FullReads

‘—-Of Proteus coming from the sea,
And hear old Triton wind his wreathed horn;’

whether this, or the passage on the Greek mythology in ‘The Excursion.’ Whichever he means, I am the last man to deny that it is beautiful, and especially if he means the latter. But it is no presumption to deny firmly Mr. Landor’s assertion, that these are ‘the best verses Wordsworth ever wrote.’ Bless the man!

‘There are a thousand such elsewhere,
As worthy of your wonder:’–

Elsewhere, I mean, in Wordsworth’s poems. In reality it is impossible that these should be the best; for even if, in the executive part, they were so, which is not the case, the very nature of the thought, of the feeling, and of the relation, which binds it to the general theme, and the nature of that theme itself, forbid the possibility of merits so high. The whole movement of the feeling is fanciful: it neither appeals to what is deepest in human sensibilities, nor is meant to do so. The result, indeed, serves only to show Mr. Landor’s slender acquaintance with Wordsworth. And what is worse than being slenderly acquainted, he is erroneously acquainted even with these two short breathings from the Wordsworthian shell. He mistakes the logic. Wordsworth does not celebrate any power at all in Paganism. Old Triton indeed! he’s little better, in respect of the terrific, than a mail-coach guard, nor half as good, if you allow the guard his official seat, a coal-black night, lamps blazing back upon his royal scarlet, and his blunderbuss correctly slung. Triton would not stay, I engage, for a second look at the old Portsmouth mail, as once I knew it. But, alas! better things than ever stood on Triton’s pins are now as little able to stand up for themselves, or to startle the silent fields in darkness, with the sudden flash of their glory–gone before it had fall come–as Triton is to play the Freyschutz chorus on his humbug of a horn. But the logic of Wordsworth is this–not that the Greek mythology is potent; on the contrary, that it is weaker than cowslip tea, and would not agitate the nerves of a hen sparrow; but that, weak as it is–nay, by means of that very weakness–it does but the better serve to measure the weakness of something which he thinks yet weaker–viz. the death-like torpor of London society in 1808, benumbed by conventional apathy and worldliness–

‘Heavy as frost, and deep almost as life.’

This seems a digression from Milton, who is properly the subject of this colloquy. But, luckily, it is not one of my sins. Mr. Landor is lord within the house of his own book; he pays all accounts whatever; and readers that have either a bill, or bill of exceptions, to tender against the concern, must draw upon him. To Milton he returns upon a very dangerous topic indeed–viz. the structure of his blank verse. I know of none that is so trying to a wary man’s nerves. You might as well tax Mozart with harshness in the divinest passages of ‘Don Giovanni,’ as Milton with any such offence against metrical science. Be assured, it is yourself that do not read with understanding, not Milton that by possibility can be found deaf to the demands of perfect harmony. You are tempted, after walking round a line threescore times, to exclaim at last– ‘Well, if the Fiend himself should rise up before me at this very moment, in this very study of mine, and say that no screw was loose in that line, then would I reply–‘Sir, with submission, you are—-.’ ‘What!’ suppose the Fiend suddenly to demand in thunder; ‘what am I?’ ‘Horribly wrong,’ you wish exceedingly to say; but, recollecting that some people are choleric in argument, you confine yourself to the polite answer-‘That, with deference to his better education, you conceive him to lie;’–that’s a bad word to drop your voice upon in talking with a fiend, and you hasten to add–‘under a slight, a very slight mistake.’ Ay, you might venture on that opinion with a fiend. But how if an angel should undertake the case? And angelic was the ear of Milton. Many are the prima facie anomalous lines in Milton; many are the suspicious lines, which in many a book I have seen many a critic peering into, with eyes made up for mischief, yet with a misgiving that all was not quite safe, very much like an old raven looking down a marrow-bone. In fact, such is the metrical skill of the man, and such the perfection of his metrical sensibility, that, on any attempt to take liberties with a passage of his, you feel as when coming, in a forest, upon what seems a dead lion; perhaps he may not be dead, but only sleeping; nay, perhaps he may not be sleeping, but only shamming. And you have a jealousy, as to Milton, even in the most flagrant case of almost palpable error, that, after all, there may be a plot in it. You may be put down with shame by some man reading the line otherwise, reading it with a different emphasis, a different caesura, or perhaps a different suspension of the voice, so as to bring out a new and self-justifying effect. It must be added, that, in reviewing Milton’s metre, it is quite necessary to have such books as ‘Nare’s English Orthoepy’ (in a late edition), and others of that class, lying on the table; because the accentuation of Milton’s age was, in many words, entirely different from ours. And Mr. Landor is not free from some suspicion of inattention as to this point. Over and above his accentual difference, the practice of our elder dramatists in the resolution of the final tion (which now is uniformly pronounced shon), will be found exceedingly important to the appreciation of a writer’s verse. Contribution, which now is necessarily pronounced as a word of four syllables, would then, in verse, have five, being read into con-tri-bu-ce-on. Many readers will recollect another word, which for years brought John Kemble into hot water with the pit of Drury Lane. It was the plural of the word ache. This is generally made a dissyllable by the Elizabethan dramatists; it occurs in the ‘Tempest.’ Prospero says–