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some piece of exquisite loveliness, brought from a wild and unknown recess; now tracing out the hidden germ of the eldest and most barbaric theories; and now calling fantastic spirits from the vasty deep, where they have slept since the dawn of reason. The term, "myriad-minded," which he has happily applied to Shakspeare, is truly descriptive of himself. He is not one, but Legion—" rich with the spoils of time," richer in his own glorious imagination and sportive fantasy. There is nothing more wonderful than the facile majesty of his images, or rather of his worlds of imagery, which, even in his poetry or his prose, start up before us self-raised and all perfect, like the palace of Aladdin. He ascends to the sublimest truths, by a winding tract of sparkling glory, which can only be described in his own language—
"the spirits' ladder,
In various beauty of versification, he has never been exceeded. Shakspeare, doubtless, has surpassed him in linked sweetness and exquisite continuity, and Milton in pure majesty and classic grace—but this is in one species of verse only—and, taking all his trials of various metres, the swelling harmony of his blank verse, the sweet breathing of his gentler odes, and the sybil-like flutter alternate with the murmuring charm of his wizzard spells, we doubt if even these great masters have so fully developed the music of the English tongue. He has yet completed no adequate memorials of his genius; yet it is most unjust to assert, that he has done nothing or little. To refute this assertion, there are, his noble translation of Wallenstein—his love-poems of intensest beauty—his Ancient Mariner, with its touches of profoundest tenderness amidst the wildest and most bewildering terrors—his holy and most sweet tale of Chrixlabel, with its rich enchantments and its richer humanities—the depths, the sublimities, and the pensive sweetness of his tragedy—the heartdilating sentiments scattered through his "Friend"—and the stately imagery which breaks upon us at every turn of the golden paths of his metaphysical labyrinths. And, if he has a power within mightier than that which even these glorious creations indicate, shall he be censured because he has deviated from the ordinary course of the age, in its development; and, instead of committing his imaginative wisdom to the press, lias delivered it from his living lips 1 He has gone about in the true spirit of an old Greek bard, with a noble carelessness of self, giving fit utterance to the divine spirit within him. Who that has heard can ever forget him—his mild benignity—the unbounded variety of his knowledge—the fast succeeding products of his imagination—the child-like simplicity with which he rises, from the driest and commonest theme, into the widest magnificence of thought, pouring on the soul a stream of beauty and of wisdom, to mellow and enrich it for ever* The seeds of poetry, which he has thus scattered, will not perish. The records of his fame are not in books only, but on the fleshly tablets of young hearts, who will not suffer it to die even in the general ear, however base and unfeeling criticism may deride their gratitude!
Charles Lamb is as original as either of these, within the smaller circle which he has chosen. We know not of any writer, living or dead, to whom we can fitly liken him. The exceeding delicacy of his fancy, the keenness of his perceptions of truth and beauty, the sweetness and the wisdom of his humour, and the fine interchange and sportive combination of all these, so frequent in his works, are entirely and peculiarly his own. As it has been said of Swift, that his better genius was his spleen, it may be asserted of Lamb, that his kindliness is his inspiration. With how nice an eye does lie detect the least hitherto unnoticed indication of goodness, and with how true and gentle a touch does he bring it out to do good to our natures! How new and strange do some of his more fantastical ebullitions seem, yet how invariably do they come home to the very core, and smile at the heart! He makes the majesties of imagination seem familiar, and gives to familiar things a pathetic beauty or a venerable air. Instead of finding that every thing in his writings is made the most of, we always feel that the tide of sentiment and of thought is pent in, and that the airy and variegated bubbles spring up from a far depth in the placid waters. The loveliness of his thought looks, in the quaintness of his style, like a modest beauty, laced-in and attired in a dress of the superb fashion of the elder time. His versification is not greatly inferior to that of Coleridge, and it is, in all its best qualities, unlike that of any other poet. His heroic couplets are alternately sweet, terse, and majestical; and his octo-syllabic measures have a freeness and completeness, which mark them the pure Ionic of verse.
Barry Cornwall, with the exception of Coleridge, is the most genuine poet of love, who has, for a long period, appeared among us. There is an intense and passionate beauty, a depth of affection, in his little dramatic poems, which appear even in the affectionate triflings of his gentle characters. He illustrates that holiest of human emotions, which, while it will twine itself with the frailest twig, or dally with the most evanescent shadow of creation, wasting its excess of kindli'ness on all around it, is yet able to "look on tempests and be never shaken." Love is gently omnipotent in his poems; accident and death itself are but passing clouds, which scarcely vex and which cannot harm it. The lover seems to breathe out his life in the arms of Ms mistress, as calmly as the infant sinks into its softest slumber. The fair blossoms of his genius, though light and trembling at the breeze, spring from a wide, and deep, and robust stock, which Will sustain far taller branches without being exhausted. In the vision, where he sees "the famous Babylon," in his exquisite sonnets, and yet more in his Marcian Colonna, has he shown a feeling and a power for the elder venerableness of the poetic art, which, we are well assured, he is destined successfully to develope.
Some of our readers will, perhaps, wonder, that we have thus long delayed the mention of the most popular of the living poets. But, though we have no desire to pass them by, we must confess, that we do not rest chiefly on them our good hope for English genius. Lord Byron's fame has arisen, we suspect, almost as much from an instinctive awe of his nobility, and from a curiosity to know the secrets of his diseased soul, which he so often partially gratifies, as from the strength and turbid majesty of his productions. His mind is, however, doubtless cast in no ordinary mould. His chief poetic attributes appear, to us, to be an exceedingly quick sensibility to external beauty and grandeur, a capability and a love of violent emotion, and a singular mastery of language. He has no power over himself, which is the highest of all qualifications for a poet as it is for a man. He has no calm meditative greatness, no harmonizing spirit, no pure sense of love and of joy. He is as far beneath the calmly imaginative poets, as the region of tempests and storms is below the quiet and unclouded heavens. He excites intense feeling, by leading his readers to the brink of unimaginable horror, by dark hints of nameless sins, or by the strange union of virtues and of vices, which God and nature have for ever divided. Yet are there touches of grace and beauty scattered throughout his works, occasional bursts of redeeming enthusiasm, which make us deeply regret the too-often " admired disorder" of his soul. The stream of his genius falls, from a vast height, amidst bleakest rocks, into depths, which mortal eye cannot fathom, and into which it is dangerous to gaze; but it sends up a radiant mist in its fall, which the sun tints with heavenly colouring, and it leaves its echoes on the golden and quiet clouds! The too frequent perversion of his genius does not prevent it from showing, in its degree, the immortality of the most sublime of the human faculties.
Sir Walter Scott, if his poetry is not all which his countrymen proclaim it, is a bard, in whose success every good man must rejoice. His feeling of nature is true, if it is not profound; his humanity is pure, if it is not deep; his knowledge of facts is choice and various, if his insight into their philosophy is not very clear or extensive. Dr. Percy's Eeliqves prepared his way, and the unpublished Christabel aided his inspirations; but he is entitled to the credit of having first brought romantic poetry into fashion. Instead of the wretched sentimentalities of the Delia Cruscan school, he supplied the public with pictures of nature, and with fair visions of chivalry. If he is, and we hope as well as believe that he is, the author of the marvellous succession of Scotch romances, he deserves far deeper sentiments of gratitude than those which his poems awaken. Then does he merit the praise of having sent the mountain breezes into the heart of this great nation; of having supplied us all with a glorious crowd of acquaintance, and even of friends, whose society will never disturb or weary us; and of having made us glow a thousand times with honest pride, in that nature of which we are partakers!
Mr. Southey is an original poet, and a delightful prosewriter, though he does not even belong to the class which it has been the fashion to represent him as redeeming. He has neither the intensity of Wordsworth, nor the glorious expansion of Coleridge; but he has their holiness of imagination, and child-like purity of thought. His fancies are often as sweet and as heavenly, as those which "may make a crysome child to smile." There is, too, sometimes an infantine love of glitter and pomp, and of airy castle-building, displayed in his more fantastical writings. The great defect of his purest and loftiest poems is, that they are not imbued with humanity; they do not seem to have their only home on "this dear spot, this human earth of ours," but their scenes might be transferred, perhaps with advantage, to the moon or one of the planets. In the loneliest bower which poesy can rear, deep in a trackless wild, or in some island, placed "far amid the melancholy main," the air of this world must yet be allowed to breathe, if the poet would interest "us poor humans." It may heighten even the daintiest solitude of blessed lovers,
"All Ihe while to feel and know,
Mr. Southey's poems are beautiful and pure, yet too far from our common emotions. His Joan of Arc, his Thalaba, and his Roderick, are full of the stateliest pictures. But his Kehama is his greatest work—the most marvellous succession of fantasies, "sky tinctured," ever called into being, without the aid of real and hearty faith! Mr. Southey's prose style is singularly lucid and simple. His life of Nelson is a truly British work, giving the real heartiness of naval strength of our country, without ostentation or cant; his memoir of Kirke White is very unaffected and pathetic; and his Essays on the State of the Poor, really touching in their benevolence, and their well regulated sympathies. Of the violences of his more decidedly political effusions, we shall not