Chapter 22

[21] Scott's letter, stating that this overture had been made by Jeffrey under terror of the 'Quarterly,' was first published in Lockhart's 'Life of Scott.' Jeffrey denied that he could ever have made the offer, both because his contributors were too independent and because he had always considered politics to be (as he remembered to have told Scott) the 'right leg' of the 'Review.' Undoubtedly, though Scott's letter was written at the time and Jeffrey's contradiction many years afterwards, it seems that Scott must have exaggerated. And yet in Horner's 'Memoirs' we find a letter from Jeffrey which goes far to show that there was more than might be supposed to confirm Scott's statement. Jeffrey begs for Horner's assistance in the 'day of need,' caused by the Cevallos article and the threatened 'Quarterly.' He tells Horner that he may write upon any subject he pleases--'only no party politics, and nothing but exemplary moderation and impartiality on all politics. I have allowed too much mischief to be done from my mere indifference and love of sport; but it would be inexcusable to spoil the powerful instrument we have got hold of for the sake of teasing and playing tricks.'--Horner's _Memoirs_, i. 439. It was on the occasion of the Cevallos article that the Earl of Buchan solemnly kicked the 'Review' from his study into the street--a performance which he supposed would be fatal to its circulation.

[22] See Mill's _Autobiography_, p. 92, for an interesting account of these articles.

[23] It would appear, from one of Jeffrey's statements, that Brougham selfishly hung back till after the third number of the 'Review,' and its 'assured success' (Horner's _Memoirs_, i. p. 186, and Macvey Napier's _Correspondence_, p. 422); from another, that Brougham, though anxious to contribute, was excluded by Sydney Smith, from prudential motives. On the other hand, Brougham in his autobiography claims (by name) seven articles in the first number, five in the second, eight in the third, and five in the fourth; in five of which he had a collaborator. His hesitation, he says, ended before the appearance of the first number, and was due to doubts as to Jeffrey's possession of sufficient editorial power.

_WORDSWORTH'S ETHICS_

Under every poetry, it has been said, there lies a philosophy. Rather, it may almost be said, every poetry is a philosophy. The poet and the philosopher live in the same world and are interested in the same truths. What is the nature of man and the world in which he lives, and what, in consequence, should be our conduct? These are the great problems, the answers to which may take a religious, a poetical, a philosophical, or an artistic form. The difference is that the poet has intuitions, while the philosopher gives demonstrations; that the thought which in one mind is converted into emotion, is in the other resolved into logic; and that a symbolic representation of the idea is substituted for a direct expression. The normal relation is exhibited in the case of the anatomist and the sculptor. The artist intuitively recognises the most perfect form; the man of science analyses the structural relations by which it is produced. Though the two provinces are concentric, they are not coincident. The reasoner is interested in many details which have no immediate significance for the man of feeling; and the poetic insight, on the other hand, is capable of recognising subtle harmonies and discords of which our crude instruments of weighing and measuring are incapable of revealing the secret. But the connection is so close that the greatest works of either kind seem to have a double nature. A philosophy may, like Spinoza's, be apparelled in the most technical and abstruse panoply of logic, and yet the total impression may stimulate a religious sentiment as effectively as any poetic or theosophic mysticism. Or a great imaginative work, like Shakespeare's, may present us with the most vivid concrete symbols, and yet suggest, as forcibly as the formal demonstrations of a metaphysician, the idealist conviction that the visible and tangible world is a dream-woven tissue covering infinite and inscrutable mysteries. In each case the highest intellectual faculty manifests itself in the vigour with which certain profound conceptions of the world and life have been grasped and assimilated. In each case that man is greatest who soars habitually to the highest regions and gazes most steadily upon the widest horizons of time and space. The logical consistency which frames all dogmas into a consistent whole, is but another aspect of the imaginative power which harmonises the strongest and subtlest emotions excited.

The task, indeed, of deducing the philosophy from the poetry, of inferring what a man thinks from what he feels, may at times perplex the acutest critic. Nor, if it were satisfactorily accomplished, could we infer that the best philosopher is also the best poet. Absolute incapacity for poetical expression may be combined with the highest philosophic power. All that can safely be said is that a man's thoughts, whether embodied in symbols or worked out in syllogisms, are more valuable in proportion as they indicate greater philosophical insight; and therefore that, _ceteris paribus_, that man is the greater poet whose imagination is most transfused with reason; who has the deepest truths to proclaim as well as the strongest feelings to utter.

Some theorists implicitly deny this principle by holding substantially that the poet's function is simply the utterance of a particular mood, and that, if he utters it forcibly and delicately, we have no more to ask. Even so, we should not admit that the thoughts suggested to a wise man by a prospect of death and eternity are of just equal value, if equally well expressed, with the thoughts suggested to a fool by the contemplation of a good dinner. But, in practice, the utterance of emotions can hardly be dissociated from the assertion of principles. Psychologists have shown, ever since the days of Berkeley, that when a man describes (as he thinks) a mere sensation, and says, for example, 'I see a house,' he is really recording the result of a complex logical process. A great painter and the dullest observer may have the same impressions of coloured blotches upon their retina. The great man infers the true nature of the objects which produce his sensations, and can therefore represent the objects accurately. The other sees only with his eyes, and can therefore represent nothing. There is thus a logic implied even in the simplest observation, and one which can be tested by mathematical rules as distinctly as a proposition in geometry.

When we have to find a language for our emotions instead of our sensations, we generally express the result of an incomparably more complex set of intellectual operations. The poet, in uttering his joy or sadness, often implies, in the very form of his language, a whole philosophy of life or of the universe. The explanation is given at the end of Shakespeare's familiar passage about the poet's eye:--

Such tricks hath strong imagination, That, if it would but apprehend some joy, It comprehends some bringer of that joy; Or in the night, imagining some fear, How easy is a bush supposed a bear!

The _ap_prehension of the passion, as Shakespeare logically says, is a _com_prehension of its cause. The imagination reasons. The bare faculty of sight involves thought and feeling. The symbol which the fancy spontaneously constructs, implies a whole world of truth or error, of superstitious beliefs or sound philosophy. The poetry holds a number of intellectual dogmas in solution; and it is precisely due to these general dogmas, which are true and important for us as well as for the poet, that his power over our sympathies is due. If his philosophy has no power in it, his emotions lose their hold upon our minds, or interest us only as antiquarians and lovers of the picturesque. But in the briefest poems of a true thinker we read the essence of the life-long reflections of a passionate and intellectual nature. Fears and hopes common to all thoughtful men have been coined into a single phrase. Even in cases where no definite conviction is expressed or even implied, and the poem is simply, like music, an indefinite utterance of a certain state of the emotions, we may discover an intellectual element. The rational and the emotional nature have such intricate relations that one cannot exist in great richness and force without justifying an inference as to the other. From a single phrase, as from a single gesture, we can often go far to divining the character of a man's thoughts and feelings. We know more of a man from five minutes' talk than from pages of what is called 'psychological analysis.' From a passing expression on the face, itself the result of variations so minute as to defy all analysis, we instinctively frame judgments as to a man's temperament and habitual modes of thought and conduct. Indeed, such judgments, if erroneous, determine us only too exclusively in the most important relations of life.

Now the highest poetry is that which expresses the richest, most powerful, and most susceptible emotional nature, and the most versatile, penetrative, and subtle intellect. Such qualities may be stamped upon trifling work. The great artist can express his power within the limits of a coin or a gem. The great poet will reveal his character through a sonnet or a song. Shakespeare, or Milton, or Burns, or Wordsworth can express his whole mode of feeling within a few lines. An ill-balanced nature reveals itself by a discord, as an illogical mind by a fallacy. A man need not compose an epic on a system of philosophy to write himself down an ass. And, inversely, a great mind and a noble nature may show itself by impalpable but recognisable signs within the 'sonnet's scanty plot of ground.' Once more, the highest poetry must be that which expresses not only the richest but the healthiest nature. Disease means an absence or a want of balance of certain faculties, and therefore leads to false reasoning or emotional discord. The defect of character betrays itself in some erroneous mode of thought or baseness of sentiment. And since morality means obedience to those rules which are most essential to the spiritual health, vicious feeling indicates some morbid tendency, and is so far destructive of the poetical faculty. An immoral sentiment is the sign either of a false judgment of the world and of human nature, or of a defect in the emotional nature which shows itself by a discord or an indecorum, and leads to a cynicism or indecency which offends the reason through the taste. What is called immorality does not indeed always imply such defects. Sound moral intuitions may be opposed to the narrow code prevalent at the time; or a protest against puritanical or ascetic perversions of the standard may hurry the poet into attacks upon true principles. And, again, the keen sensibility which makes a man a poet, undoubtedly exposes him to certain types of disease. He is more likely than his thick-skinned neighbour to be vexed by evil, and to be drawn into distorted views of life by an excess of sympathy or indignation. Injudicious admirers prize the disease instead of the strength from which it springs; and value the cynicism or the despair instead of the contempt for heartless commonplace or the desire for better things with which it was unfortunately connected. A strong moral sentiment has a great value, even when forced into an unnatural alliance. Nay, even when it is, so to speak, inverted, it often receives a kind of paradoxical value from its efficacy against some opposite form of error. It is only a complete absence of the moral faculty which is irredeemably bad. The poet in whom it does not exist is condemned to the lower sphere, and can only deal with the deepest feelings on penalty of shocking us by indecency or profanity. A man who can revel in 'Epicurus' stye' without even the indirect homage to purity of remorse and bitterness, can do nothing but gratify our lowest passions. They, perhaps, have their place, and the man who is content with such utterances may not be utterly worthless. But to place him on a level with his betters is to confound every sound principle of criticism.

It follows that a kind of collateral test of poetical excellence may be found by extracting the philosophy from the poetry. The test is, of course, inadequate. A good philosopher may be an execrable poet. Even stupidity is happily not inconsistent with sound doctrine, though inconsistent with a firm grasp of ultimate principles. But the vigour with which a man grasps and assimilates a deep moral doctrine is a test of the degree in which he possesses one essential condition of the higher poetical excellence. A continuous illustration of this principle is given in the poetry of Wordsworth, who, indeed, has expounded his ethical and philosophical views so explicitly, one would rather not say so ostentatiously, that great part of the work is done to our hands. Nowhere is it easier to observe the mode in which poetry and philosophy spring from the same root and owe their excellence to the same intellectual powers. So much has been said by the ablest critics of the purely poetical side of Wordsworth's genius, that I may willingly renounce the difficult task of adding or repeating. I gladly take for granted--what is generally acknowledged--that Wordsworth in his best moods reaches a greater height than any other modern Englishman. The word 'inspiration' is less forced when applied to his loftiest poetry than when used of any of his contemporaries. With defects too obvious to be mentioned, he can yet pierce furthest behind the veil; and embody most efficiently the thoughts and emotions which come to us in our most solemn and reflective moods. Other poetry becomes trifling when we are making our inevitable passages through the Valley of the Shadow of Death. Wordsworth's alone retains its power. We love him the more as we grow older and become more deeply impressed with the sadness and seriousness of life; we are apt to grow weary of his rivals when we have finally quitted the regions of youthful enchantment. And I take the explanation to be that he is not merely a melodious writer, or a powerful utterer of deep emotion, but a true philosopher. His poetry wears well because it has solid substance. He is a prophet and a moralist, as well as a mere singer. His ethical system, in particular, is as distinctive and capable of systematic exposition as that of Butler. By endeavouring to state it in plain prose, we shall see how the poetical power implies a sensitiveness to ideas which, when extracted from the symbolical embodiment, fall spontaneously into a scientific system of thought.

There are two opposite types to which all moral systems tend. They correspond to the two great intellectual families to which every man belongs by right of birth. One class of minds is distinguished by its firm grasp of facts, by its reluctance to drop solid substance for the loveliest shadows, and by its preference of concrete truths to the most symmetrical of theories. In ethical questions the tendency of such minds is to consider man as a being impelled by strong but unreasonable passions towards tangible objects. He is a loving, hating, thirsting, hungering--anything but a reasoning--being. As Swift--a typical example of this intellectual temperament--declared, man is not an _animal rationale_, but at most _capax rationis_. At bottom, he is a machine worked by blind instincts. Their tendency cannot be deduced by _à priori_ reasoning, though reason may calculate the consequences of indulging them. The passions are equally good, so far as equally pleasurable. Virtue means that course of conduct which secures the maximum of pleasure. Fine theories about abstract rights and correspondence to eternal truths are so many words. They provide decent masks for our passions; they do not really govern them, or alter their nature, but they cover the ugly brutal selfishness of mankind, and soften the shock of conflicting interests. Such a view has something in it congenial to the English love of reality and contempt for shams. It may be represented by Swift or Mandeville in the last century; in poetry it corresponds to the theory attributed by some critics to Shakespeare; in a tranquil and reasoning mind it leads to the utilitarianism of Bentham; in a proud, passionate, and imaginative mind it manifests itself in such a poem as 'Don Juan.' Its strength is in its grasp of fact; its weakness, in its tendency to cynicism. Opposed to this is the school which starts from abstract reason. It prefers to dwell in the ideal world, where principles may be contemplated apart from the accidents which render them obscure to vulgar minds. It seeks to deduce the moral code from eternal truths without seeking for a groundwork in the facts of experience. If facts refuse to conform to theories, it proposes that facts should be summarily abolished. Though the actual human being is, unfortunately, not always reasonable, it holds that pure reason must be in the long run the dominant force, and that it reveals the laws to which mankind will ultimately conform. The revolutionary doctrine of the 'rights of man' expressed one form of this doctrine, and showed in the most striking way a strength and weakness, which are the converse of those exhibited by its antagonist. It was strong as appealing to the loftier motives of justice and sympathy; and weak as defying the appeal to experience. The most striking example in English literature is in Godwin's 'Political Justice.' The existing social order is to be calmly abolished because founded upon blind prejudice; the constituent atoms called men are to be rearranged in an ideal order as in a mathematical diagram. Shelley gives the translation of this theory into poetry. The 'Revolt of Islam' or the 'Prometheus Unbound,' with all its unearthly beauty, wearies the imagination which tries to soar into the thin air of Shelley's dreamworld; just as the intellect, trying to apply the abstract formulæ of political metaphysics to any concrete problem, feels as though it were under an exhausted receiver. In both cases we seem to have got entirely out of the region of real human passions and senses into a world, beautiful perhaps, but certainly impalpable.

The great aim of moral philosophy is to unite the disjoined element, to end the divorce between reason and experience, and to escape from the alternative of dealing with empty but symmetrical formulæ or concrete and chaotic facts. No hint can be given here as to the direction in which a final solution must be sought. Whatever the true method, Wordsworth's mode of conceiving the problem shows how powerfully he grasped the questions at issue. If his doctrines are not systematically expounded, they all have a direct bearing upon the real difficulties involved. They are stated so forcibly in his noblest poems that we might almost express a complete theory in his own language. But, without seeking to make a collection of aphorisms from his poetry, we may indicate the cardinal points of his teaching.[24]

The most characteristic of all his doctrines is that which is embodied in the great ode upon the 'Intimations of Immortality.' The doctrine itself--the theory that the instincts of childhood testify to the pre-existence of the soul--sounds fanciful enough; and Wordsworth took rather unnecessary pains to say that he did not hold it as a serious dogma. We certainly need not ask whether it is reasonable or orthodox to believe that 'our birth is but a sleep and a forgetting.' The fact symbolised by the poetic fancy--the glory and freshness of our childish instincts--is equally noteworthy, whatever its cause. Some modern reasoners would explain its significance by reference to a very different kind of pre-existence. The instincts, they would say, are valuable, because they register the accumulated and inherited experience of past generations. Wordsworth's delight in wild scenery is regarded by them as due to the 'combination of states that were organised in the race during barbarous times, when its pleasurable activities were amongst the mountains, woods, and waters.' In childhood we are most completely under the dominion of these inherited impulses. The correlation between the organism and its medium is then most perfect, and hence the peculiar theme of childish communion with nature.

Wordsworth would have repudiated the doctrine with disgust. He would have been 'on the side of the angels.' No memories of the savage and the monkey, but the reminiscences of the once-glorious soul could explain his emotions. Yet there is this much in common between him and the men of science whom he denounced with too little discrimination. The fact of the value of these primitive instincts is admitted, and admitted for the same purpose. Man, it is agreed, is furnished with sentiments which cannot be explained as the result of his individual experience. They may be intelligible, according to the evolutionist, when regarded as embodying the past experience of the race; or, according to Wordsworth, as implying a certain mysterious faculty imprinted upon the soul. The scientific doctrine, whether sound or not, has modified the whole mode of approaching ethical problems; and Wordsworth, though with a very different purpose, gives a new emphasis to the facts, upon a recognition of which, according to some theorists, must be based the reconciliation of the great rival schools--the intuitionists and the utilitarians. The parallel may at first sight seem fanciful; and it would be too daring to claim for Wordsworth the discovery of the most remarkable phenomenon which modern psychology must take into account. There is, however, a real connection between the two doctrines, though in one sense they are almost antithetical. Meanwhile we observe that the same sensibility which gives poetical power is necessary to the scientific observer. The magic of the ode, and of many other passages in Wordsworth's poetry, is due to his recognition of this mysterious efficacy of our childish instincts. He gives emphasis to one of the most striking facts of our spiritual experience, which had passed with little notice from professed psychologists. He feels what they afterwards tried to explain.

The full meaning of the doctrine comes out as we study Wordsworth more thoroughly. Other poets--almost all poets--have dwelt fondly upon recollections of childhood. But not feeling so strongly, and therefore not expressing so forcibly, the peculiar character of the emotion, they have not derived the same lessons from their observation. The Epicurean poets are content with Herrick's simple moral--

Gather ye rosebuds while ye may--

and with his simple explanation--

That age is best which is the first, When youth and blood are warmer.

Others more thoughtful look back upon the early days with the passionate regret of Byron's verses:

There's not a joy the world can give like that it takes away, When the glow of early thought declines in feeling's dull decay; 'Tis not on youth's smooth cheek the blush alone which fades so fast, But the tender bloom of heart is gone, ere youth itself be past.