LITMIR.BIZ

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perfect appropriateness of the words to the meaning. Of how high value I deem this, and how particularly estimable I hold the example at the present day, has been already stated: and in part too the reasons on which I ground both the moral and intellectual importance of habituating ourselves to a strict accuracy of expression. It is noticeable, how limited an acquaintance with the masterpieces of art will suffice to form a correct and even a sensitive taste, where none but masterpieces have been seen and admired: while on the other hand, the most correct notions, and the widest acquaintance with the works of excellence of all ages and countries, will not perfectly secure us against the contagious familiarity with the far more numerous offspring of tastelessness or of a perverted taste. If this be the case, as it notoriously is, with the arts of music and painting, much more difficult will it be, to avoid the infection of multiplied and daily examples in the practice of an art, which uses words, and words only, as its instruments. In poetry, in which every line, every phrase, may pass the ordeal of deliberation and deliberate choice, it is possible, and barely possible, to attain that ultimatum which I have ventured to propose as the infallible test of a blameless style; namely: its untranslatableness in words of the same language without injury to the meaning. Be it observed, however, that I include in the meaning of a word not only its correspondent object, but likewise all the associations which it recalls. For language is framed to convey not the object alone but likewise the character, mood and intentions of the person who is representing it. In poetry it is practicable to preserve the diction uncorrupted by the affectations and misappropriations, which promiscuous authorship, and reading not promiscuous only because it is disproportionally most conversant with the compositions of the day, have rendered general. Yet even to the poet, composing in his own province, it is an arduous work: and as the result and pledge of a watchful good sense of fine and luminous distinction, and of complete self-possession, may justly claim all the honour which belongs to an attainment equally difficult and valuable, and the more valuable for being rare. It is at all times the proper food of the understanding; but in an age of corrupt eloquence it is both food and antidote.

      In prose I doubt whether it be even possible to preserve our style wholly unalloyed by the vicious phraseology which meets us everywhere, from the sermon to the newspaper, from the harangue of the legislator to the speech from the convivial chair, announcing a toast or sentiment. Our chains rattle, even while we are complaining of them. The poems of Boetius rise high in our estimation when we compare them with those of his contemporaries, as Sidonius Apollinaris, and others. They might even be referred to a purer age, but that the prose, in which they are set, as jewels in a crown of lead or iron, betrays the true age of the writer. Much however may be effected by education. I believe not only from grounds of reason, but from having in great measure assured myself of the fact by actual though limited experience, that, to a youth led from his first boyhood to investigate the meaning of every word and the reason of its choice and position, logic presents itself as an old acquaintance under new names.

      On some future occasion, more especially demanding such disquisition, I shall attempt to prove the close connection between veracity and habits of mental accuracy; the beneficial after-effects of verbal precision in the preclusion of fanaticism, which masters the feelings more especially by indistinct watchwords; and to display the advantages which language alone, at least which language with incomparably greater ease and certainty than any other means, presents to the instructor of impressing modes of intellectual energy so constantly, so imperceptibly, and as it were by such elements and atoms, as to secure in due time the formation of a second nature. When we reflect, that the cultivation of the judgment is a positive command of the moral law, since the reason can give the principle alone, and the conscience bears witness only to the motive, while the application and effects must depend on the judgment when we consider, that the greater part of our success and comfort in life depends on distinguishing the similar from the same, that which is peculiar in each thing from that which it has in common with others, so as still to select the most probable, instead of the merely possible or positively unfit, we shall learn to value earnestly and with a practical seriousness a mean, already prepared for us by nature and society, of teaching the young mind to think well and wisely by the same unremembered process and with the same never forgotten results, as those by which it is taught to speak and converse. Now how much warmer the interest is, how much more genial the feelings of reality and practicability, and thence how much stronger the impulses to imitation are, which a contemporary writer, and especially a contemporary poet, excites in youth and commencing manhood, has been treated of in the earlier pages of these sketches. I have only to add, that all the praise which is due to the exertion of such influence for a purpose so important, joined with that which must be claimed for the infrequency of the same excellence in the same perfection, belongs in full right to Mr. Wordsworth. I am far however from denying that we have poets whose general style possesses the same excellence, as Mr. Moore, Lord Byron, Mr. Bowles, and, in all his later and more important works, our laurel-honouring Laureate. But there are none, in whose works I do not appear to myself to find more exceptions, than in those of Wordsworth. Quotations or specimens would here be wholly out of place, and must be left for the critic who doubts and would invalidate the justice of this eulogy so applied.

      The second characteristic excellence of Mr. Wordsworth’s work is: a correspondent weight and sanity of the Thoughts and Sentiments, — won, not from books; but — from the poet’s own meditative observation. They are fresh and have the dew upon them. His muse, at least when in her strength of wing, and when she hovers aloft in her proper element,

      Makes audible a linked lay of truth,

      Of truth profound a sweet continuous lay,

      Not learnt, but native, her own natural notes!

      Even throughout his smaller poems there is scarcely one, which is not rendered valuable by some just and original reflection.

      See page 25, vol. II.: or the two following passages in one of his humblest compositions.

      “O Reader! had you in your mind

      Such stores as silent thought can bring,

      O gentle Reader! you would find

      A tale in every thing;”

      and

      “I’ve heard of hearts unkind, kind deeds

      With coldness still returning;

      Alas! the gratitude of men

      Has oftener left me mourning;”

      or in a still higher strain the six beautiful quatrains, page 134.

      “Thus fares it still in our decay:

      And yet the wiser mind

      Mourns less for what age takes away

      Than what it leaves behind.

      The Blackbird in the summer trees,

      The Lark upon the hill,

      Let loose their carols when they please,

      Are quiet when they will.

      With Nature never do they wage

      A foolish strife; they see

      A happy youth, and their old age

      Is beautiful and free!

      But we are pressed by heavy laws;

      And often glad no more,

      We wear a face of joy, because

      We have been glad of yore.

      If there is one, who need bemoan

      His kindred laid in earth,

      The household hearts that were his own,

      It is the man of mirth.

      My days, my Friend, are almost gone,

      My life has been approved,

      And many love me; but by none

      Am I enough beloved;”

      or the sonnet on Buonaparte, page 202, vol. II. or finally

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