Literary and General Lectures and Essays Part 8

What is said in the latter stanza which has not been said in the former, and said more dramatically, more as the images would really present themselves to the speaker's mind? It would be enough for him that the bird was bonnie, and singing; and his very sorrow would lead him to a.n.a.lyse and describe as little as possible a thing which so painfully contrasted with his own feelings; whether the thorn was flowery or not, would not have mattered to him, unless he had some distinct a.s.sociation with the thorn-flowers, in which case he would have brought out the image full and separate, and not merely thrown it in as a make-weight to "thorn"--and this is the great reason why epithets are, nine times out of ten, mistakes in song and ballad poetry; he never would have thought of "departed" before he thought of "joys." A very little consideration of the actual processes of thought in such a case, will show the truth of our observation, and the instinctive wisdom of the older song-writers, in putting the epithet as often as possible after the noun, instead of before it, even at the expense of grammar. They are bad things at all times in song poetry, these epithets; and, accordingly, we find that the best German writers, like Uhland and Heine, get rid of them as much as possible, and succeed thereby, every word striking and ringing down with full force, no cus.h.i.+on of an epithet intruding between the reader's brain-anvil and the poet's hammer to break the blow. In Uhland's "Three Burschen," if we recollect right, there are but two epithets, and those of the simplest descriptive kind: "Thy fair daughter" and a "black pall." Were there more, we question whether the poet would have succeeded, as he has done, in making our flesh creep as he leads us on from line to line and verse to verse. So Tennyson, the greatest of our living poets, eschews as much as possible, in his later writings, these same epithets, except in cases where they are themselves objective and pictorial--in short, the very things which he wants you to look at, as, for instance:

And into silver arrows break The sailing moon in creek and cove.

This is fair enough; but, indeed, after laying down our rule, we must confess that it is very difficult to keep always true to it, in a language which does not, like the Latin and German, allow us to put our adjectives very much where we choose. Nevertheless, whether we can avoid it or not, every time we place before the noun an epithet which, like "departed joys," relates to our consciousness concerning the object, and not merely to the object itself; or an epithet which, like "flowery thorn," gives us, before we get to the object itself, those accidents of the object which we only discern by a second look, by a.n.a.lysis and reflection--(for the thorn, if in the flower, would look to us, at the first glance, not "flowery," but "white," "snowy,"

or what you will which expresses colour, and not scientific fact)-- every time, we repeat, this is done, the poet descends from the objective and dramatic domain of song, into the subjective and reflective one of elegy.

But the field in which Burns's influence has been, as was to be expected, most important and most widely felt, is in the poems of working men. He first proved that it was possible to become a poet and a cultivated man, without deserting his cla.s.s, either in station or in sympathies; nay, that the healthiest and n.o.blest elements of a lowly-born poet's mind might be, perhaps must be, the very feelings and thoughts which he brought up with him from below, not those which he received from above, in the course of his artificial culture.

From the example of Burns, therefore, many a working man, who would otherwise have "died and given no sign," has taken courage, and spoken out the thought within him, in verse or prose, not always wisely and well, but in all cases, as it seems to us, in the belief that he had a sort of divine right to speak and be heard, since Burns had broken down the artificial ice-wall of centuries, and a.s.serted, by act as well as song, that "a man's a man for a' that." Almost every volume of working men's poetry which we have read, seems to re- echo poor Nicoll's spirited, though somewhat over-strained address to the Scottish genius:

This is the natal day of him Who, born in want and poverty, Burst from his fetters and arose, The freest of the free.

Arose to tell the watching earth What lowly men could feel and do, To show that mighty heaven-like souls In cottage hamlets grew.

Burns! thou hast given us a name To s.h.i.+eld us from the taunts of scorn: The plant that creeps amid the soil A glorious flower has borne.

Before the proudest of the earth We stand with an uplifted brow; Like us, thou wast a toil-worn man, And we are n.o.ble now!

The critic, looking calmly on, may indeed question whether this new fas.h.i.+on of verse-writing among working men has been always conducive to their own happiness. As for absolute success as poets, that was not to be expected of one in a hundred, so that we must not be disappointed if among the volumes of working men's poetry, of which we give a list at the head of our article, only two should be found, on perusal, to contain any writing of a very high order, although these volumes form a very small portion of the verses which have been written, during the last forty years, by men engaged in the rudest and most monotonous toil. To every man so writing, the art, doubtless, is an enn.o.bling one. The habit of expressing thought in verse not only indicates culture, but is a culture in itself of a very high order. It teaches the writer to think tersely and definitely; it evokes in him the humanising sense of grace and melody, not merely by enticing him to study good models, but by the very act of composition. It gives him a vent for sorrows, doubts, and aspirations, which might otherwise fret and canker within, breeding, as they too often do in the utterly dumb English peasant, self-devouring meditation, dogged melancholy, and fierce fanaticism.

And if the effect of verse-writing had stopped there, all had been well; but bad models have had their effect, as well as good ones, on the half-tutored taste of the working men, and engendered in them but too often a fondness for frothy magniloquence and ferocious raving, neither morally nor aesthetically profitable to themselves or their readers. There are excuses for the fault; the young of all ranks naturally enough mistake noise for awfulness, and violence for strength; and there is generally but too much, in the biographies of these working poets, to explain, if not to excuse, a vein of bitterness, which they certainly did not learn from their master, Burns. The two poets who have done them most harm, in teaching the evil trick of cursing and swearing, are Sh.e.l.ley and the Corn-Law Rhymer; and one can well imagine how seducing two such models must be, to men struggling to utter their own complaints. Of Sh.e.l.ley this is not the place to speak. But of the Corn-Law Rhymer we may say here, that howsoever he may have been indebted to Burns's example for the notion of writing at all, he has profited very little by Burns's own poems. Instead of the genial loving tone of the great Scotchman, we find in Elliott a tone of deliberate savageness, all the more ugly, because evidently intentional. He tries to curse; "he delights"--may we be forgiven if we misjudge the man--"in cursing;"

he makes a science of it; he defiles, of malice prepense, the loveliest and sweetest thoughts and scenes (and he can be most sweet) by giving some sudden sickening revulsion to his reader's feelings; and he does it generally with a power which makes it at once as painful to the calmer reader as alluring to those who are struggling with the same temptations as the poet. Now and then, his trick drags him down into sheer fustian and bombast; but not always. There is a terrible Dantean vividness of imagination about him, perhaps unequalled in England, in his generation. His poems are like his countenance, coa.r.s.e and ungoverned, yet with an intensity of eye, a rugged ma.s.siveness of feature, which would be grand but for the seeming deficiency of love and of humour--love's twin and inseparable brother. Therefore it is, that although single pa.s.sages may be found in his writings, of which Milton himself need not have been ashamed, his efforts at dramatic poetry are utter failures, dark, monstrous, unrelieved by any really human vein of feeling or character. As in feature, so in mind, he has not even the delicate and graceful organisation which made up in Milton for the want of tenderness, and so enabled him to write, if not a drama, yet still the sweetest of masques and idyls.

Rather belonging to the same school than to that of Burns, though never degrading itself by Elliott's ferocity, is that extraordinary poem, "The Purgatory of Suicides," by Thomas Cooper. As he is still in the prime of life, and capable of doing more and better than he yet has done, we will not comment on it as freely as we have on Elliott, except to regret a similar want of softness and sweetness, and also of a clearness and logical connection of thought, in which Elliott seldom fails, except when cursing. The imagination is hardly as vivid as Elliott's, though the fancy and invention, the polish of the style, and the indications of profound thought on all subjects within the poet's reach, are superior in every way to those of the Corn-Law Rhymer; and when we consider that the man who wrote it had to gather his huge store of cla.s.sic and historic anecdote while earning his living, first as a shoemaker, and then as a Wesleyan country preacher, we can only praise and excuse, and hope that the day may come when talents of so high an order will find some healthier channel for their energies than that in which they now are flowing.

Our readers may wonder at not seeing the Ettrick Shepherd's poems among the list at the head of the article. It seems to us, however, that we have done right in omitting them. Doubtless, he too was awakened into song by the example of Burns; but he seems to us to owe little to his great predecessor, beyond the general consciousness that there was a virgin field of poetry in Scotch scenery, manners, and legends--a debt which Walter Scott himself probably owed to the Ayrs.h.i.+re peasant just as much as Hogg did. Indeed, we perhaps are right in saying, that had Burns not lived, neither Wilson, Galt, Allan Cunningham, or the crowd of lesser writers who have found material for their fancy in Scotch peculiarities, would have written, as they have. The three first names, Wilson's above all, must have been in any case distinguished; yet it is surely no derogation to some of the most exquisite rural sketches in "Christopher North's Recreations," to claim them as the intellectual foster-children of "The Cottar's Sat.u.r.day Night." In this respect, certainly, the Ettrick Shepherd has a place in Burns's school, and, in our own opinion, one which has been very much overrated. But the deeper elements of Burns's mind, those which have especially endeared him to the working man, reappear very little, or not at all, in Hogg. He left his cla.s.s too much below him; became too much of the mere aesthetic prodigy, and member of a literary clique; frittered away his great talents in brilliant talk and insincere Jacobite songs, and, in fine, worked no deliverance on the earth. It is sad to have to say this: but we had it forced upon us painfully enough a few days ago, when re-reading "Kilmeny." There may be beautiful pa.s.sages in it; but it is not coherent, not natural, not honest. It is throughout an affectation of the Manichaean sentimental-sublime, which G.o.d never yet put into the heart of any brawny, long-headed, practical Borderer, and which he therefore probably put into his own head, or, as we call it, affected, for the time being; a method of poetry writing which comes forth out of nothing, and into nothing must return.

This is unfortunate, perhaps, for the world; for we question whether a man of talents in anywise to be compared with those of the Ettrick Shepherd has followed in the footsteps of Burns. Poor Tannahill, whose sad story is but too well known, perished early, at the age of thirty-six, leaving behind him a good many pretty love-songs of no great intrinsic value, if the specimens of them given in Mr.

Whitelaw's collection are to be accepted as the best. Like all Burns's successors, including even Walter Scott and Hogg, we have but to compare him with his original to see how altogether unrivalled on his own ground the Ayrs.h.i.+re farmer was. In one feature only Tannahill's poems, and those later than him, except where pedantically archaist, like many of Motherwell's, are an improvement on Burns: namely, in the more easy and complete interfusion of the two dialects, the Norse Scotch and the Romanesque English, which Allan Ramsay attempted in vain to unite; while Burns, though not succeeding by any means perfectly, welded them together into something of continuity and harmony--thus doing for the language of his own country very much what Chaucer did for that of England--a happy union, in the opinion of those who, as we do, look on the vernacular Norse Scotch as no barbaric dialect, but as an independent tongue, possessing a copiousness, melody, terseness, and picturesqueness which makes it, both in prose and verse, a far better vehicle than the popular English for many forms of thought.

Perhaps the young peasant who most expressly stands out as the pupil and successor of Burns, is Robert Nicoll. He is a lesser poet, doubtless, than his master, and a lesser man, if the size and number of his capabilities be looked at; but he is a greater man, in that, from the beginning to the end of his career, he seems to have kept that very wholeness of heart and head which poor Burns lost.

Nicoll's story is, mutatis mutandis, that of the Bethunes, and many a n.o.ble young Scotsman more. Parents holding a farm between Perth and Dunkeld, they and theirs before them for generations inhabitants of the neighbourhood, "decent, honest, G.o.d-fearing people." The farm is lost by reverses, and manfully Robert Nicoll's father becomes a day- labourer on the fields which he lately rented: and there begins, for the boy, from his earliest recollections, a life of steady st.u.r.dy drudgery. But they must have been grand old folk, these parents, and in no wise addicted to wringing their hands over "the great might- have-been." Like true Scots Bible lovers, they do believe in a G.o.d, and in a will of G.o.d, underlying, absolute, loving, and believe that the might-have-been ought not to have been, simply because it has not been; and so they put their shoulders to the new collar patiently, cheerfully, hopefully, and teach the boys to do the same. The mother especially, as so many great men's mothers do, stands out large and heroic, from the time when, the farm being gone, she, "the ardent book-woman," finds her time too precious to be spent in reading, and sets little Robert to read to her as she works--what a picture!--to the last sad day, when, wanting money to come up to Leeds to see her dying darling, she "sh.o.r.e for the siller," rather than borrow it.

And her son's life is like her own--a most pure, joyous, valiant little epic. Robert does not even take to work as something beyond himself, uninteresting and painful, which, however, must be done courageously: he lives in it, enjoys it as his proper element, one which is no more a burden and an exertion to him than the rush of the strid is to the trout who plays and feels in it day and night, unconscious of the amount of muscular strength which he puts forth in merely keeping his place in the stream. Whether carrying "Kenilworth" in his plaid to the woods, to read while herding, or selling currants and whisky as the Perth storekeeper's apprentice, or keeping his little circulating library in Dundee, tormenting his pure heart with the thought of the twenty pounds which his mother has borrowed wherewith to start him, or editing The Leeds Times, or lying on his early deathbed, just as life seems to be opening clear and broad before him, he

Bates not a jot of heart or hope,

but steers right onward, singing over his work, without bl.u.s.ter or self-gratulation, for very joy at having work to do. There is a keen practical insight about him, rarely combined, in these days, with his single-minded determination to do good in his generation. His eye is single, and his whole body full of light.

It would indeed (writes the grocer's boy, encouraging his despondent and somewhat Werterean friend) be hangman's work to write articles one day to be forgotten to-morrow, if that were all; but you forget the comfort--the repayment. If one prejudice is overthrown, one error rendered untenable; if but one step in advance be the consequence of your articles and mine--the consequences of the labour of all true men--are we not deeply repaid?

Or again, in a right n.o.ble letter to his n.o.ble mother:

That money of R.'s hangs like a millstone about my neck. If I had paid it, I would never borrow again from mortal man. But do not mistake me, mother; I am not one of those men who faint and falter in the great battle of life. G.o.d has given me too strong a heart for that. I look upon earth as a place where every man is set to struggle and to work, that he may be made humble and pure-hearted, and fit for that better land for which earth is a preparation--to which earth is the gate . . . If men would but consider how little of real evil there is in all the ills of which they are so much afraid-- poverty included--there would be more virtue and happiness, and less world and Mammon-wors.h.i.+p on earth than is. I think, mother, that to me has been given talent; and if so, that talent was given to make it useful to man.

And yet there is a quiet self-respect about him withal:

In my short course through life (says he in confidence to a friend at one-and-twenty), I have never feared an enemy, or failed a friend; and I live in the hope I never shall. For the rest, I have written my heart in my poems; and rude and unfinished and hasty as they are, it can be read there.

From seven years of age to this very hour, I have been dependent only on my own head and hands for everything--for very bread. Long years ago--ay, even in childhood--adversity made me think, and feel, and suffer; and would pride allow me, I could tell the world many a deep tragedy enacted in the heart of a poor, forgotten, uncared-for boy .

. . But I thank G.o.d, that though I felt and suffered, the scathing blast neither blunted my perceptions of natural and moral beauty, nor, by withering the affections of my heart, made me a selfish man.

Often when I look back I wonder how I bore the burden--how I did not end the evil day at once and for ever.

Such, is the man, in his normal state; and as was to be expected, G.o.d's blessing rests on him. Whatever he sets his hand to succeeds.

Within a few weeks of his taking the editors.h.i.+p of The Leeds Times its circulation begins to rise rapidly, as was to be expected with an honest man to guide it. For Nicoll's political creed, though perhaps neither very deep nor wide, lies clear and single before him, as everything else which he does. He believes naturally enough in ultra-Radicalism according to the fas.h.i.+ons of the Reform Bill era.

That is the right thing; and for that he will work day and night, body and soul, and if needs be, die. There, in the editor's den at Leeds, he "begins to see the truth of what you told me about the world's unworthiness; but stop a little. I am not sad as yet. . . .

If I am hindered from feeling the soul of poetry among woods and fields, I yet trust I am struggling for something worth prizing-- something of which I am not ashamed, and need not be. If there be aught on earth worth aspiring to, it is the lot of him who is enabled to do something for his miserable and suffering fellow-men; and this you and I will try to do at least."

His friend is put to work a ministerial paper, with orders "not to be rash, but to elevate the population gradually;" and finding those orders to imply a considerable leaning towards the By-ends, Lukewarm, and Facing-both-ways school, kicks over the traces, wisely, in Nicoll's eyes, and breaks loose.

Keep up your spirits (says honest Nicoll). You are higher at this moment in my estimation, in your own, and that of every honest man, than you ever were before. Tait's advice was just such as I should have expected of him; honest as honesty itself. You must never again accept a paper but where you can tell the whole truth without fear or favour. . . . . Tell E. (the broken-loose editor's lady-love), from me to estimate as she ought the n.o.bility and determination of the man who has dared to act as you have done. Prudent men will say that you are hasty: but you have done right, whatever may be the consequences.

This is the spirit of Robert Nicoll; the spirit which is the fruit of early purity and self-restraint, of living "on bread-and-cheese and water," that he may buy books; of walking out to the Inch of Perth at four o'clock on summer mornings, to write and read in peace before he returns to the currants and the whisky. The nervous simplicity of the man come out, in the very nervous simplicity of the prose he writes; and though there be nothing very new or elevated in it, or indeed in his poems themselves, we call on our readers to admire a phenomenon so rare, in the "upper cla.s.ses" at least, in these days, and taking a lesson from the peasant's son, rejoice with us that "a man is born into the world."

For Nicoll, as few do, practises what he preaches. It seems to him, once on a time, right and necessary that Sir William Molesworth should be returned for Leeds; and Nicoll having so determined, "throws himself, body and soul, into the contest, with such ardour, that his wife afterwards said (and we can well believe it) that if Sir William had failed, Robert would have died on the instant!"--why not? Having once made up his mind that that was the just and right thing, the thing which was absolutely good for Leeds, and the human beings who lived in it, was it not a thing to die for, even if it had been but the election of a new beadle? The advanced sentry is set to guard some obscure worthless dike-end--obscure and worthless in itself, but to him a centre of infinite duty. True, the fate of the camp does not depend on its being taken; if the enemy round it, there are plenty behind to blow them out again. But that is no reason whatsoever why he, before any odds, should throw his musket over his shoulder, and retreat gracefully to the lines. He was set there to stand by that, whether dike-end or representation of Leeds; that is the right thing for him; and for that right he will fight, and if he be killed, die. So have all brave men felt, and so have all brave deeds been done, since man walked the earth. It is because that spirit, the spirit of faith, has died out among us, that so few brave deeds are done now, except on battle-fields and in hovels, whereof none but G.o.d and the angels know.

So the man prospers. Several years of honourable and self- restraining love bring him a wife, beautiful, loving, wors.h.i.+pping his talents; a help meet for him, such as G.o.d will send at times to those whom he loves. Kind men meet and love and help him--"The Johnstones, Mr. Tait, William and Mary Howitt;" Sir William Molesworth, hearing of his last illness, sends him unsolicited fifty pounds, which, as we understand it, Nicoll accepts without foolish bl.u.s.ter about independence. Why not?--man should help man, and be helped by him.

Would he not have done as much for Sir William? Nothing to us proves Nicoll's heart-wholeness more than the way in which he talks of his benefactors, in a tone of simple grat.i.tude and affection, without fawning and without vapouring. The man has too much self-respect to consider himself lowered by accepting a favour.

But he must go after all. The editor's den at Leeds is not the place for lungs bred on Perths.h.i.+re breezes; and work rises before him, huger and heavier as he goes on, till he drops under the ever- increasing load. He will not believe it at first. In sweet childlike playful letters, he tells his mother that it is nothing.

It has done him good--"opened the grave before his eyes, and taught him to think of death." "He trusts that he has not borne this, and suffered, and thought in vain." This too, he hopes, is to be a fresh lesson-page of experience for his work. Alas! a few months more of bitter suffering, and of generous kindness and love from all around him--and it is over with him at the age of twenty-three. Shall we regret him?--shall we not rather believe that G.o.d knew best; and considering the unhealthy moral atmosphere of the second-cla.s.s press, and the strange confused ways into which old ultra-Radicalism, finding itself too narrow for the new problems of the day, has stumbled and floundered during the last fifteen years, believe that he might have been a worse man had he been a longer-lived one, and thank heaven that "the righteous is taken away from the evil to come?"

As it is, he ends as he began. The first poem in his book is "The Ha' Bible;" and the last, written a few days before his death, is still the death-song of a man--without fear, without repining, without boasting, blessing and loving the earth which he leaves, yet with a clear joyful eye upwards and outwards and homewards. And so ends his little epic, as we called it. May Scotland see many such another!

The actual poetic value of his verses is not first-rate by any means.

He is far inferior to Burns in range of subject, as he is in humour and pathos. Indeed, there is very little of these latter qualities in him anywhere--rather playfulness, flashes of childlike fun, as in "The Provost," and "Bonnie Bessie Lee." But he has attained a mastery over English, a simplicity and quiet which Burns never did; and also, we need not say, a moral purity. His "Poems ill.u.s.trative of the Scotch peasantry" are charming throughout--alive and bright with touches of real humanity, and sympathy with characters apparently antipodal to his own.

His more earnest poems are somewhat tainted with that cardinal fault of his school, of which he steered so clear in prose--fine words; yet he never, like the Corn-Law Rhymer, falls a cursing. He is evidently not a good hater even of "priests and kings, and aristocrats, and superst.i.tion;" or perhaps he worked all that froth safely over and off in debating-club speeches and leading articles, and left us, in these poems, the genuine metheglin of his inner heart, sweet, clear, and strong; for there is no form of lovable or right thing which this man has come across, which he does not seem to have appreciated.

Besides pure love and the beauties of nature--those on which every man of poetic power, and a great many of none, as a matter of course, have a word to say--he can feel for and with the drunken beggar, and the warriors of the ruined manor-house, and the monks of the abbey, and the old mailed Normans with their "priest with cross and counted beads in the little Saxon chapel"--things which a Radical editor might have been excused for pa.s.sing by with a sneer.

His verses to his wife are a delicious little glimpse of Eden; and his "People's Anthem" rises into somewhat of true grandeur by virtue of simplicity:

Lord, from Thy blessed throne, Sorrow look down upon!

G.o.d save the Poor!