“A vagrant Merchant bent beneath his load.”
Now whether this be a character appropriate to a lofty didactick poem, is perhaps questionable. It presents a fair subject for controversy; and the question is to be determined by the congruity or incongruity of such a character with what shall be proved to be the essential constituents of poetry. But surely the critic who, passing by all the opportunities which such a mode of life would present to such a man; all the advantages of the liberty of nature, of solitude, and of solitary thought; all the varieties of places and seasons, through which his track had lain, with all the varying imagery they bring with them; and lastly, all the observations of men,
“Their manners, their enjoyments, and pursuits,
Their passions and their feelings=“
which the memory of these yearly journeys must have given and recalled to such a mind — the critic, I say, who from the multitude of possible associations should pass by all these in order to fix his attention exclusively on the pin-papers, and stay-tapes, which might have been among the wares of his pack; this critic, in my opinion, cannot be thought to possess a much higher or much healthier state of moral feeling, than the Frenchmen above recorded.
CHAPTER XXII
The characteristic defects of Wordsworth’s poetry, with the principles from which the judgment, that they are defects, is deduced — Their proportion to the beauties — For the greatest part characteristic of his theory only.
If Mr. Wordsworth have set forth principles of poetry which his arguments are insufficient to support, let him and those who have adopted his sentiments be set right by the confutation of those arguments, and by the substitution of more philosophical principles. And still let the due credit be given to the portion and importance of the truths, which are blended with his theory; truths, the too exclusive attention to which had occasioned its errors, by tempting him to carry those truths beyond their proper limits. If his mistaken theory have at all influenced his poetic compositions, let the effects be pointed out, and the instances given. But let it likewise be shown, how far the influence has acted; whether diffusively, or only by starts; whether the number and importance of the poems and passages thus infected be great or trifling compared with the sound portion; and lastly, whether they are inwoven into the texture of his works, or are loose and separable. The result of such a trial would evince beyond a doubt, what it is high time to announce decisively and aloud, that the supposed characteristics of Mr. Wordsworth’s poetry, whether admired or reprobated; whether they are simplicity or simpleness; faithful adherence to essential nature, or wilful selections from human nature of its meanest forms and under the least attractive associations; are as little the real characteristics of his poetry at large, as of his genius and the constitution of his mind.
In a comparatively small number of poems he chose to try an experiment; and this experiment we will suppose to have failed. Yet even in these poems it is impossible not to perceive that the natural tendency of the poet’s mind is to great objects and elevated conceptions. The poem entitled FIDELITY is for the greater part written in language, as unraised and naked as any perhaps in the two volumes. Yet take the following stanza and compare it with the preceding stanzas of the same poem.
“There sometimes doth a leaping fish
Send through the tarn a lonely cheer;
The crags repeat the raven’s croak,
In symphony austere;
Thither the rainbow comes — the cloud —
And mists that spread the flying shroud;
And sunbeams; and the sounding blast,
That, if it could, would hurry past;
But that enormous barrier holds it fast.”
Or compare the four last lines of the concluding stanza with the former half.
“Yes, proof was plain that, since the day
On which the Traveller thus had died,
The Dog had watched about the spot,
Or by his Master’s side:
How nourish’d here through such long time
He knows, who gave that love sublime, —
And gave that strength of feeling, great
Above all human estimate!”
Can any candid and intelligent mind hesitate in determining, which of these best represents the tendency and native character of the poet’s genius? Will he not decide that the one was written because the poet would so write, and the other because he could not so entirely repress the force and grandeur of his mind, but that he must in some part or other of every composition write otherwise? In short, that his only disease is the being out of his element; like the swan, that, having amused himself, for a while, with crushing the weeds on the river’s bank, soon returns to his own majestic movements on its reflecting and sustaining surface. Let it be observed that I am here supposing the imagined judge, to whom I appeal, to have already decided against the poet’s theory, as far as it is different from the principles of the art, generally acknowledged.
I cannot here enter into a detailed examination of Mr. Wordsworth’s works; but I will attempt to give the main results of my own judgment, after an acquaintance of many years, and repeated perusals. And though, to appreciate the defects of a great mind it is necessary to understand previously its characteristic excellences, yet I have already expressed myself with sufficient fulness, to preclude most of the ill effects that might arise from my pursuing a contrary arrangement. I will therefore commence with what I deem the prominent defects of his poems hitherto published.
The first characteristic, though only occasional defect, which I appear to myself to find in these poems is the inconstancy of the style. Under this name I refer to the sudden and unprepared transitions from lines or sentences of peculiar felicity — (at all events striking and original) — to a style, not only unimpassioned but undistinguished. He sinks too often and too abruptly to that style, which I should place in the second division of language, dividing it into the three species; first, that which is peculiar to poetry; second, that which is only proper in prose; and third, the neutral or common to both. There have been works, such as Cowley’s Essay on Cromwell, in which prose and verse are intermixed (not as in the Consolation of Boetius, or the ARGENIS of Barclay, by the insertion of poems supposed to have been spoken or composed on occasions previously related in prose, but) the poet passing from one to the other, as the nature of the thoughts or his own feelings dictated. Yet this mode of composition does not satisfy a cultivated taste. There is something unpleasant in the being thus obliged to alternate states of feeling so dissimilar, and this too in a species of writing, the pleasure from which is in part derived from the preparation and previous expectation of the reader. A portion of that awkwardness is felt which hangs upon the introduction of songs in our modern comic operas; and to prevent which the judicious Metastasio (as to whose exquisite taste there can be no hesitation, whatever doubts may be entertained as to his poetic genius) uniformly placed the aria at the end of the scene, at the same time that he almost always raises and impassions the style of the recitative immediately preceding. Even in real life, the difference is great and evident between words used as the arbitrary marks of thought, our smooth market-coin of intercourse, with the image and superscription worn out by currency; and those which convey pictures either borrowed from one outward object to enliven and particularize some other; or used allegorically to body forth the inward state of the person speaking; or such as are at least the exponents of his peculiar turn and unusual extent of faculty. So much so indeed, that in the social circles of private life we often find a striking use of the latter put a stop to the general