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Specimens of the British Poets; with Biographical and Critical
Notices, and an Essay on English Poetry. By THOMAS CAMPBELL. bls. 8vo. London: 1819.
We would rather see Mr. Campbell as a poet, than as a commentator on poetry:
- because we would rather have a solid addition to the sum of our treasures, than the finest or most judicious account of their actual amount. But we are very glad to see him in any way:-and think the work which he has now given us very excellent and delightful. Still, however, we think there is some little room for complaint; and, feeling that we have not got all we were led to expect, are unreasonable enough to think that the learned author still owes us an arrear; which we hope he will handsomely pay up in the next edition,
When a great poet and a man of distinguished talents announces a large selection of English poetry, “ with biographical and critical notices,” we naturally expect such notices of all, or almost all the authors, of whose works he thinks it worth while to favour us with specimens. The biography sometimes may be unattainable
and it may still more frequently be uninteresting but the criticism must always be valuable; and, indeed, is obviously that which must be looked to as constituting the chief value of any such publication. There is no author so obscure, if at all entitled to a place in this register, of whom it would not be desirable to know the opinion of such a man as Mr. Campbell — and none so mature and settled in fame, upon whose beauties and
4 cAMPBELL's SPECIMENs—ExcELLENT CRITICISM.
defects, and poetical character in general, the public would not have much to learn from such an authority. Now, there are many authors, and some of no mean note, of whom he has not condescended to say one word, either in the Essay, or in the notices prefixed to the citations. Of Jonathan Swift, for example, all that is here recorded is, “Born 1667 — died 1744;” and Otway is despatched in the same summary manner—“Born 1651 — died 1685.” Marlowe is commemorated in a single page, and Butler in half of one. All this is rather capricious: — But this is not all. Sometimes the notices are entirely biographical, and sometimes entirely critical. We humbly conceive they ought always to have been of both descriptions. At all events, we think we ought in every case to have had some criticism, since this could always have been had, and could scarcely have failed to be valuable. Mr. C., we think, has been a little lazy. If he were like most authors, or even like most critics, we could easily have pardoned this ; for we very seldom find any work too short. It is the singular goodness of his criticisms that makes us regret their fewness; for nothing, we think, can be more fair, judicious and discriminating, and at the same time more fine, delicate and original, than the greater part of the discussions with which he has here presented us. It is very rare to find so much sensibility to the beauties of poetry, united with so much toleration for its faults; and so exact a perception of the merits of every particular style, interfering so little with a just estimate of all. Poets, to be sure, are on the whole, we think, very indulgent judges of poetry; and that not so much, we verily believe, from any partiality to their own vocation, or desire to exalt their fraternity, as from their being more constantly alive to those impulses which it is the business of poetry to excite, and more quick to catch and to follow out those associations on which its efficacy chiefly depends. If it be true, as we have formerly endeavoured to show, with reference to this very author, that poetry produces all its greater effects, and works its more memorable enchantments, not so much by the images it
DANGERS HE HAS ESCAP ED. 5
directly presents, as by those which it suggests to the fancy; and melts or inflames us less by the fires which it applies from without, than by those which it kindles within, and of which the fuel is in our own bosoms, – it will be readily understood how these effects should be most powerful in the sensitive breast of a poet; and how a spark, which would have been instantly quenched in the duller atmosphere of an ordinary brain, may create a blaze in his combustible imagination, to warm and enlighten the world. The greater poets, accordingly, have almost always been the warmest admirers, and the most liberal patrons of poetry. The smaller only — your Laureates and Ballad-mongers—are envious and irritable—jealous even of the dead, and less desirous of the praise of others than avaricious of their OWI1. But though a poet is thus likely to be a gentler critic of poetry than another, and, by having a finer sense of its beauties, to be better qualified for the most pleasing and important part of his office, there is another requisite in which we should be afraid he would generally be found wanting, especially in a work of the large and comprehensive nature of that now before us — we mean, in absolute fairness and impartiality towards the different schools or styles of poetry which he may have occasion to estimate and compare. Even the most common and miscellaneous reader has a peculiar taste in this way— and has generally erected for himself some obscure but exclusive standard of excellence, by which he measures the pretensions of all that come under his view. One man admires witty and satirical poetry, and sees no beauty in rural imagery or picturesque description; while another doats on Idyls and Pastorals, and will not allow the affairs of polite life to form a subject for verse. One is for simplicity and pathos; another for magnificence and splendour. One is devoted to the Muse of terror; another to that of love. Some are all for blood and battles, and some for music and moonlight—some for emphatic sentiments, and some for melodious verses. loven those whose taste is the least exclusive, have a