[61]. We have ‘purest architecture’ just before; and ‘the prior fabric which preceded,’ is rather more than an inelegant pleonasm.
[62]. See Mr. Bowles’s Two Letters.
[63]. Coleridge.
[64]. Most people have felt the ennui of being detained under a gateway in a shower of rain. Happy is he who has an umbrella, and can escape when the first fury of the storm has abated. Turn this gateway into a broker’s shop, full of second-hand furniture—tables, chairs, bedsteads, bolsters, and all the accommodations of man’s life,—the case will not be mended. On the other hand, convert it into a wild natural cave, and we may idle away whole hours in it, marking a streak in the rock, or a flower that grows on the sides, without feeling time hang heavy on us. The reason is, that where we are surrounded with the works of man—the sympathy with the art and purposes of man, as it were, irritates our own will, and makes us impatient of whatever interferes with it: while, on the contrary, the presence of nature, of objects existing without our intervention and controul, disarms the will of its restless activity, and disposes us to submit to accidents that we cannot help, and the course of outward events, without repining. We are thrown into the hands of nature, and become converts to her power. Thus the idea of the artificial, the conventional, the voluntary, is fatal to the romantic and imaginary. To us it seems, that the free spirit of nature rushes through the soul, like a stream with a murmuring sound, the echo of which is poetry.
[65]. This, we are sorry to say, relates only to the three first volumes. The fourth is in a very mixed style indeed. It looks as if the author was tired, and got somebody to help him.
[66]. See Mackenzie’s Life of Home, the author of Douglas.
[67]. The Duke of Wellington, it is said, cannot enter into the merits of Raphael, but he admires ‘the spirit and fire of Tintoret.’ I do not wonder at this bias. A sentiment, probably, never dawned upon his Grace’s mind; but he may be supposed to relish the dashing execution and hit or miss manner of the Venetian artist. Oh, Raphael! well is it that it was one who did not understand thee that blundered upon the destruction of humanity!
[68]. Hazlitt refers to what The Examiner calls the ‘regal raree-show’ in the Parks at the beginning of August 1814. A sham fight on the Serpentine was one of the features.
[69]. Paradise Lost, III. 550.
[70]. Wordsworth himself says (Hart-Leap Well) ‘The moving accident is not my trade.’