Chapter 12

The poem is in the stanza of Spenser--a stanza of which we think it difficult to say whether the excellencies or defects are the greatest. The paramount advantage is the variety of tone and pause of which it admits. The great disadvantages are, the constraint of such complicated rhymes, and the long suspension of the sense, especially in the latter half of the stanza. The noblest conception and most brilliant diction must be sacrificed, if four words in one place, and three in another cannot be found rhyming to each other. And as to the suspension of the sense, we are persuaded that no man reads a single stanza without feeling a sort of strain upon the intellect and lungs--a kind of suffocation of mind and body, before he can either discover the lingering meaning, or pronounce the nine lines. To us, we confess that the rhyming couplets of Mr. Scott, sometimes deviating into alternate rhymes, are, on both accounts, infinitely preferable. One of the ends of poetry is to relax, and the artificial and elaborate stanza of Spenser costs us too much trouble, even in the reading, to accomplish this end. To effect this, the sense should come to us, instead of our going far and wide in quest of the sense. In our conception also, the heroic line of ten syllables, though favourable to the most dignified order of poetry, appears to limp when forced into the service of sonneteers: and poems in the metre before us, are, after all, little better than a string of sonnets; of which it is the constituent principle to be rather pretty than grand--rather tender than martial--rather conceited than wise--to keep the sense suspended for eight lines, and to discharge it with a point in the ninth. These observations are by no means designed to apply especially to the author--the extreme gravity of whose general manner and matter, in a measure covet the dignity of the heroic line. But it is this discordancy of measure and subject, together with the obviously laboured rhymes and the halting of the sense, which in general, we think, have shut out the Spenserian school from popular reading, and have caused a distinguished critic[J] to say, that the "Faiery Queen will not often be read through;" and that, although it maintains its place upon the shelf, it is seldom found on the table of the modern library.

Whilst, however, Lord Byron participates in this defect of his great original, he is to be congratulated, as a poet, but alas! in his poetical character alone, on much happy deviation from him. In the first place, he has altogether washed his hands of allegory; a species of fiction open to a thousand objections. In the next place, he is infinitely more brief than his prototype. And in the third place, he philosophizes and moralizes (though not indeed in a very sound strain), as well as paints--provides food for the mind as well as the eye--kindles the feeling as well as gratifies the sense. Thus far, then, we are among the admirers of his Lordship. But it is to be lamented, that what was well conceived is, from the temperament of his mind, ill executed; that his philosophy is, strictly speaking, "only philosophy so called;" that the moral emotions he feels, and is likely to communicate, are of a character rather to offend and pollute the mind, than to sooth or to improve it. This defect, however, we fear, is to be charged, not upon the poet, but upon the man, at least upon his principles. But, whatever be the cause, the consequences are dreadful. Indeed, we do not hesitate to say, that the temperament of his mind is the ruin of his poem. We shall take the liberty, as we have intimated, of touching upon these defects as moral delinquincies, under another head; but for the present we wish to notice them merely as poetical errors.

The legitimate object, then, of poetry, as we have said, is to _instruct_ by _pleasing_; and, caeteris paribus, that poem is the best which conveys the noblest lessons in the most attractive form. If, in reply to this, it is urged that the heathen poets, and especially Homer, taught no lesson to his readers; we answer, that he taught all the lessons which, in his own days, were deemed of highest importance to his country. The first object of philosophers and other teachers, in those days, was to make good soldiers, and therefore to condemn the vices which interfered with successful warfare. Now be it remembered, that the grand topic of the Iliad is the fatal influence of the wrath of kings on the success of armies. Its first words are [Greek: MENIN aeide]. Besides this, the Iliad upholds the national mythology, or the only accredited religion; and by a bold fiction, bordering upon truth, displays in an Elysium and Tartarus, the eternal mansions of the good and bad, the strongest incentive to virtue and penalty to vice. Indeed, that both this and the Odyssey had a moral object, and that this object was recognized by the ancients, may be inferred from Horace, who says of Homer, in reference to the first poem:

"Qui, quid sit pulchrum, quid turpe, quid utile, quid non, Plenius ac melius Chrysippo aut Crantore dicit."

And as to the second:

"Rursum--quid virtus, et quid sapientia possit, Utile proposuit nobis exemplar Ulyssem." Epist. I. 2.

Many of the Odes of Horace had a patriotic subject--his Epistles and Satires, with those of Juvenal and Persius, were the sermons of the day. Virgil chiefly proposed to himself to exalt in his hero the character of a patriot, and, in his fictitious history, the dignity of his country. If the lessons they taught were of small importance or doubtful value, or if they often forget to "teach" in their ambition to "please," this is to be charged rather on the age than on the poet. They taught the best lessons they knew; and were satisfied to please only when they had nothing better to do. In modern times, it will not be questioned that the greatest poets have ever endeavoured to enshrine some moral or intellectual object in their verse. Milton calls Spenser "our sage serious Spenser, whom I dare be known to think a better teacher than Scotus or Aquinas." In like manner, the Absalom and Achitophel, the Hind and Panther of Dryden, the philosophic strain of Pope, the immortal page of Milton, and the half-inspired numbers of the Task, are all, in their various ways, attempts of poets to improve or reform the world. Every species of poetry, indeed, has received fresh lustre, and even taken a new place in Parnassian dignity, by a larger infusion of moral sentiment into its numbers. The ancient ballad has arisen to new dignity through the moral touches, we wish they had been less rare, of a Scott; and the stanza of Spenser has acquired new interest in the hands of Lord Byron, from the philosophical air which it wears. Numbers without morals are the man without "the glory." We sincerely wish that the moral tone of his Lordship's poem had been less liable to exception.

His Lordship, we believe, is acquainted with ancient authors. Let him turn to Quinctilian, and he will find a whole chapter to prove that a great writer must be a good man. Let him go to Longinus, and he will read that a man who would write sublimely, "must spare no labour to educate his soul to grandeur, and impregnate it with great and generous ideas"--that "the faculties of the soul will then grow stupid, their spirit will be lost, and good sense and genius lie in ruins, when the care and study of man is engaged about the mortal, the worthless part of himself, and he has ceased to cultivate virtue, and polish his nobler part, his soul." Or, if poetical authority alone will satisfy a poet, let him learn from one of the finest of our modern poems:

"But of our souls the high-born loftier part, Th' ethereal energies that touch the heart, Conceptions ardent, laboring thought intense, Creative fancy's wild magnificence, And all the dread sublimities of song: These, Virtue, these to thee alone belong: Chill'd, by the breath of vice, their radiance dies, And brightest burns when lighted at the skies: Like vestal flames to purest bosoms given, And kindled only by a ray from heaven."[K]

That the object of poetry, however, is not simply to instruct, but to "instruct by _pleasing_," is too obvious to need a proof. However the original object of measure and rhythm may have been to graft truth on the memory, and associate it with music; they are perpetuated by the universal conviction that they delight the ear. Like the armour which adorns the modern hall, they were contrived for use, but are continued for ornament.

Assuming this, then, to be a just definition of poetry, we repeat our assertion, that, in the work before us, the temperament of mind in the poet creates the grand defect of the poetry. If poetry should instruct, then he is a defective poet whose lessons rather revolt than improve the mind. If poetry should please, then he is a bad poet who offends the eye by calling up the most hideous images--who shews the world through a discoloured medium--who warms the heart by no generous feelings--who uniformly turns to us the worst side of men and things--who goes on his way grumbling, and labours hard to make his readers as peevish and wretched as himself. The tendency of the strain of Homer is to transform us for the moment into heroes; of Cowper, into saints; of Milton, into angels: but Lord Byron would almost degrade us into a Thersites or a Caliban; or lodge us, as fellow-grumblers, in the style of Diogenes, or any of his two or four-footed snarling or moody posterity. Now his Lordship, we trust, is accessible upon much higher grounds; but he will perceive that mere regard for his poetical reputation ought to induce him to change his manner. If, as Longinus instructs us, a man must feel sublimely to write sublimely, a poet must find pleasure in the objects of nature before him, if he hope to give pleasure to others. Let him remember, that not merely his conceptions, but his mind and character are to be imparted to us in his verse. He will, in a measure, "stamp an image of himself!" The fire with which we are to glow must issue from him. Till this change take place in him, then, he can be no great poet. It is Heraclitus who mourns in his pages, or Zeno who scolds, or Zoilus who lashes; but we look in vain for the poet, for the living fountain of our innocent pleasures, for the artificer of our literary delight, for the hand which, as by enchantment, snatches us from the little cares of life, whirls us into the boundless regions of imagination, "exhausting" one "world," and imagining others, to supply pictures which may refresh and charm the mind.[L] Lord Byron shews us man and nature, like the phantasmagoria, _in shade_; whereas, in poetry at least, we desire to see them illuminated by all the friendly rays which a benevolent imagination can impart.

We have hitherto confined ourselves to an examination of the influence of the principles and temper of this work upon its literary pretensions; but his Lordship will forgive us if we now put off the mere critic for a moment, and address him in that graver character which we assume to ourselves in the title of our work. In truth, we are deeply affected by the spectacle his poem presents to us. As the minor poems at the conclusion of the work breathe the same spirit, suggest the same doubts, and employ the same language with the "Childe Harold" we are compelled to recognise the author in the hero whom he has painted. In fact, the disclaimer, already noticed in the Preface, seems merely like one of those veils worn to draw attention to the face rather than to baffle it: and in the work before us we are forced to recognise a character, which, since Rousseau gave his Confessions to the public, has scarcely ever, we think, darkened the horizon of letters. The reader of the "Confessions" is dismayed to find a man frankly avowing the most disgraceful vices; abandoning them, not upon principle, but merely because they have ceased to gratify; prepared to return to them if they promise to reward him better; without natural affection, neither loving, nor beloved by any; without peace, without hope, "without God in the world." When we search into the mysterious cause of this autobiographical phenomenon, we at once discover that Rousseau's immeasurable vanity betrayed him into a belief, that even his vices would vanish in the blaze of his excellencies; and that the world would worship him, as idolaters do their mishapen gods, in spite of their ugliness. The confessions of Lord Byron, we regret to say, bear something of an analogy to those of the philosopher of Geneva. Are they, then, to be traced to the _same source_? He plainly is far from indifferent to the opinion of by-standers: can he, then, conceive that this peep into the window of his breast must not revolt every virtuous eye? Can he boldly proclaim his violations of decency and of sobriety; his common contempt for all modifications of religion; his monstrous belief in the universal rest or annihilation of man in a future state; and forget that he is one of those who

"Play such tricks before high heaven, As make the angels weep;"

as offend against all moral taste; as attempt to shake the very pillars of domestic happiness and of public security?

It is, however, a matter of congratulation, that his Lordship, in common with the republican Confessor, has not revealed his creed without very honestly displaying the influence of this creed upon his own mind. We should not, indeed, have credited a man of his sentiments, had he assured us he was happy: happiness takes no root in such soils. But it is still better to have his own testimony to the unmixed misery of licentiousness and unbelief. It is almost comforting to be told, if we dared to draw comfort out of the well of another man's miseries, that

"Though gay companions o'er the bowl Dispel awhile the sense of ill; Though pleasure fires the maddening soul, The heart--the heart is lonely still."

It is consolatory also to contrast the peace and triumph of the dying Christian, with the awful uncertainty, or rather the sullen despair, which breathe in these verses.

"'Aye--but to die and go'--alas, Where all have gone, and all must go; To be the nothing that I was, Ere born to life and living woe.

"Count o'er the joys thine hours have seen, Count o'er thy days from anguish free; And know, whatever thou hast been, 'Tis something better not to be."

Nor can religion be more powerfully recommended than by the following avowal of an apostle of the opposite system.

"No, for myself, so dark my fate Through every turn of life has been, Man and the world I so much hate, I care not when I quit the scene."

But whilst, for the benefit of others, we thus avail ourselves of the antidote supplied by his Lordship to his own poison, we would wish also that he might feel the efficacy of it himself. Could we hope that so humble a work as this would reach the lofty sphere in which he moves, we would solemnly say to him: "You are wretched, but will nothing make you happy? You hate all men; will nothing warm you with new feelings? You are (as you say) hated by all; will nothing make you an object of affection? Suppose yourself the victim of some disease, which resisted many ordinary applications; but that all who used one medicine uniformly pronounced themselves cured:--would it be worthy of a philosopher not merely to neglect the remedy, but to traduce it? Such, however, my Lord, is the fatuity of your own conduct as to the religion of Christ. Thousands, as wretched as yourself, have found 'a Comforter' in Him; thousands, having stepped into these waters, have been healed of their disease; thousands, touching the hem of His garment, have found 'virtue go out of it.' Beggared then of every other resource, try this. 'Acquaint yourself with God, and be at peace.'" His Lordship may designate this language by that expressive monosyllable, cant; and may possibly, before long, hunt us down, as a sort of mad March hare, with the blood-hounds of his angry muse. But we hope better things of him. We assure him, that, whatever may be true of others, we do not "hate him." As Christians, even he who professes to be unchristian is dear to us. We regard the waste of his fine talents, and the laboured suppression and apparent extinction of his better feelings, with the deepest commiseration and sorrow. We long to see him escape from the black cloud which, by what may fairly be called his "black art," he has conjured up around himself. We hope to know him as a future buttress of his shaken country, and as a friend of his yet "unknown God." Should this change, by the mercy of God, take place, what pangs would many passages of his present work cost him! Happy should we be, could we persuade him, in the bare anticipation of such a change, even now to contrive for his future happiness, by expunging sentiments that would then so much embitter it. Should he never change; yet, such an act would prove, that, at least, he meditated no cruel invasion upon the joys of others. Even Rousseau taught his child religion, as a delusion essential to happiness. The philosophic Tully also, if a belief in futurity were an error, deemed it one with which it was impossible to part. Let the author then, at all events, leave us in unmolested possession of our supposed privileges. _He_ plainly knows no noble or "royal way" to happiness. _We_ find in religion a bark that rides the waves in every storm; a sun that never goes down; a living fountain of waters. Religion is suffered to change its aspect and influence according to the eye and faith of the examiner. Like one side of the pillar of the wilderness, it may merely darken and perplex his Lordship's path: to millions it is like the opposite side of that pillar to the Israelites, the symbol of Deity; the pillar of hallowed flame, which lights and guides, and cheers them as they toil onward through the pilgrimage of life. Could we hear any voice proclaim of him, as of one reclaimed from as inveterate, though more honest, prejudices, "behold, he prayeth;" we should hope that here also the scales would drop from the eyes, and his Lordship become an eloquent defender and promulgator of the religion which he now scorns.--_The Christian Observer_.

[Footnote J: Hume.]

[Footnote K: Grant's Restoration of Learning in the East.]

[Footnote L: We cannot resist the temptation of saying, that in this highest department of the poet's art, we know of no living poet who will bear a comparison with Mr. Southey.]

PERCY BYSSHE SHELLEY

_Alastor_; or, The Spirit of Solitude; and other Poems. By Percy Bysshe Shelley. Crown 8vo. pp. 101. Baldwin, and Co. 1816.

We must candidly own that these poems are beyond our comprehension; and we did not obtain a clue to their sublime obscurity, till an address to Mr. Wordsworth explained in what school the author had formed his taste. We perceive, through the "darkness visible" in which Mr. Shelley veils his subject, some beautiful imagery and poetical expressions: but he appears to be a poet "whose eye, in a fine phrenzy rolling," seeks only such objects as are "above this visible diurnal sphere;" and therefore we entreat him, for the sake of his reviewers as well as of his other readers, (if he has any,) to subjoin to his next publication an _ordo_, a glossary, and copious notes, illustrative of his allusions and explanatory of his meaning.--_The Monthly Review_.

_The Cenci. A Tragedy, in Five Acts_. By PERCY BYSSHE SHELL[E]Y. Italy. 1819. pp. 104.