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in what they admire, both are wrong in condemning the others for what they admire. We see the defects of Racine, they see the faults of Shakespear probably in an exaggerated point of view. But we may be sure of this, that when we see nothing but grossness and barbarism, or insipidity and verbiage in a writer that is the God of a nation's idolatry, it is we and not they who want true taste and feeling. The controversy about Pope and the opposite school in our own poetry comes to much the same thing. Pope's correctness, smoothness, &c. are very good things and much to be commended in him. But it is not to be expected or even desired that others should have these qualities in the same paramount degree, to the exclusion of every thing else. If you like correctness and smoothness of all things in the world, there they are for you in Pope. If you like other things better, such as strength and sublimity, you know where to go for them. Why trouble Pope or any other author for what they have not, and do not profess to give ? Those who seem to imply that Pope possessed, besides his own peculiar, exquisite merits, all that is to be found in Shakespear or Milton, are I should hardly think in good earnest.. But I do not therefore see that, because this was not the case,
Pope was no poet. We cannot by a little verbal sophistry confound the qualities of different minds, nor force opposite excellencès into a union by all the intolerance in the world. We may pull Pope in pieces as long as we please, for not being Shakespear or Milton, as we may carp at them for not being Pope: but this will not make a poet equal to all three. have a taste for some one precise style or manner, we may keep it to ourselves and let others have theirs. If we are more catholic in our notions, and want variety of excellence and beauty, it is spread abroad for us to profusion in the variety of books and in the several growth of men's minds, fettered by no capricious or arbitrary rules. Those who would proscribe whatever falls short of a given standard of imaginary perfection, do so not from a higher capacity of taste or range of intellect than others, but to destroy, to “ crib and cabin in,” all enjoyments and opinions but their own.
We find people of a decided and original, and others of a more general and versatile taste. I have sometimes thought that the most acute and original-minded men made bad critics. They see every thing too much through a particular medium. What does not fall in with their own bias and mode of composition, strikes them as common-place and factitious. What does not come into the direct line of their vision, they regard idly, with vacant, “lacklustre eye." The extreme force of their original impressions compared with the feebleness of those they receive at second hand from others, oversets the balance and just proportion of their minds. Men who have fewer native resources, and are obliged to apply oftener to the general stock, acquire by habit a greater aptitude in appreciating what they owe to others. Their taste is not made a sacrifice to their egotism and vanity, and they enrich the soil of their minds with continual accessions of borrowed strength and beauty. I might take this opportunity of observing, that the person of the most refined and least contracted taste I ever knew was the late Joseph Fawcett, the friend of my youth. He was almost the first literary acquaintance I ever made, and I think the most candid and unsophisticated. He had a masterly perception of all styles and of every kind and degree of excellence, sublime or beautiful, from Milton's Paradise Lost to Shenstone's Pastoral Ballad, from Butler's Analogy down to Humphry Clinker. If you had a favourite author, he had read him too, and knew all the best morsels, the subtle traits, the capital touches. “ Do you like Sterne?”—“ Yes, to be sure,” he would say,
“I should deserve to be hanged, if I didn't!” His repeating some parts of Comus with his fine, deep, mellow-toned voice, particularly the lines, “I have heard my mother Circe with the Sirens three,” &c.—and the enthusiastic comments he made afterwards were a feast to the ear and to the soul. He read the poetry of Milton with the same fervour and spirit of devotion that I have since heard others read their own.
“ That is the most delicious feeling of all,” I have heard him exclaim, “to like what is excellent, no matter whose it is.” In this respect he practised what he preached. He was incapable of harbouring a sinister motive, and judged only from what he felt. There was no flaw or mist in the clear mirror of his mind. He was as open to impressions as he was strenuous in maintaining them. He did not care a rush whether a writer was old or new, in prose or in verse—“What he wanted,” he said, “ was something to make him think.” Most men's minds are to me like musical instruments out of tune. Touch a particular key, and it jars and makes harsh discord with your own. They like Gil Blas, but can see nothing to laugh at in Don Quixote: they adore Richardson, but are disgusted with Fielding. Fawcett had a
taste accommodated to all these. He was not exceptious. He gave a cordial welcome to all sorts, provided they were the best in their kind. He was not fond of counterfeits or duplicates. His own style was laboured and artificial to a fault, while his character was frank and ingenuous
in the extreme. He was not the only individual whom I have known to counteract their natural disposition in coming before the public, and by avoiding what they perhaps thought an inherent infirmity, debar themselves of their real strength and advantages. A heartier friend or honester critic I never coped withal. He has made me feel (by contrast) the want of genuine sincerity and generous sentiment in some that I have listened to since, and convinced me (if practical proof were wanting) of the truth of that text of Scripture—“ That had I all knowledge and could speak with the tongues of angels, yet without charity I were nothing !” I would rather be a man of disinterested taste and liberal feeling, to see and acknowledge truth and beauty wherever I found it, than a man of greater and more original genius, to hate, envy, and deny all excellence but my own-but that poor scanty pittance of it (compared with the whole) which I had myself produced !