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146 BURNs — Not A PRODIGY, BUT A GENIUs.

humble retirement, where he has no reputation to lose, and where he can easily hope to excel all that he sees around him, is much more likely, we think, to give himself up to poetry, and to train himself to habits of invention, than if he had been encumbered by the pretended helps of extended study and literary society. If these observations should fail to strike of themselves, they may perhaps derive additional weight from considering the very remarkable fact, that almost all the great poets of every country have appeared in an early stage of their history, and in a period comparatively rude and unlettered. Homer went forth, like the morning star, before the dawn of literature in Greece, and almost all the great and sublime poets of modern Europe are already between two and three hundred years old. Since that time, although books and readers, and opportunities of reading, are multiplied a thousand fold, we have improved chiefly in point and terseness of expression, in the art of raillery, and in clearness and simplicity of thought. Force, richness, and variety of invention, are now at least as rare as ever. But the literature and refinement of the age does not exist at all for a rustic and illiterate individual; and, consequently, the present time is to him what the rude times of old were to the vigorous writers which adorned them. But though, for these and for other reasons, we can see no propriety in regarding the poetry of Burns chiefly as the wonderful work of a peasant, and thus admiring it much in the same way as if it had been written with his toes; yet there are peculiarities in his works which remind us of the lowness of his origin, and faults for which the defects of his education afford an obvious cause if not a legitimate apology. In forming a correct estimate of these works, it is necessary to take into account those peculiarities. The first is, the undisciplined harshness and acrimony of his invective. The great boast of polished life is the delicacy, and even the generosity of its hostility—that quality which is still the characteristic, as it furnishes the denomination, of a gentleman—that principle which

BUT WITH FAULTS OF RUSTICITY. 147

forbids us to attack the defenceless, to strike the fallen, or to mangle the slain — and enjoins us, in forging the shafts of satire, to increase the polish exactly as we add to their keenness or their weight. For this, as well as for other things, we are indebted to chivalry; and of this Burns had none. His ingenious and amiable biographer has spoken repeatedly in praise of his talents for satire — we think, with a most unhappy partiality. His epigrams and lampoons appear to us, one and all, unworthy of him; — offensive from their extreme coarseness and violence—and contemptible from their want of wit or brilliancy. They seem to have been written, not out of playful malice or virtuous indignation, but out of fierce and ungovernable anger. His whole raillery consists in railing; and his satirical vein displays itself chiefly in calling names and in swearing. We say this mainly with a reference to his personalities. In many of his more general representations of life and manners, there is no doubt much that may be called satirical, mixed up with admirable humour, and description of inimitable vivacity. There is a similar want of polish, or at least of respectfulness, in the general tone of his gallantry. He has written with more passion, perhaps, and more variety of natural feeling, on the subject of love, than any other poet whatever—but with a fervour that is sometimes indelicate, and seldom accommodated to the timidity and “sweet austere composure” of women of refinement. He has expressed admirably the feelings of an enamoured peasant, who, however refined or eloquent he may be, always approaches his mistress on a footing of equality; but has never caught that tone of chivalrous gallantry which uniformly abases itself in the presence of the object of its devotion. Accordingly, instead of suing for a smile, or melting in a tear, his muse deals in nothing but locked embraces and midnight rencontres; and, even in his complimentary effusions to ladies of the highest rank, is for straining them to the bosom of her impetuous votary. It is easy, accordingly, to see from his correspondence, that many of

148 BURNs — HIS UNLUCKY DISDAIN or PRUDENCE,

his female patronesses shrunk from the vehement familiarity of his admiration; and there are even some traits in the volumes before us, from which we can gather that he resented the shyness and estrangement to which those feelings gave rise, with at least as little chivalry as he had shown in producing them. But the leading vice in Burns's character, and the cardinal deformity, indeed, of all his productions, was his contempt, or affectation of contempt, for prudence, decency, and regularity; and his admiration of thoughtlessness, oddity, and vehement sensibility; — his belief, A in short, in the dispensing power of genius and social A feeling, in all matters of morality and common sense. * This is the very slang of the worst German plays, and * the lowest of our town-made novels; nor can any thing be more lamentable, than that it should have found a patron in such a man as Burns, and communicated to many of his productions a character of immorality, at once contemptible and hateful. It is but too true, that men of the highest genius have frequently been hurried by their passions into a violation of prudence and duty; and there is something generous, at least, in the apology which their admirers may make for them, on the score of their keener feelings and habitual want of reflection. But this apology, which is quite unsatisfactory in the mouth of another, becomes an insult and an absurdity whenever it proceeds from their own. A man may say of his friend, that he is a noble-hearted fellow — too generous to be just, and with too much spirit to be always prudent and regular. But he cannot be allowed to say even this of himself; and still less to represent himself as a hairbrained sentimental soul, constantly carried away by fine fancies and visions of love and philanthropy, and born to confound and despise the cold-blooded sons of prudence and sobriety. This apology, indeed, evidently destroys itself: For it shows that conduct to be the result of deliberate system, which it affects at the same time to justify as the fruit of mere thoughtlessness and casual impulse. Such protestations, therefore, will always be treated, as

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soBRIETY, AND ORDINARY DUTIES. 149

they deserve, not only with contempt, but with incredulity; and their magnanimous authors set down as determined profligates, who seek to disguise their selfishness under a name somewhat less revolting. That profligacy is almost always selfishness, and that the excuse of impetuous feeling can hardly ever be justly pleaded for those who neglect the ordinary duties of life, must be apparent, we think, even to the least reflecting of those sons of fancy and song. It requires no habit of deep thinking, nor any thing more, indeed, than the information of an honest heart, to perceive that y it is cruel and base to spend, in vain superfluities, that money which belongs of right to the pale industrious tradesman and his famishing infants; or that it is a vile, prostitution of language, to talk of that man's generosity or goodness of heart, who sits raving about friendship) and philanthropy in a tavern, while his wife's heart is, breaking at her cheerless fireside, and his children pining, in solitary poverty. ---TThis pitiful cant of careless feeling and eccentric genius, accordingly, has never found much favour in the eyes of English sense and morality. The most signal effect which it ever produced, was on the muddy brains of some German youth, who are said to have left college in a body to rob on the highway ! because Schiller had represented the captain of a gang as so very noble a creature.—But in this country, we believe, a predilection for that honourable profession must have preceded this admiration of the character. The style we have been speaking-of-accordingly, is now the heroics only of th hulks and the house of correction; and has no chance we suppose, of being greatly admired, except in the farewell speech of a young gentleman preparing for Botany Bay. It is humiliating to think how deeply Burns has fallen into this debasing error. He is perpetually making a parade of his thoughtlessness, inflammability, and imprudence, and talking with much complacency and exultation of the offence he has occasioned to the sober and correct part of mankind. This odious slang infects

150 BURNs — some OTHER FAULTs of RUSTICITY;

almost all his prose, and a very great proportion of his poetry; and is, we are persuaded, the chief, if not the only source of the disgust with which, in spite of his genius, we know that he is regarded by many very competent and liberal judges. His apology, too, we are willing to believe, is to be found in the original lowness of his situation, and the slightness of his acquaintance with the world. With his talents and power of observation, he could not have seen much of the beings who echoed this raving, without feeling for them that distrust and contempt which would have made him blush to think he had ever stretched over them the protecting shield of his genius. Akin to this most lamentable trait of vulgarity, and indeed in some measure arising out of it, is that perpetual boast of his own independence, which is obtruded upon the readers of Burns in almost every page of his writings. The sentiment itself is noble, and it is often finely expressed;—but a gentleman would only have expressed it when he was insulted or provoked; and would never have made it a spontaneous theme to those friends in whose estimation he felt that his honour stood clear. It is mixed up, too, in Burns with too fierce a tone of defiance; and indicates rather the pride of a sturdy peasant, than the calm and natural elevation of a generous mind. The last of the symptoms of rusticity which we think it necessary to notice in the works of this extraordinary man, is that frequent mistake of mere exaggeration and violence, for force and sublimity, which has defaced so much of his prose composition, and given an air of heaviness and labour to a good deal of his serious poetry. The truth is, that his forte was in humour and in pathos —or rather in tenderness of feeling; and that he has very seldom succeeded, either where mere wit and sprightliness, or where great energy and weight of sentiment were requisite. He had evidently a very false and crude notion of what constituted strength of writing; and instead of that simple and brief directness which stamps the character of vigour upon every syllable, has

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