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the main road ; so I dare calculate on not a few, who will warmly sympathize with them. At present it will be sufficient for my purpose, if I have proved, that Mr. Southey's writings no more than my own, furnished the original occasion to this fiction of a new school of poetry, and of clamors against its supposed founders and proselytes.

As little do I believe that “ Mr. WORDSWORTH's Lyrical Ballads” were in themselves the cause. I speak exclusively of the two volumes so entitled. A careful and repeated examination of these confirms me in the belief, that the omission of less than an hundred lines. would have precluded nine-tenths of the criticism on this work. I hazard this declaration, however, on the supposition, that the reader had taken it up, as he would have done any other collection of poems purporting to derive their subjects or interests from the incidents of domestic or ordinary life, intermingled with higher strains of meditation which the poet utters in his own person and character; with the proviso, that they were perused without knowledge of, or reference to, the author's peculiar opinions, and that the reader had not had his attention previously directed to those peculiarities. In these, as was actually the case with Mr. Southey's earlier works, the lines and passages which might have offended the general taste, would

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have been considered as mere' inequalities, and attributed to inattention, not to perversity of judgement. The men of business who had passed their lives chiefly in cities, and who might therefore be expected to derive the highest pleasure from acute notices of men and manners conveyed in easy, yet correct and pointed language; and all those who, reading but little poetry, are most stimulated with that species of it, which seems most distant from prose, would probably have passed by the volume altogether. Others more catholic in their taste, and yet habituated to be most pleased when most excited, would have contented themselves with deciding, that the author had been successful in proportion to the elevation of his style and subject. Not a few perhaps, might by their admiration of “the lines written near Tintern Abbey,” those “ left upon a Seat under a Yew Tree,” the “old Cumberland beg

Ruth,” have been gradually led 10 peruse with kindred feeling the “Brothers,” the Hart leap well,” and whatever other poems

in that collection may be described as holding a middle place between those written in the highest and those in the humblest style; as for instance between the “ Tintern Abbey,” and “the Thorn,” or the !" Simon Lee.” Should their taste submit to no further change, and still remain unreconciled to the colloquial

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phrases, or the imitations of them, that are, more or less, scattered through the class last mentioned; yet even from the small number of the latter, they would have deemed them but an inconsiderable subtraction from the merit of the whole work; or, what is sometimes not unpleasing in the publication of a new writer, as serving to ascertain the natural tendency, and consequently the proper direction of the author's genius.

In the critical remarks therefore, prefixed and annexed to the " Lyrical Ballads," I believe, that we may safely rest, as the true origin of the unexampled opposition which Mr. Wordsworth's writings have been since doomed to encounter. The humbler passages in the poems themselves were dwelt on and cited to justify the rejection of the theory. What in and for themselves would have been either forgotten or forgiven as imperfections, or at least comparative failures, provoked direct hostility when announced as intentional, as the result of choice after full deliberation. Thus the poems, admitted by all as excellent, joined with those which had pleased the far greater number, though they formed two-thirds of the whole work, instead of being deemed (as in all right they should have been, even if we take for granted that the reader judged aright) an atonement for the few exceptions, gave wind

and fuel to the animosity against both the

prems and the poet. In all perplexity there is a por

a tion of fear, which predisposes the mind to anger. Not able to deny that the author

possessed both genius and a powerful intellect, they felt very positive, but were not quite certain, that he might not be in the right, and they themselves in the wrong; an unquiet state of mind, which seeks alleviation by quarrelling with the occasion of it, and by wondering at the perverseness of the man, who had written a long and argumentative essay to persuade them, that

“ Fair is foul, and foul is fair;" in other words, that they had been all their lives admiring without judgement, and were now about to censure without reason.*

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In opinions of long continuance, and in which we had never before been molested by a single doubt, to be suddenly convinced of an error, is almost like being convicted of a fault. There is a state of mind, which is the direct antithesis of that, which takes place when we make a bull. The bull namely consists in the bringing together two incompatible thoughts, with the sensation, but without the sense, of their connection. The psychological condition, or that which constitutes the possibility of this state, being such disproportionate vividness of two distant thoughts, as extinguishes or obscures the consciousness of the intermediate images or conceptions, or wholly abstracts the attention from them. Thus in the well known bull, I was a fine child, but they changed me;" the first conception expressed in the word I," is that of personal identity-Ego contemplans: the second expressed in the word "me," is the visual

“ image or object by which the mind represents to itself its past condition, or rather, its personal identity under the form in which it imagined itself previously to have existed,

That this conjecture is not wide from the mark, I am induced to believe from the noticeable fact, which I can state on my own knowledge, that the same general censure should have been grounded almost by each different person on some different poem. Among those, whose candour and judgement I estimate highly, I distinctly remember six who expressed their objections to the “ Lyrical Ballads” almost in the same words, and altogether to the same purport, at the same time admitting, that several of the poems had given them great pleasure ; and, strange as it might seem, the composition which one had cited as execrable,


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Ego contemplatus. Now the change of one visual image for another involves in itself no absurdity, and becomes absurd only by its immediate juxta-position with the first thought, which is rendered possible by the whole attention being successively absorbed in each singly, so as not to notice the interjacent notion, “ changed" which by its incongruity with the first thought, “I,” constitutes the bull. Add only, that this process is facilitated by the circumstance of the words T," and “me," being sometimes equivalent, and sometimes having a distinct meaning ; sometimes, namely, signifying the act of self-consciousness, sometimes the external image in and by which the mind represents that act to itself, the result and symbol of its individuality. Now suppose the direct contrary state, and you will have a distinct sense of the connection between two conceptions, without that sensation of such connection which is supplied by habit. The man feels, as if he were standing on his head, though he cannot but see, that he is truly standing on his feet. This, as a painful sensation, will of course liave a tendency to associate itself with the person who occasions it ; even as persons, who have been by painful means restored from derangement, are known to feel an involuntary dislike towards their physician.

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