Or post-chaise they would hire."
Mr. Charles Chorley, who is, we are informed, submanager of the Truro Savings Bank, in verses which are presumably a parody of Sir William Jones' Imitation of Alcæus, inquires, not without a certain propriety, "What constitutes a mine?" On a par with all these are the verses of the bard who "in summer hawked gooseberries and in winter shoelaces," and those of the "uneducated journeyman woolcomber."
Now, we need hardly say that the humble vocations of these poets are neither derogatory to them nor in any way detrimental to merit where merit exists; but there is no merit whatever in the poems assigned to them in this volume; they are simply such poems as hawkers, woolcombers, railway porters, and submanagers of provincial banks—"who pen a stanza when they should engross"—might be expected to write. The same may be said of almost every copy of verses, produced by amateurs, to be found in this collection. We have scarcely noticed a single poem which rises above mediocrity; a very large proportion are below even a mediocre standard—they are simply rubbish. In one poet only, among those whose names were not before known to us, do we discern genius, and that is in Mr. John Dryden Hosken, whose poem, entitled My Masters, is really excellent.
The editor of this anthology is plainly incompetent, both in point of taste and critical discernment, and in point of knowledge, for the task which he has undertaken. The first is proved by the extracts which he has selected from the works of well-known poets. Coleridge, for example, is represented by two comparatively inferior poems, The Devil's Thoughts and Fancy in Nubibus; Thomas Carew, by two short poems, one of which is probably the worst he ever wrote; Herrick, by two of his very worst; Praed, by two of the feeblest and least characteristic of his poems; Walcot, by mere trash. It is quite possible that their less illustrious brethren may have suffered from the deplorable inability of this editor to discern between what is good and what is bad. Certainly Capern, who was a poet with a touch of genius, suffers, for the lyric given is very far indeed from representing or illustrating his best or even his characteristic work. In giving an account of Alexander Barclay, who, by the way, is called Andrew in the Preface, Mr. Wright says nothing about his most important poems—his Eclogues. If Eustace Budgell is included among the poets, why are not his poems specified and represented? Of Aaron Hill it is observed that "neither his reputation as a poet nor his connexion with the county of Devon is sufficient to warrant more than a mere notice of his name." Aaron Hill was the author of more than one poem of conspicuous merit. The verses attributed on page 488 to Sir William Yonge were written by Lady Mary Wortley Montagu. But these are trifles. What we wish to protest against is the foisting of such volumes as these on our libraries; and it is appalling to learn that it is the intention of Mr. Kearley Wright, if he is sufficiently encouraged by subscribers, to follow this with another similar collection. If poets like these wish to gratify their vanity, let them not gratify it to the detriment of serious literature; for, if the few can discriminate, the many cannot, and the multiplication of works like these must infallibly tend to lower the standard of current literature, by furthering the disastrous "cult of the average man." In our opinion criticism can have no more imperative duty than to discountenance and discourage in every way such projectors as Mr. Kearley Wright and such poets as those for whose merits he and critics like him stand sponsors.
VIRGIL IN ENGLISH HEXAMETERS [45]
[45] The Eclogues of Virgil. Translated into English Hexameter Verse by the Right Hon. Sir George Osborne Morgan, Bart., Q.C., M.P. London.
Sir George Osborne Morgan has served his generation in much more important capacities than those of a scholar and a translator of Virgil, and had this little work, therefore, been less meritorious than it is, no critic with a sense of the becoming would deal harshly with it. But it challenges and deserves serious consideration, not only as an attempt to solve a problem of singular interest to students of classical poetry, but as a somewhat ambitious contribution to the literature of translation. Sir Osborne Morgan is, however, mistaken in supposing that in translating Virgil into his own metre he "has undertaken a task which has never been attempted before." In 1583 Richard Stanihurst published a translation of the first four books of the Æneid in English hexameters; and, if Sir Osborne will turn to Webbe's Discourse of English Poetrie, published as early as 1586, he will find versions in English hexameters of the First and Second Eclogues, while Abraham Fraunce, in a curious volume, entitled The Countess of Pembroke's Ivy Church, which appeared in 1591, has, among the other hexameters in the collection, given a version of the Second Eclogue in this measure. But Sir Osborne Morgan has been more immediately anticipated in his experiment. In 1838 Dr. James Blundell published anonymously, under the title of Hexametrical Experiments, versions in hexameters of the First, Fourth, Sixth, and Tenth Eclogues, and to this translation he prefixed an elaborate preface, vindicating the employment of the hexameter in English, and explaining its mechanism to the unlearned. Indeed, Blundell arrived at the same conclusion as Sir Osborne Morgan, that the proper medium for an English translation of hexametrical poems in Greek and Latin is the English hexameter. We may, however, hasten to add that Sir Osborne has little to fear from a comparison with his predecessors, who have, indeed, done their best to refute by example their own theory. It may be observed, in passing, that the translations of Virgil into rhymed decasyllabic verse are far more numerous than Sir Osborne Morgan seems to suppose. He is, he says, acquainted only with two—the version by Dryden and Joseph Warton—not seeming to be aware that Warton translated only the Georgics and Eclogues, printing Pitt's version of the Æneid. The whole of Virgil was translated into this measure by John Ogilvie between 1649-50, and by the Earl of Lauderdale about 1716, while versions of the Æneid, the Georgics, and the Eclogues, in the same metre, have abounded in every era of our literature, from Gawain Douglas's translation of the Æneid printed in 1553, to Archdeacon Wrangham's version of the Eclogues in 1830.
It is no reproach to Sir Osborne Morgan that, in the occupations of a busy political life, his scholarship should have become a little rusty, but it is a pity that he should so often have allowed himself to be caught tripping, when a little timely counsel in the correction of his proof sheets might have prevented this. In the First Eclogue the line