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536 wordsworth — FINE DESCRIPTIONS AND IMAGES.

A twofold image. On a grassy bank
A snow-white Ram, and in the crystal flood
Another and the same ! Most beautiful,
On the green turf with his imperial front
Shaggy and bold, and wreathed horns superb,
The breathing creature stood as beautiful,
Beneath him, show'd his shadowy Counterpart.
Each had his glowing mountains, each his sky,
And each seem'd centre of his own fair world:
Antipodes, unconscious of each other,
Yet, in partition, with their several spheres,
Blended in perfect stillness to our sight!"—p. 407.2

Besides those more extended passages of interest or beauty, which we have quoted, and omitted to quote, there are scattered up and down the book, and in the midst of its most repulsive portions, a very great number of single lines and images, that sparkle like gems in the desert, and startle us by an intimation of the great poetic powers that lie buried in the rubbish that has been heaped around them. It is difficult to pick up these, after we have once passed them by ; but we shall endeavour to light upon one or two. The beneficial effect of intervals of relaxation and pastime on youthful minds, is finely expressed, we think, in a single line, when it is said to be —

“Like vernal ground to Sabbath sunshine left.” "

The following image of the bursting forth of a mountain-spring, seems to us also to be conceived with great elegance and beauty.

“And a few steps may bring us to the spot,
Where haply crown'd with flow'rets and green herbs,
The mountain Infant to the Sun comes forth,
Like human life from darkness '''

The ameliorating effects of song and music on the minds which most delight in them, are likewise very poetically expressed.

“And when the stream
Which overflow'd the soul was pass'd away,
A consciousness remain'd that it had left,
Deposited upon the silent shore
Of memory, images and precious thoughts,
That shall not die, and cannot be destroy'd."

HIS GREAT GIFTS GENERALLY MISAPPLIED. 537

Nor is any thing more elegant than the representation of the graceful tranquillity occasionally put on by one of the author's favourites; who, though gay and airy, in general—

“Was graceful, when it pleas'd him, smooth and still
As the mute swan that floats adown the stream,
Or on the waters of th’ unruffled lake
Anchors her placid beauty. Not a leaf
That flutters on the bough more light than he,
And not a flow'r that droops in the green shade
More winningly reserv'd.”

Nor are there wanting morsels of a sterner and more majestic beauty; as when, assuming the weightier diction of Cowper, he says, in language which the hearts of all readers of modern history must have responded— — “Earth is sick, And Heav'n is weary of the hollow words

Which States and Kingdoms utter when they speak
Of Truth and Justice.”

These examples, we perceive, are not very well chosen —but we have not leisure to improve the selection; and, such as they are, they may serve to give the reader a notion of the sort of merit which we meant to illustrate by their citation. When we look back to them, indeed, and to the other passages which we have now extracted, we feel half inclined to rescind the severe sentence which we passed on the work at the beginning:—But when we look into the work itself, we perceive that it cannot be rescinded. Nobody can be more disposed to do justice to the great powers of Mr. Wordsworth than we are ; and, from the first time that he came before us, down to the present moment, we have uniformly testified in their favour, and assigned indeed our high sense of their value as the chief ground of the bitterness with which we resented their perversion. That perversion, however, is now far more visible than their original dignity; and while we collect the fragments, it is impossible not to mourn over the ruins from which we are condemned to pick them. If any one should doubt of the existence of such a perversion, or be disposed to

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538 wordsworth — why HAVE A PEDLAR 2

dispute about the instances we have hastily brought forward, we would just beg leave to refer him to the general plan and character of the poem now before us. Why should Mr. Wordsworth have made his hero a superannuated Pedlar ! What but the most wretched affectation, or provoking perversity of taste, could induce any one to place his chosen advocate of wisdom and virtue in so absurd and fantastic a condition ? Did Mr. Wordsworth really imagine, that his favourite doctrines were likely to gain any thing in point of effect or authority, by being put into the mouth of a person accustomed to higgle about tape, or brass sleeve-buttons? . Or is it not plain, that, independent of the ridicule and disgust which such a personification must excite in many of his readers, its adoption exposes his work throughout to the charge of revolting incongruity, and utter disregard of probability or nature? For, after he has thus wilfully debased his moral teacher by a low occupation, is there one word that he puts into his mouth, or one sentiment of which he makes him the organ, that has the most remote reference to that occupation? Is there any thing in his learned, abstract, and logical harangues, that savours of the calling that is ascribed to him : Are any of their materials such as a pedlar could possibly have dealt in 7 Are the manners, the diction, the sentiments, in any, the very smallest degree, accomodated to a person in that condition ? or are they not eminently and conspicuously such as could not by possibility belong to it? A man who went about selling flannel and pocket-handkerchiefs in this lofty diction, would soon frighten away all his customers; and would infallibly pass either for a madman, or for some learned and affected gentleman, who, in a frolic, had taken up a character which he was peculiarly ill qualified for supporting. The absurdity in this case, we think, is palpable and glaring: but it is exactly of the same nature with that which infects the whole substance of the work—a puerile ambition of singularity engrafted on an unlucky predilection for truisms; and an affected passion for simplicity and humble life, most awkwardly combined with

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HIS AFFECTATION OF SINGULARITY. 539

a taste for mystical refinements, and all the gorgeousmess of obscure phraseology. His taste for simplicity is evinced by sprinkling up and down his interminable declamations a few descriptions of baby-houses, and of old hats with wet brims; and his amiable partiality for humble life, by assuring us that a wordy rhetorician, who talks about Thebes, and allegorizes all the heathen mythology, was once a pedlar—and making him break in upon his magnificent orations with two or three awkward notices of something that he had seen when selling winter raiment about the country—or of the

‘hanges in the state of society, which had almost annitilated his former calling.

540 wordsworth's white DoE.

(October, 1815.)

The White Doe of Rylstone; or the Fate of the Nortons: a Poem. By WILLIAM Wordsworth. 4to. pp. 162. London: 1815.

This, we think, has the merit of being the very worst poem we ever saw imprinted in a quarto volume; and though it was scarcely to be expected, we confess, that Mr. Wordsworth, with all his ambition, should so soon have attained to that distinction, the wonder may perhaps be diminished when we state, that it seems to us to consist of a happy union of all the faults, without any of the beauties, which belong to his school of poetry. It is just such a work, in short, as some wicked enemy of that school might be supposed to have devised, on purpose to make it ridiculous; and when we first took it up, we could not help suspecting that some ill-natured critic had actually taken this harsh method of instructing Mr. Wordsworth, by example, in the nature of those errors, against which our precepts had been so often directed in vain. We had not gone far, however, till we felt intuitively that nothing in the nature of a joke could be so insupportably dull;- and that this must be the work of one who earnestly believed it to be a pattern of pathetic simplicity, and gave it out as such to the admira. tion of all intelligent readers. In this point of view, the work may be regarded as curious at least, if not in some degree interesting; and, at all events, it must be instructive to be made aware of the excesses into which superior understandings may be betrayed, by long self. indulgence, and the strange extravagances into which they may run, when under the influence of that intoxication which is produced by unrestrained admiration of themselves. This poetical intoxication, indeed, to pursue the figure a little farther, seems capable of assuming as many forms as the vulgar one which arises from wine;

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