The Poetical Works of James Beattie. James Beattie

1761 Beattie made his first appearance in print, in his own character, by publishing a small volume, dedicated to the Earl of Erroll, entitled Original Poems and Translations. It consisted partly of some of the verses which he had formerly sent to the Scots Magazine, and partly of pieces which he had recently composed. "This collection," says his good-natured and not very tasteful biographer, Sir William Forbes, "was very favourably received, and stamped Dr. Beattie with the character of a poet of great and original genius." It was certainly "favourably received," the chief critical journals of the day being unanimous in its praise; but that it "stamped the author with the character of a poet of great and original genius," I cannot allow. The truth is, it does not contain a single poem which rises much above mediocrity; and if Beattie had never touched the lyre with a more powerful hand, a memoir of his life would not have been required for the Aldine Poets. So lightly, indeed, did he himself afterwards think of the collection in question, that he used to destroy all the copies of it which he could procure, and would only suffer four pieces from it (and these much altered and improved) to stand in the same volume with The Minstrel.

      During the summer of 1763, Beattie for the first time visited London, among the inhabitants of which, Millar, his publisher, was almost his only acquaintance. While residing there, he made a pilgrimage to Pope's villa at Twickenham.

      The Judgment of Paris, printed in 4to, in 1765, was the least successful of our author's poetical works. Several passages of considerable beauty could not prevent this elaborate, cold, and metaphysical production from being utterly neglected by the public.

      That his Verses on the death of Churchill (which appeared anonymously very soon after The Judgment of Paris) were read with more attention, is to be attributed rather to the subject of the piece than to its intrinsic merit.8 No one can peruse it without regretting that the amiable Beattie should have been betrayed by political feelings into such virulent abuse of a man of genius, who had just been gathered to the poets of other days. He is said to have written it at the solicitation of certain friends in Scotland, where the name of Churchill was held in detestation; and on these injudicious instigators let a portion of the odium rest.

      In the autumn of 1765, Gray, who was then regarded as the first of living bards, paid a visit to the Earl of Strathmore, at Glammis castle. No sooner did Beattie hear of his arrival than he addressed to him the following letter:

Marischal College of Aberdeen, 30th August, 1765.

      "If I thought it necessary to offer an apology for venturing to address you in this abrupt manner, I should be very much at a loss how to begin. I might plead my admiration of your genius, and my attachment to your character; but who is he that could not, with truth, urge the same excuse for intruding upon your retirement? I might plead my earnest desire to be personally acquainted with a man whom I have so long and so passionately admired in his writings; but thousands of greater consequence than I, are ambitious of the same honour. I, indeed, must either flatter myself that no apology is necessary, or otherwise I must despair of obtaining what has long been the object of my most ardent wishes; I must forever forfeit all hopes of seeing you, and conversing with you.

      "It was yesterday I received the agreeable news of your being in Scotland, and of your intending to visit some parts of it. Will you permit us to hope, that we shall have an opportunity, at Aberdeen, of thanking you in person, for the honour you have done to Britain, and to the poetic art, by your inestimable compositions, and of offering you all that we have that deserves your acceptance, namely, hearts full of esteem, respect, and affection? If you cannot come so far northward, let me at least be acquainted with the place of your residence, and permitted to wait on you. Forgive, sir, this request; forgive me if I urge it with earnestness, for indeed it concerns me nearly; and do me the justice to believe, that I am, with the most sincere attachment, and most respectful esteem, &c. &c. &c.

      "P. S. Dr. Carlysle of Musselburgh, and Dr. Wight of Glasgow, acquainted me of your being in Scotland. It was from them I learned that my name was not wholly unknown to you."

      In consequence of this letter, Beattie received an invitation to Glammis castle; and a friendship and correspondence commenced between the two poets, which terminated only with the death of Gray. The impression which their first meeting made on our author he thus describes in a letter to Sir William Forbes: – "I am sorry you did not see Mr. Gray on his return; you would have been much pleased with him. Setting aside his merit as a poet, which, however, in my opinion, is greater than any of his contemporaries can boast, in this or in any other nation, I found him possessed of the most exact taste, the soundest judgment, and the most extensive learning. He is happy in a singular facility of expression. His conversation abounds in original observations, delivered with no appearance of sententious formality, and seeming to arise spontaneously without study or premeditation. I passed two very agreeable days with him in Glammis, and found him as easy in his manners, and as communicative and frank, as I could have wished."

      A new edition of our author's Poems came forth in 1766. From it a large portion of the pieces published in the former collection was rejected; while The Judgment of Paris, the Lines on the Death of Churchill, and one or two copies of verses never before printed, supplied the deficiency. The translation of Addison's Pygmæogeranomachia, which concludes the volume, is remarkable for its spirited and graceful versification.

      In a letter to Dr. Blacklock, dated 22d September in the same year, Beattie thus alludes to his great work, The Minstrel: —

      "Not long ago I began a poem in the style and stanza of Spenser, in which I propose to give full scope to my inclination, and be either droll or pathetic, descriptive or sentimental, tender or satirical, as the humour strikes me; for, if I mistake not, the manner which I have adopted admits equally of all these kinds of composition. I have written one hundred and fifty lines, and am surprised to find the structure of that complicated stanza so little troublesome. I was always fond of it, for I think it the most harmonious that ever was contrived. It admits of more variety of pauses than either the couplet or the alternate rhyme; and it concludes with a pomp and majesty of sound, which, to my ear, is wonderfully delightful. It seems also very well adapted to the genius of our language, which, from its irregularity of inflexion and number of monosyllables, abounds in diversified terminations, and consequently renders our poetry susceptible of an endless variety of legitimate rhymes. But I am so far from intending this performance for the press, that I am morally certain it never will be finished. I shall add a stanza now and then, when I am at leisure, and when I have no humour for any other amusement; but I am resolved to write no more poetry with a view to publication, till I see some dawnings of a poetical taste among the generality of readers, of which, however, there is not at present any thing like an appearance."

      Writing to Sir William Forbes, 8th January, 1767, our author gives an account of the cause of his composing The Hermit, the most perfect of his minor poems: —

      "The favourable reception you gave to my little poem, demands my acknowledgments. I aimed at simplicity in the expression, and something like uncommonness in the thought; and I own I am not ill pleased with it upon the whole; though I am sensible it does not answer the purpose for which I made it. I wrote it at the desire of a young lady of this country, who has a taste both for poetry and music, and wanted me to make words for a Scots tune called 'Pentland Hills,' of which she is very fond. The verses correspond well enough with the measure and subject of the tune, but are extremely unsuitable for the purpose of a song."9

      To Dr. Blacklock he again writes concerning The Minstrel:

"Aberdeen, 20th May, 1767.

      "My performance in Spenser's stanza has not advanced a single line these many months. It is called 'The Minstrel.' The subject was suggested by a dissertation on the old minstrels, which is prefixed to a collection of Ballads lately published by Dodsley, in three volumes. I propose to give an account of the birth, education, and adventures of one of those bards; in which I shall have full scope for description, sentiment, satire, and even a certain species of humour and of pathos, which, in the opinion of my great master are by no means inconsistent, as is evident from his works. My hero is to be born in the south of Scotland; which you know was the native land of the English minstrels; I mean of those minstrels

8

Sir William Forbes says it "had a rapid sale." Mr. A. Chalmers, however (Poets, vol. xviii. p. 519), doubts if it was ever published for sale, except in Beattie's Poems, 1766, in the Advertisement to which we are told that it "appeared in a separate pamphlet in the beginning of the year 1765." I have been unable to meet with the original edition.

9

I have been told that the poem consisted originally of only four stanzas, and that the two beautiful ones with which it now concludes were added, a considerable time after the others were written, at the request of Mrs. Carnegie, of Charlton, near Montrose. This lady, whose maiden name was Scott, was authoress of a poem called Dunotter Castle, printed in the second edition of Colman and Thornton's Poems by Eminent Ladies.

'Pentland Hills', for which Beattie wrote The Hermit, was an air composed by Mr. Tytler, of Woodhouselee, in imitation of the old Scottish melodies.