Chapter XX

The former subject continued—The neutral style, or that common to Prose and Poetry, exemplified by specimens from Chaucer, Herbert, and others.

I have no fear in declaring my conviction, that the excellence defined and exemplified in the preceding chapter is not the characteristic excellence of Mr. Wordsworth’s style; because I can add with equal sincerity, that it is precluded by higher powers. The praise of uniform adherence to genuine, logical English is undoubtedly his; nay, laying the main emphasis on the word uniform, I will dare add that, of all contemporary poets, it is his alone. For, in a less absolute sense of the word, I should certainly include Mr. Bowies, Lord Byron, and, as to all his later writings, Mr. Southey, the exceptions in their works being so few and unimportant. But of the specific excellence described in the quotation from Garve, I appear to find more, and more undoubted specimens in the works of others; for instance, among the minor poems of Mr. Thomas Moore, and of our illustrious Laureate. To me it will always remain a singular and noticeable fact; that a theory, which would establish this lingua communis, not only as the best, but as the only commendable style, should have proceeded from a poet, whose diction, next to that of Shakespeare and Milton, appears to me of all others the most individualized and characteristic. And let it be remembered too, that I am now interpreting the controverted passages of Mr. Wordsworth’s critical preface by the purpose and object, which he may be supposed to have intended, rather than by the sense which the words themselves must convey, if they are taken without this allowance.

A person of any taste, who had but studied three or four of Shakespeare’s principal plays, would without the name affixed scarcely fail to recognise as Shakespeare’s a quotation from any other play, though but of a few lines. A similar peculiarity, though in a less degree, attends Mr. Wordsworth’s style, whenever he speaks in his own person; or whenever, though under a feigned name, it is clear that he himself is still speaking, as in the different dramatis personae of THE RECLUSE. Even in the other poems, in which he purposes to be most dramatic, there are few in which it does not occasionally burst forth. The reader might often address the poet in his own words with reference to the persons introduced:

“It seems, as I retrace the ballad line by line That but half of it is theirs, and the better half is thine.”

Who, having been previously acquainted with any considerable portion of Mr. Wordsworth’s publications, and having studied them with a full feeling of the author’s genius, would not at once claim as Wordsworthian the little poem on the rainbow?

“The Child is father of the Man, etc.”

Or in the LUCY GRAY?

“No mate, no comrade Lucy knew;She dwelt on a wide moor;The sweetest thing that ever grewBeside a human door.”

Or in the IDLE SHEPHERD-BOYS?

“Along the river’s stony margeThe sand-lark chants a joyous song;The thrush is busy in the wood,And carols loud and strong.A thousand lambs are on the rocks,All newly born! both earth and skyKeep jubilee, and more than all,Those boys with their green coronal;They never hear the cry,That plaintive cry! which up the hillComes from the depth of Dungeon-Ghyll.”

Need I mention the exquisite description of the Sea-Loch in THE BLIND HIGHLAND BOY. Who but a poet tells a tale in such language to the little ones by the fire-side as—

“Yet had he many a restless dream;Both when he heard the eagle’s scream,And when he heard the torrents roar,And heard the water beat the shoreNear where their cottage stood.
Beside a lake their cottage stood,Not small like our’s, a peaceful flood;But one of mighty size, and strange;That, rough or smooth, is full of change,And stirring in its bed.
For to this lake, by night and day,The great Sea-water finds its wayThrough long, long windings of the hills,And drinks up all the pretty rillsAnd rivers large and strong:
Then hurries back the road it cameReturns on errand still the same;This did it when the earth was new;And this for evermore will do,As long as earth shall last.
And, with the coming of the tide,Come boats and ships that sweetly ride,Between the woods and lofty rocks;And to the shepherds with their flocksBring tales of distant lands.”

I might quote almost the whole of his RUTH, but take the following stanzas:

But, as you have before been told,This Stripling, sportive, gay, and bold,And, with his dancing crest,So beautiful, through savage landsHad roamed about with vagrant bandsOf Indians in the West.
The wind, the tempest roaring high,The tumult of a tropic sky,Might well be dangerous foodFor him, a Youth to whom was givenSo much of earth—so much of heaven,And such impetuous blood.
Whatever in those climes he foundIrregular in sight or soundDid to his mind impartA kindred impulse, seemed alliedTo his own powers, and justifiedThe workings of his heart.
Nor less, to feed voluptuous thought,The beauteous forms of nature wrought,Fair trees and lovely flowers;The breezes their own languor lent;The stars had feelings, which they sentInto those magic bowers.
Yet in his worst pursuits, I ween,That sometimes there did intervenePure hopes of high intentFor passions linked to forms so fairAnd stately, needs must have their shareOf noble sentiment.”

But from Mr. Wordsworth’s more elevated compositions, which already form three-fourths of his works; and will, I trust, constitute hereafter a still larger proportion;—from these, whether in rhyme or blank verse, it would be difficult and almost superfluous to select instances of a diction peculiarly his own, of a style which cannot be imitated without its being at once recognised, as originating in Mr. Wordsworth. It would not be easy to open on any one of his loftier strains, that does not contain examples of this; and more in proportion as the lines are more excellent, and most like the author. For those, who may happen to have been less familiar with his writings, I will give three specimens taken with little choice. The first from the lines on the BOY OF WINANDER-MERE,—who

“Blew mimic hootings to the silent owls,That they might answer him.—And they would shoutAcross the watery vale, and shout again,With long halloos, and screams, and echoes loudRedoubled and redoubled; concourse wildOf mirth and jocund din! And when it chanced,That pauses of deep silence mocked his skill,Then sometimes in that silence, while he hungListening, a gentle shock of mild surpriseHas carried far into his heart the voiceOf mountain-torrents; or the visible scene 73Would enter unawares into his mindWith all its solemn imagery, its rocks,Its woods, and that uncertain heaven, receivedInto the bosom of the steady lake.”

The second shall be that noble imitation of Drayton 74 (if it was not rather a coincidence) in the lines TO JOANNA.

—“When I had gazed perhaps two minutes’ space,Joanna, looking in my eyes, beheldThat ravishment of mine, and laughed aloud.The Rock, like something starting from a sleep,Took up the Lady’s voice, and laughed again!That ancient woman seated on Helm-cragWas ready with her cavern; Hammar-scarAnd the tall Steep of Silver-How sent forthA noise of laughter; southern Lougbrigg heard,And Fairfield answered with a mountain tone.Helvellyn far into the clear blue skyCarried the lady’s voice!—old Skiddaw blewHis speaking trumpet!—back out of the cloudsFrom Glaramara southward came the voice:And Kirkstone tossed it from its misty head!”

The third, which is in rhyme, I take from the SONG AT THE FEAST OF BROUGHAM CASTLE, upon the restoration of Lord Clifford, the Shepherd, to the Estates and Honours of his Ancestors.

—“Now another day is come,Fitter hope, and nobler doom;He hath thrown aside his crook,And hath buried deep his book;Armour rusting in his hallsOn the blood of Clifford calls,—‘Quell the Scot,’ exclaims the Lance!Bear me to the heart of France,Is the longing of the Shield—Tell thy name, thou trembling Field!—Field of death, where’er thou be,Groan thou with our victory!Happy day, and mighty hour,When our Shepherd, in his power,Mailed and horsed, with lance and sword,To his ancestors restored,Like a re-appearing Star,Like a glory from afar,First shall head the flock of war!”
“Alas! the fervent harper did not know,That for a tranquil Soul the Lay was framed,Who, long compelled in humble walks to go,Was softened into feeling, soothed, and tamed.
Love had he found in huts where poor men lie;His daily teachers had been woods and rills,The silence that is in the starry sky,The sleep that is among the lonely hills.”

The words themselves in the foregoing extracts, are, no doubt, sufficiently common for the greater part.—But in what poem are they not so, if we except a few misadventurous attempts to translate the arts and sciences into verse? In THE EXCURSION the number of polysyllabic (or what the common people call, dictionary) words is more than usually great. And so must it needs be, in proportion to the number and variety of an author’s conceptions, and his solicitude to express them with precision.—But are those words in those places commonly employed in real life to express the same thought or outward thing? Are they the style used in the ordinary intercourse of spoken words? No! nor are the modes of connections; and still less the breaks and transitions. Would any but a poet—at least could any one without being conscious that he had expressed himself with noticeable vivacity—have described a bird singing loud by, “The thrush is busy in the wood?”—or have spoken of boys with a string of club-moss round their rusty hats, as the boys “with their green coronal?”—or have translated a beautiful May-day into “Both earth and sky keep jubilee!”—or have brought all the different marks and circumstances of a sealoch before the mind, as the actions of a living and acting power? Or have represented the reflection of the sky in the water, as “That uncertain heaven received into the bosom of the steady lake?” Even the grammatical construction is not unfrequently peculiar; as “The wind, the tempest roaring high, the tumult of a tropic sky, might well be dangerous food to him, a youth to whom was given, etc.” There is a peculiarity in the frequent use of the asymartaeton (that is, the omission of the connective particle before the last of several words, or several sentences used grammatically as single words, all being in the same case and governing or governed by the same verb) and not less in the construction of words by apposition (“to him, a youth”). In short, were there excluded from Mr. Wordsworth’s poetic compositions all, that a literal adherence to the theory of his preface would exclude, two thirds at least of the marked beauties of his poetry must be erased. For a far greater number of lines would be sacrificed than in any other recent poet; because the pleasure received from Wordsworth’s poems being less derived either from excitement of curiosity or the rapid flow of narration, the striking passages form a larger proportion of their value. I do not adduce it as a fair criterion of comparative excellence, nor do I even think it such; but merely as matter of fact. I affirm, that from no contemporary writer could so many lines be quoted, without reference to the poem in which they are found, for their own independent weight or beauty. From the sphere of my own experience I can bring to my recollection three persons of no every-day powers and acquirements, who had read the poems of others with more and more unallayed pleasure, and had thought more highly of their authors, as poets; who yet have confessed to me, that from no modern work had so many passages started up anew in their minds at different times, and as different occasions had awakened a meditative mood.

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