No More Learning

For I soon
found the means of directing it to my favourite subjects

Of providence, fore-knowledge, will, and fate,
Fixed fate, free will, fore-knowledge absolute,
And found no end in wandering mazes lost.

This preposterous pursuit was, beyond doubt, injurious both to my
natural powers, and to the progress of my education. It would perhaps
have been destructive, had it been continued; but from this I was
auspiciously withdrawn, partly indeed by an accidental introduction to
an amiable family, chiefly however, by the genial influence of a style
of poetry, so tender and yet so manly, so natural and real, and yet so
dignified and harmonious, as the sonnets and other early poems of Mr.
Bowles. Well would it have been for me, perhaps, had I never relapsed
into the same mental disease; if I had continued to pluck the flower and
reap the harvest from the cultivated surface, instead of delving in the
unwholesome quicksilver mines of metaphysic lore. And if in after time
I have sought a refuge from bodily pain and mismanaged sensibility in
abstruse researches, which exercised the strength and subtilty of the
understanding without awakening the feelings of the heart; still there
was a long and blessed interval, during which my natural faculties were
allowed to expand, and my original tendencies to develop themselves;--my
fancy, and the love of nature, and the sense of beauty in forms and
sounds.

The second advantage, which I owe to my early perusal, and admiration
of these poems, (to which let me add,) though known to me at a somewhat
later period, the Lewesdon Hill of Mr. Crowe bears more immediately on
my present subject. Among those with whom I conversed, there were,
of course, very many who had formed their taste, and their notions of
poetry, from the writings of Pope and his followers; or to speak more
generally, in that school of French poetry, condensed and invigorated by
English understanding, which had predominated from the last century. I
was not blind to the merits of this school, yet, as from inexperience of
the world, and consequent want of sympathy with the general subjects of
these poems, they gave me little pleasure, I doubtless undervalued the
kind, and with the presumption of youth withheld from its masters
the legitimate name of poets. I saw that the excellence of this kind
consisted in just and acute observations on men and manners in an
artificial state of society, as its matter and substance; and in the
logic of wit, conveyed in smooth and strong epigrammatic couplets, as
its form: that even when the subject was addressed to the fancy, or the
intellect, as in the Rape of the Lock, or the Essay on Man; nay, when it
was a consecutive narration, as in that astonishing product of matchless
talent and ingenuity Pope's Translation of the Iliad; still a point
was looked for at the end of each second line, and the whole was, as
it were, a sorites, or, if I may exchange a logical for a grammatical
metaphor, a conjunction disjunctive, of epigrams. Meantime the matter
and diction seemed to me characterized not so much by poetic thoughts,
as by thoughts translated into the language of poetry. On this last
point, I had occasion to render my own thoughts gradually more and
more plain to myself, by frequent amicable disputes concerning Darwin's
Botanic Garden, which, for some years, was greatly extolled, not only
by the reading public in general, but even by those, whose genius and
natural robustness of understanding enabled them afterwards to act
foremost in dissipating these "painted mists" that occasionally rise
from the marshes at the foot of Parnassus. During my first Cambridge
vacation, I assisted a friend in a contribution for a literary society
in Devonshire: and in this I remember to have compared Darwin's work to
the Russian palace of ice, glittering, cold and transitory. In the same
essay too, I assigned sundry reasons, chiefly drawn from a comparison
of passages in the Latin poets with the original Greek, from which they
were borrowed, for the preference of Collins's odes to those of Gray;
and of the simile in Shakespeare

How like a younker or a prodigal
The scarfed bark puts from her native bay,
Hugg'd and embraced by the strumpet wind!
How like the prodigal doth she return,
With over-weather'd ribs and ragged sails,
Lean, rent, and beggar'd by the strumpet wind!
(Merch. of Ven. Act II. sc. 6. )

to the imitation in the Bard;

Fair laughs the morn, and soft the zephyr blows
While proudly riding o'er the azure realm
In gallant trim the gilded vessel goes,
Youth at the prow and pleasure at the helm;
Regardless of the sweeping whirlwind's sway,
That hush'd in grim repose, expects it's evening prey.

(in which, by the bye, the words "realm" and "sway" are rhymes dearly
purchased)--I preferred the original on the ground, that in the
imitation it depended wholly on the compositor's putting, or not
putting, a small capital, both in this, and in many other passages of
the same poet, whether the words should be personifications, or mere
abstractions. I mention this, because, in referring various lines in
Gray to their original in Shakespeare and Milton, and in the clear
perception how completely all the propriety was lost in the transfer,
I was, at that early period, led to a conjecture, which, many years
afterwards was recalled to me from the same thought having been started
in conversation, but far more ably, and developed more fully, by
Mr. Wordsworth;--namely, that this style of poetry, which I have
characterized above, as translations of prose thoughts into poetic
language, had been kept up by, if it did not wholly arise from, the
custom of writing Latin verses, and the great importance attached to
these exercises, in our public schools. Whatever might have been the
case in the fifteenth century, when the use of the Latin tongue was so
general among learned men, that Erasmus is said to have forgotten his
native language; yet in the present day it is not to be supposed, that a
youth can think in Latin, or that he can have any other reliance on the
force or fitness of his phrases, but the authority of the writer
from whom he has adopted them. Consequently he must first prepare his
thoughts, and then pick out, from Virgil, Horace, Ovid, or perhaps more
compendiously from his Gradus, halves and quarters of lines, in which to
embody them.

I never object to a certain degree of disputatiousness in a young man
from the age of seventeen to that of four or five and twenty, provided I
find him always arguing on one side of the question. The controversies,
occasioned by my unfeigned zeal for the honour of a favourite
contemporary, then known to me only by his works, were of great
advantage in the formation and establishment of my taste and critical
opinions. In my defence of the lines running into each other, instead of
closing at each couplet; and of natural language, neither bookish, nor
vulgar, neither redolent of the lamp, nor of the kennel, such as I will
remember thee; instead of the same thought tricked up in the rag-fair
finery of,

------thy image on her wing
Before my fancy's eye shall memory bring,--

I had continually to adduce the metre and diction of the Greek poets,
from Homer to Theocritus inclusively; and still more of our elder
English poets, from Chaucer to Milton. Nor was this all. But as it was
my constant reply to authorities brought against me from later poets
of great name, that no authority could avail in opposition to Truth,
Nature, Logic, and the Laws of Universal Grammar; actuated too by my
former passion for metaphysical investigations; I laboured at a solid
foundation, on which permanently to ground my opinions, in the component
faculties of the human mind itself, and their comparative dignity and
importance. According to the faculty or source, from which the pleasure
given by any poem or passage was derived, I estimated the merit of
such poem or passage. As the result of all my reading and meditation,
I abstracted two critical aphorisms, deeming them to comprise the
conditions and criteria of poetic style;--first, that not the poem which
we have read, but that to which we return, with the greatest pleasure,
possesses the genuine power, and claims the name of essential
poetry;--secondly, that whatever lines can be translated into other
words of the same language, without diminution of their significance,
either in sense or association, or in any worthy feeling, are so far
vicious in their diction. Be it however observed, that I excluded from
the list of worthy feelings, the pleasure derived from mere novelty in
the reader, and the desire of exciting wonderment at his powers in the
author. Oftentimes since then, in pursuing French tragedies, I
have fancied two marks of admiration at the end of each line, as
hieroglyphics of the author's own admiration at his own cleverness.
Our genuine admiration of a great poet is a continuous undercurrent of
feeling! it is everywhere present, but seldom anywhere as a separate
excitement. I was wont boldly to affirm, that it would be scarcely more
difficult to push a stone out from the Pyramids with the bare hand, than
to alter a word, or the position of a word, in Milton or Shakespeare,
(in their most important works at least,) without making the poet
say something else, or something worse, than he does say. One great
distinction, I appeared to myself to see plainly between even the
characteristic faults of our elder poets, and the false beauty of the
moderns. In the former, from Donne to Cowley, we find the most fantastic
out-of-the-way thoughts, but in the most pure and genuine mother
English, in the latter the most obvious thoughts, in language the most
fantastic and arbitrary. Our faulty elder poets sacrificed the passion
and passionate flow of poetry to the subtleties of intellect and to the
stars of wit; the moderns to the glare and glitter of a perpetual, yet
broken and heterogeneous imagery, or rather to an amphibious something,
made up, half of image, and half of abstract [5] meaning. The one
sacrificed the heart to the head; the other both heart and head to point
and drapery.

The reader must make himself acquainted with the general style of
composition that was at that time deemed poetry, in order to understand
and account for the effect produced on me by the Sonnets, the Monody
at Matlock, and the Hope, of Mr. Bowles; for it is peculiar to original
genius to become less and less striking, in proportion to its success
in improving the taste and judgment of its contemporaries. The poems of
West, indeed, had the merit of chaste and manly diction; but they were
cold, and, if I may so express it, only dead-coloured; while in the
best of Warton's there is a stiffness, which too often gives them the
appearance of imitations from the Greek. Whatever relation, therefore,
of cause or impulse Percy's collection of Ballads may bear to the most
popular poems of the present day; yet in a more sustained and elevated
style, of the then living poets, Cowper and Bowles [6] were, to the best
of my knowledge, the first who combined natural thoughts with natural
diction; the first who reconciled the heart with the head.

It is true, as I have before mentioned, that from diffidence in my own
powers, I for a short time adopted a laborious and florid diction, which
I myself deemed, if not absolutely vicious, yet of very inferior worth.
Gradually, however, my practice conformed to my better judgment; and the
compositions of my twenty-fourth and twenty-fifth years--(for example,
the shorter blank verse poems, the lines, which now form the middle and
conclusion of the poem entitled the Destiny of Nations, and the tragedy
of Remorse)--are not more below my present ideal in respect of the
general tissue of the style than those of the latest date. Their faults
were at least a remnant of the former leaven, and among the many who
have done me the honour of putting my poems in the same class with those
of my betters, the one or two, who have pretended to bring examples of
affected simplicity from my volume, have been able to adduce but
one instance, and that out of a copy of verses half ludicrous, half
splenetic, which I intended, and had myself characterized, as sermoni
propiora.

Every reform, however necessary, will by weak minds be carried to an
excess, which will itself need reforming. The reader will excuse me for
noticing, that I myself was the first to expose risu honesto the three
sins of poetry, one or the other of which is the most likely to beset a
young writer. So long ago as the publication of the second number of the
Monthly Magazine, under the name of Nehemiah Higginbottom, I contributed
three sonnets, the first of which had for its object to excite a
good-natured laugh at the spirit of doleful egotism, and at the
recurrence of favourite phrases, with the double defect of being at
once trite and licentious;--the second was on low creeping language and
thoughts, under the pretence of simplicity; the third, the phrases of
which were borrowed entirely from my own poems, on the indiscriminate
use of elaborate and swelling language and imagery. The reader will find
them in the note [7] below, and will I trust regard them as reprinted
for biographical purposes alone, and not for their poetic merits. So
general at that time, and so decided was the opinion concerning the
characteristic vices of my style, that a celebrated physician (now,
alas! no more) speaking of me in other respects with his usual kindness,
to a gentleman, who was about to meet me at a dinner party, could not
however resist giving him a hint not to mention 'The house that Jack
built' in my presence, for "that I was as sore as a boil about that
sonnet;" he not knowing that I was myself the author of it.




CHAPTER II

Supposed irritability of men of genius brought to the test of
facts--Causes and occasions of the charge--Its injustice.


I have often thought, that it would be neither uninstructive nor
unamusing to analyze, and bring forward into distinct consciousness,
that complex feeling, with which readers in general take part against
the author, in favour of the critic; and the readiness with which they
apply to all poets the old sarcasm of Horace upon the scribblers of his
time

------genus irritabile vatum.

A debility and dimness of the imaginative power, and a consequent
necessity of reliance on the immediate impressions of the senses, do, we
know well, render the mind liable to superstition and fanaticism. Having
a deficient portion of internal and proper warmth, minds of this class
seek in the crowd circum fana for a warmth in common, which they do not
possess singly. Cold and phlegmatic in their own nature, like damp
hay, they heat and inflame by co-acervation; or like bees they become
restless and irritable through the increased temperature of collected
multitudes. Hence the German word for fanaticism, (such at least was
its original import,) is derived from the swarming of bees, namely,
schwaermen, schwaermerey. The passion being in an inverse proportion to
the insight,--that the more vivid, as this the less distinct--anger is
the inevitable consequence. The absense of all foundation within their
own minds for that, which they yet believe both true and indispensable
to their safety and happiness, cannot but produce an uneasy state of
feeling, an involuntary sense of fear from which nature has no means
of rescuing herself but by anger. Experience informs us that the first
defence of weak minds is to recriminate.

There's no philosopher but sees,
That rage and fear are one disease;
Tho' that may burn, and this may freeze,
They're both alike the ague.

But where the ideas are vivid, and there exists an endless power of
combining and modifying them, the feelings and affections blend more
easily and intimately with these ideal creations than with the objects
of the senses; the mind is affected by thoughts, rather than by things;
and only then feels the requisite interest even for the most important
events and accidents, when by means of meditation they have passed into
thoughts. The sanity of the mind is between superstition with fanaticism
on the one hand, and enthusiasm with indifference and a diseased
slowness to action on the other. For the conceptions of the mind may be
so vivid and adequate, as to preclude that impulse to the realizing of
them, which is strongest and most restless in those, who possess more
than mere talent, (or the faculty of appropriating and applying the
knowledge of others,)--yet still want something of the creative and
self-sufficing power of absolute genius. For this reason therefore,
they are men of commanding genius. While the former rest content between
thought and reality, as it were in an intermundium of which their
own living spirit supplies the substance, and their imagination the
ever-varying form; the latter must impress their preconceptions on the
world without, in order to present them back to their own view with the
satisfying degree of clearness, distinctness, and individuality. These
in tranquil times are formed to exhibit a perfect poem in palace, or
temple, or landscape-garden; or a tale of romance in canals that join
sea with sea, or in walls of rock, which, shouldering back the billows,
imitate the power, and supply the benevolence of nature to sheltered
navies; or in aqueducts that, arching the wide vale from mountain to
mountain, give a Palmyra to the desert. But alas! in times of tumult
they are the men destined to come forth as the shaping spirit of ruin,
to destroy the wisdom of ages in order to substitute the fancies of a
day, and to change kings and kingdoms, as the wind shifts and shapes the
clouds [8]. The records of biography seem to confirm this theory. The
men of the greatest genius, as far as we can judge from their own works
or from the accounts of their contemporaries, appear to have been of
calm and tranquil temper in all that related to themselves. In the
inward assurance of permanent fame, they seem to have been either
indifferent or resigned with regard to immediate reputation. Through all
the works of Chaucer there reigns a cheerfulness, a manly hilarity which
makes it almost impossible to doubt a correspondent habit of feeling in
the author himself. Shakespeare's evenness and sweetness of temper were
almost proverbial in his own age. That this did not arise from ignorance
of his own comparative greatness, we have abundant proof in his Sonnets,
which could scarcely have been known to Pope [9], when he asserted, that
our great bard--

------grew immortal in his own despite.
(Epist. to Augustus. )

Speaking of one whom he had celebrated, and contrasting the duration of
his works with that of his personal existence, Shakespeare adds:

Your name from hence immortal life shall have,
Tho' I once gone to all the world must die;
The earth can yield me but a common grave,
When you entombed in men's eyes shall lie.
Your monument shall be my gentle verse,
Which eyes not yet created shall o'er-read;
And tongues to be your being shall rehearse,
When all the breathers of this world are dead:
You still shall live, such virtue hath my pen,
Where breath most breathes, e'en in the mouth of men.
SONNET LXXXI.

I have taken the first that occurred; but Shakespeare's readiness to
praise his rivals, ore pleno, and the confidence of his own equality
with those whom he deemed most worthy of his praise, are alike
manifested in another Sonnet.

Was it the proud full sail of his great verse,
Bound for the praise of all-too-precious you,
That did my ripe thoughts in my brain inhearse,
Making their tomb, the womb wherein they grew?
Was it his spirit, by spirits taught to write
Above a mortal pitch that struck me dead?
No, neither he, nor his compeers by night
Giving him aid, my verse astonished.
He, nor that affable familiar ghost,
Which nightly gulls him with intelligence,
As victors of my silence cannot boast;
I was not sick of any fear from thence!
But when your countenance fill'd up his line,
Then lack'd I matter, that enfeebled mine.
S. LXXXVI.

In Spenser, indeed, we trace a mind constitutionally tender, delicate,
and, in comparison with his three great compeers, I had almost said,
effeminate; and this additionally saddened by the unjust persecution of
Burleigh, and the severe calamities, which overwhelmed his latter days.
These causes have diffused over all his compositions "a melancholy
grace," and have drawn forth occasional strains, the more pathetic
from their gentleness. But no where do we find the least trace of
irritability, and still less of quarrelsome or affected contempt of his
censurers.

The same calmness, and even greater self-possession, may be affirmed
of Milton, as far as his poems, and poetic character are concerned.
He reserved his anger for the enemies of religion, freedom, and his
country. My mind is not capable of forming a more august conception,
than arises from the contemplation of this great man in his latter
days;--poor, sick, old, blind, slandered, persecuted,--

Darkness before, and danger's voice behind,--

in an age in which he was as little understood by the party, for whom,
as by that against whom, he had contended; and among men before whom he
strode so far as to dwarf himself by the distance; yet still listening
to the music of his own thoughts, or if additionally cheered,
yet cheered only by the prophetic faith of two or three solitary
individuals, he did nevertheless

------argue not
Against Heaven's hand or will, nor bate a jot
Of heart or hope; but still bore up and steer'd
Right onward.

From others only do we derive our knowledge that Milton, in his latter
day, had his scorners and detractors; and even in his day of youth and
hope, that he had enemies would have been unknown to us, had they not
been likewise the enemies of his country.

I am well aware, that in advanced stages of literature, when there exist
many and excellent models, a high degree of talent, combined with taste
and judgment, and employed in works of imagination, will acquire for
a man the name of a great genius; though even that analogon of genius,
which, in certain states of society, may even render his writings more
popular than the absolute reality could have done, would be sought
for in vain in the mind and temper of the author himself. Yet even in
instances of this kind, a close examination will often detect, that the
irritability, which has been attributed to the author's genius as its
cause, did really originate in an ill conformation of body, obtuse pain,
or constitutional defect of pleasurable sensation. What is charged to
the author, belongs to the man, who would probably have been still more
impatient, but for the humanizing influences of the very pursuit, which
yet bears the blame of his irritability.

How then are we to explain the easy credence generally given to this
charge, if the charge itself be not, as I have endeavoured to show,
supported by experience? This seems to me of no very difficult solution.
In whatever country literature is widely diffused, there will be many
who mistake an intense desire to possess the reputation of poetic
genius, for the actual powers, and original tendencies which constitute
it. But men, whose dearest wishes are fixed on objects wholly out of
their own power, become in all cases more or less impatient and prone to
anger. Besides, though it may be paradoxical to assert, that a man can
know one thing and believe the opposite, yet assuredly a vain person may
have so habitually indulged the wish, and persevered in the attempt, to
appear what he is not, as to become himself one of his own proselytes.
Still, as this counterfeit and artificial persuasion must differ, even
in the person's own feelings, from a real sense of inward power, what
can be more natural, than that this difference should betray itself
in suspicious and jealous irritability? Even as the flowery sod, which
covers a hollow, may be often detected by its shaking and trembling.

But, alas! the multitude of books and the general diffusion of
literature, have produced other and more lamentable effects in the world
of letters, and such as are abundant to explain, though by no means to
justify, the contempt with which the best grounded complaints of injured
genius are rejected as frivolous, or entertained as matter of merriment.
In the days of Chaucer and Gower, our language might (with due allowance
for the imperfections of a simile) be compared to a wilderness of vocal
reeds, from which the favourites only of Pan or Apollo could construct
even the rude syrinx; and from this the constructors alone could elicit
strains of music. But now, partly by the labours of successive
poets, and in part by the more artificial state of society and social
intercourse, language, mechanized as it were into a barrel-organ,
supplies at once both instrument and tune. Thus even the deaf may play,
so as to delight the many. Sometimes (for it is with similes, as it
is with jests at a wine table, one is sure to suggest another) I have
attempted to illustrate the present state of our language, in its
relation to literature, by a press-room of larger and smaller stereotype
pieces, which, in the present Anglo-Gallican fashion of unconnected,
epigrammatic periods, it requires but an ordinary portion of ingenuity
to vary indefinitely, and yet still produce something, which, if not
sense, will be so like it as to do as well. Perhaps better: for it
spares the reader the trouble of thinking; prevents vacancy, while
it indulges indolence; and secures the memory from all danger of an
intellectual plethora. Hence of all trades, literature at present
demands the least talent or information; and, of all modes of
literature, the manufacturing of poems. The difference indeed between
these and the works of genius is not less than between an egg and an
egg-shell; yet at a distance they both look alike.

Now it is no less remarkable than true, with how little examination
works of polite literature are commonly perused, not only by the mass of
readers, but by men of first rate ability, till some accident or chance
[10] discussion have roused their attention, and put them on their
guard. And hence individuals below mediocrity not less in natural power
than in acquired knowledge; nay, bunglers who have failed in the lowest
mechanic crafts, and whose presumption is in due proportion to their
want of sense and sensibility; men, who being first scribblers
from idleness and ignorance, next become libellers from envy and
malevolence,--have been able to drive a successful trade in the
employment of the booksellers, nay, have raised themselves into
temporary name and reputation with the public at large, by that most
powerful of all adulation, the appeal to the bad and malignant passions
of mankind [11]. But as it is the nature of scorn, envy, and all
malignant propensities to require a quick change of objects, such
writers are sure, sooner or later, to awake from their dream of vanity
to disappointment and neglect with embittered and envenomed feelings.
Even during their short-lived success, sensible in spite of themselves
on what a shifting foundation it rests, they resent the mere refusal
of praise as a robbery, and at the justest censures kindle at once into
violent and undisciplined abuse; till the acute disease changing into
chronical, the more deadly as the less violent, they become the fit
instruments of literary detraction and moral slander. They are then no
longer to be questioned without exposing the complainant to ridicule,
because, forsooth, they are anonymous critics, and authorized, in Andrew
Marvell's phrase, as "synodical individuals" to speak of themselves
plurali majestatico! As if literature formed a caste, like that of
the Paras in Hindostan, who, however maltreated, must not dare to deem
themselves wronged! As if that, which in all other cases adds a deeper
dye to slander, the circumstance of its being anonymous, here acted
only to make the slanderer inviolable! [12] Thus, in part, from the
accidental tempers of individuals--(men of undoubted talent, but not
men of genius)--tempers rendered yet more irritable by their desire to
appear men of genius; but still more effectively by the excesses of the
mere counterfeits both of talent and genius; the number too being so
incomparably greater of those who are thought to be, than of those
who really are men of genius; and in part from the natural, but not
therefore the less partial and unjust distinction, made by the public
itself between literary and all other property; I believe the prejudice
to have arisen, which considers an unusual irascibility concerning the
reception of its products as characteristic of genius.

It might correct the moral feelings of a numerous class of readers, to
suppose a Review set on foot, the object of which should be to criticise
all the chief works presented to the public by our ribbon-weavers,
calico-printers, cabinet-makers, and china-manufacturers; which should
be conducted in the same spirit, and take the same freedom with personal
character, as our literary journals. They would scarcely, I think,
deny their belief, not only that the genus irritabile would be found
to include many other species besides that of bards; but that the
irritability of trade would soon reduce the resentments of poets into
mere shadow-fights in the comparison. Or is wealth the only rational
object of human interest? Or even if this were admitted, has the poet
no property in his works? Or is it a rare, or culpable case, that he
who serves at the altar of the Muses, should be compelled to derive
his maintenance from the altar, when too he has perhaps deliberately
abandoned the fairest prospects of rank and opulence in order to
devote himself, an entire and undistracted man, to the instruction or
refinement of his fellow-citizens? Or, should we pass by all higher
objects and motives, all disinterested benevolence, and even that
ambition of lasting praise which is at once the crutch and ornament,
which at once supports and betrays, the infirmity of human virtue,--is
the character and property of the man, who labours for our intellectual
pleasures, less entitled to a share of our fellow feeling, than that of
the wine-merchant or milliner? Sensibility indeed, both quick and deep,
is not only a characteristic feature, but may be deemed a component
part, of genius. But it is not less an essential mark of true genius,
that its sensibility is excited by any other cause more powerfully than
by its own personal interests; for this plain reason, that the man of
genius lives most in the ideal world, in which the present is still
constituted by the future or the past; and because his feelings have
been habitually associated with thoughts and images, to the number,
clearness, and vivacity of which the sensation of self is always in an
inverse proportion. And yet, should he perchance have occasion to repel
some false charge, or to rectify some erroneous censure, nothing is more
common than for the many to mistake the general liveliness of his manner
and language, whatever is the subject, for the effects of peculiar
irritation from its accidental relation to himself. [13]

For myself, if from my own feelings, or from the less suspicious test
of the observations of others, I had been made aware of any literary
testiness or jealousy; I trust, that I should have been, however,
neither silly nor arrogant enough to have burthened the imperfection on
genius. But an experience--(and I should not need documents in abundance
to prove my words, if I added)--a tried experience of twenty years, has
taught me, that the original sin of my character consists in a careless
indifference to public opinion, and to the attacks of those who
influence it; that praise and admiration have become yearly less and
less desirable, except as marks of sympathy; nay that it is difficult
and distressing to me to think with any interest even about the sale
and profit of my works, important as, in my present circumstances, such
considerations must needs be. Yet it never occurred to me to believe or
fancy, that the quantum of intellectual power bestowed on me by nature
or education was in any way connected with this habit of my feelings;
or that it needed any other parents or fosterers than constitutional
indolence, aggravated into languor by ill-health; the accumulating
embarrassments of procrastination; the mental cowardice, which is the
inseparable companion of procrastination, and which makes us anxious to
think and converse on any thing rather than on what concerns ourselves;
in fine, all those close vexations, whether chargeable on my faults
or my fortunes, which leave me but little grief to spare for evils
comparatively distant and alien.

Indignation at literary wrongs I leave to men born under happier stars.
I cannot afford it. But so far from condemning those who can, I deem
it a writer's duty, and think it creditable to his heart, to feel and
express a resentment proportioned to the grossness of the provocation,
and the importance of the object. There is no profession on earth, which
requires an attention so early, so long, or so unintermitting as that of
poetry; and indeed as that of literary composition in general, if it be
such as at all satisfies the demands both of taste and of sound logic.
How difficult and delicate a task even the mere mechanism of verse is,
may be conjectured from the failure of those, who have attempted poetry
late in life. Where then a man has, from his earliest youth, devoted
his whole being to an object, which by the admission of all civilized
nations in all ages is honourable as a pursuit, and glorious as an
attainment; what of all that relates to himself and his family, if only
we except his moral character, can have fairer claims to his protection,
or more authorize acts of self-defence, than the elaborate products of
his intellect and intellectual industry? Prudence itself would command
us to show, even if defect or diversion of natural sensibility had
prevented us from feeling, a due interest and qualified anxiety for the
offspring and representatives of our nobler being. I know it, alas! by
woful experience. I have laid too many eggs in the hot sands of this
wilderness, the world, with ostrich carelessness and ostrich oblivion.
The greater part indeed have been trod under foot, and are forgotten;
but yet no small number have crept forth into life, some to furnish
feathers for the caps of others, and still more to plume the shafts in
the quivers of my enemies, of them that unprovoked have lain in wait
against my soul.

Sic vos, non vobis, mellificatis, apes!




CHAPTER III

The Author's obligations to critics, and the probable
occasion--Principles of modern criticism--Mr. Southey's works and
character.


To anonymous critics in reviews, magazines, and news-journals of various
name and rank, and to satirists with or without a name in verse or
prose, or in verse-text aided by prose-comment, I do seriously believe
and profess, that I owe full two-thirds of whatever reputation and
publicity I happen to possess. For when the name of an individual has
occurred so frequently, in so many works, for so great a length of time,
the readers of these works--(which with a shelf or two of beauties,
elegant Extracts and Anas, form nine-tenths of the reading of the
reading Public [14])--cannot but be familiar with the name, without
distinctly remembering whether it was introduced for eulogy or for
censure. And this becomes the more likely, if (as I believe) the
habit of perusing periodical works may be properly added to Averroes'
catalogue of Anti-Mnemonics, or weakeners of the memory [15]. But where
this has not been the case, yet the reader will be apt to suspect that
there must be something more than usually strong and extensive in
a reputation, that could either require or stand so merciless
and long-continued a cannonading. Without any feeling of anger
therefore--(for which indeed, on my own account, I have no pretext)--I
may yet be allowed to express some degree of surprise, that, after
having run the critical gauntlet for a certain class of faults which
I had, nothing having come before the judgment-seat in the interim, I
should, year after year, quarter after quarter, month after month--(not
to mention sundry petty periodicals of still quicker revolution,
"or weekly or diurnal")--have been, for at least seventeen years
consecutively, dragged forth by them into the foremost ranks of the
proscribed, and forced to abide the brunt of abuse, for faults directly
opposite, and which I certainly had not. How shall I explain this?

Whatever may have been the case with others, I certainly cannot
attribute this persecution to personal dislike, or to envy, or to
feelings of vindictive animosity. Not to the former, for with the
exception of a very few who are my intimate friends, and were so before
they were known as authors, I have had little other acquaintance
with literary characters, than what may be implied in an accidental
introduction, or casual meeting in a mixed company. And as far as words
and looks can be trusted, I must believe that, even in these instances,
I had excited no unfriendly disposition. Neither by letter, nor in
conversation, have I ever had dispute or controversy beyond the common
social interchange of opinions. Nay, where I had reason to suppose my
convictions fundamentally different, it has been my habit, and I may
add, the impulse of my nature, to assign the grounds of my belief,
rather than the belief itself; and not to express dissent, till I could
establish some points of complete sympathy, some grounds common to both
sides, from which to commence its explanation.

Still less can I place these attacks to the charge of envy. The few
pages which I have published, are of too distant a date, and the extent
of their sale a proof too conclusive against their having been popular
at any time, to render probable, I had almost said possible, the
excitement of envy on their account; and the man who should envy me on
any other, verily he must be envy-mad!

Lastly, with as little semblance of reason, could I suspect any
animosity towards me from vindictive feelings as the cause. I have
before said, that my acquaintance with literary men has been limited and
distant; and that I have had neither dispute nor controversy. From my
first entrance into life, I have, with few and short intervals, lived
either abroad or in retirement. My different essays on subjects of
national interest, published at different times, first in the Morning
Post and then in the Courier, with my courses of Lectures on the
principles of criticism as applied to Shakespeare and Milton, constitute
my whole publicity; the only occasions on which I could offend any
member of the republic of letters. With one solitary exception in
which my words were first misstated and then wantonly applied to an
individual, I could never learn that I had excited the displeasure of
any among my literary contemporaries. Having announced my intention to
give a course of Lectures on the characteristic merits and defects of
English poetry in its different aeras; first, from Chaucer to Milton;
second, from Dryden inclusively to Thomson; and third, from Cowper to
the present day; I changed my plan, and confined my disquisition to the
former two periods, that I might furnish no possible pretext for the
unthinking to misconstrue, or the malignant to misapply my words, and
having stamped their own meaning on them, to pass them as current coin
in the marts of garrulity or detraction.

Praises of the unworthy are felt by ardent minds as robberies of the
deserving; and it is too true, and too frequent, that Bacon, Harrington,
Machiavel, and Spinoza, are not read, because Hume, Condillac, and
Voltaire are. But in promiscuous company no prudent man will oppugn
the merits of a contemporary in his own supposed department; contenting
himself with praising in his turn those whom he deems excellent. If
I should ever deem it my duty at all to oppose the pretensions of
individuals, I would oppose them in books which could be weighed and
answered, in which I could evolve the whole of my reasons and feelings,
with their requisite limits and modifications; not in irrecoverable
conversation, where however strong the reasons might be, the feelings
that prompted them would assuredly be attributed by some one or other
to envy and discontent. Besides I well know, and, I trust, have acted on
that knowledge, that it must be the ignorant and injudicious who extol
the unworthy; and the eulogies of critics without taste or judgment are
the natural reward of authors without feeling or genius. Sint unicuique
sua praemia.

How then, dismissing, as I do, these three causes, am I to account for
attacks, the long continuance and inveteracy of which it would require
all three to explain? The solution seems to be this,--I was in habits of
intimacy with Mr. Wordsworth and Mr. Southey! This, however, transfers,
rather than removes the difficulty. Be it, that, by an unconscionable
extension of the old adage, noscitur a socio, my literary friends are
never under the water-fall of criticism, but I must be wet through with
the spray; yet how came the torrent to descend upon them?

First then, with regard to Mr. Southey. I well remember the general
reception of his earlier publications; namely, the poems published with
Mr. Lovell under the names of Moschus and Bion; the two volumes of poems
under his own name, and the Joan of Arc. The censures of the critics by
profession are extant, and may be easily referred to:--careless lines,
inequality in the merit of the different poems, and (in the lighter
works) a predilection for the strange and whimsical; in short, such
faults as might have been anticipated in a young and rapid writer, were
indeed sufficiently enforced. Nor was there at that time wanting a party
spirit to aggravate the defects of a poet, who with all the courage of
uncorrupted youth had avowed his zeal for a cause, which he deemed
that of liberty, and his abhorrence of oppression by whatever name
consecrated. But it was as little objected by others, as dreamed of by
the poet himself, that he preferred careless and prosaic lines on rule
and of forethought, or indeed that he pretended to any other art or
theory of poetic diction, except that which we may all learn from
Horace, Quinctilian, the admirable dialogue, De Oratoribus, generally
attributed to Tacitus, or Strada's Prolusions; if indeed natural good
sense and the early study of the best models in his own language had
not infused the same maxims more securely, and, if I may venture the
expression, more vitally. All that could have been fairly deduced was,
that in his taste and estimation of writers Mr. Southey agreed far more
with Thomas Warton, than with Dr. Johnson. Nor do I mean to deny, that
at all times Mr. Southey was of the same mind with Sir Philip Sidney in
preferring an excellent ballad in the humblest style of poetry to twenty
indifferent poems that strutted in the highest. And by what have his
works, published since then, been characterized, each more strikingly
than the preceding, but by greater splendour, a deeper pathos,
profounder reflections, and a more sustained dignity of language and of
metre? Distant may the period be, but whenever the time shall come,
when all his works shall be collected by some editor worthy to be his
biographer, I trust that an appendix of excerpta of all the passages,
in which his writings, name, and character have been attacked, from
the pamphlets and periodical works of the last twenty years, may be an
accompaniment. Yet that it would prove medicinal in after times I dare
not hope; for as long as there are readers to be delighted with calumny,
there will be found reviewers to calumniate. And such readers will
become in all probability more numerous, in proportion as a still
greater diffusion of literature shall produce an increase of sciolists,
and sciolism bring with it petulance and presumption. In times of old,
books were as religious oracles; as literature advanced, they next
became venerable preceptors; they then descended to the rank of
instructive friends; and, as their numbers increased, they sank still
lower to that of entertaining companions; and at present they seem
degraded into culprits to hold up their hands at the bar of every
self-elected, yet not the less peremptory, judge, who chooses to write
from humour or interest, from enmity or arrogance, and to abide the
decision "of him that reads in malice, or him that reads after dinner.
"

The same retrograde movement may be traced, in the relation which the
authors themselves have assumed towards their readers. From the lofty
address of Bacon: "these are the meditations of Francis of Verulam,
which that posterity should be possessed of, he deemed their interest:"
or from dedication to Monarch or Pontiff, in which the honour given was
asserted in equipoise to the patronage acknowledged: from Pindar's

------'ep' alloi--
si d'alloi megaloi: to d'eschaton kory-
phoutai basilensi. Maeketi
paptaine porsion.
Eiae se te touton
upsou chronon patein, eme
te tossade nikaphorois
omilein, prophanton sophian kath' El-
lanas eonta panta. --OLYMP. OD. I.

there was a gradual sinking in the etiquette or allowed style of
pretension.

Poets and Philosophers, rendered diffident by their very number,
addressed themselves to "learned readers;" then aimed to conciliate
the graces of "the candid reader;" till, the critic still rising as the
author sank, the amateurs of literature collectively were erected into a
municipality of judges, and addressed as the Town! And now, finally,
all men being supposed able to read, and all readers able to judge,
the multitudinous Public, shaped into personal unity by the magic of
abstraction, sits nominal despot on the throne of criticism. But, alas!
as in other despotisms, it but echoes the decisions of its invisible
ministers, whose intellectual claims to the guardianship of the Muses
seem, for the greater part, analogous to the physical qualifications
which adapt their oriental brethren for the superintendence of the
Harem. Thus it is said, that St. Nepomuc was installed the guardian of
bridges, because he had fallen over one, and sunk out of sight; thus
too St. Cecilia is said to have been first propitiated by musicians,
because, having failed in her own attempts, she had taken a dislike to
the art and all its successful professors. But I shall probably have
occasion hereafter to deliver my convictions more at large concerning
this state of things, and its influences on taste, genius and morality.

In the Thalaba, the Madoc, and still more evidently in the unique [16]
Cid, in the Kehama, and, as last, so best, the Roderick; Southey has
given abundant proof, se cogitare quam sit magnum dare aliquid in manus
hominum: nec persuadere sibi posse, non saepe tractandum quod placere
et semper et omnibus cupiat. But on the other hand, I conceive, that Mr.
Southey was quite unable to comprehend, wherein could consist the crime
or mischief of printing half a dozen or more playful poems; or to speak
more generally, compositions which would be enjoyed or passed over,
according as the taste and humour of the reader might chance to be;
provided they contained nothing immoral. In the present age periturae
parcere chartae is emphatically an unreasonable demand. The merest
trifle he ever sent abroad had tenfold better claims to its ink and
paper than all the silly criticisms on it, which proved no more than
that the critic was not one of those, for whom the trifle was written;
and than all the grave exhortations to a greater reverence for the
public--as if the passive page of a book, by having an epigram or
doggerel tale impressed on it, instantly assumed at once loco-motive
power and a sort of ubiquity, so as to flutter and buz in the ear of the
public to the sore annoyance of the said mysterious personage. But what
gives an additional and more ludicrous absurdity to these lamentations
is the curious fact, that if in a volume of poetry the critic should
find poem or passage which he deems more especially worthless, he
is sure to select and reprint it in the review; by which, on his own
grounds, he wastes as much more paper than the author, as the copies of
a fashionable review are more numerous than those of the original book;
in some, and those the most prominent instances, as ten thousand to five
hundred. I know nothing that surpasses the vileness of deciding on the
merits of a poet or painter,--(not by characteristic defects; for where
there is genius, these always point to his characteristic beauties;
but)--by accidental failures or faulty passages; except the impudence
of defending it, as the proper duty, and most instructive part, of
criticism. Omit or pass slightly over the expression, grace,
and grouping of Raffael's figures; but ridicule in detail the
knitting-needles and broom-twigs, that are to represent trees in his
back grounds; and never let him hear the last of his galli-pots! Admit
that the Allegro and Penseroso of Milton are not without merit; but
repay yourself for this concession, by reprinting at length the two
poems on the University Carrier! As a fair specimen of his Sonnets,
quote

"A Book was writ of late called Tetrachordon;"

and, as characteristic of his rhythm and metre, cite his literal
translation of the first and second Psalm! In order to justify yourself,
you need only assert, that had you dwelt chiefly on the beauties and
excellencies of the poet, the admiration of these might seduce the
attention of future writers from the objects of their love and wonder,
to an imitation of the few poems and passages in which the poet was most
unlike himself.

But till reviews are conducted on far other principles, and with far
other motives; till in the place of arbitrary dictation and petulant
sneers, the reviewers support their decisions by reference to fixed
canons of criticism, previously established and deduced from the nature
of man; reflecting minds will pronounce it arrogance in them thus to
announce themselves to men of letters, as the guides of their taste
and judgment. To the purchaser and mere reader it is, at all events, an
injustice. He who tells me that there are defects in a new work,
tells me nothing which I should not have taken for granted without his
information. But he, who points out and elucidates the beauties of
an original work does indeed give me interesting information, such
as experience would not have authorized me in anticipating. And as to
compositions which the authors themselves announce with

Haec ipsi novimus esse nihil,

why should we judge by a different rule two printed works, only because
the one author is alive, and the other in his grave? What literary man
has not regretted the prudery of Spratt in refusing to let his friend
Cowley appear in his slippers and dressing gown? I am not perhaps
the only one who has derived an innocent amusement from the riddles,
conundrums, tri-syllable lines, and the like, of Swift and his
correspondents, in hours of languor, when to have read his more finished
works would have been useless to myself, and, in some sort, an act
of injustice to the author. But I am at a loss to conceive by what
perversity of judgment, these relaxations of his genius could be
employed to diminish his fame as the writer of Gulliver, or the Tale of
a Tub. Had Mr. Southey written twice as many poems of inferior merit, or
partial interest, as have enlivened the journals of the day, they
would have added to his honour with good and wise men, not merely or
principally as proving the versatility of his talents, but as evidences
of the purity of that mind, which even in its levities never dictated a
line which it need regret on any moral account.

I have in imagination transferred to the future biographer the duty of
contrasting Southey's fixed and well-earned fame, with the abuse and
indefatigable hostility of his anonymous critics from his early youth to
his ripest manhood. But I cannot think so ill of human nature as not
to believe, that these critics have already taken shame to themselves,
whether they consider the object of their abuse in his moral or his
literary character. For reflect but on the variety and extent of his
acquirements! He stands second to no man, either as an historian or as
a bibliographer; and when I regard him as a popular essayist,--(for the
articles of his compositions in the reviews are, for the greater part,
essays on subjects of deep or curious interest rather than criticisms
on particular works)--I look in vain for any writer, who has conveyed so
much information, from so many and such recondite sources, with so many
just and original reflections, in a style so lively and poignant, yet so
uniformly classical and perspicuous; no one, in short, who has combined
so much wisdom with so much wit; so much truth and knowledge with
so much life and fancy. His prose is always intelligible and always
entertaining. In poetry he has attempted almost every species of
composition known before, and he has added new ones; and if we except
the highest lyric,--(in which how few, how very few even of the greatest
minds have been fortunate)--he has attempted every species successfully;
from the political song of the day, thrown off in the playful overflow
of honest joy and patriotic exultation, to the wild ballad; from
epistolary ease and graceful narrative, to austere and impetuous moral
declamation; from the pastoral charms and wild streaming lights of the
Thalaba, in which sentiment and imagery have given permanence even to
the excitement of curiosity; and from the full blaze of the Kehama,--(a
gallery of finished pictures in one splendid fancy piece, in which,
notwithstanding, the moral grandeur rises gradually above the brilliance
of the colouring and the boldness and novelty of the machinery)--to
the more sober beauties of the Madoc; and lastly, from the Madoc to
his Roderick, in which, retaining all his former excellencies of a
poet eminently inventive and picturesque, he has surpassed himself
in language and metre, in the construction of the whole, and in the
splendour of particular passages.

Here then shall I conclude? No! The characters of the deceased, like the
encomia on tombstones, as they are described with religious tenderness,
so are they read, with allowing sympathy indeed, but yet with rational
deduction. There are men, who deserve a higher record; men with whose
characters it is the interest of their contemporaries, no less than
that of posterity, to be made acquainted; while it is yet possible for
impartial censure, and even for quick-sighted envy, to cross-examine
the tale without offence to the courtesies of humanity; and while the
eulogist, detected in exaggeration or falsehood, must pay the full
penalty of his baseness in the contempt which brands the convicted
flatterer. Publicly has Mr. Southey been reviled by men, who, as I would
fain hope for the honour of human nature, hurled fire-brands against
a figure of their own imagination; publicly have his talents been
depreciated, his principles denounced; as publicly do I therefore, who
have known him intimately, deem it my duty to leave recorded, that it
is Southey's almost unexampled felicity, to possess the best gifts of
talent and genius free from all their characteristic defects. To those
who remember the state of our public schools and universities some
twenty years past, it will appear no ordinary praise in any man to have
passed from innocence into virtue, not only free from all vicious habit,
but unstained by one act of intemperance, or the degradations akin to
intemperance. That scheme of head, heart, and habitual demeanour, which
in his early manhood, and first controversial writings, Milton, claiming
the privilege of self-defence, asserts of himself, and challenges
his calumniators to disprove; this will his school-mates, his
fellow-collegians, and his maturer friends, with a confidence
proportioned to the intimacy of their knowledge, bear witness to, as
again realized in the life of Robert Southey. But still more striking to
those, who by biography or by their own experience are familiar with the
general habits of genius, will appear the poet's matchless industry
and perseverance in his pursuits; the worthiness and dignity of those
pursuits; his generous submission to tasks of transitory interest, or
such as his genius alone could make otherwise; and that having thus more
than satisfied the claims of affection or prudence, he should yet have
made for himself time and power, to achieve more, and in more various
departments, than almost any other writer has done, though employed
wholly on subjects of his own choice and ambition. But as Southey
possesses, and is not possessed by, his genius, even so is he master
even of his virtues. The regular and methodical tenor of his daily
labours, which would be deemed rare in the most mechanical pursuits,
and might be envied by the mere man of business, loses all semblance of
formality in the dignified simplicity of his manners, in the spring and
healthful cheerfulness of his spirits. Always employed, his friends find
him always at leisure. No less punctual in trifles, than steadfast in
the performance of highest duties, he inflicts none of those small pains
and discomforts which irregular men scatter about them, and which in
the aggregate so often become formidable obstacles both to happiness
and utility; while on the contrary he bestows all the pleasures, and
inspires all that ease of mind on those around him or connected with
him, which perfect consistency, and (if such a word might be framed)
absolute reliability, equally in small as in great concerns, cannot but
inspire and bestow; when this too is softened without being weakened
by kindness and gentleness. I know few men who so well deserve the
character which an antient attributes to Marcus Cato, namely, that
he was likest virtue, in as much as he seemed to act aright, not in
obedience to any law or outward motive, but by the necessity of a happy
nature, which could not act otherwise. As son, brother, husband,
father, master, friend, he moves with firm yet light steps, alike
unostentatious, and alike exemplary. As a writer, he has uniformly made
his talents subservient to the best interests of humanity, of public
virtue, and domestic piety; his cause has ever been the cause of pure
religion and of liberty, of national independence and of national
illumination. When future critics shall weigh out his guerdon of praise
and censure, it will be Southey the poet only, that will supply them
with the scanty materials for the latter. They will likewise not fail to
record, that as no man was ever a more constant friend, never had poet
more friends and honourers among the good of all parties; and that
quacks in education, quacks in politics, and quacks in criticism were
his only enemies. [17]




CHAPTER IV

The Lyrical Ballads with the Preface--Mr. Wordsworth's earlier poems--On
fancy and imagination--The investigation of the distinction important to
the Fine Arts.


I have wandered far from the object in view, but as I fancied to myself
readers who would respect the feelings that had tempted me from the main
road; so I dare calculate on not a few, who will warmly sympathize with
them. At present it will be sufficient for my purpose, if I have proved,
that Mr. Southey's writings no more than my own furnished the original
occasion to this fiction of a new school of poetry, and to the clamours
against its supposed founders and proselytes.

As little do I believe that Mr. Wordsworth's Lyrical Ballads were
in themselves the cause. I speak exclusively of the two volumes so
entitled. A careful and repeated examination of these confirms me in
the belief, that the omission of less than a hundred lines would have
precluded nine-tenths of the criticism on this work. I hazard this
declaration, however, on the supposition, that the reader has taken it
up, as he would have done any other collection of poems purporting to
derive their subjects or interests from the incidents of domestic or
ordinary life, intermingled with higher strains of meditation which
the poet utters in his own person and character; with the proviso, that
these poems were perused without knowledge of, or reference to,
the author's peculiar opinions, and that the reader had not had his
attention previously directed to those peculiarities. In that case,
as actually happened with Mr. Southey's earlier works, the lines and
passages which might have offended the general taste, would have been
considered as mere inequalities, and attributed to inattention, not to
perversity of judgment. The men of business who had passed their lives
chiefly in cities, and who might therefore be expected to derive the
highest pleasure from acute notices of men and manners conveyed in easy,
yet correct and pointed language; and all those who, reading but little
poetry, are most stimulated with that species of it, which seems
most distant from prose, would probably have passed by the volumes
altogether. Others more catholic in their taste, and yet habituated to
be most pleased when most excited, would have contented themselves
with deciding, that the author had been successful in proportion to the
elevation of his style and subject. Not a few, perhaps, might, by their
admiration of the Lines written near Tintern Abbey, on revisiting the
Wye, those Left upon a Yew Tree Seat, The Old Cumberland Beggar,
and Ruth, have been gradually led to peruse with kindred feeling
The Brothers, the Hart-leap Well, and whatever other poems in that
collection may be described as holding a middle place between those
written in the highest and those in the humblest style; as for instance
between the Tintern Abbey, and The Thorn, or Simon Lee. Should their
taste submit to no further change, and still remain unreconciled to the
colloquial phrases, or the imitations of them, that are, more or less,
scattered through the class last mentioned; yet even from the small
number of the latter, they would have deemed them but an inconsiderable
subtraction from the merit of the whole work; or, what is sometimes not
unpleasing in the publication of a new writer, as serving to ascertain
the natural tendency, and consequently the proper direction of the
author's genius.

In the critical remarks, therefore, prefixed and annexed to the Lyrical
Ballads, I believe, we may safely rest, as the true origin of the
unexampled opposition which Mr. Wordsworth's writings have been since
doomed to encounter. The humbler passages in the poems themselves were
dwelt on and cited to justify the rejection of the theory. What in
and for themselves would have been either forgotten or forgiven as
imperfections, or at least comparative failures, provoked direct
hostility when announced as intentional, as the result of choice after
full deliberation. Thus the poems, admitted by all as excellent, joined
with those which had pleased the far greater number, though they formed
two-thirds of the whole work, instead of being deemed (as in all right
they should have been, even if we take for granted that the reader
judged aright) an atonement for the few exceptions, gave wind and fuel
to the animosity against both the poems and the poet. In all perplexity
there is a portion of fear, which predisposes the mind to anger. Not
able to deny that the author possessed both genius and a powerful
intellect, they felt very positive,--but yet were not quite certain
that he might not be in the right, and they themselves in the wrong; an
unquiet state of mind, which seeks alleviation by quarrelling with the
occasion of it, and by wondering at the perverseness of the man, who had
written a long and argumentative essay to persuade them, that

Fair is foul, and foul is fair;

in other words, that they had been all their lives admiring without
judgment, and were now about to censure without reason. [18]

That this conjecture is not wide from the mark, I am induced to believe
from the noticeable fact, which I can state on my own knowledge, that
the same general censure has been grounded by almost every different
person on some different poem. Among those, whose candour and judgment
I estimate highly, I distinctly remember six who expressed their
objections to the Lyrical Ballads almost in the same words, and
altogether to the same purport, at the same time admitting, that several
of the poems had given them great pleasure; and, strange as it might
seem, the composition which one cited as execrable, another quoted as
his favourite. I am indeed convinced in my own mind, that could the same
experiment have been tried with these volumes, as was made in the well
known story of the picture, the result would have been the same; the
parts which had been covered by black spots on the one day, would be
found equally albo lapide notatae on the succeeding.

However this may be, it was assuredly hard and unjust to fix the
attention on a few separate and insulated poems with as much aversion,
as if they had been so many plague-spots on the whole work, instead of
passing them over in silence, as so much blank paper, or leaves of a
bookseller's catalogue; especially, as no one pretended to have found
in them any immorality or indelicacy; and the poems, therefore, at the
worst, could only be regarded as so many light or inferior coins in a
rouleau of gold, not as so much alloy in a weight of bullion. A friend
whose talents I hold in the highest respect, but whose judgment and
strong sound sense I have had almost continued occasion to revere,
making the usual complaints to me concerning both the style and subjects
of Mr. Wordsworth's minor poems; I admitted that there were some few of
the tales and incidents, in which I could not myself find a sufficient
cause for their having been recorded in metre. I mentioned Alice Fell as
an instance; "Nay," replied my friend with more than usual quickness of
manner, "I cannot agree with you there! --that, I own, does seem to me
a remarkably pleasing poem. " In the Lyrical Ballads, (for my experience
does not enable me to extend the remark equally unqualified to the two
subsequent volumes,) I have heard at different times, and from different
individuals, every single poem extolled and reprobated, with the
exception of those of loftier kind, which as was before observed, seem
to have won universal praise. This fact of itself would have made me
diffident in my censures, had not a still stronger ground been furnished
by the strange contrast of the heat and long continuance of the
opposition, with the nature of the faults stated as justifying it. The
seductive faults, the dulcia vitia of Cowley, Marine, or Darwin might
reasonably be thought capable of corrupting the public judgment for half
a century, and require a twenty years war, campaign after campaign, in
order to dethrone the usurper and re-establish the legitimate taste.
But that a downright simpleness, under the affectation of simplicity,
prosaic words in feeble metre, silly thoughts in childish phrases, and
a preference of mean, degrading, or at best trivial associations and
characters, should succeed in forming a school of imitators, a company
of almost religious admirers, and this too among young men of ardent
minds, liberal education, and not

------with academic laurels unbestowed;

and that this bare and bald counterfeit of poetry, which is
characterized as below criticism, should for nearly twenty years have
well-nigh engrossed criticism, as the main, if not the only, butt of
review, magazine, pamphlet, poem, and paragraph; this is indeed matter
of wonder. Of yet greater is it, that the contest should still continue
as undecided as [19] that between Bacchus and the frogs in Aristophanes;
when the former descended to the realms of the departed to bring back
the spirit of old and genuine poesy;--

CH. Brekekekex, koax, koax.
D. All' exoloisth' auto koax.
Ouden gar est' all', hae koax.
Oimozet' ou gar moi melei.
CH. Alla maen kekraxomestha
g', oposon hae pharynx an haemon
chandanae di' haemeras,
brekekekex, koax, koax!
D. Touto gar ou nikaesete.
CH. Oude men haemas su pantos.
D. Oude maen humeis ge dae m'
oudepote. Kekraxomai gar,
kan me deae, di' haemeras,
eos an humon epikrataeso tou koax!
CH. Brekekekex, KO'AX, KOAX!

During the last year of my residence at Cambridge, 1794, I became
acquainted with Mr. Wordsworth's first publication entitled Descriptive
Sketches; and seldom, if ever, was the emergence of an original poetic
genius above the literary horizon more evidently announced. In the
form, style, and manner of the whole poem, and in the structure of
the particular lines and periods, there is a harshness and acerbity
connected and combined with words and images all a-glow, which might
recall those products of the vegetable world, where gorgeous blossoms
rise out of a hard and thorny rind and shell, within which the rich
fruit is elaborating. The language is not only peculiar and strong, but
at times knotty and contorted, as by its own impatient strength; while
the novelty and struggling crowd of images, acting in conjunction with
the difficulties of the style, demands always a greater closeness of
attention, than poetry,--at all events, than descriptive poetry--has
a right to claim. It not seldom therefore justified the complaint of
obscurity. In the following extract I have sometimes fancied, that I saw
an emblem of the poem itself, and of the author's genius as it was then
displayed. --

'Tis storm; and hid in mist from hour to hour,
All day the floods a deepening murmur pour;
The sky is veiled, and every cheerful sight
Dark is the region as with coming night;
Yet what a sudden burst of overpowering light!
Triumphant on the bosom of the storm,
Glances the fire-clad eagle's wheeling form;
Eastward, in long perspective glittering, shine
The wood-crowned cliffs that o'er the lake recline;
Those Eastern cliffs a hundred streams unfold,
At once to pillars turned that flame with gold;
Behind his sail the peasant strives to shun
The west, that burns like one dilated sun,
Where in a mighty crucible expire
The mountains, glowing hot, like coals of fire.

The poetic Psyche, in its process to full development, undergoes as many
changes as its Greek namesake, the butterfly [20]. And it is remarkable
how soon genius clears and purifies itself from the faults and errors of
its earliest products; faults which, in its earliest compositions, are
the more obtrusive and confluent, because as heterogeneous elements,
which had only a temporary use, they constitute the very ferment,
by which themselves are carried off. Or we may compare them to some
diseases, which must work on the humours, and be thrown out on the
surface, in order to secure the patient from their future recurrence.
I was in my twenty-fourth year, when I had the happiness of knowing Mr.
Wordsworth personally, and while memory lasts, I shall hardly forget
the sudden effect produced on my mind, by his recitation of a manuscript
poem, which still remains unpublished, but of which the stanza and tone
of style were the same as those of The Female Vagrant, as originally
printed in the first volume of the Lyrical Ballads. There was here no
mark of strained thought, or forced diction, no crowd or turbulence of
imagery; and, as the poet hath himself well described in his Lines on
revisiting the Wye, manly reflection and human associations had given
both variety, and an additional interest to natural objects, which,
in the passion and appetite of the first love, they had seemed to him
neither to need nor permit. The occasional obscurities, which had risen
from an imperfect control over the resources of his native language, had
almost wholly disappeared, together with that worse defect of arbitrary
and illogical phrases, at once hackneyed and fantastic, which hold so
distinguished a place in the technique of ordinary poetry, and will,
more or less, alloy the earlier poems of the truest genius, unless
the attention has been specially directed to their worthlessness and
incongruity [21]. I did not perceive anything particular in the mere
style of the poem alluded to during its recitation, except indeed such
difference as was not separable from the thought and manner; and the
Spenserian stanza, which always, more or less, recalls to the reader's
mind Spenser's own style, would doubtless have authorized, in my then
opinion, a more frequent descent to the phrases of ordinary life, than
could without an ill effect have been hazarded in the heroic couplet.
It was not however the freedom from false taste, whether as to common
defects, or to those more properly his own, which made so unusual an
impression on my feelings immediately, and subsequently on my judgment.
It was the union of deep feeling with profound thought; the fine balance
of truth in observing, with the imaginative faculty in modifying, the
objects observed; and above all the original gift of spreading the tone,
the atmosphere, and with it the depth and height of the ideal world
around forms, incidents, and situations, of which, for the common view,
custom had bedimmed all the lustre, had dried up the sparkle and the dew
drops.

This excellence, which in all Mr. Wordsworth's writings is more or
less predominant, and which constitutes the character of his mind, I no
sooner felt, than I sought to understand. Repeated meditations led me
first to suspect,--(and a more intimate analysis of the human faculties,
their appropriate marks, functions, and effects matured my conjecture
into full conviction,)--that Fancy and Imagination were two distinct and
widely different faculties, instead of being, according to the general
belief, either two names with one meaning, or, at furthest, the lower
and higher degree of one and the same power. It is not, I own, easy to
conceive a more apposite translation of the Greek phantasia than the
Latin imaginatio; but it is equally true that in all societies there
exists an instinct of growth, a certain collective, unconscious good
sense working progressively to desynonymize [22] those words originally
of the same meaning, which the conflux of dialects supplied to the
more homogeneous languages, as the Greek and German: and which the
same cause, joined with accidents of translation from original works of
different countries, occasion in mixed languages like our own. The first
and most important point to be proved is, that two conceptions perfectly
distinct are confused under one and the same word, and--this done--to
appropriate that word exclusively to the one meaning, and the synonyme,
should there be one, to the other. But if,--(as will be often the case
in the arts and sciences,)--no synonyme exists, we must either invent
or borrow a word. In the present instance the appropriation has already
begun, and been legitimated in the derivative adjective: Milton had a
highly imaginative, Cowley a very fanciful mind. If therefore I should
succeed in establishing the actual existence of two faculties generally
different, the nomenclature would be at once determined. To the
faculty by which I had characterized Milton, we should confine the term
'imagination;' while the other would be contra-distinguished as 'fancy. '
Now were it once fully ascertained, that this division is no less
grounded in nature than that of delirium from mania, or Otway's

Lutes, laurels, seas of milk, and ships of amber,

from Shakespeare's

What! have his daughters brought him to this pass?

or from the preceding apostrophe to the elements; the theory of the fine
arts, and of poetry in particular, could not but derive some additional
and important light. It would in its immediate effects furnish a torch
of guidance to the philosophical critic; and ultimately to the poet
himself. In energetic minds, truth soon changes by domestication into
power; and from directing in the discrimination and appraisal of the
product, becomes influencive in the production. To admire on principle,
is the only way to imitate without loss of originality.

It has been already hinted, that metaphysics and psychology have long
been my hobby-horse. But to have a hobby-horse, and to be vain of it,
are so commonly found together, that they pass almost for the same. I
trust therefore, that there will be more good humour than contempt,
in the smile with which the reader chastises my self-complacency, if I
confess myself uncertain, whether the satisfaction from the perception
of a truth new to myself may not have been rendered more poignant by the
conceit, that it would be equally so to the public. There was a time,
certainly, in which I took some little credit to myself, in the belief
that I had been the first of my countrymen, who had pointed out the
diverse meaning of which the two terms were capable, and analyzed the
faculties to which they should be appropriated. Mr. W. Taylor's recent
volume of synonymes I have not yet seen [23]; but his specification of
the terms in question has been clearly shown to be both insufficient and
erroneous by Mr. Wordsworth in the Preface added to the late collection
of his Poems. The explanation which Mr. Wordsworth has himself given,
will be found to differ from mine, chiefly, perhaps as our objects are
different. It could scarcely indeed happen otherwise, from the advantage
I have enjoyed of frequent conversation with him on a subject to which
a poem of his own first directed my attention, and my conclusions
concerning which he had made more lucid to myself by many happy
instances drawn from the operation of natural objects on the mind. But
it was Mr. Wordsworth's purpose to consider the influences of fancy and
imagination as they are manifested in poetry, and from the different
effects to conclude their diversity in kind; while it is my object to
investigate the seminal principle, and then from the kind to deduce the
degree. My friend has drawn a masterly sketch of the branches with their
poetic fruitage. I wish to add the trunk, and even the roots as far as
they lift themselves above ground, and are visible to the naked eye of
our common consciousness.

Yet even in this attempt I am aware that I shall be obliged to draw more
largely on the reader's attention, than so immethodical a miscellany as
this can authorize; when in such a work (the Ecclesiasical Polity) of
such a mind as Hooker's, the judicious author, though no less admirable
for the perspicuity than for the port and dignity of his language,--and
though he wrote for men of learning in a learned age,--saw nevertheless
occasion to anticipate and guard against "complaints of obscurity," as
often as he was to trace his subject "to the highest well-spring and
fountain. " Which, (continues he) "because men are not accustomed to, the
pains we take are more needful a great deal, than acceptable; and the
matters we handle, seem by reason of newness (till the mind grow better
acquainted with them) dark and intricate. " I would gladly therefore
spare both myself and others this labour, if I knew how without it
to present an intelligible statement of my poetic creed,--not as my
opinions, which weigh for nothing, but as deductions from established
premises conveyed in such a form, as is calculated either to effect a
fundamental conviction, or to receive a fundamental confutation. If I
may dare once more adopt the words of Hooker, "they, unto whom we shall
seem tedious, are in no wise injured by us, because it is in their own
hands to spare that labour, which they are not willing to endure. " Those
at least, let me be permitted to add, who have taken so much pains to
render me ridiculous for a perversion of taste, and have supported the
charge by attributing strange notions to me on no other authority than
their own conjectures, owe it to themselves as well as to me not to
refuse their attention to my own statement of the theory which I do
acknowledge; or shrink from the trouble of examining the grounds on
which I rest it, or the arguments which I offer in its justification.




CHAPTER V

On the law of Association--Its history traced from Aristotle to Hartley.


There have been men in all ages, who have been impelled as by an
instinct to propose their own nature as a problem, and who devote their
attempts to its solution. The first step was to construct a table of
distinctions, which they seem to have formed on the principle of the
absence or presence of the Will. Our various sensations, perceptions,
and movements were classed as active or passive, or as media partaking
of both. A still finer distinction was soon established between the
voluntary and the spontaneous. In our perceptions we seem to ourselves
merely passive to an external power, whether as a mirror reflecting the
landscape, or as a blank canvass on which some unknown hand paints it.
For it is worthy of notice, that the latter, or the system of Idealism
may be traced to sources equally remote with the former, or Materialism;
and Berkeley can boast an ancestry at least as venerable as Gassendi
or Hobbes. These conjectures, however, concerning the mode in which our
perceptions originated, could not alter the natural difference of Things
and Thoughts. In the former, the cause appeared wholly external,
while in the latter, sometimes our will interfered as the producing or
determining cause, and sometimes our nature seemed to act by a mechanism
of its own, without any conscious effort of the will, or even against
it. Our inward experiences were thus arranged in three separate classes,
the passive sense, or what the School-men call the merely receptive
quality of the mind; the voluntary; and the spontaneous, which holds the
middle place between both. But it is not in human nature to meditate on
any mode of action, without inquiring after the law that governs it;
and in the explanation of the spontaneous movements of our being, the
metaphysician took the lead of the anatomist and natural philosopher. In
Egypt, Palestine, Greece, and India the analysis of the mind had reached
its noon and manhood, while experimental research was still in its dawn
and infancy. For many, very many centuries, it has been difficult to
advance a new truth, or even a new error, in the philosophy of the
intellect or morals. With regard, however, to the laws that direct the
spontaneous movements of thought and the principle of their intellectual
mechanism there exists, it has been asserted, an important exception
most honourable to the moderns, and in the merit of which our own
country claims the largest share. Sir James Mackintosh,--(who, amid the
variety of his talents and attainments, is not of less repute for the
depth and accuracy of his philosophical inquiries than for the
eloquence with which he is said to render their most difficult results
perspicuous, and the driest attractive,)--affirmed in the Lectures,
delivered by him in Lincoln's Inn Hall, that the law of association as
established in the contemporaneity of the original impressions,
formed the basis of all true psychology; and that any ontological or
metaphysical science, not contained in such (that is, an empirical)
psychology, was but a web of abstractions and generalizations. Of this
prolific truth, of this great fundamental law, he declared Hobbes to
have been the original discoverer, while its full application to the
whole intellectual system we owed to Hartley; who stood in the same
relation to Hobbes as Newton to Kepler; the law of association being
that to the mind, which gravitation is to matter.

Of the former clause in this assertion, as it respects the comparative
merits of the ancient metaphysicians, including their commentators, the
School-men, and of the modern and British and French philosophers from
Hobbes to Hume, Hartley, and Condillac, this is not the place to speak.
So wide indeed is the chasm between Sir James Mackintosh's philosophical
creed and mine, that so far from being able to join hands, we could
scarcely make our voices intelligible to each other: and to bridge it
over would require more time, skill, and power than I believe myself
to possess. But the latter clause involves for the greater part a mere
question of fact and history, and the accuracy of the statement is to be
tried by documents rather than reasoning.

First, then, I deny Hobbes's claim in toto: for he had been anticipated
by Des Cartes, whose work De Methodo, preceded Hobbes's De Natura
Humana, by more than a year. But what is of much more importance, Hobbes
builds nothing on the principle which he had announced. He does not
even announce it, as differing in any respect from the general laws of
material motion and impact: nor was it, indeed, possible for him so
to do, compatibly with his system, which was exclusively material and
mechanical. Far otherwise is it with Des Cartes; greatly as he too
in his after writings (and still more egregiously his followers De la
Forge, and others) obscured the truth by their attempts to explain it on
the theory of nervous fluids, and material configurations. But, in his
interesting work, De Methodo, Des Cartes relates the circumstance which
first led him to meditate on this subject, and which since then has been
often noticed and employed as an instance and illustration of the law.
A child who with its eyes bandaged had lost several of his fingers by
amputation, continued to complain for many days successively of pains,
now in this joint and now in that, of the very fingers which had
been cut off. Des Cartes was led by this incident to reflect on the
uncertainty with which we attribute any particular place to any inward
pain or uneasiness, and proceeded after long consideration to establish
it as a general law: that contemporaneous impressions, whether images
or sensations, recall each other mechanically. On this principle, as
a ground work, he built up the whole system of human language, as one
continued process of association. He showed in what sense not only
general terms, but generic images,--under the name of abstract
ideas,--actually existed, and in what consist their nature and power.
As one word may become the general exponent of many, so by association
a simple image may represent a whole class. But in truth Hobbes
himself makes no claims to any discovery, and introduces this law of
association, or (in his own language) discursion of mind, as an
admitted fact, in the solution alone of which, and this by causes purely
physiological, he arrogates any originality. His system is briefly this;
whenever the senses are impinged on by external objects, whether by
the rays of light reflected from them, or by effluxes of their finer
particles, there results a correspondent motion of the innermost and
subtlest organs. This motion constitutes a representation, and there
remains an impression of the same, or a certain disposition to repeat
the same motion. Whenever we feel several objects at the same time, the
impressions that are left, (or in the language of Mr. Hume, the ideas,)
are linked together. Whenever therefore any one of the movements, which
constitute a complex impression, is renewed through the senses, the
others succeed mechanically.