32 CAMPBELL JUDGMENT ON GOLDSMITH. unbroken view of poetical delightfulness. His descriptions and sentiments have the pure zest of nature. He is refined without false de licacy, and correct without insipidity. Perhaps there is an intellectual composure in his manner, which may, in some passages, be said to approach to the reserved and prosaic; but he unbends from this graver strain of reflection, to tenderness, and even to playfulness, with an ease and grace almost exclusively his own: and connects extensive views of the happiness and interests of society, with pictures of life, that touch the heart by their familiarity. His language is certainly simple, though it is not cast in a rugged or careless mould. He is no disciple of the gaunt and famished school of simplicity. Deliberately as he wrote, he cannot be accused of wanting natural and idiomatic expression; but still it is select and refined expression. He uses the ornaments which must always distinguish true poetry from prose; and when he adopts colloquial plainness, it is with the utmost care and skill, to avoid a vulgar humility. There is more of this elegant simplicity, of this chaste economy and choice of words, in Goldsmith, than in any modern poet, or perhaps than would be attainable or desirable as a standard for every writer of rhyme. In extensive narrative poems such a style would be too difficult. There is a noble propriety even in the careless strength of great poems as in the roughness of castle walls; and, generally speaking, where there is a long course of story, or observation of life to be pursued, such exquisite touches as those of Goldsmith would be too costly materials for sustaining it. The tendency towards abstracted observation in his poetry agrees peculiarly with the compendious form of expression which he studied; whilst the homefelt joys, on which his fancy loved to repose, required at once the chastest and sweetest colours of language, to make them harmonize with the dignity of a philosophical poem. His whole manner has a still depth of feeling and reflection, which gives back the image of nature unruffled and minutely. He has no redundant thoughts, or false transports; but seems on every occasion to have weighed the impulse to which he surrendered himself. Whatever ardour or casual felicities he may have thus sacrificed, he gained a high degree of purity and self-possession. His chaste pathos makes him an insinuating moralist; and throws a charm of Claude-like softness over his descriptions of homely objects, that would seem only fit to be the subjects of Dutch painting. But his quiet enthusiasm leads the affections to humble things without a vulgar association; and he inspires us with a fondness to trace the simplest recollections of Auburn, till we count the furniture of its alehouse, and listen to the varnished clock that clicked behind the door."-p. 261-263. 6 There is too much of William Whitehead, and almost too much of Richard Glover, and a great deal too much of Amherst Selden, Bramston, and Meston. Indeed the ne quid nimis seems to have been more forgotten by the learned editor in the last, than in any of the other volumes. Yet there is by no means too much BURNS-PALINODE OF THE REVIEWER. 33 The of Burns, or Cowper, or even of the Wartons. abstract of Burns's life is beautiful; and we are most willing to acknowledge that the defence of the poet, against some of the severities of this Journal, is substantially successful. No one who reads all that we have written of Burns, will doubt of the sincerity of our admiration for his genius, or of the depth of our veneration and sympathy for his lofty character and his untimely fate. We still think he had a vulgar taste in letter-writing; and too frequently patronized the belief of a connexion between licentious indulgences and generosity of character. But, on looking back on what we have said on these subjects, we are sensible that we have expressed ourselves with too much bitterness, and made the words of our censure far more comprehensive than our meaning. A certain tone of exaggeration is incident, we fear, to the sort of writing in which we are engaged. Reckoning a little too much, perhaps, on the dulness of our readers, we are often led, unconsciously, to overstate our sentiments, in order to make them understood; and, where a little controversial warmth is added to a little love of effect, an excess of colouring is apt to steal over the canvass which ultimately offends no eve so much as our own. We gladly make this expiation to the shade of our illustrious countryman. In his observations on Joseph Warton, Mr. C. resumes the controversy about the poetical character of Pope, upon which he had entered at the close of his Essay; and as to which we hope to have some other opportunity of giving our opinions. At present, however, we must hasten to a conclusion; and shall make our last extracts from the notice of Cowper, which is drawn up on somewhat of a larger scale than any other in the work. The abstract of his life is given with great tenderness and beauty, and with considerable fullness of detail. But the remarks on his poetry are the most precious, and are all that we have now room to borrow. The nature of Cowper's works makes us peculiarly identify the poet and the man in perusing them. As an individual, he was retired and weaned from the vanities of the world; and, as an original writer, VOL. II. D 34 CAMPBELL · -HIS CHARACTER OF COWPER. His he left the ambitious and luxuriant subjects of fiction and passion, for those of real life and simple nature, and for the devolopment of his own earnest feelings, in behalf of moral and religious truth. language has such a masculine idiomatic strength, and his manner, whether he rises into grace or falls into negligence, has so much plain and familiar freedom, that we read no poetry with a deeper conviction of its sentiments having come from the author's heart; and of the enthusiasm, in whatever he describes, having been unfeigned and unexaggerated. He impresses us with the idea of a being, whose fine spirit had been long enough in the mixed society of the world to be polished by its intercourse, and yet withdrawn so soon as to retain an unworldly degree of purity and simplicity. He was advanced in years before he became an author; but his compositions display a tenderness of feeling so youthfully preserved, and even a vein of humour so far from being extinguished by his ascetic habits, that we can scarcely regret his not having written them at an earlier period of life. For he blends the determination of age with an exquisite and ingenuous sensibility; and though he sports very much with his subjects, yet, when he is in earnest, there is a gravity of long-felt conviction in his sentiments, which gives an uncommon ripeness of character to his poetry. "It is due to Cowper to fix our regard on this unaffectedness and authenticity of his works, considered as representations of himself, because he forms a striking instance of genius writing the history of its own secluded feelings, reflections, and enjoyments, in a shape so interesting as to engage the imagination like a work of fiction. He has invented no character in fable, nor in the drama; but he has left a record of his own character, which forms not only an object of deep sympathy, but a subject for the study of human nature. His verse, it is true, considered as such a record, abounds with opposite traits of severity and gentleness, of playfulness and superstition, of solemnity and mirth, which appear almost anomalous; and there is, undoubtedly, sometimes an air of moody versatility in the extreme contrasts of his feelings. But looking to his poetry as an entire structure, it has a massive air of sincerity. It is founded in steadfast principles of belief; and, if we may prolong the architectural metaphor, though its arches may be sometimes gloomy, its tracery sportive, and its lights and shadows grotesquely crossed, yet altogether it still forms a vast, various, and interesting monument of the builder's mind Young's works are as devout, as satirical, sometimes as merry, as those of Cowper; and, undoubtedly, more witty. But the melancholy and wit of Young do not make up to us the idea of a conceivable or natural being. He has sketched in his pages the ingenious, but incongruous form of a fictitious mind Cowper's soul speaks from his volumes." Considering the tenor and circumstances of his life, it is not much to be wondered at, that some asperities and peculiarities should have adhered to the strong stem of his genius, like the moss and fungus that cling to some noble oak of the forest, amidst the damps of its unsunned retirement. It is more surprising that he preserved, in HIS TASK-AND RELIGIOUS POETRY. 85 such seclusion, so much genuine power of comic observation. There is much of the full distinctness of Theophrastus, and of the nervous and concise spirit of La Bruyère, in his piece entitled Conversation,' with a cast of humour superadded, which is peculiarly English, and not to be found out of England."-vol. vii. p. 357, 358. Of his greatest work, The Task, he afterwards ob serves, "His whimsical outset in a work, where he promises so little and performs so much, may be advantageously contrasted with those magnificent commencements of poems, which pledge both the reader and the writer, in good earnest, to a task. Cowper's poem, on the contrary, is like a river, which rises from a playful little fountain, and gathers beauty and magnitude as it proceeds. He leads us abroad into his daily walks; he exhibits the landscapes which he was accustomed to contemplate, and the trains of thought in which he habitually indulged. No attempt is made to interest us in legendary fictions, or historical recollections connected with the ground over which he expatiates; all his plainness and reality: But we instantly recognise the true poet, in the clearness, sweetness, and fidelity of his scenic draughts; in his power of giving novelty to what is common; and in the high relish, the exquisite enjoyment of rural sights and sounds, which he communicates to the spirit. His eyes drink the rivers with delight.' He excites an idea, that almost amounts to sensation, of the freshness and delight of a rural walk, even when he leads us to the wasteful common, which 66 Overgrown with fern, and rough With prickly gorse, that, shapeless and deform'd, His rural prospects have far less variety and compass than those of Thomson; but his graphic touches are more close and minute: not that Thomson was either deficient or undelightful in circumstantial traits of the beauty of nature, but he looked to her as a whole more than Cowper. His genius was more excursive and philosophical. The poet of Olney, on the contrary, regarded human philosophy with something of theological contempt. To his eye, the great and little things of this world were levelled into an equality, by his recollection of the power and purposes of Him who made them. They are, in his view, only as toys spread on the lap and carpet of nature, for this childhood of our immortal being. This religious indifference to the world is far, indeed, from blunting his sensibility to the genuine and simple beauties of creation; but it gives his taste a contentment and fellowship with humble things. It makes him careless of selecting and refining his views of nature beyond their actual appearances. 36 CAMPBELL-WISH FOR SUCH SPECIMENS He contemplated the face of plain rural English life, in moments of leisure and sensibility, till its minutest features were impressed upon his fancy; and he sought not to embellish what he loved. Hence his landscapes have less of the ideally beautiful than Thomson's; but they have an unrivalled charm of truth and reality. He is one of the few poets, who have indulged neither in descriptions nor acknowledgments of the passion of love; but there is no poet who has given us a finer conception of the amenity of female influence. Of all the verses that have been ever devoted to the subject of domestic happiness those in his winter evening, at the opening of the fourth book of The Task, are perhaps the most beautiful. In perusing that scene of intimate delights,' fireside enjoyments,' and 'home-born happiness,' we seem to recover a part of the forgotten value of existence; when we recognise the means of its blessedness so widely dispensed, and so cheaply attainable, and find them susceptible of description at once so enchanting and so faithful. "Though the scenes of The Task are laid in retirement, the poem affords an amusing perspective of human affairs. Remote as the poet was from the stir of the great Babel, from the confusæ sonus Urbis, et illætabile murmur,' he glances at most of the subjects of public interest which engaged the attention of his contemporaries. On those subjects, it is but faint praise to say that he espoused the side of justice and humanity. Abundance of mediocrity of talent is to be found on the same side, rather injuring than promoting the cause, by its officious declamation. But nothing can be further from the stale commonplace and cuckooism of sentiment, than the philanthropic eloquence of Cowper- he speaks like one having authority.' Society is his debtor. Poetical expositions of the horrors of slavery may, indeed, seem very unlikely agents in contributing to destroy it; and it is possible that the most refined planter in the West Indies, may look with neither shame nor compunction on his own image in the pages of Cowper. But such appeals to the heart of the community are not lost! They fix themselves silently in the popular memory; and they become, at last, a part of that public opinion, which must, sooner or later, wrench the lash from the hand of the oppressor."-p. 359 — 364. But we must now break away at once from this delightful occupation; and take our final farewell of a work, in which, what is original, is scarcely less valuable than what is republished, and in which the genius of a living Poet has shed a fresh grace over the fading glories of so many of his departed brothers. We wish some body would continue the work, by furnishing us with Specimens of our Living Poets. It would be more difficult, to be sure, and more dangerous; but, in some respects, it would also be more useful. The beauties of the unequal and voluminous writers would be more |