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And thus she stood, in dizzy trance,
Still picturing that look askance
With forced, unconscious sympathy,
Full before her father's view,
As far as such a look could be
In eyes so innocent and blue !
And when the trance was o'er, the maid
Paused awhile, and inly prayed :
Then falling at the Baron's feet,
‘By my Mother's soul do I entreat
That thou this woman send away!
She said : and more she could not say;
For what she knew she could not tell,

O'ermastered by the magic spell.” It is that description of the serpent-look of the witch's eyes that, being read in a company at Lord Byron's, so affected Shelley's sensitive fancy that he fainted.*

Along with the influence of this poem on the imagination of Walter Scott, there was blended the influence of his long-cherished and studious culture of the early minstrelsy, for which he laboured with patriotic as well as poetic zeal. The genius of Scott, thus wrought on, produced that series of poems which fills a large space in the poetic literature of the early part of this century. With much of Homeric animation, and with the pathos of Greek and British minstrel combined, he sung

of the chivalry and the rude heroism of the olden time; and to those heroic lays there was given a popularity which was dimmed only by the sudden splendour of the speedy and

* In Moore's Life of Byron, vol. iv. p. 147, is the anecdote which I presume is referred to. Lord Byron was most earnest in his admiration of Christabel. His correspondence is full of it. “I won't have any one,” he writes to Mr. Murray in 1816, "sneer ar Christabel; it is a fine, wild poem.” W. B. R.

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more fervid popularity which was won by the genius of Byron.

There is nothing in literary biography finer than the composure, the magnanimity (rather let me call it) with which Scott, making up his mind that he was about to be supplanted in popular favour by a greater poet, tranquilly turned his genius to a new department of invention, in which, as it proved, no rival was to reach him. There is truth, too, in what Scott's biographer has said of this part of his career, that, “ Appreciating, as a man of his talents could hardly fail to do, the splendidly original glow and depth of Childe Harold, Scott always appeared to me quite blind to the fact, that in the Giaour, in the Bride of Abydos, in Parisina, and, indeed, in all his early serious narratives, Byron owed at least half his success to clever, though perhaps unconscious, imitation of Scott, and no trivial share of the rest to the lavish use of materials which Scott never employed, only because his genius was, from the beginning to the end of his career, under the guidance of high and chivalrous feelings of moral rectitude."*

This last remark recalls the account given of a conversation of Scott, toward the close of his life, which may be mentioned before I pass to the name of Byron. Not long before Sir Walter's death, a friend remarked to him that he must derive consolation from the reflection that his popularity was not owing to works which, in his latter moments, he might wish recalled. Scott remained silent for a moment, with his eyes fixed on the ground. “When he raised them,” says the narrator,

as he shook me by

* Lockhart's Scott, vol. v. p. 31.

the hand, I perceived the light blue eye sparkling with unusual moisture; he added, “I am drawing near the close of my career. I have been, perhaps, the most voluminous author of the day, and it is a comfort to me to think that I have tried to unsettle no man's faith, to corrupt no man's principle, and that I have written nothing which, on my death-bed, I should wish blotted."* In this utterance of dignified self-complacency, he stands justified by the story of his wondrous authorship. With regard to Scott's poetry, there are indications that, in the calmer judgment of posterity, the world is willing to restore a part, at least, of the fame it too quickly took away. It is only the other day that Landor, ranking Scott's poems with the classics, has said,

The trumpet-blast of Marmion never shook
The walls of God-built Ilion; yet what shout

of the Achaians swells the heart so high!” In the concluding lecture I propose to proceed with the general considerations of the literature of this century-its chief productions and influences; among which I desire to speak of the character and influence of Lord Byron's poetry, the prose and poetry of Southey, the poetry of Wordsworth, the influence of Mr. Carlyle's writings, and also of some of the women who, both in prose and poetry, have adorned the literature of our times.

* Lockhart's Scott, vol. x. p. 196.

LECTURE IX.

Contemporary Literature.*

Lord Byron–His popularity and its decline-His power of simple, vigor

ous language-Childe Harold—The Dying Gladiator—The Isles of Greece-Contrast of Byron's and Shakspeare's creations-Miss Barrett-Miss Kemble's sonnet-Byron as a poet of nature—His antagonism to Dirine Truth—The Dream, the most faultless of his poems—Don Juan-Shelley-Leigh Hunt's remarks on-Carlyle –His earnestness-Southey-His historical works — ThalabaWordsworth-His characteristics-Female authors—Joanna Baillie -Miss Edgeworth—Mrs. Kemble—Mrs. Norton-Miss BarrettCry of the children, &c.

In bringing this course of lectures toward a conclusion, I shall resume the cursory view of the contemporary English literature which I began in the last lecture. When the literary history of this period shall hereafter come to be written, a voluminous chapter will be needed for what the English language has given expression to within it. During the first quarter of this century, the writings of Lord Byron had the most high-wrought and wide-spread celebrity. His was the commanding name of the day for some ten or twelve years in the first quarter of this century. Scott, as a poet, calmly withdrew at the approach of the new influence. He had probably exhausted that fine, but not very deep, vein of poetry, which gained him a quick popularity and a permanent place among English poets; he withdrew from the region of verse to pass into those unexplored spaces of the imagination in which he was to establish his chief fame as the great writer of historical romance.

* Thursday, February 28, 1850.

The popularity of Byron, take it for all in all, was probably the most splendid that ever poet was applauded and flattered with. His song had larger audience over the earth, and on that audience it exerted an unwonted fascination, swaying the feelings of multitudes, and making its words and its music familiar on their lips. It was popularity too quick grown to last without a large diminution; the love of his poetry was too passionate to stand the test of time. It is not worth while now to measure the extraneous causes which helped that popularity: his rank, his beauty, his audacity, the exposure of his domestic discord, his foreign adventures, half wanderer, half exile-all were elements in that fascination, wherewith all the world watched him and welcomed his words. Without meaning, in a lecture in which I have so much to dispose of, to dwell on the personal history of Lord Byron, let me only remark, in passing, how striking is the contrast between the husband's sentimental soliciting of the world's sympathies, along with a sensual defiance of all that is most sacred by the laws of God and of man; and, on the other hand, the heroic silence and selfcontrol of the wife, and, along with it, a life of devoted and toilsome charity, in which she has sought the reparation of her hopes and happiness. Who can question which was the injured one ?

The extraneous causes of Byron's popularity would be altogether inadequate to account for it. Much as they may have helped it, they alone never could have given it. Looking at it now as a matter of literary history, the

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