Part 14 (1/2)

Its politics were strongly liberal, and to oppose it the Tory 'Quarterly Review' was founded in 1808, under the editors.h.i.+p of the satirist William Gifford and with the cooperation of Sir Walter Scott, who withdrew for the purpose from his connection with the 'Edinburgh.' These reviews were followed by other high-cla.s.s periodicals, such as 'Blackwood's Magazine,'

and most of the group have maintained their importance to the present day.

SAMUEL TAYLOR COLERIDGE. The poets Wordsworth and Coleridge are of special interest not only from the primary fact that they are among the greatest of English authors, but also secondarily because in spite of their close personal a.s.sociation each expresses one of the two main contrasting or complementary tendencies in the Romantic movement; Coleridge the delight in wonder and mystery, which he has the power to express with marvelous poetic suggestiveness, and Wordsworth, in an extreme degree, the belief in the simple and quiet forces, both of human life and of Nature.

To Coleridge, who was slightly the younger of the two, attaches the further pathetic interest of high genius largely thwarted by circ.u.mstances and weakness of will. Born in Devons.h.i.+re in 1772, the youngest of the many children of a self-made clergyman and schoolmaster, he was a precocious and abnormal child, then as always a fantastic dreamer, despised by other boys and unable to mingle with them. After the death of his father he was sent to Christ's Hospital, the 'Blue-Coat' charity school in London, where he spent nine lonely years in the manner briefly described in an essay of Charles Lamb, where Coleridge appears under a thin disguise. The very strict discipline was no doubt of much value in giving firmness and definite direction to his irregular nature, and the range of his studies, both in literature and in other fields, was very wide. Through the aid of scholars.h.i.+ps and of contributions from his brothers he entered Cambridge in 1791, just after Wordsworth had left the University; but here his most striking exploit was a brief escapade of running away and enlisting in a cavalry troop. Meeting Southey, then a student at Oxford, he drew him into a plan for a 'Pantisocracy' (a society where all should be equal), a community of twelve young couples to be founded in some 'delightful part of the new back settlements' of America on the principles of communistic cooperation in all lines, broad mental culture, and complete freedom of opinion. Naturally, this plan never past beyond the dream stage.

Coleridge left the University in 1794 without a degree, tormented by a disappointment in love. He had already begun to publish poetry and newspaper prose, and he now attempted lecturing. He and Southey married two sisters, whom Byron in a later attack on Southey somewhat inaccurately described as 'milliners of Bath'; and Coleridge settled near Bristol. After characteristically varied and unsuccessful efforts at conducting a periodical, newspaper writing, and preaching as a Unitarian (a creed which was then considered by most Englishmen disreputable and which Coleridge later abandoned), he moved with his wife in 1797 to Nether Stowey in Somersets.h.i.+re. Expressly in order to be near him, Wordsworth and his sister Dorothy soon leased the neighboring manor-house of Alfoxden, and there followed the memorable year of intellectual and emotional stimulus when Coleridge's genius suddenly expanded into short-lived but wonderful activity and he wrote most of his few great poems, 'The Ancient Mariner,'

'Kubla Khan,' and the First Part of 'Christabel.' 'The Ancient Mariner' was planned by Coleridge and Wordsworth on one of their frequent rambles, and was to have been written in collaboration; but as it proceeded, Wordsworth found his manner so different from that of Coleridge that he withdrew altogether from the undertaking. The final result of the incident, however, was the publication in 1798 of 'Lyrical Ballads,' which included of Coleridge's work only this one poem, but of Wordsworth's several of his most characteristic ones. Coleridge afterwards explained that the plan of the volume contemplated two complementary sorts of poems. He was to present supernatural or romantic characters, yet investing them with human interest and semblance of truth; while Wordsworth was to add the charm of novelty to everyday things and to suggest their kins.h.i.+p to the supernatural, arousing readers from their accustomed blindness to the loveliness and wonders of the world around us. No better description could be given of the poetic spirit and the whole poetic work of the two men. Like some other epoch-marking books, 'Lyrical Ballads' attracted little attention. Shortly after its publication Coleridge and the Wordsworths sailed for Germany, where for the greater part of a year Coleridge worked hard, if irregularly, at the language, literature, and philosophy.

The remaining thirty-five years of his life are a record of ambitious projects and fitful efforts, for the most part turned by ill-health and lack of steady purpose into melancholy failure, but with a few fragmentary results standing out brilliantly. At times Coleridge did newspaper work, at which he might have succeeded; in 1800, in a burst of energy, he translated Schiller's tragedy 'Wallenstein' into English blank verse, a translation which in the opinion of most critics surpa.s.ses the original; and down to 1802, and occasionally later, he wrote a few more poems of a high order.

For a few years from 1800 on he lived at Greta Hall in the village of Keswick (p.r.o.nounced Kesick), in the northern end of the Lake Region (Westmoreland), fifteen miles from Wordsworth; but his marriage was incompatible (with the fault on his side), and he finally left his wife and children, who were thenceforward supported largely by Southey, his successor at Greta Hall. Coleridge himself was maintained chiefly by the generosity of friends; later, in part, by public pensions. It was apparently about 1800, to alleviate mental distress and great physical suffering from neuralgia, that he began the excessive use of opium (laudanum) which for many years had a large share in paralyzing his will.

For a year, in 1804-5, he displayed decided diplomatic talent as secretary to the Governor of Malta. At several different times, also, he gave courses, of lectures on Shakspere and Milton; as a speaker he was always eloquent; and the fragmentary notes of the lectures which have been preserved rank very high in Shaksperean criticism. His main interest, however, was now in philosophy; perhaps no Englishman has ever had a more profoundly philosophical mind; and through scattered writings and through his stimulating though prolix talks to friends and disciples he performed a very great service to English thought by introducing the viewpoint and ideas of the German transcendentalists, such as Kant, Sch.e.l.ling, and Fichte. During his last eighteen years he lived mostly in sad acceptance of defeat, though still much honored, in the house of a London physician. He died in 1834.

As a poet Coleridge's first great distinction is that which we have already pointed out, namely that he gives wonderfully subtile and appealing expression to the Romantic sense for the strange and the supernatural, and indeed for all that the word 'Romance' connotes at the present day. He accomplishes this result partly through his power of suggesting the real unity of the inner and outer worlds, partly through his skill, resting in a large degree on vivid impressionistic description, in making strange scenes appear actual, in securing from the reader what he himself called 'that willing suspension of disbelief which const.i.tutes poetic faith.' Almost every one has felt the weird charm of 'The Ancient Mariner,' where all the unearthly story centers about a moral and religious idea, and where we are dazzled by a constant succession of such pictures as these:

And ice, mast-high, came floating by, As green as emerald.

We were the first that ever burst Into that silent sea.

The western wave was all aflame: The day was well nigh done: Almost upon the western wave Rested the broad, bright sun; When that strange shape drove suddenly Betwixt us and the sun.

'Christabel' achieves what Coleridge himself described as the very difficult task of creating witchery by daylight; and 'Kubla Khan,' worthy, though a brief fragment, to rank with these two, is a marvelous glimpse of fairyland.

In the second place, Coleridge is one of the greatest English masters of exquisite verbal melody, with its tributary devices of alliteration and haunting onomatopoeia. In this respect especially his influence on subsequent English poetry has been incalculable. The details of his method students should observe for themselves in their study of the poems, but one particular matter should be mentioned. In 'Christabel' and to a somewhat less degree in 'The Ancient Mariner' Coleridge departed as far as possible from eighteenth century tradition by greatly varying the number of syllables in the lines, while keeping a regular number of stresses. Though this practice, as we have seen, was customary in Old English poetry and in the popular ballads, it was supposed by Coleridge and his contemporaries to be a new discovery, and it proved highly suggestive to other romantic poets. From hearing 'Christabel' read (from ma.n.u.script) Scott caught the idea for the free-and-easy meter of his poetical romances.

With a better body and will Coleridge might have been one of the supreme English poets; as it is, he has left a small number of very great poems and has proved one of the most powerful influences on later English poetry.

WILLIAM WORDSWORTH, 1770-1850. William Wordsworth [Footnote: The first syllable is p.r.o.nounced like the common noun 'words'] was born in 1770 in c.u.mberland, in the 'Lake Region,' which, with its bold and varied mountains as well as its group of charming lakes, is the most picturesque part of England proper. He had the benefit of all the available formal education, partly at home, partly at a 'grammar' school a few miles away, but his genius was formed chiefly by the influence of Nature, and, in a qualified degree, by that of the simple peasant people of the region. Already as a boy, though normal and active, he began to be sensitive to the Divine Power in Nature which in his mature years he was to express with deeper sympathy than any poet before him. Early left an orphan, at seventeen he was sent by his uncles to Cambridge University. Here also the things which most appealed to him were rather the new revelations of men and life than the formal studies, and indeed the torpid instruction of the time offered little to any thoughtful student. On leaving Cambridge he was uncertain as to his life-work. He said that he did not feel himself 'good enough' for the Church, he was not drawn toward law, and though he fancied that he had capacity for a military career, he felt that 'if he were ordered to the West Indies his talents would not save him from the yellow fever.' At first, therefore, he spent nearly a year in London in apparent idleness, an intensely interested though detached spectator of the city life, but more especially absorbed in his mystical consciousness of its underlying current of spiritual being. After this he crossed to France to learn the language.

The Revolution was then (1792) in its early stages, and in his 'Prelude'

Wordsworth has left the finest existing statement of the exultant antic.i.p.ations of a new world of social justice which the movement aroused in himself and other young English liberals. When the Revolution past into the period of violent bloodshed he determined, with more enthusiasm than judgment, to put himself forward as a leader of the moderate Girondins.

From the wholesale slaughter of this party a few months later he was saved through the stopping of his allowance by his more cautious uncles, which compelled him, after a year's absence, to return to England.

For several years longer Wordsworth lived uncertainly. When, soon after his return, England, in horror at the execution of the French king, joined the coalition of European powers against France, Wordsworth experienced a great shock--the first, he tells us, that his moral nature had ever suffered--at seeing his own country arrayed with corrupt despotisms against what seemed to him the cause of humanity. The complete degeneration of the Revolution into anarchy and tyranny further served to plunge him into a chaos of moral bewilderment, from which he was gradually rescued partly by renewed communion with Nature and partly by the influence of his sister Dorothy, a woman of the most sensitive nature but of strong character and admirable good sense. From this time for the rest of her life she continued to live with him, and by her unstinted and unselfish devotion contributed very largely to his poetic success. He had now begun to write poetry (though thus far rather stiffly and in the rimed couplet), and the receipt of a small legacy from a friend enabled him to devote his life to the art. Six or seven years later his resources were several times multiplied by an honorable act of the new Lord Lonsdale, who voluntarily repaid a sum of money owed by his predecessor to Wordsworth's father.

In 1795 Wordsworth and his sister moved from the Lake Region to Dorsets.h.i.+re, at the other end of England, likewise a country of great natural beauty. Two years later came their change (of a few miles) to Alfoxden, the a.s.sociation with Coleridge, and 'Lyrical Ballads,' containing nineteen of Wordsworth's poems (above, page 267). After their winter in Germany the Wordsworths settled permanently in their native Lake Region, at first in 'Dove Cottage,' in the village of Grasmere. This simple little stone house, buried, like all the others in the Lake Region, in brilliant flowers, and opening from its second story onto the hillside garden where Wordsworth composed much of his greatest poetry, is now the annual center of pilgrimage for thousands of visitors, one of the chief literary shrines of England and the world. Here Wordsworth lived frugally for several years; then after intermediate changes he took up his final residence in a larger house, Rydal Mount, a few miles away. In 1802 he married Mary Hutchinson, who had been one of his childish schoolmates, a woman of a spirit as fine as that of his sister, whom she now joined without a thought of jealousy in a life of self-effacing devotion to the poet.

Wordsworth's poetic inspiration, less fickle than that of Coleridge, continued with little abatement for a dozen years; but about 1815, as he himself states in his fine but pathetic poem 'Composed upon an Evening of Extraordinary Splendour,' it for the most part abandoned him. He continued, however, to produce a great deal of verse, most of which his admirers would much prefer to have had unwritten. The plain Anglo-Saxon yeoman strain which was really the basis of his nature now a.s.serted itself in the growing conservatism of ideas which marked the last forty years of his life. His early love of simplicity hardened into a rigid opposition not only to the materialistic modern industrial system but to all change--the Reform Bill, the reform of education, and in general all progressive political and social movements. It was on this abandonment of his early liberal principles that Browning based his spirited lyric 'The Lost Leader.'

During the first half or more of his mature life, until long after he had ceased to be a significant creative force, Wordsworth's poetry, for reasons which will shortly appear, had been met chiefly with ridicule or indifference, and he had been obliged to wait in patience while the slighter work first of Scott and then of Byron took the public by storm.

Little by little, however, he came to his own, and by about 1830 he enjoyed with discerning readers that enthusiastic appreciation of which he is certain for all the future. The crowning mark of recognition came in 1843 when on the death of his friend Southey he was made Poet Laureate. The honor, however, had been so long delayed that it was largely barren. Ten years earlier his life had been darkened by the mental decay of his sister and the death of Coleridge; and other personal sorrows now came upon him.

He died in 1850 at the age of eighty.

Wordsworth, as we have said, is the chief representative of some (especially one) of the most important principles in the Romantic Movement; but he is far more than a member of any movement; through his supreme poetic expression of some of the greatest spiritual ideals he belongs among the five or six greatest English poets. First, he is the profoundest interpreter of Nature in all poetry. His feeling for Nature has two aspects. He is keenly sensitive, and in a more delicately discriminating way than any of his predecessors, to all the external beauty and glory of Nature, especially inanimate Nature--of mountains, woods and fields, streams and flowers, in all their infinitely varied aspects. A wonderfully joyous and intimate sympathy with them is one of his controlling impulses.

But his feeling goes beyond the mere physical and emotional delight of Chaucer and the Elizabethans; for him Nature is a direct manifestation of the Divine Power, which seems to him to be everywhere immanent in her; and communion with her, the communion into which he enters as he walks and meditates among the mountains and moors, is to him communion with G.o.d. He is literally in earnest even in his repeated a.s.sertion that from observation of Nature man may learn (doubtless by the proper attuning of his spirit) more of moral truth than from all the books and sages. To Wordsworth Nature is man's one great and sufficient teacher. It is for this reason that, unlike such poets as Keats and Tennyson, he so often views Nature in the large, giving us broad landscapes and sublime aspects. Of this mystical semi-pantheistic Nature-religion his 'Lines composed above Tintern Abbey' are the n.o.blest expression in literature. All this explains why Wordsworth considered his function as a poet a sacred thing and how his intensely moral temperament found complete satisfaction in his art. It explains also, in part, the limitation of his poetic genius. Nature indeed did not continue to be to him, as he himself says that it was in his boyhood, absolutely 'all in all'; but he always remained largely absorbed in the contemplation and interpretation of it and never manifested, except in a few comparatively short and exceptional poems, real narrative or dramatic power (in works dealing with human characters or human life).

In the second place, Wordsworth is the most consistent of all the great English poets of democracy, though here as elsewhere his interest is mainly not in the external but in the spiritual aspect of things. From his insistence that the meaning of the world for man lies not in the external events but in the development of character results his central doctrine of the simple life. Real character, he holds, the chief proper object of man's effort, is formed by quietly living, as did he and the dalesmen around him, in contact with Nature and communion with G.o.d rather than by partic.i.p.ation in the feverish and sensational struggles of the great world. Simple country people, therefore, are nearer to the ideal than are most persons who fill a larger place in the activities of the world. This doctrine expresses itself in a striking though one-sided fas.h.i.+on in his famous theory of poetry--its proper subjects, characters, and diction. He stated his theory definitely and at length in a preface to the second edition of 'Lyrical Ballads,' published in 1800, a discussion which includes incidentally some of the finest general critical interpretation ever made of the nature and meaning of poetry. Wordsworth declared: 1. Since the purpose of poetry is to present the essential emotions of men, persons in humble and rustic life are generally the fittest subjects for treatment in it, because their natures and manners are simple and more genuine than those of other men, and are kept so by constant contact with the beauty and serenity of Nature. 2. Not only should artificial poetic diction (like that of the eighteenth century) be rejected, but the language of poetry should be a selection from that of ordinary people in real life, only purified of its vulgarities and heightened so as to appeal to the imagination. (In this last modification lies the justification of rime.) There neither is nor can be any _essential_ difference between the language of prose and that of poetry.

This theory, founded on Wordsworth's disgust at eighteenth century poetic artificiality, contains a very important but greatly exaggerated element of truth. That the experiences of simple and common people, including children, may adequately ill.u.s.trate the main spiritual aspects of life Wordsworth unquestionably demonstrated in such poems as 'The Reverie of Poor Susan,' 'Lucy Gray,' and 'Michael.' But to restrict poetry largely to such characters and subjects would be to eliminate not only most of the external interest of life, which certainly is often necessary in giving legitimate body to the spiritual meanings, but also a great range of significant experiences which by the nature of things can never come to lowly and simple persons. That the characters of simple country people are on the average inevitably finer and more genuine than those of others is a romantic theory rather than a fact, as Wordsworth would have discovered if his meditative nature had, allowed him to get into really direct and personal contact with the peasants about him. As to the proper language of poetry, no one to-day (thanks partly to Wordsworth) defends artificiality, but most of Wordsworth's own best work, as well as that of all other poets, proves clearly that there _is_ an essential difference between the language of prose and that of poetry, that much of the meaning of poetry results from the use of unusual, suggestive, words and picturesque expressions, which create the essential poetic atmosphere and stir the imagination in ways distinctly different from those of prose. Wordsworth's obstinate adherence to his theory in its full extent, indeed, produced such trivial and absurd results as 'Goody Blake and Harry Gill,' 'The Idiot Boy,' and 'Peter Bell,' and great ma.s.ses of hopeless prosiness in his long blank-verse narratives.