Famous Reviews, Selected and Edited with Introductory Notes by R. Brimley Johnson. Various

more disastrous. There is nothing so ridiculous (at least for a poet) as to fail in great attempts. If the reader foresaw the failure, he may receive some degree of mischievous satisfaction from its punctual occurrence; if he did not, he will be vexed and disappointed; and, in both cases, he will very speedily be disgusted and fatigued. It would be going too far, certainly, to maintain, that our modern poets have never succeeded in their persevering endeavours at elevation and emphasis; but it is a melancholy fact, that their successes bear but a small proportion to their miscarriages; and that the reader who has been promised an energetic sentiment, or sublime allusion, must often be contented with a very miserable substitute. Of the many contrivances they employ to give the appearance of uncommon force and animation to a very ordinary conception, the most usual is, to wrap it up in a veil of mysterious and unintelligible language, which flows past with so much solemnity, that it is difficult to believe it conveys nothing of any value. Another device for improving the effect of a cold idea, is, to embody it in a verse of unusual harshness and asperity. Compound words, too, of a portentous sound and conformation, are very useful in giving an air of energy and originality; and a few lines of scripture, written out into verse from the original prose, have been found to have a very happy effect upon those readers to whom they have the recommendation of novelty.

      The qualities of style and imagery, however, form but a small part of the characteristics by which a literary faction is to be distinguished. The subject and object of their compositions, and the principles and opinions they are calculated to support, constitute a far more important criterion, and one to which it is usually altogether as easy to refer. Some poets are sufficiently described as the flatterers of greatness and power, and others as the champions of independence. One set of writers is known by its antipathy to decency and religion; another, by its methodistical cant and intolerance. Our new school of poetry has a moral character also; though it may not be possible, perhaps, to delineate it quite so concisely.

      A splenetic and idle discontent with the existing institutions of society, seems to be at the bottom of all their serious and peculiar sentiments. Instead of contemplating the wonders and the pleasures which civilization has created for mankind, they are perpetually brooding over the disorders by which its progress has been attended. They are filled with horror and compassion at the sight of poor men spending their blood in the quarrels of princes, and brutifying their sublime capabilities in the drudgery of unremitting labour. For all sorts of vice and profligacy in the lower orders of society, they have the same virtuous horror, and the same tender compassion. While the existence of these offences overpowers them with grief and confusion, they never permit themselves to feel the smallest indignation or dislike towards the offenders. The present vicious constitution of society alone is responsible for all these enormities: the poor sinners are but the helpless victims or instruments of its disorders, and could not possibly have avoided the errors into which they have been betrayed. Though they can bear with crimes, therefore, they cannot reconcile themselves to punishments; and have an unconquerable antipathy to prisons, gibbets, and houses of correction, as engines of oppression, and instruments of atrocious injustice. While the plea of moral necessity is thus artfully brought forward to convert all the excesses of the poor into innocent misfortunes, no sort of indulgence is shown to the offences of the powerful and rich. Their oppressions, and seductions, and debaucheries, are the theme of many an angry verse; and the indignation and abhorrence of the reader is relentlessly conjured up against those perturbators of society, and scourges of mankind.

      It is not easy to say, whether the fundamental absurdity of this doctrine, or the partiality of its application, be entitled to the severest reprehension. If men are driven to commit crimes, through a certain moral necessity; other men are compelled, by a similar necessity, to hate and despise them for their commission. The indignation of the sufferer is at least as natural as the guilt of him who makes him suffer; and the good order of society would probably be as well preserved, if our sympathies were sometimes called forth in behalf of the former. At all events, the same apology ought certainly to be admitted for the wealthy, as for the needy offender. They are subject alike to the overruling influence of necessity, and equally affected by the miserable condition of society. If it be natural for a poor man to murder and rob, in order to make himself comfortable, it is no less natural for a rich man to gormandise and domineer, in order to have the full use of his riches. Wealth is just as valid an excuse for the one class of vices, as indigence is for the other. There are many other peculiarities of false sentiment in the productions of this class of writers, that are sufficiently deserving of commemoration; but we have already exceeded our limits in giving these general indications of their character, and must now hasten back to the consideration of the singular performance which has given occasion to all this discussion.

      The first thing that strikes the reader of Thalaba, is the singular structure of the versification, which is a jumble of all the measures that are known in English poetry (and a few more), without rhyme, and without any sort of regularity in their arrangement. Blank odes have been known in this country about as long as English sapphics and dactylics; and both have been considered, we believe, as a species of monsters, or exotics, that were not very likely to propagate, or thrive, in so unpropitious a climate. Mr. Southey, however, has made a vigorous effort for their naturalisation, and generously endangered his own reputation in their behalf. The melancholy fate of his English sapphics, we believe, is but too generally known; and we can scarcely predict a more favourable issue to the present experiment. Every combination of different measures is apt to perplex and disturb the reader who is not familiar with it; and we are never reconciled to a stanza of a new structure, till we have accustomed our ear to it by two or three repetitions. This is the case, even where we have the assistance of rhyme to direct us in our search after regularity, and where the definite form and appearance of a stanza assures us that regularity is to be found. Where both of these are wanting, it may be imagined that our condition will be still more deplorable; and a compassionate author might even excuse us, if we were unable to distinguish this kind of verse from prose. In reading verse, in general, we are guided to the discovery of its melody, by a sort of preconception of its cadence and compass; without which, it might often fail to be suggested by the mere articulation of the syllables. If there be any one, whose recollection does not furnish him with evidence of this fact, he may put it to the test of experiment, by desiring any of his illiterate acquaintances to read off some of Mr. Southey's dactylics, or Sir Philip Sidney's hexameters. It is the same thing with the more unusual measures of the ancient authors. We have never known any one who fell in, at the first trial, with the proper rhyme and cadence of the pervigilium Veneris, or the choral lyrics of the Greek dramatists. The difficulty, however, is virtually the same, as to every new combination; and it is an unsurmountable difficulty, where such new combinations are not repeated with any degree of uniformity, but are multiplied, through the whole composition, with an unbounded licence of variation. Such, however, is confessedly the case with the work before us; and it really seems unnecessary to make any other remark on its versification.

      The author, however, entertains a different opinion of it. So far from apprehending that it may cost his readers some trouble to convince themselves that the greater part of the book is not mere prose, written out into the form of verse, he is persuaded that its melody is more obvious and perceptible than that of our vulgar measures. "One advantage," says Mr. Southey, "this metre assuredly possesses; the dullest reader cannot distort it into discord: he may read it with a prose mouth, but its flow and fall will still be perceptible." We are afraid, there are duller readers in the world than Mr. Southey is aware of.

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      The subject of this poem is almost as ill chosen as the diction; and the conduct of the fable as disorderly as the versification. The corporation of magicians, that inhabit "the Domdaniel caverns, under the roots of the ocean," had discovered, that a terrible destroyer was likely to rise up against them from the seed of Hodeirah, a worthy Arab, with eight fine children. Immediately the murder of all those innocents is resolved on; and a sturdy assassin sent with instructions to destroy the whole family (as Mr. Southey has it) "root and branch." The good man, accordingly, and seven of his children, are dispatched; but a cloud comes over the mother and the remaining child; and the poem opens with the picture of the widow and her orphan wandering, by night, over the desarts of Arabia. The old lady, indeed, might as well have fallen under the dagger of the Domdanielite; for she dies, without doing anything for