« НазадПродовжити »
the misanthrope and the voluptuary by turns; and with these two characters, burning or melting in their own fires, he makes out everlasting centos of himself. He hangs the cloud, the film of his existence over all outward things—sits in the centre of his thoughts, and enjoys dark night, bright day, the glitter and the gloom “in cell monastic”-we see the mournful pall, the crucifix, the death's heads, the faded chaplet of flowers, the gleaming tapers, the agonized brow of genius, the wasted form of beauty—but we are still imprisoned in a dungeon, a curtain intercepts our view, we do not breathe freely the air of nature or of our own thoughts—the other admired author draws aside the curtain, and the veil of egotism is rent, and he shews us the crowd of living men and women, the endless groups, the landscape back-ground, the cloud and the rainbow, and enriches our imaginations and relieves one passion by another, and expands and lightens reflection, and takes away that tightness at the breast which arises from thinking or wishing to think that there is nothing in the world out of a man's self !—In this point of view, the Author of Waverley is one of the greatest teachers of morality that ever lived, by emancipating the mind from petty, narrow, and bigotted prejudices: Lord Byron is the greatest pamperer of those prejudices, by seeming to think there is nothing else worth encouraging but the seeds or the full luxuriant growth of dogmatism and self-conceit. In reading the Scotch Novels, we never think about the author, except from à feeling of curiosity respecting our unknown benefactor: in reading Lord Byron's works, he himself is never absent from our minds. The colouring of Lord Byron's style, however rich and dipped in Tyrian dyes, is nevertheless opaque, is in itself an object of delight and wonder: Sir Walter Scott's is perfectly transparent. In studying the one, you seem to gaze at the figures cut in stained glass, which exclude the view beyond, and where the pure light of Heaven is only a means of setting off the gorgeousness of art: in reading the other, you look through a noble window at the clear and varied landscape without. Or to sum up the distinction in one word, Sir Walter Scott is the most dramatic writer now living; and Lord Byron is the least so. It would be difficult to imagine that the Author of Waverley is in the smallest degree a pedant; as it would be hard to persuade ourselves that the author of Childe Harold and Don Juan is not a coxcomb, though a provoking and sublime one. In
this decided preference given to Sir Walter Scott over Lord Byron, we distinctly include the prose-works of the former; for we do not think his poetry alone by any means entitles him to that precedence. Sir Walter in his poetry, though pleasing and natural, is a comparative trifler:- it is in his anonymous productions that he has shewn himself for what he is!
Intensity is the great and prominent distinction of Lord Byron's writings. He seldom gets beyond force of style, nor has he produced any regular work or masterly whole. He does not prepare any plan beforehand, nor revise and retouch what he has written with polished accuracy. His only object seems to be to stimulate himself and his readers for the moment-to keep both alive, to drive away ennui, to substitute a feverish and irritable state of excitement for listless indolence or even calm enjoyment. For this purpose he pitches on any subject at random without much thought or delicacy-he is only impatient to beginand takes care to adorn and enrich it as he proceeds with “ thoughts that breathe and words that burn." He composes (as he himself has said) whether he is in the bath, in his study, or on horseback-he writes as habitually as others talk or think--and whether we have the inspiration of the Muse or not, we always find the spirit of the man of genius breathing from his verse. He grapples with his subject, and moves, penetrates, and animates it by the electric force of his own feelings. He is often monotonous, extravagant, offensive; but he is never dull, or tedious, but when he writes prose. Lord Byron does not exhibit a new view of nature, or raise insignificant objects into importance by the romantic associations with which he surrounds them; but generally (at least) takes common-place thoughts and events, and endeavours to express them in stronger and statelier language than others. His poetry stands like a Martello tower by the side of his subject. He does not, like Mr. Wordsworth, lift poetry from the ground, or create a sentiment out of nothing. He does not describe a daisy or a periwinkle, but the cedar or the cypress: not “poor men's cottages, but princes' palaces." His Childe Harold contains a lofty and impassioned review of the great events of history, of the mighty objects left as wrecks of time, but he dwells chiefly on what is familiar to the mind of every school-boy; has brought out few new traits of feeling or thought; and has done no more than justice to the reader's precon
ceptions by the sustained force and brilliancy of his style and imagery.
Lord Byron's earlier productions, Lara, the Corsair, &c. were wild and gloomy romances, put into rapid and shining verse. They discover the madness of poetry, together with the inspiration : sullen, moody, capricious, fierce, inexorable, gloating on beauty, thirsting for revenge, hurrying from the extremes of pleasure to pain, but with nothing permanent, nothing healthy or natural. The gaudy decorations and the morbid sentiments remind one of flowers strewed over the face of death! In his Childe Harold (as has been just observed) he assumes a lofty and philosophic tone, and “ reasons high of providence, fore-knowledge, will, and fate.” He takes the highest points in the history of the world, and comments on them from a more commanding eminence: he shews us the crumbling monuments of time, he invokes the great names, the mighty spirit of antiquity. The universe is changed into a stately mausoleum :-in solemn measures hechaunts a hymn to fame. Lord Byron has strength and elevation enough to fill up the moulds of our classical and timehallowed recollections, and to rekindle the