The Project Gutenberg eBook of Early Reviews of English Poets, by John Louis Haney.

II. [2.]

In climes beyond the solar road,
Where shaggy forms o'er ice-built mountains roam,
The Muse has broke the twilight-gloom
To cheer the shivering natives dull abode
And oft beneath the od'rous shade
Of Chili's boundless forests laid,
She deigns to hear the savage youth repeat,
In loose numbers wildly sweet
Their feather-cinctured Chiefs, and dusky loves.
Her track, where'er the Goddess roves,
Glory pursue, and generous shame,
Th' unconquerable Mind, and Freedom's holy flame.

There is great spirit in the irregularity of the numbers towards the conclusion of the foregoing stanza.

The second 'Ode is founded on a tradition current in Wales, that Edward the first, when he compleated the conquest of that country, ordered all the Bards that fell into his hands to be put to death.' The Author seems to have taken the hint of this subject from the fifteenth Ode of the first book of Horace. Our Poet introduces the only surviving Bard of that country in concert with the spirits of his murdered brethren, as prophetically denouncing woes upon the Conqueror and his posterity. The circumstances of grief and horror in which the Bard is represented, those of terror in the preparation of the votive web, and the mystic obscurity with which the prophecies are delivered, will give as much pleasure to those who relish this species of composition, as anything that has hitherto appeared in our language, the Odes of Dryden himself not excepted.

[I, 2, I, 3, part of II, 1, and the conclusion of The Bard are quoted]—The Monthly Review.

Oliver Goldsmith

The Traveller, or a Prospect of Society. A Poem. Inscribed to the Rev. Mr. Henry Goldsmith. By Oliver Goldsmith, M.B. 4to. Pr. 1s. 6d. Newbery.

The author has, in an elegant dedication to his brother, a country clergyman, given the design of his poem:—'Without espousing the cause of any party, I have attempted to moderate the rage of all. I have endeavoured to shew, that there may be equal happiness in other states, though differently governed from our own; that each state has a peculiar principle of happiness; and that this principle in each state, particularly in our own, may be carried to a mischievous excess.'

That he may illustrate and enforce this important position, the author places himself on a summit of the Alps, and, turning his eyes around, in all directions, upon the different regions that lie before him, compares, not merely their situation or policy, but those social and domestic manners which, after a very few deductions, make the sum total of human life.

'Remote, unfriended, melancholy, slow,
Or by the lazy Scheld, or wandering Po;
Or onward, where the rude Carinthian boor
Against the houseless stranger shuts the door;
Or where Campania's plain forsaken lies,
A weary waste expanded to the skies.
Where'er I roam, whatever realms to see,
My heart untravell'd fond turns to thee;
Still to my brother turns with ceaseless pain,
And drags at each remove a lengthening chain.—
Even now, where Alpine solitudes ascend,
I sit me down a pensive hour to spend;
And, plac'd on high above the storm's career,
Look downward where an hundred realms appear;
Lakes, forests, cities, plains extended wide,
The pomp of kings, the shepherd's humbler pride.
When thus creation's charms around combine,
Amidst the store 'twere thankless to repine.
'Twere affectation all, and school-taught pride,
To spurn the splendid things by heaven supply'd.
Let school-taught pride dissemble all it can,
These little things are great to little man;
And wiser he, whose sympathetic mind
Exults in all the good of all mankind.'

The author already appears, by his numbers, to be a versifier; and by his scenery, to be a poet; it therefore only remains that his sentiments discover him to be a just estimator of comparative happiness.

The goods of life are either given by nature, or procured by ourselves. Nature has distributed her gifts in very different proportions, yet all her children are content; but the acquisitions of art are such as terminate in good or evil, as they are differently regulated or combined.

'Yet, where to find that happiest spot below,
Who can direct, when all pretend to know?
The shudd'ring tenant of the frigid zone
Boldly asserts that country for his own,
Extols the treasures of his stormy seas,
And live-long nights of revelry and ease;
The naked Negro, panting at the line,
Boasts of his golden sands and palmy wine,
Basks in the glare, or stems the tepid wave,
And thanks his Gods for all the good they gave.—
Nature, a mother kind alike, to all,
Still grants her bliss at Labour's earnest call;
And though rough rocks or gloomy summits frown,
These rocks, by custom, turn to beds of down.
From Art more various are the blessings sent;
Wealth, splendours, honor, liberty, content:
Yet these each other's power so strong contest,
That either seems destructive of the rest.
Hence every state, to one lov'd blessing prone,
Conforms and models life to that alone.
Each to the favourite happiness attends,
And spurns the plan that aims at other ends;
Till, carried to excess in each domain,
This favourite good begets peculiar pain.'

This is the position which he conducts through Italy, Swisserland, France, Holland, and England; and which he endeavours to confirm by remarking the manners of every country.

'My soul turn from them, turn we to survey
Where rougher climes a nobler race display,
Where the bleak Swiss their stormy mansions tread,
And force a churlish soil for scanty bread;
No product here the barren hills afford,
But man and steel, the soldier and his sword.
No vernal blooms their torpid rocks array,
But winter lingering chills the lap of May;
No Zephyr fondly soothes the mountain's breast,
But meteors glare, and stormy glooms invest.
Yet still, even here, content can spread a charm,
Redress the clime, and all its rage disarm.
Though poor the peasant's hut, his feasts though small,
He sees his little lot, the lot of all;
See no contiguous palace rear its head
To shame the meanness of his humble shed;
No costly lord the sumptuous banquet deal
To make him loath his vegetable meal;
But calm, and bred in ignorance and toil,
Each wish contracting, fits him to the soil.'

But having found that the rural life of a Swiss has its evils as well as comforts, he turns to France.

'To kinder skies, where gentler manners reign,
We turn; and France displays her bright domain.
Gay sprightly land of mirth and social ease,
Pleas'd with thyself, whom all the world can please.—
Theirs are those arts that mind to mind endear,
For honour forms the social temper here.—
From courts to camps, to cottages it strays,
And all are taught an avarice of praise;
They please, are pleas'd, they give to get esteem,
Till, seeming blest, they grow to what they seem.'

'For praise too dearly lov'd, or warmly sought,
Enfeebles all internal strength of thought,
And the weak soul, within itself unblest,
Leans all for pleasure on another's breast.—
The mind still turns where shifting fashion draws,
Nor weighs the solid worth of self-applause.'

'Stern o'er each bosom reason holds her state,
With daring aims, irregularly great,
I see the lords of human kind pass by,
Pride in their port, defiance in their eye,
Intent on high designs, a thoughtful band,
By forms unfashion'd, fresh from Nature's hand.'

With the inconveniences that harrass [sic] the sons of freedom, this extract shall be concluded.

'That independence Britons prize too high,
Keeps man from man, and breaks the social tie;
See, though by circling deeps together held,
Minds combat minds, repelling and repell'd;
Ferments arise, imprison'd factions roar,
Represt ambition struggles round her shore,
Whilst, over-wrought, the general system feels
Its motions stopt, or phrenzy fires the wheels.
Nor this the worst. As social bonds decay,
As duty, love, and honour fail to sway,
Fictitious bonds, the bonds of wealth and law,
Still gather strength, and force unwilling awe.
Hence all obedience bows to these alone,
And talent sinks, and merit weeps unknown;
Till time may come, when, stript of all her charms,
That land of scholars, and that nurse of arms;
Where noble stems transmit the patriot flame,
And monarchs toil, and poets pant for fame;
One sink of level avarice shall lie,
And scholars, soldiers, kings unhonor'd die.'

Such is the poem, on which we now congratulate the public, as on a production to which, since the death of Pope, it will not be easy to find any thing equal.—The Critical Review.

William Cowper

These Poems are written, as we learn from the title-page, by Mr. Cowper of the Inner Temple, who seems to be a man of a sober and religious turn of mind, with a benevolent heart, and a serious wish to inculcate the precepts of morality; he is not, however, possessed of any superior abilities, or powers of genius, requisite to so arduous an undertaking; his verses are, in general, weak and languid, and have neither novelty, spirit, or animation, to recommend them; that mediocrity so severely condemned by Horace,

Non Dii non homines, &c.

pervades the whole; and, whilst the author avoids every thing that is ridiculous or contemptible, he, at the same time, never rises to any thing that we can commend or admire. He says what is incontrovertible, and what has already been said over and over, with much gravity, but says nothing new, sprightly, or entertaining; travelling on in a plain, level, flat road, with great composure, almost through the whole long, and rather tedious volume, which is little better than a dull sermon, in very indifferent verse, on Truth, the Progress of Error, Charity, and some other grave subjects. If this author had followed the advice given by Caraccioli,[G] and which he has chosen for one of the mottos prefixed to these Poems, he would have clothed his indisputable truths in some becoming disguise, and rendered his work much more agreeable. In its present state, we cannot compliment him on its shape or beauty; for, as this bard himself sweetly sings,

'The clear harangue, and cold as it is clear,
Falls soporific on the listless ear.'

[Quotes some fifty lines from Hope beginning,
Build by whatever plan caprice decrees,
With what materials, on what ground you please, etc.]

All this is very true; but there needs no ghost, nor author, nor poet, to tell us what we knew before, unless he could tell it to us in a new and better manner. Add to this, that many of our author's expressions are coarse, vulgar, and unpoetical; such as parrying, pushing by, spitting abhorrence, &c. The greatest part of Mr. Cowper's didactics is in the same strain. He attempts indeed sometimes to be lively, facetious, and satirical; but is seldom more successful in this, than in the serious and pathetic. In his poem on Conversation there are two or three faint attempts at humour; in one of them he tells us that

'A story in which native humour reigns
Is often useful, always entertains,
A graver fact enlisted on your side,
May furnish illustration, well applied;
But sedentary weavers of long tales,
Give me the fidgets and my patience fails.
'Tis the most asinine employ on earth,
To hear them tell of parentage and birth,
And echo conversations dull and dry,
Embellished with, he said, and so said I.
At ev'ry interview their route the same,
The repetition makes attention lame,
We bustle up with unsuccessful speed,
And in the saddest part cry—droll indeed!
The path of narrative with care pursue,
Still making probability your clue,
On all the vestiges of truth attend,
And let them guide you to a decent end.
Of all ambitions man may entertain,
The worst that can invade a sickly brain,
Is that which angles hourly for surprize,
And baits its hook with prodigies and lies.
Credulous infancy or age as weak
Are fittest auditors for such to seek,
Who to please others will themselves disgrace,
Yet please not, but affront you to your face.'

In the passage above quoted, our readers will perceive that the wit is rather aukward, [sic] and the verses, especially the last, very prosaic.

Toward the end of this volume are some little pieces of a lighter kind, which, after dragging through Mr. Cowper's long moral lectures, afforded us some relief. The fables of the Lily and the Rose, the Nightingale and Glow-worm, the Pine-apple and the Bee, with two or three others, are written with ease and spirit. It is a pity that our author had not confined himself altogether to this species of poetry, without entering into a system of ethics, for which his genius seems but ill adapted.—The Critical Review.

Robert Burns

When an author we know nothing of solicits our attention, we are but too apt to treat him with the same reluctant civility we show to a person who has come unbidden into company. Yet talents and address will gradually diminish the distance of our behaviour, and when the first unfavourable impression has worn off, the author may become a favourite, and the stranger a friend. The poems we have just announced may probably have to struggle with the pride of learning and the partiality of refinement; yet they are intitled to particular indulgence.

Who are you, Mr. Burns? will some surly critic say. At what university have you been educated? what languages do you understand? what authors have you particularly studied? whether has Aristotle or Horace directed your taste? who has praised your poems, and under whose patronage are they published? In short, what qualifications intitle you to instruct or entertain us? To the questions of such a catechism, perhaps honest Robert Burns would make no satisfactory answers. 'My good Sir, he might say, I am a poor country man; I was bred up at the school of Kilmarnock; I understand no languages but my own; I have studied Allan Ramsay and Ferguson. My poems have been praised at many a fireside; and I ask no patronage for them, if they deserve none. I have not looked on mankind through the spectacle of books. An ounce of mother-wit, you know, is worth a pound of clergy; and Homer and Ossian, for any thing that I have heard, could neither write nor read.' The author is indeed a striking example of native genius bursting through the obscurity of poverty and the obstructions of laborious life. He is said to be a common ploughman; and when we consider him in this light, we cannot help regretting that wayward fate had not placed him in a more favoured situation. Those who view him with the severity of lettered criticism, and judge him by the fastidious rules of art, will discover that he has not the doric simplicity of Ramsay, nor the brilliant imagination of Ferguson; but to those who admire the exertions of untutored fancy, and are blind to many faults for the sake of numberless beauties, his poems will afford singular gratification. His observations on human characters are acute and sagacious, and his descriptions are lively and just. Of rustic pleasantry he has a rich fund; and some of his softer scenes are touched with inimitable delicacy. He seems to be a boon companion, and often startles us with a dash of libertinism, which will keep some readers at a distance. Some of his subjects are serious, but those of the humorous kind are the best. It is not meant, however, to enter into a minute investigation of his merits, as the copious extracts we have subjoined will enable our readers to judge for themselves. The Character Horace gives to Osellus is particularly applicable to him.

Rusticus abnormis sapiens, crassaque Minerva.

[Quotes Address to the Deil, from the Epistle to a Brother Bard, from Description of a Sermon in the Fields, and from Hallowe'en.]—The Edinburgh Magazine.

Poems, chiefly in the Scottish Dialect. By Robert Burns. Printed at Kilmarnock.

We have had occasion to examine a number of poetical productions, written by persons in the lower rank of life, and who had hardly received any education; but we do not recollect to have ever met with a more signal instance of true and uncultivated genius, than in the author of these Poems. His occupation is that of a common ploughman; and his life has hitherto been spent in struggling with poverty. But all the rigours of fortune have not been able to repress the frequent efforts of his lively and vigorous imagination. Some of these poems are of a serious cast; but the strain which seems most natural to the author, is the sportive and humorous. It is to be regretted, that the Scottish dialect, in which these poems are written, must obscure the native beauties with which they appear to abound, and renders the sense often unintelligible to an English reader. Should it, however, prove true, that the author has been taken under the patronage of a great lady in Scotland, and that a celebrated professor has interested himself in the cultivation of his talents, there is reason to hope, that his distinguished genius may yet be exerted in such a manner as to afford more general delight. In the meantime, we must admire the generous enthusiasm of his untutored muse; and bestow the tribute of just applause on one whose name will be transmitted to posterity with honour.—The Critical Review.

William Wordsworth

Descriptive Sketches, in Verse. Taken during a Pedestrian Tour in the Italian, Grison, Swiss and Savoyard Alps. By W. Wordsworth, B.A. of St. John's, Cambridge. 4to. pp. 55. 3s. Johnson. 1793.

More descriptive poetry! (See page 166, &c.) Have we not yet enough? Must eternal changes be rung on uplands and lowlands, and nodding forests, and brooding clouds, and cells, and dells, and dingles? Yes; more, and yet more: so it is decreed.

'Were there, below, a spot of holy ground,
By Pain and her sad family unfound,
Sure, Nature's God that spot to man had giv'n,
Where murmuring rivers join the song of ev'n!
Where falls the purple morning far and wide
In flakes of light upon the mountain side;
Where summer suns in ocean sink to rest,
Or moonlight upland lifts her hoary breast;
Where Silence, on her night of wing, o'er-broods
Unfathom'd dells and undiscover'd woods;
Where rocks and groves the power of waters shakes
In cataracts, or sleeps in quiet lakes.'

May we ask, how it is that rivers join the song of ev'n? or, in plain prose, the evening! but, if they do, is it not true that they equally join the song of morning, noon, and night? The purple morning falling in flakes of light is a bold figure: but we are told, it falls far and wide—Where?—On the mountain's side. We are sorry to see the purple morning confined so like a maniac in a straight waistcoat. What the night of wing of silence is, we are unable to comprehend: but the climax of the passage is, that, were there such a spot of holy ground as is here so sublimely described, unfound by Pain and her sad family, Nature's God had surely given that spot to man, though its woods were undiscovered.

'But doubly pitying Nature loves to show'r
Soft on his wounded heart her healing pow'r,
Who plods o'er hills and vales his road forlorn,
Wooing her varying charms from eve to morn.
No sad vacuities his heart annoy,
Blows not a Zephyr but it whispers joy;
For him lost flowers their idle sweets exhale;
He tastes the meanest note that swells the gale;
For him sod-seats the cottage-door adorn,
And peeps the far-off spire, his evening bourn!
Dear is the forest frowning o'er his head,
And dear the green-sward to his velvet tread;
Moves there a cloud o'er mid-day's flaming eye?
Upwards he looks—and calls it luxury;
Kind Nature's charities his steps attend,
In every babbling brook he finds a friend.'

Here we find that doubly pitying Nature is very kind to the traveller, but that this traveller has a wounded heart and plods his road forlorn. In the next line but one we discover that—

'No sad vacuities his heart annoy;
Blows not a Zephyr but it whispers joy.'

The flowers, though they have lost themselves, or are lost, exhale their idle sweets for him; the spire peeps for him; sod-seats, forests, clouds, nature's charities, and babbling brooks, all are to him luxury and friendship. He is the happiest of mortals, and plods, is forlorn, and has a wounded heart. How often shall we in vain advise those, who are so delighted with their own thoughts that they cannot forbear from putting them into rhyme, to examine those thoughts till they themselves understand them? No man will ever be a poet, till his mind be sufficiently powerful to sustain this labour.—The Monthly Review.

An Evening Walk. An Epistle; in Verse. Addressed to a Young Lady, from the Lakes of the North of England. By W. Wordsworth, B.A. of St. John's, Cambridge. 4to. pp. 27. 2s. Johnson. 1793.

In this Epistle, the subject and the manner of treating it vary but little from the former poem. We will quote four lines from a passage which the author very sorrowfully apologizes for having omitted:

'Return delights! with whom my road begun,
When Life-rear'd laughing up her morning sun;
When Transport kiss'd away my April tear,
"Rocking as in a dream the tedious year."

Life rearing up the sun! Transport kissing away an April tear and rocking the year as in a dream! Would the cradle had been specified! Seriously, these are figures which no poetical license can justify. If they can possibly give pleasure, it must be to readers whose habits of thinking are totally different from ours. Mr. Wordsworth is a scholar, and, no doubt, when reading the works of others, a critic. There are passages in his poems which display imagination, and which afford hope for the future: but, if he can divest himself of all partiality, and will critically question every line that he has written, he will find many which, he must allow, call loudly for amendment.—The Monthly Review.

The majority of these poems, we are informed in the advertisement, are to be considered as experiments.

'They were written chiefly with a view to ascertain how far the language of conversation in the middle and lower classes of society is adapted to the purposes of poetic pleasure.' P. i.

Of these experimental poems, the most important is the Idiot Boy, the story of which is simply this. Betty Foy's neighbour Susan Gale is indisposed; and no one can conveniently be sent for the doctor but Betty's idiot boy. She therefore puts him upon her poney, at eight o'clock in the evening, gives him proper directions, and returns to take care of her sick neighbour. Johnny is expected with the doctor by eleven; but the clock strikes eleven, and twelve, and one, without the appearance either of Johnny or the doctor. Betty's restless fears become insupportable; and she now leaves her friend to look for her idiot son. She goes to the doctor's house, but hears nothing of Johnny. About five o'clock, however, she finds him sitting quietly upon his feeding poney. As they go home they meet old Susan, whose apprehensions have cured her, and brought her out to seek them; and they all return merrily together.

Upon this subject the author has written nearly five hundred lines. With what spirit the story is told, our extract will evince.

No tale less deserved the labour that appears to have been bestowed upon this. It resembles a Flemish picture in the worthlessness of its design and the excellence of its execution. From Flemish artists we are satisfied with such pieces: who would not have lamented, if Corregio or Rafaelle had wasted their talents in painting Dutch boors or the humours of a Flemish wake?

The other ballads of this kind are as bald in story, and are not so highly embellished in narration. With that which is entitled the Thorn, we were altogether displeased. The advertisement says, it is not told in the person of the author, but in that of some loquacious narrator. The author should have recollected that he who personates tiresome loquacity, becomes tiresome himself. The story of a man who suffers the perpetual pain of cold, because an old woman prayed that he might never be warm, is perhaps a good story for a ballad, because it is a well-known tale: but is the author certain that it is 'well authenticated?' and does not such an assertion promote the popular superstition of witchcraft?

In a very different style of poetry, is the Rime of the Ancyent Marinere; a ballad (says the advertisement) 'professedly written in imitation of the style, as well as of the spirit of the elder poets.' We are tolerably conversant with the early English poets; and can discover no resemblance whatever, except in antiquated spelling and a few obsolete words. This piece appears to us perfectly original in style as well as in story. Many of the stanzas are laboriously beautiful; but in connection they are absurd or unintelligible. Our readers may exercise their ingenuity in attempting to unriddle what follows.

'The roaring wind! it roar'd far off,
It did not come anear;
But with its sound it shook the sails
That were so thin and sere.

The upper air bursts into life,
And a hundred fire-flags sheen
To and fro they are hurried about;
And to and fro, and in and out
The stars dance on between.

The coming wind doth roar more loud;
The sails do sigh, like sedge:
The rain pours down from one black cloud,
And the moon is at its edge.

Hark! hark! the thick black cloud is cleft,
And the moon is at its side:
Like waters shot from some high crag,
The lightning falls with never a jag
A river steep and wide.

The strong wind reach'd the ship: it roar'd
And dropp'd down, like a stone!
Beneath the lightning and the moon
The dead men gave a groan.' P. 27.

We do not sufficiently understand the story to analyse it. It is a Dutch attempt at German sublimity. Genius has here been employed in producing a poem of little merit.

With pleasure we turn to the serious pieces, the better part of the volume. The Foster-Mother's Tale is in the best style of dramatic narrative. The Dungeon, and the Lines upon the Yew-tree Seat, are beautiful. The Tale of the Female Vagrant is written in the stanza, not the style, of Spenser. We extract a part of this poem.

Admirable as this poem is, the author seems to discover still superior powers in the Lines written near Tintern Abbey. On reading this production, it is impossible not to lament that he should ever have condescended to write such pieces as the Last of the Flock, the Convict, and most of the ballads. In the whole range of English poetry, we scarcely recollect anything superior to a part of the following passage.

The 'experiment,' we think, has failed, not because the language of conversation is little adapted to 'the purposes of poetic pleasure' but because it has been tried upon uninteresting subjects. Yet every piece discovers genius; and, ill as the author has frequently employed his talents, they certainly rank him with the best of living poets.—The Critical Review.

Poems, in Two Volumes. By William Wordsworth, Author of the Lyrical Ballads. 8vo. pp. 320. London, 1807.

This author is known to belong to a certain brotherhood of poets, who have haunted for some years about the Lakes of Cumberland; and is generally looked upon, we believe, as the purest model of the excellences and peculiarities of the school which they have been labouring to establish. Of the general merits of that school, we have had occasion to express our opinion pretty freely, in more places than one, and even to make some allusion to the former publications of the writer now before us. We are glad, however, to have found an opportunity of attending somewhat more particularly to his pretensions.

The Lyrical Ballads were unquestionably popular; and, we have no hesitation in saying, deservedly popular; for in spite of their occasional vulgarity, affectation, and silliness, they were undoubtedly characterised by a strong spirit of originality, of pathos, and natural feeling; and recommended to all good minds by the clear impression which they bore of the amiable dispositions and virtuous principles of the author. By the help of these qualities, they were enabled, not only to recommend themselves to the indulgence of many judicious readers, but even to beget among a pretty numerous class of persons, a sort of admiration of the very defects by which they were attended. It was upon this account chiefly, that we thought it necessary to set ourselves against this alarming innovation. Childishness, conceit, and affectation, are not of themselves very popular or attractive; and though mere novelty has sometimes been found sufficient to give them a temporary currency, we should have had no fear of their prevailing to any dangerous extent, if they had been graced with no more seductive accompaniments. It was precisely because the perverseness and bad taste of this new school was combined with a great deal of genius and of laudable feeling, that we were afraid of their spreading and gaining ground among us, and that we entered into the discussion with a degree of zeal and animosity which some might think unreasonable toward authors, to whom so much merit had been conceded. There were times and moods indeed, in which we were led to suspect ourselves of unjustifiable severity, and to doubt, whether a sense of public duty had not carried us rather too far in reprobation of errors, that seemed to be atoned for, by excellences of no vulgar description. At other times, the magnitude of these errors—the disgusting absurdities into which they led their feebler admirers, and the derision and contempt which they drew from the more fastidious, even upon the merits with which they were associated, made us wonder more than ever at the perversity by which they were retained, and regret that we had not declared ourselves against them with still more formidable and decided hostility.

In this temper of mind, we read the annonce of Mr Wordsworth's publication with a good deal of interest and expectation, and opened his volumes with greater anxiety, than he or his admirers will probably give us credit for. We have been greatly disappointed certainly as to the quality of the poetry; but we doubt whether the publication has afforded so much satisfaction to any other of his readers:—it has freed us from all doubt or hesitation as to the justice of our former censures, and has brought the matter to a test, which we cannot help hoping may be convincing to the author himself.

Mr Wordsworth, we think, has now brought the question, as to the merit of his new school of poetry, to a very fair and decisive issue. The volumes before us are much more strongly marked by all its peculiarities than any former publication of the fraternity. In our apprehension, they are, on this very account, infinitely less interesting or meritorious; but it belongs to the public, and not to us, to decide upon their merit, and we will confess, that so strong is our conviction of their obvious inferiority, and the grounds of it, that we are willing for once to wa[i]ve our right of appealing to posterity, and to take the judgment of the present generation of readers, and even of Mr Wordsworth's former admirers, as conclusive on this occasion. If these volumes, which have all the benefit of the author's former popularity, turn out to be nearly as popular as the lyrical ballads—if they sell nearly to the same extent—or are quoted and imitated among half as many individuals, we shall admit that Mr Wordsworth has come much nearer the truth in his judgment of what constitutes the charm of poetry, than we had previously imagined—and shall institute a more serious and respectful inquiry into his principles of composition than we have yet thought necessary. On the other hand,—if this little work, selected from the compositions of five maturer years, and written avowedly for the purpose of exalting a system, which has already excited a good deal of attention, should be generally rejected by those whose prepossessions were in its favour, there is room to hope, not only that the system itself will meet with no more encouragement, but even that the author will be persuaded to abandon a plan of writing, which defrauds his industry and talents of their natural reward.

Putting ourselves thus upon our country, we certainly look for a verdict against this publication; and have little doubt indeed of the result, upon a fair consideration of the evidence contained in these volumes.—To accelerate that result, and to give a general view of the evidence, to those into whose hands the record may not have already fallen, we must now make a few observations and extracts.

We shall not resume any of the particular discussions by which we formerly attempted to ascertain the value of the improvements which this new school had effected in poetry;[H] but shall lay the grounds of our opposition, for this time, a little more broadly. The end of poetry, we take it, is to please—and the name, we think, is strictly applicable to every metrical composition from which we receive pleasure, without any laborious exercise of the understanding. This pleasure, may, in general, be analyzed into three parts—that which we receive from the excitement of Passion or emotion—that which is derived from the play of Imagination, or the easy exercise of Reason—and that which depends on the character and qualities of the Diction. The two first are the vital and primary springs of poetical delight, and can scarcely require explanation to any one. The last has been alternately overrated and undervalued by the professors of the poetical art, and is in such low estimation with the author now before us and his associates, that it is necessary to say a few words in explanation of it.

One great beauty of diction exists only for those who have some degree of scholarship or critical skill. This is what depends on the exquisite propriety of the words employed, and the delicacy with which they are adapted to the meaning which is to be expressed. Many of the finest passages in Virgil and Pope derive their principal charm from the fine propriety of their diction. Another source of beauty, which extends only to the more instructed class of readers, is that which consists in the judicious or happy application of expressions which have been sanctified by the use of famous writers, or which bear the stamp of a simple or venerable antiquity. There are other beauties of diction, however, which are perceptible by all—the beauties of sweet sound and pleasant associations. The melody of words and verses is indifferent to no reader of poetry; but the chief recommendation of poetical language is certainly derived from those general associations, which give it a character of dignity or elegance, sublimity or tenderness. Every one knows that there are low and mean expressions, as well as lofty and grave ones; and that some words bear the impression of coarseness and vulgarity, as clearly as others do of refinement and affection. We do not mean, of course, to say anything in defence of the hackneyed common-places of ordinary versemen. Whatever might have been the original character of these unlucky phrases, they are now associated with nothing but ideas of schoolboy imbecility and vulgar affectation. But what we do maintain is, that much of the most popular poetry in the world owes its celebrity chiefly to the beauty of its diction; and that no poetry can be long or generally acceptable, the language of which is coarse, inelegant, or infantine.

From this great source of pleasure, we think the readers of Mr Wordsworth are in a great measure cut off. His diction has no where any pretensions to elegance or dignity; and he has scarcely ever condescended to give the grace of correctness or melody to his versification. If it were merely slovenly and neglected, however, all this might be endured. Strong sense and powerful feeling will ennoble any expressions; or, at least, no one who is capable of estimating those higher merits, will be disposed to mark these little defects. But, in good truth, no man, now-a-days, composes verses for publication with a slovenly neglect of their language. It is a fine and laborious manufacture, which can scarcely ever be made in a hurry; and the faults which it has, may, for the most part, be set down to bad taste or incapacity, rather than to carelessness or oversight. With Mr Wordsworth and his friends, it is plain that their peculiarities of diction are things of choice, and not of accident. They write as they do, upon principle and system; and it evidently costs them much pains to keep down to the standard which they have proposed to themselves. They are, to the full, as much mannerists, too, as the poetasters who ring changes on the common-places of magazine versification; and all the difference between them is, that they borrow their phrases from a different and a scantier gradus ad Parnassum. If they were, indeed, to discard all imitation and set phraseology, and to bring in no words merely for show or for metre,—as much, perhaps, might be gained in freedom and originality, as would infallibly be lost in allusion and authority; but, in point of fact, the new poets are just as great borrowers as the old; only that, instead of borrowing from the more popular passages of their illustrious predecessors, they have preferred furnishing themselves from vulgar ballads and plebeian nurseries.

Their peculiarities of diction alone, are enough, perhaps, to render them ridiculous; but the author before us really seems anxious to court this literary martyrdom by a device still more infallible,—we mean, that of connecting his most lofty, tender, or impassioned conceptions, with objects and incidents, which the greater part of his readers will probably persist in thinking low, silly, or uninteresting. Whether this is done from affectation and conceit alone, or whether it may not arise, in some measure, from the self-illusion of a mind of extraordinary sensibility, habituated to solitary meditation, we cannot undertake to determine. It is possible enough, we allow, that the sight of a friend's garden-spade, or a sparrow's nest, or a man gathering leeches, might really have suggested to such a mind a train of powerful impressions and interesting reflections; but it is certain, that, to most minds, such associations will always appear forced, strained, and unnatural; and that the composition in which it is attempted to exhibit them, will always have the air of parody, or ludicrous and affected singularity. All the world laughs at Elegiac stanzas to a sucking-pig—a Hymn on Washing-day—Sonnets to one's grandmother—or Pindarics on gooseberry-pye; and yet, we are afraid, it will not be quite easy to convince Mr Wordsworth, that the same ridicule must infallibly attach to most of the pathetic pieces in these volumes. To satisfy our readers, however, as to the justice of this and our other anticipations, we shall proceed, without further preface, to lay before them a short view of their contents.

The first is a kind of ode 'to the Daisy,'—very flat, feeble, and affected; and in a diction as artificial, and as much encumbered with heavy expletives, as the theme of an unpractised schoolboy. The two following stanzas will serve as a specimen.