It is in looking back to such scenes that I draw my best consolation for the future. Later impressions come and go, and serve to fill up the intervals; but these are my standing resource, my true classics. If I have had few real pleasures or advantages, my ideas, from their sinewy texture, have been to me in the nature of realities; and if I should not be able to add to the stock, I can live by husbanding the interest. As to my speculations, there is little to admire in them but my admiration of others; and whether they have an echo in time to come or not, I have learned to set a grateful value on the past, and am content to wind up the account of what is personal only to myself and the immediate circle of objects in which I have moved, with an act of easy oblivion,
‘And curtain close such scene from every future view.’
BYRON AND WORDSWORTH
The London Weekly Review.] [April 5, 1828.
I am much surprised at Lord Byron’s haste to return a volume of Spenser, which was lent him by Mr. Hunt, and at his apparent indifference to the progress and (if he pleased) advancement of poetry up to the present day. Did he really think that all genius was concentred in his own time, or in his own bosom? With his pride of ancestry, had he no curiosity to explore the heraldry of intellect? or did he regard the Muse as an upstart—a mere modern bluestocking and fine lady? I am afraid that high birth and station, instead of being (as Mr. Burke predicates,) ‘a cure for a narrow and selfish mind,’ only make a man more full of himself, and, instead of enlarging and refining his views, impatient of any but the most inordinate and immediate stimulus. I do not recollect, in all Lord Byron’s writings, a single recurrence to a feeling or object that had ever excited an interest before; there is no display of natural affection—no twining of the heart round any object: all is the restless and disjointed effect of first impressions, of novelty, contrast, surprise, grotesque costume, or sullen grandeur. His beauties are the houris of Paradise, the favourites of a seraglio, the changing visions of a feverish dream. His poetry, it is true, is stately and dazzling, arched like a rainbow, of bright and lovely hues, painted on the cloud of his own gloomy temper—perhaps to disappear as soon! It is easy to account for the antipathy between him and Mr. Wordsworth. Mr. Wordsworth’s poetical mistress is a Pamela; Lord Byron’s an Eastern princess or a Moorish maid. It is the extrinsic, the uncommon that captivates him, and all the rest he holds in sovereign contempt. This is the obvious result of pampered luxury and high-born sentiments. The mind, like the palace in which it has been brought up, admits none but new and costly furniture. From a scorn of homely simplicity, and a surfeit of the artificial, it has but one resource left in exotic manners and preternatural effect. So we see in novels, written by ladies of quality, all the marvellous allurements of a fairy tale, jewels, quarries of diamonds, giants, magicians, condors and ogres.[[55]] The author of the Lyrical Ballads describes the lichen on the rock, the withered fern, with some peculiar feeling that he has about them: the author of Childe Harold describes the stately cypress, or the fallen column, with the feeling that every schoolboy has about them. The world is a grown schoolboy, and relishes the latter most. When Rousseau called out—‘Ah! voila de la pervenche!’ in a transport of joy at sight of the periwinkle, because he had first seen this little blue flower in company with Madame Warens thirty years before, I cannot help thinking, that any astonishment expressed at the sight of a palm-tree, or even of Pompey’s Pillar, is vulgar compared to this! Lord Byron, when he does not saunter down Bond-street, goes into the East: when he is not occupied with the passing topic, he goes back two thousand years, at one poetic, gigantic stride! But instead of the sweeping mutations of empire, and the vast lapses of duration, shrunk up into an antithesis, commend me to the ‘slow and creeping foot of time,’ in the commencement of Ivanhoe, where the jester and the swine-herd watch the sun going down behind the low-stunted trees of the forest, and their loitering and impatience make the summer’s day seem so long, that we wonder how we have ever got to the end of the six hundred years that have passed since! That where the face of nature has changed, time should have rolled on its course, is but a common-place discovery; but that where all seems the same, (the long rank grass, and the stunted oaks, and the innocent pastoral landscape,) all should have changed—this is to me the burthen and the mystery. The ruined pile is a memento and a monument to him that reared it—oblivion has here done but half its work; but what yearnings, what vain conflicts with its fate come over the soul in the other case, which makes man seem like a grasshopper—an insect of the hour, and all that he is, or that others have been—nothing!
ON CANT AND HYPOCRISY
A Fragment
The London Weekly Review.] [December 6, 1828.
‘If to do were as easy as to teach others what were good to be done, chapels had been churches, and poor men’s cottages princes’ palaces.’
Mr. Addison, it is said, was fond of tippling; and Curl, it is added, when he called on him in the morning, used to ask as a particular favour for a glass of Canary, by way of ingratiating himself, and that the other might have a pretence to join him and finish the bottle. He fell a martyr to this habit, and yet (some persons more nice than wise exclaim,) he desired that the young Earl of Warwick might attend him on his death-bed, ‘to see how a Christian could die!’ I see no inconsistency nor hypocrisy in this. A man may be a good Christian, a sound believer, and a sincere lover of virtue, and have, notwithstanding, one or more failings. If he had recommended it to others to get drunk, then I should have said he was a hypocrite, and that his pretended veneration for the Christian religion was a mere cloak put on to suit the purposes of fashion or convenience. His doing what it condemned was no proof of any such thing: ‘The spirit was willing, but the flesh was weak.’ He is a hypocrite who professes what he does not believe; not he who does not practice all he wishes or approves. It might on the same ground be argued, that a man is a hypocrite who admires Raphael or Shakespeare, because he cannot paint like the one, or write like the other. If any one really despised what he affected outwardly to admire, this would be hypocrisy. If he affected to admire it a great deal more than he really did, this would be cant. Sincerity has to do with the connexion between our words and thoughts, and not between our belief and actions. The last constantly belie the strongest convictions and resolutions in the best of men; it is only the base and dishonest who give themselves credit with their tongue, for sentiments and opinions which in their hearts they disown.