Lectures on the English Poets, by William Hazlitt

Lecture v.

On Thomson and Cowper.

Thomson, the kind-hearted Thomson, was the most indolent of mortals and of poets. But he was also one of the best both of mortals and of poets. Dr. Johnson makes it his praise that he wrote “no line which dying he would wish to blot.” Perhaps a better proof of his honest simplicity, and inoffensive goodness of disposition, would be that he wrote no line which any other person living would wish that he should blot. Indeed, he himself wished, on his death-bed, formally to expunge his dedication of one of the Seasons to that finished courtier, and candid biographer of his own life, Bub Doddington. As critics, however, not as moralists, we might say on the other hand —“Would he had blotted a thousand!”— The same suavity of temper and sanguine warmth of feeling which threw such a natural grace and genial spirit of enthusiasm over his poetry, was also the cause of its inherent vices and defects. He is affected through carelessness: pompous from unsuspecting simplicity of character. He is frequently pedantic and ostentatious in his style, because he had no consciousness of these vices in himself. He mounts upon stilts, not out of vanity, but indolence. He seldom writes a good line, but he makes up for it by a bad one. He takes advantage of all the most trite and mechanical common-places of imagery and diction as a kindly relief to his Muse, and as if he thought them quite as good, and likely to be quite as acceptable to the reader, as his own poetry. He did not think the difference worth putting himself to the trouble of accomplishing. He had too little art to conceal his art: or did not even seem to know that there was any occasion for it. His art is as naked and undisguised as his nature; the one is as pure and genuine as the other is gross, gaudy, and meretricious. — All that is admirable in the Seasons, is the emanation of a fine natural genius, and sincere love of his subject, unforced, unstudied, that comes uncalled for, and departs unbidden. But he takes no pains, uses no self-correction; or if he seems to labour, it is worse than labour lost. His genius “cannot be constrained by mastery.” The feeling of nature, of the changes of the seasons, was in his mind; and he could not help conveying this feeling to the reader, by the mere force of spontaneous expression; but if the expression did not come of itself, he left the whole business to chance; or, willing to evade instead of encountering the difficulties of his subject, fills up the intervals of true inspiration with the most vapid and worthless materials, pieces out a beautiful half line with a bombastic allusion, or overloads an exquisitely natural sentiment or image with a cloud of painted, pompous, cumbrous phrases, like the shower of roses, in which he represents the Spring, his own lovely, fresh, and innocent Spring, as descending to the earth.

“Come, gentle Spring! ethereal Mildness! come,

And from the bosom of yon dropping cloud,

While music wakes around, veil’d in a shower

Of shadowing roses, on our plains descend.”

Who, from such a flimsy, round-about, unmeaning commencement as this, would expect the delightful, unexaggerated, home-felt descriptions of natural scenery, which are scattered in such unconscious profusion through this and the following cantos? For instance, the very next passage is crowded with a set of striking images.

“And see where surly Winter passes off

Far to the north, and calls his ruffian blasts:

His blasts obey, and quit the howling hill,

The shatter’d forest, and the ravag’d vale;

While softer gales succeed, at whose kind touch

Dissolving snows in livid torrents lost,

The mountains lift their green heads to the sky.

As yet the trembling year is unconfirmed,

And Winter oft at eve resumes the breeze,

Chills the pale morn, and bids his driving sleets

Deform the day delightless; so that scarce

The bittern knows his time with bill ingulpht

To shake the sounding marsh, or from the shore

The plovers when to scatter o’er the heath,

And sing their wild notes to the list’ning waste.”

Thomson is the best of our descriptive poets: for he gives most of the poetry of natural description. Others have been quite equal to him, or have surpassed him, as Cowper for instance, in the picturesque part of his art, in marking the peculiar features and curious details of objects — no one has yet come up to him in giving the sum total of their effects, their varying influences on the mind. He does not go into the minutiae of a landscape, but describes the vivid impression which the whole makes upon his own imagination; and thus transfers the same unbroken, unimpaired impression to the imagination of his readers. The colours with which he paints seem yet wet and breathing, like those of the living statue in the Winter’s Tale. Nature in his descriptions is seen growing around us, fresh and lusty as in itself. We feel the effect of the atmosphere, its humidity or clearness, its heat or cold, the glow of summer, the gloom of winter, the tender promise of the spring, the full overshadowing foliage, the declining pomp and deepening tints of autumn. He transports us to the scorching heat of vertical suns, or plunges us into the chilling horrors and desolation of the frozen zone. We hear the snow drifting against the broken casement without, and see the fire blazing on the hearth within. The first scattered drops of a vernal shower patter on the leaves above our heads, or the coming storm resounds through the leafless groves. In a word, he describes not to the eye alone, but to the other senses, and to the whole man. He puts his heart into his subject, writes as he feels, and humanises whatever he touches. He makes all his descriptions teem with life and vivifying soul. His faults were those of his style — of the author and the man; but the original genius of the poet, the pith and marrow of his imagination, the fine natural mould in which his feelings were bedded, were too much for him to counteract by neglect, or affectation, or false ornaments. It is for this reason that he is, perhaps, the most popular of all our poets, treating of a subject that all can understand, and in a way that is interesting to all alike, to the ignorant or the refined, because he gives back the impression which the things themselves make upon us in nature. “That,” said a man of genius, seeing a little shabby soiled copy of Thomson’s Seasons lying on the window-seat of an obscure country alehouse —“That is true fame!”

It has been supposed by some, that the Castle of Indolence is Thomson’s best poem; but that is not the case. He has in it, indeed, poured out the whole soul of indolence, diffuse, relaxed, supine, dissolved into a voluptuous dream; and surrounded himself with a set of objects and companions, in entire unison with the listlessness of his own temper. Nothing can well go beyond the descriptions of these inmates of the place, and their luxurious pampered way of life — of him who came among them like “a burnished fly in month of June,” but soon left them on his heedless way; and him,

“For whom the merry bells had rung, I ween,

If in this nook of quiet, bells had ever been.”

The in-door quiet and cushioned ease, where “all was one full-swelling bed”; the out-of-door stillness, broken only by “the stock-dove’s plaint amid the forest deep,”

“That drowsy rustled to the sighing gale”—

are in the most perfect and delightful keeping. But still there are no passages in this exquisite little production of sportive ease and fancy, equal to the best of those in the Seasons. Warton, in his Essay on Pope, was the first to point out and do justice to some of these; for instance, to the description of the effects of the contagion among our ships at Carthagena —“of the frequent corse heard nightly plunged amid the sullen waves,” and to the description of the pilgrims lost in the deserts of Arabia. This last passage, profound and striking as it is, is not free from those faults of style which I have already noticed.

                            “——— Breath’d hot

From all the boundless furnace of the sky,

And the wide-glitt’ring waste of burning sand,

A suffocating wind the pilgrim smites

With instant death. Patient of thirst and toil,

Son of the desert, ev’n the camel feels

Shot through his wither’d heart the fiery blast.

Or from the black-red ether, bursting broad,

Sallies the sudden whirlwind. Straight the sands,

Commov’d around, in gath’ring eddies play;

Nearer and nearer still they dark’ning come,

Till with the gen’ral all-involving storm

Swept up, the whole continuous wilds arise,

And by their noon-day fount dejected thrown,

Or sunk at night in sad disastrous sleep,

Beneath descending hills the caravan

Is buried deep. In Cairo’s crowded streets,

Th’ impatient merchant, wond’ring, waits in vain;

And Mecca saddens at the long delay.”

There are other passages of equal beauty with these; such as that of the hunted stag, followed by “the inhuman rout,”

        “——— That from the shady depth

Expel him, circling through his ev’ry shift.

He sweeps the forest oft, and sobbing sees

The glades mild op’ning to the golden day,

Where in kind contest with his butting friends

He wont to struggle, or his loves enjoy.”

The whole of the description of the frozen zone, in the Winter, is perhaps even finer and more thoroughly felt, as being done from early associations, than that of the torrid zone in his Summer. Any thing more beautiful than the following account of the Siberian exiles is, I think, hardly to be found in the whole range of poetry.

“There through the prison of unbounded wilds,

Barr’d by the hand of nature from escape,

Wide roams the Russian exile. Nought around

Strikes his sad eye but deserts lost in snow,

And heavy-loaded groves, and solid floods,

That stretch athwart the solitary vast

Their icy horrors to the frozen main;

And cheerless towns far distant, never bless’d,

Save when its annual course the caravan

Bends to the golden coast of rich Cathay,

With news of human kind.”

The feeling of loneliness, of distance, of lingering, slow-revolving years of pining expectation, of desolation within and without the heart, was never more finely expressed than it is here.

The account which follows of the employments of the Polar night — of the journeys of the natives by moonlight, drawn by rein-deer, and of the return of spring in Lapland —

“Where pure Niemi’s fairy mountains rise,

And fring’d with roses Tenglio rolls his stream,”

is equally picturesque and striking in a different way. The traveller lost in the snow, is a well-known and admirable dramatic episode. I prefer, however, giving one example of our author’s skill in painting common domestic scenery, as it will bear a more immediate comparison with the style of some later writers on such subjects. It is of little consequence what passage we take. The following description of the first setting in of winter is, perhaps, as pleasing as any.

“Through the hush’d air the whitening shower descends,

At first thin wav’ring, till at last the flakes

Fall broad and wide, and fast, dimming the day

With a continual flow. The cherish’d fields

Put on their winter-robe of purest white:

’Tis brightness all, save where the new snow melts

Along the mazy current. Low the woods

Bow their hoar head; and ere the languid Sun,

Faint, from the West emits his ev’ning ray,

Earth’s universal face, deep hid, and chill,

Is one wide dazzling waste, that buries wide

The works of man. Drooping, the lab’rer-ox

Stands cover’d o’er with snow, and then demands

The fruit of all his toil. The fowls of heav’n,

Tam’d by the cruel season, crowd around

The winnowing store, and claim the little boon

Which Providence assigns them. One alone,

The red-breast, sacred to the household Gods,

Wisely regardful of the embroiling sky,

In joyless fields and thorny thickets leaves

His shivering mates, and pays to trusted man

His annual visit. Half-afraid, he first

Against the window beats; then, brisk, alights

On the warm hearth; then hopping o’er the floor,

Eyes all the smiling family askance,

And pecks, and starts, and wonders where he is:

Till more familiar grown, the table-crumbs

Attract his slender feet. The foodless wilds

Pour forth their brown inhabitants. The hare,

Though timorous of heart, and hard beset

By death in various forms, dark snares and dogs,

And more unpitying men, the garden seeks,

Urg’d on by fearless want. The bleating kind [sic]

Eye the bleak heav’n, and next, the glist’ning earth,

With looks of dumb despair; then, sad dispers’d,

Dig for the wither’d herb through heaps of snow.”

It is thus that Thomson always gives a moral sense to nature.

Thomson’s blank verse is not harsh, or utterly untuneable; but it is heavy and monotonous; it seems always labouring up-hill. The selections which have been made from his works in Enfield’s Speaker, and other books of extracts, do not convey the most favourable idea of his genius or taste; such as Palemon and Lavinia, Damon and Musidora, Celadon and Amelia. Those parts of any author which are most liable to be stitched in worsted, and framed and glazed, are not by any means always the best. The moral descriptions and reflections in the Seasons are in an admirable spirit, and written with great force and fervour.

His poem on Liberty is not equally good: his Muse was too easy and good-natured for the subject, which required as much indignation against unjust and arbitrary power, as complacency in the constitutional monarchy, under which, just after the expulsion of the Stuarts and the establishment of the House of Hanover, in contempt of the claims of hereditary pretenders to the throne, Thomson lived. Thomson was but an indifferent hater; and the most indispensable part of the love of liberty has unfortunately hitherto been the hatred of tyranny. Spleen is the soul of patriotism, and of public good: but you would not expect a man who has been seen eating peaches off a tree with both hands in his waistcoat pockets, to be “overrun with the spleen,” or to heat himself needlessly about an abstract proposition.

His plays are liable to the same objection. They are never acted, and seldom read. The author could not, or would not, put himself out of his way, to enter into the situations and passions of others, particularly of a tragic kind. The subject of Tancred and Sigismunda, which is taken from a serious episode in Gil Blas, is an admirable one, but poorly handled: the ground may be considered as still unoccupied.

Cowper, whom I shall speak of in this connection, lived at a considerable distance of time after Thomson; and had some advantages over him, particularly in simplicity of style, in a certain precision and minuteness of graphical description, and in a more careful and leisurely choice of such topics only as his genius and peculiar habits of mind prompted him to treat of. The Task has fewer blemishes than the Seasons; but it has not the same capital excellence, the “unbought grace” of poetry, the power of moving and infusing the warmth of the author’s mind into that of the reader. If Cowper had a more polished taste, Thomson had, beyond comparison, a more fertile genius, more impulsive force, a more entire forgetfulness of himself in his subject. If in Thomson you are sometimes offended with the slovenliness of the author by profession, determined to get through his task at all events; in Cowper you are no less dissatisfied with the finicalness of the private gentleman, who does not care whether he completes his work or not; and in whatever he does, is evidently more solicitous to please himself than the public. There is an effeminacy about him, which shrinks from and repels common and hearty sympathy. With all his boasted simplicity and love of the country, he seldom launches out into general descriptions of nature: he looks at her over his clipped hedges, and from his well-swept garden-walks; or if he makes a bolder experiment now and then, it is with an air of precaution, as if he were afraid of being caught in a shower of rain, or of not being able, in case of any untoward accident, to make good his retreat home. He shakes hands with nature with a pair of fashionable gloves on, and leads “his Vashti” forth to public view with a look of consciousness and attention to etiquette, as a fine gentleman hands a lady out to dance a minuet. He is delicate to fastidiousness, and glad to get back, after a romantic adventure with crazy Kate, a party of gypsies or a little child on a common, to the drawing room and the ladies again, to the sofa and the tea-kettle — No, I beg his pardon, not to the singing, well-scoured tea-kettle, but to the polished and loud-hissing urn. His walks and arbours are kept clear of worms and snails, with as much an appearance of petit-maitreship as of humanity. He has some of the sickly sensibility and pampered refinements of Pope; but then Pope prided himself in them: whereas, Cowper affects to be all simplicity and plainness. He had neither Thomson’s love of the unadorned beauties of nature, nor Pope’s exquisite sense of the elegances of art. He was, in fact, a nervous man, afraid of trusting himself to the seductions of the one, and ashamed of putting forward his pretensions to an intimacy with the other: but to be a coward, is not the way to succeed either in poetry, in war, or in love! Still he is a genuine poet, and deserves all his reputation. His worst vices are amiable weaknesses, elegant trifling. Though there is a frequent dryness, timidity, and jejuneness in his manner, he has left a number of pictures of domestic comfort and social refinement, as well as of natural imagery and feeling, which can hardly be forgotten but with the language itself. Such, among others, are his memorable description of the post coming in, that of the preparations for tea in a winter’s evening in the country, of the unexpected fall of snow, of the frosty morning (with the fine satirical transition to the Empress of Russia’s palace of ice), and most of all, the winter’s walk at noon. Every one of these may be considered as distinct studies, or highly finished cabinet-pieces, arranged without order or coherence. I shall be excused for giving the last of them, as what has always appeared to me one of the most feeling, elegant, and perfect specimens of this writer’s manner.

“The night was winter in his roughest mood;

The morning sharp and clear. But now at noon

Upon the southern side of the slant hills,

And where the woods fence off the northern blast,

The season smiles, resigning all its rage,

And has the warmth of May. The vault is blue,

Without a cloud, and white without a speck

The dazzling splendour of the scene below.

Again the harmony comes o’er the vale;

And through the trees I view th’ embattled tow’r,

Whence all the music. I again perceive

The soothing influence of the wafted strains,

And settle in soft musings as I tread

The walk, still verdant, under oaks and elms,

Whose outspread branches overarch the glade.

The roof, though moveable through all its length,

As the wind sways it, has yet well suffic’d,

And, intercepting in their silent fall

The frequent flakes, has kept a path for me.

No noise is here, or none that hinders thought.

The redbreast warbles still, but is content

With slender notes, and more than half suppress’d.

Pleas’d with his solitude, and flitting light

From spray to spray, where’er he rests he shakes

From many a twig the pendent drop of ice,

That tinkle in the wither’d leaves below.

Stillness, accompanied with sounds so soft,

Charms more than silence. Meditation here

May think down hours to moments. Here the heart

May give a useful lesson to the head,

And Learning wiser grow without his books.

Knowledge and Wisdom, far from being one,

Have oft-times no connection. Knowledge dwells

In heads replete with thoughts of other men;

Wisdom in minds attentive to their own.

Books are not seldom talismans and spells,

By which the magic art of shrewder wits

Holds an unthinking multitude enthrall’d.

Some to the fascination of a name

Surrender judgment hood-wink’d. Some the style

Infatuates, and through labyrinths and wilds

Of error leads them, by a tune entranc’d.

While sloth seduces more, too weak to bear

The insupportable fatigue of thought,

And swallowing therefore without pause or choice

The total grist unsifted, husks and all.

But trees, and rivulets whose rapid course

Defies the check of winter, haunts of deer,

And sheep-walks populous with bleating lambs,

And lanes, in which the primrose ere her time

Peeps through the moss that clothes the hawthorn root,

Deceive no student. Wisdom there, and truth,

Not shy, as in the world, and to be won

By slow solicitation, seize at once

The roving thought, and fix it on themselves.”

His satire is also excellent. It is pointed and forcible, with the polished manners of the gentleman, and the honest indignation of the virtuous man. His religious poetry, except where it takes a tincture of controversial heat, wants elevation and fire. His Muse had not a seraph’s wing. I might refer, in illustration of this opinion, to the laboured anticipation of the Millennium at the end of the sixth book. He could describe a piece of shell-work as well as any modern poet: but he could not describe the New Jerusalem so well as John Bunyan — nor are his verses on Alexander Selkirk so good as Robinson Crusoe. The one is not so much like a vision, nor is the other so much like the reality.

The first volume of Cowper’s poems has, however, been less read than it deserved. The comparison in these poems of the proud and humble believer to the peacock and the pheasant, and the parallel between Voltaire and the poor cottager, are exquisite pieces of eloquence and poetry, particularly the last.

    “Yon cottager, who weaves at her own door,

Pillow and bobbins all her little store;

Content though mean, and cheerful if not gay,

Shuffling her threads about the live-long day,

Just earns a scanty pittance, and at night,

Lies down secure, her heart and pocket light;

She, for her humble sphere by nature fit,

Has little understanding, and no wit,

Receives no praise; but, though her lot be such,

(Toilsome and indigent) she renders much;

Just knows, and knows no more, her Bible true —

A truth the brilliant Frenchman never knew;

And in that charter reads with sparkling eyes

Her title to a treasure in the skies.

    O happy peasant! Oh unhappy bard!

His the mere tinsel, hers the rich reward;

He prais’d, perhaps, for ages yet to come,

She never heard of half a mile from home:

He lost in errors his vain heart prefers,

She safe in the simplicity of hers.”

His character of Whitfield, in the poem on Hope, is one of his most spirited and striking things. It is written con amore.

    “But if, unblameable in word and thought,

A man arise, a man whom God has taught,

With all Elijah’s dignity of tone,

And all the love of the beloved John,

To storm the citadels they build in air,

To smite the untemper’d wall (’tis death to spare,)

To sweep away all refuges of lies,

And place, instead of quirks, themselves devise,

Lama Sabachthani before their eyes;

To show that without Christ all gain is loss,

All hope despair that stands not on his cross;

Except a few his God may have impressed,

A tenfold phrensy seizes all the rest.”

These lines were quoted, soon after their appearance, by the Monthly Reviewers, to shew that Cowper was no poet, though they afterwards took credit to themselves for having been the first to introduce his verses to the notice of the public. It is not a little remarkable that these same critics regularly damned, at its first coming out, every work which has since acquired a standard reputation with the public. — Cowper’s verses on his mother’s picture, and his lines to Mary, are some of the most pathetic that ever were written. His stanzas on the loss of the Royal George have a masculine strength and feeling beyond what was usual with him. The story of John Gilpin has perhaps given as much pleasure to as many people as any thing of the same length that ever was written.

His life was an unhappy one. It was embittered by a morbid affection, and by his religious sentiments. Nor are we to wonder at this, or bring it as a charge against religion; for it is the nature of the poetical temperament to carry every thing to excess, whether it be love, religion, pleasure, or pain, as we may see in the case of Cowper and of Burns, and to find torment or rapture in that in which others merely find a resource from ennui, or a relaxation from common occupation.

There are two poets still living who belong to the same class of excellence, and of whom I shall here say a few words; I mean Crabbe, and Robert Bloomfield, the author of the Farmer’s Boy. As a painter of simple natural scenery, and of the still life of the country, few writers have more undeniable and unassuming pretensions than the ingenious and self-taught poet, last-mentioned. Among the sketches of this sort I would mention, as equally distinguished for delicacy, faithfulness, and naivete, his description of lambs racing, of the pigs going out an acorning, of the boy sent to feed his sheep before the break of day in winter; and I might add the innocently told story of the poor bird-boy, who in vain through the live-long day expects his promised companions at his hut, to share his feast of roasted sloes with him, as an example of that humble pathos, in which this author excels. The fault indeed of his genius is that it is too humble: his Muse has something not only rustic, but menial in her aspect. He seems afraid of elevating nature, lest she should be ashamed of him. Bloomfield very beautifully describes the lambs in springtime as racing round the hillocks of green turf: Thomson, in describing the same image, makes the mound of earth the remains of an old Roman encampment. Bloomfield never gets beyond his own experience; and that is somewhat confined. He gives the simple appearance of nature, but he gives it naked, shivering, and unclothed with the drapery of a moral imagination. His poetry has much the effect of the first approach of spring, “while yet the year is unconfirmed,” where a few tender buds venture forth here and there, but are chilled by the early frosts and nipping breath of poverty. — It should seem from this and other instances that have occurred within the last century, that we cannot expect from original genius alone, without education, in modern and more artificial periods, the same bold and independent results as in former periods. And one reason appears to be, that though such persons, from whom we might at first expect a restoration of the good old times of poetry, are not encumbered and enfeebled by the trammels of custom, and the dull weight of other men’s ideas; yet they are oppressed by the consciousness of a want of the common advantages which others have; are looking at the tinsel finery of the age, while they neglect the rich unexplored mine in their own breasts; and instead of setting an example for the world to follow, spend their lives in aping, or in the despair of aping, the hackneyed accomplishments of their inferiors. Another cause may be, that original genius alone is not sufficient to produce the highest excellence, without a corresponding state of manners, passions, and religious belief: that no single mind can move in direct opposition to the vast machine of the world around it; that the poet can do no more than stamp the mind of his age upon his works; and that all that the ambition of the highest genius can hope to arrive at, after the lapse of one or two generations, is the perfection of that more refined and effeminate style of studied elegance and adventitious ornament, which is the result, not of nature, but of art. In fact, no other style of poetry has succeeded, or seems likely to succeed, in the present day. The public taste hangs like a millstone round the neck of all original genius that does not conform to established and exclusive models. The writer is not only without popular sympathy, but without a rich and varied mass of materials for his mind to work upon and assimilate unconsciously to itself; his attempts at originality are looked upon as affectation, and in the end, degenerate into it from the natural spirit of contradiction, and the constant uneasy sense of disappointment and undeserved ridicule. But to return.

Crabbe is, if not the most natural, the most literal of our descriptive poets. He exhibits the smallest circumstances of the smallest things. He gives the very costume of meanness; the nonessentials of every trifling incident. He is his own landscape-painter, and engraver too. His pastoral scenes seem pricked on paper in little dotted lines. He describes the interior of a cottage like a person sent there to distrain for rent. He has an eye to the number of arms in an old worm-eaten chair, and takes care to inform himself and the reader whether a joint-stool stands upon three legs or upon four. If a settle by the fire-side stands awry, it gives him as much disturbance as a tottering world; and he records the rent in a ragged counterpane as an event in history. He is equally curious in his back-grounds and in his figures. You know the Christian and surnames of every one of his heroes — the dates of their achievements, whether on a Sunday or a Monday — their place of birth and burial, the colour of their clothes, and of their hair, and whether they squinted or not. He takes an inventory of the human heart exactly in the same manner as of the furniture of a sick room: his sentiments have very much the air of fixtures; he gives you the petrifaction of a sigh, and carves a tear, to the life, in stone. Almost all his characters are tired of their lives, and you heartily wish them dead. They remind one of anatomical preservations; or may be said to bear the same relation to actual life that a stuffed cat in a glass-case does to the real one purring on the hearth: the skin is the same, but the life and the sense of heat is gone. Crabbe’s poetry is like a museum, or curiosity-shop: every thing has the same posthumous appearance, the same inanimateness and identity of character. If Bloomfield is too much of the Farmer’s Boy, Crabbe is too much of the parish beadle, an overseer of the country poor. He has no delight beyond the walls of a workhouse, and his officious zeal would convert the world into a vast infirmary. He is a kind of Ordinary, not of Newgate, but of nature. His poetical morality is taken from Burn’s Justice, or the Statutes against Vagrants. He sets his own imagination in the stocks, and his Muse, like Malvolio, “wears cruel garters.” He collects all the petty vices of the human heart, and superintends, as in a panopticon, a select circle of rural malefactors. He makes out the poor to be as bad as the rich — a sort of vermin for the others to hunt down and trample upon, and this he thinks a good piece of work. With him there are but two moral categories, riches and poverty, authority and dependence. His parish apprentice, Richard Monday, and his wealthy baronet, Sir Richard Monday, of Monday-place, are the same individual — the extremes of the same character, and of his whole system. “The latter end of his Commonwealth does not forget the beginning.” But his parish ethics are the very worst model for a state: any thing more degrading and helpless cannot well be imagined. He exhibits just the contrary view of human life to that which Gay has done in his Beggar’s Opera. In a word, Crabbe is the only poet who has attempted and succeeded in the still life of tragedy: who gives the stagnation of hope and fear — the deformity of vice without the temptation — the pain of sympathy without the interest — and who seems to rely, for the delight he is to convey to his reader, on the truth and accuracy with which he describes only what is disagreeable.

The best descriptive poetry is not, after all, to be found in our descriptive poets. There are set descriptions of the flowers, for instance, in Thomson, Cowper, and others; but none equal to those in Milton’s Lycidas, and in the Winter’s Tale.

We have few good pastorals in the language. Our manners are not Arcadian; our climate is not an eternal spring; our age is not the age of gold. We have no pastoral-writers equal to Theocritus, nor any landscapes like those of Claude Lorraine. The best parts of Spenser’s Shepherd’s Calendar are two fables, Mother Hubberd’s Tale, and the Oak and the Briar; which last is as splendid a piece of oratory as any to be found in the records of the eloquence of the British senate! Browne, who came after Spenser, and Withers, have left some pleasing allegorical poems of this kind. Pope’s are as full of senseless finery and trite affectation, as if a peer of the realm were to sit for his picture with a crook and cocked hat on, smiling with an insipid air of no-meaning, between nature and fashion. Sir Philip Sidney’s Arcadia is a lasting monument of perverted power; where an image of extreme beauty, as that of “the shepherd boy piping as though he should never be old,” peeps out once in a hundred folio pages, amidst heaps of intricate sophistry and scholastic quaintness. It is not at all like Nicholas Poussin’s picture, in which he represents some shepherds wandering out in a morning of the spring, and coming to a tomb with this inscription —“I also was an Arcadian!” Perhaps the best pastoral in the language is that prose-poem, Walton’s Complete Angler. That well-known work has a beauty and romantic interest equal to its simplicity, and arising out of it. In the description of a fishing-tackle, you perceive the piety and humanity of the author’s mind. It is to be doubted whether Sannazarius’s Piscatory Eclogues are equal to the scenes described by Walton on the banks of the river Lea. He gives the feeling of the open air: we walk with him along the dusty road-side, or repose on the banks of the river under a shady tree; and in watching for the finny prey, imbibe what he beautifully calls “the patience and simplicity of poor honest fishermen.” We accompany them to their inn at night, and partake of their simple, but delicious fare; while Maud, the pretty milk-maid, at her mother’s desire, sings the classical ditties of the poet Marlow; “Come live with me, and be my love.” Good cheer is not neglected in this work, any more than in Homer, or any other history that sets a proper value on the good things of this life. The prints in the Complete Angler give an additional reality and interest to the scenes it describes. While Tottenham Cross shall stand, and longer, thy work, amiable and happy old man, shall last! — It is in the notes to it that we find that character of “a fair and happy milkmaid,” by Sir Thomas Overbury, which may vie in beauty and feeling with Chaucer’s character of Griselda.

“A fair and happy milk-maid is a country wench that is so far from

making herself beautiful by art, that one look of her’s is able to put all face-physic out of countenance. She knows a fair look is but a dumb orator to commend virtue, therefore minds it not. All her excellences stand in her so silently, as if they had stolen upon her without her knowledge. The lining of her apparel (which is herself) is far better than outsides of tissue; for though she be not arrayed in the spoil of the silkworm, she is decked in innocency, a far better wearing. She doth not, with lying long in bed, spoil both her complexion and conditions. Nature hath taught her, too immoderate sleep is rust to the soul: she rises therefore with chanticleer, her dame’s cock, and at night makes the lamb her curfew. Her breath is her own, which scents all the year long of June, like a new-made haycock. She makes her hand hard with labour, and her heart soft with pity; and when winter evenings fall early (sitting at her merry wheel) she sings a defiance to the giddy wheel of Fortune. She doth all things with so sweet a grace, it seems ignorance will not suffer her to do ill, being her mind is to do well. She bestows her year’s wages at next fair; and in choosing her garments, counts no bravery in the world like decency. The garden and bee-hive are all her physic and chirurgery, and she lives the longer for’t. She dares go alone, and unfold sheep in the night, and fears no manner of ill, because she means none: yet, to say the truth, she is never alone, for she is still accompanied with old songs, honest thoughts, and prayers, but short ones; yet they have their efficacy, in that they are not palled with ensuing idle cogitations. Lastly, her dreams are so chaste, that she dare tell them; only a Friday’s dream is all her superstition; that she conceals for fear of anger. Thus lives she; and all her care is she may die in the spring-time, to have store of flowers stuck upon her winding-sheet.”

The love of the country has been sung by poets, and echoed by philosophers; but the first have not attempted, and the last have been greatly puzzled to account for it. I do not know that any one has ever explained, satisfactorily, the true source of this feeling, or of that soothing emotion which the sight of the country, or a lively description of rural objects hardly ever fails to infuse into the mind. Some have ascribed this feeling to the natural beauty of the objects themselves; others to the freedom from care, the silence and tranquillity which scenes of retirement afford; others to the healthy and innocent employments of a country life; others to the simplicity of country manners, and others to a variety of different causes; but none to the right one. All these, indeed, have their effect; but there is another principal one which has not been touched upon, or only slightly glanced at. I will not, however, imitate Mr. Horne Tooke, who after enumerating seventeen different definitions of the verb, and laughing at them all as deficient and nugatory, at the end of two quarto volumes does not tell us what the verb really is, and has left posterity to pluck out “the heart of his mystery.” I will say at once what it is that distinguishes this interest from others, and that is its abstractedness. The interest we feel in human nature is exclusive, and confined to the individual; the interest we feel in external nature is common, and transferable from one object to all others of the same class. Thus.

Rousseau in his Confessions relates, that when he took possession of his room at Annecy, he found that he could see “a little spot of green” from his window, which endeared his situation the more to him, because, he says, it was the first time he had had this object constantly before him since he left Boissy, the place where he was at school when a child.7 Some such feeling as that here described will be found lurking at the bottom of all our attachments of this sort. Were it not for the recollections habitually associated with them, natural objects could not interest the mind in the manner they do. No doubt, the sky is beautiful, the clouds sail majestically along its bosom; the sun is cheering; there is something exquisitely graceful in the manner in which a plant or tree puts forth its branches; the motion with which they bend and tremble in the evening breeze is soft and lovely; there is music in the babbling of a brook; the view from the top of a mountain is full of grandeur; nor can we behold the ocean with indifference. Or, as the Minstrel sweetly sings,

“Oh, how canst thou renounce the boundless store

    Of charms which Nature to her votary yields!

The warbling woodland, the resounding shore,

    The pomp of groves, and garniture of fields;

All that the genial ray of morning gilds,

    And all that echoes to the song of even,

All that the mountain’s sheltering bosom shields,

    And all the dread magnificence of heaven,

Oh, how canst thou renounce, and hope to be forgiven!”

7 Pope also declares that he had a particular regard for an old post which stood in the court-yard before the house where he was brought up.

It is not, however, the beautiful and magnificent alone that we admire in Nature; the most insignificant and rudest objects are often found connected with the strongest emotions; we become attached to the most common and familiar images, as to the face of a friend whom we have long known, and from whom we have received many benefits. It is because natural objects have been associated with the sports of our childhood, with air and exercise, with our feelings in solitude, when the mind takes the strongest hold of things, and clings with the fondest interest to whatever strikes its attention; with change of place, the pursuit of new scenes, and thoughts of distant friends; it is because they have surrounded us in almost all situations, in joy and in sorrow, in pleasure and in pain; because they have been one chief source and nourishment of our feelings, and a part of our being, that we love them as we do ourselves.

There is, generally speaking, the same foundation for our love of Nature as for all our habitual attachments, namely, association of ideas. But this is not all. That which distinguishes this attachment from others is the transferable nature of our feelings with respect to physical objects; the associations connected with any one object extending to the whole class. Our having been attached to any particular person does not make us feel the same attachment to the next person we may chance to meet; but, if we have once associated strong feelings of delight with the objects of natural scenery, the tie becomes indissoluble, and we shall ever after feel the same attachment to other objects of the same sort. I remember when I was abroad, the trees, and grass, and wet leaves, rustling in the walks of the Thuilleries, seemed to be as much English, to be as much the same trees and grass, that I had always been used to, as the sun shining over my head was the same sun which I saw in England; the faces only were foreign to me. Whence comes this difference? It arises from our always imperceptibly connecting the idea of the individual with man, and only the idea of the class with natural objects. In the one case, the external appearance or physical structure is the least thing to be attended to; in the other, it is every thing. The springs that move the human form, and make it friendly or adverse to me, lie hid within it. There is an infinity of motives, passions, and ideas, contained in that narrow compass, of which I know nothing, and in which I have no share. Each individual is a world to himself, governed by a thousand contradictory and wayward impulses. I can, therefore, make no inference from one individual to another; nor can my habitual sentiments, with respect to any individual, extend beyond himself to others. A crowd of people presents a disjointed, confused, and unsatisfactory appearance to the eye, because there is nothing to connect the motley assemblage into one continuous or general impression, unless when there is some common object of interest to fix their attention, as in the case of a full pit at the play-house. The same principle will also account for that feeling of littleness, vacuity, and perplexity, which a stranger feels on entering the streets of a populous city. Every individual he meets is a blow to his personal identity. Every new face is a teazing, unanswered riddle. He feels the same wearisome sensation in walking from Oxford Street to Temple Bar, as a person would do who should be compelled to read through the first leaf of all the volumes in a library. But it is otherwise with respect to nature. A flock of sheep is not a contemptible, but a beautiful sight. The greatest number and variety of physical objects do not puzzle the will, or distract the attention, but are massed together under one uniform and harmonious feeling. The heart reposes in greater security on the immensity of Nature’s works, “expatiates freely there,” and finds elbow room and breathing space. We are always at home with Nature. There is neither hypocrisy, caprice, nor mental reservation in her favours. Our intercourse with her is not liable to accident or change, suspicion or disappointment: she smiles on us still the same. A rose is always sweet, a lily is always beautiful: we do not hate the one, nor envy the other. If we have once enjoyed the cool shade of a tree, and been lulled into a deep repose by the sound of a brook running at its foot, we are sure that wherever we can find a shady stream, we can enjoy the same pleasure again; so that when we imagine these objects, we can easily form a mystic personification of the friendly power that inhabits them, Dryad or Naiad, offering its cool fountain or its tempting shade. Hence the origin of the Grecian mythology. All objects of the same kind being the same, not only in their appearance, but in their practical uses, we habitually confound them together under the same general idea; and whatever fondness we may have conceived for one, is immediately placed to the common account. The most opposite kinds and remote trains of feeling gradually go to enrich the same sentiment; and in our love of nature, there is all the force of individual attachment, combined with the most airy abstraction. It is this circumstance which gives that refinement, expansion, and wild interest, to feelings of this sort, when strongly excited, which every one must have experienced who is a true lover of nature.

It is the same setting sun that we see and remember year after year, through summer and winter, seed-time and harvest. The moon that shines above our heads, or plays through the checquered shade, is the same moon that we used to read of in Mrs. Radcliffe’s romances. We see no difference in the trees first covered with leaves in the spring. The dry reeds rustling on the side of a stream — the woods swept by the loud blast — the dark massy foliage of autumn — the grey trunks and naked branches of the trees in winter — the sequestered copse, and wide-extended heath — the glittering sunny showers, and December snows — are still the same, or accompanied with the same thoughts and feelings: there is no object, however trifling or rude, that does not in some mood or other find its way into the heart, as a link in the chain of our living being; and this it is that makes good that saying of the poet —

“To me the meanest flower that blows can give

Thoughts that do often lie too deep for tears.”

Thus nature is a kind of universal home, and every object it presents to us an old acquaintance with unaltered looks; for there is that consent and mutual harmony among all her works, one undivided spirit pervading them throughout, that to him who has well acquainted himself with them, they speak always the same well-known language, striking on the heart, amidst unquiet thoughts and the tumult of the world, like the music of one’s native tongue heard in some far-off country.

“My heart leaps up when I behold

A rainbow in the sky:

So was it when my life began,

So is it now I am a man,

So shall it be when I grow old and die.

The child’s the father of the man,

And I would have my years to be

Linked each to each by natural piety.”

The daisy that first strikes the child’s eye in trying to leap over his own shadow, is the same flower that with timid upward glance implores the grown man not to tread upon it. Rousseau, in one of his botanical excursions, meeting with the periwinkle, fell upon his knees, crying out —Ah! voila de la pervenche! It was because he had thirty years before brought home the same flower with him in one of his rambles with Madame de Warens, near Chambery. It struck him as the same identical little blue flower that he remembered so well; and thirty years of sorrow and bitter regret were effaced from his memory. That, or a thousand other flowers of the same name, were the same to him, to the heart, and to the eye; but there was but one Madame Warens in the world, whose image was never absent from his thoughts; with whom flowers and verdure sprung up beneath his feet, and without whom all was cold and barren in nature and in his own breast. The cuckoo, “that wandering voice,” that comes and goes with the spring, mocks our ears with one note from youth to age; and the lapwing, screaming round the traveller’s path, repeats for ever the same sad story of Tereus and Philomel!

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Last updated Saturday, March 1, 2014 at 20:38