The Posthumous Works of Thomas De Quincey, Vol. 2

If the logic of the case be steadily examined, a definition of didactic poetry will emerge the very opposite to that popularly held: it will appear that in didactic poetry the teaching is not the power, but the resistance. It is difficult to teach even playfully or mimically in reconciliation with poetic effect: and the object is to wrestle with this difficulty. It is as when a man selects an absurd or nearly impracticable subject, his own chin,49 suppose, for the organ of a new music: he does not select it as being naturally allied to music, but for the very opposite reason—as being eminently alien from music, that his own art will have the greater triumph in taming this reluctancy into any sort of obedience to a musical purpose. It is a wrestle with all but physical impossibility. Many arts and mechanic processes in human life present intermitting aspects of beauty, scattered amongst others that are utterly without interest of that sort. For instance, in husbandry, where many essential processes are too mean to allow of any poetic treatment or transfiguration, others are picturesque, and recommended by remembrances of childhood to most hearts. How beautiful, for instance, taken in all its variety of circumstances, the gorgeous summer, the gay noontide repast, the hiding of children in the hay, the little toy of a rake in the hands of infancy, is the hay-harvest from first to last! Such cases wear a Janus aspect, one face connecting them with gross uses of necessity, another connecting them with the gay or tender sentiments that accidents of association, or some purpose of Providence, may have thrown about them as a robe of beauty. Selecting therefore what meets his own purpose, the poet proceeds by resisting and rejecting all those parts of the subject which would tend to defeat it. But at least, it will be said, he does not resist those parts of the subject which he selects. Yes, he does; even those parts he resists utterly in their real and primary character, viz., as uses indispensable to the machinery of man's animal life; and adopts them only for a collateral beauty attached to the accidents of their evolution; a beauty oftentimes not even guessed by those who are most familiar with them as practical operations. It is as if a man, having a learned eye, should follow the track of armies—careless of the political changes which they created, or of the interests (all neutral as regarded any opinion of his) which they disturbed—but alive to every form of beauty connected with these else unmeaning hostilities—alive to the beauty of their battle-array, to the pomp of their manœuvres, to the awning of smoke-wreaths surging above the artilleries, to the gleaming of sabres and bayonets at intervals through loopholes in these gathering smoky masses. This man would abstract from the politics and doctrines of the hostile armies, as much as the didactic poet from the doctrinal part of his theme.

From this attempt to rectify the idea of didactic poetry, it will be seen at once why Pope failed utterly and inevitably in the 'Essay on Man.' The subject was too directly and commandingly interesting to furnish any opening to that secondary and playful interest which arises from the management by art and the subjugation of an intractable theme. The ordinary interest of didactic poetry is derived from the repellent qualities of the subject, and consequently from the dexterities of the conflict with what is doubtful, indifferent, unpromising. Not only was there no resistance in the subject to the grandeur of poetry, but, on the contrary, this subject offered so much grandeur, was so pathetic and the amplitude of range so vast as to overwhelm the powers of any poet and any audience, by its exactions. That was a fault in one direction. But a different fault was—that the subject allowed no power of selection. In ordinary didactic poetry, as we have just been insisting, you sustain the interest by ignoring all the parts which will not bear a steady gaze. Whatever fascinates the eye, or agitates the heart by mimicry of life is selected and emphasized, and what is felt to be intractable or repellent is authoritatively set aside. The poet has an unlimited discretion. But on a theme so great as man he has no discretion at all. This resource is denied. You can give the truth only by giving the whole truth. In treating a common didactic theme you may neglect merely transitional parts with as much ease as benefit, because they are familiar enough to be pre-supposed, and are besides essential only in the real process, but not at all in the mimic process of description; since A and C, that in the reality could reach one another only through B, may yet be intelligible as regards their beauty without any intermediation of B. The ellipsis withdraws a deformity, and does not generally create an obscurity: either the obscurity is none at all, or is irrelevant to the real purpose of beauty, or may be treated sufficiently by a line or two of adroit explanation. But in a poem treating so vast a theme as man's relations to his own race, to his habitation the world, to God his maker, and to all the commands of the conscience, to the hopes of the believing heart, and to the eternal self-conflicts of the intellect, it is clear that the purely transitional parts, essential to the understanding of the whole, cannot be omitted or dispensed with at the beck of the fancy or the necessities of the metre and rhyme.

There is also an objection to Man (or any other theme of that grandeur) as the subject of a didactic poem, which is more subtle, and which for that reason we have reserved to the last. In the ordinary specimens of didactic poetry, the theme and its sub-divisions wear (as we have already observed) a double-faced or Janus aspect; one derived from the direct experience of life, the other from the reflex experience of it. And the very reason why one face does affect you is because the other does not. Thus a Morland farmyard, a Flemish tavern, or a clean kitchen in an unpretending house seen by ruddy firelight reflected from pewter ware, scarcely interests the eye at all in the reality; but for that very reason it does interest us all in the mimicry. The very fact of seeing an object framed as it were, insulated, suddenly relieved to the steady consciousness, which all one's life has been seen unframed, not called into relief, but depressed into the universal level of subconsciousness, awakens a pleasurable sense of surprise. But now Man is too great a subject to allow of any unrelieved aspects. What the reader sees he must see directly and without insulation, else falseness and partiality are immediately apparent.

XI. SHAKSPEARE AND WORDSWORTH

I take the opportunity of referring to the work of a very eloquent Frenchman, who has brought the names of Wordsworth and Shakspeare into connection, partly for the sake of pointing out an important error in the particular criticism on Wordsworth, but still more as an occasion for expressing the gratitude due to the French author for the able, anxious, and oftentimes generous justice which he has rendered to English literature. It is most gratifying to a thoughtful Englishman—that precisely from that period when the mighty drama of the French Revolution, like the Deluge, or like the early growth of Christianity, or like the Reformation, had been in operation long enough to form a new and more thoughtful generation in France, has the English literature been first studied in France, and first appreciated. Since 1810, when the generation moulded by the Revolution was beginning to come forward on the stage of national action, a continued series of able writers amongst the French—ardent, noble, profound—have laid aside their nationality in the most generous spirit for the express purpose of investigating the great English models of intellectual power, locally so near to their own native models, and virtually in such polar remoteness. Chateaubriand's intense enthusiasm for Milton, almost monomaniac in the opinion of some people, is notorious. This, however, was less astonishing: the pure marble grandeur of Milton, and his classical severity, naturally recommended themselves to the French taste, which can always understand the beauty of proportion and regular or teleologic tendencies. It was with regard to the anomalous, and to that sort of vaster harmonies which from moving upon a wider scale are apt at first sight to pass for discords, that a new taste needed to be created in France. Here Chateaubriand showed himself a Frenchman of the old leaven. Milton would always have been estimated in France. He needed only to be better known. Shakspeare was the natural stone of offence: and with regard to him Chateaubriand has shown himself eminently blind. His reference to Shakspeare's female gallery, so divine as that Pantheon really is, by way of most forcibly expressing his supposed inferiority to Racine (who strictly speaking has no female pictures at all, but merely umrisse or outlines in pencil) is the very perfection of human blindness. But many years ago the writers in Le Globe, either by direct papers on the drama or indirectly by way of references to the acting of Kean, etc., showed that even as to Shakspeare a new heart was arising in France. M. Raymond de Véricour, though necessarily called off to a more special consideration of the Miltonic poetry by the very promise of his title (Milton, et la Poésie Epique: Paris et Londres, 1838), has in various places shown a far more comprehensive sense of poetic truth than Chateaubriand. His sensibility, being originally deeper and trained to move upon a larger compass, vibrates equally under the chords of the Shakspearian music. Even he, however, has made a serious mistake as to Wordsworth in his relation to Shakspeare. At p. 420 he says: 'Wordsworth qui (de même que Byron) sympathise pen cordialement avec Shakspeare, se prosterne cependant comme Byron devant le Paradis perdu; Milton est la grande idole de Wordsworth; il ne craint pas quelquefois de se comparer lui-même à son géant;' (never unless in the single accident of praying for a similar audience—'fit audience let me find though few'); 'et en vérité ses sonnets ont souvent le même esprit prophétique, la même élévation sacrée que ceux de l'Homère anglais.' There cannot be graver mistakes than are here brought into one focus. Lord Byron cared little for the 'Paradise Lost,' and had studied it not at all. On the other hand, Lord Byron's pretended disparagement of Shakspeare by comparison with the meagre, hungry and bloodless Alfieri was a pure stage trick, a momentary device for expressing his Apemantus misanthropy towards the English people. It happened at the time he had made himself unpopular by the circumstances of his private life: these, with a morbid appetite for engaging public attention, he had done his best to publish and to keep before the public eye; whilst at the same time he was very angry at the particular style of comments which they provoked. There was no fixed temper of anger towards him in the public mind of England: but he believed that there was. And he took his revenge through every channel by which he fancied himself to have a chance for reaching and stinging the national pride; 1st, by ridiculing the English pretensions to higher principle and national morality; but that failing, 2ndly, by disparaging Shakspeare; 3rdly, on the same principle which led Dean Swift to found the first lunatic hospital in Ireland, viz.:

'To shew by one satiric touchNo nation wanted it so much.'

Lord Byron, without any sincere opinion or care upon the subject one way or other, directed in his will—that his daughter should not marry an Englishman: this bullet, he fancied, would take effect, even though the Shakspeare bullet had failed. Now, as to Wordsworth, he values both in the highest degree. In a philosophic poem, like the 'Excursion,' he is naturally led to speak more pointedly of Milton: but his own affinities are every way more numerous and striking to Shakspeare. For this reason I have myself been led to group him with Shakspeare. In those two poets alike is seen the infinite of Painting: in Æschylus and Milton alike are seen the simplicities and stern sublimiities of Sculpture.

XII. CRITICISM ON SOME OF COLERIDGE'S CRITICISMS OF WORDSWORTH

One fault in Wordsworth's 'Excursion' suggested by Coleridge, but luckily quite beyond all the resources of tinkering open to William Wordsworth, is—in the choice of a Pedlar as the presiding character who connects the shifting scenes and persons in the 'Excursion.' Why should not some man of more authentic station have been complimented with that place, seeing that the appointment lay altogether in Wordsworth's gift? But really now who could this have been? Garter King-at-Arms would have been a great deal too showy for a working hero. A railway-director, liable at any moment to abscond with the funds of the company, would have been viewed by all readers with far too much suspicion for the tranquillity desirable in a philosophic poem. A colonel of Horse Marines seems quite out of the question: what his proper functions may be, is still a question for the learned; but no man has supposed them to be philosophic. Yet on the other hand, argues Coleridge, would not 'any wise and beneficent old man,' without specifying his rank, have met the necessities of the case? Why, certainly, if it is our opinion that Coleridge wishes to have, we conceive that such an old gentleman, advertising in the Times as 'willing to make himself generally useful,' might have had a chance of dropping a line to William Wordsworth. But still we don't know. Beneficent old gentlemen are sometimes great scamps. Men, who give themselves the best of characters in morning papers, are watched occasionally in a disagreeable manner by the police. Itinerant philosophers are absolutely not understood in England. Intruders into private premises, even for grand missionary purposes, are constantly served with summary notices to quit. Mrs. Quickly gave a first-rate character to Simple; but for all that, Dr. Caius with too much show of reason demanded, 'Vat shall de honest young man do in my closet?' And we fear that Coleridge's beneficent old man, lecturing gratis upon things in general, would be regarded with illiberal jealousy by the female servants of any establishment, if he chose to lecture amongst the family linen. 'What shall de wise beneficent old Monsieur do amongst our washing-tubs?' We are perfectly confounded by the excessive blindness of Coleridge and nearly all other critics on this matter. 'Need the rank,' says Coleridge, 'have been at all particularized, when nothing follows which the knowledge of that rank is to explain or illustrate?' Nothing to explain or illustrate! Why, good heavens! it is only by the most distinct and positive information lodged with the constable as to who and what the vagrant was, that the leading philosopher in the 'Excursion' could possibly have saved himself over and over again from passing the night in the village 'lock-up,' and generally speaking in handcuffs, as one having too probably a design upon the village hen-roosts. In the sixth and seventh books, where the scene lies in the churchyard amongst the mountains, it is evident that the philosopher would have been arrested as a resurrection-man, had he not been known to substantial farmers as a pedlar 'with some money.' To be clothed therefore with an intelligible character and a local calling was as indispensable to the free movements of the Wanderer when out upon a philosophical spree, as a passport is to each and every traveller in France. Dr. Franklin, who was a very indifferent philosopher, but very great as a pedlar, and as cunning as Niccolo Machiavelli (which means as cunning as old Nick), was quite aware of this necessity as a tax upon travellers; and at every stage, on halting, he used to stand upright in his stirrups, crying aloud, 'Gentlemen and Ladies, here I am at your service; Benjamin Franklin by name; once (but that was in boyhood) a devil; viz., in the service of a printer; next a compositor and reader to the press; at present a master-printer. My object in this journey is—to arrest a knave who will else be off to Europe with £200 of my money in his breeches-pocket: that is my final object: my immediate one is—dinner; which, if there is no just reason against it, I beg that you will no longer interrupt.' Yet still, though it is essential to the free circulation of a philosopher that he should be known for what he is, the reader thinks that at least the philosopher might be known advantageously as regards his social standing. No, he could not. And we speak seriously. How could Coleridge and so many other critics overlook the overruling necessities of the situation? They argue as though Wordsworth had selected a pedlar under some abstract regard for his office of buying and selling: in which case undoubtedly a wholesale man would have a better chance for doing a 'large stroke of business' in philosophy than this huckstering retailer. Wordsworth however fixed on a pedlar—not for his commercial relations—but in spite of them. It was not for the essential of his calling that a pedlar was promoted to the post of central philosopher in his philosophic poem, but for an accident indirectly arising out of it. This accident lay in the natural privilege which a pedlar once had through all rural districts of common access to rich and poor, and secondly, in the leisurely nature of his intercourse. Three conditions there were for fulfilling that ministry of philosophic intercourse which Wordsworth's plan supposed. First, the philosopher must be clothed with a real character, known to the actual usages of the land, and not imaginary: else this postulate of fiction at starting would have operated with an unrealizing effect upon all that followed. Next, it must be a character that was naturally fitted to carry the bearer through a large circuit of districts and villages; else the arena would be too narrow for the large survey of life and conflict demanded: lastly, the character must be one recommending itself alike to all ranks in tracts remote from towns, and procuring an admission ready and gracious to him who supports that character. Now this supreme advantage belonged in a degree absolutely unique to the character of pedlar, or (as Wordsworth euphemistically terms it) of 'wandering merchant.' In past generations the materfamilias, the young ladies, and the visitors within their gates, were as anxious for his periodic visit as the humblest of the domestics. They received him therefore with the condescending kindness of persons in a state of joyous expectation: young hearts beat with the anticipation of velvets and brocades from Genoa, lace veils from the Netherlands, jewels and jewelled trinkets; for you are not to think that, like Autolycus, he carried only one trinket. They were sincerely kind to him, being sincerely pleased. Besides, it was politic to assume a gracious manner, since else the pedlar might take out his revenge in the price of his wares; fifteen per cent. would be the least he could reasonably clap on as a premium and solatium to himself for any extra hauteur. This gracious style of intercourse, already favourable to a tone of conversation more liberal and unreserved than would else have been conceded to a vagrant huckster, was further improved by the fact that the pedlar was also the main retailer of news. Here it was that a real advantage offered itself to any mind having that philosophic interest in human characters, struggles, and calamities, which is likely enough to arise amongst a class of men contemplating long records of chance and change through their wanderings, and so often left to their own meditations upon them by long tracts of solitude. The gossip of the neighbouring districts, whether tragic or comic, would have a natural interest from its locality. And such records would lead to illustration from other cases more remote—losing the interest of neighbourhood, but compensating that loss by their deeper intrinsic hold upon the sensibilities. Ladies of the highest rank would suffer their reserve to thaw in such interviews; besides that, before unresisting humility and inferiority too apparent even haughtiness the most intractable usually abates its fervour.

Coleridge also allows himself, for the sake of argument, not merely to assume too hastily, but to magnify too inordinately. Daniel, the poet, really was called the 'well-languaged' (p. 83, vol. ii.), but by whom? Not, as Hooker was called the 'judicious,' or Bede the 'venerable,' by whole generations; but by an individual. And as to the epithet of 'prosaic,' we greatly doubt if so much as one individual ever connected it with Daniel's name.

But the whole dispute on Poetic Diction is too deep and too broad for an occasional or parenthetic notice. It is a dispute which renews itself in every cultivated language;50 and even, in its application to different authors within the same language, as for instance, to Milton, to Shakspeare, or to Wordsworth, it takes a special and varied aspect. Declining this, as far too ample a theme, we wish to say one word, but an urgent word and full of clamorous complaint, upon the other branch. This dispute, however, is but one of two paths upon which the Biographical Literature approaches the subject of Wordsworth: the other lies in the direct critical examination of Wordsworth's poems. As to this, we wish to utter one word, but a word full of clamorous complaint. That the criticisms of Coleridge on William Wordsworth were often false, and that they betrayed fatally the temper of one who never had sympathized heartily with the most exquisite parts of the Lyrical Ballads, might have been a record injurious only to Coleridge himself. But unhappily these perverse criticisms have proved the occasions of ruin to some admirable poems; and, as if that were not enough, have memorialized a painful feature of weakness in Wordsworth's judgment. If ever on this earth there was a man that in his prime, when saluted with contumely from all quarters, manifested a stern deafness to criticism—it was William Wordsworth. And we thought the better of him by much for this haughty defiance to groundless judgments. But the cloak, which Boreas could not tear away from the traveller's resistance, oftentimes the too genial Phœbus has filched from his amiable spirit of compliance. These criticisms of Coleridge, generally so wayward and one-sided, but sometimes desperately opposed to every mode of truth, have been the means of exposing in William Wordsworth a weakness of resistance—almost a criminal facility in surrendering his own rights—which else would never have been suspected. We will take one of the worst cases. Readers acquainted with Wordsworth as a poet, are of course acquainted with his poem (originally so fine) upon Gipseys. To a poetic mind it is inevitable—that every spectacle, embodying any remarkable quality in a remarkable excess, should be unusually impressive, and should seem to justify a poetic record. For instance, the solitary life of one51 who should tend a lighthouse could not fail to move a very deep sympathy with his situation. Here for instance we read the ground of Wordsworth's 'Glen Almain.' Did he care for torpor again, lethargic inertia? Such a spectacle as that in the midst of a nation so morbidly energetic as our own, was calculated to strike some few chords from the harp of a poet so vigilantly keeping watch over human life.

XIII. WORDSWORTH AND SOUTHEY: AFFINITIES AND DIFFERENCES

(An Early Paper.)

Of late the two names of Wordsworth and Southey have been coupled chiefly in the frantic philippics of Jacobins, out of revenge for that sublime crusade which, among the intellectual powers of Europe, these two eminent men were foremost (and for a time alone) in awakening against the brutalizing tyranny of France and its chief agent, Napoleon Bonaparte: a crusade which they, to their immortal honour, unceasingly advocated—not (as others did) at a time when the Peninsular victories, the Russian campaign, and the battle of Leipsic, had broken the charm by which France fascinated the world and had made Bonaparte mean even in the eyes of the mean—but (be it remembered!) when by far the major part of this nation looked upon the cause of liberty as hopeless upon the Continent, as committed for many ages to the guardianship of England, in which (or not at all) it was to be saved as in an Ark from the universal deluge. Painful such remembrances may be to those who are now ashamed of their idolatry, it must not be forgotten that, from the year 1803 to 1808, Bonaparte was an idol to the greater part of this nation; at no time, God be thanked! an idol of love, but, to most among us, an idol of fear. The war was looked upon as essentially a defensive war: many doubted whether Bonaparte could be successfully opposed: almost all would have treated it as lunacy to say that he could be conquered. Yet, even at that period, these two eminent patriots constantly treated it as a feasible project to march an English army triumphantly into Paris. Their conversations with various friends—the dates of their own works—and the dates of some composed under influences emanating from them (as, for example, the unfinished work of Colonel Pasley of the Engineers)—are all so many vouchers for this fact. We know not whether (with the exception of some few Germans such as Arndt, for whose book Palm was shot) there was at that time in Europe another man of any eminence who shared in that Machiavellian sagacity which revealed to them, as with the power and clear insight of the prophetic spirit, the craziness of the French military despotism when to vulgar politicians it seemed strongest. For this sagacity, and for the strength of patriotism to which in part they owed it (for in all cases the moral spirit is a great illuminator of the intellect), they have reaped the most enviable reward, in the hatred of traitors and Jacobins all over the world: and in the expressions of that hatred we find their names frequently coupled. There was a time, however, when these names were coupled for other purposes: they were coupled as joint supporters of a supposed new creed in relation to their own art. Mr. Wordsworth, it is well known to men of letters, did advance a new theory upon two great questions of art: in some points it might perhaps be objected that his faith, in relation to that which he attacked, was as the Protestant faith to the Catholic—i.e., not a new one, but a restoration of the primitive one purified from its modern corruptions. Be this as it may, however, Mr. Wordsworth's exposition of his theory is beyond all comparison the subtlest and (not excepting even the best of the German essays) the most finished and masterly specimen of reasoning which has in any age or nation been called forth by any one of the fine arts. No formal attack has yet been made upon it, except by Mr. Coleridge; of whose arguments we need not say that they furnish so many centres (as it were) to a great body of metaphysical acuteness; but to our judgment they fail altogether of overthrowing Mr. Wordsworth's theory. All the other critics have shown in their casual allusions to this theory that they have not yet come to understand what is its drift or main thesis. Such being the state of their acquaintance with the theory itself, we need not be surprised to find that the accidental connection between Mr. Wordsworth and the Laureate arising out of friendship and neighbourhood should have led these blundering critics into the belief that the two poets were joint supporters of the same theory: the fact being meanwhile that in all which is peculiar to Mr. Wordsworth's theory, Mr. Southey dissents perhaps as widely and as determinately as Mr. Coleridge; dissents, that is to say, not as the numerous blockheads among the male blue-stockings who dignify their ignorance with the name of dissent—but as one man of illustrious powers dissents from what he deems after long examination the errors of another; as Leibnitz on some occasions dissented from Plato, or as the great modern philosopher of Germany occasionally dissents from Leibnitz. That which Mr. Wordsworth has in common with all great poets, Mr. Southey cannot but reverence: he has told us that he does: and, if he had not, his own originality and splendour of genius would be sufficient pledges that he did. That which is peculiar to Mr. Wordsworth's theory, Mr. Southey may disapprove: he may think that it narrows the province of the poet too much in one part—that, in another part, it impairs the instrument with which he is to work. Thus far he may disapprove; and, after all, deduct no more from the merits of Mr. Wordsworth, than he will perhaps deduct from those of Milton, for having too often allowed a Latin or Hebraic structure of language to injure the purity of his diction. To whatsoever extent, however, the disapprobation of Mr. Southey goes, certain it is (for his own practice shows it) that he does disapprove the innovations of Mr. Wordsworth's theory—very laughably illustrates the sagacity of modern English critics: they were told that Mr. Southey held and practised a certain system of innovations: so far their error was an error of misinformation: but next they turn to Mr. Southey's works, and there they fancy that they find in every line an illustration of the erroneous tenets which their misinformation had led them to expect that they should find. A more unfortunate blunder, one more confounding to the most adventurous presumption, can hardly be imagined. A system, which no man could act upon unless deliberately and with great effort and labour of composition, is supposed to be exemplified in the works of a poet who uniformly rejects it: and this ludicrous blunder arises not from any over-refinements in criticism (such, for instance, as led Warburton to find in Shakspeare what the poet himself never dreamt of), but from no more creditable cause than a misreport of some blue-stocking miss either maliciously or ignorantly palmed upon a critic whose understanding passively surrendered itself to anything however gross.