
4
own
POETRY
touchstones
or
AND
CRITICISM
and
challenged it was
could instituted, and inferiority stood from Horace A Greek expected who what in Sappho and Pindar, and an Englishman from Bryant
and
Longfellow
Wordsworth
being Horace,
poets. Two
for
is
true
and
Bryant
and
have
Longfellow
are
to the estimation contributed underAmerican in England, of poetry and for I fear, one the Americans are, themselves of them I mean has unthe prominence responsible. which happily
other
causes
been
given
to
and
inferior, sometimes
what by
by
eulogy,
and
sometimes
of
the
of balance
wherever
Ballads and political songs, question. for the bellman, described "worthy are as
taeus
"
of Tyr-
; lyrics and
other
any
poems
other
which
praised
to
in terms
would
applied could
the
poetry
Stedman the name mention without knowledge respect for his immense and his catholic but I venture to think that the scale on taste; which has been his justly is planned celebrated Anthology
signally
"
of great of Mr.
POETRY
race
AND
POETS
OF
AMERICA
Most
poetry. something
with
the tomes
which
the weary
does
degree
of
mensely im-
and
over
mediocrity distinction.
Stedman
forbear
had
no
material for a charming volume. it is, his collection is only likely to confirm the which
cause
it
was
his idea
to
correct.
in England,
not to
to the what appeals The Raven multitude. and The Bells are anything but typical of the peculiar but The genius of Poe; Raven The Bells have overshadowed everyand thing he has written in verse. Neither else which
to
in relation
Bryant
most
nor
Whittier
has
fared
in them
almost in the
is any better; what has been most popular. is most entirely on what
broadly
Biglow
Papers.
Holmes
is associated
Shay,
Heathen
the
one
as
trifles like The One Horse with comical Bret Harte is with Truthful James and The
Chinee.
has
been
described
and
as
Classes,"
Nor
that
is this
every all. In
in many more than we suspect, by the aggressive eccentricities his school, on the one hand, and
of
the
school
of
Joaquin
POETRY
on
CRITICISM
so
Miller,
impression
predominated
masters
over
the
true
own
nation,
has
not
done
tice jus-
of that poetry, a brief sketch of its prelude ; for origin and early history is a necessary its characteristics to be traced to conditions are and its articulate expreslong preceding circumstances sion.
a
To
survey
Schiller, in
austerities amid and
severe
famous
lyric, has
muse
described
was
the
which
the German
cradled
attributed its lofty spirit to their but austerities sterner temstill pered
of the American
muse.
Golden
had
Age
just
and
the
at
Bacon
landed
Jamestown.
Michael
Drayton
would hundred
was
Godspeed, bade had them ode and his blessing a that the New prophecy its bards. But upwards not be without
and
even
sixty years
partially
prophecy those
to
years,
it would
more
more
be scarcely
possible
to
to
conceive
conditions
poetry,
or
unpropitious
propitious
to
the
the
production development
of of
those
heroic
which "character,"
virtues substratum
as
of poetry
itself. The
frag-
POETRY
ment
AND
POETS
OF
AMERICA
of Captain
of Percy, and
Smith
and
which
came
John
storm
record
the
stress
of the early part of this period, the period Then the settlement of Virginia. witnessed of the Pilgrim Fathers,
the landing
and, amid
hardships
foundation
the preceding and ensuing, unspeakable, With Plymouth. the foundation of New
followed, began the history of Massachusetts which in the establishment of all that is implied and involved
and South,
constitution also, there had
England.
same
In
the The
activity.
colonization foundation
of Virginia of Maryland
Delaware,
been
Round
Bays, All
the
Chesapeake
the Middle
been
States had
a
this had
work
every
man's
energy,
and
the
uttermost
powers
of effort and
to
to
be
endurance. be drained
Forests
; the
had
savage
lives
at to
bay.
Carrying
their
hands,
inured forms,
severest
lived daily
face
to
face with
the grimmest
realities of life. The toil of the pioneer accomplished, less arduous other toils not and incessant awaited in the duties incumbent fant on the citizens of inthem
States, the duties of the builder, the agriculturist, came the legislator. Then the wars with the Indians. Incessantly harassed by the raids of these murderous
enemies,
on the watch always in 1637 they brought
to a
women
climax, and
by the annihilation
of the Pequots,
of almost
men,
children,
scene
unparalleled
POETRY
AND
CRITICISM
was
horror.1
Still
more
terrible
the
second
war
in
1674, which
was
lasted two
overrun
towns
of military age either of the men killed outright, or dragged of agony off to a death by torture.2 Nothing in history is more thrilling than
some us
Massachusetts
eighty and
ten
of the
in the
contemporary
midst of these Fathers of Virginia and In this iron school was of those
must
we
place of the
England.
the character of American to create these the
men
tempered
were
who
Nor
forget who
mixed
was
originally
However
in the
population
of
the
States
South
that
and England
"
of the
were
middle
group,
Englishmen
first emiThe grants of a peculiar type. faction had quitted Europe because of their dissatislished with the regulations and ritual of the EstabThe between Church. successive emigrants
1640
1630
and
consisted
despairing of of those who, and civil liberty under Charles I, in impatient Country tion, indignathey
desired
in
community
of opinion, in England,
these had
a
men,
common
convictions
the Bible
1
and
and
rule,
Poets
See
and
2
Settler, Griswold's
of
See
Dwight's
poem.
POETRY
they
AND
POETS
OF
AMERICA
in its precepts and in its examples all sought that they desired to learn and all that they aspired did, almost become. Almost to they everything its its ply and they took everything meditated, from But the this enthusiasm. colour gracious Testament to philanthropy appealed of the New them Here far less than they which, the sterner
teachings
the
found
for justification
with they
creed, ranked
with which for the many forced upon
so
the enemies regarded of God, and deeds doubt, no were, ruthless which but which to have them, them cost appear
little
compunction.
on
And
here, too,
were
they found
which
their lives
fashioned,
since
a
the
so
sense
days
in their great Task-master's in the sense such sustainment of duty in simple faith. To
enter
Chosen opened
People. and
of the
Next prayer. with his parents, next child's eyes, stood and irreverence his elders. Frivolity, parents, closed unknown,
expression,
a
meal, in a to God,
to
were
his
most altheir
and
anything
or
approaching
act,
was
to
either
in word
set
down
with
to the offence. out of proportion severity strangely To be abstemious the truth at chaste, to speak and
any
cost
and
under
any
stress,
to
regard
gauds
with and the world's honours to repatient in tribulation and sober in prosperity, cognize in conscience the veritable voice of the Al-
io
POETRY
and
the
AND
CRITICISM
that
voice
essence
mighty
man's
paramount
as
of the
cast.
Public
was
life had
a
the
same
theocracy.
At
the
Christian
been
Supper.
centre
did
an
Church
those
asylum of England
who
becoming
aristocrats, the temper
as
it
and of
society
and
it presented cona trast composed remarkable But, mighty to all this. as the part has been Virginia has played in politics, in war, which and in commerce, factor in the spiritual no she has been
intellectual life of America, and her austerer its bent from sons
was which in the North.
to
take
Thus
was
from inherited was produced, partly what from their forefathers, and partly from what the result of the long probation and discipline
was
of those this
iron
times,
never
race seen.
of
men
world
has
which
they
or
have on all who made has been contributed, all which in literature, to the glory of
have
in every great has sucin every great soldier who ceeded and in the Western World, from them whether
trace
or
We
their lineaments
the
South
from their
the
North.
Their
purity,
ardour
their of
earnestness,
their
love
of
sense
profound
permeate,
or
responsib
permeate,
POETRY
at
AND
POETS
every
prose,
OF
AMERICA
least colour, almost both in verse or their where the light had
Even
theology faded
out
appeal,
and Puritan
of Puritan
orthodoxy,
still prevailed.
were
and
Hawthorne
as
as
essentially the offspring of these men Hooker Thomas Bradford were and When poetry awoke,
William
their it
was
and
representatives. long
it awoke, it was it. their soul which suffused Their soul has suffused it ever since. To the influence of these silent forefathers, American
before
poetry in
common
"
owes
its distinguishing
with the
notes
"
it has them
No
many characteristic poetry of Gerits simplicity, its purity, its wholesomeness. American dared, or perhaps even poet has ever
to
do
what,
to
the
shame
so
their by
O
poets Dryden:
have
oft have
we
Made Debas'd
and
obscene
impious
We
in vain
through for
a
song
one
merit,
with
exception
who
is
an
exception or over
in
blasphemy, impurity But
everything,
or
glorifying
to
animalism
a
attempting vice.
to
so
throw
glamour
and the
to
men owe
whom
much
poetry
as
was
directl inhave
came
been
over
nothing
more
might There
than
distinguished
scholar,
12
POETRY
many who
AND
were,
CRITICISM
or men, were
and
either
eminence;
to
become,
theologians
of
too,
full
of
enthusiasm
for education, her America to whom owes first schools, her first libraries, her first university; but no one, with the solitary exception of George
Sandys, Nor
was
who
carried
in him
the seeds
of poetry.
the establishment
the period
which
succeeded
to more of the new communities propitious literary activity. friction with England, Constant constant chiefly in connection with the royal governors, disputes among boundaries, the States about
and these
with
were
the
aborigines
about
their
affairs
the
"
coalition
French
and
allies
momentous
in the
Canada
the
subjection
the
afterwards
which
followed
transformed
congeries
into a mighty of scattered communities nation, and for a time except which effectually hushed everything the voice of the orator, the tumult of debate,
the
roar
of
cannon,
and That
the
myriad
clamour
popular
press. story
no
it is
to
story Englishman To
were
need
will it was
not
ever
be
love
tell
or
America,
temporarily
permanently, to its
and
and
event not
single
in relation and its lessons, it is perhaps the in the history of mankind. subsequent,
That
it should
have
awakened
the
American
POETRY
muse
AND
at
POETS
OF
AMERICA
13
seems
every
spring
celebrated
which
surpass
in im-
the scenes pressiveness and picturesqueness which America between ized witnessed 1775 and 1782, or idealheroes of nobler and grander than moral temper
most
of those
who
shaped
the destinies
crisis. Still lyric, still epic, still poetry in every form of its genuine But, if we expression, slept. reflect, has admirWordsworth this need not surprise us. ably defined poetry as emotion quillity. recollected in tran-
World
at that
tremendous
history seldom make who write it, itself in action, it has so, poetry is expressing when The itself in words. little need to express ments achieveAmerica of those who welded and character
men
As
into
nation
were
of
piece with
ally origin-
the several preserved Both to were works communities every and in which every citizen contributed, which interest. As a rule, the absorbing citizen took
fashioned,
Puritan
for it.
despised
Hymns
indeed, paraphrases, he tolerated, patronized, and, if he had the ability, it went beyond these it became ; but when produced
vanity, need when what and his
to
when
he had
leisure
sympathy
inspire,
with
it ceased.
What
of poetry
the voice of Duty, when Of Himself, was the voice of God calling? " live battle odes, the tribute of song to worth
14 whose
mere
POETRY
lines
were
AND
CRITICISM
fire";
to
steel and
appreciation
so
the
so
homage
of
aesthetic
virtues
practical,
another
to
achievements
real?
But
there
one,
was
the chief perhaps and The triumph of the of song. have statesman could seemed
reason,
silence of the
to
warrior
no
triumph
the
all that Athens, all that in ancient had been to his brethren times, est reverence, the objectof his profoundest of his fondhome of the lords of affection, the consecrated poet. Rome,
To
him
England
was
his dear.
art,
fraught inexpressibly memories and with thing, NoBefore, an now an exile, he was alien. be more than that this rethen, can natural volutio have failed to awaken poetry. should poetry the Revolution which likely to be inspired
could
not
The
spire in-
was
not
by
immediately
between
succeeded.
The is the
annals.
period history of
history
the
1782
distracted
was
of
was
All
fever, all
away, the the
tumult.
The had
new
world
fierce
conflicts
between
Federalists
and
mocrats De-
her central perplexed councils, Republic into hostile camps, dividing the whole feuds and disputes kept the to themselves peculiar The States in constant turmoil. separate alliance
tore
and
instead of conducing England, to permanent against harmony, the effect of aggraseemed only to have vating To distractions their differences. all these
were
added
the distractions
with that
involved
by
America's
of which with
European lighted by
by
relations
the
POETRY
with 1814
AND Britain.
epoch
POETS
The
OF
AMERICA
of that history,
war
15
in it
Great
termination
in American
but
her
the period which witnessed for she in the historical Poetry, not but in the true sense much produced
" "
of the
term.
Nothing have
from
come
more
deplorable
to us
than
the
verses
which
down
from
the ante-Revolutionary
They
of the Psalms, consist chiefly of paraphrases in such doggerel as the Bay such as find expression Psalm-Book, poems and of miscellaneous of descriptive trifles of
a
serious
cast,
and
were
generally
speaking, and
of
Puritan
divines,
They governors. for to settle the reladismissed ceremony; tive without between Benjamin of worthlessness proportion " Michael WigglesByles, Thomson, punning"
scribbling
"
worth,
of the
who, lungs,
when
unable
to
preach
by
an
affection
laborious worthy
our
rhymes
regard,"
Nathaniel
"mirror
was, we
Evans
and
Mrs.
as,
a
Anne
Bradstreet,
the
find
ways, would
a
in their several of versifiers who, Such rise to the dignity of mediocrity. almost his career be John Trumbull, began who with group
bearing the ominous title of the Progress poem of McFingal is but Dulness, a very respectable whose imitation of Hudibras, original touches containing
not
unworthy
of its model.
Timothy
Dwight,
who,
16 under Pope,
POETRY
the guise
sometimes in another
AND
CRITICISM
echoes of independence, sometimes but Beattie, sometimes Cowper, strain produced long endeared in one of his
a
who Columbia,
spirited
name
lyric
to
which
his
his
quest The Conpoems, an epic in eleven books, stumbled of lines which a few on pleased Cowper.1 No such exploit enlivens the intolerable epic and intolerable heroic, the Columthe still more mock
biad and Hasty Pudding, first of which
he certainly
in of
the
som-
Blackmore. Nor can own niferousness with our thing anybe said for the smooth of platitudes of Alsop, Honeywood, and of Clifton. One poet only in this his as period had a touch of genius; and he was,
J
Cowper
it was
in the Analytical
Review
when
Co-wper,
"
highly
poetical,"
Now With
are:
Night
in vestments
her
Down
With
And At
to the
hand
becalmed curtain
the solemn
once
At
once
heaven. the spangled her throne : the planets sail'd around in splendour ten thousand shone ; worlds from
car a
Behind
Rose
her from
the
morn's
: and her train sublimely Far up roll, lucid And dance the pole. and triumph round Faint shine the fields beneath the shadowy ray, Slow fades the glimmering ; away of the west
To
sleep
and
murmurs
not
sound
on
Flows
through
the ground.
POETRY
name
AND
POETS
OF
AMERICA
In the too
there
true,
are a
17
voluminous few
implies,
somewhat
and
frail it is
but, like
note
Heights,
There the gathering. worth To Neversink of distinction in the verses Bury ingTo the Dying Indian, The Indian
Honeysucklet
ground,
points
"
"
line
from
which,
as
Professor
Nichol
out,
Campbell
the
verses
and
The
in
sure
never
and
generally
trivial. songs
the
numerous
patriotic
inspired
by
the
struggles Adams
the
with
England
and
rican of AmePaine's
Columbia, and
Key's
lilt,
anonymous
Yankee
are
Man-of-War
not
Star-spangled Banner,
but
owe
without
ring and
To their charm chiefly to their sentiment. higher The one this is due. of them praise than Flag of Joseph Rodman American Drake is effective rhetoric,
true
a
little strained,
perhaps,
but
instinct with
chirps
1
matin in the
Freneau's
By
stanza
moistening
dews
The
hunter Child,
on
the deer
shade.
:
Campbell
writes
His Now
The
o'er
he flits,
a
shade.
i8
POETRY
AND
CRITICISM
our ears are almost quarter of the century, second deafened by the chorus of songsters greet us which from from some on the Southern, all sides, some
the
Middle,
no
some
from
to
the
Northern
States.
to
This progress
was
activity is,
doubt,
be traced
more
the
and
the
there
centres
at
that
poetry
of England
was
studied
natural
with
sympathy
was
the
men
consequence
acquired
verses,
was
the
almost
same
facility in
English far
as
able, indistinguish-
form
concerned,
at
clever
Virgilian elegiacs and As these imitations hexameters. were occasionally by men not merely of talent and of such produced, industry can as acmemory and quire, accomplishments but by men of sensibility, with some of the qualities of genius,
some
from
itself, a spark of genius and even of this poetry, if only just rising above ocrity, mediIt is most ing interestis far from contemptible.
it is touched
moral
when
with what
is essentially
native,
with with
ancestral
the
impressions
character,
tradition,
it differentiates
scenery
with
imitation, models. is perhaps conmost superinduced, spicuous nothing Hillhouse's in concocstilted and wretched tion
in travesty
where Mere
from
Milton,
Young
and
Pollock;
in Sprague's
bombastic of Pope's
Pindarics
and
of the
heroics
not
need
be
specified.
Pierpont,
in
POETRY Brainard,
AND
in
most
POETS
Percival,
we
OF
have
AMERICA
the
most
19
conspicuous
and
and
of comprehensive representatives the last two are the poetry of the best culture, though careless and diffuse in style, while unconscionably
the best poem is too much Wilcox, imitation
notice
of the first, The Sylphs of the Seasons, Carlos Vision. an echo of Burns's
his blank
though
which is intolerable,
verse,
is
bad
deserves
naof ture,
accurate
description
own
closely Richard
Halleck,
Drake
John
Howard
Payne,
of the world-famous
lyric, "Home,
over external ; and they native elements predominate all, in their several ways, assisted the development of the Home school.
Paulding but
his
is better Backwoodsman,
known
descriptions heroics, contains very pleasing musical Carousal his Old Man's scenery, of American and
has
long
Alnwick way;
Castle
while in
Scott,
Burns,
but
servile
his
Drake, his written conjunctionwith de societe and his Fanny vers at least prove vigorous his versatility; but we hardly feel with Whittier can New York," "consecrated that he has that and
ballads
"shady
of Drake,
evidently
showing and
classic ground Flag preserve will long though and his Culprit Fay, influence the blended of
to
street
are
Scott,
Coleridge
Moore
be
entitled
to
the
20
POETRY
AND
CRITICISM
at the time praise of originality, was of considered its appearance Dana's a remarkable production.
wild Monk
poem
the
Buccaneer
struck there
was
new
note
of the
Lewis somewhat
a
of
kind,
Zophiel)
Southey
poetess to be "the
and
the most
imaginative
Of
Landon
the
Hemans
flourishing
this time,
Lydia
stands
Hemans
to
a
Mrs. fashionable It is not to praise alone. in these days ; but I will have the courage that higher praise
say
could
scarcely
be given
to
order than to say, what Sigourney, truth of Lydia that she Mrs. Hemans. Nothing more simply secondary
written
on
ever
than
her
Widow's and
Charge, model
is
if her
threnody
her
mistress
it is both noble and pathetic. ambitious, Nor was Coate Pinkney the South silent. Edward has no he was too to genius, close pretension and in imitation poets; of Byron yet and other English
he
had A
as
very Healthy
on one
lyrics
Song
tremble has
left
Henry Richard Wilde excellence, while lyric, "My Life is Like the Summer
Rose,"
poet
which,
if falsetto, has
one
line which
true
might
On
envy:
that
lone
shore
loud
moans
the
sea.
And
ment, of all this activity and achievecould say in 1835 that America
a
had
produced
single
poet
of
high
order.
POETRY
Certainly,
AND
he could
POETS
not
OF
been
AMERICA
refuted
by
21
have
I have any of the poets of whom have now to a poet who come could to falsify the statement. produced len
citing ; but we
Cul-
Bryant,
her first poet of distinction produced has some to orithe first who pretension ginality Griswold Thanatopsis, tells us that when
America
first characteristic
then
editor
one or
of the
two
and
he consulted critics whom finished and so noble so poem Their written by an American.
increased by
an
not
only
written
learned
but by
American It is
no
of his teens.
to
muse
found
a
called
out
been
haveall Night
been power
been
that
in Young's
Thoughts sounded
and
Ruins he
of
Rome
with
had
more
the note
impressive-
struck
in the
in the
we
sense
peculiarly characteristic of him, is but a variation verse of the This is true only masters. of English in which it is true that, but for Ennius have had Virgil,
should
never
and
that, but
for
his
may by more accurately calling him, in virtue tion, native genius, and not by virtue of imitaof his own Wordsworth"; his relation to the "American
be
in ancient Greece classical predecessors Rome Italy, we never and in modern should Bryant's had Milton. relation to Wordsworth
and have
indicated
22
POETRY
and Dyer, by
AND
CRITICISM
between
what is accidental and what is essential ; and of his blank it may be said, with literal truth, that in strucverse ture it is his own. Nature, and rhythm and Nature
only,
was
Young
distinguishing
and
prophet.
his inspirer and teacher ; and pure and ple simherself was her disciple and as wholesome From his Puritan he had inherited ancestors,
cast
this
some
seriousness; and with all piety, his profound perament, the aesthetic temgood genius had blended him the gifts of the poet. on and bestowed he went
out
And
so
among "the
The
the wonders
and
beauties
of the
New
World,
rolling
prairies,"
The For
unshorn
which
the speech
of England
has
no
name,
under
The
Of
And green, and stirring
thick
roofs
branches
musical
with
birds
that sing
In wantonness
The
squirrel,
Chirps
merrily;
through
the great
solitudes
with
their
Myriads
They
And
....
as the flowers of insects, gaudy flutter over, gentle quadrupeds, have learn 'd the fear of birds that scarce
man,
and Startlingly
or
heard
from
Dim Speak
woods
the aged
past
solemnly;
POETRY
or
AND
on
POETS
OF
AMERICA
23
stood
and
gazed
The
Rock-ribbed Stretching The In and
hills
:
ancient
as
the
sun
the vales
in pensive
woods,
quietness
between:
move
venerable
rivers that
majesty,and
make Ocean's
gray
the complaining
green
brooks
; and,
That Old
or
poured
;
round
all,
melancholy
waste
lay and
A
listened
Earth's
sent
voice:
from from
streams
up
the gloom,
woods
unseen
by
the
of the tides of air, darkness dwells chasms where all day, of the great invisible hills, sweeping
that edge
the Ocean,
stretching
far
Into
the night.
In
his nature
times
stanzas
an
almost of The
Whither,
While Far, Thy Vainly Might As, darkly
'midst glow
falling dew,
through
with depths,
flight to do
thee
wrong,
Thy
sky,
And
one:
how
fine
are
next
stanza
but
There
is
Power,
whose
care
Teaches The
desert
coast,
Lone
-wandering,
And ecstasy
The which
Gladness
of
Nature
"
it describes.
24 Maids"
POETRY
AND
CRITICISM
worth, a littletoo us closely of Wordsmay remind but this exquisite lyric, as well as The Evening Wind, have been by one only could written Nature had
whom the
most
initiated.
Mr.
Stedman
"elemental
quality"
as
of Bryant's
speaks of poetry: it is a
happy
expression,
The
The The
of
Wood,
the The
Prairies,
Painted A
Hymn
Forest the
Hymn, A
the
North
Sea,
Among
Trees,
River
by
Night.
susceptibility to the power and charm of nature, and to this inspired faculty for them, he brought other qualities. catching and rendering Wordsworth, He was like our own a pronot, found But
to
this exquisite
philosopher,
the mystery, with the
but he
was
deeply
impressed
with
solemnity,
momentous
and sadness of life, and also importance reof the moral sponsib on the gift of it all on whom
element
This
is sometimes
tinct disblends
itself with
poems
as
the Hymn
The
Past,
in such Life,The
Crowded
Street, The
Future
that Mourn,
The
Return
of
Youth;
that
studies
it is most
majestic threnody
and again
the
does
he
the in
of nature
transitoriness
Fountain,
of
man
Thanatopsis, and
with
in The
tenderer
eloquence
and With
again,
what
service
of
POETRY
man's
AND
POETS
OF
AMERICA
25
in the instruction, as moral and Forest Hymn, ing The Old Man's Gospel, and an EvenRevelry her bring balm for the wounds ; or make in such as of life and poems comfort, solace and
spiritual
the
Walk
at
Sunset,
to
a
Green
A
River,
Inscription foi
on
the Entrance
the
Wood,
on
Scene
the Banks
of
A he
Hudson,
Lines In her
Revisiting
the
Country,
Hymn
Wind. from
the
beautiful
to
City
her
solitudes
irradiate
the sordid
crowded
June
and
the
while and of the mart, her have Burial-place he would of death in Bryant without
ancestors
wreathe
The
dishonours
with
her
ness. loveli-
dominant
but
note
is, certainly, threnody; He had inherited gloom. mines the faith that illu-
from
lifeand
him. To
looks through
death, and
it never
fails
his Puritanism
is probably
owing
a
absolute
freedom
tendency
from
in
of
mystic or of Nature.
diction, his style, his versification, if the result of the his own, in the main, are, study of English models, to be the spontaneous utterance of what and seem Never he is at his best were conthey convey. ception when in more harmony. and expression absolute It has been observed is a limited that his vocabulary he writes were in which one, and that the measures in few and simple ; the reason is, because the sphere
which his genius
moved
is limited, and
as were
because
most
he
only
to
measures
associate
art
It is as
appropriate difficult be
to
associate
with
the vibrations
it would of an Aeolian
lyre.
26
POETRY
such
a
AND
stanza
as
CRITICISM
and the file:
"
Perhaps
it is
"
this
how
haunting
owed
something
and
to
the eternal flow Of those smooth billows to the shore, While lines of light below quivering
I sat
watched
Ran
with
them
on
the
Ocean
floor ;
but,
if it did, it is art
indistinguishable of Bryant,
now
from
and the He
nature.
Perfect
absolute
note
with
of
realized
Let
no
empty
passion find an utterance A blast that whirls the dust dies away; Along the howling street, and But feelings of calm power and mighty sweep, Like currents journeying through the windless Of
deep.
Seekest
To
thou,
in living lays
limn
the beauty
of the Earth
and
sky?
thine inner gaze in clear vision Let all that beauty love, and it with exceeding Look on Before The
words
inspired
by wonder
and
He
moved,
and
it must
be
conceded,
few
; of
in
sphere,
had
those
few
notes,
master!
II
In Bryant
America
produced
her
whose
years
mediocrity
POETRY
had
AND him.
POETS
His
OF
was
AMERICA
27
the great on later works have of some of the poets who already been disciples among mentioned, and he had many but they were imitators. men, the younger all mere preceded
Among
a
influence
the
poets,
if they
between
can
be
dignified
with
such
by the the period marked first volume appearance of Bryant's appearand the ance land Engof the characteristic work of the great New in the latter part of the century, a few may group be noticed as, in different ways, typical. Street, the
author of Nature of and for, though is interesting; the
title, intervening
Gray
Forest
Eagle,
his work has very little are poetic quality, his descriptions of Nature remarkably minute and accurate, and he is certainly the best
representative
of the
Nature
school.
"
How and
and
"
The And
hemlock
Trac'd
the glittering
of the sky ;
and
The last butterfly, in the meek, his velvet feet
Like
wing'd Pink-colour'd
violet, floating
sunshine,
sinks
Within And
the pillar'd mullein's delicate down, shuts and opens his unruffled fans.1
Charles Fenno man, HoffIn versatile and voluminous have Byron we and Dibdin and Miss and Moore diluted, without a Landon, variously and vigorously is typical of a line of any distinction ; and Hoffman
then
as
flourishing
his Lyre
1
Lunt
See,
pp. 395-401.
28
to
POETRY
the
AND
have
no
an
CRITICISM
Gods,"
we
themes,
on
suggested,
they
are
which
echo as Mountains
at
an
they plainly modelled, and which faithfully as his Lines "written on the Rocky echo
Shelley's Southey's
Stanzas
Naples.
in
to
tion Dejecfound
same
imitator
Sands,
tribute
Campbell's
to
of
But perhaps,
it is unnecessary
we
may
and,
comprehensively
representative
of
this period.
Traveller,
man
journalist, playwright,
world
"
a were
readier and
probably
talents
of the
are all these qualities and accomplishments reflected depth It has it has in his poetry. no no concentra; tion distinction ; but it is always ; it has no readable,
His genius it is generally pleasing. resembled those light, friable soils where every seed that falls takes root, shoots up, bursts readily into leaf and flower, and ends in producing is indeed a fruit, which
and
fruit, but
is hardly
no
worth
had
been
and
In
a
of
native
verse
scenery,
and
that
of this period
and
the eighteenth
Judge
of
the
Story
forms
to
his
son,
"
of the endless
and
figures
British
poetry."
And
what
Judge
POETRY
of in prose, the
How Wilt
AND Paulding
muse
POETS bewailed
OF
in
AMERICA
verse.
29
Apostrophizing
of his country,
in servile imitative thy stifled energies the path that leads
he asks:
rhyme impart,
to every
long thou
And
miss
heart?
But
and difficult
order
of mediocrities,
poetry
are
not
must
All national poetry of a high explain. have its root in life,in the propitious soil
as are
of such
conducive
It must
have have
a
past
rich in tradition
behind
it ; it must
to imagination, what appeals be concento passion to sentiment, must ; its energy trated, flame that spark catch from spark, and may have touchstones from flame : it must and standards,
present
throbbing
with
derived
primarily
from
what
was
best
in preceding
and sympathy response None it appeals. to whom of these it would be more true existed in America;
it must
have
say
to these obthe very opposite that conditions tained Where was concentrated, energy everywhere.
entirely on commercial almost concentrated facility The industrial pursuits. extraordinary the
was
country
soon
wealth,
afforded discovered
came
of
material
prosperity carries inflamed the of much, increased the fever ; and rapidly assumed
the
30
POETRY features
of her.
so
AND familiar
to
CRITICISM
us
gross
in Emerson's
was none.
National
life there
portrait Between
the several
and
States, which had each its own istics characterits own interests, there was little as almost between
the Italian
republics
of
other
conditions As of poetry.
more
favourable
was
to
the
to
no
there
everything there
was
no
it in social and
common
political life,so
centre;
poets mutual
had
ulus stim-
enthusiasm
patrons,
and
Without
enlightened without
without
to
each
poet
went
any There in
critical tribunal,
was a
nothing
to
was
country
which
in its infancy.
and
not
he was relating to the humanities, He his native as tongue the English spoke he was literature. language, on the English nourished
The the schism Mother had severed all other bonds which with Country only drew this intellectual bond England indeed, to America was, all and than
Rome; to ancient ancient Greece was in her servitude. America and, like Rome, gloried have seen, The had, aswe succeeded genius of Bryant in breaking
to
so
far
as
extended
it
progressed
remained,
; at
that
rested.
unexplored
were
unworked,
all those
rich
and
to
poets
of the Revival.
POETRY
American
AND
POETS
OF
AMERICA
31
anomaly poetry presents the extraordinary Like the portentous infancy. no child of having in Hesiod, hairs. it was Decrepit born with gray
from
in itself
no
life. By
it. The
was
now
Bryant,
to
it
a
have
1837, Emerson
which
delivered
a
sounded
strain
long
to
:
trumpet
Thus
day
rang
the thrilling
our
"Our the
of dependence,
apprenticeship
a
to
learning that
of other
us
lands,
are
draws
close.
The
millions
around
be
fed
on
the
sere
always Events,
be sung, that will sing themselves. actions arise that must Who doubt can that Poetry will revive and lead in a new age,
as
the
star
in the
in
our
zenith,
. . .
Harp,
which
now
be
timid,
the
make
air
breathe
thick
and
fat.
The
to aim taught at low eats of this country, objects, itself. Young begin men of the fairest promise who upon inflated by the mountain life upon our shores, winds,
shined
not
upon
by all the
stars
.
.
of God,
.
below
own
in union
:
with
these.
We
own
feet
our
a
we
will work
own
name
on we
our
will speak
longer be
of letters shall
no
doubt
and
for
sensual
indulgence.
because
first time,
by the
exist,
Divine
Soul
which
also inspires
all
men."
32
POETRY
Noble
AND
CRITICISM
justlysays,
in the
halls
"
Nothing
of Harvard
the affirmative supported of ' Whether it be lawful to resist the the question, Chief Magistrate, if the commonwealth cannot
Samuel
Adams
be
was,
response
enthusiastic
to
was
he
fallen
sympathies that,
to set
prepared indeed,
in
:
to
was
meet
it
case.
more
than A
the
stir was already in the air, Channing's similar fourteen delivered but less eloquent appeal, years into many Everett's tions Orabefore, had sunk minds.
a
had struck, and very powerfully, writings in prose, as Bryant a note native and, in a minor had done in poetry. degree, Whittier If we glance and
at
those
who
were
to
create
the
generation,
compare
and,
where
they
had
1837 with what idea we they produced afterwards, shall have some defining itself in that year, the movement, of what Whittier Longfellow in their were meant. and
what the
they
produced
before
thirty-first year;
any
first had
produced
nothing
of
Megone ; the second, value except Mogg nothing few trifles contributed to a at all but magazines. Holmes, had given two to the some years younger, world fame.
a
thin
long
Poe,
some
have been gotten forwhich would it not been for his subsequent in everything, had anomaly produced
Lowell,
verse,
was
fine poems, but he was almost unknown. in his nineteenth year, as yet guiltless Whitman, an at Harvard. undergraduate
of
a wandering age, and equally silent, was Bayard Taylor a child of thirteen, was schoolmaster. The history not born. and Miller and Bret Harte were
of the
same
of American these
names.
poetry, tillquite recently, centres round Emerson With is associated the transcendental the purely native school ; with Whittier,
Holmes,
school.
centre
Longfellow, of what
may Poe
and the
so,
Lowell
are
the
be
called
alone;
stands
academic happily,
and does
represents poetry
the
Miller,
the
the
poetry
of the and
Harte
Mr.
the
founder
representative
of what
Stedman
calls the transcontinental school. In some is among the greatest respects, Emerson by virtue of his of American poets; but it is not poetry, but by virtue of his prose and by virtue of what
verse.
in
his
verse
is independent
If
as
we
take
Wordsworth's
namely, that
poet
exhaustive,
"
inspired
philosopher by poetry
;
a
or
if
criterion that it is to be
it induces," Emerson's
judged
then
by
"the
can
frame be
no
of mind
question
which about
there
place
eminent
not
even
these
other
must
criteria
are
qualities, be "simple,
never
But have
by
it
sensuous,
impassioned." in
a
Emerson
poetry
moves
is, except
move
touches.
his it
it
does in
a
not
in
world
world
so
jewels of
recondite
on
phrases,
that
D
we
dwell
rather
the
34
ornaments
POETRY
than
on
AND
CRITICISM
they adorn. Some He
seems
what
to
think
and
of crystals, and cold glitter of crystals. They abound is typical: the following which resemble
The
Must
kingly
bard
the chords rudely and As with a hammer or with mace; That they may render back smite Artful
hard,
thunder,
which
conveys
Secrets
of the solar
track,
blaze.
Sparks
of the super-solar
He
seems
to
have
his
he has many
predominating
use
the
and
transcendental of the
born
are
he
had
even
attribute the
singer.
His
where
themes
Threnody
in the touching
is worse, and, what the impression that it has only been labour an that such effect has been
movement,
constrained leaves
awkward
us
with
by the greatest We produced. in composing use of his left in composing ous, felicit-
Milton that
hand,
namely, Emerson
verse.
as
in
Thou
canst not
wave
Or
But
dip thy it
carves
of beauty the
there
oar
And
the ripples
in rhyme
forsake;
POETRY
or
AND
POETS
OF
AMERICA
35
in
Though There
'Tis
man's
love
came
repine
a
and
reason
chafe,
voice
When
or
he ought
to die;
in the
famous justly
So nigh is grandeur So near is God to
Duty youth whispers replies, /
so
to
man,
our
dust,
When
The
low,
can.
Thou
must,
But
us,
as
rare
that they
come
upon
just as
was
the
not
stands born a
excellent
almost
Dirge,
the
first part
Wordsworth's
Death
of
and
of Stanzas
the
ofJuly
lyrics
Ode
in
a
the Boston
Hymn
beside
Whittier's
see the difference at once similar strain, we in Juvenal's between Emerson those who, and have His ''bitten the laurel." ear, over, morephrase,
is simplest them,
so
defective
measures,
that, the
or
moment
he
leaves
the
his
verses
Nothing
verse.
could
be
more
unmusical
than
his blank
But
seek and
precious.
is absolutely original ; and, if we find in his prose, it is interesting in it, illumining There is enough thought
An
to set thought, suggestive intense lover of Nature, in element very prominent
up
and dozen
inspiringly
natural
poets. description
is
36
POETRY
CRITICISM
and touches he has
are
always
though
nothing
of of
of Bryant. clairvoyance and magic of his poems: sea-shells, he says in one the
I fetched
But
my
Speaking
sea-born
treasures
home, things
Had With
the
sun
and
the sand
the wild
as
a
uproar.
It
was
so
could
always Nature,
with
him
was
philosopher
to
not
he
and he to describe
poet
her,
light depoet
to enough He wooed,
her
magic.
by poems produced remarkable the disciples of Emerson notably and he had many, Alcott, Thoreau Ellery Channing, Cranch, and are the sonnets though not of which, of Jones Very,
"
Among
"
to be better known than order, deserve has written two one or they are ; and Cranch ing strikin the same metaphysical strain. These, poems Browne for example, deserve, Sir Thomas as would have Donne: pleased say, an asterisk, and would
the
highest
We
are
Man
All
our
fails
screen.
To
remove
Heart
Mind We
are
to heart
known
never
with
mind
did
meet:
columns temple
stars
once
Of Like
Far In
our
the
that
apart
though
we
seeming
light
scatter'd starlight
lie,
here.
All is then
but
POETRY
In
AND
POETS
OF
AMERICA
37
to Whittier, we pass to a poet of a passing Of Quaker descent and of the very different order. those of Quaker persuasion, his early surroundings,
a
New
England
farmstead,
of the abolitionist struggle, with the the Pilgrim's Progress, the poems of Burns, and the current political journalism of his time as the chief
stress
and Bible,
he rapidly rose to of his literary education, insisted to pre-eminence, some eminence, among His long life falls into two the poets of his country.
sources
eras,
up
the first closing with his sixtieth year in 1865, to which was sometime, he says, his poetry thing
from the real something apart his life; the second with his death, objectand aim of But in both these in his eighty-fifth year, in 1892. episodical, his genius moved by the same bounded
eras
in the
same
sphere,
horizons.
He
was
in
technique;
cause
was
his
to
won,
which he passed
note
the
nobly
devoted of He
of the
fierce turbulence
a serener polemics atmosphere. aggressive " I set at the height of his fame, said himself, when to the Antias a higher value on my name appended
into
Slavery
Declaration
"
of 1833, than
the remark
on
the title-pages
us as
; and
gives
the key
a
to
His
him
noble dear as
enthusiasm
a
poet.
leisure, from
do
till past the prime manhood It forced him to his powers. justice
early
of
to
journalism and
to
controversy
to
what
he might
given importance
to
fame,
and
consider
was
of secondary
not
38
POETRY
to
AND
those
CRITICISM
who
defects
the
peculiar
devote
themselves
to
production in him.
literature became conof ephemeral firmed What was sarily characteristic, and neceshe produced characteristic of the work which
pressure and labour, and
under
he had no time for tation when mediis equally characteristic of the he had ample time produced when
has
left abundant
to
Nature place
had
qualified
him
take
poets than the place he holds; and among for his failing to attain it may reason obviously I have described, his monotonous traced to what insistence the
cause
on
the
be
the themes
which
as an
inspired
to
he
devoted
by and suggested his life, his too easy standards of broad and his
became
acquiescence,
artist, in
and
snare
to
him.
Sensitive describes
repose.
A
Lowell
fervour
and him
knows and
restless,
as
he
knew
no
having
separation
of mind
that
no
'Twixt
simple
excitement
pure
inspiration.
And,
much "pure
we
owe
almost
as
as
"simple
to
But
a
when
tion, inspira-
verve,
and
fire which
are
fill us with responsive irresistible, and which enthusiasm his Anti-Slavery The to cause which has long been dedicated lyrics were won, the and
incidents
are
of the traditions
as
great
now.
dim
to
can
which
they
refer
such
lyrics
The
Paean,
Stanzas
POETRY
Englishmen, Massachusetts
AND The
POETS
OF
AMERICA
The Year;
39
Song
of
Farewell,
or
to Virginia,
New
listen,
Deo? joy-bells unthrilled, to the crashing of Laus There is great power in The Slave-Ships, and true in The Farewell, Frietchie is pathos while Barbara
a
little masterpiece.
as an
In his narrative
infirmities
Megone
and
as
of
his great Mogg most conspicuous. Pennacook, teresti inthough poems in dealing
Indian
The Tent
Longfellow
with
diffuse, cumbrous; and is among his maturest the Beach, which Heavily drags to unity. no pretension Pilgrim.
But
and
some
of his ballads ballad-lyrics the very least that can be said for is, that they are the best of of them among kind. Maud
Midler
their
is
justly famous,
and
Skipper Ireson's
classics
Ride
will
song. fairly entitle him to be called are those which poems England. His pictures of its rural the Burns of New find in Miriam, ton Hampscenery and life, such as we Beach, the Lakeside, in The
of humorous
Tent
on
the Beach,
in Summer
by above
in The
Old Burying-ground
and
is his masterpiece a poet, as all in Snowbound, which lose their charm. indeed delightful, and can never are Mr. Stedman Greeley tells us that Horace nounced pro-
Whittier
It would the The
a
man
to
poets.
surely
be
more
say
be
so
eminent profound
;
poets
of
America,
which
must
he
respect
as
the
poetry
tone;
was
and and
its wholesomeness,
40
most
POETRY unquestionable
AND
CRITICISM
into us not seduce merits must is not Whittier's very best work His any high poetic quality enters.
is essentially commonplace,
and
scarcely rises to mediocrity. His studies from Nature, truthful, fresh, and most diffuse, and too are are, as they generally pleasing
produce
even
their effect, not as the touch of genius duces profaithit,but by the commonplace process of a ful His of superficial details. style, accumulation in little distinction, abounding at its best, has
such
not
as
"The
tear
such
grotesque
"
and
not
unfrequent,
brain-currents,
as
as
this:
and
far,
In him
near
Converged,
in
Leyden
jar.
at
on
and musical, and versification is correct has real charm ; but it has few notes, and He owed itharps too monotonously. notes His
to
times these
nothing
culture. for
no
touch
and
of classical
in sympathies,
had
smiled,
ungenially,
reserve
something
of the constraint
by the homage
and
so
with likely to be
a
but
evoked
But
a
of
unwonted
votary.
had
on
be poorer, the annals of poetry would Whittier's been inscribed as name not
such their
pages.
Noble
example
was and the tradition poem, inheritance more than a poem an precious And therefore poetry itself, the written.
the
a
noblest
poem,
which
is of
poetry
POETRY
the
on
AND
has
room
POETS
OF
AMERICA
41
world,
for Whittier's,
for, impressed
what
he
is the character who of the man his purity, his simplicity, his philanthropy,
wrote
and
duty,
The
fall,
And
The
all,
Eternal
love remains
;
verses
"
all that
speaks
to
in the
beautiful
which
than
he
addressed
had
self him-
I walk with bare, hush'd feet the ground Ye tread with boldness shod :
I dare
The
not
mete
and
bound
. . .
love and
so,
of God.
And
beside
come
to
me
On
ocean
or
on
shore.
I know Their
drift
care.
brothers,
If hopes
Pray The
if my
for
sure
that my
feet may
gain
and O
safer way.
And
Thy
Thou,
Lord
as
creatures,
me,
are
seen
Forgive My
human
not
if too heart
I lean !
on
Thee
Whittier
was
the
only
poet
inspired
by
the
42
POETRY
AND
CRITICISM
Abolitionist
struggle and the events preceding and from numerab Of the inthe great war resulting of 1861. lyrics, anonymous inspired and appropriated, became famous. by them, The some catch song, it but
John
the
Brown's
Body,
has
to
as
little to
recommend
was
sonorous
well as the anonymous Blue Flag, have mettle and fire; but higher merit belongs Ward Howe's Hymn Battle to Julia the
Randall's
My
music Maryland,
which
it
set,
and
of
Republic, which
has
the
power
more than rhetoric. something have distinction ; not vigour, belongs Mrs. Lynn to
Quiet along
most
Beer's
touching
picture of the death of The Old Sergeant. But to return If Whittier to the main is stream. the most purely native of American poets, Poe is the
most
purely
alien.
In
no
touch
has
he
fellow
countrymen
Of morality, or of thing anyhe has nothing; to morality, of est interor of any concern nothing;
be traced. him,
around
nothing.
the poetry absolutely unique, in any country have been produced and at any might As he was American scendan an the detime. citizen, and his mother of American citizens, though has a right to claim Englishwoman, America an was him.
to
An
And,
proud those
need
it be
be
of him, which
make
America
reasons
has
from
proud
right different
poets.
POETRY Poe
is to her
sense
AND
POETS
OF
Keats,
is to
AMERICA
in
"
43
an an
infinitely
higher
art's
ours
sake, whose
to
whom
little appealed
and
at its best, is the expression of poetry, homage to it. He was the first American
poetry
from
nature
and it into
life,from
a
world
of
existed;
and,
the fascination and witchery of much of although from its origin his poetry had sources mystic of be resolved inspiration, into cannot and genuine
triumphs, know
mere
into miracles art, yet, as we of conscious in the display he revelled from himself, of This he did in The craftsmanship. mechanical and
The in
Bells
Raven
Ulalume
as
" the two-fifths of his poetry, Of sarcasm. well-known of Lowell's be said with more truth that he was
fudge may
"
poet the
it of
slave
music
the
; hence
some
of his
poems,
like
Israfel, and
never
as
Ulalume, selves themjust mentioned, resolve poem but it is a music into mere had music; which before been heard on earth. It is in such poems
The Haunted Palace, The
Conqueror
Worm,
The
Dreamland,
best,
he
is at
his
because
is employed artist and musician forth the genuine to body conceptions of degrees imagination, touched and in various weird
with
which
insanity
come
as
that imagination
home
to
us
are
most
is. But
threnodies,
whether
represented
by
such
classic
44
POETRY
AND
"
CRITICISM
by A nnabel Lee, with haunting harmony, and The Sleeper, or the and
or
' ' Helen thy Beauty as gem in quintessence its pathos or the magic of Eulalie,
fascination
of the
verses
For
contrast
between
Poe's
the purity
as
and
moved
poet,
lawless
striking
his
than
another
contrast
constitution
temper.
sensibility, of a poet he united a precise, cold, and enthusiasm he delighted. logical intellect, in the exerciseof which
His
With
and imagination
analysis
and
to
known
of the is most
rationale
Raven
what
traced poetry.
pure
nor
:
is too
often
wholly
its passion
has not
always
the note
is it always on the wing of inspired To this istic to his weird that he soars characterrealms. be traced, also, his precise and clear-cut may style, so lucid, so coldly chaste, so deliberately, so
of sincerity, imagination
finished.
to
His
most
blend
as
an
and
the opposite
extremes
of studied
simplicity
and
studied preciosity. It owed The new a was creation. poetry of Poe to Shelley, to Coleridge, and something something like it as but nothing a to Tennyson, something
whole Bells had
are
If The Raven before. and appeared little better than tours de force they
original:
no
The
are
absolutely tuneful
yet
been
if Ulalume
and
Israfel are
had
struck
as
nonsense,
heard.
he
POETRY
struck
AND
POETS
OF
AMERICA
45
he note and every which rica struck has since vibrated in the lyric poetry of AmeIt would be idle to institute any and England.
for the
first time,
other lyric poets he immortality race whose Every for he stands absolutely alone. in his poetry, but it will will delight home like the poetry to men of his
him
and
the
brethren.
They
will
be
fascinated
with
the
weird
beauty witchery of its music, and with the mystic of its strange, wild fancies. They will wander with its wonderful Dreamland, through mingled emotions
now the light of heaven, radiant with lurid with a light which is the light in delirium's They eyes. ple, with its pathos, so simwill be touched They at its miracles yet so intense. will marvel now
of technical from
triumph.
But
they
will
draw
no
ration inspi-
it.
It has
poetry:
no
nothing of the influential for the it carries no balm for life's cares.
It
never
solace
a or thought. noble emotion from a dream, To rise from its perusal is like waking but a dream a dream that finally fades, that haunts, a
kindled
generous
leaving
Not
no
traces,
from
memory.
holy his the song that in its metre Chimes of the eternal stars with the music Humbling the tyrant, lifting up the lowly, And sending
we
sun
through
to
the soul's
prison
bars.
And in whose
now
come
that eminent
and
the transatlantic poetry work important be said, in many respects, to century may It would be difficult for any critic, unless culminate.
he
wishes
to
be
paradoxical,
to
say
anything
new
46
POETRY
AND
CRITICISM
discussed long as so so poets about widely and Longfellow, Holmes, Each has his place and Lowell. doubt, rightly assigned, to him, assigned, and, no country and in Great Britain ; and it is a proof of the intimacy in all of the relationship America between to the humanities that pertains formed by that the estimate of them and ourselves, differ so little from the estheir countrymen timate should
both in his native
nor
speaking of the academic has ignored them, of criticism which school has afpreciosity school of the modern which fected, but of the them, and still affects, to despise
am
formed
here.
not
audience
which
and
they
tribunal
would
which desire to
to
they be
appeal
"
and
by
judged
and
general
readers
of culture
and
intelligence,
tastes
critics with
correctness
catholic
is due
to
and formed
sense
of
their
work
expected
thus
from
them
than
or
allowed with
discontent
generous
appreciation
of what
in they
they
did
give. These
three
All professors
poets in the
have
same men
very
much
common. were
university,
essential
scholars
and
of manifold ments, accomplishliterature and in English chief languages where all had resided, not They were as students.
all the culture
literatures
casual
men
thus
of cosmopolitan
tastes
and
were
cosmopoliand of tan in society, All delighted and sympathies. distinguished by their social as almost by
their
qualities
as
literary
accomplishments.
For
POETRY
AND
POETS
OF
AMERICA
mere
47
fellow, ; in the case physician of Longpractising to the duties of a Professor of Belles-lettres ; in the case more of Lowell, to vocations various than fallen to the lot of one had ever before, perhaps, busy
man.
Their
were
lives
were
of them
as amuse
a
humorists,
two
trifles
not
flaneurs,and
tastes
or
the
third, if dilettant.
possibly
of
refined
Nothing
be
prophets
could
imagined
than
men.
these
genial,
polished,
and
most
appeared
so
under and
We
such
conditions,
poetry
cannot not
a
might
ary poetry rooted in contemporits inspiration and nulife and drawing national triment intensity, from that life: not not passion, expect, enthusiasm,
not
nothing
of that
homogeneousness
has
and
the
common
originality
note
and
of propitious social and political product but a poetry conditions; eclectic, occasional, academic, having its models in many literatures, deriving its material inspiration from what happened and
to appeal accidentally either in his private Thus, it took studies. when to
or
an
the
poet
as
an
individual
social
life, or
in his
objective
form,
it
legendary annals and historical, not in the only, but of almost every country however, them, transferring without, after
the of
manner
inspired
poetry,
into
symbols
and
48
POETRY
AND
CRITICISM
it took it. When of the life pulsing round form, it resolved itself into a series of a subjective in expression in matter, fragments, as as various
analogues
sometimes
never on
serious,
sometimes It is profound.
trifling, seldom
a
original, plays
poetry
which
its lights and shadows; the surface of life,catching its ordinary dealing experiences, giving with and musical
as
utterance
to
such
reflections
are
and
to
men
ments senti-
those
from
women.
normally But,
wont
evoke
constituted
composite,
essentially
and it has
a wide notes, and many and ranges over its themes it is academic, and, seeking in dear to the scholar and student, affects subjects here, as a rule, classicism style, and and the grand
it is not
now,
as
in Lowell's
oration Commemnow
with
with
note: freshness
as
certain
sweetness
and
here
it has
often
inexpressible
us,
as
and
not
in
the
charm. Btglow
sionally, Occa-
Papers
pieces, in power tion presenta-
and
semi-humorous
comedy
A character. of the idiosyncrasies of national fairly be predicted for Parson life may long very Hosea Biglow Wilbur, Sawin. and Bird o' Fredom
But its excursions
not
exception,
sphere
these
sphere the
are
the
is the of
which
indicated,
sphere
POETRY
AND Hermann
POETS
and
OF
AMERICA
49
of Schiller's and Heine's lyrics and legends, "ballads of Wordsworth's " home idylls poems, and nature of Tennyson's Praed's de vers of Prior's and and In Memoriam,
societe.
Goethe's
Dorothea,
And
this realm
it, too,
made
its
own,
enriching
the poetry
of the
Holmes associated with Longfellow and Lowell. Had he been living, that most of modest have men probably asked would with surprise how any could
one
who have so
presumed
to
mismeasured
to explain that he stood beside them rather necessary for the convenience tion than for any intenof tabulation But his equality. he even then of assuming
would
most
have
shaken
his head.
And,
indeed,
Holmes's
striking characteristics are those of the improhis extraordinary msatore, versatility and his not less facility in composition. He has fire extraordinary and Old
Battle his Bunker-hill mettle, witness fancy can Ironsides : his and Lexington with Nautilus
a
and be
his
exquisite,
touch
of magic,
as
the
Chambered
magicHe can
"
touched
be
a
testifies ; and equally exquisite and his pathos, as in Under the Violets.
to sternness
"
impressive
as
in The
Two
Streams
Temple: he can really fine lyric and The Living forefathers, catch the deep religious fervour of his Puritan
as as
His
humour
can
be
lightful de-
One-Horse
tact
Shay
grace
and and
His
and
appropriate
expression
poet of
of anniversaries, and of all such are call for the wreath of the moment,
E
50
quite
poet
as
POETRY
unsurpassed.
AND
CRITICISM
we
But
love
him
best
as
the
of the
the
life, and and chances changes of man's laureate tender of the memory-consecrated the poet
past ;
"
as
cheerful
optimist,
as
when The
as
for poem which to be bound all time deserves up with its sister poem De in prose, Cicero's The IronSenectute, I mean
The
the
of that
gate. genial
We
love
him,
as
we
love
Horace, such
for
as
his
humanity,
wisdom,
find
unforgetable
quatrain
judges
read oft His truths
knoweth knows
children
never
The
His
prophets
And
this is typical
from
In passing
of much Holmes
more.
to
Lowell,
charm
to
poets.
He
only
possessed,
painter touch
in
pathos,
having
and but
moral
fervour,
The
of the Legend
of
Brittany
in its
at
sensuous
The
Sirens
his
too
discredit
such
a
to
their
nature pathos of mingled painting and letter of the second in the tenth Biglow
masterpiece find as we
series:
in
POETRY
AND
POETS
as
OF
The
AMERICA
Fountain',
51
lyric gem
Snow-fall and
After
Commemoration another, again, the noble Harvard Ode. And was the creator the author of these poems Wilbur, Hosea Biglow, of Parson and Bird o' Fredom Sawin, as of A Fable for well as the author
Critics.
This is
between
has been
but
success
we
must
with
No a attempted. produced work himself, his natural level, has found poet has found form any factor in an estimate can a as of his work in an poets. At whole, estimate of his place among least two-thirds however earlier poems, of Lowell's
have pleasing something and eloquent, of the note are of falsetto. Many eclectic experiment simply of them The more Prometheus, poems, ambitious J?/wecusand little more Columbus, are than academic
exercises,
and
not
of
high
order
except
even
compositions.
nature
Sir
Launfal,
rises above
the
level of
an
The
temper
truth
a
is, that
Lowell and
was
in constitution
and
humorist
sensibility,
with
with
something
touched with aesthetic moralist nation, the fancy not with the imagiof the fervour, not with the
which, he owed
as
a
poet,
to
culture
the sympathetic masters, study of preceding Keats A cultivated taste is notably and Tennyson. is as fallible a poor substitute for instinct ; for the one as are never we the other is infallible. Hence, deserts into Keats
in A Legend
of
in
melodrama
expressed
52
the
POETRY language
AND
CRITICISM
just as the Indian of melodrama, Summer Reverie, nature with its exquisite pictures, Except in his earlier trails off into flat bald prose. his poetry in his pictures from nature, poems and has little sensuous He had plainly a most charm.
defective
cept Exharmony. and verbal he confines himself to simple we metres, when lines which in do not rarely find five consecutive
ear
for rhythm
some
way have
jar on
us.
His he,
blank
verse
and
so
metres
and are music, often quite Of the distressing effect of clogged intolerable. consonants, cacophonies sibilants and of all kinds, he
appears
which little
unfortunately,
or
no
of these perhaps
Browning. Some as unconscious defects, or, at least, their exaggeration, are to be attributed, like his jumbled metaphors
to
be
as
faults
of expression,
to
But,
deductions
make,
which
the
most
exacting
as
a
that, painter
of
at
none.
country, technical
and
poems
deficiencies,
can never of sentiment and pathos which home to come to all to whom such poetry appeals. His hortatory and didactic poetry, as it expresses self itin the Harvard Ode, is worthy, Commemoration
of the music and felicity of Milton and that tone at least of their tone, when he is inimitable. His exalted. As a humorist if not
is rooted
in
finer
sense
of the becoming
and
in
POETRY
profounder
AND insight
POETS
OF
AMERICA
53
into the character men of his countryThe than that of any other American writer. Biglow Papers will live as long as Hudibras; and,
as
long
as
Butler's truth,
and
ethic
aphorisms
with
which
Lowell's
poems
are
studded.
Ill
Sydney
Smith, Lord
habit
having
subject with
great
man's
some
that
a
of indulging
proposed that the that said
very they
liberally in
save
been
applied
propose
to
to
that he had little, at once critics. Let it be conceded have been nowhere if any, originality; that he would his the lyric poetry of Germany, of which without is often merely an the literatures echo, without he almost everything generally, to which of Europe be traced ; that he had no depth has written can of
own
thought; that*he
that he had
neither
succeeded
never
most
when
he
was
most
beyond
comprehension of intelligent boys and girls, and very much intimately to dedicated was appealed and And have yet, it remains formed been
that, to thousands,
which
them.
tastes
by
the
sympathetic
of the
compelled
aristocrats
to
of classical
acknowledge
poetry, the
and
justiceof
these
allega-
54
tions,
we
POETRY they
were
on
CRITICISM
come,
wish
truths which grating falsehoods. It is like listening to reproache love ; distressed and irritated, those we
on
we
long
to
retort
those
who
utter
them.
And,
is something almost sacred in the fame for to how to how thousands, of Longfellow; many is his poetry hundreds conseof thousands, many crated there
indeed,
by
says
"
its associations.
As
Froude
beautifully
of the
English
child,"
with
so, after childhood for our have chimed as another children music silvery the music of Longfellow. and as haunting death-darkened household, To how a to how many
"
under has his the burdens poetry brought which Such poetry balm and sunshine and encouragement. is no is characteristic intended for more as of him intended for theologians, critics than the Bible was
or
many
life, clouded
cares
or
bending
the
spring
that
gushes
to
forth
and
toil-worn
chemistry.
traveller,
supply
material
And
that,
even
yet
on
is there
the
much
satisfaction
in showing
is not
whether
we
but whether to we work any given ought from this point of view, Longfellow's it,even admire He is almost always have to fear. nothing admirers in style. Even in quality and sound where sound
he is thinnest and sentimentally Angels, The Rainy The Footsteps
most
trite,
The
as
in
of
Day,
Bridge,
POETRY
The
AND
POETS
OF
AMERICA
we are
55
touched
Reaper and
rightly
the Flowers,
; for
Children,
and
touched
the pathos,
though
exquisite
am
of
not
speaking
as
of art, is a noble poem, and all the mouthings of it in Infant Schools in Young Men's and Christian Associations, and all the strummings of " " it other than class pianos will never middle make
a
work
noble. dear so
Though
to
his themes
Eliza
Cook
and
tact
and him
often the themes her circle, his refinement to maintain a level above
are so
never
trivial ; his
style seldom
lacks
distinction.
as
just been
Victor
rare
referred
to,
The
Skeleton
a
in
and
Galbraith,
and
verve
quatrains
fire
noble
the Springfield',
exquisitel
entitled Weariness, pathetic verses and the liltand swing. Lynn, Bells with its finely-cadenced of bear The Building the Ship cannot comparison
of
Lied von with Schiller's Das its model, but the concluding
to
der
Glocke,
which
was
lines, the
apostrophe
all the fervour and strength of best, and lyric when Whittier's at its very must go Of his longer American. true to the heart of every the Union,
have
The
Tales
of
Wayside
Inn
will scarcely
his reputation ; but the Saga of Olaf shows faithfully he could catch and render the notes Legend, The Golden exception whatever of the Eddas. be taken to its infirmities of structure may justly
and
want
of unity
and
concentration,
contains,
frag-
56
POETRY
AND
CRITICISM
impressive some of his very best and most mentarily, ' ' The Elsie's chant, in the fifth part, beginning work: is one exof the most quisite night is calm and cloudless," lyrics to be found in American poetry:
The And And
To They
night
still as
and
cloudless, be,
the stars
forth to listen
sea.
the music
gather, they
of the and
gather,
and
gather,
Until And
To
As To
voice
that chants
alone
the pedals
from
shallow
In snow-white robes uprising The ghostly choirs respond. And sadly and unceasing The
mournful
voice
sings choirs
eleison
on,
And
still answer,
!
most
powerful
work,
from
dramatic
is the
Courtship of Miles
on
Standish,
his fame will rest are which Of Evangeline, and Hiawatha. impertinent to say anything more than
crown
belonging, poem Village, to the poetry which a nation its heart of hearts. As a work of art bear comparison fora moment course, masterpiece
on
Idyll,
Deserted
in
which
it is obviously
modelled,
POETRY
but
to
AND
POETS
OF
AMERICA
more
57
home
in its simple
fellow's for Longcase a out make denied is almost to what claim universally do well to take his stand him, originality, he would have his form and Hiawatha. He borrowed on may
to metre
and
nearly Dorothea.
from
unity;
at
least broke
new
ground, singular
art.
and
produced
and he
work
which
no
is often prototype
charm,
which
had
of in
I am is all but unrivalled. not fidelity of his version of of the hideous speaking Dante, but of such masterpieces as his version of the As
a
translator,
of Mulof Salis' Silent Land, ler's Beware, Castle by the Sea, and the of Uhland's Perhaps from the Swedish the and Danish. versions
Coplas of Manrique,
only
poems
of
Longfellow's
not
to
speaking, but
finest Dante,
ever
justicehas
some
been
among would
such
be
on the of those Divina Commedia ; excellent, also, if in a less degree, Giotto's Nature, as are the three others, well as
and
Tower, Many
to
no
and
Chaucer
no
"
but
would
doubt
America's
be considered
one
would
dispute
greatest
poetic artist. and by of his attainment alike by the range from the most It is a long way its quality. exquisite lyrics
as
probably greatest poet; her his title to be considered His there is confirmed supremacy
the Saga
of KingOlaf
58 and
and
POETRY Victor
Birds
AND from
to
CRITICISM
the the
to
Galbraith,
Voices
of
the
of
from
Passage
Courtship
Hiawatha,
of
from
Standish) Golden
these
the Sonnets
to
Legend
experiments
Evangeline] his
success
It is no small acknowledged. been able to sound the note again of the Sagas and the Kalevala, the note the note of Manrique, of Dante, Schiller, Uhland the notes of of Goethe, of
and
of Heine,
not
as
mere
imitator,
; to
but
as
man kins-
and
a
copartner
in
inspiration
have
created
the alike in lexis and in rhythm, with a perfection of purity, lucidity, and propriety, harmonious but never equably all its own, music in gracious mony because monotonous, and exquisite harstyle admirable conception
and him
every
emotion
that
And from
so,
having
conducted
we
to
where
he is safe
hostile
leave
of that criticism
by any
attempt
poets. modern place among England From the great New men most versatile of American
trio
we
come
to
the
Taylor.
Sensitive,
of fluent expression few, even which of his own men, countryproduction, life of crowded have a rivalled, he dedicated and of almost
limitless industry
to
experience In work.
literary
was there poetry, scarcely serious any he did not from Studies the note strike. which in Oriental life, studies in Italian Greek, studies in California!!, in in Pennsylvanian, life, studies
POETRY Norse
measure,
AND
POETS
OF
AMERICA
59
life: lyrics in every key and in almost every Pindaric, Hafizian, Shelleyan; threnody love-song
state-song and war-song, and ballad : narratives and idylls of equal range and drama, if it be ideal, realistic, lyrical. And variety:
and
dithyramb,
said,
as
it may
conspicuously metaphysical,
to
must
not
grudge
him
the tribute
entitled,
which
such
gifts and
of a high, or even at all has of any permanent, value had its root in what in Taylor. He ever we admire is, like Willis, little more an impromsatore. than
His poems,
the tribute
such
having
no
unity
are
and
mere
no
distinction,
At
rare
power but,
mediocrity,
Song,
Stedman,
it
so
to
Shelley's
praised Lines on
highly Air
by
Mr.
Indian
it. poem,
apparently which but somewhat extravagant the Pme, Metempsychosis and the very
which inspired
of
from
seem
Euplwrion
me
on
the
death
of
alone
to
to
stand
absolutely
For,
through
love and
His The
the crystal of your fairer shine beauty of advancing and leave him
years
tears, ;
all divine.
cannot
And The
Death,
smallest
that took
vesture
him,
claim
of his birth,"
60
POETRY
The
AND
CRITICISM
flame
"
That
The
A
to
be,
April
flowers
tree,
"
Beside
the scarred
and
stormy
The
saw eyes, that ever wondering Some fleeting mystery in the air, And felt the stars of evening draw
His
heart
to silence
"
childhood's
never
prayer
came
And
poet's
more
pen.
the
from
too
Under
Mystery,
Stars,
in
Sunken
a
which
may
last has
not
memorable
Death has
Death
keep
what
more
made.
An
achievement
"
far
than any of his valuable ments, indeed, fortouches and fragFaust. version of Goethe's
four
while
poets,
the other
"
one
of
justlydistinguished,
least
three
at
individualized Richard
themselves Stoddard,
Thomas
Aldrich,
Boker
Henry
George
As
a
Henry
Buchanan
as
a
Read.
balladist,
lyrist, and
most
accomplis
Carinosas,
testify.
and
Lynn of
verse,
Terrace
some
Stoddard
some
is the
author blank
lyrics,
of
on
with
and
gone
which
POETRY
AND
POETS Wills's,
Read
OF and
AMERICA of
some
61
The
New
a
produced Pastoral, at
war
lyric,
Drifting,and
Ride. With
song
of real merit,
Dr.
Thomas
this group of poets may be classed William Parsons, a scholarly complish and aclines On a Bust Dante, poet, whose
of
real
merit, of
poet
place
England
to
the
only
produced
three
Henry worth recording. Timrod, the author of The Cotton Boll, had a touch of genius; of merit also is the work and of Paul Hamilton Hayne, like our Southey, own was who,
whose
names
good While
very poet
and not a bad poet: his lyrics, A Little I Fain Linger In Harbour are would and But by far the most distinguished pleasing.
man was
Sidney
whose
a
Lanier he
is
man
which inner
seems
control "The
spirit and
"hath
and
blown
breaths
of passions,
dreams,
a
and
sailed me is at wave
him
upon into
once
me a
a
like
sea
of
vision
as
in such
poems
of Glynn,
Sunrise,
Corn,
62
POETRY
AND Nirvana,
CRITICISM
in such
verses
Psalm
of the
has
West,
lyrics
to
as
The
Sun
Kissed
Neilson,
Lanier by
his
genius
as
poet,
deliberately
himself
He theory. with a most voured endeamistaken is peculiar to to blend and reconcile what is peculiar to with what poetry, so that his itself to the expression to confine tends of
more
by the sister appropriately expressed into mere sensuous art, too often resolving melody dreamy but his poetry and vague suggestiveness; is full of beauty it is original. ; and and charm Very
Pacific time
is
different
slope.
were
the
a
strains
coming
who
from
at
as
the
one
There
to
poet
appeared
the
most
promised
be among
eminent,
he
is certainly the most among remarkable, whom America has produced. Of the genius of Joaquin Miller there can be no question. His Songs the
of
Sierras
struck
new
and
powerful
note.
Full
of
fire and passion colour, with all the race and and flavour of the wild, rich world of their nativity, they Vaquero, swept along, like his own
On
His
About
gaudy
trappings
as
tossed lithe
as
the limbs
reed,
and
the woods,
Birds
Or
where
and swing, green rob'd lines dreamily,
from
tree
hang
and
red,
droop
in curved
Rainbows
reversed,
run
to tree,
and
monkeys
Like
through
hurried
a
the leaves
through
weaver
shuttles
and
weaves.
through
The
threads
hasty
POETRY
And, There With
That
AND
the long
comes
POETS
days
through,
song
OF
from
AMERICA
blossom'd
bees,
trees
63
the sweet
tone
of sweet
the bough,
chorus
of cockatoo
along
And In
talks and
and
coat
hangs
and
swings
crown
of gold
of blue,
and
the land
The And And
of the tornado,
tops
when
"
tasselled
darkened
and
drowned
forever,
"
" like wine tawny-red of sun-maids with hearts of gold" "rivers all this had of hair and found But Miller its poet. never the got beyond
"
the land
"
Songs
themes he
of the
Sierras',
to
to
the
themes
of which,
or
to
kindred anything
a
them,
he
always
to
had
distinctive
say.
included the of splendid promise Shallow-rooted withof that promise. and out his poetry flaunted into full life a gaudy,
work
flower.
But
it
was
of native
growth
exotic. growth,
also, and
no
native
exotic
was
the prodigious
we product of transatlantic genius which have now One to inspect. of the most accomplished critics, the late John Adscholarly of English and dington in Symonds, to see were that we told us
Walt
Whitman
"A
Behemoth,
at
jungles,bathing
rivers, under
a
in primeval of mighty
bamboos
cane-brakes
gigantic
and buffalo
exulting trampling
his
a
the
mate
grasses of irresistible
kind ofYgdrasil,
stretch-
64
AND
CRITICISM
of the world,
all the air, in
unfolding
the globe
snows,
climates,
storms,
earth;
arts,
all nations,
creeds,
thoughts,
emotions;
not
and
the
things,
their endings,
lees and
most
distinguished hand,
sees
of living
English
which
poets,
awaken
"
the other
in the touches
these
astonishing clumsy
elemental paws
dirty and
is
a
of
whose
muck-rake,"
"a
and
into
drunken
and
apple-woman
indecently
sprawling the
in the slush
rotten
garbage
It
estimate,
more
balanced
namely,
striking masculine chooses
streets,
that
if
man
beauty
to
stand
and
proceed
take
to other
the
police
cognizance,
some that notice, and create excitement; secondly, in literature, as in everything the law of reaction itself, that, when has long else, will assert poetry in form has been perfection and attained running
smoothly
1 2
in conventional
A
Study
grooves,
Whitman,
pp.
there
155-6.
is certain
of
Walt
Swinburne's
Whitmania,
POETRY
to be revolt
AND both
on
POETS
OF
AMERICA
themselves
extreme
65
and will be
in the public
taste,
and
the opposite
; and, thirdly, that if a writer affected and welcomed impudence has the courage to set taste or sense, as a at defiance, and, posing sometimes and decency to express a mountebank, as mystic and sometimes himself in the jargon of both, and yet has the genius to irradiate his absurdities with flashes of wisdom,
beauty
to
and
inspired Those he
insight, who
is the
three
things
with
are
certain reaction
result.
sympathize
the
representative will dwell is the salt of the very little which ecstasy on with to his work, will either ignore the rest, or, coming for by their admiration it with judgement
of which
prejudiced
what
is vital and excellent, invest it with factitious Those tastes of conservative will dwell only merits. have disgusts no on and and offends them, what
eyes
else;
are
and
those
who
to
belong
to
they
its
own
quite
judge
what
perplexed,
probably by
misled,
by
vociferated,
the others. is precisely what This There can of Whitman. the style which
has
happened
in the
that he
case
employed
be littledoubt
he
affected,
as
shameless Adam,
obscenities
to
of
attract
of such
cheap
as a
and
easy Nor
means was
of attaining
his mode
unique
poet.
expedient
no
man
Rousseau, nude
was
to
now
the public
gaze.
That
repeated,
66
POETRY
were
AND
CRITICISM
exhibitions could at their leisure; and, certainly, showed
to
interested
them
in such
contrast
stalwart
and beside
virile American
the
puny
and
as
thus
but pile
on up-
proceeded
eccentricity
upon
extravagance. being on
"
observed,
that
the
English
people
would
not
stand
to carry, preparing him that the limits of what they would discovered. But never what yet been
he
was
they
"stand
"
in art
were
"
the American
never
people,
it must
"
hoodwinked
He
by him page
resolved
to
try.
gave
so
them
of
mere
jabber,of
by the form
twaddle
absolutely
any familiar
man
of average
in
conversation,
some; times
transcribed
and
"What
do
from
Natural
political
only
never
would
have
seemed
a
to any
sane
man
ble impossi-
outside
was
the cells of
no
lunatic
lunatic,
and
POETRY
All after. " Drum-Taps
collect
was a
AND this
"
"
POETS
merely,
OF
in
AMERICA
his
own
67
words,
to
was
crowd
showman,
some
respects,
seeing.
come even
Whitman's
genuine
for what but
"
"
have large deductions work, it would harsh be unduly to certainly which for that is the
comes
term
very he affected
have
most
more
original indebted to
is in solubut what tion but the poetry of own " writers of American his predecessors and American writer.
than contemporaries any other diffuse He simply resolved into his own
jargon,and
revoked
expressed in simple
in his
yawp," what had been legitimately, in the true form of poetry, or worth, by Burns Blake, by Wordsprose, and
own
"barbaric
by
Goethe,
Emerson,
by
Shelley,
by
Thoreau
by
Tennyson, and
were
by many
Carlyle,
others.
by
by
Whether
or
conscious the
result
and
what
deliberate,
was
of
in the air, so to speak, scarcely affects the He by a trick was not, point of importance. what he affected to be, original in anything of expression
that One
and propaganda. philosophy worth illustration will suffice, for it is typical. Wordswrote, The
was
sane
in his
and
stars
wrote
as
poet
of midnight she
a
To
her
and In many
secret
Where
And
their wayward round, rivulets dance born of neighbouring beauty sound Shall pass into her face.
68
POETRY
Whitman
writes,
a
AND
more
suo:
CRITICISM
There
And And A
forth every child went he looked the first upon, object became that part of him
was
day that
object
or
he became,
or
object
part
certain
of the day,
or
for many
.
Stretching
The
sea-crow
the fragrance
of salt
: marsh and shore-mud became These forth went part of that child who Everyday, now goes and will always go forth everyday. and who
"
Plainly,"
are some
as
Mr.
Stedman
naively
"
there
treatment
a
observes, in Wordsworth's
to
see
Symonds critic like Addington exalting Whitman into a bard and prophet, fondly on the and dwelling inspired power and beauty of chants, or portions of he must have known, were chants, which, simply
centos,
from from
or
or
Emerson.
Whitman
this sort
of homage
confirmed
and
own
in his megalomania, in that monstrous led him to preach, egotism and ludicrous which finally no doubt his to believe, that, to employ
jargon, he
quite
he. To speak all, and that all was began in some by being replainly, Whitman spect a charlatan, and paid the penalty by becoming
was
at
very
like
madman.
to
He
had
to
pay
and,
another do him
penalty
mortifying
a
to justice,
aspired to democracy
it
was
be
the
poet have
of
the
nobler democracy,
to
would
nothing
always to it.
He in
been
compared
whom
respects
he
POETRY
nearly
AND
POETS
but,
was
a
OF
Professor
AMERICA
Nichol genius
a
69
as
ably admirmarred
writer of
by
violence
redeemed
by
touches
How,
of genius.1
then,
are we
explain the fascination which his work has undoubtedly had, and still has, for so Making for what has been many? all due deductions be no question explained of course already, there can
to
Had
among when
he
been
true
to
it,
the
rare
he
genuine is true
poets; to it, he
he has pathos, he of thrilling power, he has often and in his nature-pictures At times,
true
magical and
touch.
inspired A
poem
him,
its accent.
from the
firm-blown The
and poem
heart, Last,
are
rings and
clarion.
piece
When My
Lilacs
the shorter
O Captain,
Captain,
endlessly pathos,
ofthe
alike A
Cradle
for its
goes
to
the
heart.
Sea
Drift there
which
him best, for he is at his very reveals the sea at his best when and elementary Nor can his themes. it be denied that the
he mode of expression uncouth which had at times curious propriety. adopted is his impressive Another secret of his fascination and
imperious
personality gospel.
sympathies
and
1
and If, in
his
the
p. 214.
is
American
Literature,
70
much
more
POETRY
AND
CRITICISM
and disgusting,
there is
which which
a
is grotesque
justly commands
big-brained,
inch
man,
robust, he is not only the incarnation of but he is the soul of independence and strength, Art look the humanities and may philanthropy. him, as he on Nature, on them ; but mother askance
and
to
whom
alone
he did homage,
one
had
every
reason
to
regard
with of her
pride
children. infirmities,
on
most
wart stal-
his
vices,
is nothing in or original, either in his propaganda his prophecies, yet, however ragged and dissonant he is among the heralds of the note of his trumpet,
the
"
"
before
America,
before
of Republics,
of world
mankind federation,
of universal
brotherhood,
of the
one
God,
one
of the religion of humanity, " law, one son's element of Tennysuch poems read unmoved Thou Mother shore, -with thy
as
can
Equal Mystic
Song
of
the
Broad
Axe,
Trumpeter.
ragged
:
I have
notes;
trumpet's
clear
Marches
Hymns
of his
notes
disenthral'd God
"
"
the conqueror
man
"
at
last.
from
universal
all
joy !
joy !
re-born
race
Women War,
and
sorrow,
a all joy ! perfect world, appears innocence in wisdom, men and health
"
all
"
gone
"
the rank
earth
purg'd
nothing
fill'dwith joy" the atmosphere all joyin love! the ecstasy joy Joy, joy in freedom, worship, Joy ! joy ! all over joy !
The
of life !
7'
This is at least worth translating Whitman's virtues will be of no
has
into poetry.
more
But all
avail, and
he
weeds
a man
fall The
"
into the
never
portion
of
does not respect who indiscriminately be out should what be said (6faraxai appyra not should
world himself,
and
said and
a
was jSowv)
but guilty, not accidentally on principle, not morally only, but intellectually and doubt, what he was fond of He was, no aesthetically. calling himself, a child of Nature, and his admirers
have
for
blackguard.
Of
called him
to
now
be true
nature
no
poet
can
We
Miller
contrast
and
to
to pass Whitman,
poet but
as
as
both. the
most
If Miller
Whitman native
school,
Bret
as a restrained. reputation a serious as eclipsed his reputation poet, and he will doubt live mainly by his prose no stories; but his has scarcely had justice done to it. serious poetry
His
concise humorist
Much,
indeed
produced does not
the greater
as mere
part, of his
verse
was,
no
certainly
doubt,
journeyman
course
work,
and
a
craftsman
turn out.
a
skilful
of that work,
not
easily
With
narrow
this
we
need that
It is in
sphere
trouble
lies in the clairvoyant and thrilling power vividness he realizes and presents a pathetic scene with which incident, in his faculty of piercing to the heart of or
some
dramatic
situation
or
circumstance,
and
repro
72
ducing
POETRY
it with
AND
CRITICISM
nearness
truth, and Nothing and in the nerve and grip of his narrative. tion-mast the power could well exceed and pathos of The StaLone Prairie, or the charm and pathos
corresponding
of
Even in Camp. of Dickens In the Tunnel smite, the tears its pathos Signal may owe
"
such into
waifs
our
a.sjim
eyes.
and Guild's
and
what
is in it!
"
to
how
in Grandmother The
admirably Tenterden he
beside
little poem exquisite is in another vein, but Daisy. Burns' In Ramon, Flat, in The and life which no Blanche
Dow's
leaves
Old
one
Camp-fire, we
has
as painted For the King
from
has
done. by
Miss
too
Says
fidelity
de
and
to
a
spoilt Browning,
rare
great
bad by
and
Concepdon
Arguello
model, fault a
very
terse,
Harte, diffuseness. His style, with Bret lucid and its sabre-cuts "with sinewy, of speech," is all his
a new own,
Saxon
he strikes the notes other which In poets have struck, it is often with added charm. for such a poem there is room spite of Longfellow The Angelus, in spite of Praed Owen as and and Meredith,
verse room
tune.
for Her
Letter.
As
humorist
in
lower he stands on a much level, and whether, Nichol Professor he as must opined, often have " Chinee, and to give to hang that Heathen wished
the neck of the and wring in the heads of the whole Emeu, Society cave and I cannot, on the Stanislaus," of course, say, but it the
'
'
lie to Truthful
James,
is very
certain
that
they
have
intervened
between
POETRY
the lower
the higher Nor
can
AND
POETS
they which
OF
AMERICA
given him
73
and
reputation
reputation it be denied
which
to
have he is
are,
one
justlyentitled.
or
that they
quantum
two
like
most
valeat, of Mark
provoking
he
tion. fascina-
Bret
Harte,
even
where
was
powerful rival in the author of the oijim " Prairie Bell All lovers of and of Little Breeches. both in England remust poetry, gret and in America, Hay's life did not leave that Colonel crowded
"
strongest, Bludso
had
him
more
leisure
is
as rare
to
its range,
to given hear we sonnet
as
as
to
strike
such
notes
as a
Haunted
Remorse.
How
Sad
Of
To
exquisite
as
Of
blisses ;
pride,
;
saddest
With
the virgin
we
And
now
descend
to
the
levels
impossible
distinguish.
few
been at least a hundred years, there have and fifty poets and poetesses, of very many even of whom has not the indulgent Catholicism of Mr. Stedman And in the case taken cognizance. of the of these,
majority
so
74
depends,
purely
on
POETRY
not
on
AND
CRITICISM
of critical tests, but Nor has taste. of personal marks its whole range, any landit comprehensively, regard have individually who
in striking
any
application
the
accidents
this poetry,
or
throughout
to it, nothing contributed stands out In the minor singularity. poetry of almost
all periods
and with
of almost which
all nations, there are particular poems is familiar, and in the writings everyone
minor poets there are particular poems with instantly associate them. But this cannot we which be said of any of these poets. Even the best of them Dr. Johnson said of the I fear, of what us, remind
of most
Giant's hardly
to come
Causeway
worth going in our way,
"
it
to
was
see.
the chances
that
are
we
turn
over sure
real
pleasure.
tone,
We
pretty
wholesome marks
refinement,
all the
on
a
of careful
sympathetic
acquaintance
belles-lettres, and a power of expression fifty years a skill in technique, generally, which have found in the work been only of would
But it is, we
masters.
do
can.
not
feel, the poetry of accomplished but cause bethey must, sing because
Eclectic
and
cosmopolitan,
or
it is essentially the work of art, and but art, with in life, too no root often of nothing a weary sameness; national or individual ; in its themes, in its tone spirit, a certain insincerity, or and trivially native,
at
all events
enthusiasm poems
and
of genuine enthusiasm where Here is affected. there, particular and be found poets may particular whose
lack
POETRY
work
AND in
POETS
OF
some
AMERICA
75
would,
justice, require
Edmund
deservedly
Clarence Arnold,
on
Stedman,
his
own
Matthew
title to
speak
of
James
voluminous
essentially
to the way comparable life, and Papers, is full of humour, vivid likely to but it is hardly nature graphic painting, And, the country travel further than of its birth.
product,
though
certainly,
more
an
one
at
true
charm,
her themes
sonnets
and
lyrics and
of Mrs.
Helen
Jackson
play dis-
have technical great often much skill, and Emily beauty. is, in her jerky transcendDickinson entalism
Emerson, and strained style, too but much of her work faithful
refined Moulton
more
and
can
thoughtful
never
sonnets
than be
one
long
gems
appreciation, and lyrics will tender of her simple and But higher in every a anthology.
lack
grateful
to any of these poetesses than belongs place, perhaps, be assigned Helen Hay, whose to Miss must sonnets and lyrics have both subtlety and power, and whose
last work,
ness,
The
Rose
of Dawn,
intensity, and sustained seems power, in spite of its occasional in style, to me, collapses has brilliant contributions one of the most which to American recently been poetry. made
dramatic
76
But
POETRY
it is time
to
CRITICISM
The
future
can of Ameri-
on
is as own, poetry cism and critiof our is not immeThe diate concerned with prophecy. is, it must be owned, not prospect encouraging In the sphere tellect either side of the Atlantic. of in-
Science,
is seriously energetic but activity, nothing or vitally influential but the scientific spirit ;
"
the spirit of that spirit has engendered and, what investigation, is ubiquitous. analysis and criticism Under ginative this deadly solvent of the spiritual and imafaculties of man, their two creations, poetry
"
and
theology,
seem
an
to
be
melting
away,
the
one
resolving
itself into
the
other
into
wealth-accumulating
that accompanies have must and
to the senses, appeal Materialism code of ethics. and labour luxury, all and with
aesthetic
Wordsworth,
them. has
and all that follows in their train, inevitably have the effects which Emerson Ruskin to attributed and generally into little and
will
more
Literature
degenerate,
than
to
are
a
as
it
degenerated,
means
of
whose
;
amusement
those
occupations
or
elsewhere
as
and
poetry
shares, nobler
never
will
cease
to
it now
vitality. in Unerring and inevitable as the law of gravitation is the law of reaction in the spiritual, the physical, Materialism the word and let us understand world.
"
be
even
depressed,
lose their
in its most
course
comprehensive
run,
sense
we
"
has
quite
still
sure.
long
But
to
of that
may
be
all that
poetry
represents
POETRY
from
the
AND
POETS
OF
AMERICA
77
be the poetry poetry of the past must of from the mythIt will not imp its wing the future. ology tion or and Hippocrene, of Olympus seek inspirafrom
Siloa's brook Fast
by the Oracle
that flowed
of God.
Of
that there
can
be
no
doubt.
It must
more
have
other
inspiration,
to
find
the
likely perhaps
un-
tradition-trammelled contracted, Its themes, life of the Old. be sure, we may in the treatment man Whitwill be the themes of which its religion and ethics fumbled and stammered, Emerson was the religion and ethics of which it is likely to be a poetry the In a word, prophet. have been features of which more clearly, if still in the genius dimly, adumbrated typical of America,
the
than
in the
genius
typical
of any
of the
European
nations. degraded
centres
the restless, hollow, against reaction life at present characteristic of the great fashion is inevitable, and of business and
with of
a
that
realization, nobler
sense
not
as
the poetry may awake, famous find its prophecy politically only, but in another and
"
well
the
Westward The
A four
course
of Empire
takes
its way;
past, already fifth shall close the drama with the day; Time's noblest offspring is the last.
first acts
THE
COLLECTED
WORKS BYRON.1
OF
LORD
THE
and his
be regarded a as may completion of what final edition of Byron's writings both in poetry in literary history. is surely a notable event prose
Nothing either
indeed
the
is likely which
to
estimate since
the
of
character
or
work, long
now
the
verdict
on
which him
poet. much
But
are
man
himself,
was
and
more
to
in the
as
not
possible
we
are
understand
before;
absolutely
and that be
new
light
mony of testi-
illustration
probably
added
a
to
truth,
contribution it would be
biography
to
which
1
difficult
to
in
i.
The
Works E.
of Lord
Prothero.
Byron
by
Rowland
1901.
2.
The
Works
of
Lord
Byron:
Works.
Edited
by
Ernest
1904.
Hartley
Coleridge.
Seven
London:
Murray,
1898-
WORKS
modern Byron's from
times.
OF
There
LORD
is
no
BYRON
corner, no recess,
79
in
crowded
to
life, from
the
boyhood
into
we
to
manhood,
are
manhood
;
we
end,
as
admitted know we
To
know
him
not
as
and
Johnson.
nothing his in which of a correspondence his impressions, his idiosyncrasies
are
say
for
no
mirror,
reveal
records his to us
secret
thoughts.
He
moods
phase of darkness
the
and level
mere
Brummell, of fribbles like Nash and and of like libertines Queensberry and Hertford ; the transitions by
which,
in the
nobler instincts and sympathies, into the actual moat such ments embodiment of what he expressed in poetry; the virtues on which loved him delighted those those who admired and who
to
sudden of his
dwell,
and
which
most
momentarily the
most
into the
attaching
of
; the
for which the perpetual his higher and baser nature, and between
and his
passions,
was
his his
reason
responsible;
mingled
and
sincerity, refinement
; the
and
enthusiasm
the
almost
8o
POETRY
at
AND
he
was
CRITICISM
; his sanity,
men
which
sense,
times
keen
his
and
judgements, so
with
singularly
and
ingly glar-
the obliquity,
when
under
or prejudice
in other and
words,
journals, a
interest.
psychological
poetry
is
so
was
form
more
of his character, and by his personal experiences, the best of all commentaries
important portion letters point
that these
on
records
a
it. From
or
still
of view,
are
they,
at
least the
greater Byron's
poems.
us.
of
them,
probably
as
equally live as
are,
they
they
Social
dashed
anecdote
raconteur
on
and
can
only
consummate comments
them
; piquant
the
latest scandal
; the
gossip
and
tittle-tattle of
the
green-room
and
the
boudoir,
of the clubs and the salons, so transformed by the humour and wit of their cynical retailer that they almost rival the dialogue of Congreve and
Sheridan; life,
on
penetrating
on
dropped
that
we
carelessly their
that
see
wisdom,
it is only keep us
reflection
perpetually
and
a
performed
too
is impossible
speak
highly.
WORKS
no spared With complete.
OF
pains
what
LORD
to
81
he has
make
success,
number
of letters which
have
collections
once
show.
by
him
as
will at those
fared
glean who after the full harvest fare, he has not only preserved but he has worth preservation, substantially in preceding
to
must
necessarily which
was
what
was
of most
much been
collections.1 Mr. Prothero has not an us only given tive exhausedition of the letters, journals, and memoranda, henceforth be their standard must and settled what
text,
more
but
he
has
done the
much
more.
fully into
or
time,
took
keener
No
man
hour, than Byron. The passing consequence the letters and journalsteem with allusions
to
as
and
as
reference
individuals
literature
and
to
current
topics,
to
the
a
nearly
continual
us,
the of the day, which has made century unintelligible without has given This Mr. Prothero elucidations. given
us
well lapse of
and
in
measure
pressed and
down
and
overflowing.
the persons,
We
have
whom
1
the
For
many letters
are
addressed,
at the
of whom
of Byron's
they
material
disposal both
without
the poems would to the diligence and enthusiasm of the second Murray, during no who eighty years spared in collecting it. If they and owe their house
third
or
John
expense
to Byron
a manner
to repay
their creditor
have
appreciated.
82
POETRY
AND
CRITICISM
indeed
it is to
make
mention
; and
rare
which
themselves
and
we
are
with their occasional But important as all that throws important more
at
quarrel
is
as
as
a
light which
his work.
If,in editing
him,
still
more
cult diffi-
imposed and
on
his
the coadjutor,
we
the
poems
dramas.
When
not
say
Coleridge's
poem fragment
only Byron,
every
by
but
of from
interest
sources;
authentic
by
text
collation
with
the
printed they
and
extant,
manuscripts they
are,
variant
poem allusions Byron
being with
carefully elucidatory
noted
notes
; that
explaining
to
passages
which
to
indebted;
that
each
of
is prefixed the chief poems collection of poems and less elaborate bibliographical, a more or critical, illustrative introduction some and mate estigenerally labour be formed exmay of the immense pended
"
on
his work.
A than
reasons
to a conscientious troublesome poet more editor Byron be found, and this for three could hardly
"
the
multiplicity which
of the
the
large
space
topics
WORKS
fillin his poetry,
even
OF
LORD
BYRON
83
and
or the difficulty of identifying the innumerable reminiscences of explaining desultory but his loose and references which
and
immense very
reading
supplied
in
superficial
any
acquaintance
one
will enable
to
understand
as
of
The
Demi's
Blues,
to
say
nothing
Reviewers,
and,
must
Don
Juan,
by
above imply.
of
No
as
doubt
the
somewhat
lightened,
Mr.
Coleridge
much
acknowledges, lightened so
of
National
all that the Dictionary could afford for fraction was represents only a of what necessary has Mr. Coleridge the elucidation of these poems. his task knowledge brought to an of extensive
Biography;
general
extensive
knowledge and
preceding
contemporary
"ana,"
with
Byron.
Memoirs,
ence, correspond-
novels,
travels,
with
the happiest
not
result.
For
he has
thus
enabled,
only
to
ered rend-
tion conjunc-
us on the text, to furnish with with the notes Byron's on the best of commentaries and methods lies in The technique. chief infirmity of the notes
the
parallel
passages.
Mr.
Coleridge,
very
rightly,
84
POETRY importance
AND
to
CRITICISM
as
attaches
them
"
illustrating
ing strik-
characteristic with
an
the union of originality of Byron indebtedness his predecessors to temporarie and conlittle surto be not a so as prising, considerable particularly in
a
poet
of his
temper.
But
many
are
of the
not
most
found
mere
is
which To
might
coincidences.
presently.
resolved
we
into
return
shall
To
pass
to
the
contents
of these
all that
seven
volumes,
or
which
ever
represent
has
in verse given, to the world first question every which reader will naturally ask is: do they add anything have, to what we of importance already any poem probably from Byron's will be The pen. which
a
deserves
note?
permanence,
any
poem
which
strikes
new
This
here for the first time, the insertion published by the thirds could of at least two only be justified desirable to make that it was the colconsideration lection
complete. The
eleven
early
are
poems
from
level
the Newstead
manuscripts
of
ness', Idle-
talk
to
a
to
thQQ,"
Julian,
iii and
in volume
The
Duel,
no
the
Ode
of love Lady, in
volumes
distinction;
so
printed
are,
far
as
Every one will turn preserving. goes, worth interest to the seven the prose stanzas, with containing the savage
attack
on
Brougham,
which
WORKS
were
OF
stanza to
LORD
clxxxix fourteen
BYRON
in the
stanzas
,
85 first canto of
to
follow
Don
Juan,
at
and
the
seventeenth
room
one as
a
without
feeling
gains
in their
how
little, even
by
the
illustrates the
to
his part
decadence.
Nor
is the
series fragment of
of The Deformed Transformed likely but curiosity. The most able remarkgratify anything on of a poem of these pieces is the fragment
third
Aristomenes,
1823,
dated
Cephalonia,
September
new
loth,
he certainly struck a in which is not a little surprising, a note what Keats. The
The Since Of
note,
closely
fragment
Gods
of old
is short
are
and
on
it may
their shore
be transcribed:
silent
expired, broke
the
roar
Voice
How
Was
much beautiful
more
Pan is dead." "the Mighty proclaimed died with him ! false or true the dream
"
With The
stream
adorned
with coy nymphs and waters woods in Deities, or Pursuing the embrace forth the high heroic Of Gods brought
names are on
that
scorn
'd
race
Whose
o'er
the
seas.
On
of the letters, Moore displayed judgement which the admirable with he published he both in what and in what Mr. We ridge's Colecan quite understand suppressed.
as
of these
in the
poems
case
it is impossible
as
complete
that he
86
has
POETRY
not
AND
CRITICISM
the
manence per-
extended
limits
of what
to
some
of such
discretion
are
limits of these pieces the extreme have been lees even The reached.
as exhilarating, and that lees still remain, successor
we
not
Coleridge
no
gather it is to be
hoped
that
less discreet
of Mr.
ridge Coleto
will be
permitted
to
allow
vulgar
curiosity
more than copious material affording has hitherto been collected for a critical estimate of Byron's a as poet that this edition is perhaps work interest and importance. We enare now of most abled,
as
regale But
on
them.
it is
thanks what
to
to
Mr.
owed
Coleridge,
to nature
to
distinguish
what he
tween be-
Byron
and
predecessors and contemporaries, and, him into his workshop, his methods to study and into all the secrets be admitted of his technique.
will certainly come how the most often poets,
in
as
a
owed following
to
It
surprise
what inspiration,
vehement to be appears
is, at the
time,
the most
patient
essence,
with so much of artists; how, his poetry is, in expression and sentiment,
as
originality
in
imagery
morbid
and of this he was always " Like Edie Ochiltree," he said, "I never boasting. in my life." That dowed turn to bide a hard o' wark
labour; rule, with great rapidity seems pains in preparing certain, but that he took immense
many to have
and often in indebted to as much almost Tennyson. or that of Gray his almost affectations was
it supposed that tion composi-
he
composed,
as
WORKS
himself
OF
LORD
and
BYRON in revising
87
what he
from not only apparent, of his realism, when realism the testimony afforded by the
in his manuscripts
two
very
striking
dents the shipwreck namely, and the inciit in the second canto, the and succeeding in the seventh Of the siege of Ismail and eighth. " he himself a single not shipwreck, said there was from fact; not indeed taken circumstance of it not
Juan,
from
of the poem
out
was
but
actual
facts
this
which
Shipwrecks
dovetailed
at
Sea,
Hartford's
Remarkable
Shipwrecks, Bligh's
Narrative
of the
of the
Bounty,
to
and
his
own
shows
what
duly
but appears
one
could borrowed
stanza
And
first one
Louder Of
there like
rush'd,
a
then all was thunder ; and echoing Save the wild wind and the remorseless Of billows; but at intervals there gush'd, Accompanied
A solitary
some
crash hush'd,
dash
with
shriek,
strong
Of
swimmer
on
in his agony.
"
was
plainly
based
the following
passage
in the
88
POETRY
AND
"
CRITICISM
wreck
(Ship-wrecks and
Disasters,
Within
very
few
an
minutes
universal
of the time
when
Mr.
Rogers
few
minutes
long vibrated shriek, which dreadful a announced catastrophe. hushed the roaring of all was except
.
. . .
and the dashing of the waves. winds in the dreadful drowning were of men away
The but
cries died
extreme,
by degrees
as
they
became
faint.
to
It would scrupulous
most
indeed
be quite
impossible
exceed
to
the the
particularity
on trifling minutiae, these literally nothing In to invention. owing narratives, his account he of the siege and capture of Ismail in the same has drawn to the same way, and almost
with Byron
extent,
sur
on
the Marquis
Gabriel
de Castelnau's
Essai
VHistoire
Russie. remarkable
And
than
the
labour
expended
on
successive
Giaour.
trouble plain
to
composition
sometimes
cost
him
who will turn to the record ix of the first canto of Childe How reof the fourth canto. vision transform his
poetry
one o'er
is illustrated knows in
Giaour,
"
He
who
now
the dead."
The
lines which
The
The
first dark
day
last of danger
WORKS
OF
LORD
BYRON
89
(Before Decay's
Have
And The The The
swept
lingers,)
mark'd
rapture
the mild
angelic
air,
of repose that's there; fix'd yet tender traits that streak languor of the placid cheek;
ran
:
originally
The
The
first dark
day
the hue
lingers,
And
the soft and settled air with all but spirit there.
The
occurs
line
Where
apathy,"
"
as appeared illustrates what is often touch thrills with mortality," in Byron's A reminiscence perceptible variants. of " Shakespeare's "cold to him obstruction occurring
later, and
which Whose
as
he corrected
apostrophe
the proofs,
to
the
the
ocean
memory Baltic
of
couplet
in
Campbell's
Battle
of
the
enabled
These Their
him
oaken
to
transform
which
citadels
made
and
make
clay
creator
the vain
title take,
into
The
oak
leviathans,
whose
huge
ribs make,
etc.
Again,
Giaour,
is light from heaven,
liftfrom
low
desire.
were
evolved
thus:
90
POETRY
AND
doth
CRITICISM
sPr'mS
Yes
}
V
If
jLovemdee"M
I
c
descend be born
from
heaven,
immortal
eternal celestial
spark
of that
\ I
I fire. J
'Abydos,
the clouds
ray.
away
The
couplet
The
And
in The
beam
Bride
that
of
evening
smiles
tints to-morrow
with
prophetic
took
final form
And
from
with
hope
tints to-morrow
"l
S
(a fan";ied
I
an
I
J
ray.
airy
And And
"!
"
the
of morning
with
gilds to-morrow's
a
hope
with
heavenly
There
is
in
variant the
in the description
canto
third
poor
as
it is, is certainly
it is substituted:
The
glee
Of
As
the
loud did
hills shakes
o'er rejoice a
with
young
its mountain-mirth,
if they
earthquake's
birth ;
namely,
As they
had
found
an
heir and
feasted
o'er
his birth.
There
which
is
one
characteristic
of
Byron's
is very and
significant:
were
they
rarely
rhythm,
that
purpose.
So
designed
his
ear
for
that
lix):
Wild
Is to the but
not
rude, earth
awful
as
yet not
awstere,
mellow
autumn
to the
year.
WORKS
In the MS. this
Rustic,
was
OF
LORD
by
BYRON
reading
yet not
91
softened
rude,
"
not
sublime,
,
austere.
So
in the Siege
line,
The
of'Corinth
beneath
the dissonant
and
lumbering
vaults
the mosaic
stone,
ran
in the MS.,
The vaults
"
beneath
the
"
chequered ( I
inlaid
j. stone"
J
had
have
been chosen, chequered faultless. In another been after three experiments is best indeed, but which rhythm
:
the
rhythm
of
passage
he in chooses
no
the turn
way
improves
wild
dogs
fled
dead
dead dead
howling
but
finally
And howling left the unburied dead.
To
canto
of the history
a
third
is attached. album
the
stanza
in
one
lady's
justafter
ran:
he had
composed
it, and
of the couplets
flew,
Here
Then
eagle
with
to
bloody
beak
This
a
being
shown of
oneReinagle,
chained eagle
pencil
sketch
wrote
in reply:
"
Reinagle than
I am;
better ornithologist
eagles
and
all birds
92
POETRY
AND
CRITICISM
not
of prey attack with their talons and beaks, and I have altered the line:
Then
tore
with
their
with
bloody
talon
the rent
plain.
Carlyle's
for taking
know But
definition
of genius
as
pains of Byron.
the
is certainly
not
combination with
a
of
capacity temper
for drudging
industry scarcely
genius
and
which
seem
the practice of so humble compatible with in Byron's a convirtue, is not the only anomaly stitution he bears a remarkable In three respects he would, to a class of poets with whom resemblance
at
first sight, appear in common. to have nothing Horace in ancient Neither Virgil nor times, neither Milton Tennyson in modern Gray or even or times, has been indebted to preceding more contemporary and
literature. An
extraordinary
a remarkable memory reading, its ready its acquisitions, over mastery and a and less remarkable not power and of reof assimilating produci in other forms was thus acquired, what
are
quite whom
to
as we
to
say
than
as
of the
poets
sound
to
cal paradoxi-
reading
and
books
nature
owed
to
independent
bears
to
him
his
poetry,
far from
having
originality, certainly
already
remarked
that
WORKS
the
OF
LORD
BYRON
93
least satisfactory part of Mr. Coleridge's commentary is its illustration of these very remarkable characteristics of Byron, and we shall therefore make
no
apology Nothing
method It is generally
length. at some with them could illustrate more strikingly Byron's tales. than Childe Harold and the Eastern supposed himself, that in the
for dealing
Childe
Byron
touches and and so in some painted simply in certain details he undoubtedly did ; but the acter charde by Madame to him was plainly suggested
Stael's Lord
of Byron's fourth canto
the
in whom every trait In the hero described. is defined and is followed Corinne very closely, as in Nelvil
in Corinne,
descriptions
of
the
on
Coliseum
and
Nearly the ruins the whole (clxxix, of two of the finest stanzas clxxx) is taken from in the apostrophe to the ocean the
in the reflections
novel
. . .
Peter's,
(i, iv):
Cette
superbe
sa
mer,
sur
laquelle
terre
1'homme
jamais
par
ne
peut
. . .
imprimer
trace.
La
est
travaill^e
lui
les un moment sillonnent mais si les vaisseaux la vague ondes, vient effacer aussitot cette l^gere marque de servitude, et la mer telle qu'elle fut au premier reparait jour de la creation.
The
famous
stanza
in
c"iDon
etc.,
Juan,
v:
st.
cxciv,
love
life,"
is little
more
than
translation
of
Corinne,
xviii,
Que
poser
et
les hommes
leur vie, de
sont
se
heureux
a
livrer il n'y
du
danger!
Mais
leur
un
les
femmes;
est
existence,
soulage du presence
qui
malheur,
long
supplice.
94
The
POETRY
AND
CRITICISM
Corsair,
was
character
pointed Massinger's
out,
natural Un-
typical
heroes.
Giaour
is
Schedoni
analyzes
in The his
own
Italian.
simply In Lara
Mrs. Byron
Radcliffe's
no
doubt the
rest,
Radcliffe's Italian
ofUdolpho, and
Mrs.
one
Scott's Marmion.
How
closely
to any
Radcliffe
who
is followed
Lara
Morano
and
Otho, and
of the volume second for instance, Mysteries with of Udolpho. Compare, Mrs. iv of the in section Radcliffe, the passage
second
canto
and Montoni
Mrs.
Radcliffe's
in the
of Lara,
beginning
.
. .
"Demand
For
Lara's
Almost
grew hue.
The
sword
Count
over
then him
fell back
while
Montoni
.
held
. .
his
yielded
almost
He bade him his life. and ask but his countenance at the interruption, changed to blackness he looked. as
we
Indeed, Radcliffe's
from for two
the influence he
her
hints,
as
pointed
of his most
striking
passages,
Greece
Milan
; and
the
country
wore
the
aspect
of
now
ruder
devastation
though
seemed
over
repose
was
like that
WORKS
retain ii,
the
OF
LORD
BYRON
95
impression with
29). Compare
the
canto
(Udolpho,
and
description
the fourth
Nothing view
out
the
beginning
of
could of Venice,
the
sea
exceed
Emily's
admiration
on
her
first rising-
with
...
of
towers
majesticfabrics,
up from
the
I As
saw
appeared of
as
an
if they
ocean
by the wand
out
enchanter
from
the
wave
her structures
from
the stroke
of the enchanter's
wand.
She
looks
sea
Cybele
fresh from
ocean,
towers with her tiara of proud At airy distance motion. with majestic
Rising
There
can
be
little doubt
Mr.
pointed
novel
to
once
popular
but
forgotten
Man, Herr
or
published
garus
nor
in 1806,
Ome-
Kolbing
almost
equally
indebted had
to
Sacra,1
he has
not
he which borrowed
found
certainly read, and from which details of singular picturesqueness in the novel, for example, the lines:
Ocean still, their silent depths
on
all stood
And
nothing
Ships
They
the
a
sea,
slept
waves
The
were
without
surge
"which
are
1
"
simply
See
paraphrase
lib. iii, cap.
of,
xii.
Et
quoad
particularly
96
mare,
POETRY
hoc sine
AND deseruerunt
l
CRITICISM
dudum
motu."
nautae,
stagnum
"
puti-
dum
The
were
from by the
the Misses
German's
Lee;
as
the
Deformed Transformed^?^,
his confession, from The Three Brothers,
a
borrowed forgotten
long by
one
Joshua
Goethe's
indebtedness
the greater
of Byron
in
Manfred
to
Faust,
Lewis translated part of which for him, and to the Prometheus is of of Aeschylus, course notorious, and is duly noted by Mr. Coleridge. But Mr. fluence does not Coleridge what notice is the inon exercised by Southey's Curse
it by the
romance
ofKehama,
and
Death
to
of
to
Wallenstein,
Byron
both
accessible
Maturin's passages
Coleridge
debted inwas Juan Byron much of Don beyond to Casti's Novelle, all doubt, which, He had been introduced to him. the poem suggested in 1816; to the Novelle by Major Gordon at Brussels, and
letter written from long afterGeneva, not wards, " he says, I cannot tell you what a treat your I have almost got him gift of Casti has been to me. He Don by heart."3 began Juan about two years
a
1
2
for
in
Lib. See
in 1795,
version
second,
published
Letters
and
note.
WORKS afterwards.
Novelle. Byron's Don The poem
OF
LORD
BYRON
97
Juan
is full of reminiscences
of the
(Novella iv).
We
to brings us nearest novel which is the one Diavolessa entitled La This suggested his hero. to him
take
our
him,
Juan
"
Sent
his time.
So
Casti
Ma
voi piu volte, O Donne mie, vedeste Sovra le scene e private pubbliche Di don Giovan le scandalose geste.
(St.xv.)
In
Casti's
Don
story
one
Don
Ignazio
over
(who
is his
hero) and
licentious
Juan
wander
to meet
adventures,
Byron
regions, intended
like Don
Juan,
Spain
Ignazio,
his
source
Gothic
gentlemen
of Spain.
re
Goti.
(St.ix.)
Both
the
are
same
addicted
Ermene-
to
Jose,standing
as
in the
Ignazio, the one, gilda, the wife however, nazio, Igthe other involuntarily. voluntarily, like Don Juan, is shipwrecked; and each hero is the sole survivor. It is quite clear that Byron
his style, not on modelled Casti. To Casti, then, on honour Berni,
as
Juan
he implied,
but
of having
98
POETRY
a
AND
CRITICISM
of distinction
and
power,
with
and
there
is, of course, between no the two parallel for the perTo accuse Byron poets. fectly of plagiarism legitimate or use suggestion of material hasten by others would, to say, be as we afforded absurd
as
to
bring
use
for the
similar he which
a.
Milton for the use which or and Holinshed, against he has made As Swift well observes, of the ancients. " from If I light my that candle another,
does
and than
not
affect my
and
of wick the
in the wick and tallow"; property had infinitely more tallow Byron his creditors
put
was
majority of
reading,
curious;
together.
Byron's
if desultory, and
his
and
Tennyson,
To
extraordinarily he scholarship
fact that, in his
and
no
tenacious.
sion. preten-
The
find
phon
vsoiy
him
the
"7"a(MXTa,
and
xfvff"$)
doubt
indicative
not
of
appear made any effort to extend his knowledge But with most of that language.1 of the Greek Latin, probably, as classics in translations
"
Greek,
for it does
well
as
English
"
he
was
certainly
familiar,
or
as
the
ready
propriety of
with
passages
"Detached
of his
which from
Thoughts"
applications them
spring
In
his
436) he
usual
were
speaks proportion
classical
of
a more
being
"
in the
boys
those
than
days
usually
much
in Greek.
WORKS
OF
LORD
BYRON
as
99
Of the Prometheus, sufficiently shows. fond himself, he " was us passionately at least, he knew well in the original,
plays which of the Greek Harrow," that "that adding,
"we
he
tells this,
one
";
as
and it was
a
read
and Seven
thrice
year
were
at
the Medea
the
only
ever
ones,
except
the
which
much
pleased
me.-"
from Greek striking of these reminiscences but have been duly noted by Mr. Coleridge,
not
observed
that stanza
in the second canto done," a translation etc., is almost Leander and of the Pseudo-Musaeus,
episode cciv in the Haidee 'twas in Don Juan, "And now from
the
Hero the
279-283;
resemblance
Their
between
priest
was
Solitude,
and
they
were
wed,
and
being,
close That
was
with
to
the
other
fluently and
acquainted We doubt.
habitually,
with
cannot
if irregularly,
can
the
enter
poets,
there
be
no
here, but will only add that for every the question dozen illustration by Mr. Coleridge a could given had happened to pay be adduced by any one who particular Lucretius, he
seems
attention
to
this
subject.
In
Catullus,
to
Horace,
have
known
Lucan,
Juvenal,Persius,
Seneca,
borrowed.
poets,
Latin
in modern
Latin
literature, anything
particularly
ioo
POETRY
occurs,
AND
the
CRITICISM
are
felicitous
acquainted
Thus
with
that
Byron
was
turned
a
it to
account.
dimple
by
Teren-
Marcellus:
digitulo
demonstrant
mollitudinem
"
"
he probably found in Gray's Letters^ (where which it is wrongly to Aulus Gellius) attributed by West he adapts, has he himself as noted, in Childe
Harold'.
The 'd finger hath impress dimpling seal Love's Denotes how bears his touch. soft that chin which
He
quotes
Shenstone's
est
cum
exquisite
inscription,
"
Heu
tui Fons
quanto
minus
meminisse," lacrymarum,"
mortua
Gray's
etc.,
"
Cowley's
the
"
Nam
mm
vita
gaudet
aucioris, Lumine
floribus
in
Epitaphium
"
Among
pear ap-
Tacitus Sallust, Livy, and writers, have his favourites; been scores and from them may be
reminiscences
poems. To pass
to
so
found
in
of his
from his
ancients He was
Byron's
from
the
moderns.
with
tells
being sensitive about charged Mrs. Shelley that he gave away, of the
giarism plaus,
Aikin's
edition
British
English
traveller
some
Gray's
Works.
Mitford.
Vol.
II, p. 137.
WORKS
Mr.
what him,
time,"
OF
Watts
a
LORD
BYRON
amply illustrated
be brought
101
Alaric
A.
very
with
justice such
he
was
charge
could
"
greatly
to
he wrote
annoyed. Moore,
now
against in my
accused
of
he owned But, in another that, mood, everything." " " he was idea he had got a good not very when how he came into possession of it." And scrupulous It is undoubtedly true. this was part of the duty of
"
"variorum"
and succeeded
we
one
out
these
to
tions; appropriaextent
has
some
imperfectly,
however,
that
cannot
who
would
regret that he did not consult some ficienc have assisted him to supply this dein the and of the term, strict sense deliberate, but what may
to
Plagiarism,
be
must
conscious
an
justly
be
render
author
liable
or as
the
charge
of it may
Byron,
as
almost
"
as
able remarkwas an
he
incessant
reader.
I read,"
Glennie's Chaucer
nie, them
set
"almost
more
of the British poets from " said Dr. Glenand I am," had to say that he perused beginning
end." he what
are
from
to
His had
no
poetry
thus
throughout
acquired.
doubt
for instance,
would
be
of thought
"
the magic
of
name,
102
POETRY
AND
CRITICISM
in
The
power of grace,
the magic
of
name
of Burns's,
I
saw
thy
pulse's maddening
play,
in
The exulting
sense,
the
pulse's
maddening
play ;
of Scott's,
0
for
an
hour
of Wallace
of blind
wight,
in
O
for
one
hour
old Dandolo;
of Tickell's,
1 hear
a
voice
you
cannot
hear,
in
I hear
a
voice
I would
not
hear
of Young's,
Our heads,
our
hearts,
our
passions,
and
our
powers
in
My
joys,my
griefs, my
passions,
and
my
powers
of Coleridge's
Curse
me
with
forgiveness,
in
My
curse
shall be forgiveness.
of Pope's,
Glory
of the priesthood
and
the shame,
in
Tasso is
now
their glory
and
their shame.
echoes, poems
we as
may well
as
add,
the
from Faery
Spenser
"
the
"
Queen
of
tragedies,
Macpherson's
lines
and
of ser's Spen-
(F.Q.
5):
WORKS
And
ever
OF
anon
LORD
BYRON
103
and
Flash'd
through
been
flake
Of lightning
seems
through
fulmine'd
"he in stanza
owed a singularly beautiful image Ixi of the first canto of Don Juan:
to of youth,
have
cheek all purple with the beam Mounting, at times, to a transparent As if her veins
ran
Her
glow,
lightning.
In
the
last line
of The
Corsair
a thousand virtue, and crimes his many reminiscences of a book which Anatomy great favourite with him, Burton's
"
one
of
a
of
lancholy, Meso
Hannibal,
vices
;
as
he had
unam
mighty
virtues,
virtutem mille vitia Grave, a noble expresIn ChurchilVs sion comitantur." (Inferno, of Dante's xxxiii, 26-27)is laid under contribution
:
he
had
many
Do The
we
rip
Che
del futuro
mi
squarcib
il velame.
We
will
illustrate which,
account.
of Byron's apgive a few examples propriat from sources, as more they recondite for anything he had keen how an eye
now
being
felicitous, he
Jones,
Nations,1
in
his
could Essay
turn
on
to
the
Poetry
of
are
the Eastern
observes
that their
striking, and gives as an very just and " The bathed blue eyes of a fine woman in tears to violets dropping with dew." compared This in Byron's "I saw thee stanzas, appears
similes instance,
weep"
:
1
Works,
vol.
x,
335.
104
POETRY
AND
The
big
CRITICISM
bright
tear
Came
And A then
o'er
that eye
In
his
dedication
the
Rival
Ladies
says:
Dryden,
speaking
When
over
of the progress
only
a
of the work,
mass
it was
one
tumbling
was
another
in
; when
yet
moving
the chosen
light, there
or
of
things then
and
rejected
in Marino
As
by
judgement.
I, ii, as
a
This
reappears
Faliero,
yet 'tis but
Of darkly
In her
brooding
thoughts
more
chaos fancy my
to
is
first work,
the
nearly
the light
Holding
For
sleeping
images
of things,
the selection
of the pausing
judgment
is
a
In
the Bride of
of
Abydos
tact
there
remarkable whether
stance inthe
Byron's
in assimilation,
or
unconscious.
On
the
of the poem,
breathing
note:
from
her
face,
Byron
This
to
has
the following
has hath
reader the
woman
expression
who the of
met
not to
with music
I objections.
"him
recollect, whom he
seconds,
to
the
most
believes
be
and
if he
does
not
comprehend
fully what
for
is
us
expressed For
an
in the
eloquent of
above
of the
on
author the
(and
age,
the
analogy)
10,
between
music,
see
D.
1'Allemayne.
WORKS
But Byron
has been
OF does
LORD
not
as
:
BYRON
105
what
expression
out,
taken,
directly
Oh And
from
you
Lovelace
could
music
of
of every
grace
We Harold,
.
have
in Childe
The
heart broken
will break,
mirror
yet brokenly
live
on.
E'en
as
which
the glass
multiplies,
of
one
and
was,
makes
that the
and
still the
same
more
it breaks. to
This
a a
simile,
Byron
quatrain
which
suggested
once
him
to
by
he
must
him,
known,
smallest
It has
been
traced and by
passage
in almost
in Burton,
Mr. but
who
occurs
Coleridge
the
true
to
source
sage paswas
Carew's
Spark,
Donne,
passage
runs:
suggested in his
also
the The
poem
Heart,
.
.
and
Love,
At
one
did shiver
it as
glasse.
And A My But
now
as
broken
glasses
soe
showe
thousand
ragges after
one
lesser faces,
of heart such
In from
the
one
1
same
way of Lady
he
has
Mary
passage letters
Orpheus
to Beasts,
Works,
Ed.
Hazlitt, p. 38.
io6
POETRY
AND
III, st.
CRITICISM
in Don
frian (Canto
to the
xviii).She
Newcastle
mine
who of
coalition
of
a
between
friend
It puts
me
family
convey
of
them
in mind favourite
to
a
large
animals,
his country
Dutch
he
ordered and
mastiff,
to
knowing how to not and house in separate equipages, her kittens, a a cat and
monkey
parrot, all
be
packed
up
together
in
one
hamper.1
a Dutch a mackaw, monkey, mastiff, Two parrots with a Persian cat and kittens He chose from several animals he saw
He
one
huge
hamper
altogether.
st.
The
remark
in Don
And
Juan,
I may
IV,
iv:
thing,
if I laugh
at any
not
mortal
'Tis that
"
weep
looks
very
like
reminiscence
of
Richardson's
Pamela
It is to
: (Letter Ixxxiv)
this deep
concern
that
my
levity is owing
...
am
forced
to try to make
myself
laugh
that
I may
not
cry.
sources,
But
as
he
sometimes
in Childe
Shall Pay
we,
recondite
the Lion ?
down,
shall
we
which
have
been
attributed
Shall
tamely
we,
who
stand
invade
us,
It is not
1
necessary
Bute,
and
20,
it would
Works,
be
Ed.
tedious
1803, Vol.
to
v,
To
Lady
Jan.
1758,
36-37* Harleian
Miscellany,
iv, 290
(ed. 1744).
WORKS
multiply
OF
LORD
It
"
BYRON
sufficient
that
107
this
it
illustrations.
is
"
II
Few
solve
be would Byron's
more
difficult to
position
relative
among Of
he
as
is of those
it be
having
Strange Infused gifts from quite Nature,
to
but
no
soul of
a
through
make
them
piece.
his essential a power, sincerity as he felt poet, lay partly in the intensity with which the passions and and expressed realized all that in inspired
circumstance
His
partly
and situation appealed in what Matthew has Arnold his Titanism. The moment he becomes and
the
a
to
so
them, happily
he quits
a
spheres
so
eloquent that
note
discernible.
We
as such passages Alp's journey along the beach ; the death of Selim ; Waterloo; on the falls of Velino; the stanzas the to Rome; the apostrophe the dying thunderstorm;
at first sight of falsetto is not his power, in quintessence, in see the journey and death of Hassan ;
stanzas the last two gladiator; innumerable other passages But are struck. similar notes
and
and
poetry
has
not
only
no
unity, Ecstasy
it has
not
permeating in collapse,
enthusiasm
exhausted
and
mere
io8
POETRY
succeeds
effort
or
AND
to
CRITICISM
the interstices between
talent
each
more
genius,
filled up being energy falsetto. less successfully disguised of inspired other sphere, his masterpiece
"
by
In
the
the
"
is The
we man
Vision
what
we
of Judgment
have nowhere
while
in
have,
else, the
in absolute naked simplicity, a and illustration versacomprehensive of his amazing tility for comedy and and dexterity, of his genius satire
"
"
full
perhaps
as
his
most
remarkable
characteristic
of all those qualities of sincerity which inform and vitalize his serious poetry. Byron's insincerity his rhetoric in other words,
as
well
"
falsetto poetry
which
"
is most
are
discernible
in
those
most
which
are
in
execution
of brilliant,
parts
for special out generally singled First would by his admirers. come commendation his descriptions ing of nature and his affectation of beNature's devoted It may fairly be worshipper. questioned by moved
in any whether Nature, Byron
or
was
ever
whether
he
ever
light than a theme for rhetorical other In his earlier poems all his descriptions commonplace
play. disare
perfectly
stone's,
and
of
the
order the
who
to
seems,
judging
a
from
of ShenHours
of
Idleness,
have
been
favourite
first two
mere
cantos
rhetoric.
him.
In the
are
of The
Corsair
At
than
brilliant
mation. decla-
of Childe Harold, because, to employ ; but it changes changes Shelley dosed him "had expression, with
WORKS
Wordsworth."
a
OF
From
LORD
this
moment
BYRON
Nature
109
became
favourite, could
for
be
he
saw
from
out
Wordsworth
a
capital
"description"
made being,
as
of such he himself
theme;
boasted,
forte," delineations
very wide space beauty there can
as
fill thenceforward a of Nature in his poetry. Of their power and be be no but there can question, of the
purely
rhetorical quality of Not, however, much of this part of his work. of all into inspired at once of it, for affectation passes he deals with sincerity the moment such phases of Nature
her," wrath
as
little question
respond
tells her
us,
to
his
own
He
"loved in
her
he
and
"best
in
and
awe-compelling she
and him
grandeur
her
prophet. appears
of sublimity took possession of him and made is no There note of falsetto, or,
be such
a
if there
to
note,
it is only themes
are
in the
or
or
in the Alps,
or
elemental
wastes
of mountain
of
ocean,
apparent Wordsworth,
in when, he adopts
evident
even
that,
so
comprehend
how
happily
it lent itself to effective rhetoric, but he did not see how incongruous was the essential of materialism his own connature conception ceptions of life and with he When as transcendental. essentially writes
"
in myself,
of that around
but
me
I become
-
...
i io
POETRY
And
AND
I
CRITICISM
and this is life;
thus
am
absorbed,
Are
not
me
waves, as
and
skies
part
Of
of my
soul,
I of them?
Not But
nor
air,
nor
leaf is lost
a sense
hath
part
Of
that which
and
defence
"
we
instinctively
the Greeks
so
called parenthyrsos. It is in these parts of his poetry that his adaptations from other poets are most and appropriations frequent from the Pseudopalpable, notably and Ossian,
and
happily
from
Beattie's
But
Minstrel,
from goes
one
Wordsworth further
favourite
;
Coleridge.
he
often
afield. books
much of his
there
can
little doubt
of
Melancholy
II, st.
xxv)
in describing
the
and
among"
solaces
of Nature.
gardens,
bowers,
mounts
walk
orchards,
and arches,
arbours,
groves, places
by
run a
.
thickets,
betwixt
...
wood
to
and disport
a
water,
river
up
a
side
in
some
steep
hill, or
sit in
shady
seat,
plain, be needs
delectable
recreation.
(Anatomy,
course,
can
part
4.)
Such
parallels
coincidences;
on
be merely be no doubt
"
"
accidental and it is
was
in I wish insist to that Byron, in her calmer there aspects, where in expressing arouse passion, and
WORKS
OF
LORD
BYRON
in
drew with her in such aspects, invariably sympathy both his descriptions and his sentiments from books. It is precisely the same tions with his brilliant descripin the plastic arts the Venus of masterpieces Now de Medici, the Laocoon, Belvidere. the Apollo
"
we was,
have
it
on
the
authority
In
April with
26th,
some
1817,
he
indeed,
it is
"more
in the galleries of ence, Florde Medici that of the Venus for admiration We turn to than love." and find the mood and
tone
himself
enthusiasm
his description,
which what
with
it is assayed the very reverse and executed of he says his real feelings were. In truth, his scripti deis little more than eloquent at the beginning
an
of the famous passage book of Lucretius, the passion-inspiring being especially, and of the work dwelt of
a
indeed
solely,
upon
; while
he dovetails
passage
in Young's
as
he
borrows
from
Where
hadst
now
thou
this, Enchantress?
E'en Who On
But,
thou
swimm'st
before
expanse
can
me.
spread
which drunk
of white find no
up
above,
rest,
and
down
Not
the Apollo
was
Belvidere
itself, but
Milman's
plainly the model and description the magnificent of that statue, Byron drawn, Milman as also have may
Newdigate
noble inspiration of
though certainly
statue
did,
on
the very
remarkable
description
of the
ii2
POETRY Disraeli's
AND
CRITICISM
a
in Isaac
to Byron. work well known described Keats, insight, once with characteristic "a Byron in the worldly, fine thing theatrical, as " this description, with ; and and pantomimical way
some
to him modification, almost always applies in for example, he attempts he attempts, when what Manfred. That work may indeed be taken as a comprehensive
both
that is has
falsetto
mere
whole
fustian,
chaotic other
concoction
by suggested with a substratum of the impressions him by the scenery on of Switzerland, what
from
been
poets,
really
made in recorded
his
journal to
was
Mrs. doubt
Leigh.
to have
He
no
was
Manfred
it supposed
that
himself, had
was
and
that
Manfred's
and
; and
a
this Goethe
in certain superresemblance ficial generic has no more to qualities, Manfred resemblance He Byron being. than he has to any other human beyond
copy
touches
Satan,
Alastor,
of
Beattie's
Edwin
to which of Schiller's Moor in Byron had access or version either in a French 2 translation the English of 1795, partly of Southey's
1
2
See
October,
Leigh
1817.
of Schiller."
are
In the
journal
to
Mrs.
"
he speaks
French Tell
may
Manfred
obvious
this, and
not
The
Robbers,
be what
he refers to.
WORKS
Ladurlad
OF
LORD
BYRON
113
the curse, partly of Mrs. when under Radcliffe's Schedoni, and partly of Ahasuerus. is the protagonist And a thing as of shreds and into drama. Resolved is the whole such patches
" "
mascene, the chinery opening the scenes with of Spirits, the incantation, Hunter, the soliloquies and their surthe Chamois roundings
its constituent
parts,
the
of the Abbot,
there
to
and
fred's Manof it
or
"
is
no
portion
poems
pre-existing
drama
motive.
Indeed,
motive
neither unity, soul, nor it is part of the falsetto that for intelligi is substituted juggling mystification,
In truth
has
just as
or
we
find in Lara.
service
the
motive,
to
"
what
does
on
a
for
it, appears
to be
send
curiosity
nameless
quest
after
the
secret
remorse
with
the solution of which Manfred's that Astarte was sister, and that for an incestuous union with her, coupled is inexpiable, that the sin was the conviction
hour,"
of is, so
all it is insinuate
the
But, as is usual with the chief cause of his torture. in the falsetto, the vigour Byron's of the rhetoric descriptions and soliloquies half disguises it. Every
one
must
the soliloquy of the first act, by the and by the impressive is true
of the of the
Coliseum.
other
What
of dramas.
Manfred
Byron
to
pose as Goethe
to
reflect
It is when
we
with The
Vision
ri4
POETRY and
Don
AND
CRITICISM
and
as
ofJudgment
and
Juan,
the
Byron pure
in poems such passages in what moved sincerely Byron distance between the
accent
him, the
rhetorician
and the
poet,
between
A
degrees large
of talent
and
two-thirds,
work
of genius. of Byron's
poetry
with gifted craftsman, extraordinarily rhetorical talent as brilliant and plastic as Dryden's, furnished by an unusually on the material working observation, of life, by sleepless experience wide
of
an
and
by
memory, English No
and
retentive
toits stores.
Ben
Jonson,
more
not
Milton, reading
not
Gray,
Byron,
not
or
Tennyson, had
a
owed
more
to
than
mind
stored
with
acquired
knowledge.
But let
us
result from
mistake. discrimination
not
Whatever between
between
deduction
may
and
what
is derivative,
is unsound or excellent and what in Byron's the truth remains work, a place must occupy, and for ever
that he occupies,
distinction his
in
our
literature.
is without is scarcely
art
to
or
the
any
poetic
which
was
English parallel among form or open phase any by him, not attempted
theme
did not
the poetry
nineteenth
was
of the eighteenth
the
disciple of Shenstone
and
and Gray,
Pope
the
of Beattie
and
the
WORKS
Pseudo-Ossian Wordsworth
shows, Aeschylus
Testament.
a
OF
;
LORD
the
BYRON
disciple
even, as
115
of Scott and Aristomenes largely
on on
he
was
at
last he
had
touch and He
identified himself
has
with
Dante,
our
catching with
a
enriched
poem
Tasso,
us
and
in
thrills
and
and
Leonora.
With
plastic
success
his
marvellously
assimilated
the
also that species of poetry which extreme opposite of Italian art; and the of the Pulci, of Ariosto, and of Casti
of humour
no
and
pathos,
of wit that
and
with
in the historical influence particularly of Alfieri is plainly perceptible. But if Byron's versatility is illustrated by the heterogeneity it is illustrated of the sources of his works,
still
more
Since
no
strikingly Shakespeare,
shown
by
as
those
works
selves. them-
Scott
justly observes,
great
a
English
poet has
himself
so
master
gross
made
no
in the essentials of and it is true, there is no refinemen that is brutal and and much have large deductions to be
and
falsetto.
But
all
that
at least in its less refined, all that tragedy, comedy, can at least in its less exalted, aspects excite, will be
for
ever
at
the
command
of
master
whose
name
ii6
POETRY
calls up
AND
CRITICISM
The
instantly
the
Beppo,
Vision
of Judgment,
first, thirteenth,
of Don
and
Juan,
Eastern
fifteenth, and sixteenth cantos in the earlier narratives many passages Prisoner Chillon, the tales, The
of
episodes of the shipwreck, and of Haidee. His range in composition is indeed extraordinary. He was in a brilliant disciple of the school of Pope English Bards in the Scotch Reviewers, and and
Hints of
the death
from
Horace
; the superior
of Scott in
species
peculiarly characteristic of the modern Scott romantic school, in which, till his appearance, the originator, in The Corsair, Lara, alone; reigned and the Oriental tales, of a new species of epic ; the
poetry
and Earth, of a new fred and most striking species of drama, and in Manhad, with the exception of a species which of a Faustus, to him, Marlowe's no type protowork unknown literature. in our or counterpart Sardanapalus, originator, and Faliero and The Two Fosnothing of Marino but it is a be below a drama, as cari, may contempt As satire splendid exhibition of dramatic rhetoric. in mock-heroic, The Vision Judgment has neither
to
in Cain
in Heaven
say
of
in European poetry
to
literature.
Inferior
is to
that
of many
more
his
predecessors,
that
contemporaries
to
name
successors,
of many it would
be
out
poet
so
in
our
language and
of whose
splendid
multiform Harold
are
could
To
pass
to
his
masterpieces
; Childe
and
Don
the the
Juan,
two
perhaps
world,
WORKS
in
common.
OF
LORD
Each
moves
BYRON
in
a
117
sphere of its not in degree is
a
nothing
own,
as
each
merely, triumph
but
superb
touched
are
in another world and under the spell of another has passed into the cynic, The sentimentalist genius. We longer in into the mocker. are no the moralist the temples places and not Nature
not
and
meaner
palaces of poetry, but in its profane habitations. The is now theme in its squalor; the devil rules
in her glory, but humanity it, but as God as the world made
for the rapthe series of splendid pageants, tures has been of its predecessor, and sublimities free fresco, the tragic farce in broad, substituted,
it. For
into
and
lusts
and
lawlessness,
was
mock-heroic
himself
induced him to affect, and from all that vanity had and command all that his cleverness of rhetoric had him to assume, his powers in out poured enabled the Titanism sincerity sheer and absolute which
"
was
essence
of his genius,
the
scorn
mockery,
sense
of tears
more
persiflage, things,"
the
irony,
and "the
the
refined affections some susceptible. of his moods, Don Juan is admirable alike
range, blends de
in expression. To
in conception,
a
in
give unity to
entertains
us
and the
Novelle much
Amorose,
Horace and
Walpole's
us
Letters,
charms
in the Odyssey
ii8
POETRY
AND
CRITICISM
has all the cynicism of La Rochefoucauld and Swift, levity of the worst all the callous school of our comedy, has now and
the
"
yet
note
a this indeed of Catullus required master-hand. The is the unity impressed it on unity of the poem by truth, by truth to nature truth to life, for and
Byron himself
"
up
the
mirror
to
What
after reading
roughness,
(he himself wrote antithetical mind!" " tenderness, certain letters of Burns)
"
delicacy,
coarseness,
compound of inspired clay." in fact, was Byron himself, and such is this But the glory and the shame poem, poetry. of our is to be forgiven loves greatly, if much to one who to one something may be forgiven who hates rightly. mixed Such,
The
grovelling,
justification of Don
of the most people:
Juan
is its ruthless
exposure
of cant;
as
characteristics of the the the ubiquity of hypocrisy, immorality as masking morality, religion, for the
vilest purposes,
despicable
ceremony
one
capital out of the frailties and lapses a are the other as at least sincere, of those who for dignifying means almost every form which moral
to make
assume. cowardice and moral vanity can In its execution Don Juan deserves all the praise Byron's have most extravagant which admirers
heaped
on
it.
Never
was
our
language Whatever
so
completely
hands.
he has
express
seems
to
embody of
verse
the complicated
form
WORKS
With
a
OF
ease
LORD
BYRON
119
in our literature at which, least, are every extreme unrivalled, he has blended in nature life, in style and tone, ducing prowithout and or even the effect either of incongruity of
skill and
impropriety.
Don
Juan
and
has
littleenough
some
in
common
yet in
respects
it recalls
the similitude
so
sea.
which
at once
gests sug-
ness, or
pungency
as
of the
it. Over to pervade exthe spacious cliff seems panse of its narrative, teeming with life and in everin storm in calm, play, now and now changing roll in endless wave after wave succession, and break,
the incomparable
are
stanzas
on
whose
liltand
rush
we
not not
be
by
in English is of Byron poetry by ordinary critical tests; it is is to be judged. that his work
The
of perfectly legitimate criteria to his in questioning he us justify poetry would whether " Dii even the could be held to stand high among " minores of his art; it would certainly result in assigning application below Wordsworth very much below Keats. Of many, and Shelley, and even nay, of the qualities essential in a poet of a high of most
a
him
place
in anything he has left order, there is no indication Of spiritual insight he has nothing us. ; of morality in their coarser except and the becoming, aspects, he has
no
sense.
If the
him
beautiful
appealed
to
him,
it appealed
and
to
much
truth
"
and
how
120
POETRY does
that
AND truth
CRITICISM
imply!
"
much
that
we
he
had
not
"music
in his
soul."
Turn
no
repose,
measure,
Tuan
At best
ofJudgement,
below Peter
is
never
certain
his powers as emphasized him insensible not matured, only of much made from the to the poet as distinguished appeals which but is accountable for the jarring notes, rhetorician, which
became
the
so
grossness, and often surprise and distress As an artist, his defects are
he
as
lapses
into
the banalities
us
which
in his poetry.
conspicuous. Tennyson. as
equally
In
narratives, all his minor into a series of pageants simply resolve themselves little Some, or are the Giaour, episodes. notably No eminent more than congeries of brilliant scraps.
is
as
deficient
well
as
English
so
poet,
an
bad
ear.
had of Browning, with the exception His cacophanies are often horrible; from is generally indistinguishable
delicacy,
grammar,
his rhythm in rhymed is without verse full of discords. in Every and solecism every
violation
of expression, might and style. Nor is this all. His claim to originality in its can only be conceded modification with much important more aspects, and with very much modification in the less important.
These
are
of syntax be illustrated
large Byron
deductions
next to
to
make;
and
yet
Goethe
placed
Shakespeare
among
WORKS
the
OF and
LORD
in fame
BYRON
and
121
English
poets;
the consentient
next to
testimony
Shakespeare
he stillstands. easy
to
Such
limitations
will always
be
than they will be to and important the people of the Continent ; while, in all that appeals to humanity more at large, his work will come nearly
more
perceptible
home any
on
the
other
other English
so.
Channel
than
that of
necessarily
so
poet Byron's
to
Shakespeare;
was originally to Europe. as
and
not
much
an
appeal
poetry England
his
His
themes,
his characters,
inspiration,
of everything
contempt and of the
principles
firstwith
he reacted, against which then in fury. The trumpetRevolution volt and of the reHoly it Alliance,
most to
voice
of the world
against
the
was
on
the
Continent indeed
he
response.
And
The
there
can
cease
laureate
of its scenery,
the
and painter of almost every life, the poet of the passions than
has
with
in the
nor
is
The
speare, with the single exception of ShakeEnglish an the Channel. rival across lies in the immense body greatness of Byron
he has informed mass of the work which and and infused with life, in his almost versaunparalleled tility, in the power range and of his influential
122
POETRY
AND
CRITICISM
Youth achievement. and mature age alike feel his he is the Orpheus, spell, for of the passions of reflectio is not an emoThere the Mephistopheles. tion,
there is scarcely
not appeal, and to which given Of almost every side of life, of almost of human activity, he has left us studies
mood, he has
to
which
he
does
not
expression. every
more
phase less or
brilliant and
measure,
impressive.
nearly
man
which
rapt
can
He
had,
genius;
and which
there
he
was
hardly
more
composition
did
not
of
his
inspired
what may
observes be
strictest
propriety
sooner
his
quence, elo-
eyes
the
as
could descending
his bursts
are
One
unflinching
thunderbolt
stand
un-
dazzled flash
As
so on
flash,
Goethe
was
and
Wordsworth
the Olympians,
chaotic age of the stormy and he lived; and his most in which authentic poetry is typical of his temper and attitude. He has impressed literature the stamp fascinating and on our of a most
on the literature of personality, and he has exercised an influence every nation in Europe to which no other British writer except Shakespeare Among his disciples and has even approximated.
he
the Titan
commanding
are
to
be
Platen,
numbered Adalbert
Wilhelm Chamisso,
Grabbe. and Christian How deeply he has impressed himself on the genius is sufficiently testified by the poetry of France of
Lebrecht,
Immermann
WORKS
Lamartine,
OF
Hugo, The
LORD Casimir
most
BYRON
de la Vigne,
123 and
Victor
Alfred
poets
de Musset.
he
has
found
imitators Van
of
de Costa,
Jakobus
the poetry
exercised wide and deep influence, as we need go no further than Poucshkin and LermonSuch is the intrinsic power toff to see.1 and attraction of a great favourite
be a part of his poetry that he will always if not in the first rank of their favourites
; and,
no purely although him on a level with at be poets, yet it must
and he has
Nicolaes
Beets.
On
"
his countrymen "with critical estimate would least five, if not more,
place
admitted
be
1
that, next
most
of our to Shakespeare,
he would
ably prob-
missed.
Weddigen's
See
Otto
Ein/ltiss auf
THE
COLLECTED
WILLIAM
POEMS
OF
MR.
WATSON.1
of an William
THE
and additions, and new pieces, will be hailed joyfully comprising many Mr. Watson's ance reluctwherever poetryisappreciated. to sanction edition of his works any complete
alterations has
long
been
have
the
hitherto
numerous
regretted by his many admirers, had to content themselves partly booklets, the often
most
who with
difficult to procure,
superseded
not
by
the
present
volumes,
of everybody,
former
Watson
contain all that a in the editor thinks best representative Mr. Watson's miscellanies of Mr. work,
only
within
the
himself
assisting by
final revision
of each
poem selected. It would be too much to say that Mr. not perhaps has hitherto been, like that of Watson's reputation
Matthew
1
Arnold
Poems
in
his
earlier
days,
somewhat
The
of William
Head.
Watson.
In two
volumes.
(John
Lane,
The
Bodley
London
and
New
York.)
POEMS
OF
MR.
there been
can
WILLIAM
WATSON
that the
to
125
reason
be little doubt
he has at
his
consent
to
sanction.
what The
publication
public known
not to
of these
access
by
giving
easy
to
them
writings fragmentarily,
out
which
and
which
fame; be
more
fail to seek, cannot of their way Watson's of influence sphere and for no influence could and I heartily trust fame be to no more worthy salutary,
" "
universal
that
this
will
be
the
case.
To
many
at
thousands
present,
of which stand his fame will in the same relation to those on which Italian tirades stand Mrs. Browning's to as rest Aurora
is time
he
most
is probably,
Leigh
that, to
and
some
the
Portuguese
sonnets.
But
it he
at least of these
thousands,
To be known as these volumes reveal him. should himself such considerationsare Mr. Watson probably Like Arbuscula indifference. a matter of profound
say satis est equitem mihiplaudere, " he will always be sure assure, and of the "equites in his grave hence I venture to think, a century as
"
in Horace,
he
can
he
is
sure
of them
to-day.
No
one
could
go through
these
amount
two
volumes
out with-
being
permanence,
can
struck
with
the
of work
of the
there
a
be
no
of which
they
are
very
and
treasury subtle,
jewelled
aphorisms
as
consummately
for instance
126
Song
POETRY
is not
Truth,
AND
not
CRITICISM
Wisdom, but the
rose
Upon
"
Truth's
eyes
an
that is immortal.
as
again
such
exquisite
triplet
this:
wonder wonder
shame
The
The
of the sweetness
Shall
the
close.
And
how
unforgettable
And Not
set
on
in their several
the goal,
ways
are
the
following:
his heart upon
the prize;
the deepest
to
or
And
Are
or
evermore
words
of God
;
understand forgetting
Not
Nor
in vague in vast
sonnet
dreams
morrows
of man losing
men,
the to-day.
Nor
can
except is
a
with
the
gem
without
MELANCHOLIA.
In the cold starlight, on Where to the stones the I heard the
the
the barren
rent
beach,
clave,
sea-tresses
long
steep
Down
Of
Of
murmurous
other breach cavern-lips, nor None save was silence. with me,
were
neither
glad
nor
sweet
nor
brave,
And
Writhe
dragon
one
by
great
spell curbed
over
And The
The
foiled ; and
lone
sail ; and
me
nan
night,
Glittering
unperturbed.
Among
the many
memorable
reflections with
which
POEMS
OF
MR.
WILLIAM
WATSON
127
the contemplation
perhaps than
nothing
this:
So As
life has inspired poets of human has found sion impressive more expres-
that flee
see,
About
brink
we
dimly
The
Squalid,
tragedy majestic
Of human
When The
Dream
can
can
The
Unknown
to appal
God
with
cease
to appeal,
or
When
the
Forest
Nor
its tragic wisdom? The Father that gem of workmanship of its lose its charm, or the Ode in May
of
Man
pathos? Burns,
is it too
Wordsworth's
Tomb
of
yard, Churchlinked
Shelley's indissolubly
so
Centenary,
the
will
come
to
be they
with
memory
of those
clairvoyant
is the sympathetic
in temper, the very essence of what each poet was in genius, in expression. Mr. Watson's It is remarkable that when poetry directly invites comparison ceding with the poetry of premasters
to be regarded ally generpretension dwarfed as a rival of Wordsworth ; but how and is Wordsworth's At the Grave undistinguished
no
of
JJurnswhsn
is nothing
beside
The
TombofBumsl
Ode
the couplet
There
to the Skylark
which First
will bear
with
in The
Skylark
O
of Spring:
above the home Eternal Joy, sing on high
of tears,
!
128 No and
one
POETRY
AND
CRITICISM
evolution, is not Ode
altogether of the poet of The Bard and unworthy The Progress Poesie; immeasurably and yet how of Ode on the Day tion to it is the the Coronasuperior
of
of
King
Edward comparison,
the Ode
VII
not
\ It
as
was an
bold
thing
but
as
to
a
imitator
to
to Autumn,
and
have
produced
to Keats's mastercomparable piece, loth to lose. The as the world will be almost delicious littlelyric Night has enriched language our
poem
which,
if not
counterpart,
one
as
distinguished
from
an
lyrics, Reue,
England And
My
of the most exquisite of Platen's justas in the second and third staves of Mother have we the note of Goethe.
me
this leads
to
remark
on
one
of Mr.
Watson's
so,
and
drawing
and
kinsman
proudly
to
of theirs, he is it is yet reverent, pendence conscious of indein their presence this is his
he
seems
stand
and
hold
communion
attitude
towards
an
eminently Pre-
artist in expression of Milton, of with all the curios a felicitas he attains distinction, Gray, as not of Tennyson, his diction mosaic they attained it, by making work,
elaborate
unwearied
from
the classics
combinations and modern world, but by new Mr. Watson subtleties of his own. nice and happy of will indeed have little to fear from the revelations
and
POEMS
"
OF
MR.
WILLIAM
the
WATSON
whom
129
Variorum with
editors,"
too
detectives
"a
son, Tennything
much
so wrathfully. surprised," regarded It has often been said that one of the tests of a is to what classic is the amount of his contribution his power thought and of crystallizing quotable, be It may in finally felicitous expression. sentiment
guilty
doubted
the diction of any modern whether cannot will yield so large a percentage of what Such as: to pass into this currency.
The
eyes
poet
fail
that looked
mystery
we
through
life and
gazed
a name.
on
God.
The
make nothing
on
darker
never
with
And The
doing God
do amiss.
ever
whom I
never
The
Now Toils
God
once
gaze, behold.
touching
goal,
now
backwards
hurled,
the indomitable
world.
In nothing,
as
Watson's
what what
Wordsworth,
Keats, what
Tennyson,
what
Matthew
Arnold,
what
rising to distinction,
branch
hearing
a
moment
to this contributed despaired of poetry, we might well have of for But without a new and distinctive note. here and there in a stray recalling, save
accent,
any
two
of these poets,
a
within
these
wealth of charm and power and beauty absolutely independent of all that had anticipated it in preceding Coleridge artists. What said of Wordsworth
is very
volumes
exactly applicable
K
to
Words-
130
POETRY
most
AND
CRITICISM
He
worth's images
nature
disciple.
noted
in Wordsworth's in his
from with Mr.
and
and
long
gives
and
genial
intimacy
the
very
the
to
Watson.
magically
physiognomic It is so with
him
expressio
whether
in
or
in simple
a
cameo-picture
of
some
quite
commonplace
scene:
Where,
The Are
so,
on
fringes
of the land,
uncourted pale
against
sand
;
again,
Gorgeously Freak'd
tower the woodlands with wild light at golden
around, intervals,
asm
or or
speech
"
to
man,
Autumn
he catches
poem
in which
her
doubt
that
there
are
poems
poets will
in Mr. Watson's elements of permanence than in those of any of his present contemporaries. The most prodigally endowed of living long life, nay probably immortality, to whom
secure
be
by
drama
which and
is the
of
which
some were
enthusiasm
music,
Shelley
poems
which
among
the
miracles
musical
expression,
will have
POEMS
from
OF
MR.
WILLIAM
WATSON
without wisdom,
131
and like
sifting time.
Enthusiasm
ethics and aestheticism without Ariel Prospero. And without genius has Puck been been
"
very
most
Ariel
an
Ariel,
indeed,
turned
have
and
the
less
unlovely
and been
a
is always
perilous creed, and a strange awaits its votaries. fortunate in his certainly been
introduction
which the
is a model
of good
and
discrimination
on the poems principle which The intention has been to make them ively comprehensFor this representative work. of Mr. Watson's
reason
been
their author, with characteristic which long refused to reprint have scrupulousness, The Prince's have included. Thus we Quest, early poems
as
a
interesting,
us
back
to
"
remarks,
because
it takes
is rather curiously which ment." developWatson's subsequent is, for it is a purely it indeed
ris. and Moraesthetic study after the manner of Keats It stands in something relation to of the same Tale Lovers1 The Mr. Watson's as maturer work stands
beauty
to
Tennyson's.
But
it is
and
permanent
other With
examples
of his
early
work
what
admirable
judgement
the editor
132
POETRY
his discretion who
will
AND
CRITICISM
ercised
anyone the
poems
marked
in the
those
own
index
are
of these
volumes
which
unasterisked
rejection
and felt
Outloved,
and other
and Poems.
God-seeking
Prince's
Quest,
to the Dream
of
a
but
in itself it is
not
have
But and Victoria. Hellas, hail! all the exclusion against poem, of one lovers of poetry it is one protest; will protest, must Watson's How are of Mr. very best lyrics. noble
contrasting
the following
Thou,
starry
Sittest throned
Thou Thou
art
more
all thrones
than
pomp
love. art liberty and Doubts and fears in dust be trod On, thou mandatory of God !
Nor,
since Laughed
a
first thy
wine-dark
wave
in multitudinous
more
Hath
deed
pure
and
mirth, brave
Flushed There
the
wintry
no
cheek
of Earth.
is heard
thy
melody
on
Like
footsteps
the
sea.
sweet
as
stormy
are
Springs wide
:
hopes
blowing
prefigurings re-vivified.
world
POEMS
OF
Dawning
MR.
WILLIAM
that,
e'er
WATSON
they
set,
133
thoughts
Shall
possess
the ages
yet.
room
From
been
the
volume
For
England
might
the
have
concluding
found
for Lamentation,
and
I wish
lines
successfully
for
of
perhaps
the
most
striking.
Pass, Wild
thou
The
wild
on
first is exquisite:
light, that
so
light
to
peaks
Grieve
The
let go
is night.
wild
heart,
heart
of youth
a
that still
half
will
; let
us
part
But
to
nothing and
in these
volumes with
admirers
critics turn
perhaps
curiosity, not
than
to
unmingled
the
artist as it might
is familiar
an
Gray
and
son, Tenny-
have
to
us
been
expected
in the
all know what havoc De of his best poetry and how best prose, and even
We
old Wordsworth
Quincey
Tennyson
of
some
of his
latter
in his
more
than
Watson
for the worse. But corrected is happily in the prime of life, and of
once
made have
134
POETRY
AND
CRITICISM
regret.
poems
his old texts by heart could busy but the everywhere, altered World,
are
The
most
filehas been
extensively the Hope
The
Dream
of
Vadis?
Man,
The
of
Domine,
Quo
Lakeland
Once
Of
More,
Quest.
poems
to
touch
his raiment
both
beseech
substituted
Keats,
Doth
on
of youth, is Truth
kinsman's
same
beseech
and
in the
And
poem,
the lines
the rhyme
communal
from
substituted
Whereto And
for
keep
with
the worlds
move
time.
all things from
all things
their prime.
In
The
"
Father
of the
Forest
error
"
the
only
blemish Edward
is
representing
in the
land
the
poet
was
that Burgh-upon-Sands
presumingly in Scotland,
Solway "And a so at last by strand," eased and in the better line, takes the place of " And perished II and Becket, So, again, of Henry hostile land."
"
Him
whose
lightly
leaping
words,"
supersedes
improve
half careless words." felicitous corrections Many most Once More. the rhythm of Lakeland "That with
the
In The
Dream
POEMS
OF
"And
MR.
WILLIAM
WATSON
135
of
"
pily hapmost rolled into aeons" ' takes the place of ' And the aeons went rolling" ; " " boon ing"; the rapture of striving the tamer of long"I have clear" and read interpreted yields
aeons
Man
deciphered place to "my soul hath clear"; while four powerful lines are in the body added of the To The Hope the World a prose sucpoem. note cinctly
of
summing
Churchyard
last two
stanzas
of the
earlier
Ode
to Traill
the somewhat
in The
stanza
is excised,
excisions
to
the terseness
Quo
I have
are
extend
completely
this
most
the
scrupulous
with
work. due to
he
one
reward As tradition.
than
the
schools
those
has
sense
been
with
great
who
are
in whom
was
capable
the aristocrats of art, of the term loyalty to the best of which they were have the law of being who would
"
regarded
disloyalty
with
to
such
an
of that horror
which
the
shall when
be forgiven. species
are
It
every
barism, of bar-
vulgarity,
morals,
taste,
and
art,
and
corrupting
men
of real
genius, nothing
of the
to
the
136 with
we
POETRY
the hour
AND
CRITICISM
to
a
have
boast minor
that
one,
lingering
The in which
one
"
among limitations
his genius
not
of Mr.
moves
Watson
"
and
the
sphere
narrow
is a comparatively
to those only analogous of Gray and Like Matthew Arnold, but have the same origin. in an theirs his lot has been cast age of decadence
are
nutriment poets, derivingneither and transition, when have perfrom their surroundings, nor force enthusiasm for the to fall back on on themselves art and
impulse
happier
inspiration their brethren of and which From day found in the world without them.
up
not to
Gray
went
the
one,
cry
For
age,
Is that
diviner
That The
burns
pomp
in Shakespeare's
page,
and
prodigality
:
From
Matthew
Arnold
fleetness
feet
scents
are
have
are
their sweetness,
your your
flowers
overblown,
And
jewell'd gauds
Half
Freely Freely
their glories did they flash their splendour, gave it, but it dies away.
Pluck
Leave Pluck, Dusk,
no
more
And
in both,
comparatively
after first
withered
POEMS
OF
MR.
WILLIAM
them.
WATSON
Matthew
137
Arnold,
upallthepoeticpowerwithin
commenting
age
was
wind
of prose," blowing."
when His
sort
was
of
a
own
similar lot and a similar fate. But the poet of Thyrsis of and The Scholar Gipsy had at least the advantage born in the summer being tumn and of living in the auIt is the lot of the poet of era. of a glorious Musarum Wordsworth's Grave of Lacrymae and As he himself puts been born in its winter. to have
it:
Fated
We among
an
Time's
fallen leaves
to stray
breathe with
Heavy Waiting
tomb,
till some
world-emotion
rise.
Nor
to
was
it mere
:
modesty
which
induced
Mr.
Watson
write
Not
The A
hand, that strews mine the rich and showery facile largeness of a stintless Muse.
seldom touches
to lament
ever
fitful presence,
she
me
tarrying
me
long,
Capriciously
Then
leaves
to
her
come
And
wonder
owes
"
will she
to
his age
the tumult,
find such turbid levity, so miserably the dissonant sonnets, finds expression everywhere, which
is all that constitutes his indignation, and depression in his political expression
conspicuous in what is
The Eloping Angels, his worst poem, perhaps and itself in The the ignoble vents pessimism which To the want Hope of the World. of inspiration from Watson doubt due that Mr. it is no has, without
138
POETRY
AND
CRITICISM
work; in
life
aims, hearts, to
like
Gray,
misfortune
the
This With
its sick hurry, Its heads o'ertaxed,
its palsied
its
"
light
fatigues
resolves
nor
in casual its "sick creeds," doubts," the fact that his poetry and languid itself into mere lyric, having neither gospel
half beliefs
us.
ethics, having neither unity nor creed, with nothing in it to inspire us, with little in it to console To lack of genial inspiration from the same is also
no
without
doubt
to
be
attributed
that
over-
in style which, if it often solicitude for distinction I have referred, has results in the felicities to which the fatal effect either of falsetto or of occasionally
however,
than in
words for
Tennyson,
but,
though
rare,
cant. signifi-
In spite of noble
combination of symbolic unhappy parenthyrin one sus at least, and flat prose, which, passage, I mean borders on the grotesque, the picture of
most
Tennyson's
Proudly
a
reception
gaunt right
by
his brother
doth
Dante
poets:
stretch
hand
Coleridge,
with
faery foam
And
God-like
Of Athens,
Still it is almost
redeemed
by
the superb
addition
POEMS
OF
Keats, Doth
A
on
MR.
WILLIAM
WATSON
139
his lips the eternal rose of youth, in the name Beauty is Truth, that of
love
kinsman's
beseech.
we come
So
Maro
the Mantuan
and
soil,
Virgil
shall survive,
the
sudden
collapse
into
commonplace
positively
startles
Mr.
men
from
measure,
men
of
mere
he is of being hampered and how conscious by the Zeit-geist, he has himself pathetically and He is addressing the skyexpressed. lark: exquisitely
worlds
hast
thou
to dwell
in, Sweet,
"
untroubled
region have
Alas, To
sky feet. at my I !
"
there clings the shade, songs all my dulling shade of mundane The care.
mists are mortal amid in immortal Thine, air.
They
made,
"
My
My
heart
song
is dashed
comes
But
am
And
hour.
In
beautiful
as
passage
about
to
in the Odyssey
rebuke the
Calypso
is
represented
minstrel
for the
140
persistent
POETRY
AND
CRITICISM
of his strains, but Telemachus sadness for his to her that a poet is not explains responsible for joy or for sorrow he must inspiration ; whether sing as be with
a
man
And
so
it must
an
of talent
is quite
is who independent
of his age
or
He
can
joyous
or
in what
are
can
write
running. beautifully
encies tendof contemporary As Vanessa said of Swift, he But the broom-stick. a about
poetry
of imitation
away,
or
will pass
generation
which have It is been peculiar to all great poetry. always rooted in life, in the life of the individual, and in the life of the age:
most
brilliant, and of talent, however at least lose its vogue, the with it. Five characteristics produced
it is harmonious
comprehensive
the
senses
through and
more
in the strictest and sense ; it appeals of the term to the spiritual and the imagination
it suggests
moral than
nature
poetry can of inspiration rarely only be the result of inspiration, it would bestowed, so possible only, appear, and in the history of nations. conditions under propitious
The
to whom last of the dynasty owe we inheritance was of mankind, precious be of classical quality But poetry may
itely infin-
Such
great
not
is not both
Pindar,
Sappho
live
as
Pindar
extent
and
to
Wordsworth.
of
poetry,
the
permanence
POEMS
on
OF
MR.
WILLIAM
WATSON
141
the age than on the individual, on the conditions have inspired, and moulded the which nourished, Had men poet, than on the poet himself. gifted and
tempered
not
like Collins
in the deep
naissant
England
the
era
one on
of the
Revolutionary
and worked, the heights of Reside, and the heights the other, but on either
lived
achievement
would
have
Watson's
poetry
with
its limited and unambitious few notes, its sistent perits thin and
point,
and
of
most
rare
as
striking
example
and
depressing
malign
writes,
contrasting
his note
with
Chaucer's:
"
Blandly
A want
Some Some For
not thy clearer day, shade, that troubled knew loss, nor thou nor thy Boccaccio ;
thou
art
of the morning
and
the
May
I of the Autumn
and
the eventide.
THE
POETRY
OF
MR.
GERALD
MASSEY
MORE
so a
than
half
volume
letter to
leading
proclaiming
the
now
when
a
the
on
sonnets
are
"
at
poem
"was
Hood,
How
the following
exhibition
His
Rich
That
just to
waves
hearten of lavish
us,
life,
flasht there
starry
o'er
But The
was
soul,
that
can
shines
when
grow
!
"
Endurance Walk
that
through
comments
the world
on
bleeding
feet and
smile
And
same
he
the
rich
exordium"
of the
poem:
'Tis the old story ! ever the blind world its Angels Knows not of Deliverance
"
Till they
stand
to
glorified
'twixt earth
and
heaven.
Then
turning
Ah
the
a
lyrics and
tale of olden long ago ;
quoting:
! 'tis like
Time
long,
POETRY
OF
When
MR.
GERALD
MASSEY
143
in its golden the world was lord below Prime, and love was vein of Earth the Spring's
was
Every With
dancing
wine ! of flowers
!
new
'Twas
Ah
was straying spirit sure Out of heaven that day, ! a-Maying, I met When you, Sweet May. In that merry, merry
that
must
be
ripen'd
core
dainty
But
daily brighten,
so
And
dear
Tho'
many
Winters
whiten,
I go
Maying
"I
am
thought,"
he
to
says,
"to
be
. .
more
.
addicted
to
than
am
the moderns
trying
Greek,
more
he continues, together,
vase
but at the sent preOde, Latin or to recollect any than this." In many pieces,
are
crowded
and
pressed
and
"
containing
them,
Love. Wedded as of such a poem richness he found Of the poet in whose to so much work he discerned in which splendid such admire, and " his staknew Landor more no than that tion promise, in life was
Had
and he known
rank
his fortune
name
far from
was
Gerald
have
prosperous," Massey.
all he would
indeed
Whatever
to
Mr.
Gerald
among Massey,
may
some
higher
than
of those
who
at
144
present
POETRY
appear question
to
AND
have
CRITICISM
superseded
things
"
him,
there
can
be
no
about interesting
three
personal
services
to the cause
If he has of liberty and to the cause of philanthropy. not fulfilled the extraordinary promise of his youth, he has produced instinct with noble enthusiasm, poems welling
His
on
from
sources
exquisitely
career
sown
thick
with
beauties.
affords
record
of the power
as
conditions
to
ever even
contributed
apart
from
story of and the inspiring his struggle fortune, he has other and with adverse is He honour. higher to consideration claims and the last survivor probably of that band of enthusiasts poet,
his work
to
whose
efforts
we
mainly
owe
it that the
England
in most of the opponents reasonable of all that was Chartism, the England of the grievances ations and abominland Chartism to remedy, the Engwhich sought
of the Report
on
which
Ashley's
Collieries
Bill
his Address National on on and of the Report which Education based, the England were of the opponents ice, Grant, of the persecutors of the Maynooth of Maurwas
transformed
into
the
England
lyrics have done revolutionary is, that they are among least that can be said for them by those best inspired the very when wild times O'Connor, Cooper, Feargus Thomas James O'Brien
His
and
Ernest
Jones
were
in
their
glory.
Of
their
and, and
POETRY
our
OF
MR.
GERALD
and
those
MASSEY
who How
were
145
to
infant democracy
can
mould
as
it there listen to
to
us:
be
no
we
back
the red Banner! the Patriots perish, But where their bones whiten the seed striketh root Their blood hath run red the great harvest to cherish
out
Fling
: :
Now
Victory
and
are
garner
the fruit.
The
The
is breaking,
at
our
quick
a
hearts !
had for
message
we can
for those
still feel
they
:
have
not
us,
their charm
by
wave,
:
onward
We
The
way,
Take
heart ! who bear the Cross to-day Shall wear to-morrow. the Crown
And
poems
the
truth
many
Our
Who The By
of these
:
visions
saw
to naught
by lightning
we
deeds those
dreamed work
who
in clearer
So
heartily
into
memorable
self himthrow and fully did Mr. Massey the life of his time that all that is most history during in our the most national of the latter half of the last century
L
stirring years
is
146
POETRY
AND
CRITICISM
There
To
was
the
to
the
the
War
other he was
now
It is impossible
as
even
read
such
poem
as
New
Year's
Eve War,
in Exile,
Goes carfs
to
such
ballads
England
Before Inkermann,
Night
in
CathEngland,
Hill,
War
Winter's
those
recalling
:
North
the brute
pace,
Colossus
proud
solemn
not
That
on
but
to crush,
fields
battle-shocks of the shuddering but the freed soul fled, none
Where
in homes
Where
all sate
stern
in the shadow
of death.
In Mutiny
HavelocKs found
a
March laureate
the
as
heroes
of
the
Indian
as
Tennyson,
whose
Defence of
eloquent
which
peared ap-
on
was many certainly yearsafterwards, Mr. Massey's Ever in the van poem.
movement
making
cause
for liberty,
lyrics the
the
tributes he
he
Garibaldi
received,
dedicated
He
received by to him
the
extended
same
Garibaldi
when
he
of Hungary,
and
his
POETRY
OF
MR.
GERALD
1851,
MASSEY
no
147
credit
in
a
if it does
great
ous poet, is at least proof of the generinspired it. But the passionate which
for the friends of he expressed sympathy which ation by the vehemence liberty was of the detestequalled for its enemies. And he expressed eminent prewhich among "hero"
the regarded of the coup d'etat and the founder We must go back to the broadsides those enemies satire equalling in the poems
he
of the
Empire.
to
Second
of Swift
find any
scorn
in intensity he
and
England
for Louis contempt at the friendly reception accorded in 1853. Take two stanzas of
which Napoleon,
him
of
them:
There
once, a daughter poor old Woman of our nation, Before the Devil's portrait stood in ignorant adoration. " down You're bowing to Satan, Ma'am," spectator, said some
was
"
Ah,
for polite,
bow,
so
we
may
go
to the Devil."
Bow, We So
may
bow,
go
to the
Devil,
it 's
justas
well
to bow.
of Society, and will tarry at her Christ is he who His feet, nor see sold Him, curs'd Iscariot, By grace of God, or sleight of hand, he wears the royal vesture ; Divine Success! kneel with reverent And we at thy throne, England gesture,
And
We
may go
to the Devil,
bow,
so
bow,
bow,
well
to bow.
it 's
justas
The
Or
take
One
He The
three
shook
sprang
from
with
"
Two
"
Napoleons-.
like a fiend earthquake all hell following after ! and whiff with laughter.
of bubble
too
"
of wind
148
The
POETRY
First at least Second
were a
AND
CRITICISM
The
Kingdoms The
other
meteor shone ! splendid fizzed and fell, an aimless rocket ; by one, for France pocketed
picked
her pocket.
showed
the Sphinx
in front, with
sleek face
lion-paws,
"
lust of death
in the
of her,
the turned,
hindermost
claws,
Worthy
He Then
of Swift,
stole
tore
on
too
deflowered
out
lest she
And
Our
hath not fled of Greatness At crowing of the Gallic Cock ! ghost
But
if in his have
who
in the field and loyal to those who have as When the bigots capacities.
ally of those ity cause of liberty and humanin politics, he has been an ally furthered
it in
has
been
the
hunted
down
other Maurice,
brave words he addressed to him ; Bradof comfort Burial is in praise laughs of a martyr of more doubtful but it strikes the same character perhaps,
note.
a
have fine
poems have
Burns, from
Hood,
one
come
who
so
could only and Thackeray had the sympathy sight and incould
work the
two
of kinship,
essence can
and and
through
pierce
at once
to
one
the indeed
of each, go
poems
the
of each.
volumes
No
of
Mr.
what
Massey's
struck she
George
being
as
struck
with
she
drew
no made in Felix
secret,
Holt
"
POETRY
the innate
OF
MR.
GERALD
MASSEY
149
them.
impressed on nobility of the character Whatever be their defects as composimay tions, be conceded that they are at once and it may few
nor
neither light,
small,
they
as a
have plant
never
the
note
of the
triviality. Instinctively
the poet
makes
towards
towards poems makes all is most to what that appeals and all that belongs in man. In pure, and most virtuous, most generous
of these
for the wrongs sympathy and by giving to of the poor miseries pathetic voice them ; in others he pleads for the victims of injustice in his own and oppression and in foreign lands. Here
some
he
kindles
he
to
more
calls
on
be
true
on
the
No
more
a
vividly which
on
dwelt
with
the
we
virtues
are
at sea,
have
what
such
ballads
as
The
Norseman,
Grenville's Last
such
to have which appears gested sugRevenge, Tennyson's and The Stoker's Story, lyric as Love's Fairy Ring Love, and Wedded
so
Fight,
the poem
went
by Landor? As his heart admired to the heroes out and of the revolumartyrs tions of the middle of the last century, and his sympathetic
much him to discern and interpret insight enabled blind to were of his contemporaries many
"
what
the
so
the foibles of underlying nobility and greatness Burns, the buffooneries of Hood, and the cynicism " so the beautiful or wherever aught of Thackeray
"
that
dignifies
on
humanity
"
has
found
expression,
the
heights
of life or
in its valleys,
he
to greet it with readiest and sprung All this gives an attractiveness homage.
sincerto
his
150 poetry
POETRY
AND
CRITICISM
mere
a
just as
a
poetry,
beauty
and
charm
which
is simply
the
reflection
of
moral
little in Mr.
Massey's
early
ings surround-
poetry
secret,
either such traits as these, or such The as they informed. story of his life is no striking illustration both of the and a more promise of genius,
when
nor
independence
he
thrown sympathy
on
"
itself
"
for
had
and
of its
thwart
His
everything
"
ten
his mother sent school, to which he ever At eight him, was received. all the education in a silk mill, from five years of age he was working in the morning for a to half-past six in the evening, penny
beginning at gd. and rising to is. $d. weekly wage Barrett Here he experienced so all that Elizabeth in a poem denounced pathetically powerfully and which the
From nine
eyes
indignant
tears
into
Cry
of the Children.
this cruel servitude the poor child was released by the mill being burnt down, touching and in some days he tells how he reminiscences of those dismal
and and
other
stood
for many
hours
in the wind
sleet and
one
more
which form
set
the joyfully
he had only
as
tion conflagra-
quite
straw-plaiting.
a
in
marshy
district with
POETRY
OF
MR.
GERALD
MASSEY
and
Young
want
151
by confinement constitutions enfeebled food, fell easy victims to ague. proper sey
was
of Mas-
no
exception,
and
quite
for three
racked,
his father was out when of It the sufferings terrible. work of the family were drudgery, was so was only by unremitting miserable
and
the wage
each
could
earn,
and They
than
once
crisis they
to
dreadful
no one
with
since
want,
Well assist each other. " I had no childhood. Ever say, I have had the aching I can fear of remember in heart and brow." It was throbbing these unable
to
inspired the touching experiences which poem, Little Willie The Smitten, Famine the and and " Laura. Butthelad, in Lady "Factory-bell thanks to had been mother, scanty leisure committed
his
to
taught
to
read,
and
in his
memory,
and
eagerly
could and
true
among Crusoe,
them which
the
Pilgrim's
he took, he tells
for
the first fifteen years of his life. In or he was where up to London, about 1843 he came And boy. now an an as eager errand employed him, and he devoured desire for knowledge possessed
So
all that
came
in his way
"
travels,
poetry,
going
history,
political
Sometimes
in and
sometimes
152
out
POETRY
AND
a
CRITICISM
a and stray, his passion
waif
was
time
his
social questions
began
to
interesthim.
to
bitter experiences
naturally
led him
brood
the
the wrongs and grievances against Chartists were they protesting, and which
to
which
were
remedy.
not
He
attended
only
by what
seen
he had
himself
and
suffered,
as
in him, At last poetry awoke by politics but by love. not Poems and
His
first volume,
Original
Chansons,
was
in 1847 byaprovincial bookseller atTring, his native This was three years place. succeeded later by Voices Freedom Love, a very and Lyrics
published
of
of
great
crude
work
as
of the
preceding
amid
could brightened.
the pen.
poor as ever and dismal as as they and sordid in some degree had prospects beginning to feel his way with
though
the editorof, a cheap started, and became half of which men, was journal for working written But by himself half by them. the other this and
coming
to
He
depended
likely
to
he on of the employers whom for his daily bread, were not and who favour the propaganda regard with much the
ears
of which turned
as
it
was
the
adrift by being
medium, dismissed
he from
was
continually
to scramble could manage he fought his way found to his proper place, and for a livelihood, could rely on his pen at all events
he
POETRY
if only
a
OF
bare
one.
MR.
He
GERALD
became
a
MASSEY regular
and
153
valued
to the principal such socialist journals, contributor Thomas Cooper's as the Leader, Journal and the
Christian
with
Socialist. This
his earliest
brought
him
friend
Thomas
just
Nor
this all.
Samuel
Smiles,
ever
helpful
and
had been greatly merit, some of the lyrics in these publications the young of 1850, and, hearing and in the volume history, an wrote eloquently appreciative poet's long since defunct but review of both in a magazine
quick struck by recognize in those
days
a
very
popular.
true
He
"who
of
new
and
poet
the
vent ad-
and
earned brother,
' the hate of hate, the scorn of scorn, with ' " dwelling on the fact that the love of love ; and, full of power so was the maker and beauty of poems iffortune years of age, prophesied, only twenty-three future for him. kind, a splendid was
dowered
Fortune kind,
but
was
not
in
Mr.
kind
never
going
to
be
volume,
on
ofBabe
passed the may
Christahis
Poems. The
this moment
reputation
was
through
edition
eulogies
after
so
a
and
head.
In
a
subject of
well have did not turn
preface
they
But
turned
young
they
the head
of this poet.
to
modest
prefixed
the
third
edition
the
154 homage
POETRY
AND
CRITICISM
had been, he said, prematurely which paid ' ' ' ' him. Some Poet a : of the critics have called me but that word is much lightly spoken. I know too
what I may
a
kindles something within which like at the breath of Love, or mounts into song in the is a jarring lyre. : but, alas ! mine presence of Beauty
I have
"
poet have
is too
well
to
fancy
that I
am
one
yet ; flame-
only
race
the
poems them
sow
a
entered the lists and inscribed my name has yet to be run." Referring to the cal politihe was, he said, half-disinclined to give
averse
was
he
"to
class and
among he
"
the combustibles
But," in the
Then
to
he went
the
to
become elevate
brighten
and
to poet of the masses, toils the lives of those whose he had miseries and darkness
into lovable
a
glory of Love and of Life, and elevate significance of the marvellous for all." And to these aims the standard of Humanity glimpses and
he
was
nobly
true,
as
innumerable
not
poems
were
to
testify, poems
which
if they have
always
cally intrinsi-
the quality
endures,
went
thousands
in times
service
such
appeals
calcula of in-
society.
was
When
this volume
passing
through
the press
POETRY
the
OF
War
MR. had
GERALD
broken
out,
MASSEY
and, during
155 its
Crimean
his themes the young progress, poet found it inspired. The spirited ballads, in which
the
in what he told
to her truth to herself and story of England's heroic past in that conflict, and in which just before he had deplored and denounced from both her apostasy in her recognition Napoleon, of Louis and welcome
in 1855, under the title collected and published Mutiny Then came the Indian of War-waits. and the heroism another of his series of ballads in which
were
countrymen
of the
noblest
of
one
were
commemorated: in published
March. Nine
these
1860
under
years
of
and Eternity
other Poems.
career
Mr.
Massey's
subsequent
and
as
tions occupa-
not
never
a
In 1890,
was
his poems
on
prevailed
to
most worthy of such as he thought in to be made, they appeared of preservation and Lyrical two the title of My Life. In volumes under
selection
himself to a preface he re-introduces has forgotten him, and he assumes generation which "as For MS." his poems to which as good will be himself, he says, they " may but contain the flower,
a
very
modest
the
fruitof
who
my
are
life is to be looked
for elsewhere
by
those
enormous
The in sympathy with my purpose." " Mr. Massey labours, " the fruit to which
his Natural refers, his Book of the Beginnings, be Genesis the like the value of these must and it. It is with by those competent to estimate estimated
"
156
the
"
POETRY
flower"
AND
CRITICISM
the flower-time of Mr. Massey's and life that I am here concerned to interest seek and Ruskin to whom others, with the poet and enthusiast
wrote
:
I
you
rejoice
for many
in acknowledging
an
my
own
debt noble
of gratitude thought
your and
to
encouraging
and
a
and
expression
of thought,
in the
mass
have
been
poems
working-classes
(I use
that
in its widest
sense)of
greater
than
be
can never and career of Mr. Massey from his work be separated a as gether poet, and taken todeserves to they form a record which surely live. Of the services to which Ruskin refers I have
The
history
already
In
spoken. his work as a poet I do not pose proit critically, to balance its merits into any discussion and to enter
and
shortcomings, about his relative place I wish to dwell only on beauties, poetry and has charm
as
the poets of his time. among its beauties, on its very real to invite the attention of all for whom
to
the two
little volumes is
"
which
are
as
MS."
ofBabe
Christabel
in
;
as our
one
of the richest
sown
and with
language,
:
thick
here
See
The
cares, world of clouding till wildered rarely know, eyes lessening up the skies, white wings
Angels
with
us
unawares.
Through
Childhood's
morning
us
land,
serene
She
walked
betwixt
twain,
like Love
POETRY
OF
While, Her
MR.
in
a
GERALD
robe
MASSEY
157
guardian
Angel
and
lest her starry garments In mire, heart bleed, and courage Angel's
arms
The Her
To
caught
up
wave
of life hath
ocean
backward
;
on
the great
whose
to
We
wander
treasure
up
and
down
Some
of the times
of old.
And
this:
We
sat
Our
Life's dark
about
as
stream
With And
that
lived
died
gleam.
And
With
her
this:
white and lips shrouds
go,
hands
are
clasped
she
sleepeth
; heart
is hushed
Death
up
of beauty,
and
weary
way
we
Like
the sheep without With the face of day its widowed fled this world
nest
shepherd
out
shut my
wold,
O'er
heart
sits moaning
From
of wail
and
weeping,
gone
to
join her
dear
one
starry
And
peers ; 's o'ershadowed my light of life dead; I'm crying in the dark with
where
the
lieth
And
many like
a
fears.
lost beloved
bird,
wind
the night
with
And
word; I yearned
out
through
the darkness,
all in vain.
158
Heart
POETRY
will plead,
tears
AND
cannot
CRITICISM
see
"Eyes
her:
they
are
blind
with
And
of pain," it climbeth up and straineth for dear life to look, and hark While I call her once no again : but there cometh refrain, And it droppeth down dieth in dark. the and
As Fate
long holds
as
barbed
to
as
any will
that The
its aim,
:
Mother's
Ere Her Then, The
Idol Broken
the soul loosed
find response
from
its last ledge
of life,
littleface peered
seeing
mystery
on
eyes, round with anxious faces, dropped content. all the old dilated in her look,
Which Some
the darkening
deathground, shining
near.
faintly caught
likeness
of the Angel
Full Love'.
We That
But
of wisdom
and
beauty
is the
poem
Wedded
have
run
had
sorrows,
night
we ne'er o'er
hath
And With
Joy's wreath
kindred
tumbled
our
The
poems,
The
Young
Poet
to His
Wife,
Wooed full of rich Won are and and pressive imIn Memoriam, its eloquent beauty. and with is a poem over most exordium, of which have been initiated in "the those who myssolemn teries How of grief" will gratefully linger. sunny
Long
Expected
are
full of grace
! Take
the
lift the wintry pall buried life : nor bring Love's passionate of the Spring. thinking,
all
with
glory
way
:
POETRY
Glad She
OF
MR.
GERALD
her presence and all is told.
MASSEY
play
;
159
ripples round
comes!
"
She
My
comes
in Spring
melt
are
her fame
winter-world thorns
The
with
!
"
flowers
and
She
smiles
If
more
charmingly
in
our
touching
Cousin
be
Winnie
exists
language,
is it to
found?
It is impossible these volumes go through meet with the felicities which
now of thought, How happily,
to
being
every
turn,
struck
now
at
described
on
as:
waves
foam-wreaths
as
the
of lavish life,
and
To
men
in affliction
Night brings
those
the larger thoughts
like stars.
whom
How
is this:
beautifully
true
and
how
originally
expressed
The And
plough
Yet
through
Eden-land, up our its flowery virgin prime. the dust of ages living shoots seed
start
breaks
in the furrows.
How
happy
The And
this:
best fruit loads the broken bough
:
Love
plough
Or:
Hope
Her builds up
rainbow
over
Memory's
tears.
How
simple
and
true
is the pathos
here
160
The We Of
POETRY
silence
never
AND
broken
CRITICISM
by
for
: a
sound
still keep
listening
life
free.
And
this too
Who The The
To
pause
over:
work
for freedom
win
not
in
an
hour.
shall spring
from give
which
shade
With
And
be watched that reap the harvest, must faith that fails not, fed with rain of tears, and fell. walled around with life that fought
And
this:
its phantom dreams is from To make seems that which out that which in the light of day shall blush to find And had the power What to blind of darkness wraiths The
world
is waking
from
gray,
way.
This,
too,
was
worth
saying
and
is well
said
Prepare We And As
to die?
Prepare
to live,
:
know
let
us
God
give,
In Massey
The
Haunted struck
a
Hurst,
new
A and
Tale
has
to
of
Eternity
Mr.
note,
powerful
parallel
poem
was
occasioned experiences
and
which
inspired
he
once
by
certain
extraordinary
certain house
had
in
where
many
years
ago
he
had the effect of converting him resided, and which With it to Spiritualism. the esoteric interest which
no
doubt
has
I have
is
as
no
concern,
but
an
its dramatic
account
interest
so
great
that
to
of it will probably
be
acceptable
POETRY
those who
OF have
no
MR.
GERALD
MASSEY
161
sympathy support
it is designed who
was
to
have.
The
physical of
a
with the creeds which and illustrate as to those fact on which it is founded
the discovery
in the garden child's skeleton by the poet, the metaphysical materialized who spirit of the
murderer,
crime and of the punishment him. The poem on opens weirdly and vividly with a description of the phenomena commonly associated houses, but here symbolic of with so-called haunted
the tragedy
afterwards
a
divulged:
as
At times Had
noise,
though
dungeon
door
:
the floor grated, with set teeth, against A ring of iron on the stones : a sound As if of granite into powder ground.
A As And As mattock of
a wave a
and
spade
at work
that sobs
and
then
though
on
The With
wind
a
would
scream
rise and
wail most
humanly,
Over
low
At
last
dead,"
A
To
the Dead the veil was rent that shows one: and live figures define themselves;
the life had burned
away
"
not
face in which
cinders of the soul and ashes gray : frown The forehead furrowed with a sombre in shadow, That the image, seemed of Death's
Crown.
The
faintest gleam of corpse-light, lurid, wan, ! Showed me the lying likeness of a man dress. The old soiled lining of some mortal
M
162
the other:
A dream
POETRY
AND
CRITICISM
of glory
in my
night
of grief.
She The
wore
Breath
thin
as
mist,
the plum
dew-kissed.
The Was
of violets wet
with
dew
tells its horrible the first apparition story, the life, the lust that led to murtragedy der of its earthly
And
and
She
from
was a
murder
buxom
to
self-destruction.
!
beauty
No
demon
a
ever
toyed
with
worthier
folds,
About
souls ; comelier throat, to strangle A face that dazzled you with life's white heat, Devouring, it drew as you off your feet,
With
eyes
Leaping
Lithe,
brain,
amorous
o'
the blood
Which,
With
greedy
as
the grave,
kisses
drew
Long
hers, that to my like live things mouth fiercely stung. after, and in memory
clung
One
shame
into
her
lover's
house
new-born
the whet-stone
me
on
She
rasped
all
on
edge
!"
the
mower's
Till there
"
seemed
nothing
do.
coward
And
the
wretch
murders
the
own
of frenzy
afterwards, by his
POETRY
I fancied
OF
MR.
GERALD
the headlong
an
MASSEY
leap, sleep
:
163
That And
Shut
everlasting
the white
out
Cold
And
Lay
sheet and green sod might and I have done with sight. hand had sluic'd the warm safe the little form
carnage;
Of
waif
safe.
the light to to
my
secret
But
this
not
was
be.
The
panic
horror
become
"
child's of he had lost the key, and so exposed his crime which for the grave was So : to instant discovery. open
"
the
The
and
The He
where
be found.
it, but he cannot touch often sees It : like a live thing it eludes his clutch Gone, like that glitter from the eyes of Death,
"
rest
hides.
All this,
well
as
the Angel-form
who
acts
as
preter, interpoet,
reveals
explaining
Metallic,
The
The
; ;
of the house ; the sighs and the stones ; of iron dropt upon presence
as
cloudy
prowling
near.
Sometimes,
here,
with
tragic
power,
and
sometimes
infinite pathos, the poem explains with and illustrates that what we call death is but life's continuance behind it is in the power a of veil which
164
some
POETRY
are
CRITICISM
flesh
to
uplift ; that the from the soul receives earthly which it retains long after the body is dust; that experience Heaven are people them, and Hell, with those who who impressions around
them
us
and
us so
in
our
from
thin
the barrier dividing midst, it scarcely exists. that for some gives
us
Of
most
all this
the
poem
many
as
weird
and
impressive
man
illustrations
; such
the story
the
child
London
of beautiful crowded
thoroughfare, for he
was
placed
in
her
outstretched
"
hand
a
"
touched
golden
child any
longer
visible:
He At times
The
was
one
of those
who
see
to plead
no
With
But Till
took
as
heed,
passed
one
the dead,
should
Doomed
To
to stand
her voice and turn the head. there and beg for bread, in tears, had been
dead for years.
feed her
was
child that
This
the very spot where she had spent Its life for drink, and this the punishment.
In sentiment, in imagery, there and in expression is much in this original over poem powerful and have Never fail to pause. no the which reader can genesis
more
and
progress
than
to
can
soul
been
analyzed prepared
Part,
not
lines
these:
POETRY
If those Through blind
OF
MR.
GERALD
did but
MASSEY
know
165
Unbelievers
they go what a perilous Unknown By light of day ; what furtive eyes do mark Them fiercely from their ambush of the dark in every beam What ; motes of spirit dance What What
"
grim
realities mix
serpents
As
earth-worms
; with their dream fallen souls, try to pull down drag the dead leaves through
How, The
toad-like,
at the
ear
squatted
Satan,
wickedly
at work.
Till from
A
some
black
abyss
And
as:
how
beautifully
is the Divine
guidance
described
The
magnet
in the soul
that points
to
on
through
All tempests,
and
still trembles
be true,
and
as
bridge
Nor
are
the comments
even now
on
the perversions
tianity of Chrisvery
far indeed
from
Forgive
I dare
Lord, think
if wrongly
I divine,
not
Thy
mine.
It is characteristic
that
a a
of Mr.
Massey's
so
cheerful
ism optim-
poem
theosophy and
That
grimly,
much with
sombre
awful
should
conclude
assurance
lines at length will meet, To make the clasping round of Love complete; The and Spirit will be healed rift 'twixt Sense
all divergent Before
is crowned and sealed ; creation's work Evil shall die, like dung about the root
Of
Good,
or
climb
converted
into fruit.
166
POETRY
AND
CRITICISM
All blots of error bleached in Heaven's sight ; All life's perplexing lost in light. colours
I have find
room
indulged
but I must very freely in quotation, for the following connoble lines which clude part:
to the
the sixth
Lean
nearer
through night ; Its curtain of the dark your veil of light. Peace Halcyon-like faith is given, to founded
And
Heart
that beats
it can
as
float
on
Surely Isled
on
Life-Ocean, From
out
of being
flit,
;
In flashes
of the climbing
a
white
crest
Some
few
moment
luminous
the rest !
I have
among
to atthat I shall not presume tempt relative position any estimate of Mr. Massey's era the poets of the Victorian ; if he has no
already
said
pretension
to
rank
among
generation
judgingfrom popular
which, literary
poems
full
MILTONIC
MYTHS
AND
THEIR
AUTHORS
I
THE
critic,
posthumous
chapter
curious
was
form
First,
prophecy delivering
one
busy
his
and
a
prophecy,
itself in
William
was
person Winstanley,
of
thus natural
"John
of our Poems Paradise Fame memory
one
a
whose
might
deservedly
a and Regain'd,
the principal place amongst Heroic two poets, having written Paradise Lost, Tragedy, namely,
him
is gone
out
Agonistes.
in
a
But
his his
Snuffe,
and
l For stink." doubt mainly was no prejudice in 1750 Dr. Johnson was induced
will always
this verdict
responsible.
to
political But
preface
write
been,
if not
1747 a Scotchman Lauder, irritated at the failure of an attempt named to introduce an Johnston's Latin edition of Arthur in consequence into schools, version of the Psalms instituted originally of a contemptuous comparison
strange
or
about
Lives
of the Most
Famous
English
Poets,
p. 195.
168 by
Pope
POETRY
between
AND
CRITICISM
if possible,
to
Johnston
him and convicting of wholesale accusing The fellow was a scholar, plagiarism. and in had explored the writings the course of his reading effect by
of the
the
whom
Scotch,
Dutch,
and
English
Latin
poets
most
of
sixteenth
were
and
to even very As much on the learned. sacred of this poetry was Lost, drawn largely and had, like Paradise subjects, commonon the Old Testament and on theological
centuries, in England
of
letter which to have the appears escaped remarkable notice of the historians of this affair, written to Dr. Birch, preserved Birch's papers in the British Museum, among and printed in Anecdotes Persons, Eminent i, Lauder attributes vol. pp. 122-128,
a
In
of
his
infamous
motive: of my
to
he
your
Appendix
Life,
where Milton
stole
by scene of villainy as acted unparalleled I, who, in order to blast the reCharles putation EikonBasilike, the that of prince, undoubted author of Philip Sidney's Arcadia Sir prayer out of and obliged the
you
book, severe printer of the King's penalties and threatunder nings, to subjoinit to his Majesty's and then made performance,
a
hideous
outcry
was
against observed
his
own
as jealousy,
just now,
in that
the
author
of
is believed by itself, which thing by if that action when to this day : Now, thousands committed is without it be deemed Milton so malignity should why in me. If this be the case, as criminal you very well know
author
Treatise
he
was
it is, do have
so
as
as
"
For
this abominable charge there was, needless to say, no evidence Birch himself admits he relates the scandal. as whatever, when See Birch, Milton, p. xxxiii. vol. i, Introduction,
MILTONIC
both places, doctrine and in
MYTHS
to
169
as
relation
incident
were
well
as
to
sentiment,
there
communicated
1747 and
and
1749.
naturally
attracted
attention,
in 1750
published of Oxford
Milton's
Paradise
entitled
An Moderns
Essay
on
of
the
in his
The
papers
in the Gentleman's
Magazine
had
Milton's many and surprised admirers, to what were the discoveries there made nothing In a few weeks the essay was volume revealed.
talk
fame to whom the name of every one and of known, Milton by it were the sensation and made have For been. as was well it might extraordinary, it was here demonstrated
poem literature,
that
of
a a
our
place
beside
Homer
an
of
nothing fragments
but
compilation,
writings
scheme
and
only
dovetailed
to
the
and
debate
had
been
Sarcotis,
1650 by about in the college at Cologne. professor from Masenius had plunderings plunderings
on
a
epic
stolen books,
Jesuit
similar
scale
from
170
Exsul
POETRY
AND
CRITICISM
of Grotius and from the Locustae of Phineas Fletcher. The description of the creation of the world, in Eden, the scenes of the Fall had and the account
concocted
out
Poetica of the Creationis Rerum Ramsay, Descriptio of Andrew the Virgilius EvanRoss, gelizans and Silvester's English of Alexander Bartas. The dialogue translation at the end of Du been
between had Gabriel and Satan of the fourth book been translated from one of the tragedies of Johannes Angelicum Franciscus Quintianus. The Bellum of
Frederic
Taubmann,
professor
in the
University
ist plagiar-
of Wittemburg,
had
supplied
with a great part of the famous on marriage panegyric Pads the Triumphus of Caspar
other illustrations their supposed
are
Staphorstius.
Many
given
of these
are'
appropriations,
to
a
and
restored
numerous now,"
to
his and
true
mortal
to the
and
uninspired,
poets
but
in honest
and
open
not
dealing,
the human
mind, plagiary
alacrity
inferior, perhaps,
that
ever
the
most
unlicensed With an
wrote."
Johnson,
known,
little credit, Dr. Milton is well prejudice against Lauder in his coveries," "dissupported
which
did
him
indeed
furnished
But
him the
with
preface
his work.
was
triumph
of
year
John
after the appearance Bishop Douglas, of Salisbury, afterwards Milton from vindicated with a pamphlet,
lowed folthe
MILTONIC
Charge
Lauder,
MYTHS
brought against convicted him
171
by Mr.
several
of Plagiarism
and Lander
himself
of
the
forgeries and
Douglas
system
and in the writings of these poets general resemblances to the work into precise and particular, of Milton by suppressing the context, sometimes sometimes by dovetailing disconnected by passages, sometimes
less extensive, and sometimes by or alterations more interpolations The was comof his own. exposure plete,
impositions on gross how Lauder had, by showed of fraud and forgery, converted
Public.
an
elaborate vague
and
wrote,
the
wretched
at
Johnson's
man,
Douglas, he had
fully acknowledging the fraud of which been convicted, and apologizing in the most
abjectterms
The
have
"
thrown
into the
Miltonic
and yet
discoveries"
of he
man. Scotchan
antiquary
quarto,
of
Poetical
contained
works,
was
Works
many
of
"
Mr.
John
Milton.
The
important
volume to Milton's
editor.
world Rev. of thje and acumen Mr. Peck a drama which Agonistes. The Samson
so
the
that
we
leave
Mr.
Peck
a
himself
to
Happening
collection
and
1660
172
directed
anatomized:
POETRY
to
one
or
a
AND
CRITICISM
Tyrannical
entitled Discourse
Government
being Presented
the
Life and
King's
to the
Most
Majesty
by
flashed
on
the
inspired
might be verse, and that the verse might and in a very short time he was satisfied that Milton's it was. The Milton's, "the spelling was spirit of "was liberty breathing it Milton's, and " who through
so
likely
as
Milton
to
carried
more than a literal nothing Baptistes. This was, prose version of Buchanan's Mr. Peck as to him, but he bore owns, a great shock
He
on
inspectin
up
so
wonderfully
that
the
untoward
revelation
scarcely
his original opinion. Slicing up modified into blank insisting that the verse the prose and Milton, he had the effrontery to print translator was
it among Milton's
Mr. Mr.
John
Peck
sixth of Milton's And nine poems." celebrated its ascription to Milton thus: justified
poems,
entitling
it
"
the
I took I shall begin that at first indeed with owning to be an this poem original, but since find that it is only from Buchanan. the Latin a translation of Mr. George bold to call it Milton's And Yet I shall still make own.
I think Dryden's,
not
improperly.
Pope's Homer
more
For Mr.
are
not
Dryden's
Pope's?
Besides,
than
I conceive,
is
Mr.
. .
Milton's
pieces
no more
are
theirs.
than
Milton
so
render
as
many
thoughts
into the
English
which,
it happened,
Buchanan
had
with
MILTONIC
same
MYTHS
the
a same
173
turn
wrote
hundred
years
of thinking before.
The blank
following
verse
is
favourable with
a
specimen
of
the
by
evolved
out
Mr.
Peck
"conclusively
be
read
Or
The
Then
teach track
the prophets
or
oracles,
own
steps
that bark
here you
fret
fume
are
; but the wolves about your sheep-coates The sayd I? wolves, of you drive away? that flay your flock the wolves yourselves
Clothed Their
don't slack
your
thirst,
Of
by
that
Mr.
to these coveries pseudo-disorder discovery was the real and important made It had long known Lemon in 1823. been
very
different
Milton
had
completed and of
system been
friend
and
more
pupil
was
Cyriac
known
this
nothing
But to have perished. supposed about it, and it was Lemon, Deputy in the latter part of 1823, Mr. then in one Keeper of the State Papers, discovered of the presses parcel
ments, other docuwith letters to a corrected copy of all the Latin foreign states princes when and written by Milton Secretary, Latin together of 735 with a manuscript
Skinner,
closely Miltoni
written Angli
small
De
quarto Doctrina
pages,
entitled
ex
Joannis
sacris
Christiana^
174
duntaxat
POETRY
AND
CRITICISM
libri duo
post-
humi. found
be
the
long-lost
into so strange its way a for precarious matter conjecture. be no question. however, there can
But the
Miltonic
discoveries
did
not
cease
of the Times, of 1868 the columns and became the arena of a of other leading newspapers, late Professor The Henry very lively controversy.
summer
found a new that he had poem announced fifty-four lines, and by Milton entitled containing An It was inscribed blank a on Epitaph. page of belonging to the first edition of the minor poems
Morley the
British
Museum, "and
was
"J.M.,Ober1647,
in the handwriting bore
some
was,
of Milton
to
the poem
on
Epitaph
the
and
as,
moreover,
couplets and contained boy, have conceivably was the handwriting normally abthe exigencies of space, Milton to was at least
cramped
the
owing
to
bubble
soon
burst.
were
It
not
due
every
allowance
was
"its,"
occurring
voluminous
only
in the whole
inaccuracies
impossible and
and
to
with
MILTONIC
ear.
MYTHS
I think
Mr.
175 Gerald
Massey
And
out,
lastly,
as
pointed
full of very
un-Miltonic Morley
years
before
Professor
Milton poem convicted which of Mr. Brook Aspbeing a plagiarist from Crashaw, a inscription land discovered in a volume in the an him Bodleian not convicted of being which merely
discovered"
an
Arian
downright
was,
and
it
thorough-going
seems,
Socinian.
material
by
Aspland
whose
an
burnt
To of
order
Long
he
Parliament
in
blank
1647.
space
joy
note,
found
in
a "a
Italian hand,"
Jesu
could land hand
"
Christi
be
a
"
Persona"
"
To
argued
"a
whom
but
to
so
rapturous and
Mr.
in
clear
elegant Experts
unshaken, of
greatly Milton.
to
the satisfaction
"
John
the
most
some
made impudence
discovery"
leading
and London
to
credulity
newspaper
so
ran
never
went
appeared
be
"
the words
the last effort of the genius who gave to the world It was the greatest epic in the English tongue.
...
"
found
was
among
actually
Milton's
included
papers in an
edition
of his works,
of which
limited
number
i;6
were
POETRY
issued."
AND
CRITICISM
stanza,
It will be sufficient to give the first it would, indeed, be sufficient to give the first
line:
I Men
am
old and
point
at
me
blind.
as
smitten
by
God's
frown,
mind,
"My
him
lord,"
why
"
said
counsel
to
judge
an
his client my
had
not
produced
witness,
client has
second
do,"
us
interrupted
with
judge,
reasons."
the follows
which
I need yet the
scarcely
and
gravely have
debated
It is not,
in
the
columns unlikely
of several
that
newspapers.
indeed,
the
some
gem
new
would edition
formed
of Milton's
to
found
been
in the
Treasury
that it was
be
of
Song,
Elizabeth
1848
by
Mrs.
to
of these
published
Miltonic
some
the
An
Anonymous /,
now
Romance,
written
of
Charles
With
MILTONIC
a
177
The
It
Bibliography,
by the Rev.
history
of the work
here translated
is briefly this.
appeared, under
was
John
Legat
nothing
indicate
the
authorship.
On
the
of the blank couplet on the middle the reader that all title informed be vain. to the authorship would
tantum studio cur frueris feceris esse
quaeris
tuum.
inani?
year
the
unsold with
a
remainder
new
of the
impression
published
title-page,
adding
to
Christian^
Sive Institutio old title the words (i)DePueritd; (2)De Creatione Mundi;
the
(^)De
ViriliAetate;
that
sold
by
Thomas
it
Street.
begins this, all that is known the book about No indication that it reference to it, no and ends. has been so much by any person as seen except the in the British brief manuscript notes writers of two
Museum
With
copy,
has
as
yet been
discovered
contemporary records or subsequently, for to that Its discoverer, gave it to the world. honour Mr. Begley is fully entitled, has certainly literature laid all students of the seventeenth-century and
the
theology Romance
intrinsically
interest and
About very great obligations. under itself there cannot be two opinions; as well as historically it is of singular of
an
accomplished
a man
and
exactly
as
of genius,
men
yet
gifted
and
tempered
N
very
few
who
178
are
POETRY
not
AND
are
CRITICISM
geniuses
and
rapid for
On a first gifted and tempered. be exindeed,, any cused perusal, critic might Mr. Begley's being away carried with
theory,
"
fascinating
for imagining
would
an
that do
no
in
deductions,
in his hands
work, discredit
experiment
of the of fiction
The
to
species
century, peculiarly characteristic of the seventeenth In such form. composite and it presents it in its most Bacon's New City Atlantis, Campanella's as works
of
the
Sun,
as
have,
and, in More's
later,
Harrington's
Oceana,
of the
we
Utopia, examples
in Hall's
didactic and
in
romance;
Mundus
to the
Godwin's
Journey
Moon,
type. of the Lucianic and Rabelaisian their original of these fictions found
Satyricon
and, Sidney,
Apuleius,
the
Golden
of
and
Arcadias
prose
Sannazzaro
and
poetry, dealt with pastoral love, the delineation of character and however nature-painting, preserving
adventures,
picturesque the didactic
by moral a or element political disquisitions and large infusion be the ArSuch of allegory. would Satyricon Euphormionis genis and of Barclay and
Into the composiPuteanus. of Erycius tion Solyma of the Nova almost all these elements As a didactic romance it closely enter. recalls the New Atlantis; a romance as of adventure ment and senti-
the
Comus
prose
and
verse,
the Argenis\
colouring, and
the
Comus.
works
And
were
in
phraseology
style
these
MILTONIC
MYTHS
179
But a stillcloser resemblance, its models. obviously far at least as didactic purpose is concerned, so may be traced in it to a species of romance appears which
to
have
works
during the sevenpopular teenth finds illustrations in such century, and which as Reipublicae Johann Valentin Andreae's
been particularly in
1619,
incident is entirely subordinate romantic in such to didactic or as the purpose, works Eudemia Erythraeus, of Janus Nicius 1637, which
interweaving
romantic
and the inspiration from the world of derived Solyma are of the Nova Since theaccession the Puritan revolution. of Charles I speculations disquisitions on ethical and and
the theories, scientific
on subjects,
blending Solyma.
poetry
politics,
education,
gradually
and,
above
most istic charactersuperseding Philosophers ians of the Renaissance. and politicin in formulating were engaged systems and Pious fanatics ideal commonwealths. constructing
were
on
on
been
indulging
in
dreams
of
time,
when
Jerusalem should
tendom, Chrisinto
the scattered and Christ's fold, repossess, as inheritance. The Jews were ben and Menasseh labours in indefatigable
their subjects,
old
of
was
his
people.
Just a
he had
at
year
before
the Nova
Solyma
attributed
treatment
the
Jews
had
so
at
the hands
of the Christians,
and
i8o
POETRY
AND
The
CRITICISM
theories
were of Comenius interested in were
or
engaging
the attention
of all who
not,
had
brought of its
importance
are
And
The
these author
the
was
themes
of
a
of it
Puritan
the ordinary without like Milton, was who, eminently familiar with the polite humanist, as
as
plainly Puritan
theology; profoundly versed like Milton, into the intensely a man who, entered intellectual and spiritual life of his time, but who,
well unlike
world,
as
Milton,
had
little interest,
so
at
least
we
should It may
was
a
judge, in
be
in political controversy.
some
assumed
confidence
that
he
man, man of ardent passions and a young young but of ascetic ideals. No can one read the Romance being struck with what is equally without in Spenser, both in Milton the union striking and
of
sensuousness
which
on
borders,
and
often
more
than
borders,
the
voluptuous
with
austere
purity
in
verse.
verse
has
in hexameters remarkable experiment from a supposed epic on of extracts cited to illustrate a of the Armada,
at
for the whole question and of the Wolfs Menasseh Ben this time, Lucien
See,
Jewish
Israel,
movement
Mission
to
Oliver
The
Cromwell
and
his
Crypto-Jews under the Commonwealth. for the Jewish Historical Society of England the Jewish Chronicle. reprinted from
MILTONIC
lecture
on
MYTHS
181
In addition to original poems poetry. in the ordinary the narrative metres, and translations in is interspersed with lyrics, often of great beauty,
almost assumed
every both
form
which
these and
compositions
have
poets,
in classical
in post-classical
marriage-song. concluding with a multi-metrical The is as follows. The plot in succinct summary Millennian a at last been Jews having converted,
Jerusalem,
an
Nova
Solyma,
has
been
established;
ideal
and
site, alike in surroundings, city, glorious its government an public, aristocratic rearchitecture, its achievements the realization of all that
can
be accomplished
as
by
God-fearing,
God-directed
community, interests.
Cambridge
to its spiritual as alive to its temporal Its fame having to the ears come of two merthe sons students, chant, of a London
named they
set out
Politian,
with
one
a
Joseph,
young
a
the
of
Patriarch
of the
new
city,
man
servant,
some
by
his travels with a tutor and was on who had been reduced but who to great straits him of all he had, brigands having robbed
his servant, him
to to
they
have
little
dismiss
return
as
their
escort
Nova
a
Solyma.
beautiful
point
the
enter
romance
they
to be
the anniversary
a the pageant, and gorgeous is a young central figure of which girl of surpassing loveliness, is passing On her the streets. through
of the
Restoration,
to them, the impersonation she is, as is explained the eyes of both are the youths of Zion riveted. Joseph, without, at the time, informing them that the
" "
82
POETRY
AND
CRITICISM
them
to
his home
is
and
over-
Jacob. Jacob
joyed
seeing
his
Joseph'srequest
be the guests
son again, and heartily accedes to that Eugenius and Politian should
of the family.
with they
on
The
old
man
enters
into
remarks
conversation which
them,
and
pleased about
an
with
act
some
had
made
of graceful
unselfishness
the part of two of his younger ren, childinto his confidence the takes them and explains Solyma are the children principle on which of Nova
educated.
rest;
not,
Politian
however,
now
retire
to
the
that
next
impressed.
they
daughter
narrative
learn, to their surprise, that she is the of their host and the sister of Joseph. The is then by a long interrupted allegorical of
a
episode,
matron
in the form
dream, of the
related
two
by
sons
an
elderly
of
Jacob.
by the
This sudden
tutor.
the
main
narrative Alcimus,
is resumed the
son
of
Joseph's
for what
youth,
to
full of
remorse
he had
done,
confesses,
taken
to a
the amazement
that having
brigand
him, murdered his servant, robbed of the band who being his him the tutor of his tutor, and deprived
own
father.
To
save
his
own,
father's life he
the
one
had,
ever, how-
imperilled
in
his
the
infamy
of his
conduct.
Jacob treat
ventures ad-
of Alcimus,
with
are,
great
particularity
MILTONIC
by
Milton,
else
MYTHS
of
a
183
display
powers
even
which
he So
has
nowhere
revealed
glimpse.
ends
the
greater
book,
which
philosophical disquisitions
garden-party,
on
is occupied
religious, introduces
metaphysical,
an
This
on when in male
disguise
to
of Philander,
in quest
not
of the
unsuspicious As introduced.
the public hall in the place, marketboy observing ing they notice a young and followThe them at a distance. objectof his attention
Joseph accosts
country
was an
youth been
what that he
a
him,
did not
lady and
he
had
did
from
was,
home he
to
find
whom
he
added,
alone
friends,
and
very
to
he
Joseph
widow
board Among
the
young from
man
named
Theophrastus,
of a most religious melancholia is not unlike that of kind. He tells his story, which in Bunyan's Pilgrim's in the Iron Cage the Man Progress,
is suffering distressing
recalling
also
many
of the
cases
cited in
84
POETRY
More's
a
AND
CRITICISM
Henry
have
Enthusiasmus
Triumphatus,
witchcraft and
and
we
long
digression
The
on
demoniac
possession.
account
broken
The
concludes with old Jacob's is to Christianity, which of his conversion to the Council off by his summons of State. is occupied rethird book view with an elaborate of Nova
book
of the colleges
methods
Solyma,
and
with
are
the
there, which
comes
a
long
Rhetoric from
an
and
epic
Poetry,
poem
on
illustrated the
three
extracts
Spanish
Armada,
This
composed by is followed of
note,
by
some
on
the pernicious
most
un-
influence
Miltonic
prose
"
romances,
another
and
the
attempt
of the
Nova
Solyma
to
elevate
author of fiction by
friends,
Jacob's house,
concern
Politian friend
is
discovering
as
to
his infinite
in love
as
that his
desperately
himself
with
the
Daughter
two
So ends the third book, of Zion. well for the fourth. But we have to wade lectures, one De ortu et occasu dreary
a
promising
through Rerum,
into the service of thesis pressed on the work, and the other a long harangue the origin And reof evil, before the action is resumed. when sumed it takes a turn which is not a little surprising.
evidently
college
The
author,
betraying
unsavoury with the most Petronius and of Apuleius, goes Antonia, the widow mistaking she appeared
to
on
to
describe
how
Philander
be,
young
man,
MILTONIC
in love
MYTHS
185
with
informed
that
portunit imher, and urges her suit with such had been now that had not Joseph, who from the Duke by messengers of Palermo
was
a no
Philander
other
than
even
Philippina
more
in disguise,
intervened,
what actually is, Philippina
tragedy
terrible than
occurred
destroys
poison.
the
Antonia
narrative is now who
takes
resumes worse
have As it resulted. might herself with a dagger, and This dismal over, scene the
story
ever,
than
imperturbable
Joseph, while
in
an
waiting
and
to
Politian
adjoining room
to the last consolations administer Theophrastus, improves by first breaking the occasion into iambic trimeter acatalectics on the Curse of
summons
Cain, and then settling into a long prose disquisition At last the summons on comes, the Fall of Man.
the
and
Theophrastus
first part of the fifth book is retrospective, and in the mouth is a narrative of the unhappy placed it was Philippina's telling how that maidservant,
her mistress Philippina's
to
her her
marry
passion
and fell in love with Joseph; how father, the Duke of Palermo, wishing discovering the Duke of Parma, and for Joseph, caused napped Joseph to be kidmet,
and
imprisoned
the
; how
Joseph
servant
escaped
personat by im-
Ethiopian
who,
; how,
to
guard
to
him,
had
fortunately
been
and
all appearance
gation insti-
of Philippina's
at
was
acquitted,
in
con-
i86
sequence
POETRY
AND
CRITICISM
corpse reviving; and how of the supposed following his escape, Philippina finally he had made All this certainly in disguise. him constitutes
most
ingenious
and Montemayor's
story,
in any portion hand discernible of it. of Milton's in disAfter courses this the narrative stagnates again duelling, love, on on the higher and lower with
hints
these
for
the
attainment
mind,
themes
being
duel intended of an had both Politian, of whom for the Daughter their passion concludes
prose
on
no
of
with the
grotesquely
use an
thesis Deity
the
in
The
sixth
opens
tutor,
with
return
of Apollos,
Joseph's long-lost
a
relates
account
his
very is succeeded
who lively
by
on the part of old Jacob continuation ponderous his summons to the Council which of the discourse by interrupted, had an supplemented edifying a
homily The
from
main
Joseph.
is resumed by an account narrative of forgiven, is full though the death of Alcimus, who, for the frailties of his youth. However, of remorse Theophrastus, he makes like his fellow a sinner end, thanks Joseph. Apollos, good winded holding
as
to
the
pious
who
proves
old forth
Jacob, again
on
interrupts
on
story
by
the
Sabbath,
public
worship,
MILTONIC
on
MYTHS
fanatics,
to be
set
on
187
the
prayer,
on
sacraments.
for those
tian, who
estimable though
on
"
Eugenius
straight Poliand
the grace to be ashamed the subject of the Daughter of Zion, still find the flame of desire burning
However,
it luckily happened
that
had
twin-sister
Joanna, so
argues
like her
that the
scarcely
so
distinguishable
naively
therefore,
from
moment to
in this arrangement, consulted betrothed lovers, to comely but finding themselves ' ' began to feel love's ardent soon passion, and burned
ladies had
been
fires." The only cloud on the approaching mutual festivity is the sudden and inexplicable collapse despair, which Apollos unof Joseph in unutterable comforta with
' '
as
God's
and doing
soon
somewhat
and
by an equally able inexplicsucceeded happy the day state ecstasy of joy, in which finds him. for the double It is marriage appointed
this is
a
day
the the
on
and glory, for it is the day of civic pomp festival in honour of the restoration annual
of
being the anniversary city, besides Politian's eyes first rested which
a
on
of day
"At
later in
hour
the
wedding and
a
festivals
continued
Jacob'shouse,
copies
there
Joseph distributed
he had song,
the
to
the guests
of
recently
which Romance
different
metres,
i88
POETRY
the second calls
an
"
AND
impression
CRITICISM
was
To author many
imperfections promising,
to
appended
and
if the public
continue
runs,
revise and
so
able, be favourbegun.
version,
the
"The
Author,"
in Mr.
"had
a
novel
others
judgements
bestowed
his attempts
before
for he is by himself; pains on them how means the spirit or fate of no adverse unconscious life, or this age is to any strict repression of the carnal into favour to bring to any endeavour the higher spiritual further
faculties,
as
is here assayed.
to
If it should
turn
out
thoroughly
distasteful
a
the
superfluous
further
with
he will be encouraged
to
go
on,
and,
paying
what
proceed picture."
the
of the sketch
II
Such
us was
is the work
was
which
Mr.
Begley
would
have
suppose
he partly while written by Milton, his residand partly during still at Cambridge ence in other words between at Horton, 1628 about
1639,
and him
his friend Hartlib which persuaded It may in 1648. be fully conceded to publish 's is a superficial that, on theory view, Mr. Begley
and
most
plausible
a
one. romance,
ever,
as
wrote
prose
Solyma
man,
respects,
just the
have expected
sort
from
mingled
voluptuousness
MILTONIC
ment
189
of the
the
passion
in its conception
to relation of that passion physical and He has himself lighted told us that he despiritual life. in romantic fictions,1 and we know that he
of
was
conversant to
with
many plot
of the works
which
have
contributed
the
and
generally of this romance. I say this with much he was, verses, of course,
But the moment serious
reserve as
a
in reference
to
the
of Milton
at
soon once
having
scholar, quite equal. ability scrutiny begins, the improbhad any hand in it becomes improbability arguments in
of the Miltonic simply resolve authorship into what I have themselves just stated, into that The more. exrest of the evidence, ternal and nothing and is
so
favour
internal,
against
the Miltonic
and conclusive half of it is adduced. case In the first place there is absolutely either nothing, in contemporary or tradition, to connect subsequent overwhelming closes before Milton has himself this work with Milton. the fullest particulars about his studies and his being but has said nothing about in this
or
engaged
nephew, of his
in
any given
similar
an
fiction.
His
account elaborate list of his writings, but occupations and a complete it; Hartlib, is silent about to whom the Tractate he mentions Education on was though addressed,
Phillips,
has
Sadler's
political
1
Olbia
romance,
and
was
himself
the
author
about
is equally
silent
Prose
of a it. No
Bohn,
An
Works,
ed.
p. 81.
190
rumour
POETRY
of Milton's
AND
CRITICISM
a work association with such ever insatiable curiosity of the restless and reached Aubrey. There is nothing in Milton's collections
bearing
or
can
on
it; there is
no
passage
in his correspondence
in any
be tortured elaborately
how
it treats
education written
written
and
of the to Hartlib,
he
had
not
the
before, subject
out
"
remarkable,
goes
he of education done, at the cradle, which many yet be worth might And to Mr. Begley, considerations."1 yet, according he had later.
is still more to say that in treating of his way have had not begun, some as and,
it four years publish disingenuousness Milton was solutely abincapable. Nor he a man to suppress was
in his desk
to
what have
as
had
given the In
written.
that
he
would
verses
inferior
others
of his
as
Juvenilia, when
abound
year
he
had
in
or
in Nova
Solyma,
MS.
last
deliberately have put in the of his life, he would a collection printer's hands of his college exercises, Oratoriae, and concealed the Prolusiones the authorship
of compositions he must have well
a
as as
which known,
engaged,
of such
1
could
a
of the have
in which the
we
he
was
then
romance?
Prose
Tractate,
Works,
pp. 88 and
MILTONIC
than
at
MYTHS
191
Milton, Imagine the appeal to public opinion? his in his life, deferentially any time assuring that their verdict would he went or whether
readers
decide
on
with
whether what he
he
had
facts.
comparison
on
important Romance
subjects with
would
theory.
alone
those
views in expressed
and
the
be
conclusive
against
Mr.
Begley's
The in
theory
Nova
and Solyma
from
what is largely
concerned
it. the other children, line, discipintellectual to moral one subordinates to intellectual. the other subordinates moral
of young
with ignores
the
the importance recognizes of equipping young citizens for mercantile purand mechanical suits, from the other turns such aims with aristocratic The one contempt. attaches the greatest importance
one
The
both in prose and verse, the other composition discourages In Nova Solyma no exercises. such is laid on the importance stress of mathematics in the and natural science as factors in education;
to
Tractate
they
are
especially
clear
prescribed
and
emphasized.
Solyma
theories
was
It is quite familiar
that the author of Nova in sympathy the and with Milton distinctly and rudely
not
troubled
himself
to explore
Didactics
my
more
inclination
1
Januas and search what many I shall read, have than ever projected "are Again leads me his not, ; words.1
Works, Bohn,
p. 98.
Tractate,
192
POETRY
Begley
that
AND
CRITICISM
is indeed
sufficiently obvious, Solyma held Arian may
Mr.
admits,
the
what
author
Whatever views. in later life he later life, and is more Arian, certain nothing not up to 1660 he was writings
but spoke of Arianism in
have
had
in
only
perfectly
his
Of Reformation
no
with England,
abhorrence.
he
orthodox In
describes
the
Arians"as
of Prelatical
in his treatise
them in
as
"
unfaithful
expounders of Scripture the Remonstrant's on of the necessity the of restraining by their people
his
adversions Anim-
Defence, he
the Arians
hymns
3 In all his writings indeed, prayer." the Morning on of Christ's Nativity to his treatise
Free
Commonwealth
finds would
most
published
Arianism
emphatic
be
argument identity
alone
conclusive
of the authorship of the Nova to 1660. previous of Milton's writings Take of divorce and again the question The is emphatic Solyma author of Nova dissolubility
against Solyma
the and
polygamy.
on
the
in-
tie. If, he says, you of the marriage in wedlock a must make mistake you abide by it, he is so adverse that he does not and to polygamy it.4 Compare as so the this with much recognize in Milton's divorce treatises contentions and with what he says in the Treatise on the Christian " Doctrine: It appears to me sufficiently established theories
and
Works,
Bohn,
p. 9.
3
Bk.
MILTONIC
MYTHS
193
is allowed by the law of God," l and that polygamy let us ask ourselves it is within the bounds whether
of credibility published
that
in 1648, have ately deliberwould, diametrically to so views opposed is notorious, he was fanatically as There
are
he
discrepancies
points which importance. One capital example is well known, as suffice. Milton, himself in the elaborately argued
on
will
and Treatise
probably he has as
on
the both
Christian body
Doctrine,
believed
that
after death
in a state of suspended ity vitaland soul remained " " he says The grave, tillthe Day of Judgement.2
"
in
one
place,
is the
common
guardian
Day
of
Judgement";3
recompense
the is
no
Day
of
Solyma
there
such
at
theory,
once, on
the
soul leaving
now
being
passing
We Begley
or
"
pass
to
the
justlyobserves,
on
on
which,
as
Mr.
must
fall, and
which
Begley
of
interesting
am
work
that it is with
on
unfeigned
obliged
to comment
arguments
he
A
more
amazing
tissue
sophistry
ever
had
unravel
Bk.
than
i, ch.
On
Doctrine,
2
x,
Sumner's xii.
lation, Trans-
Id., Bk.
i, chap.
Id., p. 290.
Id., p. 293. O
194
Mr.
POETRY
Begley's
AND
CRITICISM
and
notes.
dissertations
the
Mr.
Begley's
Latin
rich and
voluminous
and
contemporary
common
seize Milton's
on
peculiarities
acknowledged
writings
Solyma,
author.
on
He
has,
special
dissertation
poems and his for the purpose Solyma, in Nova as of drawing corollary that those Latin poems and the NovaSolyma have from the same hand. As if it was come must
not
and
in Milton's
habitual
in the
Latin It in
poetry
occurs
seventeenth
centuries!
twice
Naumachiae,
twice
Cowley's
it
Libri,
in Newton's
Encomia', in Phineas
to
in Ascham's Locustae,
Fletcher's
Lucan,
we are
and
in innumerable
Next
treated to another
"e" in the shortening proof" of the vowels and "a" before usp," "sc," "sm,"and "st,"whileonein-
stance
from
same are
Buchanan
is paraded
to the
licences
to
as
lel paralsuch
ought
times;
know,
Latin
occur
there
like
twelve
Fletcher's
in
short
poem
teems
scores
arum
in the Deliciae
Poet-
Scotorum,
and
in
the
Anthology
edited
by
MILTONIC
Lauder. well-known Syllabis, v. Latin
195
the
Indeed,
till Dawes, in
passage
(De
of the
lo^Ssegg.),
not
seem
formulated
to
modern
poets do inadmissibility
Mr.
have
Begley's be
subject
on
may
283
judged
says
in his note
asserts
p.
He actually volume. of his second "seven in metre is found this solecism Virgil,"
"
that
in
times
in Ovid. In Virgil times" nineteen instance, Aen. it there is exactly one xi, 309, where if indeed is explained by the caesural the pause, and of the line is not spurious. in the Culex and the Cirts, the
rest
The
other
two
are
Ciris most
certainly
not
being being
be
to
written
a
if written
cases,
by
it
him, may
knows,
very in
added,
occur
the
in both
Where
every
it appears
scholar instances
Ovid
is corrupt, there being only two " be fairly cited against the canon, can olentia which " hebetare smarstrigis," Ep. Pont., II, x, 25, and
agdis,"
Am.,
II, vi,
21,
and
as
occurs,
there
one
be "maragdis," might instance where the word leaves Ovid has, which Then
on
the right reading in the other MS. II, 24, actually instance. one dissertation
one own
with
to
an
"
we
are
"
treated Belgia"
elaborate
the form
"
for
of Mr. phrase.
that the the by
Begley's Can
form Mr.
"
trump
Begley
was
cards,"
to employ
his
Belgia"
be
ignorant
ordinarily
used
Elizabethan
found
notes,
being writers, post-Elizabethan he in Shakespeare as not merely and Marston, in Peele, in Lyly, in Greene, but in Marlowe, and
196 in Ben
POETRY
AND
Donne,
CRITICISM
in Chapman,
Jonson, in
in Drayton,
It is noticeable that, though and in dozens of others? Spenser in personifying Faerie Belgium in the Queene calls it " Beige," in his prose treatise he " Belgia." 1 Indeed, it is the exception uses the form
else. Another astonishing Mr. Begley piece of evidence which presses into his " he calls "the Miltonicunicuique (!), service is what
to
occurrence citing the supposed in Milton's and epigram
on
sic credite gentes." to say cases that in both necessary is in classical Latin poetry, always
unicuique
suus,
" i" dactyl, the shortening of the other AnMr. Begley as must surely know. " " is the repeated trump of Mr. Begley's cards " " in Nova occurrence of the adverb undequaque
in the Cambridge and its inclusion Mr. Dictionary, as 1693, which, observes,
a
LatinBegley
"absorbed
Milton's
MS.
collection,"
is not classical, and which which " in the great Latin dictionaries of is not recognized Because it is included in a Dictionary day." the present
word
"which
Mr. have
absorbed
Milton's
MS.
that
Begley
been
circuitously
acquainted
argues
frequent
been
more
occurrence
As
to
the
use
of its Latin
those
1
writings. comfortable
inpoint had Mr. Begley cited an stance in Milton's somewhat voluminous Mr. Begley is evidently one of
scholars who
rely
on
that which
i
View
of the
State
of Ireland,
Todd's
Spenser,
vol. ed.,
P- 5*7-
MILTONIC
Turns
MYTHS
no
197
But
holds
If, instead
the
he were dictionaries, on conversant of relying and with the Latin ity of the Renaissance have known that it age he would succeeding Linacre it
a
in his De
Emen-
in
favourite
Praefatioto
twice,
twice in the occurring Augmentis alone, and at least in oftener, in the body of the work;
over
and Bacon,
Euphormion^
it is
and
over
to
continue;
words Solyma
again. fifteen
"
uncommon
from
in
two,
Milton's
"
and
of
occurrence
second occurring twice, and probably oftener, in Cowley alone, and the first simply as often as it is appropriate. Mr. Begley's excursus on the evidence and notes seventeenth
to
century,
the
be
Nova
adduced Solyma
from and
of the
in that of Milton's
characteristics of Latinity which century sixteenth and seventeenth is nothing for exFinding, short of astounding. ample, in the Armada fragment the repetition
Non
arma
acknowledged to be examined,
Philippi
Artna
minasque,
"
etc.,
he tells
two
us
that this is
one
instances,
from
quotes
ig8
POETRY
Serpit
AND
CRITICISM
Favoni rosis,
odoriferas per opes levis aura Aura humida nata sub innumeris
and
one
from
Nova
Solyma:
oscula
et amplexus tuos
Frustra Oscula
recorder
quae
volucres
are
diripuere
notae.
But
such
repetitions
not
only
commonplaces
in
the ancient classical poets, as every scholar knows, but in the Latin teem poets of the Renaissance
Buchanan's We open and post-Renaissance ages. Elegies almost : at random and find (Elegy
vii)
et
Aureaque
hoc
merito
aurea
and
again,
Elegy
iii:
et verbis
oscula
jungit:
On
Oscula
dum
are
jungit,etc.
superfluous.
a
But
illustrations
par
following.
at
"Qum,
beginning
occurs
too,
is often
a
with used in
Solyma
same
the
of
or
sentence,
three
four
and in times
poems."
sentences
As
if
"
in the most even the style is colloquial ! Why, it is habitually ginning serious compositions used at the beby nearly all the writers of sentences of Nothing the sixteenth centuries. and seventeenth is
once
more occur common.
to us:
at examples give two which in the first book Utopia of More's six times, and in the first book
To
being
as
in eight, its occurrence in dozens relatively frequent suffice to show from analogies
of other
MILTONIC
of diction.
MYTHS
199
futile, it may be added, is the fondness from the alleged of adduced argument frequent Milton for diminutives, the unusually and
use
Equally
of them
in the Nova
Solyma.
Diminutives
were
equally
and
of writers, to Cowley;
in the
both
and
own
in
verse
Milton, Latin
instances
unfortunately
poetry being,
Begley,
them,
"
his only
"
studiously if I am not
avoids
"novellus" vi), v), vi), (InSalm.}, "gemellus" (Apol.de Rust.},"capsula" (De Idea Plat, and Ad Joannem Rousium), "fis(Ad Joannem (Epitap. Dam.), "libellus" cella"
(EL
iv and "areola"
Rousium),
diminutives,
to
it may
so
those
be
very in the
Latin poems of Milton's comparison with the is conclusive Solyma in the Nova poems against To go no further than poems identity of authorship. in some The are respects parallel. which author of the hexameters
on
Epitaphium
Damonis
possibly The
in the
Philippica and
norm
of the is Ovidian, best hexameters in Milton's of rhythm Solyma, Virgilian or rather Claudianic. those in Nova
Love.
Again, Solyma
exception
remotest
in
Milton's
are
Alcaics
there
essential
of Nova
with
the
of the
is there the metres, conventional Milton's metres between and those it is not a creditable and his theory, to throw dust
stratagem
"
in supporting
200
POETRY
eyes
as
AND
CRITICISM
readers
by
in the
Milton
of unlearned
representing
poets
pre-eminent century,
to
among and
the
a
of the
alone
as
being
produce
as
poems poet
in Nova Milton
Solyma.
in
is that
Latin
is hardly
front rank of the Latin poets of his age.1 To go In fluency, flexibility, further than Great Britain.
to
Henry
Ramsay,
to and Arthur
Alexander
in
Boyd,
to to
to
Fletcher,
May;
and
to
Johnston;
to
are
Crichton,
poets inferior
habitual is
a
Barclay, typical
1
to
Cowley.2
only
these
scores
of others
most
slightly
The
His
Latin
verses
have
serious
"st,"
defects. and
"sc," before of vowels shortening he shares in common which with " " " " in a paruere shortening of "sentis" (Sylv. vii, of "is "in
"sp,"
fault
his contemporaries
; but
the
(Sylv.ii, 165),the
of
"es"
3), and
shortening in "alipes"
(El. ii,
does
of it
14); the
exist
"
not
(El. vii, 90),a word of "surdeat" which in Classical Latinity, the use stead in"ocellus" of
use an where Novembris,
oculus,"
image
of terror
is associated
with
(In Quintum of a dative after 145), the use "licenf'in "licet" sense the "supereminere"(J"/.vii,6i)and of less the (El. vi. 53); times in fortythan eighteen violation, no
iambus an nine lines, of the rule which requires in choliambics in the fifth foot, are great flaws. See Bishop Wordsworth on Milton's Latin poetry, Classical Review, vol. i, p. 136, and Lan-
dor, Southey
1
and
Landor, and
no
Works,
one
Dr.
Johnson,
Ed.
be a more question of niceties, could Cowley to be superior and May " If the Latin performances of Cowley
judge,
considers
to Milton.
and
Milton
be compared
seems
(forMay
lie
on
I hold
to be superior
"
to
both),the
Life
to
Murphy,
MILTONIC
to
201
them.
It may
be
were
safely
many
that very
between
many
1621
there
Britain
in Nova he has
quite Solyma.
us,
competent
to
produce
Milton,
judging
metres
what
Milton
left
was
Of
the
in the Romance he
has,
it may
also employed
by
left
no
examples
distinguished
at
by
analogous
least fourteen
of them
he
to
of
at
all. And
have written it at, or admission the Prolusiones shortly after, the time he composed Oratoriae. Whoever will take the trouble to compare
own
Nova
the by
the Latin ity and prose style of these exercises with the Latinity even and prose style of the Romance, the similar exercises in it invite comparison, where will at once recognize but the impossibility
have
come are
not
merely
of supposing
same
from the
the
pen.
in the Nova Mr. Solyma, as poems in any Begley way original or Miltonic contends, The Philippica is plainly modelled compositions. love Fletcher's Locustae ; the Hymn to the higher on
Nor
as
the
Canticum
Sacrum
quoted
found
Indeed, De
echoes of the many simply hymn to Hercules, of Virgil's Sabian in Vidaand other Christian Latin many
on
be
they
Rebus
are
on
Vida's
are
poets. Hymni
lyrics
on
has,
not metre
anticipated
almost
every
variety
of
202
POETRY
AND
CRITICISM
and
with the influence
of
employed
whose Mr.
in the Romance,
are
every
cites as careful study of Virgil find, far more without exception, striking illustration in numerab the hexameters of Vida and Sannazarius and of inother Latin poets of the sixteenth and
seventeenth In the parallels and analogies centuries. his volumes loaded, he confounds are which in the writings are mere commonplaces of
with
what Milton's
Milton
simply How,
an
with
what
was
peculiar
to
corroborative While
testimony
they
is not
then,
stands
iota of external evidence to warrant the ascription is to Milton, the internal evidence of the Romance it is possible for such to as as evidence conclusive
be against any such assumption. he was, man a young was The author, Puritan ever who-
of the
suasion, per-
versant excellent classical scholar, conromances the Latin and English current
was
an
well
read
in divinity
and
philosophy,
with the originality, and saturated with not much Latin poetry and prose of the sixteenth and seventeenth doubt, nay, have we And can we centuries.
not
to
testimony,
be found
were
to
at
the
time
this Romance
both for Begley I repeat, we are interest as well the discovery of singular of a work it in a most for having as attractive shape. presented
was
His
translation,
whatever
exception
may
sometimes
MILTONIC
be
MYTHS
203
taken
and
notes,
full of curious ation. informand entertaining is that so What is to be regretted much for defects, have be to made allowance should for a sophistical fence dedue to the necessity probably of
a
preconceived
theory
absolutely
untenable.
LONGINUS
AND
GREEK
I
CRITICISM
IN
of literature,
as
there
extraordinary silence
the
is surely fortunes of
a
nothing
this
so
treatise. brilliant,
The
so
of antiquity
about
work
who
thing original, and so essentially unlike anyin extant Greek a criticism, and about writer he himself as tells us, other treatises, produced, of been
a
presumably have
similar
a man
kind,
and
who
must,
therefore,
his contemof note poraries; among in ascribing it to the difficulty involved in ascribing it to anyone him ; the difficulty involved for upwards paid so unsuspiciously else ; the homage it centuries and a half to the critic to whom of two had
been
so
thronem dehis sudden confidently assigned; at the beginning of the present century,
and
has
the relegation
; its
strange
passed
popularity
between
about
oblivion into which 11790; the comparative fallen during have to the revolutionary
on
(i)Longinus
the Sublime.
The
Greek
the Paris
and the
Manuscript,
Text,
Cambridge:
at
(2)Longinus
L.
Havell,
Translated introduction
into English
by
by H.
B.A.
Andrew
Lang.
London,
Macmillan
and
Co.
LONGINUS
period
AND
GREEK
favour
now;
CRITICISM
with the which
205
; the increasing
to
be
gathered
and commentary, of editorial exegesis in the form of independent disquisitions, monographs, influence ; the extraordinary and translations it has,
which
in different
on men
degrees
and
at
on
different
of letters and
not
it has though with which, been, and still is, treated by the Universities and by liberal education in England those who regulate the Sublime on a all this gives the Treatise unique
"
popular indifference
invests
With
the
Poetics
it has
any
in which it has been held in Europe is sufficiently civilized country by the number of editions and translations
through
which
it has
passed.
in 1554; in at Basle editio princeps appeared Manutius issued a second the following year Paulus Latin a third with a then came edition at Venice; version
place. whose
at
The
Geneva,
English
and
in 1612
fourth
some
at
the
same
An
name
scholar
of
distinction,
Gerald
drama,
reprinted
206
memorable
a
POETRY
one
AND
of Tollius.
CRITICISM
In
1710
John
Hudson,
as
that
four times reprinted, and in was which Pearce an there were edition of which i724Zachary issues between less than seven no 1724 and 1773. Wetstein edited in 1733 an edition at Amsterdam, of Tollius, in 1751 and 1763 reproduced at Glasgow, to say nothing of editions and in 1756 at Frankfort; Lefevre, by Le Clerc, by Heinecken, by Tannegui
which
was
by
Gori,
by
Morus,
by
Robinson,
by
Schlosser,
by
Bodoni,
work Nor in
"
in 1778 in the epoch-making culminating few years. a twice reprinted within of Toup, been less fruitful has the nineteenth century tributes
aureus,"
to
as
the
it. For between the appearance called of Weiske's Rhys edition in 1809 and that of Professor Roberts Scarcely less been at least ten. there have
numerous
have say
been
the translations.
To
was
in Latin, it of the nine versions nothing into Italian by Pinelli in the seventranslated teenth by Gori in the eighteenth, Gori's century,
version
having
been
most
Boileau
said
to
have
it in France, book
and
But
be may between
was
in belles lettres
the only
successor
French
Boileau
Boileau has
1775
in Lancelot,
and
in
so
Lancelot
Professor
had
successors
in M. has
Pujol
never
The
Treatise
and been
Vaucher.
popular
in Germany
LONGINUS
as
AND
GREEK
and
at
CRITICISM
and
207
England,
least four
in 1895. Into Dutch it has been It translated, into Spanish three times. in
Portuguese,
in Modern have
in Swedish,
in
and
Greek.
been
so
in
no
as
numerous
country in our
translations
The
own. was
first to
work in an of Hobbes
Hall's
English
dress
William
and
distinguished
Cambridge
free, and
to any
them
next
anterior
version, of Boileau.
by
one
twenty-eight French
years Then
present century. J. Pulteney, which peared apfrom the afterwards, was in 1698 at Oxford, and
came
an
the
ous anonym-
translation
to
be from
concern
which
little
The
its less
pretentious
of the Dunciad.
Flow, Though So
Welsted,
stale, not
thin, yet
never
clear,
sweetly
not
mawkish
strong; to
smoothly
dull,
not
Heady,
o'erflowing,
through
full.1 ; it is
Welsted
professes
translate
from
the Greek
perfectly plain that if he has travelled further than it has only been to the Latin ; his version, the French is both in point of style and in point of scholarship, in truth below contempt.
1
It is mortifying
iii,11. 170-4.
to
know
Book
203
POETRY
would
AND
probably
to
CRITICIS
have been
M
the
most
that what
portant im-
contribution
the eighteenth
century notice
Oldisworth's
of Edmund
Smith,
scholar,
inserted
in
Johnson's Life of
had
that unhappy
completed
translation
of the Sublime,
part of
man
of
an excellent and dissipated character, was Italian, classic, besides being well versed in English, French, Spanish, we are told, his and it was, and
intention
to
illustrate
his
author's
and vices of style by literatures. in all those In writers the most popular of all the English virtues
on
the
from
1739
appeared
translations
Longinus. afterwards
man,
This Dean
was
the work
of William
of Smith,
who
than
more
also loose a
paraphrase
Latin
no
version,
just then
to exact
Pearce's
and
has
But, addressed scholarship. it gave English to ''the mere that reader reader," it may be said of it, he wanted. Indeed exactly what as was that it has every merit said of Pope's Homer, ever, howmust, except that of fidelity to the original. We
pretension
do
rule,
Smith
no
the
to justice to
thanks
sense
doubt
general
and
drift even
that as a acknowledge Pearce, he renders the difficult passof the most ages
Wherever to correctness. approach with some became belles lettres were version studied Smith's be too much book, and it would not perhaps standard
to
1
say
See
that
he
made
Longinus
an
English
Ed.
classic.
vol. iii,
Murphy,
498-499.
LONGINUS
The
seven
AND
GREEK
CRITICISM
209
between
his work editions through passed which the date of its appearance and the end of the
But its popularity. the sufficiently attest did not deter another success scholar from of Smith in 1751 a Fellow to rival him, and of Saint aspiring Weales, issued John's College, Oxford, one Thomas
century
proposals
for
new
translation the
with
notes
commentary,1 collapsed.
successors.
projectseems
many other
more
a and have to
had
ate fortuntranslator in
1830,
Longinus
in 1821
found
another
at
Dublin
and
another at Oxford
both
anonymous.
Six years afterwards appeared the first translation has any pretension to exact that, which scholarship, Spurdens, Tylney Spurdens. by William namely,
of whom gathered
to
I know from do
than
can
be
equal,
scholar
or
as
critic,
work
to
for which
is
not
on
the whole
and
nerve
done, the
His dissertations, spirit of his original. full of instruction and are commentaries, and notes and
interest, and far more deserve from to have appear received
they
It is
difficult to
useful book by
1
account
has
neglect Spurdens
1867
Mr.
T.
MSS.
R.
Stebbing,
and
Stebbing
Library.
in
Rawl.
J, fol. 5,
in the Bodleian
P
2io
POETRY
Mr. H. paid A. the did
AND
CRITICISM
But
1870 by
those
Giles.
the long
dynasty
of
who
sincerest
not
published
of all tributes to an here. In 1890 Mr. close fairly a version may which
be
sound
text,
but
because
it is in attractive.
itself at Lastly
once comes
scholarly Professor
to
of whose
work
I propose
of fiction is of a work by its popularity, but to be not measured always didactic treatise is a fair the popularity of a purely No one but a serious reader criterion of its power.
a
poem
or
be likely
or
to
take
up
be
Longinus,
in
translation,
very
few
being
without
would in some
degree,
what
unconsciou
Swift
the
same
What give
generally,
as company good gives mind is particularly to to our applicable air and manners, this treatise. It is essentially noble ; it is inspiring,
estimating,
on
therefore,
the influence
which
literature we modern greatly undershould rate the importance of that influence if we submitted it to definite tests. We take into consideration must
the immense
proves
must
inevitably
have
was
The
Treatise
LONGINUS
by
AND
GREEK
CRITICISM
211
Boileau
and
the French
the end of critics towards Before that time it had not Its very till Robortello
to
existence printed
it by who
John
of Sicily,
commentator
on
Hermogenes,
of the thirteenth
to warrant
century,
ambiguous
the
contrary.
it
seems
Even
to
printed
and
reprinted
in France. Elizabethan
Ascham,
to
our
Sidney,
even
to
Puttenham,
and
to
Ben
Jonson.
Nor
during
next
in
gives
and
Longinus
place
philosophers
if
we
are
not
him, nor quotes mistaken, indication either in his poems of the Treatise. of knowledge
That work
have been not should attracted by a noble is certainly surprising, and it is just have been indebted to it for that he may
two
of his sublimest
sun
comparison
may of the
of the comparison
to
De
Sublim.,
ix, 13.
212
POETRY
Dark
with
AND
excessive
CRITICISM
light thy skirts appear,
may
be
reminiscence
Tw
of
a
o
passage
prnup
in the
seventeenth
section,
yap ivrauQ'
TO aTrsxpv-j/s
By
has
excess
the
concealed of light.1
orator
the
figure?
Though rhetoric,
makes has, in
no
more
Hobbes and
even
had
paid
a
special
mention than
published of Longinus;
one
and
though
Butler
poem,
cant
about
Aristotle
and
not
make
Sublime.
the faintest reference to the Treatise on the But the moment Boileau's version appeared
at once
turned three
to
this neglected
the
name
than
years,
of
on
Longinus
both
was
on
sides of the
was
of letters preface
to
his
translation
admirable,
and
appealed
the general reader and to the scholar. in effect, is a critic even greater than Aristotle, here feet every man a at whose master of taste should be
the charm sit. All that constitutes and indeed, have been not, power could of the Treatise interpreted with more eloquence and discrimination. proud
to
No
doubt
the association
of Longinus
with
controversy
faction,
a great tributed which noise at that time conmade Perrault Charles to his celebrity. and his in the contest between the Ancients who,
and had
1
Moderns, lately
De
led the
attack
been
xvii,
as
speaking
2. a
Sublim.,
appeared
This
supplement
to his abstract
of Aristotle's
Rhetoric,
LONGINUS
Homer and
"
"
AND
Pindar,
GREEK
and
CRITICISM
Boileau, in
some
213
flections Re-
du
their
to a sixth lation appended edition of his transReflexions PassCritiques ages sur quelques " Rheteur Longin Longinus brought to
"
of their brethren. Thus his place with Aristotle at last took Fenelon, indeed, even at the head of criticism. had so long reigned preferred him to the master who
rescue,
and Longinus
to
the
rescue
a rival. without The Fenelon draws parallel which Rhetoric and the Treatise on the Sublime
between
the
found
V Eloquence:
a
Je
mon
dire
quoique curieux
de
belle,
beaucoup
pre"ceptes Mais
.
sees
et plus
le Sublime
d'exemples
les rendent
sensibles.
. .
.
Cet
auteur
qui d'une
il e"chauffe
il 61eve
a
il lui forme
is Rollin, who insists that less enthusiastic be made Longinus a text-book should wherever of the Treatise as that rhetoric is taught, and speaks
Not
"admirable
le gout
1
traite," which
is "seul
'
capable
de former
of the
Lettres,
the
des
jeunes gens."
d'Enseigner
draws
Between
et d^Etudier
on
the end
les Belles
De
la Maniere He
largely
Longinus
throughout
214
seventeenth allusions
POETRY
AND
CRITICISM
Sublime
and the middle century of the eighteenth Longinus to from the and quotations in French literature; the inabound and fluence
which
frequency
sentiments,
he exercised which
well
as
we
with
as
direct
to
him,
appearing Eloges.
In
and
reappearing he became
and
in
England
in his
on Reflections
says
that,
was
with
influential. ton, Walequally Ancient ing" Learnand Modern Demosthenes, Tully, and by all who would
write him to
he Quintilian,
finely in prose.1
who pronounced be ''undoubtedly, after Aristotle, the greatest critic himself to be his disciple. the Greeks," confessed among
studied Dryden,
"Aristotle," Heroic
Poetry,
in his Apology for says, Horace, his interpreters, "and and I owe to whom are the authors my
author is
more
he
no
frequently
quoted
him.
Whoever
owed
Dryden
the
to
Cressida,
and
to
to
the
preface
of
Innocence,
To
care
the
was
Apology
"that
for
Heroic
critic ";
Poetry.
and
the
Addison
with
he
clear from
appeals
the
ever
to
him.
The
germ,
most
than
germ,
wrote,
was
of the those
on
eloquent
papers of the
Addison
the
pleasures twenty-
imagination,
derived
from
the
fifth section
1
of the Sublime*
edition
of
Indeed,
23.
all Addison's
See See
second
Reflections, p.
paper,
particularly
the second
Spectator, No.
412.
LONGINUS
AND
GREEK
CRITICISM
215
criticism, and particularly his aesthetic, is coloured Pope's lines are well known by the Treatise. :
Thee, bold bless ardent
Longinus
! all the
a
Nine
inspire,
And
An
judge
who,
warmth
own
gives
sentence,
There
is nothing, it is true, he may Criticism not which Longinus, sources than other necessary
to
in
Pope's
Essay
on
have and
borrowed
from
it is scarcely
sentence
at
were
could not construe say that he probably English translations of the Greek, but two fairly his service; we therefore and may
he expressed himself he did as that when presume he expressed himself in the lines just quoted, sincerely. It is perhaps of the Essay rather in the tone
than
in particular that the influence reminiscences In the treatise on is discernible.2 the of Longinus in Poetry, in Sinking Bathos, the Art or the joint
production
of another
we
have of
our
testimony
author,
and
certainly
a
curious
word
1
seriously
on
use
to
which
be applied.3
Essay
The
Criticism,
iii,675-680.
the Treatise the Essay appear and parallels between to be: part i, 67-73, 84-91, 94-99, 134-135. 13%" 15"-ISB" Part in The Temple the ii,233-236, 243-246, 299-300, 318-321. couplet Homer: describing Fame,
2
of
was
3
similar
on
remark words
in section
ii lft"
xxxiii.
Ti
the
H^wc
216 But
POETRY
AND
CRITICISM
passed in his into
a
had now the cult of Longinus find Swift writing of cant, and we Poetry : on
A
sort
Rhapsody
forward
critic often
dupes
us
With And
Will
But
worthier
homage
paid him, both then and offered by fribbles and criticasters. it would or passage, perhaps
was
be
more
correct
to
say
the
one
noble
Akenside's
than
a
Pleasures
of Imagination,
of the
paraphrase while
Sublime,1
book
another
of a remark expansion Akenside's poem section.2 Throughout indeed the note catch of Longinus.
had
is the
the
That
from is clear his him Conjectures on read he quotes him,3 Original Composition, where and that what therefore be little doubt there can appear
to
be
of the
simply Take
tutors
Treatise
in the
Night
from Night
derived
lines in
IX.
That That That The That,
Pagan
taught,
immortal
a
he says:
aims
:
loves
affects the
boundless
space
surveys
and
sublime
of things
soul
her great : assimilate, and make her glories, as a fund therefore, heaven thus
Of inspiration,
1
spreads
was
out
man,"
to
man.
From
scene,"
2
"
what
to 1.
221,
"close
the
Cf. Longinus,
ii, 2, compared
with
Akenside,
book
iii,535
et seqq.
3
Works,
LONGINUS
This is little more
AND
than
GREEK
a
CRITICISM
of section
as
217
thirty-
summary
; and
are
of that section,
(Night
he has in
VII).
In his Resignation
(Part II,
of which is the scorn
more
"
st.
46),
the couplet:
Nothing
More
is great
glorious
great,
little more
of
Ka6a7TEf" KO.V
"
than section
ru xoivu
translated
two
of know
sentence
@ttaovdev VTrap^i
must
""m
psya
"
you
that,
justas
great
in
common
which
it is
is plain student of Longinus He him among from his Essays. "the most ranks frequently him;1 classics," quotes and approved luxury in the on and corruption and if the remarks
Goldsmithwas
be not need they of the Sublime, attributed to any reminiscences in the last secrecall very closely similar remarks tion and the of it. When Johnson Lives
Traveller
Deserted
Village
was as
engaged he has
on
the
of the
himself
so
he never, and though read Longinus, discover, directly quotes him, I can as recalls him. very unmistakably, In his Academic Discourses,
once
or
Sir
Joshua
rightly, only
not
on
See
particularly
Essays
the Cultivation
of Taste
and
on
Metaphors,
218 the
POETRY
De
AND
There
CRITICISM
is the
same
Sublimitate.
noble
conception
functions of the character and of art, of its relation to the divine, of its relation to nature, of the its study be approached spirit in which should and is the same There union of the critic and pursued. He speaks Angelo enthusiast. of Michael precisely Longinus His definition as speaks of Homer. his criteria for testing it, are and of the sublime, identical with those of the Greek critic. If Reynolds
the
had
with that
on
not
studied
Longinus
with
the greatest
we can
care
assume
and
the
greatest
sympathy,
only
experience,
similar
critics independently
them
to express
the
same
themselves
Longinus,
These
to
arts
for example,
is speaking
province
the
we
in their highest
senses,
not
addressed mind,
to
the
gross
but
to
desires
have
of the
that
spark
of divinity
which
and
within,
the
impatient
which
of being" circumscribed
pent
as our
up Art
by
world
is about much
and
us.
Just
of
our
so
much
has
of this,
justso
of dignity,
those
I had
almost
it exhibits:
artists who
degree
of Divine.1
While sublime
the blow,
he makes in the remarks the about which " Discourse, it impresses in the Fourth that
at
mind
the
it is
single
produced
by
repetition,
by
an
circumstances,"
1
we
Discourse
(conclusion).
LONGINUS
AND
so
GREEK
more much of his work:
CRITICISM
force and
219
eloquence
skill in invention
we see
and
the due
order
and
not
position disout
of material
of
one or even a
emerging things,
but
by degrees
out
out
of two
of the
whole
out
weft
at
of
composition,
whereas
scatters
Sublimity,
flashing
the
like in
thunder-bolt
everything
displays
an
instant
the
whole
power
But
pass
from
Reynolds
to
one
of the
:
most
accomplished
"
who
Hurd
one
was
three being
popular critics of that time, the Bouhours Addison had studied and
"
frequently him. and quotes Grandeur in his on and Sublimity, is little more Elements than a paraphrase of Criticism, Fielding, to turn to popular of Longinus. men one of his most enthusiastic of letters, was mirers; adhave he been to as a appears and good
great with Kame's chapter
care,
he practised what is to be admitted he said " No author when preached into the order of critics until he hath read over and in their Aristotle, Horace, and Longinus understood frequent In his novels he makes original language.1 classical scholar
no
he had
doubt
references
to
him.
Readers
of Sterne
will remember
the characteristic
tribute which
that facetious
writer
pays to the great critic. By none classics of our than by Gibbon, who
an
was
account
both
on
made
Garden
Covent
Journal, No.
Works,
x,
p. 7.
220
POETRY
in mastering
AND
it in the that
"a
CRITICISM
original.
work
"
had
his
He
of Athens
product
of
an
that in which
"Till
two
now,"
so age Longinus
corrupt
and
degenerate
lived.
"I
a was
he
says,
acquainted
passage,
only the
one
with
to
ways by
an
of criticising
exact
beautiful
of it the
; the other
show
anatomy
distinct
an
beauties
of
it, and
or
a
whence
they
sprung
idle exclamation
which
me
leaves there
that
me
feelings
upon
reading
it, and
them.
with
doubt
such
which Longinus'
battle upon
of the it."
to
gods
or
apostrophe
to Terentianus
The
ninth
section
Gibbon
pronounces
be
"one
of thenoblest
produced He Eton.
TheTreatise antiquity." Fox boy a at when similar effect on idle that he so that he was told Colton monumentsof
in Greek, have no progress made probably should Sublimitate. to take up the De had he not happened in it that he never He found such charms rested till
' ' him to he could read it with a fluency which enabled from Homer derive more on the remarks pleasure himself."1 than from Homer
illustration vol. ii, p. 88. An interesting in which Longinus has influenced public men, and of the way is famous Character by Grattan's 0, oratory coloured afforded Speaking he said " it was Chatham. not like of his eloquence Colton's
Lacon,
the
torrent
Tully, point
but
or
the
the
splendid
conflagration
of
the
on
and subject,
"
by the flashings be
"
of his mind,
not
could
partly
be
which, followed
cence reminis-
may
be
compared
LONGINUS
work in the history
AND
which
GREEK
has
CRITICISM
so
221
That
filled
important
of
our
literature,
so
which
many
a
has
place been so
as
should
of
our
only
have
no
place
but be practically unknown to universities, is surely for surprise. It is, I fear, them, matter illustrations of what one of the many melancholy has been to so their indifference often deplored,
literary
Let
us
as
distinguished
that
from
hope
Professor
studies.
edition
the attention the effect of directing of the their attention, universities to what is so well worth long ago to have taken its place with and what ought will have the
Poetics
at
the
head
of every
course
in Literae
Humaniores.
II Till the
beginning
of the
present
century
this
no
one
had
or
Treatise,
"
words
"the
Sublime
Longinus
Queen,
the spirit of ancient preserved dicate to inin 1808 a discovery was made appeared which Longinus that that if the Sublime preserved as the author of the De Sublimitate. not spirit it was
to to
a a
thunder-bolt
or
Cicero
over
may
be likened
conflagration
rolls
the
unflinching
eloquence
on
222
POETRY
Weiske
was
AND
CRITICISM
through the press an passing he had been long on edition of the Treatise which he was by Jerome Amati, informed the engaged, librarian of the Vatican, he had employed to whom
collate the Longinian title of
one
While
MSS.
threw doubt on the authorship of them of Instead it to Dionysius the work. of attributing Longinus, did, it attributed it to as the other MSS. " Dionysius Longinus," Aiovwlov or the title running
ri
Aory"W
nepi
u-^ovg.
This
naturally
led to
careful
scrutiny
of the existing
corroboration
which appears at least four centuries and had indeed Dionysius them, page
codices, and the result was kind. The Paris codex, of a surprising to be the archetype of the rest, and is
a
of the Treatise, but in the index, inserted after Problems fill the the Physical of Aristotle, which it is also to greater part of the MS., ascribed Dionysius
it was
or
On
same
further
investigation
discovered
MS.,
Nor
Laurentine
codex,
in
though
the old
Longinus to Dionysius was title ascribing the work bore the on the first page, the cover still discernible on the Sublime a title Anonymous fyoui), ('AVUVL//J.OU
Ktfi
deduction
or
no
doubt,
on
the the
that the ascription apparent to the historical Longinus of the work received no the firsteditor, corroboration either from Robortello, from Manutius, Robortello or the second; simply
LONGINUS
AND
GREEK
MSS.
CRITICISM
had done,
to
223
Diony-
the in
a
of subject
Greek
was
writer
were
Greek,
high
and
"one
ancients
who
come
of very
till we
to
of It is
we
find the author of the work positively identified with Longinus Portus indeed not of Palmyra, stating
this, but his edition Suidas' to silently prefixing notice of the Palmyrene, and a short account of him by Eunapius. From it had been taken this moment
for granted by every one that Longinus of Palmyra to whom the Longinus the manuscripts, and with the hesitating the exceptions referred to, ascribed
Treatise,
were
the
same
man.
On
investigation
themselves. present Treatise, one of his names had name of Dionysius that of
Dionysius.
been
But
the
never
Longinus
of
Palmyra.
his Longinus, as of simply and whenever has been it has been given by given, as Photius, he is called Suidas and either Cassius Longinus has called Longinus Cassius; or one no Dionysius. have
a
him
we
a
Of
somewhat
list of them, probably of the greater part of them. Porphyry, Libanius, John of Sicily, and later scholiasts have of his, but no referred to other writings
one
has
might
or
any
work
which
224
POETRY
know written
a
AND
the Sublime
on
CRITICISM
itself that the author Xenophon, two treatises on
or none
We had
from
treatise
composition,
and
on
had
the
either
write
treatise
intended
to
those attributed works appear among Of the works of the Palmyrene several including large portion a remain, of a
of
Rhetoric,
so
that
be made
and
acteristics charI
and shall
Sublime
subject
that a at present remarking has, in the opinion comparative of them of study some conclusively critics, furnished proof that the was the author not of the author of the fragments
merely Treatise,
of no critic, confirmed for the affirmative. or even the case strengthened in favour of is much Again, more the presumption to the end the Treatise belonging of the last century and,
A.D.
was
in the opinion
than
to
the
suggested
age by a
age:
one
or authors of the many quoted lived later than the first century
which
Longinus
may
account
notoriously
mentioning
that, when
satisfactorily for his in the way of praise, the vices of style and
TO
but
tone,
with
*"" fomutsv
TO
xaxo'"n*ov
(trumpery bedizenment), with TO avfapov (the florid they (false of which with TrapsvQvfxros sentiment), style),
would than have
furnished
far
more
any
he cites, he
about
them,
We
might
LONGINUS
reasonably
not to
AND
have
work
GREEK
to
CRITICISM
find
some
225
expected
of Quintilian and to Oratory, at least to the writings of Dionysius on o f Halicarnassus, of Demetrius of Alexandria, and above all to those of his immediate predecessor,
the
Hermogenes,
them.
but
not
syllable
is said about
any
of
is surely
not
given
state
would,
if
we
of the world and of society, with what for rhetorical a little allowance make
to the world apply historical Longinus.1
more
exaggeration,
whole satisfac disus not chapter reminds only of the passionate find expression and recalcitrance which in the eighty-eighth chapter of the Satyricon, and in
and
his
the
preface
more
to
the
first book
of the
which
1
makes
The
point
on
which
most
has
contend which
they could
against speaks
been
world's
not
peace
to
(^ rr?
times
oixoujUivn?
contend
only
would
apply
the
of Longinus,
maybe written
given. early
If Longinus in his
career,
probably could
not
and
though
the
remark
the accession of Maximin, possibly apply to the time succeeding it might preceding allow for rhetoric, to the immediately apply, if we But probably there is no necessity for pressing period. the
word Rome,
"
it is
mere
euphemism
tyranny,
for the
despotic Tacitean
power
sense
of of
world-wide
"pax"
in the
the term.
226
fortes, when
POETRY
AND
CRITICISM
the disappearance
he associates
geniuses with the peace which of Actium and the subsequent Still closer is the parallel with in which eloquence
a
succeeded
similar
lament
the decline
attributes that decline to the moral in involved in contented servitude and Indeed the whole chapter social corruption. glows it is with a moral political enthusiasm which and
more much of Lucan
of gradatio de-
Plotinus
natural to associate with a contemporary than with a contemporary of and Tacitus It is certainly not the note and Porphyry.
nor,
as
Vaucher
analogy
to this
dissatisfaction
in any
be
found
discussed
nor
and in Maximus
Philostratus.
Such,
to the ascription of the work which culties rests, of Palmyra and such are the diffiin ascribing it to him. involved
Assuming
insuperable,
not
for
moment
that these
difficulties
are
and
that
Longinus
"
written the Treatise, for wearying by reviewing no ourselves necessity have the innumerable theories accumulated which hypothesis Weiske's baseless this round
have
subject.
to
that
it belongs by
Dionysius
of Pergamus,
"
mentioned
be consigned to the same may limbo baseless hypothesis as the equally of Schoel to Dionysius that it belongs of Miletus, a disciple of
Isaeus.
Strabo,"
with theory
equal
reason
to
which
ascribes
LONGINUS
it to Dionysius
baseless, favour
that
at
AND
GREEK
CRITICISM
is, if not
The
227
equally in evidence
of it literally begins and ends with the fact, the writer of the Treatise tells us that he had
two
composed Dionysius
treatises
on
composition,
on
and
that and
has
left one
treatise
composition oratorical
The
essentially
than the style of the characteristic style of Addison De differs from Sublimitate that of the treatises of the
men
Halicarnassian. have
nothing is a pure in
In
genius
common.
the two
critic of the secondary It is with combetter indeed than a grammarian. position, only, that he concerns and with composition That sublimity in a writer is " the echo of a himself.
" to quote the De Sublimitate that "as great soul in the blaze of the all dim lights are extinguished is present rhetorical artifices sun, so when sublimity is full of faults invisible," that work become which
" "
may
be
superior
to
is flawless
we
"
are
remarks
feel, absolutely
the results of the of mechanical rules. A critic application mechanical had cide knew to deone was those rules and who who No he followed. one, they had been whether
mere
noble to him
or
pathetic
poem,
exercises
in rhetoric,
for he has observes, will get to the end of Polybius, l Of Pericles's a faulty arrangement and a bad style. book in the second funeral of speech magnificent on to Thucydides say in his critique all he has
1
De
Reiske,
vol.
v,
p. 30.
228
POETRY
and
AND
CRITICISM
it
"
Thucydides
he gives a chapter to saying is, that it is out of place in that book and might been delivered with more one propriety by some
"
have
in the Pylos.1
fourth
book,
over
those
Ode superb however, we preservation of which, him, elicits only a few frigid remarks and
vowel
Sappho's
else killed at
for the
to
indebted
about
its skilful
graceful
sounds
are
texture
and
the tact
His managed.2 beauty of the Phaedrus, and to all that constitutes is not less conspicuous.3 its interest and its charm,
We
would
ask
any
one
whether
commented
the be author
the other ode by the same poetess as has done, Sublimitate could of the De
on
the
same
man;
whether
the cool
and
Tubero,
De
the
Admirandi
Vi, could
to
possibly
enthusiast
they were very demi-gods, whom itself with homage almost expressed fervour.
these
supposing
difficulties could
be explained
a that the De Sublimitate was assuming his intention work of his fervid youth, and that it was in his other treatises to confine his criticism strictly
by
De
Thucyd. speech,
Hist.Jud., xviii,
Ars Rhet.,
ix, and
same
2
De
Comp., xxiii.
criticism of it in the Epistle to Gnaeus
LONGINUS
to
AND
GREEK
CRITICISM
229
discrepancy one and expression, alone would the claims against of Dionysurely be conclusive is more dwelt on in the sius. Nothing emphatically
Treatise
on
form
the
Sublime
than
the
hopelessly
degraded
state
of literature
and
the
the
the
Attic
orators,
revival
dwells
emphasis discerns
on
the
of ancient and
even
eloquence
which the
witnessed,
promise
second
golden The
Vaucher,
age.1
strangest
theory
which ascribes the Treatise For Professor Vaucher every student have the profoundest must respect. le Traite Du Sublime,' Critiques sur
Plutarch.
published
in
has contribution which been to the study ever made of Longinus and to the by this treatise, not so problem presented much It is, therefore, greatly to be directly as collaterally.
1854,
is the
most
valuable
deplored
that he should
a
have
wasted
so
so
much
tion erudi-
in supporting
theory
comparison De Audiendis
Demosthenes
preposterous the
and
Menander,
the
writing
was
comparison
no
more
of
the Sublime
than
or
capable
Apology for
1
the
are
where
with
they
Compare
iiiof the De
2
chaps,
ii and
Etudes
Critiques
Geneva,
sur
le Traite
du
Sublime
et
sur
It-sEcrits
de Longin,
1854.
230
not
POETRY
compiled,
are
AND
the
CRITICISM
of his personal records he has none: criteria and
a
mere
word,
more
essentially
critic
never
Professor
care not of all this, and, taking as extant of his protege's writings as
a
appeal
to
testimony
of
titles of
have critical, which perished. Vaucher's on a par are arguments with He hypothesis. notices a general resemblance the style of Plutarch that is to say, that both blend
the
between Treatise;
and both
the
are
style highly
; that
rhetorical
with
the
conversation
taken a tinge apparently from Demosthenes, the study of Thucydides, and in quotations Philo-Judaeus; that both abound ; that both are fond of certain particles, adverbs, and turns
; that both
have
of
speech
that
in
both
are
to
be
found
several
synonyms
seven
for elevation
not
common,
of style
(^05), and
in
some
seventyrare,
words
and
cases
He
that both
authors very
in thinking
that both
Sophocles,
admirers
neither
a
and
enthusiastic that
as
him,
and Leontium
model
of style.
on
so
With
Vaucher
praise finds
their
judgements
not
to
the
orators
Professor
The
does given
no
proceed Hyperides
in
smoothly. in the De
high
Sublimitate
regard
to
response
Plutarch,
and
with
LONGINUS
Demosthenes Vaucher's
thene
own
AND
it may
GREEK
CRITICISM
231
dans les oeuvres reparait souvent Plutarque, foule de ses une qui rapporte de ses triomphes ses traits d'eloquence,
tantot
tantot
de
de pensees, de tribune,
les
memes
"
differents.
is regarded
du
how
Trspi vfyw
Demosthenes
quite
stand under"
have
not
tantot
differents
enough.
must
But
Had
it
due to the industry respect and learning I should have Vaucher not of Professor for one to discuss, a so moment, paused absurd
the
for
theory.
Ill
And
way
now
let
us
of
so
who
the difficulties in the whether to the this Treatise great critic insuperable, or the credit of it are
see
at
exact
place
can
not
known,
A.D.
born
about
His
a
Syrian,
at
and
there It is
born
born
at
Emesa.
he
a
was
Athens,
stratus
where
and
the He
Etudes
rival of Philo-
Neither known.
1
name
tells
Gadara,
taught
Critiques
sur
232
POETRY
about and
AND
CRITICISM
and, visiting many become personally
travelled
countries
with
many
illustrious men of the most with some of At Alexandria he attended the lectures of Saccas the Platonist, and and of Origen
Plotinus the friends he made there were among and Amelius. At what other places he stayed and studied is not recorded, but it is not unlikely that he visited Rome. He
to Athens probably returned about A.D. his Whether his uncle Phronto died before 235. is unhis travels or afterwards on set out nephew certain, but in any case he made him his heir. The
distinguished relative and heirof oneof the most in Athens likely to want was not pupils, professors
near
and
time
we
are
not
soon
surprised
so
to
learn
that that
his
he
was
no
occupied
teaching
had
leisure
were
for writing.
subjectswhich
He
he
taught
rose
philosophy. but
as
rapidly
he
so
a
had
then
as
ascendant,
to
devoted
Not
himself that
he
teacher
the
first.
ever
a writer, as studies, for he continued, largely to such to contribute and they fill subjects, The a wide space in the list of his published works. distinguished Porphyry, most of his pupils was and
philosophical
to Porphyry's account
biographer,
the
Eunapius,
we
owe
vivid
at
of
position
occupied
by
Longinus
Athens.
"
Longinus
was
kind
of living
library
and
walking
museum
irepnrarovt'
/jtovfrtlov
on
and
had
been
appointed
1
to
give
v.
critical instruction
Fragment
LONGINUS
classical
AND
With
GREEK
him
CRITICISM
Porphyry
233
the received the of training", attaining", like his master, very perfection in philology For, in and rhetoric. of excellence summit by far the most distinguished was such studies, Longinus
of all the
on
men
literature.
of those
times.
No
before when
ment judgegood
his opinion
given
without
means
appeal."1
We
have
no
what Athens
at
date and
and
went
Odenathus
and
he settled at Palmyra, then under Zenobia, the capital of an empire from the Euphrates to the frontiers
Egypt,
even
become
formidable
threatened
Zenobia,
like Christina
Mary
Queen
the society of scholars, and what Longinus to them Buchanan were and
the
Elizabeth,
The death premature of of Palmyra. Zenobia deprived Odenathus of a wise counsellor, her for herself, her friends, and unhappily and, in the wildest dreams to indulge kingdom, she began
Queen
of feminine in Palmyra,
have Rome a should rival ambition. in herself. She increased and Caesar
with
of
and
prepared
to
defy
the
Romans.
she
In the
found
and
Longinus philologist. her adviser, enher confidant and courage conflict with assisted her in her mad
than
critic and
Porphyrii
Vita,
POETRY dictated,
Aurelian,
AND
or
CRITICISM
defied
the
by
woman
for his devotion to his royal penalty tress misher treachery Aurelian's and vengeance.1 heroine, had triumphed over the and
save
by attributing what she now to be crime sels acknowledged and folly to the evil counHis immediately was execution of Longinus. tried to
herself
ordered.
Zenobia
He
met
death
with
cheerfulness
and
constancy,
others
whom
be recovered It will be seen can now that all which is too scanty to give of Longinus of the biography or us of any very definite picture either of the man
his the
career.
But
five things
universal he successors
consent
was one
of
By
and
of the greatest
We
of him. of critics
kv (TOV
have
Porphyry
in another (xpcnxaTaroj),
Trpurov xpio-ei
so
and OVT"),
^t^^evov
up
a^f1
a
to
considered
as as
(KM
v^v)"
passed
into
proverb,
and
to
judge
would
a
do
synonym writing
for
this
correct
as
a
"
not
raura
Longinus
a
would
do
"
(ov% u$
xpiTixos Aoyyivos,
was ypdpsis),
opposite. writers
ancient
Secondly,
of his
time
he and
thought
was
classics.
men
Porphyry
addicted
to
of all
,
most
as
(e^yxTniaevery-
and
systematically
1
almost
Gibbon,
19 seqq.
LONGINUS
thing
Trexvra
AND
GREEK
CRITICISM
thought gives
"
235
KO."
a
' '
cwrov
heteyi-ac,), and he
'
nameof he had
loverof theancients
taste
him
no
and
Porphyry provoked
a
Plomanner
which
was
Plotinus
not
o
philosopher
ftsv
Aoyyivog
q""oero$otos
tradition,
added
that
that he of him but a man of letters (piXoWyoj To be this it may oudxfjwi). fragments, his own the and
to
say
titles of his lost treatises unite in showing devoted Fourthly, was a student of Plato.
seems
a
that
he
thing everynot
to
point
a
to
was
only
scholar, with
and
scholar
professors
very
uncommon
was a
that he
He never could of the world. of affairs and he did fillat the court have filled the place which of Zenobia Fifthly, what had this not been the case.
man
we
know
from
Zosimus under
and
Vopiscus
the which was the letter itself, and above all written, about scene the closing of his life, places it beyond about in a degenerate doubt that he possessed, age, a soul Lastly and Demosthenes. and of Socrates worthy circumstances
"
this
surely
"
ought that he
are
That
1
all these
See
Ruhnken's
characteristics
which
we
should
in Porphyry's correction of the reading by been he had Life of Plotinus ; p. 116, in which anticipated isthe rightone, see Vaucher, Fabricius ; possibly the old reading
Etudes
Critiques^
for Longinus,
the word 283, and pp. 27 and but the title of a treatise.
is not
an
epithet
236
POETRY
AND
CRITICISM
expect to find in the author of the De Sublimitate for unmistakably on are they impressed and deeply it, no deny: one can are they and characteristics hardly be said to distinguish, can which and which
"
most
assuredly
now
are
not
us see
united
what
in, any
can
And
answer
let
to
the
chief
objectionsraised
Amati and
others
was
the
Lonthat
ginian
there
contend
ever
that
is true
Longinus
"
called
Dionysius,
but
deny
as
the
possibility
Dionysius
was
Casmoner com-
Nothing obtained
for Greeks
had
to
the
lege privi-
further and
was
the gentile and adopt it for had obtained who of the patron Thus, to go no their own. retaining find Aulus Licinius Archias Cicero, we citizenship Lutatius Diodorus;
name
Quintus
commoner
and
to
although stand
as
it the
agnomen, the
case
its position was sometimes reversed, as in In the third Dio Cassius.1 of the historian particularly
common.
It may,
fore, there-
with a high degree of probability, Dionysius, was of Longinus and that, through the influence possibly of the
to
whom
the Sublime
is addressed
"
by means privilege of citizenship Cassian family, he adopted the names But, it may be urged, the Treatise
1
of
one
of the
For
information
Mutata
on
this point,
Nominum
Henricus
Can-
Romanorum
Dio
Cassius,
of Reimarus
LONGINUS
tenth
AND
GREEK
CRITICISM
237
To this century, nowhere attributed to him. it may be replied that the only catalogue of his writings has come down to us, the notice which namely, in
Suidas,
"
is confessedly
incomplete,
"
ending
with
the words
and
many
others the
we
atea (*"i
may
not
cover
Sublime
but
must
Paris
and
it
Sublime,
from
about he was
a
to suppose that in reasonable in John of Sicily to the reference Moses, in the ninth section of the
following,
not
tradition
conjectureof
tradition.1
the
Paris
moreover,
independent
to
It is,
importance to the native attach far too much alterin the Paris title found manuscript, and its That retitle, we must confirmations. member, supposed is found is not in only in the index, and
the handwriting The of the copyist of the Treatise. in the Bibliotheque Nationale, manuscript,
second
with be
the Codex
Vaticanus
285, which
transcript
reasonably
1
of Sicily observes 'EXXWW had agreed that Longinus and Demetrius, oi api"rr"", with let in Moses "God there their admiration the Christians said of light," a plain though be light and there was misquoted ence referfor he to the (for substitutes roJs ninth section of the
In his Commentary
Hermogenes,
John
"
Sublime.
century,
But, and
says
as
the
date
that
of the
of Paris
$*"";) John of
Sicily
was
the tenth,
twelfth
no
manuscript party,
can
the
portance, im-
the anti-Longinus
passage somewhere
besides,
they
add,
Longinus
else.
238
POETRY
AND
CRITICISM
'
the title at Florence while in the manuscript is given the cover, the title at the top of only on for traces distinctly visible the first page of it are being the old one.
"
"
to is, that this evidence amounts for in the Paris manuscript, of the index doubted the authorship of the Treatise,
that
of the
namely, that
two
most
distinguished
of Halicarcopyist
Dionysius the
next
and
Longinus;
the alternative title, and by a third, and that this led, not unnaturally, being to the Florentine tampered manuscript with.
Treatise
reproduced
In
word,
can
this be
evidence
simply
far
as
ascertained,
highest
a
degree
resolves far as so
itself,
so
is in the by
expressed is known. by
Treatise
suggested
and
work
in the Augustan
age,
to that age, surely writers subsequent difficulty. Caecilius, the author of that
one
therefore, of the classics of criticism, and nothing, could be more natural than that Longinus and Posthumius at the distance of more should, even
two
than
centuries him. In
and
not
was
only
following
the
custom
of authors
of rhetorical
their treatises, who confined very properly illustrations to writers references of classical and If I am there is not a single not repute. mistaken,
to
or
LONGINUS
This
AND
us
GREEK
CRITICISM
The
239
brings which
no
to
are
Longinus is alleged,
of style
among them
a are
those
fragments
characof their teristics of the Sublime, and yet literary critibearing on cism Treatise
on
and Rhetoric.
section of a by remarking
that arguments
based
analogies
lead
to
very
erroneous
of style will sometimes What conclusions. analogy in this respect between those
which
Cicero
praises
for the
of their diction,"1 and the works of have What down to come which us? doubt can there be that Tacitus was the Dialogue
be
more
flow
of the
possibly
could cola
or
of the Histories
what unlike the style of the AgriIf our and of the Annals'?
volution Reof Carlyle's French derived Pamphlets were
on
on
Oratory,
and
yet
criterion
from
any
from his Essay drawn analogy Schiller, we should and his Life
matics Mathe-
of
certainly
arrive at a very absurd result. And now, the Treatise putting aside for a moment Rhetoric, let us see of what ginus on the remains of LonWe have a the Palmyrene consist. portion Marcellus an account of a letter to one giving of contemporary philosophies; Porphyry a letter to asking
books
a
short
to
extract
from
some
him
send
him
and from
come
some
tract short exand visit him ; another letter or treatise protesting against
was
the opinion
1
"
corporeal
and
perish"
Flumen
fundens
i, 5.
Aristoteles."
Acad.
Prior,
xxxviii, and
cf. De
Fin.
POETRY
AND
CRITICISM
about
metre
lastly, three
on
extracts
from
Hephaestion,
is simply is known to
have
authority
two
on
from
and
of the to him
last
notes
on
the
by may
modern
hand
to
in marginal in Latin it
formed part say that it originally from which it was disengaged of the text of Apsines, by the sagacity But where it begins of Ruhnken. it ends, sines to Apand where still belong what may suffice and
what
can
to
Longinus, be
has
only
been
mere
mined, detercon-
and
only
determined,
by
jecture
The
of its discovery
was
are
reading
us,
the
a
with
sudden
him
strongly
reading he have to seen passage remembered which Planudes not to the and John of Sicily, and cited as belonging, In but to the TE^W TE^V" puTopjjtw of Apsines, pVropouiof Longinus. great
was
his
delight
at
having
by Longinus a work recovered which it his lost, he announced been was that he did But to the surprise of every one nor get him to say where any one could portion
an
he believed
the
Longinus
to
begin
and
end.
On
that
subject
silence, Ruhnken from
he
to
his
perhaps
told
portion extending whole Spengel, Apsines. in Aldine the edition of p. 720 p. 709 from Walz, more p. 707 to p. 726 give him much and Egger him to even Finckh in the Aldine. narrower reduce would done. Meanwhile, is reported to have Ruhnken dimensions than attributed
to
"
Longinus
"
all the
confirmation
of these
rests conjectures
on
an
LONGINUS
It is, therefore, find Professor in these
AND
GREEK
CRITICISM
241
fragments,
for the
purpose
which of them appear and which the De Sublimitate ; instituting elaborate between
the
style,
the
diction,
the
of these
those
scanty
proclaiming
that the
of the Longinus
and
then
could not of the other. There which Vaucher's the materials it. These irrelevant
at
criticism
method
to
could
were
not
preposterous, if Professor
too
meagre,
too
genuine,
any
when the
make
Abstract
of the
Rhetoric
a
Moscow
at
Library
twenty-four
indicates,
from
of the
Abstract
that conjecture
rather a Apsines,
portion of it, had got mixed up with the treatise by it makes because the theory highly probable, much of it corresponds in a remarkable way with the portion of Apsines
restored,
through
at
Ruhnken's
to conjecture,
Longinus.
But
the
manuscript
scanty
as
Florence
is anything
but
Apsines
how
Short and conclusive. is not found either in It will be seen, fore, therein arguments drawn character
be
or
placed
even
from
the phraseology,
the relic.
general
of this most
rickety
unsatisfactory
R
242
as
POETRY
they
AND
on
CRITICISM
flickers in favour
do
cast
the
subject,
to
of
the
the
of
Longinus
the
authorship
of
fragment, vindicating
for
quite the note of particularly at the conclusion, Professor Vaucher has himself Sublimitate. the De
drawn
very In
remarkable
parallel
passage
author
finely calls
"
"
beautiful
ovri
the very
thought
(?"""$ ycif"
we
TO)
i'dtov roS
tia^a. oyo/uara)
light of : in
find "pu$ yap uo-Trep TMV if. Kai svvowfMiTuv 6 TOIOJ/TOJ*o'yo$. The citations from Proclus, "7nxtti{iv\iAa.'Tuv Eusebius, John of Sicily, and others, included by the Rhetoric
how the fragments, show among large a space literary criticism of a parallel kind to in the Sublime filled in the writings that found of
Professor
Vaucher
Longinus.
author
We
a
M
learn,
for instance,
that he
was
the
as
of
series
of literary
discourses
must
known have
or ol pixo'xoyoj
been
very
others have suggested formed have Sublimitate courses. disa part of these may is This by conjecture certainly supported John of Sicily, who, in an unmistakable reference to in the third section of the Sublime treatthe passage ing " But about : these things observes of bombast, Longinus with more precision in the twentyspeaks first book of his Qfootoyoi." It is, also, at least significant works Longinus had
the
twenty-first
book
of it is that the De
that
written
dealing
most
on
who
1
are
cited
Commentary
Hermogenes.
LONGINUS
on
AND
two
on
GREEK
Plato,
CRITICISM
as
243
the
Homer,
citations
more on on
show,
and
one
the
a which limitate.
oration in the De
from
Sub-
then, it may review of the evidence, be contended that, if the arguments urged against the to the authorship claims of Longinus of the Treatise
a
On
general
be conclusively refuted, they can, impartially, be seriously shaken, and far from having still very reached such
can
not
if examined
that
a
we
are
degree
probability
name
as
would
justifyus
from
the title-page
In
bringing
to
a
this long,
of his
discussion
forbear adding, that the close I cannot for its necessity lies with Professor responsibility Roberts. His book will, I hope, become a text-book
at
the
Universities,
but
nothing
can
be
more
inadequat
than that portion of the unsatisfactory deals with the important which question discussed here. The are claims of Longinus to be so baseless and that they assumed untenable and Prolegomena
are
not
even
inconsist the
title-page.
IV
The
or
contributions
at
to
all events
us, are,
contributions
down
to
it must
exceedingly
dis-
POETRY
It might whom the
AND
have
CRITICISM
been that a expected been carried to inquiry powers in literary
fine arts
in whom
had
and
perfection, dialectics
and had
philosophical
such
rare
developed
have
of analysis,
would
criticism worthy in creative art. very beginning, inferior hands. second with
we
left masterpieces beside their masterpieces to stand But this is not the case. From the
into the
Rhapsodists,
interpretation
who
blended Of
recitation these
men
and
commentary.
contemptuous
have
Ion
and
Symposmm.
"
"
in the picture Do you know asks one of the " ven, No, by Heathey
mostly
not
ever
greater
fools than
the Rhapsodists?
characters I do
in Xenophon's
not!" is the
dialogue.
reply.1
Whether
were
committed with
but, that be
their
concerned
does
appear,
to
if they
their
the
did,
exact
know
of them
know
modern of
at
critiques
the
Christopher
North
matters
as
when the
it
and
discovering
of particular
himself
Ola~6a. TI
jua
TOV
A".
"
LONGINUS
In the
AND
Periclean in
our
GREEK
age
the
CRITICISM
criticism which no press found,
What has
245 its
counterpart
popular
doubt, and
the
voluminous weekly
expression.
us, were
was
Punch
of the irresponsible
Aristophanes
to
Athens.
dragged How
candidate
partly
on
the personal partly of his censor, prejudices he belonged, on the clique or faction to which and partly to what could be got out of him in the way of We have excellent and no doubt typical amusement. specimens Acharnians,
of
this
in the
criticism
in
the
Frogs,
in
the
Thesmophoriazusae,
and
Epicrates.
fragments
of Antiphanes
treatises
on
criticism
one
produced
Periclean
the remarks
age
not
remains, them,
quoted
from
regretted. No greater
fact that Plato he
calamity gave
to
has
befallen
letters than
the
metaphysics
passages
to criticism given Scattered his writings up and down in which be found the germs may of the
on
philosophical which criticism was the first to discern and maintain that that what the fine arts are modes they of imitation is not the particular and accidental, but the represent and essential, and that the breath of their universal
profoundest He rests.
truths
"
life is divine
inspiration,
like our own avail. But, wilful elaborate contributions and fanatical, and his most to literary criticism express so contradictory opinions he has to are so elsewhere maintained what and
of
no
246 singularly
almost
POETRY
AND
CRITICISM
that they might
Whether
of know
and
Socrates
that
on
we
advanced have
under
no means
the other
ciples dis-
of
judging.
on on
We
Crito
the
poetry
the
treatises
a
treatise
dialogue
most
on
Euripides.
Of
after
"
the
distinguished,
course,
Aristotle
was
we
are
Heraclides
speaking, of Pontus,
of
of criticism
of
on
the
a
author
several poetry
treatises, the loss of one of which, reasons and the poets, is for many The
treatise greatly
to
be
regretted
Hellas criticism of pre-Alexandrian in Aristotle and in his most distinguished culminated disciple Theophrastus, once of whose voluminous few ments, a are all that remain short fragcritical writings
and Aristotle
one
entire
work.
concerned
himself
with
criticism,
not
cause be-
taste special aptitude and of any departmentof studies, but simply because, as a
for
such human
in his survey. He comprehended he brought to everything to it what brought else, a nation, most and logical intellect, subtle discrimipowerful for methodimmense erudition, and a mania izing;
knowledge,
it was
and
qualities
by
deficient
else. In all the finer plied and instincts of the critic, in all that is immore signally aesthetic sensibility, he was he brought nothing
than
our
own
Johnson.
exact
He
reduced
in
criticism the
to an
science
and
ciples prin-
as are of rhetoric poetry and direct application he of precise definition and capable Thus fixed for ever. deduced the Poetic and and in some Rhetoric the most are respects precious
theory
LONGINUS
AND
GREEK
CRITICISM
247
have been to criticever contributions which ism made appointi to modern ; in others, and especially readers, disHow far Aristotle to exasperation. even
was
original, and
how
far indebted is
a
to
and
he
question
germ
to
of
Plato,
his
Poetic
Rhetoric
had
from
numerous
issuing
of Athens, We know,
and
in his neither in his analysis, and that by far the greater nor method part of his practical precepts had long been commonplaces. Aristotle either directly, or through his disciples,
was
he had
he
anticipated
by
Corax
original
on
of
Homer, Didascaliae
Hesiod,
compiled
under
were
his
directions,
the
he
initiated
occupy
chief
attention
studies
to
several
be age Greek criticism may It passed out its third stage. said to have entered on into of the hands of dilettants and of philosophers
those
of pedants
and
grammarians,
and
confined
itself
the
considerable
to
our
and,
had
they
confined
themselves
the
sphere
gratitude
in which they were qualified to excel, But have been without reserve. would
They they did not. confounded unfortunately They be distinguished. the mistook should
what
means
248 of exegesis
POETRY
AND
CRITICISM
and they taught
others
to
Criticism ceased to capital mistake. functions, either being with its higher
to
directed
mere
entirely
such
points
as
are
and grammarians philologists, " into a number itself, as Bacon puts it, I may call them, and, as
of interest to dissolving or
In the long list of critical treatises comquestions." posed during the Alexandrian age it is remarkable dicates that there is, I believe, not one certainly inwhich that than the treatment
was of the subject other historical. So completely,
either philological or indeed, was the distinction higher scholars Pergamus and aspects
between
sense
and
in the
criticism in which
in its these of
Crates
a
critic,
grammar
the
term
was
to
On
these the
men
left
an
indelible
a
founders
of
dynasty
which
has
day, to the present remained unbroken has its representatives letters wherever When Swift facetiously traced studied. the Pope pedigree described of those
as
Aristarchus
his friend
possessing
accomplish
whom
he humour
to
has
except himself
and
truth been
and
in the Tale
of a
Tub,
much have
always
to
tendency
in the Greek
importance
to
frivolto
attach
undue
trifles,
LONGINUS
peddle
the
mere
AND
GREEK
CRITICISM
249
with
itself on nice distinctions, and to waste While Greece was exercise of ingenuity.
all this
in her
glory
had
been
great
community
makes
kept
developed
a
infirmity.
a
What
before
tendency
a
became
habit,
into is
distinguishing
more
characteristic.
this
criticism. Of its degeneracy ; its degeneracy age we have justspoken succeeding is the what
A.D.
is equally
more
apparent. when
we
And
striking
compare
B.C.
Rome
1 20
"
between treatises
about
Poetica
and
Oratory,
in
some
the great
cases
as severely portions as technical the treatises of Demetrius and Hermobut impressed of a large and with the stamp genes, liberal intelligence, with energy and pregnant and
of
Quintilian, works
discernible in what is nothing In the treatises left us. the Greeks of that age have in early life of the contemporary of Dionysius, in the class-room Cicero, we are of a professor of life. Of
this
there
rhetoric,
mechanically
imparting
we are
what
in
has
been
mechanically
room
acquired;
philological a history
"
the
dissectinglies the
or
of
composition occasionally
There
or
an
oration,
poem.
and
bone,
what
constitutes
its charm,
250
POETRY
AND but
no
CRITICISM
the
secret
of
its
life.
sense
of anything
cannot
to
as
the
of
conventional
Of
the
of the philosophy of taste, of the philosophy of the beautiful, of the relation of Nature to Art and of Art to Nature, of the influence temperament exercised by individual and social and
principles of criticism,
historical
artist,
Homer,
are
activity of a literary is said. The a not masterpieces word of of Plato, of Demosthenes, of Thucydides, conditions
on
the
as merely contemplated models of composition. But within this contracted the analytical sphere is indeed displayed It is extraordinary. subtlety
seen
in its perfection
in the two
Oratoriis
of Her-
of
terseness
cepted,
of Demetrius.1
for the work is a model all above lucidity, and, a little peddling exand in the De Elocution* sense good of
"
However
much
we
may
regret
the
purely
character
poorer
classics.
this admirable treatise should not it is best the editor ; perhaps practical
that
ever
written
even
popular
tion transla-
applicable
is to those
been
for it is as entertaining, useful and in English forms of composition it as to the various has in Greek. the Treatise [Sincethis was written
translated
and
and
edited of
as
translation
the
companion Treatise on
Rhys
Roberts.]
LONGINUS
But,
metres,
AND
we
GREEK
CRITICISM
251
if
value,
we
which the De
Sublimitate,
and
an
shall
presently other
numerous
have
which
third this
absurd desultory
on
a
be
to
dignify
with
observations par
tarch, of Pluthose
exactly
some
with
of
has
excellent
remarks
and
down
phanes,
History
satirists Dyscolos,
of
HOTO
Should
rather
be Written,
than
mere
Anonymi
straw.
after him,
at
thrashes
the
But
writer,
the end
the beginning
deserves particular century A.D., drawn example attention to the remarkable is to be found in criticism which orations Pheidias
of the
of
Dion
Chrysostom
*
"
the
Olympicus.
how he as explaining represented formed pian the Olymthe conception of his great statue, Religion Zeus. Tracing Art and to the same
is there
source
"
Divine
between
Truth them, in
"
Dion
as
dwells
on
the
close
alliance
ideas, ideas
to
as
innate
man's
compare well
on as
the plastic arts with poetry, and contrasts imlaments posed the limitations necessarily
the sculptor with the freer scope of the poet it will be seen, It contains, the germ of Lessing's
1
Oral.,
xii. Works,
Ed.
Arnim,
252
thesis
POETRY
in the Laocoon, enthusiasm have which this, and
AND
CRITICISM
it is written eloquence. down to has
at
and and
come
critiques
us
the
note,
we
which
have
Sublimitate,
us
like the Poetic of Aristotle, has in its entirety. About nine hundred
a
than
are
been
occur,
lost, but
the lacunae
exception
the work,
no
with
the of and
in the body
comparatively
The either its method it to a young Roman, apparently addresses author had been studying his pupil, who with him a treatise in
way
obscure
on
the
sublime
Both had
nor
It unsatisfactory. how the sublime could be attained neither shown defined is, to say had it even the sublime what
of them
by
Caecilius
of
Calacte.
it most
nothing
of other
defects.
out
At
the
request
of
respect
to
on
and subject,
for so he courteously regards student investigation in an which should, with have truth, and truth only, for its
"
"
to
join
object.
Pythagoras the reference well answered 4 in what 'who, qualities we asked resemble when declared that we do so in benevolence the Gods, and
truth."1 opens. We With this
is to
charming
prelude
the
treatise
may
begin
by
1
remarking
Chap,
i, 3.
that
''sublimity,"
LONGINUS
in the Greek here, is by
no
AND
GREEK
of the
term,
CRITICISM
and
as
253
sense means
it is employed
"
synonymous
with
in the English
though
partly
as
synonym
term
in rhetoric,
to
sense or
peculiar
the writer.
the ancient styles of composition, which critics have distinguished which and defined, is one different names but with a common appears under
species character
"
this is the
"grand"
or
man
"
Cicero (ntya^oTrpt'nys) ; by
;
under
under
by
Dionysius
title of
of the "harsh" characteristics (yiatpupov) the "polished ("y"7T"pov) elegant" and and by Hermogenes indicative as of "greatness" and
the
Caecilius (/u"7E0o$).
apply though
had
In
the
term
the
adjective
been
been to have the first to appears " " height" to it, or elevation," t/^oj, i.e.,i4"x"V" to i^oj, corresponding
already
used
by
Dionysius
to
describe
it.1
this treatise the word gives it its title signifies which in the qualities indicated included all that was these be technical
terms,
by may
and,
to
judge
from
what
from the extant analyses of them, gathered Its elasticity, indeed, perplexed besides. more much If we Gibbon take and was ridiculed by Macaulay.
two on remarks, stand deduced directly from them,
our
and
we
"
to
"
in expression"
"
J" ic^nXfl
10.
If TIM
Ava-iov Xe"ij. De
xiii,
254
POETRY
Koyuv
AND
l"rn
CRITICISM
ra
"%oxn rig
"
it is ty*),1
"
the
great includes
soul
echo of It thus in
all that
conceptions with
the
magnificent
language,
exalt
all that
of words
affections,
passionate
and
thrill the
mind,
excite
power in the
and
especially and,
in the
sympathy,
ornate,
exquisite or homely, all that invests distinction, dignity is with grandeur and whatever is the sublime. This embodied and represented. simple
or
The
not
some
innate
and a interesting
sublime to rule, or whether rather it is This leads to pure gift of nature. on the relation of Art to remarks
to
are
discussed
is, whether
the
Nature
inspiration.
Their
Demosthenes,
the
Good
and
good
if the second be without be the second quite useless, the first without may At this point occurs too. the first lacuna, useless second and
we
of
what
the
in the
middle
of
discussion
(in
other
is called
The (tvxpoTVf).
enthusiasm
which thing
is not
of passion
of passion in excess
passion
to
it ought
is puerility perpetual
1
(TO(jieipootiukf), conceited
after preciosity
i, 3.
Sublim.y
straining
De
Id., ix,
2.
LONGINUS
of
4
AND
GREEK
the
"most
"
CRITICISM
ignoble"
"
255
and
the
all literary
vices
trop
la pire maniere
And,
to
he adds
in words
our own
which
current
much
of
in literature
cause,
spring
in
the
ideas, which
novelty
a
the
most
expression
of
craze
with
of the writers
R.
L. Stevenson
would
generally,
shrift from this critic. From to the false he passes the true sublime. After observing it is as that it is with the sublime with the common be held really
to
objectsof
great
as
which
despise,
such
riches,
honours,
which
and
"any pomp
so,
of those and
things of
have
the
superfine
trappings
the
stage
he continues,
"
it should be
be with
we
should
to
to
careful not to allow ourselves it would be creditable to us which he then, in a very noble passage,
the real test of the sublime
it
were
:
furnishes
If and
we we
with
our
feel
as
souls
pride,
though
with
joy
to
gains
then
we
rather may
than be
loses
sure
repeated
and
study,
Sublime
itself.1
1
De
Sub.,
vii.
256
It
was
POETRY
on
AND
CRITICISM
Conde
Voila
on
that the great passage " in rapture, Voila le sublime! exclaimed " l ! The son caractere veritable goes author
hearing
this
to
say
"
perhaps
no
better
definition
of
what
must
constitute
"
the supreme
that true
pleases
always:
of different hold
subject, then
from
a
that
speak,
us
concert
to
gives
unshaken
confidence
objectof
admiration.2
From
to
these
general the
sources
remarks
the Treatise
enumerate
five.
The by
first and
art,
most
and
is, like
the
gift of
nature,
the
power
voweif
of
forming
grand
comes
conceptions
formation
the those
result
of art,
the due
of expression comprising
(noia
the
TUV
"rx,n(juzTuv
of thought
choice
and
of metaphors
elevated
Dugald
De Sub.,
Stewart,
Works,
vol.
v,
p. 381.
I cannot
to not
the
the combination of all the composition, composition of the work, qualities justspecified in the general be paraphrased tout "general so as that it may ensemble,
means,
simply
LONGINUS
AND
GREEK
CRITICISM
257
that
that be
It is in dealing
note
in composition
nor
induced.
expression
must
can
neither
in the
artist, the
we
soul of himself. To
we
think, possible,
must
feel,
must
It is not
mean
says
with
and
prevailing
throughout
critic,
aims
should
a
produce
which
passage
he thus
accounts
of art and
literature:
all of
make body
love
now
a disease we are of money, with which insatiably infected, and the love of pleasure,
"
or their slaves rather, say, plunge : the one and soul, into the abyss of degradation
I should
us,
a
malady
that
dwarfs Nor,
us,
men, on
the
other
malady
that
ignoble.
for
if
we
reflection, honour
can
so
I discover
highly,
or,
to
speak
more
God, to guard boundless a our wealth correctly, make able inseparare the entrance of those evils which souls from is immoderate it. For wherever from and wealth
in close extravagance, unrestrained, it, so to speak, as step by step ; and opens the gates of cities and houses And in and dwells there. enters
conjunction,
soon as
follows
the former
the
latter straightway
a
after
while
these
two
build
nests
in the lives of
very and
soon
expressed
men,
as
have
latanry charof
vanity
luxury,
bastard
progeny
Should these their parents, but quite legitimate. to maturity, be allowed to come they of wealth in the soul, insolence, inexorable beget tyrants
" totum." effect." It is precisely Horace's " totum Infelix operis summa quia ponere
children
speedily lawless-
Cf. Ars
Nesciet."
258
ness,
POETRY
and
men
AND
And
CRITICISM
so
shamelessness.
lift up longer will no for fame, but the complete regard be wrought, the nobler gradually
that
it will
away, and pining and fading What the geniuses wastes and consumes of the present in which, with few exceptions, we pass age is the apathy lives, merely our and working striving to get applause is useful and what to do what would and pleasure, never
. .
secure
the
praise
which
is worth
having
and
worth
our
effort.1
the vitality, the power, all that constitute the glory of literature are enervated and corrupted No one is in earnest, is one no at their very source.
serious.
Thus,
What
is wanted and
of cleverness pretty
that poems,
of parts and
scorn,
and
ments accomplishto
competent what
come
supply.
what
And
only
to to
the
Homer,
of
ol iaofeoi
to
SHEIVOI,
Thucymaking
our
Plato,
Demosthenes,
our
in
companions, and
:
guides
teachers,
as
standards, says
The
our
touchstones.
he
fully beauti-
the tripod, she approaches of Apollo, when from is inspired by the divine vapour the rift exhaling it, so from the great beneath natures of the men of old in about borne the souls of those who there are emulate
Priestess
them,
as
from
sacred
1
caves,
what
xliv.
we
may
describe
as
De
Sub.,
LONGINUS
effluences,
are so
AND
that
GREEK
who
seem
CRITICISM
259
they
thereby
inspired,
'
and
greatness
of others.
We
should
live
as
in their
We
expressed
themselves, if we
would
be their verdict,
to them. we were writing submitted what Such was the author the spirit in which of this Treatise the study of the Old Masters, approached
it as minute from this study ; and sympathetic These his criteria of literary excellence.
a
study
as
profound
and
was
were
passionately derived
not
infallible.
"
If the
is, by
Treatise
has
not
which
the
way,
or
"
they
sometimes
produced,
likely,2
compatible
But they results. with, most unsatisfactory him to reveal to others to him revealed and enabled the real secret of literary immortality, of genuine excellence, greatness, of genuine and they furnished
him
1
with
See De
very
Ithuriel's
spear
is
no
of
was
Jonson
to
but
is
this passage
endigenere\ with
Section
De
close Stylo et
parallel
Optimo scrib-
accustom
themselves
the
them
when
which
2
anon and shall ever in themselves, even of their minds, and in the expression like theirs they feel it not, and be able to utter something Ed. CunWorks, ningham, hath an their own." authority above
authors
"
of the
about
Treatise
have
written
x,
the
and
the
x.
of the noble
simile
in
Iliad,
624-628,
in sect.
2"5o
their has
no
POETRY
AND
CRITICISM
false note escapes
counterfeits.
No
him;
who
never
he
Apollonius,
Homer,
which
and badly tripping, by the divides talent from genius. Hyperides be proved may
and
Ion,"
he
and aAo'yaj)
in his
senses
as
fail most
regard
(tr"enwrau
anyone
put
together
an
"
of the
Oedipusl
The whether without
or
four
sections
discusses
which
are
to
of
excellence,
should
are quality to quantity, is certainly nothing more in which, the superiority passage while maintaining he deduces to faultless mediocrity, of the faulty sublime for such preference from the innate the reasons
nobility him to
of the
man,
from
the
instinct the
which
reaches
attracts
"thoughts and
beyond
of his
frame,"
streamlet, tiny,
1
to immensity
grandeur.
Of
our
the pellucid
he
clear,
our
Sect, xxxiii
xxxvi.
LONGINUS
kindled,
we
AND
GREEK
avail
CRITICISM
ourselves, is reserved
261
are
gratefully
for they
not
But our admiration of use. is serviceable, but for what expands for the stupendous phenomena souls,
"
for what
thrills
our
and
of nature,
for
the
overwhelming
of
ocean,
so
and
though
often
overshadowed,
for the
awe-compelling
splendours
Etna.1 And
so
of the
rock-belching
desolating
he
goes
on
to
say,
that what
constitutes
the superiority
possesses sublimity of a writer who has every gift and accomplishment to a writer who in other words, measures what without sublimity, Homer between Apollonius, tween bethe distance and
"
Demosthenes
and
no
Hyperides,
between
Plato
and
Lysias of
"
is in
errors
presence
is present,
they
are
spots
on
When
sublimity of the
sun
continues be to possessors
near
in
men,
his
enthusiasm,
but
the
majesty
from
of
God.
but
relieves
censure,
suggestive and Treatise over we truly say inspiring which may have been gladly linger. It would every critic would
a
in this most
pleasure
canons
to
dwell
on
critical
its on and which illustrations of them; on the judgements equally admirable in it on so the great classics, at once passed
1
the
admirable
Sect.
xxxv.
Sect, xxxiii.
262
POETRY
so
AND
CRITICISM
discriminating
and Demosthenes
the magnificent and Cicero; on the Iliad) and the sublime comparison the
sun
of
to
of Homer
and
to
the
sea
; and
above
characteristics of one who may ideal critic alike in aim, almost in temper. But it would
comment
on
be obvious
every
student
to testimonies authoritative in criticism should not value as a text-book have sities, Univerno place in the curricula of our but be practically in their schools, unknown
so
which
many
has
been
so
influential, and
matter
for very
that
indulged
which, with
Let
the
Roberts's
at
has
least the it
the merit
effect is.
of being
sound this
and
helpful,
for
will have
a
of removing
reproach:
reproach
THE
TRUE
FUNCTIONS
POETRY
OF
f^ESSERNsollen
1
J
es
uns
ist klaglich,
noch
wenn
muss;
kldglicher
ist
wenn
es
Dichter
giebt
zweilfeln.
us
"Every
; it is deplorable
kind
demonstrated,
poets who Matthew
deplorable it.
never
"
'
So wrote
weary
Lessing.
us
Arnold
of telling
to conceive of poetry worthily, to conought ceive of higher uses of it,that is to say, as capable and in general called to higher destinies than those which
that
we
men
at
least in modern
times, hitherto
we
assigned
to
that to
this end
must
poetry
a
to a ourselves strict judgement. Let us not between poets of the first order
accustom
the
a
"In
in virtue degree; no pretension of a lower the completeness nature, whatever of development or the precedency of the variety of effect, impeding
1
Hamburgische
Essay
on
Dramaturgic,
"
Shelley,
printed
Jan.
of
Robert
Browning,
p. 18.
264
rarer
POETRY
endowment in conceiving by
those dispute, Pindar,
AND though
CRITICISM
only Let us in the germ." conceive of it as represented
no one
then
of poetry
whose the
title to pre-eminence
would Isaiah,
Spenser,
Let
by
to
us
Shakespeare,
ourselves
Milton,
what
Goethe,
poetry, what
Wordsworth.
as
ask
ends
them,
us,
is designed truths
us.
to serve,
what
it teaches
And
us, we
fortune
be assisted by excellent guides. If the poet is the interpreter of God to mankind, the critic is the interpreter of the poet to individual For what men. Bacon observes of studies is, in a great measure,
to true
also
of poetry,
at
to
"it
teacheth
not
its
own
use,"
that
us.
time
To
as
in
how
our
life when
of
us
many
Sidney's
Defence of Poesie
as
revelation.
Shakespeare's
terpret inan till it found understood in Coleridge, have since and in those who in the from his! How dim their torches mankind
or
of shadow mighty it, had grown to express choose finds its embodidivine, which ment
under
the
in
own
Pindar,
time
in Aeschylus,
in
Sophocles,
till in
our
Matthew
Arnold
and of
us
others, re-interpreting, re-illumined forget the hour when Carlyle's can made
and the
words
to
us,
Divine
to
us
Comedy
what
become
revealed
might
inspirati
THE
TRUE
FUNCTIONS
are
OF
POETRY
265
the poets, these the critics who will teach us best the true functions of poetry, teach to understand us that the chief office of poetry is not
surely, merely
to
These,
give
amusement,
not
merely
to
be
the
expression
of the feelings, good or bad, of mankind, knowledge to increase our or nature of human and life, but that, if it includes this mission, of human it includes also a mission far higher, the revelation,
namely,
which
of ideal truth, the revelation is but the shadow this world of the
eternal, the the
the the
revelation typical
which
underlies
ever-dissolving
matter
and
was
of
this
function
Arnold
of
when,
poetry with
which
so
indicated
by Matthew
" the applicasubtle truth, he defined it as tion of ideas to life," and it was with this conception its future to be immense, of it that he pronounced
much
on, that, as time went prophesied mankind find an ever surer and surer stay in it. would Here then let us, for a while, take our stand ; let " the application us of ideas say of poetry that it is
and
to
life." But,
as
in thus
describing
I must
a
it, we
ask
are
using
with
mean
technical
me
language,
I explain
while by
little
more
really to bear
we
"ideas,"
and
"that
drossy
of which
It
was
what
by
or
shadow
the
habit
of the
clothe
convey
truths
pre-eminent
among Plato.
as
we
worlds,
the material
world,
the world
of
matter,
266
POETRY
is perceptible phenomenal, decaying,
AND by
CRITICISM
the
senses,
no
which
purely
but
which
is perpetually
having perishing,
real existence,
wax
on
the
mere
other
is
of form,
of what
by the senses, not perworld perceptible ceptible by intelligence, the world only voVij, pure this is the world of ideas, of essence, and
phenomenally
are
ideas, self-existent and What the only real entities. uncreate, exists in the in the world by the world of matter, perceptible has only a sort of quasi-existence, senses exists only
of what
exists, the
world
those
in
so
far
as
it reflects
a
or
participates
in those
a
real
essences,
is
mere
a
copy,
wretchedly
eternal
or
and
perfect
archetypes
One
Heaven's
the many change and pass ; remains, Earth's light for ever shadows shines,
are
fly.
Here
on
earth
fleeting
dimly
is
as
it,
"
as
the
light, pure
colouring other pass
and
nor
undefined, polluted
not
daubed
human Now, have have
with
kinds
how
any
comes
it to
perception
:
of what
the
could
never
how
and
in the faint and dim them recognize is all we have here, in this poor world,
not merely originals, and instinctively attracted to
recognize them.~~'Why,
but
are
be-
THE
cause
TRUE
we
FUNCTIONS
have
seen
OF
originals,
POETRY
have
been
267
in
the
the Good with and the True because our souls, before they in these
were
walls
of
flesh and
denizens
of the world
corrupted of Reality,
of which
of
essences
the shadow,
birth is but
sleep and
forgetting
soul that rises with us, our Hath had elsewhere its setting And from afar. cometh Not in entire forgetfulness,
not
life's star,
And
But
in utter
nakedness,
of glory
our
trailing
From
God
too,
clouds is who
come
do
we
come
home.
And
hence,
Those
Those
first affections,
shadowy be they recollections,
day,
seeing,
come
Those
echoes Recognized
from
beyond
the grave,
intelligence.
we
can
In that
world
what by
see
now
only in
our
brokenly
highest
and
by
we weather," of calm saw saw not steadily, habitually, and in perfection, in drossy in essential integrity. but semblance There, monies too, man's soul, in harmony with the har-
moments,
glimpses, in "our
glimpses
seasons
only
of Heaven,
unison
as
not
only
heard
but
vibrated
in
that music which, with them, understanding intellectually Browne Sir Thomas puts it, sounds
268
POETRY
ears
AND the
CRITICISM
in the
music
of God
the
"
of
meaning
There But
ordered of Shakespeare's
's
famous
lines:
beholdst
the smallest thou orb which in his motion like an angel sings,
not
to
whilst
Doth
it.
But
we
hear
it sometimes, heard
how
one
as
Browning's then
Abt
Vogwe
it; and
with
him
to
understand
never
There
shall
be
lost good
; what
was
shall be
as
fore, be-
The
What
is silence implying evil is null, is naught, was good shall be good, with for evil
more.
sound.
so
much
good
On
the earth
to
the broken
to
arcs
in the heaven
one
man
perfect
round.
l
But
return
Plato.
estate
In
celebrated
on
passage
to
the
an
of
earth
that
of
from den, who, hood childunderground have had chains on their legs and their
are
and
who
to
light, unable
move
their
backs
to
the
and
can
see
nothing
them
on
the wall
passing
2
before
shadows in front.
the earth as being far larger and beautiful is generally "the more than supposed, I give a the visible heavens," above surface being "while we think paraphrase of the passage who
place
"
"
he describes
we
occupy
the
upper
pretty
init.
parts
much
cavity,
1
being
mere
men
Republic, vii, ad
Phaedo
Steph., p. 109.
THE
living
a
TRUE
FUNCTIONS
of the
we
sea,
OF
or
POETRY
like frogs
a
269
at
the bottom
marsh.
Surrounded
through
to
move:
are we us
by
dull
and
round heavy
atmosphere,
which
ignorantly
are
suppose sands
come
the and
stars
round
endless
the surface
meet
our
of
water,
"
wondrous
world
would
are
eyes being
world
whose and
mountains
of precious and
stones,
our
sardonyxes,
"
jaspers
never
but
them
sun
ever-shining,
imagined
pellucid
dimmed.
beauteous
more
there,
beauty,
streams,
Climes
Earth
which knows
ray
in fine, of the unfallen soul where, as " it, are Temples expresses and sacred places in which the Gods really dwell, and the denizens of "the Plato
world,
this radiant
world
hear
the voices
of the Gods, of
see,
and
them
continues
are their answers, receive and hold converse them"; with and
conscious and
they
Plato, really
are,
"the
sun,
moon,
and
their other
I need scarcely say, press these We too them not must closely. understand myths it was designed literally, but we as must accept them
not,
as
we
should they
accept
them,
as
as we symbolize, we truths, so intelligibly and clearly, that when say, fancifully, that the keys of this world of Ideas are in
And
the hands
270
to unlock
POETRY
AND
CRITICISM
two
are using and reveal this world of Ideas, we But language everyone which will understand. from from Shakespeare one quotations, and one
Wordsworth,
from
the
may
form
an
appropriate
we
transition
have
been
familiar And
is the
region
is
more
at
home.
they
the
same
time
how
figurative
to
literal
short truth in
will distance
matters.
these
Wordsworth
the poet's
describes highest
mood,
as
and
capacity
and
mission,
The
gift mood
Of
aspect
more
sublime burden
that blessed
In which In which Of
the
the heavy
weight
In which the affections gently lead us on, Until the breath of this corporeal frame, And human blood e'en the motions of our Almost
In body
we
a
While Of We
11
with harmony
see
eye,
and
into the
life of thing's.
":
that is it, almost the exact of Plato, while expression you will observe in that "eye made quiet with the power of harmony" Now let us turn brought to him. are we still nearer
We
see
to
Shakespeare's
The poet's
famous
lines
eye, in a fine frenzy rolling, heaven from Doth to earth, from glance And imagination bodies forth as The
earth
to heaven
forms them
of things
unknown,
Turns
to shapes.
THE He
TRUE
seems
FUNCTIONS
to
OF
even
POETRY
to
271
be translating,
of technical and
we
phraseology,
had
Plato's
myth
of that in their
they were themselves. thus expressing when be with essential truth, whether so it will always it speak indirectly in symbols in plain or outright mind And
it be draped whether in baldest aphorism embodied disguise it. can
speech,
in gorgeous
:
fictions of vesture
or
no
variety
It is curious and interesting to note how the notion are we thus tracing of the functions of poetry which has repeated up and defining in relation to Platonism,
itself age after age, often without to reference any the doctrine of Ideas, without any conscious reference famous to Platonism take first Bacon's at all. Let us definition
Poesy laws
hath
of poetry:
a
is
part
of learning
at
sever
which
being
not
tied to the
Nature
of matter
severed,
may
pleasure
that
join that
and
which
use
joined.
history
It is feigned hath
history,
give
some
and
the
of this feigned
to
the mind in those points wherein the nature of man of thing's doth inferior to the soul, deny it, the world being- in proportion by reason to the spirit of man there is agreeable whereof shadow
of satisfaction
a
been
to
more
ample
greatness,
more
exact
. . .
goodness
than
can
be found
was
in the nature
to
of things.
some
And
therefore
poetry
thought
have
participation
erect
of divineness, by submitting
whereas
nature
because
it doth
raise
and
to
the
mind
the
reason
shows doth
of things
of the
unto
mind,
the
buckle
and
mind
of
thing's.1
1
Advancement
of Learning,
bk.
ii.
272
We writes
POETRY
have
it there.
AND
"Truth
Davenant
to
CRITICISM
past," narrative and in his deeply interesting
"
Sir William
Prefatory Letter
Hobbes,
a dead thing, and truth, operwho worship ative and by effects continually alive, is the mistress hath her existence in matter, but not of poets who in mind."1 have it there. It was We this, this association
exactly
the ideal and the typical, not in which have been sense we
the typical, Aristotle but in
a
speaking cognate
was more
sense
more
and
say important,
that poetry
as
being
universal and essential than history.2 in the Biographia Coleridge, in a striking passage Literaria^ has finely applied to the poetic faculty in his Nosce Sir John Davies Te-ipsum has what
turns
strange, it burns,
As
From
food
into
our
nature
change.
And Which
To
their gross matter she abstracts the forms draws from things, a kind of quintessence to her proper nature she transforms bear doth doth
then,
access
them
light
on
her
celestial wings.
states
she,
when
from
individual
abstract
kinds,
names
and
our
fates,
Steal
through
our
senses
to
minds.
And
here
so
I cannot
but
eloquently
:
quote
Browning
on
expresses
Shelley.
The
poet, he
1
says
Fol.
Works,
Ed.,
p. 5.
Poetic,
ch. ix.
Chap.
xiv.
THE
TRUE
to
FUNCTIONS
embody
to
OF
the
POETRY
he
273
so one
Is impelled
much
above
thing
many
with him,
reference the
the
supreme
Intelligence
truth,
an
which
apprehends
all thing's in their absolute to if but aspired partially Not what man sees, soul. of Plato, seeds of creation it is toward Hand these
"
ever ultimate view by the poet's own obtained, but what God sees the Ideas lying burningly in the Divine
"
with in the combination of humanity action but with the primal he has to do. He is rather a elements of humanity he produces seer than a fashioner, and what will be less
.
. .
that
he
struggles.
Not
work
than
an
effluence.1
are
And
there
two
other
characteristics
which
essentially associate themselves with The of the highest office of poetry. doctrine of the Greeks, so frequently
insisted
on
by
is poetical faculty, when genuine, innate, the immediate tion inspiragift of Heaven, simple holy madness, having impulsive an as (pavia),
Plato,
that
the
power
nor
no
connection
at
be
in any
Plato
reason
ex"ppuvxai
bereft Evfleoj,
seer,
of
a
he
is
he
is
Apology
poets questioning to the meaning as of their poetry, and finding that bystander could give a better explanation of any
he discerns in the prophet; for, he is the interpreter ; he speaks Of the full meaning of the message ignorant. In the with he maybe
as
what "Then
the
poets I knew,"
1
meant
than
the
he
Essay
says,
on
"that
p.
Shelley,
I
274
poets
POETRY
write
;
AND
but by
a
CRITICISM
sort
or
poetry,
of genius
and
spirati inwho
they
are
like diviners
soothsayers,
not
also the
say
many
but
do
same
understand
effect speaks
meaning Shelley:
Poets
are :
To
the
the the
hierophants
of
the
of
an
inspirati which
express
futurity casts
what battle they
and
present:
not:
the
what
moves.2
they
is moved
but
is a remark first found direct other which in Strabo,3 1 believe, but which expression embodied held by the ancients, a sentiment pretty generally poet who good first a good man, himself," Milton was as comnot menting true "himself on a this remark observes, a poem, composition pattern of the honourand Of the truth of this there can be no ablest things."
"
' '
The
namely,
that
man
could
not
be
The
"
greatest
most
poets,
says
Shelley,
' '
have
of the
we prudence, the interior of their lives, the most himself is not, for many Shelley reasons, obvious in the first rank of the world's poets, but suffused his poetry is with moral spiritual enthusiasm, and
1
spotless if and
virtue,
as
Apology,
xxii,
Jowett's
version.
See
; and
too
on
this
subject
war^of
Phaedrus,
passage
mo-Tux^,
2
the very
remarkable
T?J
-n\"
H*EJUV"/UEVOI yip
A
"
Defence
Ji
TTOIDTOU
of Poetry,
concluding
paragraph.
oJjf "?w
T"
"j"T"i
Tnvfj at/vs^suxTai
"
xai avflpiTro;;,
aya.0:v
Troiirm
/"." Trparepov"ysmdtrra,ayaSoy.
Strabo,
I,
2,
$.
THE
in
one
TRUE
FUNCTIONS
important
OF
POETRY
275
most
were
whatever
respect it has their note, and his infirmities and errors, of his essential " I call be no can there question.
simple-hearted, acted
a
which he was
I have
true,
corresponded
what
he
I call him
the
a with is indeed
of the fact.
reverence
adoration." in
I have
been
indulging,
crave
too
perhaps,
two
more,
leave
give
Milton for us sum up and believed to be among were the chief what anciently " If," says prerogatives and functions of the poet. Ben the Jonson, the passage is in his Dedication
of
Fox
If the
to Oxford
men
and
Cambridge:
and
not
will impartially
asquint
they
look
towards
offices and
to
functions
the
themselves
poet
of a poet, impossibility
a
of any good
man. men
being
For
good
the
young
to
all great
state,
to
old
men
in their
best
or,
they
decline
to
to
come
arbiter human,
teacher
of things that
can
divine alone,
not
or
less than
master
in
manners
manof kind.
with
And
but the
in
thus
expressing
the
common
himself
opinion
Ben
Jonson
is
on
expressing
nature
of the poet's
office,
on
to
276
POETRY
AND
CRITICISM
is called, is but the poet what which expressing Aristophanes,1 Ovid,3 Cicero,2 what what what Horace4 have, in celebrated expressed passages, loftier in the same In a vein even terms. almost
than second
this
has
Milton
in that
book
for
us
the
true
inspired
be
found,
yet
are
are
the
some
but
to
(though most
beside
great allay people the
abused)
a
in every
the office of
the
pulpit
of power cherish in
seeds
of virtue
of
the
public
and
set
civility, to the
and affections lofty
perturbations
tune, to
mind, in
in right hymns
and the
glorious
throne he works
and
and
of God's suffers
and
what
almightiness, to be wrought;
to sing
victorious
of
agonies
of martyrs
and
triumphs
just and
of kingdoms
pious
and
general
relapses
true
from
justice and
is holy and
God's
hath or whatsoever grave, amiable in all the changes and passion admiration of that which is called fortune from or the wily subtleties and without, from thoughts refluxes of men's all these things within sublime,
"
worship. in virtue
Whatsoever
in Religion
with
solid
and
treatable
smoothness
to
point
out
and
describe/
In
its highest
didactic,
the
term.
but
poet
indeed,
teach
teaches,
1
is, directly
2
and
Pro
philosopher He formally.
viii, 18, 19.
as
Frogs, Fasti,
1009-1014,
1029-1036.
4
Archia,
(Bohn), vol.
ii, p. 475.
THE
has
TRUE
first to
FUNCTIONS
remember that he must that
OF
POETRY
he is
277
an
in expression
artist, and
art,
satisfy the
requirements
of
he
must
and that if he fails to satisfy those requirements, fails in what He be his primary should aim.
to appeal he must
the
sensuous
nature
ways
moment to
poses
as
moralist,
he
ceases
be
worth. mistake and defect of Wordsin a great work So subordinate, of art, is its spiritual and moral significance to its aesthetic, that
is the great while the second first is probably,
on
is the
result of conscious
effort, the
and
very
often purely, unconscious The must either be moral from deduced necessarily Eckermann, "there be
a
it.
"If,"
said
Goethe
to
moral
in the
to
subject
it will appear,
and
but the effective and artistic consider treatment of his subject. If a poet has a high soul, let him do what be moral, his treatment will always nothing he will."1 Poetry teaches
poet is necessarily
as
a
nature
teach;
great
purity, His
6eia
and
are,
creations
KM mat
ruv
noble
phrase,
tpavravftaTa
ovruu
divine
phantoms
with
as
a
and
shadows
than the the
of realities ; and so Goethe, beauty, speaks of poetry fragrance and the morning hand of truth :
Aus Der
1
no
less truth
woven
veil
sun's
lightness
of from
Morgenduft Dichtung
gewebt
und
aus
Schleier
Conversations
with Eckermann,
Oxenford
Ed., Bohn,
p. 226.
278
Without
Lock Tales and
POETRY
disputing
Essay
on
or
AND
the
CRITICISM
title of Pope's Rape Crabbe's Borough or Task, Elegy, such
as or
or
of the
and
Man,
of the
in
Hall,
Cowper's
Goldsmith's
innumerable
Deserted works
Village,
rhythm in, to a
or
or
Gray's
metre
abound
must
distinguished that
there
are
place
some
we
yet
feel
qualities
it
poems.
We
must,
sent presame
enjoy a
Don
some
very Canterbury
deservedly works which regard to many high reputation as poetry, to Chaucer's Tales, Childe Byron's Harold to and for example, to Keats' Earthly
"
Juan,
reasons,
on
the
one
Eve
of
William and
Morris'
Paradise
we
hand
reasons
must
feel that
they
are
by differences poetry of the first order but of kind. not of degree simply And this is indeed the case, and it is well for us to We have so that this is the case. abused understand it the name prostituted and degraded of poetry, so by light and
uses
frivolous
and
and
even
by
scandalous
immoral
has A
almost
loose
and and
to
that, as a name, associations, any serious significance. ceased to have that its chief end is to notion careless loose its
and it
please,
ourselves
and
careless
habits charms
of abandoning and
to
mere
aesthetic
of its sensuous
and
to
be
kept
alive
THE
TRUE
men
FUNCTIONS
believed that
OF
POETRY
poets
279
were
of it, when
the
inspired
We must prophets messengers and of God. in it, when men seek in it what sought, and found " Aristophanes Children have the schoolcould say, master but to teach men them, when grow up the
poets
orator
are
their
teachers
"
"
when
Aristides
the
could
the common they were say that " Horace ; when of all Hellas
clearer
or
"
tutors
found
in
moral
philosopher and
our own
Crantor,
and
a
sage
I dared truth
known
than
Scotus
We
as
must
not
accustom
ourselves less to
tell
us
to
think
understand
we are
by
to
understand
by
it, namely,
literary
attains the power of givproduction which ing distinct from its matter," by its^form as pleasure have quite it. by
but
to
other And
is to be
understood
but
protest
an against Aristotle's
perversion unwarrantable of for which Professor theory of tragedy, in our is unfortunately in what a text-book Butcher We to be mainly Universities responsible. appears altogether told that
are
Aristotle
"
attempted
to
separate
"
the
function made
of aesthetics
he that that of morals," emotion," of art reside in a pleasurable aim in tragedy." of any moral nothing
from
fifth,the thirteenth,
and
the twenty-fifth
chapters
than
on
the moral
'
function
1055-56.
of tragedy,
as
his
Frogs,
280
POETRY
AND
CRITICISM
definition He very of tragedy shows. maintains, indeed, that the end of poetry is pleasure, but he is be the proper careful to add that it must pleasure, is moral satisand, implicit in the proper faction.1 pleasure,
Very
"the
felicitously of and
the
does best
Shelley
and
is of
best
minds,
our
the
own,
redeeming In its the visitations of the divinity in man." excellence and majesty it is the incarnation of ideal " breath truth, the and finer spirit," as Wordsworth
decay
puts
diviner
nature
through
of from
it,
"
of all
knowledge."
It is, therefore,
its
august
place
for us the indeed to supply not prerogative, it supplied in ancient Greece, the place of
but
to
theology,
as
Sapience
"
to
the Divinity
The
darling, the consentient sovereign in royal robes most Clad like a queene For so great power and peerless
all with
voice, fit
And
gems
Adorned, And
make
that
appeare,
more
her
as
brightness
cleare.2
all feel, that man's would indeed be forlorn, if his only lantern were lantern of traditional dogma, if his horizon or
we
True
it is,
must
state
the
were
bounded
reveal "lords
nor
"
by what or the senses reason can what forlorn, indeed, would he be without these Breath is not life, of the visionary eye."
seems
1
by
is what
what
is.
Slaves
as
we
are
of the
See Hymn
THE
senses,
are
TRUE
we
FUNCTIONS
call the the
an
OF
POETRY
illusions,
281
but
visions
they
not
only
picture,"
as
said
old Dominican
a picture of the contemplating stood in the refectory of the Convent. Supper "I before it," said the old man, sat at my meals
they
have "for
years,
place
and
among
"
such
us"
are so
the
and
company
gone
that when
the
upon
are,
those
I
am
who
are
they
sometimes
are
think
the
that old
we
man
and
was
not
they
the
in
a right, right he meant knew, to or than meaning piercing truth embodied very core of the relation in which let us hope, to the truth of what, poetry stands
And
in
we as
call
Well he did:
did
u
Tennyson
say,
Poetry
is truer
than
Convito*
Dante poetry
tells
us
that
there
are
four
in which
is to be taken,
or mystical, allegorical, the moral, and the anagogic is concerned with its highest and it is the last which In poetry these of the secondary order mission. perfectl imenter elements exist in singularity, or, at most,
into
their
poetry,
are
assuming
blended
Life,vol.
"
Le
scritture
intendere
L'uno
per
debbonsi
massimamente il
senso
sensi.
che
.
si chiama
e
sponere litterale
.
allegorico
li poeti
senso
usato.
II terzo
ana-
senso
si chiama
Lo
quarto
si chiama
gogico
cio6
sovra
"
Convito,
Trattato
Secondo,
cap.
i.
282
POETRY
It is
so
AND
CRITICISM
and
with
the Iliad
Odyssey,
with
theDmine
Milton
;
Comedy,
it is
so
tragedies
of Shakespeare with the dramas so the with the lyrics of Pindar with and most characteristic of Wordsworth. Poetry,
in its transcendental
poems
of the infinite and in its ethical activity the sublimation seen, human duties obligations; of his and
of
man's
conscience
and
impulses
at
once
the
legislator
and
ation, inspir-
the solace and tranquillity of his passions and cares ; in its aesthetic all things to activity it turns loveliness and music. Delivering "authentic tidings of
"
invisible subsisting
things,"
at the
it is the
voice
of that
"
heart
of endless
agitation
peace ; it is
the eye
Beholds
the Universe which itself and knows itself divine.
With
And,
therefore,
that
it is in its transcendental
aspects and
so
precious poetry is most and forget the lines in felt. Who can the Greeks
Hesiod?
Ei
yap
Tif
xai
0"paw"wv n^tia
TE
vporepiuv av"fcaircm
"OXiijUWov
TI
v(jtmo-")' jtxaxapaf
oy" aiVj/'
6et"v$ct
ep^otwi,
xq"wv
(For
with
muses,
if anyone
having
sorrow
in his heart,
chants
henchman
of old
the blessed
Gods
whose
1
home
is in Heaven, 98-102.
straightway
Theogony,
THE
forgets beguiled
TRUE
his
are sorrows
FUNCTIONS
and
by remembers
OF
not
POETRY
his griefs, of
so
283
quickly
they
song.)
the worst
to
constrain
can
to
link
sensuality
consecrate
To to link it with nature, mortal pessimism. and link it with pessimism is to repeat the horrid crime to bind the living to the dead ; to link of Mezentius,
it with
most
assume.
sensuality repulsive
in the
can
Perhaps
nothing
between
can
more
strikingly
the
difference
ancient
modern the
conceptions
of the functions
of poetry towards
attitude
as
temporary of con-
the poetry hand on that of Wordsworth the one of Keats and deny Of the first no one can on the other. that the criticism such
poetry
eulogies
of
Matthew
Arnold,
now
need not be repeated, literal and than measured Tennyson said that there which
innermost
soul
express truth,
"was
and
that
when
something
had
written,"
critic of poetry
everything of poetry in almost discriminating he said what every But is the corollary concede. would
of the Keats
to the of the poetry of Keats into the ranks his admission Are we to say of a poet whose
may
be described
as
Othello
Thou That
art
so sense
lovely
fair and
at
smell'st
"
so
sweet
the
aches
thee
284
are we
POETRY
to
AND
CRITICISM
the say of the poet of the Ode to Autumn, Odes To a Nightingale On a Grecian Urn, of and " Agnes, Bright the Eve and of the sonnet of Saint Star," etc., that he has enriched butions poetry with contritions more than the Ode on the Intimaprecious
of
Tintern sonnets?
What
The
Immortality,
the
Ode
to Duty,
Abbey,
the best
of Wordsworth's
note
Compare
care,
the
of:
though
Indus
with
Julia leaning
Amid
her Tenderly
"
sighing,
"
weaning
his maiden
snow,
Doth
Of
more
Hero's
the
Fair Pastorella
Are
in the bandit's
on
den ardency
"
things
to brood
Than
the death-day
:
with
this note
Live, Powers
There That Thy And
and
take
comfort.
Thou
hast
left behind
for thee : air, earth, and that will work 's a breathing not of the common wind will forget thee : thou hast great allies :
are
skies,
friends
exultations,
man's
agonies,
love, and
unconquerable
mind
"
or
the note
"
of:
is truth,
on
Beauty know
truth
beauty"
"
that
Ye
earth
and
all ye need
is all to know
"
with
the
Stern
The
note
of:
! yet thou dost benignant most
wear
Lawgiver
Godhead's
know
we
grace
Nor As
anything upon
so
fair
:
is the smile
thy face
THE
Flowers
And Thou
TRUE
laugh
FUNCTIONS
before
on
OF
POETRY
285
fragrance
thy
treads ;
And
thee
are
fresh
and
strong
or
the note
of:
her tender-taken
or
breath
to
live
ever
"
else
swoon
death
"
with
the note
E
of:
venni dal martirio
a
questa
pace.
Keats,
of piercing
beauty,
to
represent
thousand
radiance, has been the very more than any of the poetry, and has done modern he undoubtedly bedivine longed brotherhood to which ferior in the judgement at least of into vindicate, disciples and critics, the disastrous separation
loveliness
and
from metaphysic. of aesthetic ethic and difficult to understand Ruskin meant what dare or not said that "he read Keats,"
Newman's work:
Cease,
The
Hush stranger,
cease,
It is not when
to
he
lines
to
what
is most
entrancing
apply in his
those choirs;
piercing
notes,
craft of Siren
Music's Not
But
was
given from
draw
Heaven
And
purge
the dross
It cannot,
therefore,
be
urged
too
insistently
that
286
we
POETRY
must
AND
CRITICISM
for what poetry, not poetry of this kind can poetry of a high give us, not for what much order of artistic and aesthetic merit does not contain to have no concern we must go and appears with;
go
to
"
to
it in its higher
and
When constitute owing systems,
to
we
conception
of
what
should
partly
of
our
citizens, which
esotericism in consequence
of
our
scholastic
necessarily
and
partly
of the
preponderating claims of scientific and technical instruction, have we then not will poetry yet done, to fill the same come of civil place in our systems for Then, culture as it filled in that of the Ancients.
the barren
splitting
to
and which
repulsive
too
word-mongeringand
represents what
often
constitute
educationally
of what
:
only serious method it, we the part counterwith shall have Plato has described for us in the Protagoras
the
When
to
the
boy
has
learned
understand what
was
what
is written,
they he put
before
he
only
spoken,
of great contained
poets, many
which
reads
school
in these
tales and praises and many admonitions, famous he is required men and which of ancient encomia imitate or emulate in order that he may to learn by heart, Then, like them. them, the and desire to become again,
teachers disciple
they him
care no
that
their
and
young
when
have
to
him
the
use
introduce
are
the
poems
; and
of other these
are
excellent
set to
the
lyric poets
music
make
their
THE
TRUE
and
FUNCTIONS
rhythms
OF
POETRY
287
quite familiar to the children's learn to be more gentle and souls, in order that they may fitted for harmonious speech and rhythmical, and so more
and
harmonies
action.1
the best poetry, as an poetry, shall employ instrument of moral and political discipline, making its study as delightful as profitable. And then we
shall when that
We
perhaps he made
I should
understand Nikeratus
become
a
what
"
Xenophon
meant
say,
My
of Homer
to
orator,
2
for if any
of
us,
become
or
prudent
Homer
that
well
;
must
what initiate
of
more
anecdotist benefit to
in philosophy;3 what hesaid that poetry meant, when than all the lectures the young
even
of the Greek philosophical schools, and to its influence the virtues of Camillus
4
Lord
at
Chatham
meant
when
and he wrote
attributed Fab-
Protagoras,
saysabout
with
what
Plato
asaninstrumentof of
education
should Orat.,
*
the
Symposium,
Valerius
Letters
to
Inst. Quintilian,
22.
21,
Iv ittnnfjuuri wpo"j"Xoyo^"!T"w.
De
Aud.
Poet.,
cap.
i.
Maximus,
Thomas
ii. i-io.
Pitt, pp.
this Shelley,
perfection
those
A
of
Defence of Poetry.
his age
"Homer character
:
embodied
nor can
ideal
in human
verses
doubt
that
who
read
his
to
were
like
Achilles,
imitation
the
truth
friendship,
were
patriotism,
to the
unveiJM
and depths
288
I hope
read
POETRY
you them
taste
too
AND
and
CRITICISM
and
love Homer
Virgil
"
you
cannot
contain
courage,
temper, word, you
can
; they are not only poets, but they much learn, lessons of honour, the finest lessons we can
disinterestedness,
love
of
truth,
command and,
as
of in
one as
deep
divine
springs.
The
to
Greek
memory
custom
as
of training
much
as
to
commit
possible much
writings
of classical
nor
can
than to substitute mistake the writings of minor and inferior poets, on the supposition intelligible that they will be more and full meaning, The it is true, of what is attractive.
be too
commended,
learned
more
will
not
be
understood,
charm
than
the what
sensuous
little
numbers,
and appeal
is most
obvious
the application forms life's so of secret characters of some writing, experience will decipher wisdom and progressive beauty all that attracted power almost and where before rhythm.
a
; but, as
were
the
graces
On
this
subject
beautiful
and
singularly
us
the
differently
of
some
young
are
as
classic
Horace.
Passages
rhetorical a hundred
commonplaces,
author to a boy
nor worse
but than
which he thinks, as
at
supply, any clever writer might others, which he gets by heart and thinks very fine, and imitates,
successfully, home
to
own
flowing long
length
come
and
he has
had
experience
of life, and
THE
had
TRUE
never
FUNCTIONS
heard them
OF
POETRY
289
and it is
Then vivid exactness. that lines, the birth of some Ionian festival or among at an
generation
a
after generation
over
for thousands
a
of years,
the
with
power literature
the
own
mind
and
charm
which
current
of his unable
day,
with
advantages,
is utterly
to
rival.1
of the best poetry that of Ancient of the best nations and pre-eminently England Greece and studies as bear with all such tillwe study directly
ture, religious, on moral, and on political culfulfilling the educational be adequately shall we which
now on
Not
the
changed
conditions
under
view,
our once
us. entailed upon from the question this point of regarding No one doubt distinguish. can we that must
living, have
confused
and
inadequate
definitions
of poetry,
at
from, and leading to confused and springing have inadequate notions of its nature and its aims its higher not distinguishingbetween arisen from our and
lower
manifestations,
of the world's
as
between
as
poets
conceived order
and
conceived
poets of As long
same
secondary
we
as
accustom
ourselves
to
to
loosely
common
in the
name
category
"poetry"
and
the the
of
Bound
and Ode
and the Rape of the Lock, the Odes of Prior, the Attis
on
Odes
of what from an
should
constitute,
educational
1
point
of view,
is
not
poetry," likely to be
Grammar
of Assent,
U
p. 78.
290
POETRY
and furthering.
AND
I am
CRITICISM
here
that poetry, pleading a medium as of civil culture and discipline should, have far both in elementary education, and advanced is attached importance to it to it than more attached
sound
at
present,
to
it should
can
be to
never
us
what that
it was place
hold
and
charm
and
and
value
to
me,
a
theology
the Faerie
Queene
with
the Old
and up
in the
course
of study
drawn
by
for theological
students.
It is
no
paradox
study
say, that to the properly directed look, at least now must poetry we
to
illumination
elsewhere.
which
shall
nocollateral codeswhich security in rational " the inspired insight of ethics and in what sage and has revealed, are daily losing their serious poets"
and
seek have
in vain
and The
solace
creeds
are
indeed
hard
there constitution for, in that constitution, to destruction, them not fiction and distinction between is no drawn only between the symbol truth, in other words and what is It is here that poetry comes the second. for in poetry the distinction is clear; to the rescue, is everything is symbolized the kernel, what what is symbol is separable the husk. and nothing in the In every therefore, of education, stage,
to
" "
but
more
importance
is attached
to
the
THE
TRUE
in
the
FUNCTIONS
schoolroom,
at
OF
the
POETRY
Universities,
291 it
nursery,
would serious applied. be
wise
of
us
to
apply
to
uses
than
those
fill,I repeat, the same place in it filled in that of the our as system of education Greeks, and become not the chief medium ancient
It should
merely of discipline.
aesthetic
but
of
religious
and
moral
APPENDIX.
See
page
210.
T)ROFESSOR JL gratulated
ROBERTS
on
is, on
as an
to
be
con-
his work
translator,
for, if in the first capacity, he cannot claim distinction, he in a high degree, if, as a possesses, competence, and he is at times translator, perhaps unnecessarily phrastic, perihe and it is
is often vigorous.
happy
and
almost
always
trustworthy
Of
extra
it may
be
said
that
"
magis
cautious, if it does
crises,
sober, and
not
called
a
it almost
occurs,
disappoints.
Wherever
real
difficulty
be
chance
or
avoided
be
is left, and
the
as
absurd well
as
livdtv lAwy in section xxxv (4) plight in which lavaviLv in section xliv (n). The retention of ftaQovg at the beginning of the second section,
the
rambling
indecision
of the
note
is
an
tration illus-
is disinfirmity. Similar weakness played of the same in the choice of readings, as the rejection of such Bentley's brilliant emendation certain and cnraffrpcnrrti in
to the untenable of xii and the adherence tVt'or/oairra or the Paris manuscript; of the Paris again, the rejection ijQSivand the adoption of Tollius' e"3wi',though
section
conjecture,
no
one
could
put
the
case
has
done.
Nor
is Dr.
Roberts though
it generally
be, impeccable.
as
i, u6p6av
it"s$fi*a.Tt"
the power
is not,
the context
"displays
294
POETRY
AND
CRITICISM
but "all
at
once,"
(of an
"at
"most not
a
orator)
stroke." fertile"
in
all In
viii, y"m/iwrcmu
"most
is rather
or
possibly
the words
KOLVOV
"principal,
"and
which
vivre
tiffirtp
eddtyovgrtvoe
being
rate
be
better
to
turned
of expression
as
.
assumed these
."
than
"beneath
the
which
is not
only
bald,
as
but
adequate in-
in xvii
"place,"
is entirely
miss
mean
the
meaning.
Again,
?)0oe
in section and
the
xxix
note
cannot
on
"delineation
of character," word
this
In
difficult and
important
is most
adequate in-
difficult word rather section xxiii, the in the Zol-flKovovvTa is very loosely rendered "impress" as translation,
can
and
explained
nor
dXoff^fpwe
but
in section
massive
"for
images,"
instance."
"generally"
summatim,
in section
a/^tXtt
xvii,
KOI
rat
TTWC
vavovpytiv
"
ri-^rt) rote
most
KaXXeai
etc.
a
"
passage
inadequately
dealt
with
by
Dr.
Roberts
it is
to
say
doubtful
"
whether
with
"when
beauty,"
nor
introduced
by"
much
mend
matters.
Toup's
to
Ruhnken's
^a'XX*
"rt
proposal
read
take
rote
which
and
more
Dr.
Roberts
should
might been
mentioned.
successful
x,
difficult passages
the
section
where
plain meaning he
authority,
meaning
gives whole
wrong
impression
of
the
of the
passage.
APPENDIX
But the
295
capital
does
on
interpreter
commentator exact
as an of Dr. Roberts editor and lie here. Surely the first duty of a not Greek be to explain a the critic should
defect
meaning
to
or
go
no
of Greek critical terms; what, further than this treatise, were significations of d"poc and
and
for the
example,
modified
of i//v^pon/c, a(f"f\fia,
r)\o", of
cialpeiv
the
terms
derived
like. This
from
can
it, of
and
done
the
by
and
illustrations
Greek
afforded critics with the collateral interpretation by the Latin. All that represents in Dr. Roberts' this is a very meagre far as a rule, so correct work glossary,
as
it goes,
use
but
too
indeterminate students.
reserve,
and
one
jejune to
Dr.
be
of
much
to
serious
In
respect,
that
Roberts rigid
may
be
praised
without
and
to
and
in his
refusal
corrupt
such
emendations, conjectural
avrov
with Tucker's
and
6 M"D/uoe
for o/^wc
alro
his
almost
xxxiv.
most
He odious
Ei'SvXXuwc
a
in section for
xxxii,
"/cw
Xtrwg
in the
silent protest
pest
now
against
mischievous
epidemic
inferior classical
pronounced English,
to
His translation may editors. has yet appeared be the best which
as
a
among fairly be
in
for it is
rule
both
spirited
and
accurate.
INDEX
Accio, Adams,
T., 206. Samuel, Aristophanes, Aristotle, 209, of
222,
Addison, Longinus
213, 214,219,
Arnold,
124,
137, 263,
211,
194,
233.
Akenside, Longinus
Mark,
on,
influence
of
Aspland,
Brook,
175.
190.
100.
216. Alcott, A. B., 36. Bailey, 60. Aldrich, Thomas Alfieri, Vittorio, 115. Allston, Washington, Alsop,
Aubrey, Aulus,
John,
Gellius,
Aurelian, Ausonius,
18.
Richard,
100.
16.
Bacon,
248,
Lord, 264;
his
198, definition of
Jerome,
232.
222,
236.
244.
poetry, 271. Barclay, John, 178, 197, Barlow, Joel, 16. Beattie, 129.
200.
Anderson,
Andreae,
Angelo,
Henry,
200.
James,
Thomas
16,
a,
no,
112,
114.
JohanivValentin,
Michael,
245.
238. 261.
Becket,
Beer,
Beets,
134.
42.
218.
Mrs.
Lynn,
Nicolaes,
Begley, Rev.
Gadara,23i,
238,240,
of the N(n"a Solytna, 176; credit due to him for an interesting discovery, 177; his for ascribing arguments Milton examined, 188; untenable
it to
their
298
ions
POETRY
AND
CRITICISM
in Nova Browne, Sir Thomas, those and 36, 267. Brownell, Solyma, 191; opinions on eduHenry Howard, cation, 42. Arian doctrines, Browning, Elizabeth Barrett, 191 ; and polygamy, ton's Milbetween 192; comparison Latinity and that of the 192; Romance,
errors,
divorce
275Brummell,
79.
4, 5; Wordsworth,
22-4;
poetry, 199;
200
Cullen,
son and note; compariof Milton's Latin poetry ries with that of his contemporacollapse of Mr. Begley's
"
; his characteristics,
note
dominant
case,
Berni,
202-3. Francisco,
of his poetry, fluence 25; his simplicity, 26; his in27, 28; his genius, 30,
97.
Best, Paul,
172,
194,
123.
233. 183.
John,
Edmund,
Bp.
William,
Lieut. Wm.,
42.
141.
Burns,
Flag,
Boccaccio,
Bodoni, Boileau,
206. Nicolas
118, 148, 149. Robert, 103, no. Butcher, S. H., 279. Burton,
72,
102,
B.
D.,
206,
Lady,
212.
Mather, Hon.
15.
John,
87.
Byron,
Lord,
Boswell, Bouhours,
219.
James, 229.
Dominique Abb", and
Boyd,
Boyd,
Alexander,
Robert,
200.
200.
criticism, 78; character, his letters, 80; his keen 79; interest in daily events, 81;
completeness
n.
Bradford,
William,
Bradstreet, Anne,
Brainard, Brooke,
15.
John,
Maria, Lord,
G. C., 19.
20.
assimilative
shipwreck
86; the
Juan,
87;
re-
Brougham,
84.
the
INDEX
299
vision
as
I Chapman, by the vaGeorge, riants, 107, 196. ness indebtedCharles 1,8, 168 note, 179.
to
Lord,
287.
101,
G.,
i,
141, 278.
Harold,
93, 96;
Don
j
|
Chrysippus,
i Churchill,
279. Charles,
220
101.
indebted95; Manfred, 96; his ness Diavolcssa, to La 97-8; his extensive reading, knowledge of. Latin, 99-100; from his appropriations the moderns, 98; his
note,
229,
236, 239, 249, 253, 262, 276. Claudian, 99. Clifton, William,
16.
j Coleridge,
Mr.
Ernest
Hartley,
101,
poets, 105. among 107; position Samuel Taylor, Coleridge, his insincerity, 108-11; Manfred, j 19, Byron's no, 102, 1 1 2-3 ; 129, 130, 138, 44, where old HarChilde lay, on 264; poetry, 272. 114-6; power i Collins, William, his Don Juan, \ 16-9 ; 141. and
j Colton,
Conde1,
C. C.,
220.
the Continent,
121;
Comenius,
180, 191.
W.,
his
and
Jean, 255.
80.
Congreve,
Cook,
144, 153.
Cowley,
199, Cowper,
100,
194, 197,
William,
16, 278.
Crabbe, 236
Cranch, Crantor,
George,
Carew,
Carlyle,
264.
Thomas,
Thomas,
I Crashaw,
175.
200.
239,
!
'
Casaubon,
I., 206.
j Cromwell,
\ Curran,
Casti, Giovanni
Battista, 96-7,
J. P., 105.
87.
20,
21.
Channing,
Richard
Henry,
POETRY
Dante,
AND
CRITICISM
Drayton,
Michael,
6, 196.
u,
264, 281.
Dryden,
John,
104,
114,
Darmesteter,
Davenant, Davies, Dawes, Sir
172, 214.
272.
Du
Bartas,
G. Saluste,
170.
15.
John, 272.
Dwight,
Dyer,
Timothy,
21,
22.
8 note,
John,
Dyscolos,
Apollonius,
251.
Isaac,
Demetrius
123. Alexandria, of
Eckermann,
J. P.,
229, 277.
225,
Edward
Egger,
237 note, 283, 249, 250, 253. Demosthenes, 122, 214, 22onote,
228, 229, 230, 231, 235, 243,
I, 134, A. Emile,
Eliot, George,
Emerson, Ralph
148. Waldo,
6,
n,
American
de Stael, Madame,
35;
Ennius,
de Tocqueville, Dibdin,
68, 75
76" 7721.
Charles,
Chrysostom,
his
poetry,
251.
silence about
3, 249,
Epicrates, 245. Erythraeus, Janus Nicius, 179. Don Jose", Espronceda, 123.
Euhemerus, Eunapius,
244.
Dionysius,
Roman
250,
See
253Dionysius
Longinus. Dionysius
Euripides,
Longinus,
222.
I Eusebius, Evans,
15. 32.
of
Halicarnassus,
Everett,
226.
Fabricius,
Georgius,
201,
235,
on
226.
226.
287.
Fe"nelon,
F.
on
Longinus
the
Sublime,
34, 36, 105, Fielding,
Dr.
John,
213. Henry,
219.
I Fiocchi,
Rev.
169, 194,
200,
170, 171.1
Drake,
Joseph Rodman,
| Fox,
Charles
James,
effect of
INDEX
Longinus
220.
301
Harrington,
on
the Sublime
on,
J., 178.
Harte,
Anatole,
France,
255.
Franklin,
Freneau, Froude,
Benjamin, n.
Philip, 17. J. A., 54. Dr.
F.
Bret, 5, 33; his where lies, 71 ; his style, 72; power as a humorist, 72-3.
Hartford, Hartlib,
note.
87.
Samuel, 188, 189, 190,
Furnivall,
J., 263
191. Havell,
H.
L.,
on
Garibaldi,
Gibbon,
on
Longinus
on
146. Edward,
Longinus
221,
Hawthorne,
Hay,
Nathaniel,
the Sublime,
219-20,
Colonel, 73.
Helen, Paul
Hay,
Hayne,
75. Hamilton,
61.
Hazlitt, W.
Heine,
C., 105
Henry,
note.
122.
Glauco,
Heinrich,
Heinecken,
101.
Godwin,
Goethe,
96,
Francis,
Hemans,
Mrs.,
II, 134. Patrick,
20.
178.
49, 58, 67, 68,
I2O, 122,
J.
112,
W.,
Henry Henry,
113,
128,
13.
Hephaestion,
264, 277.
Goldsmith, Gordon,
Heraclides Hermogenes,
Major, 96.
122.
Hesiod,
note.
Gray,
128,
Thomas,
86, 92,
100,
114, 141,
31, 247, 282-3. Hillhouse, James, A., 18. Hobbes, Thomas, 197, 207,
212,
272. Hoffman,
39.
Charles
Fenno,
27.
Robert, R.
Holinshed, Holmes,
note,
21,
195.
W., 8
5;
on
Emerson's
32, 33;
170.
Hall,
Hall,
Bp., 178.
work,
Jno., 207.
Fitzgreene,
5"19.
13. Homer,
note,
Halleck, Hamilton,
169, 208,
218,
220,
211,
Alexander,
243, 244,
302
POETRY
AND
261, 262,
CRITICISM
Keats,
28, 43, 51, 85; his description of Byron, 112, 115, 119,
John,
John,
142,
16.
128, 129,
148, 149,
159Hooker,
Hopkinson,
Thomas,
n.
Joseph, 17.
219,
Kingsley,
Kolbing,
Horace,
Prof.
Eugen,
95.
Howe,
Kossuth,
L., 146.
A. de, 123. Miss, 20, 27.
Elizabeth,
176.
Lamartine,
John,
Victor, David, Helen Leigh,
206.
Landon,
Landor,
123.
200.
W.
S.,
on
Gerald
Mas-
Hume,
Hunt,
Hunt,
Jackson, 75.
Hurd, Hyde,
sey, 142-3, 149, 200 note. Lane, John, 124. Langbaine, Gerard, 205. Lanier, Sidney, 33, 61, 62. La Rochefoucauld, F. de M.,
206.
H)rperides,
118. Lauder,
i/i.
William,
Immermann, Isaeus,
226.
122.
!95Lebrecht, Karl,
Le
122.
Richard, 19. Jefferies, John Brown's Body, 42. John of Sicily, 211, 223,
240 note, 242.
Richard
Henry,
13. 206.
Le
Fevre,
Tanneguy,
Legat,
John, 177.
Mrs.,
112.
Johnson, Samuel,
170, 171,
note,
200
Leigh, Lemon,
208
and
217, 246.
I., 123.
Johnston, Arthur, 167, 168, 200. Jones, Ernest, 144. Jones, Sir William, 103. Jonson, Ben, 114, 196, 211,
259;
on
Libanius, Linacre,
a
197.
4, 5, 30, 32, of his work,
the
functions
of
Livy,
loo.
Longfellow,
H. W.,
Juvenal, 35,
Kames,
99.
33, 39 ; character
Lord,
219.
INDEX
beauty
as a
of his poetry, 54-5 ; matic lyric poet, 55 ; his dralator, 56 ; as a transpoems, greatest 57 ; America's
Socrates,
235;
his
Oriental
blood, 235 ; raised objections by the anti-Longinians discussed, 236-9 ; the remains of Longinus of Palmyra, 239-40 ; Professor Vaucher's
241-2;
Roman
poetry, 3
122;
; on
about Demosthenes,
methods,
of antiquity
what leads
the
us
to,
ofitscomposition,252;
206-7;
English
of
translation, 209 ; Havell's version, influence 210; of the its neglected Treatise, 210; existence, Boileau's F"nelon
on
Lowell,
211-2;
effect
of
258-62. R., 5, 30, 32, 33; Whittier, 38 ; on Poe, 43 ; on comcharacter of his work, parison
Jas.
version,
212-3;
influence influence
on
Goldsmith,
Johnson,
and
Reynolds,
2
217-8;
Papers, 53.
99, 194, 226.
Lyly,
John, 195.
261.
Lysias,
theory,
Macaulay, Macpherson,
Lord,
253.
becomes
Queen
234;
Zenobia,
death,
a
239. Christopher,
16, 195.
John, 195.
Andrew,
60,
194.
235 ;
soul worthy
of
Masenius,
Jacobus, 169.
304
Massey,
POETRY
Gerald,
Lander's
AND
ion opin-
CRITICISM
on
poetical
abilities, 275-6,
100
his services to the cause of liberty, 144; his lyrics, 145; his revolutionary
of, 142-3;
John,
Lady
note.
Mary
Wortley,
ballads,
poems,
146 ;
his
satirical
147-8 ;
his
Jorge de,
186.
Thomas,
of
Babe
152; Christabel,
More,
More,
Henry,
178, 198.
Morley,
Morris, Morus,
174, 175.
131, 278. F. R. Nathan,
William,
Sam.
Babe
237.
Mrs.
of
Moulton,
Chandler,
75.
Wilhelm,
Arthur,
57,
200,
122.
of Haunted
his
158-60;
160-6,
The
208.
in,
175.
John,
81 note,
176.
Massinger,
Maturin, Maurice, Maximus, May,
Philip, 94. Rev. Chas. R., 96. F. D., 144, 148, 153.
Tyrius,
226.
200. 211.
Napoleon, Napoleon,
14. Louis,
147, 155.
Nash, Newman,
Thomas,
Thos.,
Meeres,
194, Francis,
79. Cardinal,
285 ;
on
Melbourne,
Menander, Meredith, Metrodorus Mezentius, Miller, Milman,
Lord,
229.
53.
Nichol,
Prof.,
i,
Owen,
72.
244.
Nonius,
North, Nova
Marcellus,
Christopher,
Solyma, Mr.
244. Begley's
covery dis-
Joaquin,
other
romances,
178-9]
Milton,
John,
18,
112,
against
188-203.
O'Brien,
167-76;
the
his probable ance ignorTreatise on of Longinus' 211, the Sublime, 264, 274;
176-203;
James,
O'Connor,
Odenathus,
233.
INDEX
Oldisworth,
305
Plato, 228,
246,
on
William,
243.
208.
230,
Olympiodorus, Origen,
Otis,
232.
12.
the
two
worlds,"
265-71 ;
James,
Ovid,
poets, 273-4, 277, 286-7. Plotinus, 226, 232, 235. Plutarch, 98, 229, 230, 251, 287.
on
Paine,
Robert
Treat,
Parsons,
61.
Dr. Thomas
17. William,
Poe,
5, 32, 33; his alien genius, 42; acter charhis of poetry, 43-44; its
Edgar
Allan,
Pater, Walter,
Paulding, American Payne, Pearce, Peck,
originality, 44 ; excellences and defects, 44-5, 61. Poetae Latini Minores, 5. Poetry,
true
John
Rev.,
functions
of the
Zachary,
importance
element
Francis,
his Mil-
171-3.
ration
in, 264;
Samuel,
273-4
function
of,
275-7; abuse of poetry, 278; its relation to theology, 280; difference between ancient and 283,
modern
Petrarch,
Petronius,
conceptions
place
of,
178, 184.
Pheidias,
of
286-90.
189.
230.
18.
Philo,
Judaeus,
223.
226, 231.
227. Alexander,
116, 140,
16, 18,
102,
231. 232.
232,
233,
Poucshkin, Praed, W.
Prior, Matthew,
Proclus,
242, 243.
Coate,
20.
Prothero,
note,
Mr.
1 -2.
Rowland
C., 78
240 note.
80, 8
306
POETRY
99.
no,
AND
CRITICISM
Rogers, Samuel,
in,
Pseudo-Musaeus, Pseudo-Ossian,
281.
115. 207.
178.
211.
Rollin, Charles,
Ross, Alexander,
213.
Pujol, 206.
Pulteney, Punch, William,
Rossetti, Rousseau,
Dante
245.
Erycius,
Ruhnken,
George,
252.
and note, 241, note. Ruskin, John, 76, 156, 245, 257,
285.
Queensberry, Lord.
Johannes Quintianus,
cus,
Francis-
170.
249,
287
28.
Radcliffe, Byron's
Ramsay, Randall, Read,
61.
Anne,
poems, Andrew,
influence
94, 113.
on
Sandys,
Sannazzaro,
Sappho,
178,
170,
42.
200.
Jas. R.,
Thomas
Buchanan,
60,
4, 140, 228. Schiller, 6, 49, 55, 58, 96, Schlosser, J. G., 206.
112.
Schoel,
236 note. R. R., 91.
Fredk.,
226. 19,
102,
in,
Reimarus,
Scott, Sir Walter, 115, 116. Scotus, John, 279. Seneca, 99, 225."
Shakespeare,
Reinagle, Reiske,
Reynolds,
William,
120,
i,
2,
6,
Longinus
the
Sublime,
121,
122,
217-9. Richardson,
Riley,
195, 264,
100.
268, 270,
106.
271, 282.
Shelley, Mrs., Percy
112,
James
W.
Roberts,
on 210,
Shelley,
Bysshe,
28, 44,
on
the Sublime,
221,
204 note,
67, 108,
243, 250 note, 262; defects of his edition, 293-5 ! lation, errors, 294; merit of his trans-
poets, 274, 275, 280, 287, note. William, Shenstone, 100, 108,
114.
295;
an
conservatism
as
Sheridan, Sidney,
Richard Sir
Philip,
178, 186,
222,
211,
Fr.
211,
223.
Sigourney,
264. Lydia, 20
INDEX
Silvester, Simmias, Simon, Skinner, Smiles,
307
Sumner, Swift, Dr. C. R., 193 note.
Joshua, 170.
246.
Jonathan,
210,
98,
118,
140,
246.
Cyriac,
Dr.
173.
on
Samuel,
Massey,
Smith,
Smith,
153. Edmund,
215, 216, 248. C., 131. Symonds, John Addington on Walt Whitman, 63-4, 67.
Algernon
208.
Captain
Sydney,
John,
7.
Tacitus,
Tasso,
Smith,
Smith,
William,
on
Taylor,
33; his versatility, 58; his defects, 59; his best work, 60. Lord,
Bayard,
Tennyson,
20,
Southey,
4, 44, 49, 50, 60, 67, 86, 51, 70, 92, 98, 114,
120,
note.
240,
102,
note.
Spenser,
196
Edmund,
note,
180,
and
264,
279, 280,
146, 149, 281, 283. Terentius, Maurus, 195, Terentius, Varro, 100.
220.
Thackeray,
peace, Make-
Spurdens,
William
18. Tylney,
his
Thaxter,
translation
Staphorstius,
Stebbing,
Theophrastus, Thomson,
Thomson,
Benjamin, 15.
James,
H.
19.
T. R. Edmund
4-5,
Stedman,
33,
39,
67,
219.
102.
Robert
Louis,
255.
Timaeus,
Timrod, Tipaldo, Tisias,
Stewart,
Stoddard, Story,
Dugald, Richard
on
230. Henry,
61.
206.
Em.,
Judge,
American
poetry, 28. Strabo, 226, 251, 274. Strachey, William, 7. Street, Alfred B., 8 note, 19, 27. Suidas, 223, 237.
106.
J., 196. Jaques, 206. Tolmer, John, 194. Toup, Jonathan, 206.
Tollius,
H.
308
Trumbull, Twain, Twining, Tyler,
POETRY
AND
CRITICISM
his
limitations, 136-9;
John, 15.
Mark,
the
73.
209.
Thomas,
characteristics of great poetry, depressing 140; conditions under poetry which developing, 141. Watts, Alaric, 94, 101,
Prof. M.
C,
4.
is
now
Tyrtaeus,
4, 146.
105.
Uhland,
Weales,
Thomas,
209.
211.
177.
Webbe,
Weddigen,
William, Otto,
123 note.
206,
222,
Flaccus, Maximus,
99.
Weiske,
Benjamin,
Leonard,
287 note.
226 ; his
226, 242.
Lennep,
Jacobus, 123.
206,
Welsted, Wesley,
West,
207.
Vaucher,
theory
Lewis,
on
John,
Richard,
H.,
290.
100.
the
Wetstein, Whitelock,
235 note,
241, 242.
207.
32,
| Whitman,
de la, 123.
Vigne, Virgil,
2OI,
Cashnir
21,
5,
Symond's
Von
122,
128.
of, 65; conflicting opinions his eccentricity, 66-7 ; his originalit 67 ; extravagant
Vopiscus,
235.
homage
117.
214.
paid his
to him,
68;
secret
69-70;
j Whittier, John
32" 33. 35 ! early life and.characteristics, 37, 38; his place American poets, 39; among his excellences and his defects, 40; character of his poetry,
41, 42, 50, 55, 146. Wigglesworth, Michael,
John
Lane,
with
treatment
the
masters,
poetry
15.
of Nature,
I Wilcox, Wilde,
Carlos,
Richard
the
good
judgment
Mr.
19. Henry,
20. %-ersa-
editor,
131-2;
Watson's
careful revision, 133-4, an"^ felicitous his corrections, Classic, true a 134-5; 135-6;
P., his
H., 61.
Forceythe,
42.
Will
son,
INDEX
Winstariley,
Wolf,
309
Wyttenbach,
Xenophon, Yankee Young,
102, nus
William,
180. William,
167.
his
Daniel,
240 note.
Lucien,
Wordsworth,
4;
definition of poetry, 13, 21, 24, 33. 35. 49" 52. 67, 68, 76, 79,
109,
no,
Man-qf-War, 17.
Edward,
ii i
on,
115, 119,
122,
127,
128, 129, 130, 133, 140, 264, 270, 271 ; his defect as a poet,
216-7.
233, 234, 235. 235.
Zenobia,
Zosimus,
CHISWICK
TOOKS
PRESS COURT,
CHARLES CHANCERY
WHITTINGHAM LANE,
AND
CO.
LONDON.