No More Learning

Godwin has rendered an essential service to moral science, by attempting
(in vain) to pass the Arctic Circle and Frozen Regions, where the
understanding is no longer warmed by the affections, nor fanned by the
breeze of fancy! This is the effect of all bold, original, and powerful
thinking, that it either discovers the truth, or detects where error
lies; and the only crime with which Mr. Godwin can be charged as a
political and moral reasoner is, that he has displayed a more ardent
spirit, and a more independent activity of thought than others, in
establishing the fallacy (if fallacy it be) of an old popular prejudice
that _the Just and True were one_, by "championing it to the Outrance,"
and in the final result placing the Gothic structure of human virtue
on an humbler, but a wider and safer foundation than it had hitherto
occupied in the volumes and systems of the learned. Mr. Godwin is an
inventor in the regions of romance, as well as a skilful and hardy
explorer of those of moral truth. _Caleb Williams_ and _St. Leon_ are
two of the most splendid and impressive works of the imagination that
have appeared in our times. It is not merely that these novels are very
well for a philosopher to have produced--they are admirable and complete
in themselves, and would not lead you to suppose that the author, who is
so entirely at home in human character and dramatic situation, had ever
dabbled in logic or metaphysics. The first of these, particularly, is
a master-piece, both as to invention and execution. The romantic and
chivalrous principle of the love of personal fame is embodied in the
finest possible manner in the character of Falkland;[B] as in Caleb
Williams (who is not the first, but the second character in the piece)
we see the very demon of curiosity personified. Perhaps the art with
which these two characters are contrived to relieve and set off each
other, has never been surpassed in any work of fiction, with the
exception of the immortal satire of Cervantes. The restless and
inquisitive spirit of Caleb Williams, in search and in possession of
his patron's fatal secret, haunts the latter like a second conscience,
plants stings in his tortured mind, fans the flame of his jealous
ambition, struggling with agonized remorse; and the hapless but
noble-minded Falkland at length falls a martyr to the persecution of
that morbid and overpowering interest, of which his mingled virtues and
vices have rendered him the object. We conceive no one ever began Caleb
Williams that did not read it through: no one that ever read it could
possibly forget it, or speak of it after any length of time, but with an
impression as if the events and feelings had been personal to himself.
This is the case also with the story of St. Leon, which, with less
dramatic interest and intensity of purpose, is set off by a more
gorgeous and flowing eloquence, and by a crown of preternatural imagery,
that waves over it like a palm-tree! It is the beauty and the charm of
Mr. Godwin's descriptions that the reader identifies himself with the
author; and the secret of this is, that the author has identified
himself with his personages. Indeed, he has created them. They are the
proper issue of his brain, lawfully begot, not foundlings, nor the
"bastards of his art. " He is not an indifferent, callous spectator of
the scenes which he himself pourtrays, but without seeming to feel them.
There is no look of patch-work and plagiarism, the beggarly copiousness
of borrowed wealth; no tracery-work from worm-eaten manuscripts, from
forgotten chronicles, nor piecing out of vague traditions with fragments
and snatches of old ballads, so that the result resembles a gaudy,
staring transparency, in which you cannot distinguish the daubing of the
painter from the light that shines through the flimsy colours and gives
them brilliancy. Here all is clearly made out with strokes of the
pencil, by fair, not by factitious means. Our author takes a given
subject from nature or from books, and then fills it up with the ardent
workings of his own mind, with the teeming and audible pulses of his own
heart. The effect is entire and satisfactory in proportion. The work
(so to speak) and the author are one. We are not puzzled to decide upon
their respective pretensions. In reading Mr. Godwin's novels, we know
what share of merit the author has in them. In reading the _Scotch
Novels_, we are perpetually embarrassed in asking ourselves this
question; and perhaps it is not altogether a false modesty that prevents
the editor from putting his name in the title-page--he is (for any thing
we know to the contrary) only a more voluminous sort of Allen-a-Dale.
At least, we may claim this advantage for the English author, that the
chains with which he rivets our attention are forged out of his own
thoughts, link by link, blow for blow, with glowing enthusiasm: we see
the genuine ore melted in the furnace of fervid feeling, and moulded
into stately and _ideal_ forms; and this is so far better than peeping
into an old iron shop, or pilfering from a dealer in marine stores!
There is one drawback, however, attending this mode of proceeding, which
attaches generally, indeed, to all originality of composition; namely,
that it has a tendency to a certain degree of monotony. He who draws
upon his own resources, easily comes to an end of his wealth. Mr.
Godwin, in all his writings, dwells upon one idea or exclusive view of a
subject, aggrandises a sentiment, exaggerates a character, or pushes an
argument to extremes, and makes up by the force of style and continuity
of feeling for what he wants in variety of incident or ease of manner.
This necessary defect is observable in his best works, and is still more
so in Fleetwood and Mandeville; the one of which, compared with his more
admired performances, is mawkish, and the other morbid. Mr. Godwin is
also an essayist, an historian--in short, what is he not, that belongs
to the character of an indefatigable and accomplished author? His _Life
of Chaucer_ would have given celebrity to any man of letters possessed
of three thousand a year, with leisure to write quartos: as the legal
acuteness displayed in his _Remarks on Judge Eyre's Charge to the
Jury_ would have raised any briefless barrister to the height of his
profession. This temporary effusion did more--it gave a turn to the
trials for high treason in the year 1794, and possibly saved the lives
of twelve innocent individuals, marked out as political victims to the
Moloch of Legitimacy, which then skulked behind a British throne,
and had not yet dared to stalk forth (as it has done since) from its
lurking-place, in the face of day, to brave the opinion of the world. If
it had then glutted its maw with its intended prey (the sharpness of Mr.
Godwin's pen cut the legal cords with which it was attempted to bind
them), it might have done so sooner, and with more lasting effect. The
world do not know (and we are not sure but the intelligence may startle
Mr. Godwin himself), that he is the author of a volume of Sermons, and
of a Life of Chatham. [C]

Mr. Fawcett (an old friend and fellow-student of our author, and who
always spoke of his writings with admiration, tinctured with wonder)
used to mention a circumstance with respect to the last-mentioned work,
which may throw some light on the history and progress of Mr. Godwin's
mind. He was anxious to make his biographical account as complete as
he could, and applied for this purpose to many of his acquaintance to
furnish him with anecdotes or to suggest criticisms. Amongst others Mr.
Fawcett repeated to him what he thought a striking passage in a speech
on _General Warrants_ delivered by Lord Chatham, at which he (Mr.
Fawcett) had been present. "Every man's house" (said this emphatic
thinker and speaker) "has been called his castle. And why is it called
his castle? Is it because it is defended by a wall, because it is
surrounded with a moat? No, it may be nothing more than a straw-built
shed. It may be open to all the elements: the wind may enter in, the
rain may enter in--but the king _cannot_ enter in! " His friend thought
that the point was here palpable enough: but when he came to read the
printed volume, he found it thus _transposed_: "Every man's house is his
castle. And why is it called so? Is it because it is defended by a wall,
because it is surrounded with a moat? No, it may be nothing more than a
straw-built shed. It may be exposed to all the elements: the rain may
enter into it, _all the winds of Heaven may whistle round it_, but the
king cannot, &c. " This was what Fawcett called a defect of _natural
imagination_. He at the same time admitted that Mr. Godwin had improved
his native sterility in this respect; or atoned for it by incessant
activity of mind and by accumulated stores of thought and powers of
language. In fact, his _forte_ is not the spontaneous, but the voluntary
exercise of talent. He fixes his ambition on a high point of excellence,
and spares no pains or time in attaining it. He has less of the
appearance of a man of genius, than any one who has given such decided
and ample proofs of it. He is ready only on reflection: dangerous only
at the rebound. He gathers himself up, and strains every nerve and
faculty with deliberate aim to some heroic and dazzling atchievement of
intellect: but he must make a career before he flings himself, armed,
upon the enemy, or he is sure to be unhorsed. Or he resembles an
eight-day clock that must be wound up long before it can strike.
Therefore, his powers of conversation are but limited. He has neither
acuteness of remark, nor a flow of language, both which might be
expected from his writings, as these are no less distinguished by a
sustained and impassioned tone of declamation than by novelty of opinion
or brilliant tracks of invention. In company, Horne Tooke used to make
a mere child of him--or of any man! Mr. Godwin liked this treatment[D],
and indeed it is his foible to fawn on those who use him _cavalierly_,
and to be cavalier to those who express an undue or unqualified
admiration of him. He looks up with unfeigned respect to acknowledged
reputation (but then it must be very well ascertained before he admits
it)--and has a favourite hypothesis that Understanding and Virtue are
the same thing. Mr. Godwin possesses a high degree of philosophical
candour, and studiously paid the homage of his pen and person to Mr.
Malthus, Sir James Macintosh, and Dr. Parr, for their unsparing attacks
on him; but woe to any poor devil who had the hardihood to defend him
against them! In private, the author of _Political Justice_ at one
time reminded those who knew him of the metaphysician engrafted on
the Dissenting Minister. There was a dictatorial, captious, quibbling
pettiness of manner. He lost this with the first blush and awkwardness
of popularity, which surprised him in the retirement of his study;
and he has since, with the wear and tear of society, from being too
pragmatical, become somewhat too careless. He is, at present, as easy as
an old glove. Perhaps there is a little attention to effect in this,
and he wishes to appear a foil to himself. His best moments are with an
intimate acquaintance or two, when he gossips in a fine vein about old
authors, Clarendon's _History of the Rebellion_, or Burnet's _History of
his own Times_; and you perceive by your host's talk, as by the taste
of seasoned wine, that he has a _cellarage_ in his understanding! Mr.
Godwin also has a correct _acquired_ taste in poetry and the drama. He
relishes Donne and Ben Jonson, and recites a passage from either with an
agreeable mixture of pedantry and _bonhommie_. He is not one of those
who do not grow wiser with opportunity and reflection: he changes his
opinions, and changes them for the better. The alteration of his taste
in poetry, from an exclusive admiration of the age of Queen Anne to an
almost equally exclusive one of that of Elizabeth, is, we suspect, owing
to Mr. Coleridge, who some twenty years ago, threw a great stone into
the standing pool of criticism, which splashed some persons with the
mud, but which gave a motion to the surface and a reverberation to the
neighbouring echoes, which has not since subsided. In common company,
Mr. Godwin either goes to sleep himself, or sets others to sleep. He is
at present engaged in a History of the Commonwealth of England. --_Esto
perpetua! _ In size Mr. Godwin is below the common stature, nor is his
deportment graceful or animated. His face is, however, fine, with an
expression of placid temper and recondite thought. He is not unlike the
common portraits of Locke. There is a very admirable likeness of him by
Mr. Northcote, which with a more heroic and dignified air, only does
justice to the profound sagacity and benevolent aspirations of our
author's mind. Mr. Godwin has kept the best company of his time, but he
has survived most of the celebrated persons with whom he lived in habits
of intimacy. He speaks of them with enthusiasm and with discrimination;
and sometimes dwells with peculiar delight on a day passed at John
Kemble's in company with Mr. Sheridan, Mr. Curran, Mrs. Wolstonecraft
and Mrs. Inchbald, when the conversation took a most animated turn
and the subject was of Love. Of all these our author is the only one
remaining. Frail tenure, on which human life and genius are lent us for
a while to improve or to enjoy!


[Footnote A: Shaftesbury made this an objection to Christianity, which
was answered by Foster, Leland, and other eminent divines, on the
ground that Christianity had a higher object in view, namely, general
philanthropy. ]

[Footnote B: Mr. Fuseli used to object to this striking delineation a
want of historical correctness, inasmuch as the animating principle of
the true chivalrous character was the sense of honour, not the mere
regard to, or saving of, appearances. This, we think, must be an
hypercriticism, from all we remember of books of chivalry and heroes of
romance. ]

[Footnote C: We had forgotten the tragedies of Antonio and Ferdinand.
Peace be with their _manes_! ]

[Footnote D: To be sure, it was redeemed by a high respect, and by some
magnificent compliments. Once in particular, at his own table, after a
good deal of _badinage_ and cross-questioning about his being the author
of the Reply to Judge Eyre's Charge, on Mr. Godwin's acknowledging that
he was, Mr. Tooke said, "Come here then,"--and when his guest went round
to his chair, he took his hand, and pressed it to his lips, saying--"I
can do no less for the hand that saved my life! "]





* * * * *





MR. COLERIDGE.



The present is an age of talkers, and not of doers; and the reason is,
that the world is growing old. We are so far advanced in the Arts and
Sciences, that we live in retrospect, and doat on past atchievements.
The accumulation of knowledge has been so great, that we are lost in
wonder at the height it has reached, instead of attempting to climb
or add to it; while the variety of objects distracts and dazzles the
looker-on. What _niche_ remains unoccupied? What path untried? What is
the use of doing anything, unless we could do better than all those who
have gone before us? What hope is there of this? We are like those who
have been to see some noble monument of art, who are content to admire
without thinking of rivalling it; or like guests after a feast,
who praise the hospitality of the donor "and thank the bounteous
Pan"--perhaps carrying away some trifling fragments; or like the
spectators of a mighty battle, who still hear its sound afar off, and
the clashing of armour and the neighing of the war-horse and the shout
of victory is in their ears, like the rushing of innumerable waters!

Mr. Coleridge has "a mind reflecting ages past:" his voice is like
the echo of the congregated roar of the "dark rearward and abyss" of
thought. He who has seen a mouldering tower by the side of a chrystal
lake, hid by the mist, but glittering in the wave below, may conceive
the dim, gleaming, uncertain intelligence of his eye: he who has marked
the evening clouds uprolled (a world of vapours), has seen the picture
of his mind, unearthly, unsubstantial, with gorgeous tints and
ever-varying forms--

"That which was now a horse, even with a thought
The rack dislimns, and makes it indistinct
As water is in water. "

Our author's mind is (as he himself might express it) _tangential_.
There is no subject on which he has not touched, none on which he has
rested. With an understanding fertile, subtle, expansive, "quick,
forgetive, apprehensive," beyond all living precedent, few traces of it
will perhaps remain. He lends himself to all impressions alike; he gives
up his mind and liberty of thought to none. He is a general lover of art
and science, and wedded to no one in particular. He pursues knowledge as
a mistress, with outstretched hands and winged speed; but as he is
about to embrace her, his Daphne turns--alas! not to a laurel! Hardly a
speculation has been left on record from the earliest time, but it is
loosely folded up in Mr. Coleridge's memory, like a rich, but somewhat
tattered piece of tapestry; we might add (with more seeming than real
extravagance), that scarce a thought can pass through the mind of man,
but its sound has at some time or other passed over his head with
rustling pinions. On whatever question or author you speak, he is
prepared to take up the theme with advantage--from Peter Abelard down
to Thomas Moore, from the subtlest metaphysics to the politics of the
_Courier_. There is no man of genius, in whose praise he descants, but
the critic seems to stand above the author, and "what in him is weak, to
strengthen, what is low, to raise and support:" nor is there any work of
genius that does not come out of his hands like an Illuminated Missal,
sparkling even in its defects. If Mr. Coleridge had not been the most
impressive talker of his age, he would probably have been the finest
writer; but he lays down his pen to make sure of an auditor, and
mortgages the admiration of posterity for the stare of an idler. If he
had not been a poet, he would have been a powerful logician; if he had
not dipped his wing in the Unitarian controversy, he might have soared
to the very summit of fancy. But in writing verse, he is trying
to subject the Muse to _transcendental_ theories: in his abstract
reasoning, he misses his way by strewing it with flowers. All that he
has done of moment, he had done twenty years ago: since then, he may be
said to have lived on the sound of his own voice. Mr. Coleridge is too
rich in intellectual wealth, to need to task himself to any drudgery: he
has only to draw the sliders of his imagination, and a thousand subjects
expand before him, startling him with their brilliancy, or losing
themselves in endless obscurity--

"And by the force of blear illusion,
They draw him on to his confusion. "

What is the little he could add to the stock, compared with the
countless stores that lie about him, that he should stoop to pick up a
name, or to polish an idle fancy? He walks abroad in the majesty of an
universal understanding, eyeing the "rich strond," or golden sky above
him, and "goes sounding on his way," in eloquent accents, uncompelled
and free!

Persons of the greatest capacity are often those, who for this reason
do the least; for surveying themselves from the highest point of view,
amidst the infinite variety of the universe, their own share in it seems
trifling, and scarce worth a thought, and they prefer the contemplation
of all that is, or has been, or can be, to the making a coil about doing
what, when done, is no better than vanity. It is hard to concentrate
all our attention and efforts on one pursuit, except from ignorance
of others; and without this concentration of our faculties, no great
progress can be made in any one thing. It is not merely that the mind is
not capable of the effort; it does not think the effort worth making.
Action is one; but thought is manifold. He whose restless eye glances
through the wide compass of nature and art, will not consent to have
"his own nothings monstered:" but he must do this, before he can give
his whole soul to them. The mind, after "letting contemplation have its
fill," or

"Sailing with supreme dominion
Through the azure deep of air,"

sinks down on the ground, breathless, exhausted, powerless, inactive;
or if it must have some vent to its feelings, seeks the most easy and
obvious; is soothed by friendly flattery, lulled by the murmur of
immediate applause, thinks as it were aloud, and babbles in its dreams!
A scholar (so to speak) is a more disinterested and abstracted character
than a mere author. The first looks at the numberless volumes of a
library, and says, "All these are mine:" the other points to a single
volume (perhaps it may be an immortal one) and says, "My name is written
on the back of it. " This is a puny and groveling ambition, beneath the
lofty amplitude of Mr. Coleridge's mind. No, he revolves in his wayward
soul, or utters to the passing wind, or discourses to his own shadow,
things mightier and more various! --Let us draw the curtain, and unlock
the shrine. Learning rocked him in his cradle, and, while yet a child,

"He lisped in numbers, for the numbers came. "

At sixteen he wrote his _Ode on Chatterton_, and he still reverts to
that period with delight, not so much as it relates to himself (for that
string of his own early promise of fame rather jars than otherwise) but
as exemplifying the youth of a poet. Mr. Coleridge talks of himself,
without being an egotist, for in him the individual is always merged in
the abstract and general. He distinguished himself at school and at the
University by his knowledge of the classics, and gained several prizes
for Greek epigrams. How many men are there (great scholars, celebrated
names in literature) who having done the same thing in their youth, have
no other idea all the rest of their lives but of this achievement, of
a fellowship and dinner, and who, installed in academic honours, would
look down on our author as a mere strolling bard! At Christ's
Hospital, where he was brought up, he was the idol of those among his
schoolfellows, who mingled with their bookish studies the music of
thought and of humanity; and he was usually attended round the cloisters
by a group of these (inspiring and inspired) whose hearts, even then,
burnt within them as he talked, and where the sounds yet linger to mock
ELIA on his way, still turning pensive to the past! One of the finest
and rarest parts of Mr. Coleridge's conversation, is when he expatiates
on the Greek tragedians (not that he is not well acquainted, when he
pleases, with the epic poets, or the philosophers, or orators, or
historians of antiquity)--on the subtle reasonings and melting pathos
of Euripides, on the harmonious gracefulness of Sophocles, tuning his
love-laboured song, like sweetest warblings from a sacred grove; on the
high-wrought trumpet-tongued eloquence of Aeschylus, whose Prometheus,
above all, is like an Ode to Fate, and a pleading with Providence, his
thoughts being let loose as his body is chained on his solitary rock,
and his afflicted will (the emblem of mortality)

"Struggling in vain with ruthless destiny. "

As the impassioned critic speaks and rises in his theme, you would think
you heard the voice of the Man hated by the Gods, contending with
the wild winds as they roar, and his eye glitters with the spirit of
Antiquity!

Next, he was engaged with Hartley's tribes of mind, "etherial braid,
thought-woven,"--and he busied himself for a year or two with
vibrations and vibratiuncles and the great law of association that binds
all things in its mystic chain, and the doctrine of Necessity (the
mild teacher of Charity) and the Millennium, anticipative of a life to
come--and he plunged deep into the controversy on Matter and Spirit,
and, as an escape from Dr. Priestley's Materialism, where he felt
himself imprisoned by the logician's spell, like Ariel in the
cloven pine-tree, he became suddenly enamoured of Bishop Berkeley's
fairy-world,[A] and used in all companies to build the universe, like
a brave poetical fiction, of fine words--and he was deep-read in
Malebranche, and in Cudworth's Intellectual System (a huge pile of
learning, unwieldy, enormous) and in Lord Brook's hieroglyphic theories,
and in Bishop Butler's Sermons, and in the Duchess of Newcastle's
fantastic folios, and in Clarke and South and Tillotson, and all the
fine thinkers and masculine reasoners of that age--and Leibnitz's
_Pre-established Harmony_ reared its arch above his head, like the
rainbow in the cloud, covenanting with the hopes of man--and then he
fell plump, ten thousand fathoms down (but his wings saved him harmless)
into the _hortus siccus_ of Dissent, where he pared religion down to the
standard of reason and stripped faith of mystery, and preached Christ
crucified and the Unity of the Godhead, and so dwelt for a while in the
spirit with John Huss and Jerome of Prague and Socinus and old John
Zisca, and ran through Neal's History of the Puritans, and Calamy's
Non-Conformists' Memorial, having like thoughts and passions with
them--but then Spinoza became his God, and he took up the vast chain of
being in his hand, and the round world became the centre and the soul of
all things in some shadowy sense, forlorn of meaning, and around him he
beheld the living traces and the sky-pointing proportions of the mighty
Pan--but poetry redeemed him from this spectral philosophy, and he
bathed his heart in beauty, and gazed at the golden light of heaven, and
drank of the spirit of the universe, and wandered at eve by fairy-stream
or fountain,

"------When he saw nought but beauty,
When he heard the voice of that Almighty One
In every breeze that blew, or wave that murmured"--

and wedded with truth in Plato's shade, and in the writings of Proclus
and Plotinus saw the ideas of things in the eternal mind, and unfolded
all mysteries with the Schoolmen and fathomed the depths of Duns Scotus
and Thomas Aquinas, and entered the third heaven with Jacob Behmen, and
walked hand in hand with Swedenborg through the pavilions of the New
Jerusalem, and sung his faith in the promise and in the word in his
_Religious Musings_--and lowering himself from that dizzy height, poised
himself on Milton's wings, and spread out his thoughts in charity with
the glad prose of Jeremy Taylor, and wept over Bowles's Sonnets, and
studied Cowper's blankverse, and betook himself to Thomson's Castle of
Indolence, and sported with the wits of Charles the Second's days and
of Queen Anne, and relished Swift's style and that of the John Bull
(Arbuthnot's we mean, not Mr. Croker's) and dallied with the British
Essayists and Novelists, and knew all qualities of more modern writers
with a learned spirit, Johnson, and Goldsmith, and Junius, and Burke,
and Godwin, and the Sorrows of Werter, and Jean Jacques Rousseau, and
Voltaire, and Marivaux, and Crebillon, and thousands more--now "laughed
with Rabelais in his easy chair" or pointed to Hogarth, or afterwards
dwelt on Claude's classic scenes or spoke with rapture of Raphael,
and compared the women at Rome to figures that had walked out of his
pictures, or visited the Oratory of Pisa, and described the works of
Giotto and Ghirlandaio and Massaccio, and gave the moral of the picture
of the Triumph of Death, where the beggars and the wretched invoke his
dreadful dart, but the rich and mighty of the earth quail and shrink
before it; and in that land of siren sights and sounds, saw a dance of
peasant girls, and was charmed with lutes and gondolas,--or wandered
into Germany and lost himself in the labyrinths of the Hartz Forest and
of the Kantean philosophy, and amongst the cabalistic names of Fichtè
and Schelling and Lessing, and God knows who--this was long after, but
all the former while, he had nerved his heart and filled his eyes
with tears, as he hailed the rising orb of liberty, since quenched in
darkness and in blood, and had kindled his affections at the blaze of
the French Revolution, and sang for joy when the towers of the Bastile
and the proud places of the insolent and the oppressor fell, and would
have floated his bark, freighted with fondest fancies, across the
Atlantic wave with Southey and others to seek for peace and freedom--

"In Philarmonia's undivided dale! "

Alas! "Frailty, thy name is _Genius_! "--What is become of all this
mighty heap of hope, of thought, of learning, and humanity? It has
ended in swallowing doses of oblivion and in writing paragraphs in the
_Courier_. --Such, and so little is the mind of man!

It was not to be supposed that Mr. Coleridge could keep on at the rate
he set off; he could not realize all he knew or thought, and less could
not fix his desultory ambition; other stimulants supplied the place, and
kept up the intoxicating dream, the fever and the madness of his early
impressions. Liberty (the philosopher's and the poet's bride) had fallen
a victim, meanwhile, to the murderous practices of the hag, Legitimacy.
Proscribed by court-hirelings, too romantic for the herd of vulgar
politicians, our enthusiast stood at bay, and at last turned on the
pivot of a subtle casuistry to the _unclean side:_ but his discursive
reason would not let him trammel himself into a poet-laureate or
stamp-distributor, and he stopped, ere he had quite passed that
well-known "bourne from whence no traveller returns"--and so has sunk
into torpid, uneasy repose, tantalized by useless resources, haunted by
vain imaginings, his lips idly moving, but his heart forever still, or,
as the shattered chords vibrate of themselves, making melancholy music
to the ear of memory! Such is the fate of genius in an age, when in the
unequal contest with sovereign wrong, every man is ground to powder who
is not either a born slave, or who does not willingly and at once offer
up the yearnings of humanity and the dictates of reason as a welcome
sacrifice to besotted prejudice and loathsome power.

Of all Mr. Coleridge's productions, the _Ancient Mariner_ is the only
one that we could with confidence put into any person's hands, on whom
we wished to impress a favourable idea of his extraordinary powers. Let
whatever other objections be made to it, it is unquestionably a work of
genius--of wild, irregular, overwhelming imagination, and has that rich,
varied movement in the verse, which gives a distant idea of the lofty or
changeful tones of Mr. Coleridge's voice. In the _Christobel_, there
is one splendid passage on divided friendship. The _Translation of
Schiller's Wallenstein_ is also a masterly production in its kind,
faithful and spirited. Among his smaller pieces there are occasional
bursts of pathos and fancy, equal to what we might expect from him; but
these form the exception, and not the rule. Such, for instance, is his
affecting Sonnet to the author of the Robbers.

Schiller! that hour I would have wish'd to die,
If through the shudd'ring midnight I had sent
From the dark dungeon of the tower time-rent,
That fearful voice, a famish'd father's cry--

That in no after-moment aught less vast
Might stamp me mortal! A triumphant shout
Black horror scream'd, and all her goblin rout
From the more with'ring scene diminish'd pass'd.

Ah!
Bard tremendous in sublimity!
Could I behold thee in thy loftier mood,
Wand'ring at eve, with finely frenzied eye,
Beneath some vast old tempest-swinging wood!
Awhile, with mute awe gazing, I would brood,
Then weep aloud in a wild ecstasy.

His Tragedy, entitled _Remorse_, is full of beautiful and striking
passages, but it does not place the author in the first rank of dramatic
writers. But if Mr. Coleridge's works do not place him in that rank,
they injure instead of conveying a just idea of the man, for he himself
is certainly in the first class of general intellect.

If our author's poetry is inferior to his conversation, his prose is
utterly abortive. Hardly a gleam is to be found in it of the brilliancy
and richness of those stores of thought and language that he pours out
incessantly, when they are lost like drops of water in the ground. The
principal work, in which he has attempted to embody his general views of
things, is the FRIEND, of which, though it contains some noble passages
and fine trains of thought, prolixity and obscurity are the most
frequent characteristics.

No two persons can be conceived more opposite in character or genius
than the subject of the present and of the preceding sketch. Mr. Godwin,
with less natural capacity, and with fewer acquired advantages, by
concentrating his mind on some given object, and doing what he had to do
with all his might, has accomplished much, and will leave more than
one monument of a powerful intellect behind him; Mr. Coleridge, by
dissipating his, and dallying with every subject by turns, has done
little or nothing to justify to the world or to posterity, the high
opinion which all who have ever heard him converse, or known him
intimately, with one accord entertain of him. Mr. Godwin's faculties
have kept house, and plied their task in the work-shop of the brain,
diligently and effectually: Mr. Coleridge's have gossipped away their
time, and gadded about from house to house, as if life's business were
to melt the hours in listless talk. Mr. Godwin is intent on a subject,
only as it concerns himself and his reputation; he works it out as a
matter of duty, and discards from his mind whatever does not forward his
main object as impertinent and vain. Mr. Coleridge, on the other hand,
delights in nothing but episodes and digressions, neglects whatever he
undertakes to perform, and can act only on spontaneous impulses, without
object or method. "He cannot be constrained by mastery. " While he should
be occupied with a given pursuit, he is thinking of a thousand other
things; a thousand tastes, a thousand objects tempt him, and distract
his mind, which keeps open house, and entertains all comers; and after
being fatigued and amused with morning calls from idle visitors, finds
the day consumed and its business unconcluded. Mr. Godwin, on the
contrary, is somewhat exclusive and unsocial in his habits of mind,
entertains no company but what he gives his whole time and attention to,
and wisely writes over the doors of his understanding, his fancy, and
his senses--"No admittance except on business. " He has none of that
fastidious refinement and false delicacy, which might lead him to
balance between the endless variety of modern attainments. He does not
throw away his life (nor a single half-hour of it) in adjusting the
claims of different accomplishments, and in choosing between them or
making himself master of them all. He sets about his task, (whatever
it may be) and goes through it with spirit and fortitude. He has the
happiness to think an author the greatest character in the world,
and himself the greatest author in it. Mr. Coleridge, in writing an
harmonious stanza, would stop to consider whether there was not more
grace and beauty in a _Pas de trois_, and would not proceed till he had
resolved this question by a chain of metaphysical reasoning without end.
Not so Mr. Godwin. That is best to him, which he can do best. He does
not waste himself in vain aspirations and effeminate sympathies. He is
blind, deaf, insensible to all but the trump of Fame. Plays, operas,
painting, music, ball-rooms, wealth, fashion, titles, lords, ladies,
touch him not--all these are no more to him than to the magician in his
cell, and he writes on to the end of the chapter, through good report
and evil report. _Pingo in eternitatem_--is his motto. He neither envies
nor admires what others are, but is contented to be what he is, and
strives to do the utmost he can. Mr. Coleridge has flirted with the
Muses as with a set of mistresses: Mr. Godwin has been married twice, to
Reason and to Fancy, and has to boast no short-lived progeny by each.
So to speak, he has _valves_ belonging to his mind, to regulate the
quantity of gas admitted into it, so that like the bare, unsightly, but
well-compacted steam-vessel, it cuts its liquid way, and arrives at
its promised end: while Mr. Coleridge's bark, "taught with the little
nautilus to sail," the sport of every breath, dancing to every wave,

"Youth at its prow, and Pleasure at its helm,"

flutters its gaudy pennons in the air, glitters in the sun, but we wait
in vain to hear of its arrival in the destined harbour. Mr. Godwin, with
less variety and vividness, with less subtlety and susceptibility
both of thought and feeling, has had firmer nerves, a more determined
purpose, a more comprehensive grasp of his subject, and the results are
as we find them. Each has met with his reward: for justice has, after
all, been done to the pretensions of each; and we must, in all cases,
use means to ends!


[Footnote A: Mr. Coleridge named his eldest son (the writer of some
beautiful Sonnets) after Hartley, and the second after Berkeley. The
third was called Derwent, after the river of that name. Nothing can be
more characteristic of his mind than this circumstance. All his ideas
indeed are like a river, flowing on for ever, and still murmuring as it
flows, discharging its waters and still replenished--

"And so by many winding nooks it strays,
With willing sport to the wild ocean! "]





* * * * *





REV. MR. IRVING.



This gentleman has gained an almost unprecedented, and not an altogether
unmerited popularity as a preacher. As he is, perhaps, though a burning
and a shining light, not "one of the fixed," we shall take this
opportunity of discussing his merits, while he is at his meridian
height; and in doing so, shall "nothing extenuate, nor set down aught in
malice. "

Few circumstances shew the prevailing and preposterous rage for novelty
in a more striking point of view, than the success of Mr. Irving's
oratory. People go to hear him in crowds, and come away with a mixture
of delight and astonishment--they go again to see if the effect will
continue, and send others to try to find out the mystery--and in the
noisy conflict between extravagant encomiums and splenetic objections,
the true secret escapes observation, which is, that the whole thing is,
nearly from beginning to end, a _transposition of ideas_. If the subject
of these remarks had come out as a player, with all his advantages of
figure, voice, and action, we think he would have failed: if, as a
preacher, he had kept within the strict bounds of pulpit-oratory, he
would scarcely have been much distinguished among his Calvinistic
brethren: as a mere author, he would have excited attention rather
by his quaintness and affectation of an obsolete style and mode of
thinking, than by any thing else. But he has contrived to jumble these
several characters together in an unheard-of and unwarranted manner, and
the fascination is altogether irresistible. Our Caledonian divine is
equally an anomaly in religion, in literature, in personal appearance,
and in public speaking. To hear a person spout Shakspeare on the stage
is nothing--the charm is nearly worn out--but to hear any one spout
Shakspeare (and that not in a sneaking under-tone, but at the top of
his voice, and with the full breadth of his chest) from a Calvinistic
pulpit, is new and wonderful. The _Fancy_ have lately lost something of
their gloss in public estimation, and after the last fight, few would go
far to see a Neat or a Spring set-to;--but to see a man who is able to
enter the ring with either of them, or brandish a quarter-staff with
Friar Tuck, or a broad-sword with Shaw the Lifeguards' man, stand up in
a strait-laced old-fashioned pulpit, and bandy dialectics with modern
philosophers or give a _cross-buttock_ to a cabinet minister, there is
something in a sight like this also, that is a cure for sore eyes. It
is as if Crib or Molyneux had turned Methodist parson, or as if
a Patagonian savage were to come forward as the patron-saint of
Evangelical religion. Again, the doctrine of eternal punishment was one
of the staple arguments with which, everlastingly drawled out, the old
school of Presbyterian divines used to keep their audiences awake, or
lull them to sleep; but to which people of taste and fashion paid
little attention, as inelegant and barbarous, till Mr. Irving, with his
cast-iron features and sledge-hammer blows, puffing like a grim Vulcan,
set to work to forge more classic thunderbolts, and kindle the expiring
flames anew with the very sweepings of sceptical and infidel
libraries, so as to excite a pleasing horror in the female part of his
congregation. In short, our popular declaimer has, contrary to the
Scripture-caution, put new wine into old bottles, or new cloth on old
garments. He has, with an unlimited and daring licence, mixed the
sacred and the profane together, the carnal and the spiritual man, the
petulance of the bar with the dogmatism of the pulpit, the theatrical
and theological, the modern and the obsolete;--what wonder that this
splendid piece of patchwork, splendid by contradiction and contrast,
has delighted some and confounded others? The more serious part of his
congregation indeed complain, though not bitterly, that their pastor
has converted their meeting-house into a play-house: but when a lady of
quality, introducing herself and her three daughters to the preacher,
assures him that they have been to all the most fashionable places of
resort, the opera, the theatre, assemblies, Miss Macauley's readings,
and Exeter-Change, and have been equally entertained no where else, we
apprehend that no remonstrances of a committee of ruling-elders will be
able to bring him to his senses again, or make him forego such sweet,
but ill-assorted praise. What we mean to insist upon is, that Mr. Irving
owes his triumphant success, not to any one quality for which he has
been extolled, but to a combination of qualities, the more striking
in their immediate effect, in proportion as they are unlooked-for and
heterogeneous, like the violent opposition of light and shade in a
picture. We shall endeavour to explain this view of the subject more at
large.

Mr. Irving, then, is no common or mean man. He has four or five
qualities, possessed in a moderate or in a paramount degree, which,
added or multiplied together, fill up the important space he occupies in
the public eye. Mr. Irving's intellect itself is of a superior order; he
has undoubtedly both talents and acquirements beyond the ordinary run of
every-day preachers. These alone, however, we hold, would not account
for a twentieth part of the effect he has produced: they would have
lifted him perhaps out of the mire and slough of sordid obscurity, but
would never have launched him into the ocean-stream of popularity, in
which he "lies floating many a rood;"--but to these he adds uncommon
height, a graceful figure and action, a clear and powerful voice, a
striking, if not a fine face, a bold and fiery spirit, and a most
portentous obliquity of vision, which throw him to an immeasurable
distance beyond all competition, and effectually relieve whatever there
might be of common-place or bombast in his style of composition. Put the
case that Mr. Irving had been five feet high--Would he ever have been
heard of, or, as he does now, have "bestrode the world like a Colossus? "
No, the thing speaks for itself. He would in vain have lifted
his Lilliputian arm to Heaven, people would have laughed at his
monkey-tricks. Again, had he been as tall as he is, but had wanted other
recommendations, he would have been nothing.

"The player's province they but vainly try,
Who want these powers, deportment, voice, and eye. "

Conceive a rough, ugly, shock-headed Scotchman, standing up in the
Caledonian chapel, and dealing "damnation round the land" in a broad
northern dialect, and with a harsh, screaking voice, what ear polite,
what smile serene would have hailed the barbarous prodigy, or not
consigned him to utter neglect and derision? But the Rev. Edward Irving,
with all his native wildness, "hath a smooth aspect framed to make
women" saints; his very unusual size and height are carried off and
moulded into elegance by the most admirable symmetry of form and ease of
gesture; his sable locks, his clear iron-grey complexion, and firm-set
features, turn the raw, uncouth Scotchman into the likeness of a noble
Italian picture; and even his distortion of sight only redeems the
otherwise "faultless monster" within the bounds of humanity, and, when
admiration is exhausted and curiosity ceases, excites a new interest by
leading to the idle question whether it is an advantage to the preacher
or not. Farther, give him all his actual and remarkable advantages of
body and mind, let him be as tall, as strait, as dark and clear of skin,
as much at his ease, as silver-tongued, as eloquent and as argumentative
as he is, yet with all these, and without a little charlatanery to set
them off, he had been nothing. He might, keeping within the rigid line
of his duty and professed calling, have preached on for ever; he
might have divided the old-fashioned doctrines of election, grace,
reprobation, predestination, into his sixteenth, seventeenth,
and eighteenth heads, and his _lastly_ have been looked for as a
"consummation devoutly to be wished;" he might have defied the devil and
all his works, and by the help of a loud voice and strong-set person--

"A lusty man to ben an Abbot able;"--

have increased his own congregation, and been quoted among the godly as
a powerful preacher of the word; but in addition to this, he went out of
his way to attack Jeremy Bentham, and the town was up in arms. The thing
was new. He thus wiped the stain of musty ignorance and formal bigotry
out of his style. Mr. Irving must have something superior in him, to
look over the shining close-packed heads of his congregation to have a
hit at the _Great Jurisconsult_ in his study. He next, ere the report of
the former blow had subsided, made a lunge at Mr. Brougham, and glanced
an eye at Mr. Canning; _mystified_ Mr. Coleridge, and _stultified_ Lord
Liverpool in his place--in the Gallery. It was rare sport to see him,
"like an eagle in a dovecote, flutter the Volscians in Corioli. " He has
found out the secret of attracting by repelling. Those whom he is likely
to attack are curious to hear what he says of them: they go again,
to show that they do not mind it. It is no less interesting to the
by-standers, who like to witness this sort of _onslaught_--like a charge
of cavalry, the shock, and the resistance. Mr. Irving has, in fact,
without leave asked or a licence granted, converted the Caledonian
Chapel into a Westminster Forum or Debating Society, with the sanctity
of religion added to it. Our spirited polemic is not contented to defend
the citadel of orthodoxy against all impugners, and shut himself up
in texts of Scripture and huge volumes of the Commentators as an
impregnable fortress;--he merely makes use of the stronghold of religion
as a resting-place, from which he sallies forth, armed with modern
topics and with penal fire, like Achilles of old rushing from the
Grecian tents, against the adversaries of God and man. Peter Aretine is
said to have laid the Princes of Europe under contribution by penning
satires against them: so Mr. Irving keeps the public in awe by insulting
all their favourite idols. He does not spare their politicians, their
rulers, their moralists, their poets, their players, their critics,
their reviewers, their magazine-writers; he levels their resorts of
business, their places of amusement, at a blow--their cities, churches,
palaces, ranks and professions, refinements, and elegances--and leaves
nothing standing but himself, a mighty landmark in a degenerate age,
overlooking the wide havoc he has made! He makes war upon all arts and
sciences, upon the faculties and nature of man, on his vices and his
virtues, on all existing institutions, and all possible improvements,
that nothing may be left but the Kirk of Scotland, and that he may be
the head of it. He literally sends a challenge to all London in the
name of the KING of HEAVEN, to evacuate its streets, to disperse its
population, to lay aside its employments, to burn its wealth, to
renounce its vanities and pomp; and for what? --that he may enter in
as the _King of Glory_; or after enforcing his threat with the
battering-ram of logic, the grape-shot of rhetoric, and the crossfire of
his double vision, reduce the British metropolis to a Scottish heath,
with a few miserable hovels upon it, where they may worship God
according to _the root of the matter_, and an old man with a blue
bonnet, a fair-haired girl, and a little child would form the flower of
his flock! Such is the pretension and the boast of this new Peter the
Hermit, who would get rid of all we have done in the way of improvement
on a state of barbarous ignorance, or still more barbarous prejudice, in
order to begin again on a _tabula rasa_ of Calvinism, and have a world
of his own making. It is not very surprising that when nearly the
whole mass and texture of civil society is indicted as a nuisance, and
threatened to be pulled down as a rotten building ready to fall on the
heads of the inhabitants, that all classes of people run to hear the
crash, and to see the engines and levers at work which are to effect
this laudable purpose. What else can be the meaning of our preacher's
taking upon himself to denounce the sentiments of the most serious
professors in great cities, as vitiated and stark-naught, of relegating
religion to his native glens, and pretending that the hymn of praise or
the sigh of contrition cannot ascend acceptably to the throne of grace
from the crowded street as well as from the barren rock or silent
valley? Why put this affront upon his hearers? Why belie his own
aspirations?

"God made the country, and man made the town. "

So says the poet; does Mr. Irving say so? If he does, and finds the air
of the city death to his piety, why does he not return home again? But
if he can breathe it with impunity, and still retain the fervour of his
early enthusiasm, and the simplicity and purity of the faith that was
once delivered to the saints, why not extend the benefit of his own
experience to others, instead of taunting them with a vapid pastoral
theory? Or, if our popular and eloquent divine finds a change in
himself, that flattery prevents the growth of grace, that he is becoming
the God of his own idolatry by being that of others, that the glittering
of coronet-coaches rolling down Holborn-Hill to Hatton Garden, that
titled beauty, that the parliamentary complexion of his audience, the
compliments of poets, and the stare of peers discompose his wandering
thoughts a little; and yet that he cannot give up these strong
temptations tugging at his heart; why not extend more charity to others,
and shew more candour in speaking of himself? There is either a good
deal of bigoted intolerance with a deplorable want of self-knowledge in
all this; or at least an equal degree of cant and quackery.

To whichever cause we are to attribute this hyperbolical tone, we hold
it certain he could not have adopted it, if he had been _a little man_.
But his imposing figure and dignified manner enable him to hazard
sentiments or assertions that would be fatal to others. His
controversial daring is _backed_ by his bodily prowess; and by bringing
his intellectual pretensions boldly into a line with his physical
accomplishments, he, indeed, presents a very formidable front to the
sceptic or the scoffer. Take a cubit from his stature, and his whole
manner resolves itself into an impertinence. But with that addition, he
_overcrows_ the town, browbeats their prejudices, and bullies them out
of their senses, and is not afraid of being contradicted by any one
_less than himself_. It may be said, that individuals with great
personal defects have made a considerable figure as public speakers; and
Mr. Wilberforce, among others, may be held out as an instance. Nothing
can be more insignificant as to mere outward appearance, and yet he is
listened to in the House of Commons. But he does not wield it, he does
not insult or bully it. He leads by following opinion, he trims, he
shifts, he glides on the silvery sounds of his undulating, flexible,
cautiously modulated voice, winding his way betwixt heaven and earth,
now courting popularity, now calling servility to his aid, and with a
large estate, the "saints," and the population of Yorkshire to swell his
influence, never venturing on the forlorn hope, or doing any thing more
than "hitting the house between wind and water. " Yet he is probably a
cleverer man than Mr. Irving.

There is a Mr. Fox, a Dissenting Minister, as fluent a speaker, with a
sweeter voice and a more animated and beneficent countenance than Mr.
Irving, who expresses himself with manly spirit at a public meeting,
takes a hand at whist, and is the darling of his congregation; but he is
no more, because he is diminutive in person. His head is not seen above
the crowd the length of a street off. He is the Duke of Sussex in
miniature, but the Duke of Sussex does not go to hear him preach, as he
attends Mr. Irving, who rises up against him like a martello tower,
and is nothing loth to confront the spirit of a man of genius with
the blood-royal. We allow there are, or may be, talents sufficient to
produce this equality without a single personal advantage; but we deny
that this would be the effect of any that our great preacher possesses.
We conceive it not improbable that the consciousness of muscular power,
that the admiration of his person by strangers might first have inspired
Mr. Irving with an ambition to be something, intellectually speaking,
and have given him confidence to attempt the greatest things. He has not
failed for want of courage. The public, as well as the fair, are won
by a show of gallantry. Mr. Irving has shrunk from no opinion, however
paradoxical. He has scrupled to avow no sentiment, however obnoxious. He
has revived exploded prejudices, he has scouted prevailing fashions.
He has opposed the spirit of the age, and not consulted the _esprit de
corps_. He has brought back the doctrines of Calvinism in all their
inveteracy, and relaxed the inveteracy of his northern accents. He has
turned religion and the Caledonian Chapel topsy-turvy. He has held a
play-book in one hand, and a Bible in the other, and quoted Shakspeare
and Melancthon in the same breath. The tree of the knowledge of good and
evil is no longer, with his grafting, a dry withered stump; it shoots
its branches to the skies, and hangs out its blossoms to the gale--

"Miraturque novos fructus, et non sua poma. "

He has taken the thorns and briars of scholastic divinity, and garlanded
them with the flowers of modern literature. He has done all this,
relying on the strength of a remarkably fine person and manner, and
through that he has succeeded--otherwise he would have perished
miserably.

Dr. Chalmers is not by any means so good a looking man, nor so
accomplished a speaker as Mr. Irving; yet he at one time almost equalled
his oratorical celebrity, and certainly paved the way for him. He has
therefore more merit than his admired pupil, as he has done as much
with fewer means. He has more scope of intellect and more intensity of
purpose. Both his matter and his manner, setting aside his face and
figure, are more impressive. Take the volume of "Sermons on Astronomy,"
by Dr. Chalmers, and the "Four Orations for the Oracles of God" which
Mr. Irving lately published, and we apprehend there can be no comparison
as to their success. The first ran like wild-fire through the country,
were the darlings of watering-places, were laid in the windows of
inns,[A] and were to be met with in all places of public resort; while
the "Orations" get on but slowly, on Milton's stilts, and are pompously
announced as in a Third Edition. We believe the fairest and fondest of
his admirers would rather see and hear Mr. Irving than read him. The
reason is, that the groundwork of his compositions is trashy and
hackneyed, though set off by extravagant metaphors and an affected
phraseology; that without the turn of his head and wave of his hand, his
periods have nothing in them; and that he himself is the only _idea_
with which he has yet enriched the public mind! He must play off
his person, as Orator Henley used to dazzle his hearers with his
diamond-ring. The small frontispiece prefixed to the "Orations" does not
serve to convey an adequate idea of the magnitude of the man, nor of
the ease and freedom of his motions in the pulpit. How different is Dr.
Chalmers! He is like "a monkey-preacher" to the other. He cannot boast
of personal appearance to set him off. But then he is like the very
genius or demon of theological controversy personified. He has neither
airs nor graces at command; he thinks nothing of himself; he has nothing
theatrical about him (which cannot be said of his successor and
rival); but you see a man in mortal throes and agony with doubts and
difficulties, seizing stubborn knotty points with his teeth, tearing
them with his hands, and straining his eyeballs till they almost start
out of their sockets, in pursuit of a train of visionary reasoning, like
a Highland-seer with his second sight. The description of Balfour of
Burley in his cave, with his Bible in one hand and his sword in the
other, contending with the imaginary enemy of mankind, gasping for
breath, and with the cold moisture running down his face, gives a lively
idea of Dr. Chalmers's prophetic fury in the pulpit. If we could
have looked in to have seen Burley hard-beset "by the coinage of his
heat-oppressed brain," who would have asked whether he was a handsome
man or not? It would be enough to see a man haunted by a spirit, under
the strong and entire dominion of a wilful hallucination. So the
integrity and vehemence of Dr. Chalmers's manner, the determined way in
which he gives himself up to his subject, or lays about him and buffets
sceptics and gainsayers, arrests attention in spite of every other
circumstance, and fixes it on that, and that alone, which excites
such interest and such eagerness in his own breast! Besides, he is a
logician, has a theory in support of whatever he chooses to advance, and
weaves the tissue of his sophistry so close and intricate, that it is
difficult not to be entangled in it, or to escape from it. "There's
magic in the web. " Whatever appeals to the pride of the human
understanding, has a subtle charm in it. The mind is naturally
pugnacious, cannot refuse a challenge of strength or skill, sturdily
enters the lists and resolves to conquer, or to yield itself vanquished
in the forms. This is the chief hold Dr. Chalmers had upon his hearers,
and upon the readers of his "Astronomical Discourses. " No one was
satisfied with his arguments, no one could answer them, but every one
wanted to try what he could make of them, as we try to find out a
riddle. "By his so potent art," the art of laying down problematical
premises, and drawing from them still more doubtful, but not impossible,
conclusions, "he could bedim the noonday sun, betwixt the green sea and
the azure vault set roaring war," and almost compel the stars in their
courses to testify to his opinions. The mode in which he undertook to
make the circuit of the universe, and demand categorical information
"now of the planetary and now of the fixed," might put one in mind of
Hecate's mode of ascending in a machine from the stage, "midst troops
of spirits," in which you now admire the skill of the artist, and next
tremble for the fate of the performer, fearing that the audacity of
the attempt will turn his head or break his neck. The style of these
"Discourses" also, though not elegant or poetical, was, like the
subject, intricate and endless. It was that of a man pushing his way
through a labyrinth of difficulties, and determined not to flinch. The
impression on the reader was proportionate; for, whatever were the
merits of the style or matter, both were new and striking; and the train
of thought that was unfolded at such length and with such strenuousness,
was bold, well-sustained, and consistent with itself.

Mr. Irving wants the continuity of thought and manner which
distinguishes his rival--and shines by patches and in bursts. He does
not warm or acquire increasing force or rapidity with his progress. He
is never hurried away by a deep or lofty enthusiasm, nor touches the
highest point of genius or fanaticism, but "in the very storm and
whirlwind of his passion, he acquires and begets a temperance that may
give it smoothness. " He has the self-possession and masterly execution
of an experienced player or fencer, and does not seem to express his
natural convictions, or to be engaged in a mortal struggle.