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Chapter 22

The characteristic defects of Wordsworth's poetry, with the principles from which the judgment, that they are defects, is deduced--Their proportion to the beauties--For the greatest part characteristic of his theory only.


If Mr. Wordsworth have set forth principles of poetry which his arguments are insufficient to support, let him and those who have adopted his sentiments be set right by the confutation of those arguments, and by the substitution of more philosophical principles. And still let the due credit be given to the portion and importance of the truths, which are blended with his theory; truths, the too exclusive attention to which had occasioned its errors, by tempting him to carry those truths beyond their proper limits. If his mistaken theory have at all influenced his poetic compositions, let the effects be pointed out, and the instances given. But let it likewise be shown, how far the influence has acted; whether diffusively, or only by starts; whether the number and importance of the poems and passages thus infected be great or trifling compared with the sound portion; and lastly, whether they are inwoven into the texture of his works, or are loose and separable. The result of such a trial would evince beyond a doubt, what it is high time to announce decisively and aloud, that the supposed characteristics of Mr. Wordsworth's poetry, whether admired or reprobated; whether they are simplicity or simpleness; faithful adherence to essential nature, or wilful selections from human nature of its meanest forms and under the least attractive associations; are as little the real characteristics of his poetry at large, as of his genius and the constitution of his mind.

In a comparatively small number of poems he chose to try an experiment; and this experiment we will suppose to have failed. Yet even in these poems it is impossible not to perceive that the natural tendency of the poet's mind is to great objects and elevated conceptions. The poem entitled FIDELITY is for the greater part written in language, as unraised and naked as any perhaps in the two volumes. Yet take the following stanza and compare it with the preceding stanzas of the same poem.

"There sometimes doth a leaping fish Send through the tarn a lonely cheer; The crags repeat the raven's croak, In symphony austere; Thither the rainbow comes--the cloud-- And mists that spread the flying shroud; And sun-beams; and the sounding blast, That, if it could, would hurry past; But that enormous barrier holds it fast."

Or compare the four last lines of the concluding stanza with the former half.

"Yes, proof was plain that, since the day On which the Traveller thus had died, The Dog had watched about the spot, Or by his Master's side: How nourish'd here through such long time He knows, who gave that love sublime,-- And gave that strength of feeling, great Above all human estimate!"

Can any candid and intelligent mind hesitate in determining, which of these best represents the tendency and native character of the poet's genius? Will he not decide that the one was written because the poet would so write, and the other because he could not so entirely repress the force and grandeur of his mind, but that he must in some part or other of every composition write otherwise? In short, that his only disease is the being out of his element; like the swan, that, having amused himself, for a while, with crushing the weeds on the river's bank, soon returns to his own majestic movements on its reflecting and sustaining surface. Let it be observed that I am here supposing the imagined judge, to whom I appeal, to have already decided against the poet's theory, as far as it is different from the principles of the art, generally acknowledged.

I cannot here enter into a detailed examination of Mr. Wordsworth's works; but I will attempt to give the main results of my own judgment, after an acquaintance of many years, and repeated perusals. And though, to appreciate the defects of a great mind it is necessary to understand previously its characteristic excellences, yet I have already expressed myself with sufficient fulness, to preclude most of the ill effects that might arise from my pursuing a contrary arrangement. I will therefore commence with what I deem the prominent defects of his poems hitherto published.

The first characteristic, though only occasional defect, which I appear to myself to find in these poems is the inconstancy of the style. Under this name I refer to the sudden and unprepared transitions from lines or sentences of peculiar felicity--(at all events striking and original)--to a style, not only unimpassioned but undistinguished. He sinks too often and too abruptly to that style, which I should place in the second division of language, dividing it into the three species; first, that which is peculiar to poetry; second, that which is only proper in prose; and third, the neutral or common to both. There have been works, such as Cowley's Essay on Cromwell, in which prose and verse are intermixed (not as in the Consolation of Boetius, or the ARGENIS of Barclay, by the insertion of poems supposed to have been spoken or composed on occasions previously related in prose, but) the poet passing from one to the other, as the nature of the thoughts or his own feelings dictated. Yet this mode of composition does not satisfy a cultivated taste. There is something unpleasant in the being thus obliged to alternate states of feeling so dissimilar, and this too in a species of writing, the pleasure from which is in part derived from the preparation and previous expectation of the reader. A portion of that awkwardness is felt which hangs upon the introduction of songs in our modern comic operas; and to prevent which the judicious Metastasio (as to whose exquisite taste there can be no hesitation, whatever doubts may be entertained as to his poetic genius) uniformly placed the aria at the end of the scene, at the same time that he almost always raises and impassions the style of the recitative immediately preceding. Even in real life, the difference is great and evident between words used as the arbitrary marks of thought, our smooth market-coin of intercourse, with the image and superscription worn out by currency; and those which convey pictures either borrowed from one outward object to enliven and particularize some other; or used allegorically to body forth the inward state of the person speaking; or such as are at least the exponents of his peculiar turn and unusual extent of faculty. So much so indeed, that in the social circles of private life we often find a striking use of the latter put a stop to the general flow of conversation, and by the excitement arising from concentred attention produce a sort of damp and interruption for some minutes after. But in the perusal of works of literary art, we prepare ourselves for such language; and the business of the writer, like that of a painter whose subject requires unusual splendour and prominence, is so to raise the lower and neutral tints, that what in a different style would be the commanding colours, are here used as the means of that gentle degradation requisite in order to produce the effect of a whole. Where this is not achieved in a poem, the metre merely reminds the reader of his claims in order to disappoint them; and where this defect occurs frequently, his feelings are alternately startled by anticlimax and hyperclimax.

I refer the reader to the exquisite stanzas cited for another purpose from THE BLIND HIGHLAND BOY; and then annex, as being in my opinion instances of this disharmony in style, the two following:

"And one, the rarest, was a shell, Which he, poor child, had studied well: The shell of a green turtle, thin And hollow;--you might sit therein, It was so wide, and deep."

"Our Highland Boy oft visited The house which held this prize; and, led By choice or chance, did thither come One day, when no one was at home, And found the door unbarred."

Or page 172, vol. I.

"'Tis gone forgotten, let me do My best. There was a smile or two-- I can remember them, I see The smiles worth all the world to me. Dear Baby! I must lay thee down: Thou troublest me with strange alarms; Smiles hast thou, sweet ones of thine own; I cannot keep thee in my arms; For they confound me: as it is, I have forgot those smiles of his!"

Or page 269, vol. I.

"Thou hast a nest, for thy love and thy rest And though little troubled with sloth Drunken lark! thou would'st be loth To be such a traveller as I. Happy, happy liver! With a soul as strong as a mountain river Pouring out praise to th' Almighty giver, Joy and jollity be with us both! Hearing thee or else some other, As merry a brother I on the earth will go plodding on By myself cheerfully till the day is done."

The incongruity, which I appear to find in this passage, is that of the two noble lines in italics with the preceding and following. So vol. II. page 30.

"Close by a Pond, upon the further side, He stood alone; a minute's space I guess, I watch'd him, he continuing motionless To the Pool's further margin then I drew; He being all the while before me full in view."

Compare this with the repetition of the same image, the next stanza but two.

"And, still as I drew near with gentle pace, Beside the little pond or moorish flood Motionless as a Cloud the Old Man stood, That heareth not the loud winds when they call; And moveth altogether, if it move at all."

Or lastly, the second of the three following stanzas, compared both with the first and the third.

"My former thoughts returned; the fear that kills; And hope that is unwilling to be fed; Cold, pain, and labour, and all fleshly ills; And mighty Poets in their misery dead. But now, perplex'd by what the Old Man had said, My question eagerly did I renew, 'How is it that you live, and what is it you do?'

"He with a smile did then his words repeat; And said, that gathering Leeches far and wide He travell'd; stirring thus about his feet The waters of the Ponds where they abide. `Once I could meet with them on every side; 'But they have dwindled long by slow decay; 'Yet still I persevere, and find them where I may.'

While he was talking thus, the lonely place, The Old Man's shape, and speech, all troubled me In my mind's eye I seemed to see him pace About the weary moors continually, Wandering about alone and silently."

Indeed this fine poem is especially characteristic of the author. There is scarce a defect or excellence in his writings of which it would not present a specimen. But it would be unjust not to repeat that this defect is only occasional. From a careful reperusal of the two volumes of poems, I doubt whether the objectionable passages would amount in the whole to one hundred lines; not the eighth part of the number of pages. In THE EXCURSION the feeling of incongruity is seldom excited by the diction of any passage considered in itself, but by the sudden superiority of some other passage forming the context.

The second defect I can generalize with tolerable accuracy, if the reader will pardon an uncouth and new-coined word. There is, I should say, not seldom a matter-of-factness in certain poems. This may be divided into, first, a laborious minuteness and fidelity in the representation of objects, and their positions, as they appeared to the poet himself; secondly, the insertion of accidental circumstances, in order to the full explanation of his living characters, their dispositions and actions; which circumstances might be necessary to establish the probability of a statement in real life, where nothing is taken for granted by the hearer; but appear superfluous in poetry, where the reader is willing to believe for his own sake. To this actidentality I object, as contravening the essence of poetry, which Aristotle pronounces to be spoudaiotaton kai philosophotaton genos, the most intense, weighty and philosophical product of human art; adding, as the reason, that it is the most catholic and abstract. The following passage from Davenant's prefatory letter to Hobbes well expresses this truth. "When I considered the actions which I meant to describe; (those inferring the persons), I was again persuaded rather to choose those of a former age, than the present; and in a century so far removed, as might preserve me from their improper examinations, who know not the requisites of a poem, nor how much pleasure they lose, (and even the pleasures of heroic poesy are not unprofitable), who take away the liberty of a poet, and fetter his feet in the shackles of an historian. For why should a poet doubt in story to mend the intrigues of fortune by more delightful conveyances of probable fictions, because austere historians have entered into bond to truth? An obligation, which were in poets as foolish and unnecessary, as is the bondage of false martyrs, who lie in chains for a mistaken opinion. But by this I would imply, that truth, narrative and past, is the idol of historians, (who worship a dead thing), and truth operative, and by effects continually alive, is the mistress of poets, who hath not her existence in matter, but in reason."

For this minute accuracy in the painting of local imagery, the lines in THE EXCURSION, pp. 96, 97, and 98, may be taken, if not as a striking instance, yet as an illustration of my meaning. It must be some strong motive--(as, for instance, that the description was necessary to the intelligibility of the tale)--which could induce me to describe in a number of verses what a draughtsman could present to the eye with incomparably greater satisfaction by half a dozen strokes of his pencil, or the painter with as many touches of his brush. Such descriptions too often occasion in the mind of a reader, who is determined to understand his author, a feeling of labour, not very dissimilar to that, with which he would construct a diagram, line by line, for a long geometrical proposition. It seems to be like taking the pieces of a dissected map out of its box. We first look at one part, and then at another, then join and dove-tail them; and when the successive acts of attention have been completed, there is a retrogressive effort of mind to behold it as a whole. The poet should paint to the imagination, not to the fancy; and I know no happier case to exemplify the distinction between these two faculties. Master- pieces of the former mode of poetic painting abound in the writings of Milton, for example:

"The fig-tree; not that kind for fruit renown'd, "But such as at this day, to Indians known, "In Malabar or Decan spreads her arms "Branching so broad and long, that in the ground "The bended twigs take root, and daughters grow "About the mother tree, a pillar'd shade "High over-arch'd and ECHOING WALKS BETWEEN; "There oft the Indian herdsman, shunning heat, "Shelters in cool, and tends his pasturing herds "At hoop-holes cut through thickest shade."

This is creation rather than painting, or if painting, yet such, and with such co-presence of the whole picture flashed at once upon the eye, as the sun paints in a camera obscura. But the poet must likewise understand and command what Bacon calls the vestigia communia of the senses, the latency of all in each, and more especially as by a magical penny duplex, the excitement of vision by sound and the exponents of sound. Thus, "The echoing walks between," may be almost said to reverse the fable in tradition of the head of Memnon, in the Egyptian statue. Such may be deservedly entitled the creative words in the world of imagination.

The second division respects an apparent minute adherence to matter- of-fact in character and Incidents; a biographical attention to probability, and an anxiety of explanation and retrospect. Under this head I shall deliver, with no feigned diffidence, the results of my best reflection on the great point of controversy between Mr. Wordsworth and his objectors; namely, on the choice of his characters. I have already declared, and, I trust justified, my utter dissent from the mode of argument which his critics have hitherto employed. To their question, "Why did you choose such a character, or a character from such a rank of life?"--the poet might in my opinion fairly retort: why with the conception of my character did you make wilful choice of mean or ludicrous associations not furnished by me, but supplied from your own sickly and fastidious feelings? How was it, indeed, probable, that such arguments could have any weight with an author, whose plan, whose guiding principle, and main object it was to attack and subdue that state of association, which leads us to place the chief value on those things on which man differs from man, and to forget or disregard the high dignities, which belong to Human Nature, the sense and the feeling, which may be, and ought to be, found in all ranks? The feelings with which, as Christians, we contemplate a mixed congregation rising or kneeling before their common Maker, Mr. Wordsworth would have us entertain at all times, as men, and as readers; and by the excitement of this lofty, yet prideless impartiality in poetry, he might hope to have encouraged its continuance in real life. The praise of good men be his! In real life, and, I trust, even in my imagination, I honour a virtuous and wise man, without reference to the presence or absence of artificial advantages. Whether in the person of an armed baron, a laurelled bard, or of an old Pedlar, or still older Leech-gatherer, the same qualities of head and heart must claim the same reverence. And even in poetry I am not conscious, that I have ever suffered my feelings to be disturbed or offended by any thoughts or images, which the poet himself has not presented.

But yet I object, nevertheless, and for the following reasons. First, because the object in view, as an immediate object, belongs to the moral philosopher, and would be pursued, not only more appropriately, but in my opinion with far greater probability of success, in sermons or moral essays, than in an elevated poem. It seems, indeed, to destroy the main fundamental distinction, not only between a poem and prose, but even between philosophy and works of fiction, inasmuch as it proposes truth for its immediate object, instead of pleasure. Now till the blessed time shall come, when truth itself shall be pleasure, and both shall be so united, as to be distinguishable in words only, not in feeling, it will remain the poet's office to proceed upon that state of association, which actually exists as general; instead of attempting first to make it what it ought to be, and then to let the pleasure follow. But here is unfortunately a small hysteron-proteron. For the communication of pleasure is the introductory means by which alone the poet must expect to moralize his readers. Secondly: though I were to admit, for a moment, this argument to be groundless: yet how is the moral effect to be produced, by merely attaching the name of some low profession to powers which are least likely, and to qualities which are assuredly not more likely, to be found in it? The Poet, speaking in his own person, may at once delight and improve us by sentiments, which teach us the independence of goodness, of wisdom, and even of genius, on the favours of fortune. And having made a due reverence before the throne of Antonine, he may bow with equal awe before Epictetus among his fellow-slaves

------"and rejoice In the plain presence of his dignity."

Who is not at once delighted and improved, when the Poet Wordsworth himself exclaims,

"Oh! many are the Poets that are sown By Nature; men endowed with highest gifts The vision and the faculty divine, Yet wanting the accomplishment of verse, Nor having e'er, as life advanced, been led By circumstance to take unto the height The measure of themselves, these favoured Beings, All but a scattered few, live out their time, Husbanding that which they possess within, And go to the grave, unthought of. Strongest minds Are often those of whom the noisy world Hears least."

To use a colloquial phrase, such sentiments, in such language, do one's heart good; though I for my part, have not the fullest faith in the truth of the observation. On the contrary I believe the instances to be exceedingly rare; and should feel almost as strong an objection to introduce such a character in a poetic fiction, as a pair of black swans on a lake, in a fancy landscape. When I think how many, and how much better books than Homer, or even than Herodotus, Pindar or Aeschylus, could have read, are in the power of almost every man, in a country where almost every man is instructed to read and write; and how restless, how difficultly hidden, the powers of genius are; and yet find even in situations the most favourable, according to Mr. Wordsworth, for the formation of a pure and poetic language; in situations which ensure familiarity with the grandest objects of the imagination; but one Burns, among the shepherds of Scotland, and not a single poet of humble life among those of English lakes and mountains; I conclude, that Poetic Genius is not only a very delicate but a very rare plant.

But be this as it may, the feelings with which,

"I think of Chatterton, the marvellous Boy, The sleepless Soul, that perished in his pride; Of Burns, who walk'd in glory and in joy Behind his plough, upon the mountain-side"--

are widely different from those with which I should read a poem, where the author, having occasion for the character of a poet and a philosopher in the fable of his narration, had chosen to make him a chimney-sweeper; and then, in order to remove all doubts on the subject, had invented an account of his birth, parentage and education, with all the strange and fortunate accidents which had concurred in making him at once poet, philosopher, and sweep! Nothing, but biography, can justify this. If it be admissible even in a novel, it must be one in the manner of De Foe's, that were meant to pass for histories, not in the manner of Fielding's: In THE LIFE OF MOLL FLANDERS, Or COLONEL JACK, not in a TOM JONES, or even a JOSEPH ANDREWS. Much less then can it be legitimately introduced in a poem, the characters of which, amid the strongest individualization, must still remain representative. The precepts of Horace, on this point, are grounded on the nature both of poetry and of the human mind. They are not more peremptory, than wise and prudent. For in the first place a deviation from them perplexes the reader's feelings, and all the circumstances which are feigned in order to make such accidents less improbable, divide and disquiet his faith, rather than aid and support it. Spite of all attempts, the fiction will appear, and unfortunately not as fictitious but as false. The reader not only knows, that the sentiments and language are the poet's own, and his own too in his artificial character, as poet; but by the fruitless endeavours to make him think the contrary, he is not even suffered to forget it. The effect is similar to that produced by an Epic Poet, when the fable and the characters are derived from Scripture history, as in THE MESSIAH of Klopstock, or in CUMBERLAND'S CALVARY; and not merely suggested by it as in the PARADISE LOST of Milton. That illusion, contradistinguished from delusion, that negative faith, which simply permits the images presented to work by their own force, without either denial or affirmation of their real existence by the judgment, is rendered impossible by their immediate neighbourhood to words and facts of known and absolute truth. A faith, which transcends even historic belief, must absolutely put out this mere poetic analogon of faith, as the summer sun is said to extinguish our household fires, when it shines full upon them. What would otherwise have been yielded to as pleasing fiction, is repelled as revolting falsehood. The effect produced in this latter case by the solemn belief of the reader, is in a less degree brought about in the instances, to which I have been objecting, by the balked attempts of the author to make him believe.

Add to all the foregoing the seeming uselessness both of the project and of the anecdotes from which it is to derive support. Is there one word, for instance, attributed to the pedlar in THE EXCURSION, characteristic of a Pedlar? One sentiment, that might not more plausibly, even without the aid of any previous explanation, have proceeded from any wise and beneficent old man, of a rank or profession in which the language of learning and refinement are natural and to be expected? Need the rank have been at all particularized, where nothing follows which the knowledge of that rank is to explain or illustrate? When on the contrary this information renders the man's language, feelings, sentiments, and information a riddle, which must itself be solved by episodes of anecdote? Finally when this, and this alone, could have induced a genuine Poet to inweave in a poem of the loftiest style, and on subjects the loftiest and of most universal interest, such minute matters of fact, (not unlike those furnished for the obituary of a magazine by the friends of some obscure "ornament of society lately deceased" in some obscure town,) as

"Among the hills of Athol he was born There, on a small hereditary Farm, An unproductive slip of rugged ground, His Father dwelt; and died in poverty; While He, whose lowly fortune I retrace, The youngest of three sons, was yet a babe, A little One--unconscious of their loss. But ere he had outgrown his infant days His widowed Mother, for a second Mate, Espoused the teacher of the Village School; Who on her offspring zealously bestowed Needful instruction."

"From his sixth year, the Boy of whom I speak, In summer tended cattle on the Hills; But, through the inclement and the perilous days Of long-continuing winter, he repaired To his Step-father's School,"-etc.

For all the admirable passages interposed in this narration, might, with trifling alterations, have been far more appropriately, and with far greater verisimilitude, told of a poet in the character of a poet; and without incurring another defect which I shall now mention, and a sufficient illustration of which will have been here anticipated.

Third; an undue predilection for the dramatic form in certain poems, from which one or other of two evils result. Either the thoughts and diction are different from that of the poet, and then there arises an incongruity of style; or they are the same and indistinguishable, and then it presents a species of ventriloquism, where two are represented as talking, while in truth one man only speaks.

The fourth class of defects is closely connected with the former; but yet are such as arise likewise from an intensity of feeling disproportionate to such knowledge and value of the objects described, as can be fairly anticipated of men in general, even of the most cultivated classes; and with which therefore few only, and those few particularly circumstanced, can be supposed to sympathize: In this class, I comprise occasional prolixity, repetition, and an eddying, instead of progression, of thought. As instances, see pages 27, 28, and 62 of the Poems, vol. I. and the first eighty lines of the VIth Book of THE EXCURSION.

Fifth and last; thoughts and images too great for the subject. This is an approximation to what might be called mental bombast, as distinguished from verbal: for, as in the latter there is a disproportion of the expressions to the thoughts so in this there is a disproportion of thought to the circumstance and occasion. This, by the bye, is a fault of which none but a man of genius is capable. It is the awkwardness and strength of Hercules with the distaff of Omphale.

It is a well-known fact, that bright colours in motion both make and leave the strongest impressions on the eye. Nothing is more likely too, than that a vivid image or visual spectrum, thus originated, may become the link of association in recalling the feelings and images that had accompanied the original impression. But if we describe this in such lines, as

"They flash upon that inward eye, Which is the bliss of solitude!"

in what words shall we describe the joy of retrospection, when the images and virtuous actions of a whole well-spent life, pass before that conscience which is indeed the inward eye: which is indeed "the bliss of solitude?" Assuredly we seem to sink most abruptly, not to say burlesquely, and almost as in a medley, from this couplet to--

"And then my heart with pleasure fills, And dances with the daffodils." Vol. I. p. 328.

The second instance is from vol. II. page 12, where the poet having gone out for a day's tour of pleasure, meets early in the morning with a knot of Gipsies, who had pitched their blanket-tents and straw-beds, together with their children and asses, in some field by the road- side. At the close of the day on his return our tourist found them in the same place. "Twelve hours," says he,

"Twelve hours, twelve bounteous hours are gone, while I Have been a traveller under open sky, Much witnessing of change and cheer, Yet as I left I find them here!"

Whereat the poet, without seeming to reflect that the poor tawny wanderers might probably have been tramping for weeks together through road and lane, over moor and mountain, and consequently must have been right glad to rest themselves, their children and cattle, for one whole day; and overlooking the obvious truth, that such repose might be quite as necessary for them, as a walk of the same continuance was pleasing or healthful for the more fortunate poet; expresses his indignation in a series of lines, the diction and imagery of which would have been rather above, than below the mark, had they been applied to the immense empire of China improgressive for thirty centuries:

"The weary Sun betook himself to rest:-- --Then issued Vesper from the fulgent west, Outshining, like a visible God, The glorious path in which he trod. And now, ascending, after one dark hour, And one night's diminution of her power, Behold the mighty Moon! this way She looks, as if at them--but they Regard not her:--oh, better wrong and strife, Better vain deeds or evil than such life! The silent Heavens have goings on The stars have tasks!--but these have none!"

The last instance of this defect,(for I know no other than these already cited) is from the Ode, page 351, vol. II., where, speaking of a child, "a six years' Darling of a pigmy size," he thus addresses him:

"Thou best Philosopher, who yet dost keep Thy heritage, thou Eye among the blind, That, deaf and silent, read'st the eternal deep, Haunted for ever by the Eternal Mind,-- Mighty Prophet! Seer blest! On whom those truths do rest, Which we are toiling all our lives to find! Thou, over whom thy Immortality Broods like the Day, a Master o'er a Slave, A Present which is not to be put by!"

Now here, not to stop at the daring spirit of metaphor which connects the epithets "deaf and silent," with the apostrophized eye: or (if we are to refer it to the preceding word, "Philosopher"), the faulty and equivocal syntax of the passage; and without examining the propriety of making a "Master brood o'er a Slave," or "the Day" brood at all; we will merely ask, what does all this mean? In what sense is a child of that age a Philosopher? In what sense does he read "the eternal deep?" In what sense is he declared to be "for ever haunted" by the Supreme Being? or so inspired as to deserve the splendid titles of a Mighty Prophet, a blessed Seer? By reflection? by knowledge? by conscious intuition? or by any form or modification of consciousness? These would be tidings indeed; but such as would pre-suppose an immediate revelation to the inspired communicator, and require miracles to authenticate his inspiration. Children at this age give us no such information of themselves; and at what time were we dipped in the Lethe, which has produced such utter oblivion of a state so godlike? There are many of us that still possess some remembrances, more or less distinct, respecting themselves at six years old; pity that the worthless straws only should float, while treasures, compared with which all the mines of Golconda and Mexico were but straws, should be absorbed by some unknown gulf into some unknown abyss.

But if this be too wild and exorbitant to be suspected as having been the poet's meaning; if these mysterious gifts, faculties, and operations, are not accompanied with consciousness; who else is conscious of them? or how can it be called the child, if it be no part of the child's conscious being? For aught I know, the thinking Spirit within me may be substantially one with the principle of life, and of vital operation. For aught I know, it might be employed as a secondary agent in the marvellous organization and organic movements of my body. But, surely, it would be strange language to say, that I construct my heart! or that I propel the finer influences through my nerves! or that I compress my brain, and draw the curtains of sleep round my own eyes! Spinoza and Behmen were, on different systems, both Pantheists; and among the ancients there were philosophers, teachers of the EN KAI PAN, who not only taught that God was All, but that this All constituted God. Yet not even these would confound the part, as a part, with the whole, as the whole. Nay, in no system is the distinction between the individual and God, between the Modification, and the one only Substance, more sharply drawn, than in that of Spinoza. Jacobi indeed relates of Lessing, that, after a conversation with him at the house of the Poet, Gleim, (the Tyrtaeus and Anacreon of the German Parnassus,) in which conversation Lessing had avowed privately to Jacobi his reluctance to admit any personal existence of the Supreme Being, or the possibility of personality except in a finite Intellect, and while they were sitting at table, a shower of rain came on unexpectedly. Gleim expressed his regret at the circumstance, because they had meant to drink their wine in the garden: upon which Lessing in one of his half-earnest, half-joking moods, nodded to Jacobi, and said, "It is I, perhaps, that am doing that," i.e. raining!--and Jacobi answered, "or perhaps I;" Gleim contented himself with staring at them both, without asking for any explanation.

So with regard to this passage. In what sense can the magnificent attributes, above quoted, be appropriated to a child, which would not make them equally suitable to a bee, or a dog, or afield of corn: or even to a ship, or to the wind and waves that propel it? The omnipresent Spirit works equally in them, as in the child; and the child is equally unconscious of it as they. It cannot surely be, that the four lines, immediately following, are to contain the explanation?

"To whom the grave Is but a lonely bed without the sense or sight Of day or the warm light, A place of thought where we in waiting lie;"--

Surely, it cannot be that this wonder-rousing apostrophe is but a comment on the little poem, "We are Seven?"--that the whole meaning of the passage is reducible to the assertion, that a child, who by the bye at six years old would have been better instructed in most Christian families, has no other notion of death than that of lying in a dark, cold place? And still, I hope, not as in a place of thought! not the frightful notion of lying awake in his grave! The analogy between death and sleep is too simple, too natural, to render so horrid a belief possible for children; even had they not been in the habit, as all Christian children are, of hearing the latter term used to express the former. But if the child's belief be only, that "he is not dead, but sleepeth:" wherein does it differ from that of his father and mother, or any other adult and instructed person? To form an idea of a thing's becoming nothing; or of nothing becoming a thing; is impossible to all finite beings alike, of whatever age, and however educated or uneducated. Thus it is with splendid paradoxes in general. If the words are taken in the common sense, they convey an absurdity; and if, in contempt of dictionaries and custom, they are so interpreted as to avoid the absurdity, the meaning dwindles into some bald truism. Thus you must at once understand the words contrary to their common import, in order to arrive at any sense; and according to their common import, if you are to receive from them any feeling of sublimity or admiration.

Though the instances of this defect in Mr. Wordsworth's poems are so few, that for themselves it would have been scarcely just to attract the reader's attention toward them; yet I have dwelt on it, and perhaps the more for this very reason. For being so very few, they cannot sensibly detract from the reputation of an author, who is even characterized by the number of profound truths in his writings, which will stand the severest analysis; and yet few as they are, they are exactly those passages which his blind admirers would be most likely, and best able, to imitate. But Wordsworth, where he is indeed Wordsworth, may be mimicked by copyists, he may be plundered by plagiarists; but he cannot be imitated, except by those who are not born to be imitators. For without his depth of feeling and his imaginative power his sense would want its vital warmth and peculiarity; and without his strong sense, his mysticism would become sickly--mere fog, and dimness!

To these defects which, as appears by the extracts, are only occasional, I may oppose, with far less fear of encountering the dissent of any candid and intelligent reader, the following (for the most part correspondent) excellencies. First, an austere purity of language both grammatically and logically; in short a perfect appropriateness of the words to the meaning. Of how high value I deem this, and how particularly estimable I hold the example at the present day, has been already stated: and in part too the reasons on which I ground both the moral and intellectual importance of habituating ourselves to a strict accuracy of expression. It is noticeable, how limited an acquaintance with the masterpieces of art will suffice to form a correct and even a sensitive taste, where none but master- pieces have been seen and admired: while on the other hand, the most correct notions, and the widest acquaintance with the works of excellence of all ages and countries, will not perfectly secure us against the contagious familiarity with the far more numerous offspring of tastelessness or of a perverted taste. If this be the case, as it notoriously is, with the arts of music and painting, much more difficult will it be, to avoid the infection of multiplied and daily examples in the practice of an art, which uses words, and words only, as its instruments. In poetry, in which every line, every phrase, may pass the ordeal of deliberation and deliberate choice, it is possible, and barely possible, to attain that ultimatum which I have ventured to propose as the infallible test of a blameless style; namely: its untranslatableness in words of the same language without injury to the meaning. Be it observed, however, that I include in the meaning of a word not only its correspondent object, but likewise all the associations which it recalls. For language is framed to convey not the object alone but likewise the character, mood and intentions of the person who is representing it. In poetry it is practicable to preserve the diction uncorrupted by the affectations and misappropriations, which promiscuous authorship, and reading not promiscuous only because it is disproportionally most conversant with the compositions of the day, have rendered general. Yet even to the poet, composing in his own province, it is an arduous work: and as the result and pledge of a watchful good sense of fine and luminous distinction, and of complete self-possession, may justly claim all the honour which belongs to an attainment equally difficult and valuable, and the more valuable for being rare. It is at all times the proper food of the understanding; but in an age of corrupt eloquence it is both food and antidote.

In prose I doubt whether it be even possible to preserve our style wholly unalloyed by the vicious phraseology which meets us everywhere, from the sermon to the newspaper, from the harangue of the legislator to the speech from the convivial chair, announcing a toast or sentiment. Our chains rattle, even while we are complaining of them. The poems of Boetius rise high in our estimation when we compare them with those of his contemporaries, as Sidonius Apollinaris, and others. They might even be referred to a purer age, but that the prose, in which they are set, as jewels in a crown of lead or iron, betrays the true age of the writer. Much however may be effected by education. I believe not only from grounds of reason, but from having in great measure assured myself of the fact by actual though limited experience, that, to a youth led from his first boyhood to investigate the meaning of every word and the reason of its choice and position, logic presents itself as an old acquaintance under new names.

On some future occasion, more especially demanding such disquisition, I shall attempt to prove the close connection between veracity and habits of mental accuracy; the beneficial after-effects of verbal precision in the preclusion of fanaticism, which masters the feelings more especially by indistinct watch-words; and to display the advantages which language alone, at least which language with incomparably greater ease and certainty than any other means, presents to the instructor of impressing modes of intellectual energy so constantly, so imperceptibly, and as it were by such elements and atoms, as to secure in due time the formation of a second nature. When we reflect, that the cultivation of the judgment is a positive command of the moral law, since the reason can give the principle alone, and the conscience bears witness only to the motive, while the application and effects must depend on the judgment when we consider, that the greater part of our success and comfort in life depends on distinguishing the similar from the same, that which is peculiar in each thing from that which it has in common with others, so as still to select the most probable, instead of the merely possible or positively unfit, we shall learn to value earnestly and with a practical seriousness a mean, already prepared for us by nature and society, of teaching the young mind to think well and wisely by the same unremembered process and with the same never forgotten results, as those by which it is taught to speak and converse. Now how much warmer the interest is, how much more genial the feelings of reality and practicability, and thence how much stronger the impulses to imitation are, which a contemporary writer, and especially a contemporary poet, excites in youth and commencing manhood, has been treated of in the earlier pages of these sketches. I have only to add, that all the praise which is due to the exertion of such influence for a purpose so important, joined with that which must be claimed for the infrequency of the same excellence in the same perfection, belongs in full right to Mr. Wordsworth. I am far however from denying that we have poets whose general style possesses the same excellence, as Mr. Moore, Lord Byron, Mr. Bowles, and, in all his later and more important works, our laurel-honouring Laureate. But there are none, in whose works I do not appear to myself to find more exceptions, than in those of Wordsworth. Quotations or specimens would here be wholly out of place, and must be left for the critic who doubts and would invalidate the justice of this eulogy so applied.

The second characteristic excellence of Mr. Wordsworth's work is: a correspondent weight and sanity of the Thoughts and Sentiments,--won, not from books; but--from the poet's own meditative observation. They are fresh and have the dew upon them. His muse, at least when in her strength of wing, and when she hovers aloft in her proper element,

Makes audible a linked lay of truth, Of truth profound a sweet continuous lay, Not learnt, but native, her own natural notes!

Even throughout his smaller poems there is scarcely one, which is not rendered valuable by some just and original reflection.

See page 25, vol. II.: or the two following passages in one of his humblest compositions.

"O Reader! had you in your mind Such stores as silent thought can bring, O gentle Reader! you would find A tale in every thing;"

and

"I've heard of hearts unkind, kind deeds With coldness still returning; Alas! the gratitude of men Has oftener left me mourning;"

or in a still higher strain the six beautiful quatrains, page 134.

"Thus fares it still in our decay: And yet the wiser mind Mourns less for what age takes away Than what it leaves behind.

The Blackbird in the summer trees, The Lark upon the hill, Let loose their carols when they please, Are quiet when they will.

With Nature never do they wage A foolish strife; they see A happy youth, and their old age Is beautiful and free!

But we are pressed by heavy laws; And often glad no more, We wear a face of joy, because We have been glad of yore.

If there is one, who need bemoan His kindred laid in earth, The household hearts that were his own, It is the man of mirth.

My days, my Friend, are almost gone, My life has been approved, And many love me; but by none Am I enough beloved;"

or the sonnet on Buonaparte, page 202, vol. II. or finally (for a volume would scarce suffice to exhaust the instances,) the last stanza of the poem on the withered Celandine, vol. II. p. 312.

"To be a Prodigal's Favorite--then, worse truth, A Miser's Pensioner--behold our lot! O Man! That from thy fair and shining youth Age might but take the things Youth needed not."

Both in respect of this and of the former excellence, Mr. Wordsworth strikingly resembles Samuel Daniel, one of the golden writers of our golden Elizabethan age, now most causelessly neglected: Samuel Daniel, whose diction bears no mark of time, no distinction of age which has been, and as long as our language shall last, will be so far the language of the to-day and for ever, as that it is more intelligible to us, than the transitory fashions of our own particular age. A similar praise is due to his sentiments. No frequency of perusal can deprive them of their freshness. For though they are brought into the full day-light of every reader's comprehension; yet are they drawn up from depths which few in any age are privileged to visit, into which few in any age have courage or inclination to descend. If Mr. Wordsworth is not equally with Daniel alike intelligible to all readers of average understanding in all passages of his works, the comparative difficulty does not arise from the greater impurity of the ore, but from the nature and uses of the metal. A poem is not necessarily obscure, because it does not aim to be popular. It is enough, if a work be perspicuous to those for whom it is written, and

"Fit audience find, though few."

To the "Ode on the Intimations of Immortality from Recollections of early Childhood" the poet might have prefixed the lines which Dante addresses to one of his own Canzoni--

"Canzone, i' credo, che saranno radi Color, che tua ragione intendan bene, Tanto lor sei faticoso ed alto."

"O lyric song, there will be few, I think, Who may thy import understand aright: Thou art for them so arduous and so high!"

But the ode was intended for such readers only as had been accustomed to watch the flux and reflux of their inmost nature, to venture at times into the twilight realms of consciousness, and to feel a deep interest in modes of inmost being, to which they know that the attributes of time and space are inapplicable and alien, but which yet can not be conveyed, save in symbols of time and space. For such readers the sense is sufficiently plain, and they will be as little disposed to charge Mr. Wordsworth with believing the Platonic pre- existence in the ordinary interpretation of the words, as I am to believe, that Plato himself ever meant or taught it.

Polla oi ut' anko- nos okea belae endon enti pharetras phonanta synetoisin; es de to pan hermaeneon chatizei; sophos o pol- la eidos phua; mathontes de labroi panglossia, korakes os, akranta garueton Dios pros ornicha theion.

Third (and wherein he soars far above Daniel) the sinewy strength and originality of single lines and paragraphs: the frequent curiosa felicitas of his diction, of which I need not here give specimens, having anticipated them in a preceding page. This beauty, and as eminently characteristic of Wordsworth's poetry, his rudest assailants have felt themselves compelled to acknowledge and admire.

Fourth; the perfect truth of nature in his images and descriptions as taken immediately from nature, and proving a long and genial intimacy with the very spirit which gives the physiognomic expression to all the works of nature. Like a green field reflected in a calm and perfectly transparent lake, the image is distinguished from the reality only by its greater softness and lustre. Like the moisture or the polish on a pebble, genius neither distorts nor false-colours its objects; but on the contrary brings out many a vein and many a tint, which escape the eye of common observation, thus raising to the rank of gems what had been often kicked away by the hurrying foot of the traveller on the dusty high road of custom.

Let me refer to the whole description of skating, vol. I. page 42 to 47, especially to the lines

"So through the darkness and the cold we flew, And not a voice was idle. with the din Meanwhile the precipices rang aloud; The leafless trees and every icy crag Tinkled like iron; while the distant hills Into the tumult sent an alien sound Of melancholy, not unnoticed, while the stars, Eastward, were sparkling clear, and in the west The orange sky of evening died away."

Or to the poem on THE GREEN LINNET, vol. I. page 244. What can be more accurate yet more lovely than the two concluding stanzas?

"Upon yon tuft of hazel trees, That twinkle to the gusty breeze, Behold him perched in ecstasies, Yet seeming still to hover; There! where the flutter of his wings Upon his back and body flings Shadows and sunny glimmerings, That cover him all over.

While thus before my eyes he gleams, A Brother of the Leaves he seems; When in a moment forth he teems His little song in gushes As if it pleased him to disdain And mock the Form which he did feign While he was dancing with the train Of Leaves among the bushes."

Or the description of the blue-cap, and of the noontide silence, page 284; or the poem to the cuckoo, page 299; or, lastly, though I might multiply the references to ten times the number, to the poem, so completely Wordsworth's, commencing

"Three years she grew in sun and shower"--

Fifth: a meditative pathos, a union of deep and subtle thought with sensibility; a sympathy with man as man; the sympathy indeed of a contemplator, rather than a fellow-sufferer or co-mate, (spectator, haud particeps) but of a contemplator, from whose view no difference of rank conceals the sameness of the nature; no injuries of wind or weather, or toil, or even of ignorance, wholly disguise the human face divine. The superscription and the image of the Creator still remain legible to him under the dark lines, with which guilt or calamity had cancelled or cross-barred it. Here the Man and the Poet lose and find themselves in each other, the one as glorified, the latter as substantiated. In this mild and philosophic pathos, Wordsworth appears to me without a compeer. Such as he is: so he writes. See vol. I. page 134 to 136, or that most affecting composition, THE AFFLICTION OF MARGARET ---- OF ----, page 165 to 168, which no mother, and, if I may judge by my own experience, no parent can read without a tear. Or turn to that genuine lyric, in the former edition, entitled, THE MAD MOTHER, page 174 to 178, of which I cannot refrain from quoting two of the stanzas, both of them for their pathos, and the former for the fine transition in the two concluding lines of the stanza, so expressive of that deranged state, in which, from the increased sensibility, the sufferer's attention is abruptly drawn off by every trifle, and in the same instant plucked back again by the one despotic thought, bringing home with it, by the blending, fusing power of Imagination and Passion, the alien object to which it had been so abruptly diverted, no longer an alien but an ally and an inmate.

"Suck, little babe, oh suck again! It cools my blood; it cools my brain; Thy lips, I feel them, baby! They Draw from my heart the pain away. Oh! press me with thy little hand; It loosens something at my chest About that tight and deadly band I feel thy little fingers prest. The breeze I see is in the tree! It comes to cool my babe and me."

"Thy father cares not for my breast, 'Tis thine, sweet baby, there to rest; 'Tis all thine own!--and if its hue Be changed, that was so fair to view, 'Tis fair enough for thee, my dove! My beauty, little child, is flown, But thou wilt live with me in love; And what if my poor cheek be brown? 'Tis well for me, thou canst not see How pale and wan it else would be."

Last, and pre-eminently, I challenge for this poet the gift of Imagination in the highest and strictest sense of the word. In the play of fancy, Wordsworth, to my feelings, is not always graceful, and sometimes recondite. The likeness is occasionally too strange, or demands too peculiar a point of view, or is such as appears the creature of predetermined research, rather than spontaneous presentation. Indeed his fancy seldom displays itself, as mere and unmodified fancy. But in imaginative power, he stands nearest of all modern writers to Shakespeare and Milton; and yet in a kind perfectly unborrowed and his own. To employ his own words, which are at once an instance and an illustration, he does indeed to all thoughts and to all objects--

"------add the gleam, The light that never was, on sea or land, The consecration, and the Poet's dream."

I shall select a few examples as most obviously manifesting this faculty; but if I should ever be fortunate enough to render my analysis of Imagination, its origin and characters, thoroughly intelligible to the reader, he will scarcely open on a page of this poet's works without recognising, more or less, the presence and the influences of this faculty. From the poem on the YEW TREES, vol. I. page 303, 304.

"But worthier still of note Are those fraternal Four of Borrowdale, Joined in one solemn and capacious grove; Huge trunks!--and each particular trunk a growth Of intertwisted fibres serpentine Up-coiling, and inveterately convolved; Not uninformed with phantasy, and looks That threaten the profane;--a pillared shade, Upon whose grassless floor of red-brown hue, By sheddings from the pinal umbrage tinged Perennially--beneath whose sable roof Of boughs, as if for festal purpose, decked With unrejoicing berries--ghostly shapes May meet at noontide; FEAR and trembling HOPE, SILENCE and FORESIGHT; DEATH, the Skeleton, And TIME, the Shadow; there to celebrate, As in a natural temple scattered o'er With altars undisturbed of mossy stone, United worship; or in mute repose To lie, and listen to the mountain flood Murmuring from Glazamara's inmost caves."

The effect of the old man's figure in the poem of RESOLUTION AND INDEPENDENCE, vol. II. page 33.

"While he was talking thus, the lonely place, The Old Man's shape, and speech, all troubled me In my mind's eye I seemed to see him pace About the weary moors continually, Wandering about alone and silently."

Or the 8th, 9th, 19th, 26th, 31st, and 33rd, in the collection of miscellaneous sonnets--the sonnet on the subjugation of Switzerland, page 210, or the last ode, from which I especially select the two following stanzas or paragraphs, page 349 to 350.

"Our birth is but a sleep and a forgetting: The Soul that rises with us, our life's Star, Hath had elsewhere its setting, And cometh from afar. Not in entire forgetfulness, And not in utter nakedness, But trailing clouds of glory do we come From God, who is our home: Heaven lies about us in our infancy! Shades of the prison-house begin to close Upon the growing Boy; But He beholds the light, and whence it flows, He sees it in his joy! The Youth who daily further from the East Must travel, still is Nature's Priest, And by the vision splendid Is on his way attended; At length the Man perceives it die away, And fade into the light of common day."

And page 352 to 354 of the same ode.

"O joy! that in our embers Is something that doth live, That nature yet remembers What was so fugitive! The thought of our past years in me doth breed Perpetual benedictions: not indeed For that which is most worthy to be blest; Delight and liberty, the simple creed Of Childhood, whether busy or at rest, With new-fledged hope still fluttering in his breast:-- Not for these I raise The song of thanks and praise; But for those obstinate questionings Of sense and outward things, Fallings from us, vanishings; Blank misgivings of a Creature Moving about in worlds not realized, High instincts, before which our mortal Nature Did tremble like a guilty Thing surprised! But for those first affections, Those shadowy recollections, Which, be they what they may, Are yet the fountain light of all our day, Are yet a master light of all our seeing; Uphold us--cherish--and have power to make Our noisy years seem moments in the being Of the eternal Silence; truths that wake To perish never; Which neither listlessness, nor mad endeavour, Nor Man nor Boy, Nor all that is at enmity with joy, Can utterly abolish or destroy! Hence, in a season of calm weather, Though inland far we be, Our Souls have sight of that immortal sea Which brought us hither; Can in a moment travel thither,-- And see the children sport upon the shore, And hear the mighty waters rolling evermore."

And since it would be unfair to conclude with an extract, which, though highly characteristic, must yet, from the nature of the thoughts and the subject, be interesting or perhaps intelligible, to but a limited number of readers; I will add, from the poet's last published work, a passage equally Wordsworthian; of the beauty of which, and of the imaginative power displayed therein, there can be but one opinion, and one feeling. See White Doe, page 5.

"Fast the church-yard fills;--anon Look again and they all are gone; The cluster round the porch, and the folk Who sate in the shade of the Prior's Oak! And scarcely have they disappeared Ere the prelusive hymn is heard;-- With one consent the people rejoice, Filling the church with a lofty voice! They sing a service which they feel: For 'tis the sun-rise now of zeal; And faith and hope are in their prime In great Eliza's golden time."

"A moment ends the fervent din, And all is hushed, without and within; For though the priest, more tranquilly, Recites the holy liturgy, The only voice which you can hear Is the river murmuring near. --When soft!--the dusky trees between, And down the path through the open green, Where is no living thing to be seen; And through yon gateway, where is found, Beneath the arch with ivy bound, Free entrance to the church-yard ground-- And right across the verdant sod, Towards the very house of God; Comes gliding in with lovely gleam, Comes gliding in serene and slow, Soft and silent as a dream. A solitary Doe! White she is as lily of June, And beauteous as the silver moon When out of sight the clouds are driven And she is left alone in heaven! Or like a ship some gentle day In sunshine sailing far away A glittering ship that hath the plain Of ocean for her own domain."

* * * * * * *

"What harmonious pensive changes Wait upon her as she ranges Round and through this Pile of state Overthrown and desolate! Now a step or two her way Is through space of open day, Where the enamoured sunny light Brightens her that was so bright; Now doth a delicate shadow fall, Falls upon her like a breath, From some lofty arch or wall, As she passes underneath."

The following analogy will, I am apprehensive, appear dim and fantastic, but in reading Bartram's Travels I could not help transcribing the following lines as a sort of allegory, or connected simile and metaphor of Wordsworth's intellect and genius.--"The soil is a deep, rich, dark mould, on a deep stratum of tenacious clay; and that on a foundation of rocks, which often break through both strata, lifting their backs above the surface. The trees which chiefly grow here are the gigantic, black oak; magnolia grandi-flora; fraximus excelsior; platane; and a few stately tulip trees." What Mr. Wordsworth will produce, it is not for me to prophesy but I could pronounce with the liveliest convictions what he is capable of producing. It is the FIRST GENUINE PHILOSOPHIC POEM.

The preceding criticism will not, I am aware, avail to overcome the prejudices of those, who have made it a business to attack and ridicule Mr. Wordsworth's compositions.

Truth and prudence might be imaged as concentric circles. The poet may perhaps have passed beyond the latter, but he has confined himself far within the bounds of the former, in designating these critics, as "too petulant to be passive to a genuine poet, and too feeble to grapple with him;----men of palsied imaginations, in whose minds all healthy action is languid;----who, therefore, feed as the many direct them, or with the many are greedy after vicious provocatives."

So much for the detractors from Wordsworth's merits. On the other hand, much as I might wish for their fuller sympathy, I dare not flatter myself, that the freedom with which I have declared my opinions concerning both his theory and his defects, most of which are more or less connected with his theory, either as cause or effect, will be satisfactory or pleasing to all the poet's admirers and advocates. More indiscriminate than mine their admiration may be: deeper and more sincere it cannot be. But I have advanced no opinion either for praise or censure, other than as texts introductory to the reasons which compel me to form it. Above all, I was fully convinced that such a criticism was not only wanted; but that, if executed with adequate ability, it must conduce, in no mean degree, to Mr. Wordsworth's reputation. His fame belongs to another age, and can neither be accelerated nor retarded. How small the proportion of the defects are to the beauties, I have repeatedly declared; and that no one of them originates in deficiency of poetic genius. Had they been more and greater, I should still, as a friend to his literary character in the present age, consider an analytic display of them as pure gain; if only it removed, as surely to all reflecting minds even the foregoing analysis must have removed, the strange mistake, so slightly grounded, yet so widely and industriously propagated, of Mr. Wordsworth's turn for simplicity! I am not half as much irritated by hearing his enemies abuse him for vulgarity of style, subject, and conception, as I am disgusted with the gilded side of the same meaning, as displayed by some affected admirers, with whom he is, forsooth, a "sweet, simple poet!" and so natural, that little master Charles and his younger sister are so charmed with them, that they play at "Goody Blake," or at "Johnny and Betty Foy!"

Were the collection of poems, published with these biographical sketches, important enough, (which I am not vain enough to believe,) to deserve such a distinction; even as I have done, so would I be done unto.

For more than eighteen months have the volume of Poems, entitled SIBYLLINE LEAVES, and the present volume, up to this page, been printed, and ready for publication. But, ere I speak of myself in the tones, which are alone natural to me under the circumstances of late years, I would fain present myself to the Reader as I was in the first dawn of my literary life:

When Hope grew round me, like the climbing vine, And fruits, and foliage, not my own, seem'd mine!

For this purpose I have selected from the letters, which I wrote home from Germany, those which appeared likely to be most interesting, and at the same time most pertinent to the title of this work.


SATYRANE'S LETTERS

LETTER I


On Sunday morning, September 16, 1798, the Hamburg packet set sail from Yarmouth; and I, for the first time in my life, beheld my native land retiring from me. At the moment of its disappearance--in all the kirks, churches, chapels, and meeting-houses, in which the greater number, I hope, of my countrymen were at that time assembled, I will dare question whether there was one more ardent prayer offered up to heaven, than that which I then preferred for my country. "Now then," (said I to a gentleman who was standing near me,) "we are out of our country." "Not yet, not yet!" he replied, and pointed to the sea; "This, too, is a Briton's country." This bon mot gave a fillip to my spirits, I rose and looked round on my fellow-passengers, who were all on the deck. We were eighteen in number, videlicet, five Englishmen, an English lady, a French gentleman and his servant, an Hanoverian and his servant, a Prussian, a Swede, two Danes, and a Mulatto boy, a German tailor and his wife, (the smallest couple I ever beheld,) and a Jew. We were all on the deck; but in a short time I observed marks of dismay. The lady retired to the cabin in some confusion, and many of the faces round me assumed a very doleful and frog-coloured appearance; and within an hour the number of those on deck was lessened by one half. I was giddy, but not sick, and the giddiness soon went away, but left a feverishness and want of appetite, which I attributed, in great measure, to the saeva Mephitis of the bilge- water; and it was certainly not decreased by the exportations from the cabin. However, I was well enough to join the able-bodied passengers, one of whom observed not inaptly, that Momus might have discovered an easier way to see a man's inside, than by placing a window in his breast. He needed only have taken a saltwater trip in a packet-boat.

I am inclined to believe, that a packet is far superior to a stage- coach, as a means of making men open out to each other. In the latter the uniformity of posture disposes to dozing, and the definitiveness of the period, at which the company will separate, makes each individual think more of those to whom he is going, than of those with whom he is going. But at sea, more curiosity is excited, if only on this account, that the pleasant or unpleasant qualities of your companions are of greater importance to you, from the uncertainty how long you may be obliged to house with them. Besides, if you are countrymen, that now begins to form a distinction and a bond of brotherhood; and if of different countries, there are new incitements of conversation, more to ask and more to communicate. I found that I had interested the Danes in no common degree. I had crept into the boat on the deck and fallen asleep; but was awakened by one of them, about three o'clock in the afternoon, who told me that they had been seeking me in every hole and corner, and insisted that I should join their party and drink with them. He talked English with such fluency, as left me wholly unable to account for the singular and even ludicrous incorrectness with which he spoke it. I went, and found some excellent wines and a dessert of grapes with a pine-apple. The Danes had christened me Doctor Teology, and dressed as I was all in black, with large shoes and black worsted stockings, I might certainly have passed very well for a Methodist missionary. However I disclaimed my title. What then may you be? A man of fortune? No!--A merchant? No!--A merchant's traveller? No!--A clerk? No!--Un Philosophe, perhaps? It was at that time in my life, in which of all possible names and characters I had the greatest disgust to that of "un Philosophe." But I was weary of being questioned, and rather than be nothing, or at best only the abstract idea of a man, I submitted by a bow, even to the aspersion implied in the word "un Philosophe."--The Dane then informed me, that all in the present party were Philosophers likewise. Certes we were not of the Stoick school. For we drank and talked and sung, till we talked and sung all together; and then we rose and danced on the deck a set of dances, which in one sense of the word at least, were very intelligibly and appropriately entitled reels. The passengers, who lay in the cabin below in all the agonies of sea- sickness, must have found our bacchanalian merriment

------a tune Harsh and of dissonant mood from their complaint.

I thought so at the time; and, (by way, I suppose, of supporting my newly assumed philosophical character,) I thought too, how closely the greater number of our virtues are connected with the fear of death, and how little sympathy we bestow on pain, where there is no danger.

The two Danes were brothers. The one was a man with a clear white complexion, white hair, and white eyebrows; looked silly, and nothing that he uttered gave the lie to his looks. The other, whom, by way of eminence I have called the Dane, had likewise white hair, but was much shorter than his brother, with slender limbs, and a very thin face slightly pockfretten. This man convinced me of the justice of an old remark, that many a faithful portrait in our novels and farces has been rashly censured for an outrageous caricature, or perhaps nonentity. I had retired to my station in the boat--he came and seated himself by my side, and appeared not a little tipsy. He commenced the conversation in the most magnific style, and, as a sort of pioneering to his own vanity, he flattered me with such grossness! The parasites of the old comedy were modest in the comparison. His language and accentuation were so exceedingly singular, that I determined for once in my life to take notes of a conversation. Here it follows, somewhat abridged, indeed, but in all other respects as accurately as my memory permitted.

THE DANE. Vat imagination! vat language! vat vast science! and vat eyes! vat a milk-vite forehead! O my heafen! vy, you're a Got!

ANSWER. You do me too much honour, Sir.

THE DANE. O me! if you should dink I is flattering you!--No, no, no! I haf ten tousand a year--yes, ten tousand a year--yes, ten tousand pound a year! Vel--and vat is dhat? a mere trifle! I 'ouldn't gif my sincere heart for ten times dhe money. Yes, you're a Got! I a mere man! But, my dear friend! dhink of me, as a man! Is, is--I mean to ask you now, my dear friend--is I not very eloquent? Is I not speak English very fine?

ANSWER. Most admirably! Believe me, Sir! I have seldom heard even a native talk so fluently.

THE DANE. (Squeezing my hand with great vehemence.) My dear friend! vat an affection and fidelity ve have for each odher! But tell me, do tell me,--Is I not, now and den, speak some fault? Is I not in some wrong?

ANSWER. Why, Sir! perhaps it might be observed by nice critics in the English language, that you occasionally use the word "is" instead of "am." In our best companies we generally say I am, and not I is or I'se. Excuse me, Sir! it is a mere trifle.

THE DANE. O!--is, is, am, am, am. Yes, yes--I know, I know.

ANSWER. I am, thou art, he is, we are, ye are, they are.

THE DANE. Yes, yes,--I know, I know--Am, am, am, is dhe praesens, and is is dhe perfectum--yes, yes--and are is dhe plusquam perfectum.

ANSWER. And art, Sir! is--?

THE DANE. My dear friend! it is dhe plusquam perfectum, no, no--dhat is a great lie; are is dhe plusquam perfectum--and art is dhe plasquam plue-perfectum--(then swinging my hand to and fro, and cocking his little bright hazel eyes at me, that danced with vanity and wine)--You see, my dear friend that I too have some lehrning?

ANSWER. Learning, Sir? Who dares suspect it? Who can listen to you for a minute, who can even look at you, without perceiving the extent of it?

THE DANE. My dear friend!--(then with a would-be humble look, and in a tone of voice as if he was reasoning) I could not talk so of prawns and imperfectum, and futurum and plusquamplue perfectum, and all dhat, my dear friend! without some lehrning?

ANSWER. Sir! a man like you cannot talk on any subject without discovering the depth of his information.

THE DANE. Dhe grammatic Greek, my friend; ha! ha! Ha! (laughing, and swinging my hand to and fro--then with a sudden transition to great solemnity) Now I will tell you, my dear friend! Dhere did happen about me vat de whole historia of Denmark record no instance about nobody else. Dhe bishop did ask me all dhe questions about all dhe religion in dhe Latin grammar.

ANSWER. The grammar, Sir? The language, I presume--

THE DANE. (A little offended.) Grammar is language, and language is grammar--

ANSWER. Ten thousand pardons!

THE DANE. Vell, and I was only fourteen years--

ANSWER. Only fourteen years old?

THE DANE. No more. I vas fourteen years old--and he asked me all questions, religion and philosophy, and all in dhe Latin language--and I answered him all every one, my dear friend! all in dhe Latin language.

ANSWER. A prodigy! an absolute prodigy!

THE DANE. No, no, no! he was a bishop, a great superintendent.

ANSWER. Yes! a bishop.

THE DANE. A bishop--not a mere predicant, not a prediger.

ANSWER. My dear Sir! we have misunderstood each other. I said that your answering in Latin at so early an age was a prodigy, that is, a thing that is wonderful; that does not often happen.

THE DANE. Often! Dhere is not von instance recorded in dhe whole historia of Denmark.

ANSWER. And since then, Sir--?

THE DANE. I was sent ofer to dhe Vest Indies--to our Island, and dhere I had no more to do vid books. No! no! I put my genius anodher way--and I haf made ten tousand pound a year. Is not dhat ghenius, my dear friend?--But vat is money?--I dhink dhe poorest man alive my equal. Yes, my dear friend; my little fortune is pleasant to my generous heart, because I can do good--no man with so little a fortune ever did so much generosity--no person--no man person, no woman person ever denies it. But we are all Got's children.

Here the Hanoverian interrupted him, and the other Dane, the Swede, and the Prussian, joined us, together with a young Englishman who spoke the German fluently, and interpreted to me many of the Prussian's jokes. The Prussian was a travelling merchant, turned of threescore, a hale man, tall, strong, and stout, full of stories, gesticulations, and buffoonery, with the soul as well as the look of a mountebank, who, while he is making you laugh, picks your pocket. Amid all his droll looks and droll gestures, there remained one look untouched by laughter; and that one look was the true face, the others were but its mask. The Hanoverian was a pale, fat, bloated young man, whose father had made a large fortune in London, as an army- contractor. He seemed to emulate the manners of young Englishmen of fortune. He was a good-natured fellow, not without information or literature; but a most egregious coxcomb. He had been in the habit of attending the House of Commons, and had once spoken, as he informed me, with great applause in a debating society. For this he appeared to have qualified himself with laudable industry: for he was perfect in Walker's Pronouncing Dictionary, and with an accent, which forcibly reminded me of the Scotchman in Roderic Random, who professed to teach the English pronunciation, he was constantly deferring to my superior judgment, whether or no I had pronounced this or that word with propriety, or "the true delicacy." When he spoke, though it were only half a dozen sentences, he always rose: for which I could detect no other motive, than his partiality to that elegant phrase so liberally introduced in the orations of our British legislators, "While I am on my legs." The Swede, whom for reasons that will soon appear, I shall distinguish by the name of Nobility, was a strong-featured, scurvy- faced man, his complexion resembling in colour, a red hot poker beginning to cool. He appeared miserably dependent on the Dane; but was, however, incomparably the best informed and most rational of the party. Indeed his manners and conversation discovered him to be both a man of the world and a gentleman. The Jew was in the hold: the French gentleman was lying on the deck so ill, that I could observe nothing concerning him, except the affectionate attentions of his servant to him. The poor fellow was very sick himself, and every now and then ran to the side of the vessel, still keeping his eye on his master, but returned in a moment and seated himself again by him, now supporting his head, now wiping his forehead and talking to him all the while in the most soothing tones. There had been a matrimonial squabble of a very ludicrous kind in the cabin, between the little German tailor and his little wife. He had secured two beds, one for himself and one for her. This had struck the little woman as a very cruel action; she insisted upon their having but one, and assured the mate in the most piteous tones, that she was his lawful wife. The mate and the cabin boy decided in her favour, abused the little man for his want of tenderness with much humour, and hoisted him into the same compartment with his sea-sick wife. This quarrel was interesting to me, as it procured me a bed, which I otherwise should not have had.

In the evening, at seven o'clock, the sea rolled higher, and the Dane, by means of the greater agitation, eliminated enough of what he had been swallowing to make room for a great deal more. His favourite potation was sugar and brandy, i.e. a very little warm water with a large quantity of brandy, sugar, and nutmeg His servant boy, a black- eyed Mulatto, had a good-natured round face, exactly the colour of the skin of the walnut-kernel. The Dane and I were again seated, tete-a- tete, in the ship's boat. The conversation, which was now indeed rather an oration than a dialogue, became extravagant beyond all that I ever heard. He told me that he had made a large fortune in the island of Santa Cruz, and was now returning to Denmark to enjoy it. He expatiated on the style in which he meant to live, and the great undertakings which he proposed to himself to commence, till, the brandy aiding his vanity, and his vanity and garrulity aiding the brandy, he talked like a madman--entreated me to accompany him to Denmark--there I should see his influence with the government, and he would introduce me to the king, etc., etc. Thus he went on dreaming aloud, and then passing with a very lyrical transition to the subject of general politics, he declaimed, like a member of the Corresponding Society, about, (not concerning,) the Rights of Man, and assured me that, notwithstanding his fortune, he thought the poorest man alive his equal. "All are equal, my dear friend! all are equal! Ve are all Got's children. The poorest man haf the same rights with me. Jack! Jack! some more sugar and brandy. Dhere is dhat fellow now! He is a Mulatto--but he is my equal.--That's right, Jack! (taking the sugar and brandy.) Here you Sir! shake hands with dhis gentleman! Shake hands with me, you dog! Dhere, dhere!--We are all equal my dear friend! Do I not speak like Socrates, and Plato, and Cato--they were all philosophers, my dear philosophe! all very great men!--and so was Homer and Virgil--but they were poets. Yes, yes! I know all about it! --But what can anybody say more than this? We are all equal, all Got's children. I haf ten tousand a year, but I am no more dhan de meanest man alive. I haf no pride; and yet, my dear friend! I can say, do! and it is done. Ha! ha! ha! my dear friend! Now dhere is dhat gentleman (pointing to Nobility) he is a Swedish baron--you shall see. Ho! (calling to the Swede) get me, will you, a bottle of wine from the cabin. SWEDE.--Here, Jack! go and get your master a bottle of wine from the cabin. DANE. No, no, no! do you go now--you go yourself you go now! SWEDE. Pah!--DANE. Now go! Go, I pray you." And the Swede went!!

After this the Dane commenced an harangue on religion, and mistaking me for un philosophe in the continental sense of the word, he talked of Deity in a declamatory style, very much resembling the devotional rants of that rude blunderer, Mr. Thomas Paine, in his Age of Reason, and whispered in my ear, what damned hypocrism all Jesus Christ's business was. I dare aver, that few men have less reason to charge themselves with indulging in persiflage than myself. I should hate it, if it were only that it is a Frenchman's vice, and feel a pride in avoiding it, because our own language is too honest to have a word to express it by. But in this instance the temptation had been too powerful, and I have placed it on the list of my offences. Pericles answered one of his dearest friends, who had solicited him on a case of life and death, to take an equivocal oath for his preservation: Debeo amicis opitulari, sed usque ad Deos [75]. Friendship herself must place her last and boldest step on this side the altar. What Pericles would not do to save a friend's life, you may be assured, I would not hazard merely to mill the chocolate-pot of a drunken fool's vanity till it frothed over. Assuming a serious look, I professed myself a believer, and sunk at once an hundred fathoms in his good graces. He retired to his cabin, and I wrapped myself up in my great coat, and looked at the water. A beautiful white cloud of foam at momently intervals coursed by the side of the vessel with a roar, and little stars of flame danced and sparkled and went out in it: and every now and then light detachments of this white cloud-like foam darted off from the vessel's side, each with its own small constellation, over the sea, and scoured out of sight like a Tartar troop over a wilderness.

It was cold, the cabin was at open war with my olfactories, and I found reason to rejoice in my great coat, a weighty high-caped, respectable rug, the collar of which turned over, and played the part of a night-cap very passably. In looking up at two or three bright stars, which oscillated with the motion of the sails, I fell asleep, but was awakened at one o'clock, Monday morning, by a shower of rain. I found myself compelled to go down into the cabin, where I slept very soundly, and awoke with a very good appetite at breakfast time, my nostrils, the most placable of all the senses, reconciled to, or indeed insensible of the mephitis.

Monday, September 17th, I had a long conversation with the Swede, who spoke with the most poignant contempt of the Dane, whom he described as a fool, purse-mad; but he confirmed the boasts of the Dane respecting the largeness of his fortune, which he had acquired in the first instance as an advocate, and afterwards as a planter. From the Dane and from himself I collected that he was indeed a Swedish nobleman, who had squandered a fortune, that was never very large, and had made over his property to the Dane, on whom he was now utterly dependent. He seemed to suffer very little pain from the Dane's insolence. He was in a high degree humane and attentive to the English lady, who suffered most fearfully, and for whom he performed many little offices with a tenderness and delicacy which seemed to prove real goodness of heart. Indeed his general manners and conversation were not only pleasing, but even interesting; and I struggled to believe his insensibility respecting the Dane philosophical fortitude. For though the Dane was now quite sober, his character oozed out of him at every pore. And after dinner, when he was again flushed with wine, every quarter of an hour or perhaps oftener he would shout out to the Swede, "Ho! Nobility, go--do such a thing! Mr. Nobility!--tell the gentlemen such a story, and so forth;" with an insolence which must have excited disgust and detestation, if his vulgar rants on the sacred rights of equality, joined to his wild havoc of general grammar no less than of the English language, had not rendered it so irresistibly laughable.

At four o'clock I observed a wild duck swimming on the waves, a single solitary wild duck. It is not easy to conceive, how interesting a thing it looked in that round objectless desert of waters. I had associated such a feeling of immensity with the ocean, that I felt exceedingly disappointed, when I was out of sight of all land, at the narrowness and nearness, as it were, of the circle of the horizon. So little are images capable of satisfying the obscure feelings connected with words. In the evening the sails were lowered, lest we should run foul of the land, which can be seen only at a small distance. And at four o'clock, on Tuesday morning, I was awakened by the cry of "land! land!" It was an ugly island rock at a distance on our left, called Heiligeland, well known to many passengers from Yarmouth to Hamburg, who have been obliged by stormy weather to pass weeks and weeks in weary captivity on it, stripped of all their money by the exorbitant demands of the wretches who inhabit it. So at least the sailors informed me.--About nine o'clock we saw the main land, which seemed scarcely able to hold its head above water, low, flat, and dreary, with lighthouses and land-marks which seemed to give a character and language to the dreariness. We entered the mouth of the Elbe, passing Neu-werk; though as yet the right bank only of the river was visible to us. On this I saw a church, and thanked God for my safe voyage, not without affectionate thoughts of those I had left in England. At eleven o'clock on the same morning we arrived at Cuxhaven, the ship dropped anchor, and the boat was hoisted out, to carry the Hanoverian and a few others on shore. The captain agreed to take us, who remained, to Hamburg for ten guineas, to which the Dane contributed so largely, that the other passengers paid but half a guinea each. Accordingly we hauled anchor, and passed gently up the river. At Cuxhaven both sides of the river may be seen in clear weather; we could now see the right bank only. We passed a multitude of English traders that had been waiting many weeks for a wind. In a short time both banks became visible, both flat and evidencing the labour of human hands by their extreme neatness. On the left bank I saw a church or two in the distance; on the right bank we passed by steeple and windmill and cottage, and windmill and single house, windmill and windmill, and neat single house, and steeple. These were the objects and in the succession. The shores were very green and planted with trees not inelegantly. Thirty-five miles from Cuxhaven the night came on us, and, as the navigation of the Elbe is perilous, we dropped anchor.

Over what place, thought I, does the moon hang to your eye, my dearest friend? To me it hung over the left bank of the Elbe. Close above the moon was a huge volume of deep black cloud, while a very thin fillet crossed the middle of the orb, as narrow and thin and black as a ribbon of crape. The long trembling road of moonlight, which lay on the water and reached to the stern of our vessel, glimmered dimly and obscurely. We saw two or three lights from the right bank, probably from bed-rooms. I felt the striking contrast between the silence of this majestic stream, whose banks are populous with men and women and children, and flocks and herds--between the silence by night of this peopled river, and the ceaseless noise, and uproar, and loud agitations of the desolate solitude of the ocean. The passengers below had all retired to their beds; and I felt the interest of this quiet scene the more deeply from the circumstance of having just quitted them. For the Prussian had during the whole of the evening displayed all his talents to captivate the Dane, who had admitted him into the train of his dependents. The young Englishman continued to interpret the Prussian's jokes to me. They were all without exception profane and abominable, but some sufficiently witty, and a few incidents, which he related in his own person, were valuable as illustrating the manners of the countries in which they had taken place.

Five o'clock on Wednesday morning we hauled the anchor, but were soon obliged to drop it again in consequence of a thick fog, which our captain feared would continue the whole day; but about nine it cleared off, and we sailed slowly along, close by the shore of a very beautiful island, forty miles from Cuxhaven, the wind continuing slack. This holm or island is about a mile and a half in length, wedge-shaped, well wooded, with glades of the liveliest green, and rendered more interesting by the remarkably neat farm-house on it. It seemed made for retirement without solitude--a place that would allure one's friends, while it precluded the impertinent calls of mere visitors. The shores of the Elbe now became more beautiful, with rich meadows and trees running like a low wall along the river's edge; and peering over them, neat houses and, (especially on the right bank,) a profusion of steeple-spires, white, black, or red. An instinctive taste teaches men to build their churches in flat countries with spire-steeples, which, as they cannot be referred to any other object, point, as with silent finger, to the sky and stars, and sometimes, when they reflect the brazen light of a rich though rainy sun-set, appear like a pyramid of flame burning heavenward. I remember once, and once only, to have seen a spire in a narrow valley of a mountainous country. The effect was not only mean but ludicrous, and reminded me against my will of an extinguisher; the close neighbourhood of the high mountain, at the foot of which it stood, had so completely dwarfed it, and deprived it of all connection with the sky or clouds. Forty-six English miles from Cuxhaven, and sixteen from Hamburg, the Danish village Veder ornaments the left bank with its black steeple, and close by it is the wild and pastoral hamlet of Schulau. Hitherto both the right and left bank, green to the very brink, and level with the river, resembled the shores of a park canal. The trees and houses were alike low, sometimes the low trees over- topping the yet lower houses, sometimes the low houses rising above the yet lower trees. But at Schulau the left bank rises at once forty or fifty feet, and stares on the river with its perpendicular facade of sand, thinly patched with tufts of green. The Elbe continued to present a more and more lively spectacle from the multitude of fishing boats and the flocks of sea gulls wheeling round them, the clamorous rivals and companions of the fishermen; till we came to Blankaness, a most interesting village scattered amid scattered trees, over three hills in three divisions. Each of the three hills stares upon the river, with faces of bare sand, with which the boats with their bare poles, standing in files along the banks, made a sort of fantastic harmony. Between each facade lies a green and woody dell, each deeper than the other. In short it is a large village made up of individual cottages, each cottage in the centre of its own little wood or orchard, and each with its own separate path: a village with a labyrinth of paths, or rather a neighbourhood of houses! It is inhabited by fishermen and boat-makers, the Blankanese boats being in great request through the whole navigation of the Elbe. Here first we saw the spires of Hamburg, and from hence, as far as Altona, the left bank of the Elbe is uncommonly pleasing, considered as the vicinity of an industrious and republican city--in that style of beauty, or rather prettiness, that might tempt the citizen into the country, and yet gratify the taste which he had acquired in the town. Summer-houses and Chinese show-work are everywhere scattered along the high and green banks; the boards of the farm-houses left unplastered and gaily painted with green and yellow; and scarcely a tree not cut into shapes and made to remind the human being of his own power and intelligence instead of the wisdom of nature. Still, however, these are links of connection between town and country, and far better than the affectation of tastes and enjoyments for which men's habits have disqualified them. Pass them by on Saturdays and Sundays with the burghers of Hamburg smoking their pipes, the women and children feasting in the alcoves of box and yew, and it becomes a nature of its own. On Wednesday, four o'clock, we left the vessel, and passing with trouble through the huge masses of shipping that seemed to choke the wide Elbe from Altona upward, we were at length landed at the Boom House, Hamburg.


[75] Translation. It behoves me to side with my friends, but only as far as the gods.



LETTER II

To a lady.

RATZEBURG.

Meine liebe Freundinn,

See how natural the German comes from me, though I have not yet been six weeks in the country!--almost as fluently as English from my neighbour the Amtsschreiber, (or public secretary,) who as often as we meet, though it should be half a dozen times in the same day, never fails to greet me with--"---ddam your ploot unt eyes, my dearest Englander! vhee goes it!"--which is certainly a proof of great generosity on his part, these words being his whole stock of English. I had, however, a better reason than the desire of displaying my proficiency: for I wished to put you in good humour with a language, from the acquirement of which I have promised myself much edification and the means too of communicating a new pleasure to you and your sister, during our winter readings. And how can I do this better than by pointing out its gallant attention to the ladies? Our English affix, ess, is, I believe, confined either to words derived from the Latin, as actress, directress, etc., or from the French, as mistress, duchess, and the like. But the German, inn, enables us to designate the sex in every possible relation of life. Thus the Amtmann's lady is the Frau Amtmanninn--the secretary's wife, (by the bye, the handsomest woman I have yet seen in Germany,) is die allerliebste Frau Amtsschreiberinn--the colonel's lady, die Frau Obristinn or Colonellinn--and even the parson's wife, die Frau Pastorinn. But I am especially pleased with their Freundinn, which, unlike the amica of the Romans, is seldom used but in its best and purest sense. Now, I know it will be said, that a friend is already something more than a friend, when a man feels an anxiety to express to himself that this friend is a female; but this I deny--in that sense at least in which the objection will be made. I would hazard the impeachment of heresy, rather than abandon my belief that there is a sex in our souls as well as in their perishable garments; and he who does not feel it, never truly loved a sister--nay, is not capable even of loving a wife as she deserves to be loved, if she indeed be worthy of that holy name.

Now I know, my gentle friend, what you are murmuring to yourself-- "This is so like him! running away after the first bubble, that chance has blown off from the surface of his fancy; when one is anxious to learn where he is and what he has seen." Well then! that I am settled at Ratzeburg, with my motives and the particulars of my journey hither, will inform you. My first letter to him, with which doubtless he has edified your whole fireside, left me safely landed at Hamburg on the Elbe Stairs, at the Boom House. While standing on the stairs, I was amused by the contents of the passage-boat. which crosses the river once or twice a day from Hamburg to Haarburg. It was stowed close with all people of all nations, in all sorts of dresses; the men all with pipes in their mouths, and these pipes of all shapes and fancies--straight and wreathed, simple and complex, long and short, cane, clay, porcelain, wood, tin, silver, and ivory; most of them with silver chains and silver bole-covers. Pipes and boots are the first universal characteristic of the male Hamburgers that would strike the eye of a raw traveller. But I forget my promise of journalizing as much as possible.--Therefore, Septr. 19th Afternoon. My companion, who, you recollect, speaks the French language with unusual propriety, had formed a kind of confidential acquaintance with the emigrant, who appeared to be a man of sense, and whose manners were those of a perfect gentleman. He seemed about fifty or rather more. Whatever is unpleasant in French manners from excess in the degree, had been softened down by age or affliction; and all that is delightful in the kind, alacrity and delicacy in little attentions, etc., remained, and without bustle, gesticulation, or disproportionate eagerness. His demeanour exhibited the minute philanthropy of a polished Frenchman, tempered by the sobriety of the English character disunited from its reserve. There is something strangely attractive in the character of a gentleman when you apply the word emphatically, and yet in that sense of the term which it is more easy to feel than to define. It neither includes the possession of high moral excellence, nor of necessity even the ornamental graces of manner. I have now in my mind's eye a person whose life would scarcely stand scrutiny even in the court of honour, much less in that of conscience; and his manners, if nicely observed, would of the two excite an idea of awkwardness rather than of elegance: and yet every one who conversed with him felt and acknowledged the gentleman. The secret of the matter, I believe to be this--we feel the gentlemanly character present to us, whenever, under all the circumstances of social intercourse, the trivial not less than the important, through the whole detail of his manners and deportment, and with the ease of a habit, a person shows respect to others in such a way, as at the same time implies in his own feelings an habitual and assured anticipation of reciprocal respect from them to himself. In short, the gentlemanly character arises out of the feeling of Equality acting, as a Habit, yet flexible to the varieties of Rank, and modified without being disturbed or superseded by them. This description will perhaps explain to you the ground of one of your own remarks, as I was englishing to you the interesting dialogue concerning the causes of the corruption of eloquence. "What perfect gentlemen these old Romans must have been! I was impressed, I remember, with the same feeling at the time I was reading a translation of Cicero's philosophical dialogues and of his epistolary correspondence: while in Pliny's Letters I seemed to have a different feeling--he gave me the notion of a very fine gentleman." You uttered the words as if you had felt that the adjunct had injured the substance and the increased degree altered the kind. Pliny was the courtier of an absolute monarch--Cicero an aristocratic republican. For this reason the character of gentleman, in the sense to which I have confined it, is frequent in England, rare in France, and found, where it is found, in age or the latest period of manhood; while in Germany the character is almost unknown. But the proper antipode of a gentleman is to be sought for among the Anglo-American democrats.

I owe this digression, as an act of justice to this amiable Frenchman, and of humiliation for myself. For in a little controversy between us on the subject of French poetry, he made me feel my own ill behaviour by the silent reproof of contrast, and when I afterwards apologized to him for the warmth of my language, he answered me with a cheerful expression of surprise, and an immediate compliment, which a gentleman might both make with dignity and receive with pleasure. I was pleased therefore to find it agreed on, that we should, if possible, take up our quarters in the same house. My friend went with him in search of an hotel, and I to deliver my letters of recommendation.

I walked onward at a brisk pace, enlivened not so much by anything I actually saw, as by the confused sense that I was for the first time in my life on the continent of our planet. I seemed to myself like a liberated bird that had been hatched in an aviary, who now, after his first soar of freedom, poises himself in the upper air. Very naturally I began to wonder at all things, some for being so like and some for being so unlike the things in England--Dutch women with large umbrella hats shooting out half a yard before them, with a prodigal plumpness of petticoat behind--the women of Hamburg with caps plaited on the caul with silver, or gold, or both, bordered round with stiffened lace, which stood out before their eyes, but not lower, so that the eyes sparkled through it--the Hanoverian with the fore part of the head bare, then a stiff lace standing up like a wall perpendicular on the cap, and the cap behind tailed with an enormous quantity of ribbon which lies or tosses on the back:

"Their visnomies seem'd like a goodly banner Spread in defiance of all enemies."

The ladies all in English dresses, all rouged, and all with bad teeth: which you notice instantly from their contrast to the almost animal, too glossy mother-of-pearl whiteness and the regularity of the teeth of the laughing, loud-talking country-women and servant-girls, who with their clean white stockings and with slippers without heel quarters, tripped along the dirty streets, as if they were secured by a charm from the dirt: with a lightness too, which surprised me, who had always considered it as one of the annoyances of sleeping in an Inn, that I had to clatter up stairs in a pair of them. The streets narrow; to my English nose sufficiently offensive, and explaining at first sight the universal use of boots; without any appropriate path for the foot-passengers; the gable ends of the houses all towards the street, some in the ordinary triangular form and entire as the botanists say; but the greater number notched and scolloped with more than Chinese grotesqueness. Above all, I was struck with the profusion of windows, so large and so many, that the houses look all glass. Mr. Pitt's window tax, with its pretty little additionals sprouting out from it like young toadlets on the back of a Surinam toad, would certainly improve the appearance of the Hamburg houses, which have a slight summer look, not in keeping with their size, incongruous with the climate, and precluding that feeling of retirement and self- content, which one wishes to associate with a house in a noisy city. But a conflagration would, I fear, be the previous requisite to the production of any architectural beauty in Hamburg: for verily it is a filthy town. I moved on and crossed a multitude of ugly bridges, with huge black deformities of water wheels close by them. The water intersects the city everywhere, and would have furnished to the genius of Italy the capabilities of all that is most beautiful and magnificent in architecture. It might have been the rival of Venice, and it is huddle and ugliness, stench and stagnation. The Jungfer Stieg, (that is, Young Ladies' Walk), to which my letters directed me, made an exception. It was a walk or promenade planted with treble rows of elm trees, which, being yearly pruned and cropped, remain slim and dwarf-like. This walk occupies one side of a square piece of water, with many swans on it perfectly tame, and, moving among the swans, shewy pleasure-boats with ladies in them, rowed by their husbands or lovers.------

(Some paragraphs have been here omitted.)------thus embarrassed by sad and solemn politeness still more than by broken English, it sounded like the voice of an old friend when I heard the emigrant's servant inquiring after me. He had come for the purpose of guiding me to our hotel. Through streets and streets I pressed on as happy as a child, and, I doubt not, with a childish expression of wonderment in my busy eyes, amused by the wicker waggons with movable benches across them, one behind the other, (these were the hackney coaches;) amused by the sign-boards of the shops, on which all the articles sold within are painted, and that too very exactly, though in a grotesque confusion, (a useful substitute for language in this great mart of nations;) amused with the incessant tinkling of the shop and house door bells, the bell hanging over each door and struck with a small iron rod at every entrance and exit;--and finally, amused by looking in at the windows, as I passed along; the ladies and gentlemen drinking coffee or playing cards, and the gentlemen all smoking. I wished myself a painter, that I might have sent you a sketch of one of the card parties. The long pipe of one gentleman rested on the table, its bole half a yard from his mouth, fuming like a censer by the fish-pool--the other gentleman, who was dealing the cards, and of course had both hands employed, held his pipe in his teeth, which hanging down between his knees, smoked beside his ancles. Hogarth himself never drew a more ludicrous distortion both of attitude and physiognomy, than this effort occasioned nor was there wanting beside it one of those beautiful female faces which the same Hogarth, in whom the satirist never extinguished that love of beauty which belonged to him as a poet, so often and so gladly introduces, as the central figure, in a crowd of humorous deformities, which figures, (such is the power of true genius!) neither acts, nor is meant to act as a contrast; but diffuses through all, and over each of the group, a spirit of reconciliation and human kindness; and, even when the attention is no longer consciously directed to the cause of this feeling, still blends its tenderness with our laughter: and thus prevents the instructive merriment at the whims of nature or the foibles or humours of our fellow-men from degenerating into the heart-poison of contempt or hatred.

Our hotel DIE WILDE MAN, (the sign of which was no bad likeness of the landlord, who had ingrafted on a very grim face a restless grin, that was at every man's service, and which indeed, like an actor rehearsing to himself, he kept playing in expectation of an occasion for it)-- neither our hotel, I say, nor its landlord were of the genteelest class. But it has one great advantage for a stranger, by being in the market place, and the next neighbour of the huge church of St. Nicholas: a church with shops and houses built up against it, out of which wens and warts its high massy steeple rises, necklaced near the top with a round of large gilt balls. A better pole-star could scarcely be desired. Long shall I retain the impression made on my mind by the awful echo, so loud and long and tremulous, of the deep- toned clock within this church, which awoke me at two in the morning from a distressful dream, occasioned, I believe, by the feather bed, which is used here instead of bed-clothes. I will rather carry my blanket about with me like a wild Indian, than submit to this abominable custom. Our emigrant acquaintance was, we found, an intimate friend of the celebrated Abbe de Lisle: and from the large fortune which he possessed under the monarchy, had rescued sufficient not only for independence, but for respectability. He had offended some of his fellow-emigrants in London, whom he had obliged with considerable sums, by a refusal to make further advances, and in consequence of their intrigues had received an order to quit the kingdom. I thought it one proof of his innocence, that he attached no blame either to the alien act, or to the minister who had exerted it against him; and a still greater, that he spoke of London with rapture, and of his favourite niece, who had married and settled in England, with all the fervour and all the pride of a fond parent. A man sent by force out of a country, obliged to sell out of the stocks at a great loss, and exiled from those pleasures and that style of society which habit had rendered essential to his happiness, whose predominant feelings were yet all of a private nature, resentment for friendship outraged, and anguish for domestic affections interrupted-- such a man, I think, I could dare warrant guiltless of espionnage in any service, most of all in that of the present French Directory. He spoke with ecstasy of Paris under the Monarchy: and yet the particular facts, which made up his description, left as deep a conviction on my mind, of French worthlessness, as his own tale had done of emigrant ingratitude. Since my arrival in Germany, I have not met a single person, even among those who abhor the Revolution, that spoke with favour, or even charity of the French emigrants. Though the belief of their influence in the organization of this disastrous war (from the horrors of which, North Germany deems itself only reprieved, not secured,) may have some share in the general aversion with which they are regarded: yet I am deeply persuaded that the far greater part is owing to their own profligacy, to their treachery and hardheartedness to each other, and the domestic misery or corrupt principles which so many of them have carried into the families of their protectors. My heart dilated with honest pride, as I recalled to mind the stern yet amiable characters of the English patriots, who sought refuge on the Continent at the Restoration! O let not our civil war under the first Charles be paralleled with the French Revolution! In the former, the character overflowed from excess of principle; in the latter from the fermentation of the dregs! The former, was a civil war between the virtues and virtuous prejudices of the two parties; the latter, between the vices. The Venetian glass of the French monarchy shivered and flew asunder with the working of a double poison.

Sept. 20th. I was introduced to Mr. Klopstock, the brother of the poet, who again introduced me to Professor Ebeling, an intelligent and lively man, though deaf: so deaf, indeed, that it was a painful effort to talk with him, as we were obliged to drop our pearls into a huge ear-trumpet. From this courteous and kind-hearted man of letters, (I hope, the German literati in general may resemble this first specimen), I heard a tolerable Italian pun, and an interesting anecdote. When Buonaparte was in Italy, having been irritated by some instance of perfidy, he said in a loud and vehement tone, in a public company--"'tis a true proverb, gli Italiani tutti ladroni"--(that is, the Italians all plunderers.) A lady had the courage to reply, "Non tutti; ma BUONA PARTE," (not all, but a good part, or Buonaparte.) This, I confess, sounded to my ears, as one of the many good things that might have been said. The anecdote is more valuable; for it instances the ways and means of French insinuation. Hoche had received much information concerning the face of the country from a map of unusual fulness and accuracy, the maker of which, he heard, resided at Duesseldorf. At the storming of Duesseldorf by the French army, Hoche previously ordered, that the house and property of this man should be preserved, and intrusted the performance of the order to an officer on whose troop he could rely. Finding afterwards, that the man had escaped before the storming commenced, Hoche exclaimed, "HE had no reason to flee! It is for such men, not against them, that the French nation makes war, and consents to shed the blood of its children." You remember Milton's sonnet--

"The great Emathian conqueror bid spare The house of Pindarus when temple and tower Went to the ground"------

Now though the Duesseldorf map-maker may stand in the same relation to the Theban bard, as the snail, that marks its path by lines of film on the wall it creeps over, to the eagle that soars sunward and beats the tempest with its wings; it does not therefore follow, that the Jacobin of France may not be as valiant a general and as good a politician, as the madman of Macedon.

From Professor Ebeling's Mr. Klopstock accompanied my friend and me to his own house, where I saw a fine bust of his brother. There was a solemn and heavy greatness in his countenance, which corresponded to my preconceptions of his style and genius.--I saw there, likewise, a very fine portrait of Lessing, whose works are at present the chief object of my admiration. His eyes were uncommonly like mine, if anything, rather larger and more prominent. But the lower part of his face and his nose--O what an exquisite expression of elegance and sensibility!--There appeared no depth, weight, or comprehensiveness in the forehead.--The whole face seemed to say, that Lessing was a man of quick and voluptuous feelings; of an active but light fancy; acute; yet acute not in the observation of actual life, but in the arrangements and management of the ideal world, that is, in taste, and in metaphysics. I assure you, that I wrote these very words in my memorandum-book with the portrait before my eyes, and when I knew nothing of Lessing but his name, and that he was a German writer of eminence.

We consumed two hours and more over a bad dinner, at the table d'hote. "Patience at a German ordinary, smiling at time." The Germans are the worst cooks in Europe. There is placed for every two persons a bottle of common wine--Rhenish and Claret alternately; but in the houses of the opulent, during the many and long intervals of the dinner, the servants hand round glasses of richer wines. At the Lord of Culpin's they came in this order. Burgundy--Madeira--Port--Frontiniac-- Pacchiaretti--Old Hock--Mountain--Champagne--Hock again--Bishop, and lastly, Punch. A tolerable quantum, methinks! The last dish at the ordinary, viz. slices of roast pork, (for all the larger dishes are brought in, cut up, and first handed round and then set on the table,) with stewed prunes and other sweet fruits, and this followed by cheese and butter, with plates of apples, reminded me of Shakespeare [76], and Shakespeare put it in my head to go to the French comedy.

Bless me! why it is worse than our modern English plays! The first act informed me, that a court martial is to be held on a Count Vatron, who had drawn his sword on the Colonel, his brother-in-law. The officers plead in his behalf--in vain! His wife, the Colonel's sister, pleads with most tempestuous agonies--in vain! She falls into hysterics and faints away, to the dropping of the inner curtain! In the second act sentence of death is passed on the Count--his wife, as frantic and hysterical as before: more so (good industrious creature!) she could not be. The third and last act, the wife still frantic, very frantic indeed!--the soldiers just about to fire, the handkerchief actually dropped; when reprieve! reprieve! is heard from behind the scenes: and in comes Prince Somebody, pardons the Count, and the wife is still frantic, only with joy; that was all!

O dear lady! this is one of the cases, in which laughter is followed by melancholy: for such is the kind of drama, which is now substituted every where for Shakespeare and Racine. You well know, that I offer violence to my own feelings in joining these names. But however meanly I may think of the French serious drama, even in its most perfect specimens; and with whatever right I may complain of its perpetual falsification of the language, and of the connections and transitions of thought, which Nature has appropriated to states of passion; still, however, the French tragedies are consistent works of art, and the offspring of great intellectual power. Preserving a fitness in the parts, and a harmony in the whole, they form a nature of their own, though a false nature. Still they excite the minds of the spectators to active thought, to a striving after ideal excellence. The soul is not stupefied into mere sensations by a worthless sympathy with our own ordinary sufferings, or an empty curiosity for the surprising, undignified by the language or the situations which awe and delight the imagination. What, (I would ask of the crowd, that press forward to the pantomimic tragedies and weeping comedies of Kotzebue and his imitators), what are you seeking? Is it comedy? But in the comedy of Shakespeare and Moliere the more accurate my knowledge, and the more profoundly I think, the greater is the satisfaction that mingles with my laughter. For though the qualities which these writers pourtray are ludicrous indeed, either from the kind or the excess, and exquisitely ludicrous, yet are they the natural growth of the human mind and such as, with more or less change in the drapery, I can apply to my own heart, or at least to whole classes of my fellow-creatures. How often are not the moralist and the metaphysician obliged for the happiest illustrations of general truths and the subordinate laws of human thought and action to quotations, not only from the tragic characters, but equally from the Jaques, Falstaff, and even from the fools and clowns of Shakespeare, or from the Miser, Hypochondriast, and Hypocrite, of Moliere! 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 Shakesperian 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, (if I may mention his name without pedantry to a lady,) 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 itself, 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 commonplace morals in metaphors drawn from the shops 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-similes 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 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 of 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.

Hold!--(methinks I hear the spokesman of the crowd reply, and we will listen to him. I am the plaintiff, and he the defendant.)

DEFENDANT. Hold! are not our modern sentimental plays filled with the best Christian morality?

PLAINTIFF. Yes! just as much of it, and just that part of it, which you can exercise without a single Christian virtue--without a single sacrifice that is really painful to you!--just as much as flatters you, sends you away pleased with your own hearts, and quite reconciled to your vices, which can never be thought very ill of, when they keep such good company, and walk hand in hand with so much compassion and generosity; adulation so loathsome, that you would spit in the man's face who dared offer it to you in a private company, unless you interpreted it as insulting irony, you appropriate with infinite satisfaction, when you share the garbage with the whole stye, and gobble it out of a common trough. No Caesar must pace your boards--no Antony, no royal Dane, no Orestes, no Andromache!

D. No: or as few of them as possible. What has a plain citizen of London, or Hamburg, to do with your kings and queens, and your old school-boy Pagan heroes? Besides, every body knows the stories; and what curiosity can we feel----

P. What, Sir, not for the manner?--not for the delightful language of the poet?--not for the situations, the action and reaction of the passions?

D. You are hasty, Sir! the only curiosity, we feel, is in the story: and how can we be anxious concerning the end of a play, or be surprised by it, when we know how it will turn out?

P. Your pardon, for having interrupted you! we now understand each other. You seek then, in a tragedy, which wise men of old held for the highest effort of human genius, the same gratification, as that you receive from a new novel, the last German romance, and other dainties of the day, which can be enjoyed but once. If you carry these feelings to the sister art of Painting, Michael Angelo's Sixtine Chapel, and the Scripture Gallery of Raphael can expect no favour from you. You know all about them beforehand; and are, doubtless, more familiar with the subjects of those paintings, than with the tragic tales of the historic or heroic ages. There is a consistency, therefore, in your preference of contemporary writers: for the great men of former times, those at least who were deemed great by our ancestors, sought so little to gratify this kind of curiosity, that they seemed to have regarded the story in a not much higher light, than the painter regards his canvass: as that on, not by, which they were to display their appropriate excellence. No work, resembling a tale or romance, can well show less variety of invention in the incidents, or less anxiety in weaving them together, than the DON QUIXOTE of Cervantes. Its admirers feel the disposition to go back and re-peruse some preceding chapter, at least ten times for once that they find any eagerness to hurry forwards: or open the book on those parts which they best recollect, even as we visit those friends oftenest whom we love most, and with whose characters and actions we are the most intimately acquainted. In the divine Ariosto, (as his countrymen call this, their darling poet,) I question whether there be a single tale of his own invention, or the elements of which, were not familiar to the readers of "old romance." I will pass by the ancient Greeks, who thought it even necessary to the fable of a tragedy, that its substance should be previously known. That there had been at least fifty tragedies with the same title, would be one of the motives which determined Sophocles and Euripides, in the choice of Electra as a subject. But Milton--

D. Aye Milton, indeed!--but do not Dr. Johnson and other great men tell us, that nobody now reads Milton but as a task?

P. So much the worse for them, of whom this can be truly said! But why then do you pretend to admire Shakespeare? The greater part, if not all, of his dramas were, as far as the names and the main incidents are concerned, already stock plays. All the stories, at least, on which they are built, pre-existed in the chronicles, ballads, or translations of contemporary or preceding English writers. Why, I repeat, do you pretend to admire Shakespeare? Is it, perhaps, that you only pretend to admire him? However, as once for all, you have dismissed the well-known events and personages of history, or the epic muse, what have you taken in their stead? Whom has your tragic muse armed with her bowl and dagger? the sentimental muse I should have said, whom you have seated in the throne of tragedy? What heroes has she reared on her buskins?

D. O! our good friends and next-door neighbours--honest tradesmen, valiant tars, high-spirited half-pay officers, philanthropic Jews, virtuous courtezans, tender-hearted braziers, and sentimental rat- catchers!--(a little bluff or so, but all our very generous, tender- hearted characters are a little rude or misanthropic, and all our misanthropes very tender-hearted.)

P. But I pray you, friend, in what actions great or interesting, can such men be engaged?

D. They give away a great deal of money; find rich dowries for young men and maidens who have all other good qualities; they brow-beat lords, baronets, and justices of the peace, (for they are as bold as Hector!)--they rescue stage coaches at the instant they are falling down precipices; carry away infants in the sight of opposing armies; and some of our performers act a muscular able-bodied man to such perfection, that our dramatic poets, who always have the actors in their eye, seldom fail to make their favourite male character as strong as Samson. And then they take such prodigious leaps!! And what is done on the stage is more striking even than what is acted. I once remember such a deafening explosion, that I could not hear a word of the play for half an act after it: and a little real gunpowder being set fire to at the same time, and smelt by all the spectators, the naturalness of the scene was quite astonishing!

P. But how can you connect with such men and such actions that dependence of thousands on the fate of one, which gives so lofty an interest to the personages of Shakespeare, and the Greek Tragedians? How can you connect with them that sublimest of all feelings, the power of destiny and the controlling might of heaven, which seems to elevate the characters which sink beneath its irresistible blow?

D. O mere fancies! We seek and find on the present stage our own wants and passions, our own vexations, losses, and embarrassments.

P. It is your own poor pettifogging nature then, which you desire to have represented before you?--not human nature in its height and vigour? But surely you might find the former with all its joys and sorrows, more conveniently in your own houses and parishes.

D. True! but here comes a difference. Fortune is blind, but the poet has his eyes open, and is besides as complaisant as fortune is capricious. He makes every thing turn out exactly as we would wish it. He gratifies us by representing those as hateful or contemptible whom we hate and wish to despise.

P. (aside.) That is, he gratifies your envy by libelling your superiors.

D. He makes all those precise moralists, who affect to be better than their neighbours, turn out at last abject hypocrites, traitors, and hard-hearted villains; and your men of spirit, who take their girl and their glass with equal freedom, prove the true men of honour, and, (that no part of the audience may remain unsatisfied,) reform in the last scene, and leave no doubt in the minds of the ladies, that they will make most faithful and excellent husbands: though it does seem a pity, that they should be obliged to get rid of qualities which had made them so interesting! Besides, the poor become rich all at once; and in the final matrimonial choice the opulent and high-born themselves are made to confess; that VIRTUE IS THE ONLY TRUE NOBILITY, AND THAT A LOVELY WOMAN IS A DOWRY OF HERSELF!!

P. Excellent! But you have forgotten those brilliant flashes of loyalty, those patriotic praises of the King and Old England, which, especially if conveyed in a metaphor from the ship or the shop, so often solicit and so unfailingly receive the public plaudit! I give your prudence credit for the omission. For the whole system of your drama is a moral and intellectual Jacobinism of the most dangerous kind, and those common-place rants of loyalty are no better than hypocrisy in your playwrights, and your own sympathy with them a gross self-delusion. For the whole secret of dramatic popularity consists with you in the confusion and subversion of the natural order of things, their causes and their effects; in the excitement of surprise, by representing the qualities of liberality, refined feeling, and a nice sense of honour, (those things rather which pass among you for such), in persons and in classes of life where experience teaches us least to expect them; and in rewarding with all the sympathies, that are the dues of virtue, those criminals whom law, reason, and religion have excommunicated from our esteem!

And now--good night! Truly! I might have written this last sheet without having gone to Germany; but I fancied myself talking to you by your own fireside, and can you think it a small pleasure to me to forget now and then, that I am not there? Besides, you and my other good friends have made up your minds to me as I am, and from whatever place I write you will expect that part of my "Travels" will consist of excursions in my own mind.



LETTER III

RATZEBURG.

No little fish thrown back again into the water, no fly unimprisoned from a child's hand, could more buoyantly enjoy its element, than I this clean and peaceful house, with this lovely view of the town, groves, and lake of Ratzeburg, from the window at which I am writing. My spirits certainly, and my health I fancied, were beginning to sink under the noise, dirt, and unwholesome air of our Hamburg hotel. I left it on Sunday, Sept. 23rd, with a letter of introduction from the poet Klopstock, to the Amtmann of Ratzeburg. The Amtmann received me with kindness, and introduced me to the worthy pastor, who agreed to board and lodge me for any length of time not less than a month. The vehicle, in which I took my place, was considerably larger than an English stage-coach, to which it bore much the same proportion and rude resemblance, that an elephant's ear does to the human. Its top was composed of naked boards of different colours, and seeming to have been parts of different wainscots. Instead of windows there were leathern curtains with a little eye of glass in each: they perfectly answered the purpose of keeping out the prospect and letting in the cold. I could observe little therefore, but the inns and farmhouses at which we stopped. They were all alike, except in size: one great room, like a barn, with a hay-loft over it, the straw and hay dangling in tufts through the boards which formed the ceiling of the room, and the floor of the loft. From this room, which is paved like a street, sometimes one, sometimes two smaller ones, are enclosed at one end. These are commonly floored. In the large room the cattle, pigs, poultry, men, women, and children, live in amicable community; yet there was an appearance of cleanliness and rustic comfort. One of these houses I measured. It was an hundred feet in length. The apartments were taken off from one corner. Between these and the stalls there was a small interspace, and here the breadth was forty- eight feet, but thirty-two where the stalls were; of course, the stalls were on each side eight feet in depth. The faces of the cows, etc. were turned towards the room; indeed they were in it, so that they had at least the comfort of seeing each other's faces. Stall- feeding is universal in this part of Germany, a practice concerning which the agriculturist and the poet are likely to entertain opposite opinions--or at least, to have very different feelings. The woodwork of these buildings on the outside is left unplastered, as in old houses among us, and, being painted red and green, it cuts and tesselates the buildings very gaily. From within three miles of Hamburg almost to Molln, which is thirty miles from it, the country, as far as I could see it, was a dead flat, only varied by woods. At Molln it became more beautiful. I observed a small lake nearly surrounded with groves, and a palace in view belonging to the King of Great Britain, and inhabited by the Inspector of the Forests. We were nearly the same time in travelling the thirty-five miles from Hamburg to Ratzeburg, as we had been in going from London to Yarmouth, one hundred and twenty-six miles.

The lake of Ratzeburg runs from south to north, about nine miles in length, and varying in breadth from three miles to half a mile. About a mile from the southernmost point it is divided into two, of course very unequal, parts by an island, which, being connected by a bridge and a narrow slip of land with the one shore, and by another bridge of immense length with the other shore, forms a complete isthmus. On this island the town of Ratzeburg is built. The pastor's house or vicarage, together with the Amtmann's Amtsschreiber's, and the church, stands near the summit of a hill, which slopes down to the slip of land and the little bridge, from which, through a superb military gate, you step into the island-town of Ratzeburg. This again is itself a little hill, by ascending and descending which, you arrive at the long bridge, and so to the other shore. The water to the south of the town is called the Little Lake, which however almost engrosses the beauties of the whole the shores being just often enough green and bare to give the proper effect to the magnificent groves which occupy the greater part of their circumference. From the turnings, windings, and indentations of the shore, the views vary almost every ten steps, and the whole has a sort of majestic beauty, a feminine grandeur. At the north of the Great Lake, and peeping over it, I see the seven church towers of Luebec, at the distance of twelve or thirteen miles, yet as distinctly as if they were not three. The only defect in the view is, that Ratzeburg is built entirely of red bricks, and all the houses roofed with red tiles. To the eye, therefore, it presents a clump of brick-dust red. Yet this evening, Oct. 10th, twenty minutes past five, I saw the town perfectly beautiful, and the whole softened down into complete keeping, if I may borrow a term from the painters. The sky over Ratzeburg and all the east was a pure evening blue, while over the west it was covered with light sandy clouds. Hence a deep red light spread over the whole prospect, in undisturbed harmony with the red town, the brown-red woods, and the yellow-red reeds on the skirts of the lake. Two or three boats, with single persons paddling them, floated up and down in the rich light, which not only was itself in harmony with all, but brought all into harmony.

I should have told you that I went back to Hamburg on Thursday (Sept. 27th) to take leave of my friend, who travels southward, and returned hither on the Monday following. From Empfelde, a village half way from Ratzeburg, I walked to Hamburg through deep sandy roads and a dreary flat: the soil everywhere white, hungry, and excessively pulverised; but the approach to the city is pleasing. Light cool country houses, which you can look through and see the gardens behind them, with arbours and trellis work, and thick vegetable walls, and trees in cloisters and piazzas, each house with neat rails before it, and green seats within the rails. Every object, whether the growth of nature or the work of man, was neat and artificial. It pleased me far better, than if the houses and gardens, and pleasure fields, had been in a nobler taste: for this nobler taste would have been mere apery. The busy, anxious, money-loving merchant of Hamburg could only have adopted, he could not have enjoyed the simplicity of nature. The mind begins to love nature by imitating human conveniences in nature; but this is a step in intellect, though a low one--and were it not so, yet all around me spoke of innocent enjoyment and sensitive comforts, and I entered with unscrupulous sympathy into the enjoyments and comforts even of the busy, anxious, money-loving merchants of Hamburg. In this charitable and catholic mood I reached the vast ramparts of the city. These are huge green cushions, one rising above the other, with trees growing in the interspaces, pledges and symbols of a long peace. Of my return I have nothing worth communicating, except that I took extra post, which answers to posting in England. These north German post chaises are uncovered wicker carts. An English dust-cart is a piece of finery, a chef d'auvre of mechanism, compared with them and the horses!--a savage might use their ribs instead of his fingers for a numeration table. Wherever we stopped, the postilion fed his cattle with the brown rye bread of which he eat himself, all breakfasting together; only the horses had no gin to their water, and the postilion no water to his gin. Now and henceforward for subjects of more interest to you, and to the objects in search of which I left you: namely, the literati and literature of Germany.

Believe me, I walked with an impression of awe on my spirits, as W---- and myself accompanied Mr. Klopstock to the house of his brother, the poet, which stands about a quarter of a mile from the city gate. It is one of a row of little common-place summer-houses, (for so they looked,) with four or five rows of young meagre elm trees before the windows, beyond which is a green, and then a dead flat intersected with several roads. Whatever beauty, (thought I,) may be before the poet's eyes at present, it must certainly be purely of his own creation. We waited a few minutes in a neat little parlour, ornamented with the figures of two of the Muses and with prints, the subjects of which were from Klopstock's odes. The poet entered. I was much disappointed in his countenance, and recognised in it no likeness to the bust. There was no comprehension in the forehead, no weight over the eye-brows, no expression of peculiarity, moral or intellectual, on the eyes, no massiveness in the general countenance. He is, if anything, rather below the middle size. He wore very large half-boots, which his legs filled, so fearfully were they swollen. However, though neither W---- nor myself could discover any indications of sublimity or enthusiasm in his physiognomy, we were both equally impressed with his liveliness, and his kind and ready courtesy. He talked in French with my friend, and with difficulty spoke a few sentences to me in English. His enunciation was not in the least affected by the entire want of his upper teeth. The conversation began on his part by the expression of his rapture at the surrender of the detachment of French troops under General Humbert. Their proceedings in Ireland with regard to the committee which they had appointed, with the rest of their organizing system, seemed to have given the poet great entertainment. He then declared his sanguine belief in Nelson's victory, and anticipated its confirmation with a keen and triumphant pleasure. His words, tones, looks, implied the most vehement Anti-Gallicanism. The subject changed to literature, and I inquired in Latin concerning the history of German poetry and the elder German poets. To my great astonishment he confessed, that he knew very little on the subject. He had indeed occasionally read one or two of their elder writers, but not so as to enable him to speak of their merits. Professor Ebeling, he said, would probably give me every information of this kind: the subject had not particularly excited his curiosity. He then talked of Milton and Glover, and thought Glover's blank verse superior to Milton's. W---- and myself expressed our surprise: and my friend gave his definition and notion of harmonious verse, that it consisted, (the English iambic blank verse above all,) in the apt arrangement of pauses and cadences, and the sweep of whole paragraphs,

"with many a winding bout Of linked sweetness long drawn out,"

and not in the even flow, much less in the prominence of antithetic vigour, of single lines, which were indeed injurious to the total effect, except where they were introduced for some specific purpose. Klopstock assented, and said that he meant to confine Glover's superiority to single lines. He told us that he had read Milton, in a prose translation, when he was fourteen [77]. I understood him thus myself, and W---- interpreted Klopstock's French as I had already construed it. He appeared to know very little of Milton or indeed of our poets in general. He spoke with great indignation of the English prose translation of his MESSIAH. All the translations had been bad, very bad--but the English was no translation--there were pages on pages not in the original--and half the original was not to be found in the translation. W---- told him that I intended to translate a few of his odes as specimens of German lyrics--he then said to me in English, "I wish you would render into English some select passages of THE MESSIAH, and revenge me of your countryman!". It was the liveliest thing which he produced in the whole conversation. He told us, that his first ode was fifty years older than his last. I looked at him with much emotion--I considered him as the venerable father of German poetry; as a good man; as a Christian; seventy-four years old; with legs enormously swollen; yet active, lively, cheerful, and kind, and communicative. My eyes felt as if a tear were swelling into them. In the portrait of Lessing there was a toupee periwig, which enormously injured the effect of his physiognomy--Klopstock wore the same, powdered and frizzled. By the bye, old men ought never to wear powder--the contrast between a large snow-white wig and the colour of an old man's skin is disgusting, and wrinkles in such a neighbourhood appear only channels for dirt. It is an honour to poets and great men, that you think of them as parts of nature; and anything of trick and fashion wounds you in them, as much as when you see venerable yews clipped into miserable peacocks.--The author of THE MESSIAH should have worn his own grey hair.--His powder and periwig were to the eye what Mr. Virgil would be to the ear.

Klopstock dwelt much on the superior power which the German language possessed of concentrating meaning. He said, he had often translated parts of Homer and Virgil, line by line, and a German line proved always sufficient for a Greek or Latin one. In English you cannot do this. I answered, that in English we could commonly render one Greek heroic line in a line and a half of our common heroic metre, and I conjectured that this line and a half would be found to contain no more syllables than one German or Greek hexameter. He did not understand me [78]: and I, who wished to hear his opinions, not to correct them, was glad that he did not.

We now took our leave. At the beginning of the French Revolution Klopstock wrote odes of congratulation. He received some honorary presents from the French Republic, (a golden crown I believe), and, like our Priestley, was invited to a seat in the legislature, which he declined. But when French liberty metamorphosed herself into a fury, he sent back these presents with a palinodia, declaring his abhorrence of their proceedings: and since then he has been perhaps more than enough an Anti-Gallican. I mean, that in his just contempt and detestation of the crimes and follies of the Revolutionists, he suffers himself to forget that the revolution itself is a process of the Divine Providence; and that as the folly of men is the wisdom of God, so are their iniquities instruments of his goodness. From Klopstock's house we walked to the ramparts, discoursing together on the poet and his conversation, till our attention was diverted to the beauty and singularity of the sunset and its effects on the objects around us. There were woods in the distance. A rich sandy light, (nay, of a much deeper colour than sandy,) lay over these woods that blackened in the blaze. Over that part of the woods which lay immediately under the intenser light, a brassy mist floated. The trees on the ramparts, and the people moving to and fro between them, were cut or divided into equal segments of deep shade and brassy light. Had the trees, and the bodies of the men and women, been divided into equal segments by a rule or pair of compasses, the portions could not have been more regular. All else was obscure. It was a fairy scene!-- and to increase its romantic character, among the moving objects, thus divided into alternate shade and brightness, was a beautiful child, dressed with the elegant simplicity of an English child, riding on a stately goat, the saddle, bridle, and other accoutrements of which were in a high degree costly and splendid. Before I quit the subject of Hamburg, let me say, that I remained a day or two longer than I otherwise should have done, in order to be present at the feast of St. Michael, the patron saint of Hamburg, expecting to see the civic pomp of this commercial Republic. I was however disappointed. There were no processions, two or three sermons were preached to two or three old women in two or three churches, and St. Michael and his patronage wished elsewhere by the higher classes, all places of entertainment, theatre, etc. being shut up on this day. In Hamburg, there seems to be no religion at all; in Luebec it is confined to the women. The men seemed determined to be divorced from their wives in the other world, if they cannot in this. You will not easily conceive a more singular sight, than is presented by the vast aisle of the principal church at Luebec, seen from the organ loft: for being filled with female servants and persons in the same class of life, and all their caps having gold and silver cauls, it appears like a rich pavement of gold and silver.

I will conclude this letter with the mere transcription of notes, which my friend W---- made of his conversations with Klopstock, during the interviews that took place after my departure. On these I shall make but one remark at present, and that will appear a presumptuous one, namely, that Klopstock's remarks on the venerable sage of Koenigsburg are to my own knowledge injurious and mistaken; and so far is it from being true, that his system is now given up, that throughout the Universities of Germany there is not a single professor who is not either a Kantean or a disciple of Fichte, whose system is built on the Kantean, and presupposes its truth; or lastly who, though an antagonist of Kant, as to his theoretical work, has not embraced wholly or in part his moral system, and adopted part of his nomenclature. "Klopstock having wished to see the CALVARY of Cumberland, and asked what was thought of it in England, I went to Remnant's (the English bookseller) where I procured the Analytical Review, in which is contained the review of Cumberland's CALVARY. I remembered to have read there some specimens of a blank verse translation of THE MESSIAH. I had mentioned this to Klopstock, and he had a great desire to see them. I walked over to his house and put the book into his hands. On adverting to his own poem, he told me he began THE MESSIAH when he was seventeen; he devoted three entire years to the plan without composing a single line. He was greatly at a loss in what manner to execute his work. There were no successful specimens of versification in the German language before this time. The first three cantos he wrote in a species of measured or numerous prose. This, though done with much labour and some success, was far from satisfying him. He had composed hexameters both Latin and Greek as a school exercise, and there had been also in the German language attempts in that style of versification. These were only of very moderate merit.-- One day he was struck with the idea of what could be done in this way--he kept his room a whole day, even went without his dinner, and found that in the evening he had written twenty-three hexameters, versifying a part of what he had before written in prose. From that time, pleased with his efforts, he composed no more in prose. Today he informed me that he had finished his plan before he read Milton. He was enchanted to see an author who before him had trod the same path. This is a contradiction of what he said before. He did not wish to speak of his poem to any one till it was finished: but some of his friends who had seen what he had finished, tormented him till he had consented to publish a few books in a journal. He was then, I believe, very young, about twenty-five. The rest was printed at different periods, four books at a time. The reception given to the first specimens was highly flattering. He was nearly thirty years in finishing the whole poem, but of these thirty years not more than two were employed in the composition. He only composed in favourable moments; besides he had other occupations. He values himself upon the plan of his odes, and accuses the modern lyrical writers of gross deficiency in this respect. I laid the same accusation against Horace: he would not hear of it--but waived the discussion. He called Rousseau's ODE TO FORTUNE a moral dissertation in stanzas. I spoke of Dryden's ST. CECILIA; but he did not seem familiar with our writers. He wished to know the distinctions between our dramatic and epic blank verse. He recommended me to read his HERMANN before I read either THE MESSIAH or the odes. He flattered himself that some time or other his dramatic poems would be known in England. He had not heard of Cowper. He thought that Voss in his translation of THE ILIAD had done violence to the idiom of the Germans, and had sacrificed it to the Greeks, not remembering sufficiently that each language has its particular spirit and genius. He said Lessing was the first of their dramatic writers. I complained of NATHAN as tedious. He said there was not enough of action in it; but that Lessing was the most chaste of their writers. He spoke favourably of Goethe; but said that his SORROWS OF WERTER was his best work, better than any of his dramas: he preferred the first written to the rest of Goethe's dramas. Schiller's ROBBERS he found so extravagant, that he could not read it. I spoke of the scene of the setting sun. He did not know it. He said Schiller could not live. He thought DON CARLOS the best of his dramas; but said that the plot was inextricable.--It was evident he knew little of Schiller's works: indeed, he said, he could not read them. Buerger, he said, was a true poet, and would live; that Schiller, on the contrary, must soon be forgotten; that he gave himself up to the imitation of Shakespeare, who often was extravagant, but that Schiller was ten thousand times more so. He spoke very slightingly of Kotzebue, as an immoral author in the first place, and next, as deficient in power. At Vienna, said he, they are transported with him; but we do not reckon the people of Vienna either the wisest or the wittiest people of Germany. He said Wieland was a charming author, and a sovereign master of his own language: that in this respect Goethe could not be compared to him, nor indeed could any body else. He said that his fault was to be fertile to exuberance. I told him the OBERON had just been translated into English. He asked me if I was not delighted with the poem. I answered, that I thought the story began to flag about the seventh or eighth book; and observed, that it was unworthy of a man of genius to make the interest of a long poem turn entirely upon animal gratification. He seemed at first disposed to excuse this by saying, that there are different subjects for poetry, and that poets are not willing to be restricted in their choice. I answered, that I thought the passion of love as well suited to the purposes of poetry as any other passion; but that it was a cheap way of pleasing to fix the attention of the reader through a long poem on the mere appetite. Well! but, said he, you see, that such poems please every body. I answered, that it was the province of a great poet to raise people up to his own level, not to descend to theirs. He agreed, and confessed, that on no account whatsoever would he have written a work like the OBERON. He spoke in raptures of Wieland's style, and pointed out the passage where Retzia is delivered of her child, as exquisitely beautiful. I said that I did not perceive any very striking passages; but that I made allowance for the imperfections of a translation. Of the thefts of Wieland, he said, they were so exquisitely managed, that the greatest writers might be proud to steal as he did. He considered the books and fables of old romance writers in the light of the ancient mythology, as a sort of common property, from which a man was free to take whatever he could make a good use of. An Englishman had presented him with the odes of Collins, which he had read with pleasure. He knew little or nothing of Gray, except his ELEGY written in a country CHURCH-YARD. He complained of the fool in LEAR. I observed that he seemed to give a terrible wildness to the distress; but still he complained. He asked whether it was not allowed, that Pope had written rhymed poetry with more skill than any of our writers--I said I preferred Dryden, because his couplets had greater variety in their movement. He thought my reason a good one; but asked whether the rhyme of Pope were not more exact. This question I understood as applying to the final terminations, and observed to him that I believed it was the case; but that I thought it was easy to excuse some inaccuracy in the final sounds, if the general sweep of the verse was superior. I told him that we were not so exact with regard to the final endings of the lines as the French. He did not seem to know that we made no distinction between masculine and feminine (i.e. single or double,) rhymes: at least he put inquiries to me on this subject. He seemed to think that no language could be so far formed as that it might not be enriched by idioms borrowed from another tongue. I said this was a very dangerous practice; and added, that I thought Milton had often injured both his prose and verse by taking this liberty too frequently. I recommended to him the prose works of Dryden as models of pure and native English. I was treading upon tender ground, as I have reason to suppose that he has himself liberally indulged in the practice."

The same day I dined at Mr. Klopstock's, where I had the pleasure of a third interview with the poet. We talked principally about indifferent things. I asked him what he thought of Kant. He said that his reputation was much on the decline in Germany. That for his own part he was not surprised to find it so, as the works of Kant were to him utterly incomprehensible--that he had often been pestered by the Kanteans; but was rarely in the practice of arguing with them. His custom was to produce the book, open it and point to a passage, and beg they would explain it. This they ordinarily attempted to do by substituting their own ideas. I do not want, I say, an explanation of your own ideas, but of the passage which is before us. In this way I generally bring the dispute to an immediate conclusion. He spoke of Wolfe as the first Metaphysician they had in Germany. Wolfe had followers; but they could hardly be called a sect, and luckily till the appearance of Kant, about fifteen years ago, Germany had not been pestered by any sect of philosophers whatsoever; but that each man had separately pursued his inquiries uncontrolled by the dogmas of a master. Kant had appeared ambitious to be the founder of a sect; that he had succeeded: but that the Germans were now coming to their senses again. That Nicolai and Engel had in different ways contributed to disenchant the nation; but above all the incomprehensibility of the philosopher and his philosophy. He seemed pleased to hear, that as yet Kant's doctrines had not met with many admirers in England--did not doubt but that we had too much wisdom to be duped by a writer who set at defiance the common sense and common understandings of men. We talked of tragedy. He seemed to rate highly the power of exciting tears--I said that nothing was more easy than to deluge an audience, that it was done every day by the meanest writers.

I must remind you, my friend, first, that these notes are not intended as specimens of Klopstock's intellectual power, or even "colloquial prowess," to judge of which by an accidental conversation, and this with strangers, and those too foreigners, would be not only unreasonable, but calumnious. Secondly, I attribute little other interest to the remarks than what is derived from the celebrity of the person who made them. Lastly, if you ask me, whether I have read THE MESSIAH, and what I think of it? I answer--as yet the first four books only: and as to my opinion--(the reasons of which hereafter)--you may guess it from what I could not help muttering to myself, when the good pastor this morning told me, that Klopstock was the German Milton--"a very German Milton indeed!!!"

Heaven preserve you, and S. T. COLERIDGE.


~


[76] "Slender. I bruised my shin with playing with sword and dagger for a dish of stewed prunes, and by my troth I cannot abide the smell of hot meat since."--So again, Evans. "I will make an end of my dinner: there's pippins and cheese to come."

[77] This was accidentally confirmed to me by an old German gentleman at Helmstadt, who had been Klopstock's school and bed-fellow. Among other boyish anecdotes, he related that the young poet set a particular value on a translation of the PARADISE LOST, and always slept with it under his pillow.

[78] Klopstock's observation was partly true and partly erroneous. In the literal sense of his words, and, if we confine the comparison to the average of space required for the expression of the same thought in the two languages, it is erroneous. I have translated some German hexameters into English hexameter; and find, that on the average three English lines will express four lines German. The reason is evident: our language abounds in monosyllables and dissyllables. The German, not less than the Greek, is a polysyllable language. But in another point of view the remark was not without foundation. For the German possessing the same unlimited privilege of forming compounds, both with prepositions and with epithets, as the Greek, it can express the richest single Greek word in a single German one, and is thus freed from the necessity of weak or ungraceful paraphrases. I will content myself with one at present, viz. the use of the prefixed participles ver, zer, ent, and weg: thus reissen to rend, verreissen to rend away, zerreissen to rend to pieces, entreissen to rend off or out of a thing, in the active sense: or schmelzen to melt--ver, zer, ent, schmelzen--and in like manner through all the verbs neuter and active. If you consider only how much we should feel the loss of the prefix be, as in bedropt, besprinkle, besot, especially in our poetical language, and then think that this same mode of composition is carved through all their simple and compound prepositions, and many of their adverbs; and that with most of these the Germans have the same privilege as we have of dividing them from the verb and placing them at the end of the sentence; you will have no difficulty in comprehending the reality and the cause of this superior power in the German of condensing meaning, in which its great poet exulted. It is impossible to read half a dozen pages of Wieland without perceiving that in this respect the German has no rival but the Greek. And yet I feel, that concentration or condensation is not the happiest mode of expressing this excellence, which seems to consist not so much in the less time required for conveying an impression, as in the unity and simultaneousness with which the impression is conveyed. It tends to make their language more picturesque: it depictures images better. We have obtained this power in part by our compound verbs derived from the Latin: and the sense of its great effect no doubt induced our Milton both to the use and the abuse of Latin derivatives. But still these prefixed particles, conveying no separate or separable meaning to the mere English reader, cannot possibly act on the mind with the force or liveliness of an original and homogeneous language such as the German is, and besides are confined to certain words.


Samuel Taylor Coleridge

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