I cannot understand the conduct of the Scotch Kirk with regard to poor Irving. They might with ample reason have visited him for the monstrous indecencies of those exhibitions of the spirit;—perhaps the Kirk would not have been justified in overlooking such disgraceful breaches of decorum; but to excommunicate him on account of his language about Christ's body was very foolish. Irving's expressions upon this subject are ill judged, inconvenient, in had taste, and in terms false: nevertheless his apparent meaning, such as it is, is orthodox. Christ's body—as mere body, or rather carcass (for body is an associated word), was no more capable of sin or righteousness than mine or yours;—that his humanity had a capacity of sin, follows from its own essence. He was of like passions as we, and was tempted. How could he be tempted, if he had no formal capacity of being seduced?
It is Irving's error to use declamation, high and passionate rhetoric, not introduced and pioneered by calm and clear logic, which is—to borrow a simile, though with a change in the application, from the witty-wise, but not always wisely-witty, Fuller—like knocking a nail into a board, without wimbling a hole for it, and which then either does not enter, or turns crooked, or splits the wood it pierces.
August 18. 1833.
MILTON'S EGOTISM.—CLAUDIAN.—STERNE.
In the Paradise Lost—indeed in every one of his poems—it is Milton himself whom you see; his Satan, his Adam, his Raphael, almost his Eve—are all John Milton; and it is a sense of this intense egotism that gives me the greatest pleasure in reading Milton's works. The egotism of such a man is a revelation of spirit.
* * * * *
Claudian deserves more attention than is generally paid to him. He is the link between the old classic and the modern way of thinking in verse. You will observe in him an oscillation between the objective poetry of the ancients and the subjective mood of the moderns. His power of pleasingly reproducing the same thought in different language is remarkable, as it is in Pope. Read particularly the Phoenix, and see how the single image of renascence is varied.[1]
[Footnote 1: Mr. Coleridge referred to Claudian's first Idyll:—"Oceani summo circumfluus cequore lucus Trans Indos Eurumque viret," &c. See the lines—
"Hic neque concepto fetu, nec semine surgit;
Sed pater est prolesque sibi, nulloque creante
Emeritos artus foecunda morte reformat,
Et petit alternam totidem per funera vitam.
…
Et cumulum texens pretiosa fronde Sabaeum
Componit bustumque sibi partumque futurum.
…
O senium positure rogo, falsisque sepulcris
Natales habiture vices, qui saepe renasci
Exitio, proprioque soles pubescere leto,
Accipe principium rursus.
…
Parturiente rogo—
…
Victuri cineres—
…
Qm fuerat genitor, natus nunc prosilit idem,
Succeditque novus—-
…
O felix, haeresque tui! quo solvimur omnes,
Hoc tibi suppeditat vires; praebetur origo
Per cinerem; moritur te non pereunte senectus."—ED.]
* * * * *