Recreations of Christopher North, Volume 1

by John Wilson

"A flowerie howm, between twa verdant braes,
Where lassies use to wash and bleach their claes;
A trotting burnie, wimpling through the ground,
Its channel pebbles, shining, smooth, and round:
Here view twa barefoot beauties, clean and clear,
'Twill please your eye, then gratify your ear;
While Jenny what she wishes discommends,
And Meg, with better sense, true love defends!"

"About them and siclike" is the whole poem. Yet "faithful love shall memorise the song." Without any scenery but that of rafters, which overhead fancy may suppose a grove, 'tis even yet sometimes acted by rustics in the barn, though nothing on this earth will ever persuade a low-born Scottish lass to take a part in a play; while delightful is felt, even by the lords and ladies of the land, the simple Drama of humble life; and we ourselves have seen a high-born maiden look "beautiful exceedingly" as Patie's Betrothed, kilted to the knee in the kirtle of a Shepherdess.

We have been gradually growing national overmuch, and are about to grow even more so, therefore ask you to what era, pray, did Thomson belong? To none. Thomson had no precursor—and till Cowper no follower. He effulged all at once sunlike—like Scotland's storm-loving, mist-enamoured sun, which till you have seen on a day of thunder, you cannot be said ever to have seen the sun. Cowper followed Thomson merely in time. We should have had "The Task," even had we never had "The Seasons." These two were "heralds of a mighty train ensuing;" add them, then, to the worthies of our own age, and they belong to it—and all the rest of the poetry of the modern world—to which add that of the ancient—if multiplied by ten in quantity—and by twenty in quality—would not so variously, so vigorously, and so truly image the form and pressure, the life and spirit of the mother of us all—Nature. Are then "The Seasons" and "The Task" Great Poems? Yes.—Why? What! Do you need to be told that that Poem must be great, which was the first to paint the rolling mystery of the year, and to show that all its Seasons are but the varied God? The idea was original and sublime; and the fulfilment thereof so complete, that some six thousand years having elapsed between the creation of the world and of that poem, some sixty thousand, we prophesy, will elapse between the appearance of that poem and the publication of another equally great, on a subject external to the mind, equally magnificent. We further presume, that you hold sacred the "hearth." Now, in "The Task," the "hearth" is the heart of the poem, just as it is of a happy house. No other poem is so full of domestic happiness—humble and high; none is so breathed over by the spirit of the Christian religion.

Poetry, which, though not dead, had long been sleeping in Scotland, was restored to waking life by Thomson. His genius was national; and so, too, was the subject of his first and greatest song. By saying that his genius was national, we mean that its temperament was enthusiastic and passionate, and that, though highly imaginative, the sources of its power lay in the heart. "The Castle of Indolence" is distinguished by purer taste and finer fancy; but with all its exquisite beauties, that poem is but the vision of a dream. "The Seasons" are glorious realities; and the charm of the strain that sings the "rolling year" is its truth. But what mean we by saying that "The Seasons" are a national subject?—do we assert that they are solely Scottish? That would be too bold, even for us; but we scruple not to assert, that Thomson has made them so, as far as might be without insult, injury, or injustice, to the rest of the globe. His suns rise and set in Scottish heavens; his "deep-fermenting tempests are brewed in grim evening" Scottish skies; Scottish is his thunder of cloud and cataract; his "vapours, and snows, and storms" are Scottish; and, strange as the assertion would have sounded in the ears of Samuel Johnson, Scottish are his woods, their sugh, and their roar; nor less their stillness, more awful amidst the vast multitude of steady stems, than when all the sullen pine-tops are swinging to the hurricane. A dread love of his native land was in his heart when he cried in the solitude—

"Hail, kindred glooms! congenial horrors, hail!"

The genius of Home was national—and so, too, was the subject of his justly famous Tragedy of "Douglas." He had studied the old Ballads; their simplicities were sweet to him as wallflowers on ruins. On the story of Gill Morice, who was an Earl's son, he founded the Tragedy, which surely no Scottish eyes ever witnessed without tears. Are not these most Scottish lines?—

"Ye woods and wilds, whose melancholy gloom
Accords with my soul's sadness!"

And these even more so,—

"Red came the river down, and loud and oft
The angry Spirit of the water shriek'd!"

The Scottish Tragedian in an evil hour crossed the Tweed, riding on horseback all the way to London. His genius got Anglified, took a consumption, and perished in the prime of life. But nearly half a century afterwards, on seeing the Siddons in Lady Randolph, and hearing her low, deep, wild, woe-begone voice exclaim, "My beautiful! my brave!" "the aged harper's soul awoke," and his dim eyes were again lighted up for a moment with the fires of genius—say rather for a moment bedewed with the tears of sensibility re-awakened from decay and dotage.