widely different from those with which I should read a poem, where the author, having occasion for the character of a poet and a philosopher in the fable of his narration, had chosen to make him a chimney-sweeper; and then, in order to remove all doubts on the subject, had invented an account of his birth, parentage and education, with all the strange and fortunate accidents which had concurred in making him at once poet, philosopher, and sweep! Nothing, but biography, can justify this. If it be admissible even in a novel, it must be one in the manner of De Foe’s, that were meant to pass for histories, not in the manner of Fielding’s: In THE LIFE OF MOLL FLANDERS, Or COLONEL JACK, not in a TOM JONES, or even a JOSEPH ANDREWS. Much less then can it be legitimately introduced in a poem, the characters of which, amid the strongest individualization, must still remain representative. The precepts of Horace, on this point, are grounded on the nature both of poetry and of the human mind. They are not more peremptory, than wise and prudent. For in the first place a deviation from them perplexes the reader’s feelings, and all the circumstances which are feigned in order to make such accidents less improbable, divide and disquiet his faith, rather than aid and support it. Spite of all attempts, the fiction will appear, and unfortunately not as fictitious but as false. The reader not only knows, that the sentiments and language are the poet’s own, and his own too in his artificial character, as poet; but by the fruitless endeavours to make him think the contrary, he is not even suffered to forget it. The effect is similar to that produced by an Epic Poet, when the fable and the characters are derived from Scripture history, as in THE MESSIAH of Klopstock, or in CUMBERLAND’S CALVARY; and not merely suggested by it as in the PARADISE LOST of Milton. That illusion, contradistinguished from delusion, that negative faith, which simply permits the images presented to work by their own force, without either denial or affirmation of their real existence by the judgment, is rendered impossible by their immediate neighbourhood to words and facts of known and absolute truth. A faith, which transcends even historic belief, must absolutely put out this mere poetic analogon of faith, as the summer sun is said to extinguish our household fires, when it shines full upon them. What would otherwise have been yielded to as pleasing fiction, is repelled as revolting falsehood. The effect produced in this latter case by the solemn belief of the reader, is in a less degree brought about in the instances, to which I have been objecting, by the balked attempts of the author to make him believe.
Add to all the foregoing the seeming uselessness both of the project and of the anecdotes from which it is to derive support. Is there one word, for instance, attributed to the pedlar in THE EXCURSION, characteristic of a Pedlar? One sentiment, that might not more plausibly, even without the aid of any previous explanation, have proceeded from any wise and beneficent old man, of a rank or profession in which the language of learning and refinement are natural and to be expected? Need the rank have been at all particularized, where nothing follows which the knowledge of that rank is to explain or illustrate? When on the contrary this information renders the man’s language, feelings, sentiments, and information a riddle, which must itself be solved by episodes of anecdote? Finally when this, and this alone, could have induced a genuine Poet to inweave in a poem of the loftiest style, and on subjects the loftiest and of most universal interest, such minute matters of fact, (not unlike those furnished for the obituary of a magazine by the friends of some obscure “ornament of society lately deceased” in some obscure town,) as
“Among the hills of Athol he was born
There, on a small hereditary Farm,
An unproductive slip of rugged ground,
His Father dwelt; and died in poverty;
While He, whose lowly fortune I retrace,
The youngest of three sons, was yet a babe,
A little One — unconscious of their loss.
But ere he had outgrown his infant days
His widowed Mother, for a second Mate,
Espoused the teacher of the Village School;
Who on her offspring zealously bestowed
Needful instruction.”
“From his sixth year, the Boy of whom I speak,
In summer tended cattle on the Hills;
But, through the inclement and the perilous days
Of long-continuing winter, he repaired
To his Step-father’s School,”-etc.
For all the admirable passages interposed in this narration, might, with trifling alterations, have been far more appropriately, and with far greater verisimilitude, told of a poet in the character of a poet; and without incurring another defect which I shall now mention, and a sufficient illustration of which will have been here anticipated.
Third; an undue predilection for the dramatic form in certain poems, from which one or other of two evils result. Either the thoughts and diction are different from that of the poet, and then there arises an incongruity of style; or they are the same and indistinguishable, and then it presents a species of ventriloquism, where two are represented as talking, while in truth one man only speaks.
The fourth class of defects is closely connected with the former; but yet are such as arise likewise from an intensity of feeling disproportionate to such knowledge and value of the objects described, as can be fairly anticipated of men in general, even of the most cultivated classes; and with which therefore few only, and those few particularly circumstanced, can be supposed to sympathize: In this class, I comprise occasional prolixity, repetition, and an eddying, instead of progression, of thought. As instances, see pages 27, 28, and 62 of the Poems, vol. I. and the first eighty lines of the VIth Book of THE EXCURSION.
Fifth and last; thoughts and images too great for the subject. This is an approximation to what might be called mental bombast, as distinguished from verbal: for, as in the latter there is a disproportion of the expressions to the thoughts so in this there is a disproportion of thought to the circumstance and occasion. This, by the bye, is a fault of which none but a man of genius is capable. It is the awkwardness and strength of Hercules with the distaff of Omphale.
It is a well-known fact, that bright colours in motion both make and leave the strongest impressions on the eye. Nothing is more likely too, than that a vivid image or visual spectrum, thus originated, may become the link of association in recalling the feelings and images that had accompanied the original impression. But if we describe this in such lines, as
“They flash upon that inward eye,
Which is the bliss of solitude!”
in what words shall we describe the joy of retrospection, when the images and virtuous actions of a whole well-spent life, pass before that conscience which is indeed the inward eye: which is indeed “the bliss of solitude?” Assuredly we seem to sink most abruptly, not to say burlesquely, and almost as in a medley, from this couplet to —
“And then my heart with pleasure fills,
And dances with the daffodils.” Vol. I. p. 328.
The second instance is from vol. II. page 12, where the poet having gone out for a day’s tour of pleasure, meets early in the morning with a knot of Gipsies, who had pitched their blanket-tents and straw-beds, together with their children and asses, in some field by the roadside. At the close of the day on his return our tourist found them in the same place. “Twelve hours,” says he,
“Twelve hours, twelve bounteous hours are gone, while I
Have been a traveller under open sky,
Much witnessing of change and cheer,
Yet as I left I find them here!”
Whereat the poet, without seeming to reflect that the poor tawny wanderers might probably have been tramping for weeks together through road and lane, over moor and mountain, and consequently must have been right glad to rest themselves, their children and cattle, for one whole day; and overlooking the obvious truth, that such repose might be quite as necessary for them,