scratchy slovenly thing." An artist, whose writings are scarcely less valuable than his works, and to whose authority more deference will be willingly paid, than I could even wish should be shown to mine, has told us, and from his own experience too, that good taste must be acquired, and like all other good things, is the result of thought, and the submissive study of the best models. If it be asked, "But what shall I deem such?" the answer is; presume those to be the best, the reputation of which has been matured into fame by the consent of ages. For wisdom always has a final majority, if not by conviction, yet by acquiescence. In addition to Sir J. Reynolds I may mention Harris of Salisbury; who in one of his philosophical disquisitions has written on the means of acquiring a just taste with the precision of Aristotle, and the elegance of Quinctilian. "MADRIGALE. Gelido suo ruscel chiaro, e tranquillo M'insegnò Amor di state a mezzo'l giorno; Girsene il vidi, che turbar no'l volli: Sol mi specchiava, e'n dolce ombrosa sponda MADRIGALE. Aure, dell' angoscioso viver mio Refrigerio soave, E dolce sì, che più non mi par grave A scherzare, e cantar per suoi boschetti, MADRIGALE. Pacifiche, ma spesso in amorosa Guerra co'fiori, e l'erba Alla stagione acerba Verdi Insegne del giglio, e della rosa, Movete, Aure, pian pian; che tregua ò posa, Se non pace, io ritrove; E so ben dove :-Oh vago, e mansueto MADRIGALE. Hor come un Scoglio stassi, Hor come un Rio se'n fugge, Ed hor crud' Orsa rugge, Hor canta Angelo pio: ma che non fassi ? O Rivi, o Belue, o Dii, questa mia vaga Hor che'l prato, e la selva si scolora, Al tuo sereno ombroso Muovine, alto Riposo ; Deh ch' io riposi una sol notte, un hora: Han le fere, gli augelli, ognun talora Ha qualche pace; io quando, Lasso! non vonne errando, E non piango, e non grido? e qual pur forte ? Ma poichè non sent' egli, odine Morte. MADRIGALE. Risi e piansi d'Amor; nè però mai Se non in fiamma, ò 'n onda, ò 'n vento scrissi : Spesso mercè trovai Crudel; sempre in me morto, in altri vissi : Hor da' più scuri Abissi al ciel m'alzai, Hor ne pur caddi giuso; Stanco al fin qui son chiuso." e h/ CHAPTER XVII Examination of the tenets peculiar to Mr. Wordsworth-Rustic life (above all, low and rustic life) especially unfavorable to the formation of a human diction-The best parts of language the product of philosophers, not of clowns or shepherds-Poetry essentially ideal and generic-The language of Milton as much the language of real life, yea, incomparably more so than that of the cottager. As far then as Mr. Wordsworth in his preface contended, and most ably contended, for a reformation in our poetic diction, as far as he has evinced the truth of passion, and the dramatic propriety of those figures and metaphors in the original poets, which, stripped of their justifying reasons, 5 and converted into mere artifices of connection or ornament, constitute the characteristic falsity in the poetic style of the moderns; and as far as he was, with equal acuteness and clearness, pointed out the process by which this change was effected, and the resemblances between that state into which 10 the reader's mind is thrown by the pleasureable confusion of thought from an unaccustomed train of words and images; and that state which is induced by the natural language of empassioned feeling; he undertook a useful task, and deserves all praise, both for the attempt and for the execution. 15 The provocations to this remonstrance in behalf of truth and nature were still of perpetual recurrence before and after the publication of this preface. I cannot likewise but add, that the comparison of such poems of merit, as have been given to the public within the last ten or twelve years, 20 with the majority of those produced previously to the appearance of that preface, leave no doubt on my mind, that Mr. Wordsworth is fully justified in believing his efforts to have been by no means ineffectual. Not only in the verses of those who have professed their admiration of his genius, but even of those who have distinguished themselves by hostility to his theory, and depreciation of his writings, are the impressions of his principles plainly visible. It is pos5 sible, that with these principles others may have been blended, which are not equally evident; and some which are unsteady and subvertible from the narrowness or imperfection of their basis. But it is more than possible, that these errors of defect or exaggeration, by kindling and feeding the con10 troversy, may have conduced not only to the wider propagation of the accompanying truths, but that, by their frequent presentation to the mind in an excited state, they may have won for them a more permanent and practical result. A man will borrow a part from his opponent the more easily, if he feels himself justified in continuing to reject a part. While there remain important points in which he can still feel himself in the right, in which he still finds firm footing for continued resistance, he will gradually adopt those opinions, which were the least remote from his own con20 victions, as not less congruous with his own theory than with that which he reprobates. In like manner with a kind of instinctive prudence, he will abandon by little and little his weakest posts, till at length he seems to forget that they had ever belonged to him, or affects to consider them at most as accidental and "petty annexments," the removal of which leaves the citadel unhurt and unendangered. 15 25 My own differences from certain supposed parts of Mr. Wordsworth's theory ground themselves on the assump30 tion, that his words had been rightly interpreted, as purporting that the proper diction for poetry in general consists altogether in a language taken, with due exceptions, from the mouths of men in real life, a language which actually constitutes the natural conversation of men under the in35 fluence of natural feelings. My objection is, first, that in any sense this rule is applicable only to certain classes of poetry; secondly, that even to these classes it is not applicable, except in such a sense, as hath never by any one (as far as I know or have read) been denied or doubted; and lastly, that as far as, and in that degree in which it is practicable, 5 yet as a rule it is useless, if not injurious, and therefore either need not, or ought not to be practised. The poet informs his reader, that he had generally chosen low and rustic life; but not as low and rustic, or in order to repeat that pleasure of doubtful moral effect, which persons of elevated rank and 10 of superior refinement oftentimes derive from a happy imitation of the rude unpolished manners and discourse of their inferiors. For the pleasure so derived may be traced to three exciting causes. The first is the naturalness, in fact, of the things represented. The second is the apparent 15 naturalness of the representation, as raised and qualified by an imperceptible infusion of the author's own knowledge and talent, which infusion does, indeed, constitute it an imitation as distinguished from a mere copy. The third cause may be found in the reader's conscious feeling of his superiority 20 awakened by the contrast presented to him; even as for the same purpose the kings and great barons of yore retained sometimes actual clowns and fools, but more frequently shrewd and witty fellows in that character. These, however, were not Mr. Wordsworth's objects. He chose low and 25 rustic life," because in that condition the essential passions of the heart find a better soil, in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings coexist in a state of greater simpli- 30 city, and consequently may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings; and from the necessary character of rural occupations are more easily comprehended, and are more durable; 35 |