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condition of life our elementary feelings co-
Now it is clear to me, that in the most interesting of the poems, in which the author is more or less dramatic, as the “ Brothers," “
Michael," “ Ruth,” the “ Mad Mother,” &c. the persons introduced are by no means taken from low or rustic life in the common acceptation of those words; and it is not less clear, that the sentiments and language, as far as they can be conceived to have been really transferred from the minds and conversation of such persons, are attributable to causes and circumstances not necessarily connected with their occupations and abode.” The thoughts, feel. ings, language, and manners of the shepherdfarmers in the vales of Cumberland and Westmoreland, as far as they are actually adopted in those poems, may be accounted for from causes, which will and do produce the same results in every state of life, whether in town or
country. As the two principal I rank that INDEPENDANCE, which raises a man above servitude, or daily toil for the profit of others, yet not above the necessity of industry and a frugal simplicity of domestic life; and the accompanying unambitious, but solid and religious EDUCATION, which has rendered few books familiar, but the bible, and the liturgy or hyma book. To this latter cause, indeed, which is so far accidental, that it is the blessing of par. ticular countries and a particular age, not the product of particular places or employments, the poet owes the shew of probability, that his personages might really feel, think, and talk with any tolerable resemblance to his representation. It is an excellent remark of Dr. Henry More's (Enthusiasmus triumphatus, Sec. xxxv) that “a man of confined education, but of good parts, by constant reading of the bible will naturally form a more winning and commanding rhetoric than those that are learned ; the intermixture of tongues and of artificial phrases debasing their style.
It is, moreover, to be considered that to the formation of healthy feelings, and a reflecting mind, negations involve impediments not less formidable, than sophistication and vicious intermixture. I am convinced, that for the human soul to prosper in rustic life, a certain vantageground is pre-requisite. It is not every man,
that is likely to be improved by a country life or by country labours. Education, or original sensibility, or both, must pre-exist, if the changes, fornis, and incidents of nature are to prove a sufficient stimulant. And where these are not sufficient, the mind contracts and hardens by want of stimulants; and the man becomes selfish, sensual, gross, and hard-hearted. Let the management of the Poor Laws in Liverpool, Manchester, or Bristol be compared with the ordinary dispensation of the poor rates in agricultural villages, where the farmers are the overseers and guardians of the poor. own experience have not been particularly unfortunate, as well as that of the many respectable country clergymen with whom I have conversed on the subject, the result would engender more than scepticism concerning the desirable influences of low and rustic life in and for itself. Whatever may be concluded on the other side, from the stronger local attachments and enterprizing spirit of the Swiss, and other mountaineers, applies to a particular mode of pastoral life, under forms of property, that permit and beget manners truly republican, not to rustic life in general, or to the absence of artificial cultivation. On the contrary the mountaineers, whose manners have been so often eulogized, are in, general better educated and greater readers than men of equal
rank elsewhere. But where this is not the case, as among the peasantry of North Wales, the ancient mountains, with all their terrors and all their glories, are pictures to the blind, and music to the deaf.
I should not have entered so much into detail upon this passage, but here seems to be the point, to which all the lines of difference converge as to their source and centre. (I mean, as far as, and in whatever respect, my poetic creed does differ from the doctrines promulged in this preface.) I adopt with full faith the principle of Aristotle, that poetry as poetry is essentially* ideal, that it avoids and excludes all accident ; that its apparent individualities of rank, character, or occupation must be representative of a class ; and that the persons of
Say not that I am recommending abstractions, for these class-characteristics which constitute the instructiveness of a character, are so modified and particularized in each person of the Shaksperian Drama, that life itself does not excite more distinctly that sense of individuality which belongs to real existence. Paradoxical as it may sound, one of the essential properties of Geometry is not less essential to dramatic excellence; and Aristotle has accordingly required of the poet an involution of the universal in the individual. The chief differences are, that in Geometry it is the universal truth, which is uppermost in the consciousness; in poetry the individual form, in which the truth is clothed. With the ancients, and not less with the elder dramatists of England and France, both comedy and tragedy were considered as kinds of poetry. They neither sought in comedy to make us laugh merely; much less to make us laugh by wry faces, accidents of jargon, slang phrases for the day, or the clothing of common-place morals in metaphors drawn from the shops
poetry must be clothed with generic attributes, with the common attributes of the class; not with such as one gifted individual might possibly possess, but such as from his situation it is most probable before-hand, that he would possess. If my premises are right, and my deductions legitimate, it follows that there can be no poetic medium between the swains of Theocritus and those of an imaginary golden age.
The characters of the vicar and the shepherdmariner in the poem of the “BROTHERS,” those of the shepherd of Green-head Gill in the “ MICHAEL,” have all the verisimilitude and representative quality, that the purposes of poetry can require. They are persons of a known and abiding class, and their manners
or mechanic occupations of their characters. Nor did they. condescend in tragedy to wheedle away the applause of the spectators, by representing before them fac-similies of their own mean selves in all their existing meanness, or to work on their sluggish sympathies by a pathos not a whit more respectable than the maudlin tears of drunkenness. Their tragic scenes were meant to affect us indeed ; but yet within the bounds of pleasure, and in union with the activity both of our understanding and imagination. They wished to transport the mind to a sense of its possible greatness, and to implant the germs of that greatness, during the temporary oblivion of the worthless “ thing we are," and nf the peculiar state in which each man happens to be, suspending our individual recollections and lulling them to sleep amid the music of nobler thoughts.
FRIEND, Pages 251, 252.