But whether the Principle of the Poem be well or ill-founded, I can hardly imagine any abstract proposition to be more poetically, more forcibly, or more comprehensively maintain'd. And I am either ignorant wherein Genius consists, or it is manifest in the Idea, the Style and Numbers, the Design and Conduct of this Poem.
Of HONINGTON GREEN I am to speak next. And here it may be right to obviate some prejudice against the Poem, which, in the minds of several, may arise from the subject. I am not an Enemy to Enclosures: if the RIGHTS and INTERESTS of the POOR, and of SMALL OWNERS, be very carefully guarded, an ENCLOSURE may be a common Benefit. However, it is very liable to become otherwise. But be an Enclosure good or bad, (and every Man has a right to his opinion, and to support it by argument, on this subject and every other) there are particular circumstances and considerations which stand clear of the scope of the general question. The Spot which is the subject of the Ballad is less, I believe, than Half an Acre. It did certainly ornament the Village; independent of a just and laudable partiality in the Author. Thus it would have seem'd to the casual glance of a stranger. To the BLOOMFIELDS every circumstance gave it peculiar endearment. There the Author of 'THE FARMER'S BOY,' and of these POEMS, first drew breath. There grew the first Daisies which their feet pressed in childhood. On this little Green their Parents look'd with delight: and the Children caught the affection; and learn'd to love it as soon as they lov'd any thing. By it's smallness and it's situation it was no object: and could have been left out of Enclosure without detriment to the General Plan, or to any individual Interest. I wish it had: and most who love Poetry, and respect Genius, and are anxious to preserve the little innocent Gratifications of the Poor, will have the same wish.
As a poetical effusion, it strikes me that it has the tone, simplicity, and sweetness, and pleasing Melancholy of the Ballad. There is a stroke or two of indignant severity: but the general character is such as I have describ'd. And with filial Gratitude and Love there is blended, in the close, that turn for Reflection which is so remarkable in this Author.... I wish'd and recommended that some at least of the ornaments of 'THE FARMER'S BOY' should be sketches of local scenery: knowing how much more interesting they would have been, and how much more appropriate to the Poem. In that recommendation I was not successful: but I am glad, in this instance, to see a faithful and agreeable Sketch of Honington-Green from a very young pencil[5]. It will be remember'd, at a far remote Period, that the double Cottage at the end of the Green was the Birth-place of the BLOOMFIELDS. It is still, (and may it yet be long so) the habitation of their Mother: and has been repair'd lately by ROBERT. And I much doubt whether any House or Green will see two such Poets born of the same Parents.
THE CULPRIT is the next in this Collection, and I had not seen it, nor was it written, when I saw the two first. They decided my Opinion; and had no more appeared, they would have been publish'd alone; as they abundantly deserved.
THE CULPRIT strikes me as an original and highly affecting Poem. The very attempt to sketch the successive conflicting feelings of one thus circumstanc'd is no common effort. And what compass of thought; what energy of expression! ... I do not always admit the justness of the arguments. But it is a Soliloquy in character: and in judging of it, as in all pieces of representative Poetry (as Mr. DYER, in his lately publish'd ESSAY has well term'd it) the imagin'd situation ought to be consider'd. And it strikes me as closing with a true and aweful Pathos: not often equall'd.
The YORKSHIRE DIP is, I think, the result of that active but melancholy Fancy, which can travel far into views of Life and Nature from a slight occasion. It has a mixture of the Sportive which deepens the impression of it's melancholy Close. I could have wish'd, as I have said in a short Note, the Conclusion had been otherwise. The sours of Life less offend my Taste than its sweets delight it. But when I think what NATHANIEL must have felt in passing through Life, I more respect the Chearfulness and habitual Vigor of his Mind, than I am dispos'd to be out of humor with occasional gloom.
LOVE'S TRIUMPH differs as much in manner as in subject from those which precede it. Yet a vein of pensive and philosophic thought flows here also. The SONG OF BALDWIN is well adapted to soothe the fears and the discontents of Poverty: and to convince those who have not learnt it, that wealth, and rank, and power, and unlimited indulgence, are not such Blessings as they are imagin'd to be at a distance: nor Poverty such an Evil, that the first and best Blessings of Nature should be therefore thrown aside in despair.
I may doubt on the expediency of the SONG OF BALDWIN being in a different measure; but I can not doubt of the general merit of the Poem.
The PROVERBS, like other compositions of this kind, must rest chiefly on their moral Justness, Utility, Simplicity, and Conciseness, rather than on poetic Excellence: though neither in form nor coloring are they deficient of that compos'd and grave Beauty which the Nature of the Subject and Composition admits.
MORE BREAD AND CHEESE contains the Principle of the ESSAY ON WAR, and of a celebrated ESSAY ON POPULATION, which I dare say the Author never saw. It is strong, characteristic; and original: and although in the measure of the humorous Ballad, has much nerve and energy[6].