proved the justice of transferring to poetry nature has joined together. A jest jars surdity of that contracted view of tragedy, against their sense of propriety. They will and its aim and instruments, which excluded not allow the even tenor of an argument to from its province the resources of the be quickened even by a flood of humorous comic, the low, or even the common, and illustration. With them the course of cri- which reduced to one regular and conventicism must be a kind of royal progress- tional march, the desultory and unequal measured and decorous as a Spartan march. movements of that world of life, "where We are not at present inquiring how far good and evil, joy and sorrow, are mingled in these volumes the transitions from grave in endless variety of proportion, and innuto gay, and indeed from the extreme of one merable modes of combination;"-where to that of another, may not at times be too the most startling extremes are constantly violent; or whether the writer may not oc- meeting each other face to face-" in which casionally have resigned himself too unhesi- at the same time the reveller is hasting to tatingly to the guidance of that "Friar's his wine, and the mourner burying his lantern" of wild humors which he follows, friend."* No one has more completely till he leaves both himself and his readers somewhat wide of the mark ;-or may not at other times have allowed himself to be less inspired, than overmastered, by that passion of sympathy with which he regards all forms of nature, animate or inanimate; so as on the one hand to accumulate, with a wasteful excess, the materials of the ludicrous; and on the other to give vent to his strong sensibilities in words and images too glowing for the colder temperament of his readers unprepared for such rapidity of transition between the extremes of contradictory emotion. On these points, opinions will probably remain much divided in regard to these "Recreations:" they are certain, in fact, to differ, according to the varying dispositions and susceptibilities of the reader: one person, from habit and education, preferring the so-called classic style of criticism, which views every essay as a treatise to be composed in one key, and according to rules of rigorous deduction; another leaning more towards the romantic, by admitting the blending of many elements, and employing without scruple the agency of the imagination, or of the sportive faculty of humor, even in addressing the reason. But surely, in any view, the principle must be erroneous which would exclude from the criticism of poetry and art-or from those views and observations on life, and character, and morals, which are generally, though rather vaguely, classified under the term Essays a wide field of humor, an extensive range of excursive fancy, and a union of the comic and serious elements, such as meet us daily in every scene of life itself. But if this be so, is not much of the same latitude and variety of view which is here conceded to poetical and imaginative creations, to be admitted also as legitimate in the critical estimate of such productions? Will not the province of high and original criticism be enlarged by recognising in the critic a right to deal with them in the same plastic spirit in which they were ceived? To arrest and pour out with a congenial warmth and homely strength of expression, the shifting feelings-elevated, pathetic, or ludicrous-which present themselves to a many-sided mind, in the contemplation of a great work of art, as in the observation of nature? con No doubt, this variable and imaginative style may be unsuited to formal treatises, and systems of criticism, of poetry or art. When the main object is to arrange and systematize long-established results; to present these in a compact shape; to compile a Hand-Book of Criticism for everyday use, we grudge every excursion of fancy, and press on as one who bates not till his In poetical creation, even the sternest and journey's end.' The goal being plain from most formal of critics admit the legitimacy the first, the object is to make the highway of such a union. Dr. Johnson, however lit- to it as short and smooth as possible. But tle he may have extended the rule in prac-it is otherwise with the non inventa sed tice to his own critical investigations, fully quærenda :-Where criticism comes to deal recognized its application to the dramatic with new products of imagination; to sound representation of characters and events. No one saw or felt more strongly the ab * Johnson's Preface to Shakespeare. and fathom the currents and tendencies of has found expression-and have applied to a new literature, springing up out of the the study and appreciation of these, the changing aspects of things; to point out same variety of view and range of emotion the mode of its growth, the probability of which they would have permitted to themits direction; its relation to that which pre-selves in poetical representation-that most ceded it ;-in what respects it is the inde- of what is original or valuable in our critipendent expression of the individual mind, cism is to be traced. in what the result of a mere social necessity; what in it is likely to be permanent and unchangeable-what the mere reflection of temporary tastes and fashions and prejudices, soon to be superseded by other modes, as transitory, in their turn-fully to perform this task, criticism must be indulged with a Poetry no less than a Philosophy. Not breadth of view alone, or clear logical deduction, but deep and luminous insight into men, is necessary; the critic must not only look around, but into, and even beyond the things with which he deals. He must strive to penetrate the true nature of that complex and perplexing whole which he contemplates; not by the mere application of the judgment and the reasoning faculties, which will at best furnish him only with its outward measurement and proportions, but by flashing upon it also the light of imagination, nay, testing it at times in the fire of ridicule and playful wit,-till, under the influence of so many combined forces, its true essence is yielded up, and its vital spirit apprehended." It will perhaps be said, that though this may be true as a general principle, the objection, in this case, lies rather to its application; that, on the one hand, the test of the ludicrous, as applied to the criticism of literature, is too systematically employed, and urged beyond its due bounds; and, on the other, that the opposite feeling of admiration and reverence which great works awaken in the minds of poetical spirits, though vivifying the composition with the eloquence of conviction, is apt to overpower the judgment, and to result in vague eulogy rather than discriminating criticism. Either would be a formidable objection if it existed; and we are prepared to expect, that to some minds both may seem apparent in these volumes. To our own, it appears very plain that the two charges in a great measure neutralize each other--that they are, in fact, inconsistent in their nature; and that in neither case does there exist any substantial ground of objection. If, indeed, the writer of these volumes had applied his power of presenting what Hence, almost all our great or original he pleases in the most irresistibly comic criticism has been the production either of light, to things which, either in nature or poets, or of those who, though they never art, should be exempt from ridicule, we penned their inspiration,' had in them should be the last to vindicate such a permuch that was akin to poetry. It is by version of talent. But from this charge he such discoveries that the first meridians are is completely free. Those feelings which drawn across the map, and the first passage the human heart consecrate as holy, are made into unexplored climes. Afterwards sacred to him. Religion, love, honor, selfthe new country is soon occupied, and its devotion-all the charities of the soul-are cultivation or further survey may be safely cherished and embalmed by him in words committed to inferior hands. Judgment, of music. In no instance, so far as we are scholarship, patient study of prior models, will do much where the great landmarks have been once set up by minds of inventive power; but when the path was first to be sought through the wilderness, imagination and sympathy, the main constituents of genius, were necessary to raise the critic to something of the level of the poet, and enable him to see as from a tower the end resides within. ( of all.' We believe, then, that it is to those thinkers who have approached the criticism of poetry or art, in this spirit-and have viewed the great productions of literature, not as mere combinations of dead elements, joined together by dexterous opposition, but as so many living forms, in which the spirit of humanity, under a divine guidance, aware, is that which is truly good or great presented by him under a ludicrous point of view. Even in dealing with the great creations of art, the same feeling of veneration is perceptible. When he seeks to fathom their spirit, or explain their structure, the reverence of his words denotes his consciousness that a certain sacredness But all compositions in poetry and art are not great compositions; few, indeed, are entitled to the name, though they may have enjoyed a wide popularity, and perhaps may have been entitled to it. Nor are even those which may be justly included in the class of great works, without flaws and blemishes, some of which strike deep into, and deform their whole structure. But more particularly among the sharpest, and most conclusive end of strife? cases productions of our own age, or of a com- being once ascertained, why should not our paratively recent date, how strangely min- criticism avail itself of all the resources of gled in general are great beauties with ludicrous combination;-that weapon which great faults; strange misconceptions of in society itself, and in the dealings of man human nature as a whole, with partial ex-with man, is found, like the dagger of mercy hibitions, which are both true and beau- in the days of chivalry, to be the shortest, tiful; or limited and exclusive views as to the nature of poetry or art, leading to erro- Does the power of this weapon, or the neous, though often ingenious and plausible consciousness of the effect with which it theories of style-affectation, mannerism, can be wielded, lead necessarily, or even monotony of execution. Are such compo- probably, to its abuse? We do not well sitions, powerful, brilliant-or better than see why it should be so; for, in general, the brilliant, it may be to be entitled to the very minds in which the sense of the comic same immunities as those which we accord most readily arises, are those which are the to the great poets of antiquity, or the elder first to appreciate the solemn, the sublime, worthies of our own country-" the dead or the profound. For both spring from one but sceptred sovereigns, who still rule our power, and rapidity of apprehension, which, spirits from their urns?" The thing, if it in its own nature, embraces all the elements were desirable, would be impossible; for of nature with indifference; and though, by no effort can we invest the present with like streams which have flowed from a the same feeling of reverence with which common fountain, they in some we regard the past. Let their force, then, diverge widely enough, so as never again their freedom of movement, their beauty, to be brought within the same range of be admitted, in a spirit of generous ac- vision; yet, in other and happier instances knowledgment: but let their affectations, they flow on in channels which run side either in thought or style, their perverse by side, and which, by a thousand currents theories, their false vehemence, their phi- on the surface or underneath, are perpetulosophical commonplaces, their occasional ally intermingling their waters. But, as gross ignorance of human nature, be ex- the best practical refutation of such belief, posed with the same openness and candor. we would ask with confidence, in the preAnd how is this to be best done, if not by sent case, whether the author's almost unedirecting against them the same weapon by qualled command of the humorous and the which in real life such follies most effectu- ludicrous has tended in any degree to imally are exposed? Against a grave argu-pair his sensibility to what is really elevated ment addressed to a man's follies or pre- or poetical? or whether the consciousness judices, some show of argument can always of his power of ridicule has led him to use be opposed; sometimes, in the opinion of it tyrannously or like a giant? Has its tenothers, the party challenged may even leave dency been to convert the writer into a crithe field a victor; but present the obnoxious tical Dragon, treating the field of literature weakness in its naked absurdity, surround as a province bound to supply him with an it with all its comic accessories, cover it annual contingent of youthful victims? with a pile of ludicrous absurdity, and it shall go hard but that conviction will be produced, if not in his own mind, at least in those of all who witness the gentle Passage of Arms. On the contrary, towards true poetry, or even the very germs and indications of poetry-and towards all who cultivate it in sincerity and truth, however unknown to fame, or of however little mark or likelihoodHe who does this, as it is done occasion- there never, perhaps, was criticism so inally in these volumes, and still more so in dulgent and encouraging. Justly is he enother compositions of the same kind, (not titled to the praise he claims for himself, of included here-only, we hope, because they "guarding from mildew the laurels on the are reserved for a Second Series,) does an brow of the Muses' sons." If, amidst the essential service to literature. A bold and noisy Babel of ephemeral strains which assweeping application of ridicule does more sails his ear, he catches the melody of the to clear it of false taste, conceit, or exag- simplest verse that embodies in truthful geration, than all the sapping and mining of words a true emotion, he does not willingly subtle argument, or logical deduction could let it die. It is to him a labor of love to ever effect. Let us make sure that the preserve it, to prolong its echo into the subject is one which deserves ridicule; that world; to find for it, by graceful and kindly we are not presumptuously pointing our introduction, 'fit audience and that not few." shafts against mail of proof, from which | And where beauties are seen struggling they will recoil upon ourselves; but, that with faults, but a true poetical instinct is nevertheless perceptible under the false taste with which it is superficially encrusted, or errors of theoretical belief with which circumstances and education have encumbered it; while he pours out upon the latter a merciless flood of merriment, that compels even the subject of the criticism, like one of the spell-bound dancers under the influence of Oberon's horu, to join in the infectious laugh against himself, with what a tolerant and gentle spirit does he at the same time recognise and point out to others those redeeming traits of genius with which these blemishes are associated, and lend his aid to the young poet as he climbs "with difficulty and labor hard" the steep of fame. A momentary burst of a more truculent character-a quos ego-may escape him, when, on the strength of a little good-natured commendation bestowed on a copy of verses some young bard will insist in rushing before the public with an impotent octavo; or when another, quietly appropriating the praise received as a matter of right, flings back the good advices he had received along with it in the face of the critic;-but even these displays of presumption or petulance do not long ruffle the temper of his mind, or materially affect the tenor of the criticism. We are told it was not always so -and some imperfect recollections of our own, point back to times when offences against the code of feeling and good taste did not escape so easily; but years and experience have in this case produced their usual effect, in softening down those early asperities. For, as we grow older, the knowledge of the pain which even one harsh word can inflict on a sensitive mind, seeking, after the best of its ability, to win respect from the respected, perpetually gives us pause; and makes us hesitate to employ the language of censure even where conscience tells us the censure would be just. In criticism, as in other things, the views we form and express after the close of our Eighth lustre, are widely different from those we took under the consulship of Plancus. of those kindred essays to which we have alluded, there is not only nothing harsh or unkind towards those of opposite sentiments; but, we might more truly say, an absolute negation of the very feeling of political difference. Genius is revered and embraced as of no party; for the domain of poetry is here regarded as a peaceful and hallowed ground-a Gottes-acker where, if nowhere' else on this side of time, politics may cease from troubling, and the agitation of alienating questions may be at rest-and contending parties may lower and fold their banners as if beneath the roof of a common sanctuary, or above some honored and lamented grave. Thus much for the spirit in which these observations on art and literature are composed. As little foundation is there, we think, for the other supposition, that the criticism they contain is exaggerated in its praise or censure, unaccompanied with definite reasons, or leading to no sufficiently tangible result. Indeed, as regards the contents of these volumes, and generally all the later criticism of the same writer, the supposition would be eminently inapplicable. In the paper entitled, "An hour's talk on Poetry," the manner in which the works of the great poets of the present age are dealt with, in considering the question whether any of them have produced a work entitled to be called a great poem, sufficiently shows with what discrimination of good and bad-of performance and failure-the claims of contemporary genius are estimated. But above all, the manner in which the critic deals with Wordsworth, is in itself a sufficient refutation of the idea of that indiscriminating style of criticism which can see no blemish in a favorite, as it can recognise no merit in an opponent. No one has labored so assiduously as the author of these Recreations in the task of conversion of the public mind, first to tolerate, and at last to admire Wordsworth. His earliest efforts were directed to open the eyes of his countrymen to the deep meaning of his poeThe absence of another element which is try, avoiding as it did all the ordinary and potoo apt to trouble our views of literature, pular means of excitement, and to attune is remarkable in these volumes. It is true their ears to its solemn and soothing harmothat political feeling, whatever may be the nies. He states no more than the simple truth extent to which, in such a country as Great when he says, with a just pride in having Britain, it must always affect society, now achieved what he believes to be a high and mingles far less than it did with the criti- useful end, that he has been the means of cism of literature. The courtesies of hon- diffusing Wordsworth's poetry not only over orable warfare, at least, are generally ob- this island, but the farthest dependencies of served; and not unfrequently, nor ungener- the British empire, and throughout the states ously, is the tribute of praise paid to the of America. "Many thousands," he adds, successful efforts of a political antagonist." have owed to us their emancipation from But in the criticism of these volumes, and the prejudices against it under which they open to the most serious charges-on the score of its religion. From the first line of the 'Lyis avowedly one system of thought and feeling, rical Ballads' to the last of the 'Excursion,' it embracing his experiences of human life, and his meditations on the moral government of this world. The human heart-the human mind-the human soul-to use his own fine words-is 'the haunt and main region of his song.' There are few, perhaps none of our affections-using that either slightly touched upon, or fully treated, by term in its largest sense-which have not been Wordsworth. In his poetry, therefore, we behold an image of what, to his eye, appears to be human life. Is there, or is there not, some great and lamentable defect in that image, marring we think there is-and that it lies in his Reliboth the truth and beauty of the representation? gion. เ had wilfully remained ignorant of it for many cendent genius, we do not fear to say the most years; and we have instructed as many more, whose hearts were free, how to look on it with those eyes of love which alone can discover the beautiful. Communications have been made to us from across the Atlantic and from the heart of India-from the occident and orient-thanking us for having vindicated and extended the fame of the best of our living bards, till the name of Wordsworth has become a household word on the Mississippi and the Ganges. It would have been so had we never been born, but not so soon." But as it was the labor of his earlier years to teach the public to understand and admire this great poet, so it becomes the duty of his maturer age to take care that the admiration which "In none of Wordsworth's poetry, previous to he has thus been the main cause of instil- his Excursion,' is there any allusion made exling into the public mind, shall prove not a cept of the most trivial and transient kind, to blind idolatry, but a discriminating devo- Revealed Religion. He certainly cannot be tion. Accordingly, with the respect due called a Christian poet. The hopes that lie beto great ability employed in the cause of yond the grave-and the many holy and awful virtue for upwards of half a century, yet shrined and fed-are rarely if ever part of the feelings in which on earth these hopes are enwith the candor and dignified sincerity with character of any of the persons-male or female which one man of genius ought to deal with-old or young-brought before us in his beautianother, he points out, in the course of ful Pastorals. Yet all the most interesting and these volumes, not a few defects of omis- affecting ongoings of this life are exquisitively sion and commission in the works of this delineated-and innumerable of course are the great artist:-Sometimes, indeed, as in the instance we are about to quote, where he ventures to bring into question Words worth's claim to the character of afreligious poet in the Christian sense, and censures, in the "Excursion," the absence of any thing beyong a kind of natural-religious creed-such as might have been entertained under a system of refined mythologies -or at best (to quote an expression of Bentham) a species of poetical Church-of-En glandism;-in a manner so plain and uncompromising as may not unlikely appear startling, as it certainly will be new to the students of Wordsworth; the religious character of his inspiration having been always taken for granted as one of those bases upon which all argument as to his merits must proceed. We are not prepared to say that we as yet fully acquiesce in the remarks we are about to quote; but believing that they must have proceeded from deep consideration of the subject and coming, as they do, from a mind certainly not disposed to regard the poetry of Wordsworth, or its influences, in an unfavorable spirit, we extract the passage as one well worthy of mature study on the part of his warmest admirers : "Among the great living poets, Wordsworth is the one whose poetry is to us the most inexplicable-with all our reverence for his trans occasions on which, had the thoughts and feelings of revealed religion been in Wordsworth's heart during the hours of inspiration-and he often has written like a man inspired-they must have found expression in his strains; and the personages, humble or high, that figure in his representations, would have been, in their joys or their sorrows, their temptations and their trials, Christians. But most assuredly this is not the poetry published previous to the Excursion'case; the religion of this great Poet-in all his is but the 'Religion of the Woods.' "In the Excursion,' his religion is brought forward -- prominently and conspicuously-in many elaborate dialogues between Priest, Pedler, Poet, and Solitary. And a very high religion it There are glimpses given of some of the Chrisoften is; but is it Christianity? No-it is not. tian doctrines; just as if the various philosophical disquisitions, in which the Poem abounds, would be imperfect without some allusion to the Christian creed. The interlocutors-eloquent as they all are--say but little on that theme; nor do they show-if we except the priest-much interest in it-any solicitude; they may all, for any thing that appears to the contrary, be deists. "Now, perhaps, it may be said that Wordsworth was deterred from entering on such a theme by the awe of his spirit. But there is no appearance of this having been the case in any one single passage in the whole poem. Nor could it have been the case with such a man—a man privileged, by the power God has bestowed upon him, to speak unto all the nations of the earth, on all themes, however high and holy, which the children of men can feel and understand. Christianity, during almost all their dis |