The Melancholy Korean

Miser Catulle, desinas ineptire,
et quod vides perisse perditum ducas.
Fulsere quondam candidi tibi soles,
cum ventitabas quo puella ducebat
amata nobis quantum amabitur nulla;
ibi illa multa cum iocosa fiebant
quae tu volebas nec puella nolebat,
fulsere vere candidi tibi soles.
Nunc iam illa non volt: tu quoque, impotens, noli,
nec quae fugit sectare, nec miser vive,
sed obstinata mente perfer, obdura.
Vale, puella! Iam Catullus obdurat,
nec te requiret, nec rogabit invitam.
At tu dolebis, cum rogaberis nulla.
Scelesta, vae tu! Quae tibi manet vita?
Quis nunc te adibit? Cui videberis bella?
Quem nunc amabis? Cuius esse diceris?
Quem basiabis? Cui labella mordebis?
At tu, Catulle, destinatus obdura.

Saints should always be judged guilty until they are proved innocent, but the tests that have to be applied to them are not, of course, the same in all cases. In Gandhi's case the questions on feels inclined to ask are: to what extent was Gandhi moved by vanity — by the consciousness of himself as a humble, naked old man, sitting on a praying mat and shaking empires by sheer spiritual power — and to what extent did he compromise his own principles by entering politics, which of their nature are inseparable from coercion and fraud? To give a definite answer one would have to study Gandhi's acts and writings in immense detail, for his whole life was a sort of pilgrimage in which every act was significant. But this partial autobiography, which ends in the nineteen-twenties, is strong evidence in his favor, all the more because it covers what he would have called the unregenerate part of his life and reminds one that inside the saint, or near-saint, there was a very shrewd, able person who could, if he had chosen, have been a brilliant success as a lawyer, an administrator or perhaps even a businessman.

At about the time when the autobiography first appeared I remember reading its opening chapters in the ill-printed pages of some Indian newspaper. They made a good impression on me, which Gandhi himself at that time did not. The things that one associated with him — home-spun cloth, “soul forces” and vegetarianism — were unappealing, and his medievalist program was obviously not viable in a backward, starving, over-populated country. It was also apparent that the British were making use of him, or thought they were making use of him. Strictly speaking, as a Nationalist, he was an enemy, but since in every crisis he would exert himself to prevent violence — which, from the British point of view, meant preventing any effective action whatever — he could be regarded as “our man”. In private this was sometimes cynically admitted. The attitude of the Indian millionaires was similar. Gandhi called upon them to repent, and naturally they preferred him to the Socialists and Communists who, given the chance, would actually have taken their money away. How reliable such calculations are in the long run is doubtful; as Gandhi himself says, “in the end deceivers deceive only themselves”; but at any rate the gentleness with which he was nearly always handled was due partly to the feeling that he was useful. The British Conservatives only became really angry with him when, as in 1942, he was in effect turning his non-violence against a different conqueror.

But I could see even then that the British officials who spoke of him with a mixture of amusement and disapproval also genuinely liked and admired him, after a fashion. Nobody ever suggested that he was corrupt, or ambitious in any vulgar way, or that anything he did was actuated by fear or malice. In judging a man like Gandhi one seems instinctively to apply high standards, so that some of his virtues have passed almost unnoticed. For instance, it is clear even from the autobiography that his natural physical courage was quite outstanding: the manner of his death was a later illustration of this, for a public man who attached any value to his own skin would have been more adequately guarded. Again, he seems to have been quite free from that maniacal suspiciousness which, as E. M. Forster rightly says in A Passage to India, is the besetting Indian vice, as hypocrisy is the British vice. Although no doubt he was shrewd enough in detecting dishonesty, he seems wherever possible to have believed that other people were acting in good faith and had a better nature through which they could be approached. And though he came of a poor middle-class family, started life rather unfavorably, and was probably of unimpressive physical appearance, he was not afflicted by envy or by the feeling of inferiority. Color feeling when he first met it in its worst form in South Africa, seems rather to have astonished him. Even when he was fighting what was in effect a color war, he did not think of people in terms of race or status. The governor of a province, a cotton millionaire, a half-starved Dravidian coolie, a British private soldier were all equally human beings, to be approached in much the same way. It is noticeable that even in the worst possible circumstances, as in South Africa when he was making himself unpopular as the champion of the Indian community, he did not lack European friends.

Written in short lengths for newspaper serialization, the autobiography is not a literary masterpiece, but it is the more impressive because of the commonplaceness of much of its material. It is well to be reminded that Gandhi started out with the normal ambitions of a young Indian student and only adopted his extremist opinions by degrees and, in some cases, rather unwillingly. There was a time, it is interesting to learn, when he wore a top hat, took dancing lessons, studied French and Latin, went up the Eiffel Tower and even tried to learn the violin — all this was the idea of assimilating European civilization as throughly as possible. He was not one of those saints who are marked out by their phenomenal piety from childhood onwards, nor one of the other kind who forsake the world after sensational debaucheries. He makes full confession of the misdeeds of his youth, but in fact there is not much to confess. As a frontispiece to the book there is a photograph of Gandhi's possessions at the time of his death. The whole outfit could be purchased for about 5 pounds***, and Gandhi's sins, at least his fleshly sins, would make the same sort of appearance if placed all in one heap. A few cigarettes, a few mouthfuls of meat, a few annas pilfered in childhood from the maidservant, two visits to a brothel (on each occasion he got away without “doing anything”), one narrowly escaped lapse with his landlady in Plymouth, one outburst of temper — that is about the whole collection. Almost from childhood onwards he had a deep earnestness, an attitude ethical rather than religious, but, until he was about thirty, no very definite sense of direction. His first entry into anything describable as public life was made by way of vegetarianism. Underneath his less ordinary qualities one feels all the time the solid middle-class businessmen who were his ancestors. One feels that even after he had abandoned personal ambition he must have been a resourceful, energetic lawyer and a hard-headed political organizer, careful in keeping down expenses, an adroit handler of committees and an indefatigable chaser of subscriptions. His character was an extraordinarily mixed one, but there was almost nothing in it that you can put your finger on and call bad, and I believe that even Gandhi's worst enemies would admit that he was an interesting and unusual man who enriched the world simply by being alive . Whether he was also a lovable man, and whether his teachings can have much for those who do not accept the religious beliefs on which they are founded, I have never felt fully certain.

Of late years it has been the fashion to talk about Gandhi as though he were not only sympathetic to the Western Left-wing movement, but were integrally part of it. Anarchists and pacifists, in particular, have claimed him for their own, noticing only that he was opposed to centralism and State violence and ignoring the other-worldly, anti-humanist tendency of his doctrines. But one should, I think, realize that Gandhi's teachings cannot be squared with the belief that Man is the measure of all things and that our job is to make life worth living on this earth, which is the only earth we have. They make sense only on the assumption that God exists and that the world of solid objects is an illusion to be escaped from. It is worth considering the disciplines which Gandhi imposed on himself and which — though he might not insist on every one of his followers observing every detail — he considered indispensable if one wanted to serve either God or humanity. First of all, no meat-eating, and if possible no animal food in any form. (Gandhi himself, for the sake of his health, had to compromise on milk, but seems to have felt this to be a backsliding.) No alcohol or tobacco, and no spices or condiments even of a vegetable kind, since food should be taken not for its own sake but solely in order to preserve one's strength. Secondly, if possible, no sexual intercourse. If sexual intercourse must happen, then it should be for the sole purpose of begetting children and presumably at long intervals. Gandhi himself, in his middle thirties, took the vow of brahmacharya, which means not only complete chastity but the elimination of sexual desire. This condition, it seems, is difficult to attain without a special diet and frequent fasting. One of the dangers of milk-drinking is that it is apt to arouse sexual desire. And finally — this is the cardinal point — for the seeker after goodness there must be no close friendships and no exclusive loves whatever.

Close friendships, Gandhi says, are dangerous, because “friends react on one another” and through loyalty to a friend one can be led into wrong-doing. This is unquestionably true. Moreover, if one is to love God, or to love humanity as a whole, one cannot give one's preference to any individual person. This again is true, and it marks the point at which the humanistic and the religious attitude cease to be reconcilable. To an ordinary human being, love means nothing if it does not mean loving some people more than others. The autobiography leaves it uncertain whether Gandhi behaved in an inconsiderate way to his wife and children, but at any rate it makes clear that on three occasions he was willing to let his wife or a child die rather than administer the animal food prescribed by the doctor. It is true that the threatened death never actually occurred, and also that Gandhi — with, one gathers, a good deal of moral pressure in the opposite direction — always gave the patient the choice of staying alive at the price of committing a sin: still, if the decision had been solely his own, he would have forbidden the animal food, whatever the risks might be. There must, he says, be some limit to what we will do in order to remain alive, and the limit is well on this side of chicken broth. This attitude is perhaps a noble one, but, in the sense which — I think — most people would give to the word, it is inhuman. The essence of being human is that one does not seek perfection, that one is sometimes willing to commit sins for the sake of loyalty, that one does not push asceticism to the point where it makes friendly intercourse impossible, and that one is prepared in the end to be defeated and broken up by life, which is the inevitable price of fastening one's love upon other human individuals. No doubt alcohol, tobacco, and so forth, are things that a saint must avoid, but sainthood is also a thing that human beings must avoid. There is an obvious retort to this, but one should be wary about making it. In this yogi-ridden age, it is too readily assumed that “non-attachment” is not only better than a full acceptance of earthly life, but that the ordinary man only rejects it because it is too difficult: in other words, that the average human being is a failed saint. It is doubtful whether this is true. Many people genuinely do not wish to be saints, and it is probable that some who achieve or aspire to sainthood have never felt much temptation to be human beings. If one could follow it to its psychological roots, one would, I believe, find that the main motive for “non-attachment” is a desire to escape from the pain of living, and above all from love, which, sexual or non-sexual, is hard work. But it is not necessary here to argue whether the other-worldly or the humanistic ideal is “higher”. The point is that they are incompatible. One must choose between God and Man, and all “radicals” and “progressives”, from the mildest Liberal to the most extreme Anarchist, have in effect chosen Man.

However, Gandhi's pacifism can be separated to some extent from his other teachings. Its motive was religious, but he claimed also for it that it was a definitive technique, a method, capable of producing desired political results. Gandhi's attitude was not that of most Western pacifists. Satyagraha, first evolved in South Africa, was a sort of non-violent warfare, a way of defeating the enemy without hurting him and without feeling or arousing hatred. It entailed such things as civil disobedience, strikes, lying down in front of railway trains, enduring police charges without running away and without hitting back, and the like. Gandhi objected to “passive resistance” as a translation of Satyagraha: in Gujarati, it seems, the word means “firmness in the truth”. In his early days Gandhi served as a stretcher-bearer on the British side in the Boer War, and he was prepared to do the same again in the war of 1914-18. Even after he had completely abjured violence he was honest enough to see that in war it is usually necessary to take sides. He did not — indeed, since his whole political life centred round a struggle for national independence, he could not — take the sterile and dishonest line of pretending that in every war both sides are exactly the same and it makes no difference who wins. Nor did he, like most Western pacifists, specialize in avoiding awkward questions. In relation to the late war, one question that every pacifist had a clear obligation to answer was: “What about the Jews? Are you prepared to see them exterminated? If not, how do you propose to save them without resorting to war?” I must say that I have never heard, from any Western pacifist, an honest answer to this question, though I have heard plenty of evasions, usually of the “you're another” type. But it so happens that Gandhi was asked a somewhat similar question in 1938 and that his answer is on record in Mr. Louis Fischer's Gandhi and Stalin. According to Mr. Fischer, Gandhi's view was that the German Jews ought to commit collective suicide, which “would have aroused the world and the people of Germany to Hitler's violence.” After the war he justified himself: the Jews had been killed anyway, and might as well have died significantly. One has the impression that this attitude staggered even so warm an admirer as Mr. Fischer, but Gandhi was merely being honest. If you are not prepared to take life, you must often be prepared for lives to be lost in some other way. When, in 1942, he urged non-violent resistance against a Japanese invasion, he was ready to admit that it might cost several million deaths.

At the same time there is reason to think that Gandhi, who after all was born in 1869, did not understand the nature of totalitarianism and saw everything in terms of his own struggle against the British government. The important point here is not so much that the British treated him forbearingly as that he was always able to command publicity. As can be seen from the phrase quoted above, he believed in “arousing the world”, which is only possible if the world gets a chance to hear what you are doing. It is difficult to see how Gandhi's methods could be applied in a country where opponents of the regime disappear in the middle of the night and are never heard of again. Without a free press and the right of assembly, it is impossible not merely to appeal to outside opinion, but to bring a mass movement into being, or even to make your intentions known to your adversary. Is there a Gandhi in Russia at this moment? And if there is, what is he accomplishing? The Russian masses could only practise civil disobedience if the same idea happened to occur to all of them simultaneously, and even then, to judge by the history of the Ukraine famine, it would make no difference. But let it be granted that non-violent resistance can be effective against one's own government, or against an occupying power: even so, how does one put it into practise internationally? Gandhi's various conflicting statements on the late war seem to show that he felt the difficulty of this. Applied to foreign politics, pacifism either stops being pacifist or becomes appeasement. Moreover the assumption, which served Gandhi so well in dealing with individuals, that all human beings are more or less approachable and will respond to a generous gesture, needs to be seriously questioned. It is not necessarily true, for example, when you are dealing with lunatics. Then the question becomes: Who is sane? Was Hitler sane? And is it not possible for one whole culture to be insane by the standards of another? And, so far as one can gauge the feelings of whole nations, is there any apparent connection between a generous deed and a friendly response? Is gratitude a factor in international politics?

These and kindred questions need discussion, and need it urgently, in the few years left to us before somebody presses the button and the rockets begin to fly. It seems doubtful whether civilization can stand another major war, and it is at least thinkable that the way out lies through non-violence. It is Gandhi's virtue that he would have been ready to give honest consideration to the kind of question that I have raised above; and, indeed, he probably did discuss most of these questions somewhere or other in his innumerable newspaper articles. One feels of him that there was much he did not understand, but not that there was anything that he was frightened of saying or thinking. I have never been able to feel much liking for Gandhi, but I do not feel sure that as a political thinker he was wrong in the main, nor do I believe that his life was a failure. It is curious that when he was assassinated, many of his warmest admirers exclaimed sorrowfully that he had lived just long enough to see his life work in ruins, because India was engaged in a civil war which had always been foreseen as one of the byproducts of the transfer of power. But it was not in trying to smooth down Hindu-Moslem rivalry that Gandhi had spent his life. His main political objective, the peaceful ending of British rule, had after all been attained. As usual the relevant facts cut across one another. On the other hand, the British did get out of India without fighting, and event which very few observers indeed would have predicted until about a year before it happened. On the other hand, this was done by a Labour government, and it is certain that a Conservative government, especially a government headed by Churchill, would have acted differently. But if, by 1945, there had grown up in Britain a large body of opinion sympathetic to Indian independence, how far was this due to Gandhi's personal influence? And if, as may happen, India and Britain finally settle down into a decent and friendly relationship, will this be partly because Gandhi, by keeping up his struggle obstinately and without hatred, disinfected the political air? That one even thinks of asking such questions indicates his stature. One may feel, as I do, a sort of aesthetic distaste for Gandhi, one may reject the claims of sainthood made on his behalf (he never made any such claim himself, by the way), one may also reject sainthood as an ideal and therefore feel that Gandhi's basic aims were anti-human and reactionary: but regarded simply as a politician, and compared with the other leading political figures of our time, how clean a smell he has managed to leave behind!

And how to determine when to take profits?

I realized that I would not be able to sell at the top. Anyone who claims he can consistently do this is lying. If I sold while the stock was rising, it would be a pure guess, because I could not know how far an advance might carry. This would be no cleverer a guess than anticipating that "My Fair Lady" would end its run after 200 performances. You could also guess it would go off after 300 or 400 performances. Why did it not go off at any of these figures? Because the producer would be a fool to close the show when he sees the theater full every night. It is only when he starts to notice empty seats that he considers closing the show.

I carried the Broadway comparison through to the problem of selling. I would be a fool to sell a stock as long as it keeps advancing. When to sell then? Why, when the boxes started to go into reverse!

Yale

Look down, Elihu, we're all right,
Still echoes your boola blue chorus:
Faculty women have faces like night,
Professors go mincing like florists,
Padlocks on buildings, empty graces,
Shallow youth with missing faces.
The colleges rise like broken rocks.
Its stone like frozen sleet is cold.
The tower thrust of Harkness mocks
The eunuchs who in classrooms old
Twist literature of noble breadth
Into verbal games, like living death.
I pray heaven's azure is a different hue
Than Yale's, asphyxiation's ghastly blue.

Rarely do I peruse customer reviews because, as a rule, they are overly positive, overly negative, or so general as to add no stickiness to the paste.  But I had to smile at some proffered insight into another of this author’s books which I will do the critic the dishonor of paraphrasing.  According to this most disappointed reader, Monsignor Summers (if he were indeed ever ordained, a matter of biographical debate) is, like “most religious writers … horribly tainted” by his beliefs; he cannot seem to write a line without referring to Our Holy Father (which the critic, to underscore his consistency, does not capitalize); he “picks his flavor” according to his religious beliefs, not according to “proof”; with the result being a “narrow−minded” book with “strong marks of fundamentalism.”  Whatever the dyes Summers uses to color his quilt, quoting hundreds of texts in six languages from the last twenty−five centuries is probably not the most appropriate example of “narrow−minded.”  Nor does “fundamentalism” have anything at all to do with his beliefs, which are heretical in a harmless way and as far from standard doctrine as they could possibly be with good intentions.  But the real howler here is the idea that proof and belief have anything to do with one another, and that only “religious writers” (somewhat of a redundancy, for all great writers have some religion) cherry−pick what they need for their arguments while the great objective empiricists include all the facts, pro and contra, before drawing their conclusions.  I cannot imagine what our good reviewer was seeking to find in a book written by a priest on an occult subject, but his lack of appreciation is exceeded only by my pity.  Which brings us to an authoritative take on what is presumably a fictional subject.

MR. WORDSWORTH'S genius is a pure emanation of the Spirit of the Age. Had he lived in any other period of the world, he would never have been heard of. As it is, he has some difficulty to contend with the hebetude of his intellect, and the meanness of his subject. With him “lowliness is young ambition's ladder:” but he finds it a toil to climb in this way the steep of fame. His homely Muse can hardly raise her wing from the ground, nor spread her hid den glories to the sun. He has “no figures nor no fantasies, which busy passion draws in the brains of men:” neither the gorgeous machinery of mythologic lore, nor the splendid colours of poetic diction. His style is vernacular: he delivers household truths. He sees nothing loftier than human hopes; nothing deeper than the human heart. This he probes, this he tampers with, this he poises, with all its incalculable weight of thought and feeling, in his hands; and at the same time calms the throbbing pulses of his own heart, by keeping his eye ever fixed on the face of nature. If he can make the life-blood flow from the wounded breast, this is the living colouring with which he paints his verse: if he can assuage the pain or close up the wound with the balm of solitary musing, or the healing power of plants and herbs and "skyey influences," this is the sole triumph of his art. He takes the simplest elements of nature and of the human mind, the mere abstract conditions inseparable from our being, and tries to compound a new system of poetry from them; and has perhaps succeeded as well as any one could. “Nihil humani a me alienum puto" — is the motto of his works. He thinks nothing low or indifferent of which this can be affirmed: every thing that professes to be more than this, that is not an absolute essence of truth and feeling, he holds to be vitiated, false, and spurious. In a word, his poetry is founded on setting up an opposition (and pushing it to the utmost length) between the natural and the artificial: between the spirit of humanity, and the spirit of fashion and of the world!

It is one of the innovations of the time. It partakes of, and is carried along with, the revolutionary movement of our age: the political changes of the day were the model on which he formed and conducted his poetical experiments. His Muse (it cannot be denied, and without this we cannot explain its character at all) is a levelling one. It proceeds on a principle of equality, and strives to reduce all things to the same standard. It is distinguished by a proud humility. It relies upon its own resources, and disdains external show and relief. It takes the commonest events and objects, as a test to prove that nature is always interesting from its inherent truth and beauty, without any of the ornaments of dress or pomp of circumstances to set it off. Hence the unaccountable mixture of seeming simplicity and real abstruseness in the Lyrical Ballads. Fools have laughed at, wise men scarcely understand them. He lakes a subject or a story merely as pegs or loop, to hang thought and feeling on; the incidents arc trifling, in proportion to his contempt for imposing appearances; the reflections arc profound, according to the gravity and the aspiring pretensions of his mind.

His popular, inartificial style gets rid (at a blow) of all the trappings of verse, of all the high places of poetry: "the cloud-capt towers, the solemn temples, the gorgeous palaces," are swept to the ground, and "like the baseless fabric of a vision, leave not a wreck behind." All the traditions of learning, all the superstitions of age, are obliterated and effaced. We begin de novo, on a tabula rasa of poetry. The purple pall, the nodding plume of tragedy are exploded as mere pantomime and trick, to return to the simplicity of truth and nature. Kings, queens, priests, nobles, the altar and the throne, the distinctions of rank, birth, wealth, power, "the judge's robe, the marshal's truncheon, the ceremony lhat to great ones 'longs," are not to be found here. The author tramples on the pride of art with greater pride. The Ode and Epode, the Strophe and the Antistrophe, he laughs to scorn. The harp of Homer, the trump of Pindar and of Aleseus are still. The decencies of costume, the decorations of vanity arc stripped off without mercy as barbarous, idle, and Gothic. The jewels in the crisped hair, the diadem on the polished brow are thought meretricious, theatrical, vulgar; and nothing contents his fastidious taste beyond a simple garland of flowers. Neither does he avail himself of the advantages which nature or accident holds out to him. He chooses to have his subject a foil to his invention, to owe nothing but to himself. He gathers manna in the wilderness, he strikes the barren rock for the gushing moisture. He elevates the mean by the strength of his own aspirations; lie clothes the naked with beauty and grandeur from the store of his own recollections. No cypress-grove loads his verse with perfumes: but his imagination lends "a sense of joy

To the bare trees and mountains bare,
And grass in the green field."

No storm, no shipwreck startles us by its horrors : but the rainbow lifts its head in the cloud, and the breeze sighs through the withered fern. No sad vicissitude of fate, no overwhelming catastrophe in nature deforms his page : but the dew-drop glitters on the bending flower, the tear collects in the glistening eye.

"Beneath the hills, along the flowery vales,
The generations are prepared; the pangs,
The internal pangs are ready; the dread strife
Of poor humanity's afflicted will,
Struggling in vain with ruthless destiny."

As the lark ascends from its low bed on fluttering wing, and salutes the morning skies; so Mr. Wordsworth's unpretending Muse, in russet guise, scales the summits of reflection, while it makes the round earth its footstool, and its home!

Possibly a good deal of this may be regarded as the effect of disappointed views and an inverted ambition. Prevented by native pride and indolence from climbing the ascent of learning or greatness, taught by political opinions to say to the vain pomp and glory of the world, "I hate ye," seeing the path of classical and artificial poetry blocked up by the cumbrous ornaments of style and turgid common-places, so that nothing more could be achieved in that direction but by the most ridiculous bombast or the tamest servility; he has turned back partly from the bias of his mind, partly perhaps from a judicious policy — has struck into the sequestered vale of humble life, sought out the Muse among sheep-cotes and hamlets and the peasant's mountain-haunts, has discarded all the tinsel pageantry of verse, and endeavoured (not in vain) to aggrandise the trivial and add the charm of novelty to the familiar. No one has shown the same imagination in raising trifles into importance: no one has displayed the same pathos in treating of the simplest feelings of the heart. Reserved, yet haughty, having no unruly or violent passions, (or those passions having been early suppressed,) Mr. Wordsworth has passed his life in solitary musing, or in daily converse with the face of nature. He exemplifies in an eminent degree the power of association, for his poetry has no other source or character. He has dwelt among pastoral scenes, till each object has become connected with a thousand feelings, a link in the chain of thought, a fibre of his own heart. Every one is by habit and familiarity strongly attached to the place of his birth, or to objects that recall the most pleasing and eventful circumstances of his life. But to the author of the Lyrical Ballads, nature is a kind of home; and he may be said to take a personal interest in the universe. There is no image so insignificant that it has not in some mood or other found the way into his heart : no sound that does not awaken the memory of other years. —

"To him the meanest flower that blows can give
Thoughts that do often lie too deep for tears."

The daisy looks up to him with sparkling eye as an old acquaintance: the cuckoo haunts him with sounds of early youth not to be expressed: a linnet's nest startles him with boyish delight: an old withered thorn is weighed down with a heap of recollections : a grey cloak, seen on some wild moor, torn by the wind, or drenched in the rain, afterwards becomes an object of imagination to him : even the lichens on the rock have a life and being in his thoughts. He has described all these objects in a way and with an intensity of feeling that no one else had done before him, and has given a new view or aspect of nature. He is in this sense the most original poet now living, and the one whose writings could the least be spared: for they have no substitute elsewhere. The vulgar do not read them, the learned, who see all things through books, do not understand them, the great despise, the fashionable may ridicule them: but the author has created himself an interest in the heart of the retired and lonely student of nature, which can never die. Persons of this class will still continue to feel what he has felt, he has expressed what they might in vain wish to express, except with glistening eye and faultering tongue! There is a lofty philosophic tone, a thoughtful humanity, infused into his pastoral vein. Remote from the passions and events of the great world, he has communicated interest and dignity to the primal movements of the heart of man, and ingrafted his own conscious reflections on the casual thoughts of hinds and shepherds. Nursed amidst the grandeur of mountain scenery, he has stooped to have a nearer view of the daisy under his feet, or plucked a branch of white-thorn from the spray: but in describing it, his mind seems imbued with the majesty and solemnity of the objects around him — the tall rock lifts its head in the erectness of his spirit; the cataract roars in the sound of his verse ; and in its dim and mysterious meaning, the mists seem to gather in the hollows of Helvellyn, and the forked Skiddaw hovers in the distance.) There is little mention of mountainous scenery in Mr. Wordsworth's poetry; but by internal evidence one might be almost sure that it was written in a mountainous country, from its bareness, its simplicity, its loftiness, and its depth!

His later philosophic productions have a somewhat different character. They are a departure from, a dereliction of his first principles. They are classical and courtly. They are polished in style, without being gaudy; dignified in subject, without affectation. They seem to have been composed not in a cottage at Grasmere, but among the half-inspired groves and stately recollections of Cole-Orton. We might allude in particular, for examples of what we mean, to the lines on a Picture by Claude Lorraine, and to the exquisite poem, entitled Laodamia. The last of these breathes the pure spirit of the finest fragments of antiquity— the sweetness, the gravity, the strength, the beauty, and the languor of death—

"Calm Contemplation and majestic pains."

Its glossy brilliancy arises from the perfection of the finishing, like that of careful sculpture, not from gaudy colouring — the texture of the thoughts has the smoothness and solidity of marble. It is a poem that might be read aloud in Elysium, and the spirits of departed heroes and sages would gather round to listen to it! Mr. Wordsworth's philosophic poetry, with a less glowing aspect and less tumult in the veins than Lord Byron's on similar occasions, bends a calmer and keener eye on mortality; the impression, if less vivid, is more pleasing and permanent and we confess it (perhaps it is a want of taste and proper feeling) that there are lines and poems of our author's, that we think of ten times for once that we recur to any of Lord Byron's. Or if there are any of the latter’s writings that we can dwell upon in the same way, that is, as lasting and heart-felt sentiments, it is when laying aside his usual pomp and pretension, he descends with Mr. Wordsworth to the common ground of a disinterested humanity. It may be considered as characteristic of our poet's writings, that they either make no impression on the mind at all, seem mere nonsense-verses, or that they leave a mark behind them that never wears out. They either

"Fall blunted from the indurated breast"

without any perceptible result, or they absorb it like a passion. To one class of readers he appears sublime, to another (and we fear the largest) ridiculous. He has probably realised Milton's wish, — " and fit audience found, though few:" but we suspect he is not reconciled to the alternative. There are delightful passages in the EXCURSION, both of natural description and of inspired reflection (passages of the latter kind that in the sound of the thoughts and of the swelling language resemble heavenly symphonies, mournful requiem? over the grave of human hopes); but we must add, in justice and in sincerity, that we think it impossible that this work should ever become popular, even in the same degree as the Lyrical Ballads. It affects a system without having any intelligible clue to one; and instead of unfolding a principle in various and striking lights, repeats the same; conclusions till they become flat and insipid. Mr. Wordsworth's mind is obtuse, except as it is the organ and the receptacle of accumulated feelings: it is not analytic, but synthetic; it is reflecting, rather than theoretical. The EXCURSION, we believe, fell still-born from the press. There was something abortive, and clumsy, and ill-judged in the attempt. It was long and laboured. The personages, for the most part, were low, the fare rustic: the plan raised expectations which were not fulfilled, and the effect was like being ushered into a stately hall and invited to sit down to a splendid banquet in the company of clowns, and with nothing but successive courses of apple-dumplings served up. It was not even toujours perdrix!

Mr. Wordsworth, in his person, is above the middle size, with marked features, and an air somewhat stately and Quixotic. He reminds one of some of Holbein's heads, grave, saturnine, with a slight indication of sly humour, kept under by the manners of the age or by the pretensions of the person. He has a peculiar sweetness in his smile, and great depth and manliness and a rugged harmony in the tones of his voice. His manner of reading his own poetry is particularly imposing; and in his favourite passages his eye beams with preternatural lustre, and the meaning labours slowly up from his swelling breast. No one who has seen him at these moments could go away with an impression that he was a " man of no mark or likelihood." Perhaps the comment of his face and voice is necessary to convey a full idea of his poetry. His language may not be intelligible, but his manner is not to be mistaken. It is clear" that he is either mad or inspired. In company, even in a tête-à-tête, Mr. Wordsworth is often silent, indolent, and reserved. If he is become verbose and oracular of late years, he was not so in his better days. He threw out a bold or an indifferent remark without either effort or pretension, and relapsed into musing again. He shone most (because he seemed most roused and animated) in reciting his own poetry, or in talking about it. He sometimes gave striking views of his feelings and trains of association in composing certain passages; or if one did not always understand his distinctions, still there was no want of interest — there was a latent meaning worth inquiring into, like a vein of ore that one cannot exactly hit upon at the moment, but of which there are sure indications. His standard of poetry is high and severe, almost to exclusiveness. He admits of nothing below, scarcely of any thing above himself. It is fine lo hear him talk of the way in which certain subjects should have been treated by eminent poets, according to his notions of the art. Thus he finds fault with Dryden's description of Bacchus in the Alexander’s Feast, as if lie were a mere good-looking youth, or boon companion —

“Flushed with a purple grace, He shows his honest face"

instead of representing the God returning from the conquest of India, crowned with vine- leaves, and drawn by panthers, and followed by troops of satyrs, of wild men and animals that he had tamed. Yon would think, in hearing him speak on this subject, that you saw Titian's picture of the meeting of Bacchus and Ariadne — so classic were his conceptions, so glowing his style. Milton is his great idol, and he sometimes dares to compare himself with him. His Sonnets, indeed, have something of the same high-raised tone and prophetic spirit. Chaucer is another prime favourite of his, and he has been at the pains to modernise some of the Canterbury Tales. Those persons who look upon Mr. Wordsworth as a merely puerile writer, must be rather at a loss to account for his strong predilection for such geniuses as Dante and Michael Angelo. We do not think our author has any very cordial sympathy with Shakspeare. How should he? Shakspeare was the least of an egotist of any body in the world. He does not much relish the variety and scope of dramatic composition. "He hates those interlocutions between Lucius and Caius." Yet Mr. Wordsworth himself wrote a tragedy when he was young-, and we have heard the following energetic lines quoted from it, as put into the mouth of a person smit with remorse for some rash crime:

"— Action is momentary,
The motion of a muscle this way or that;
Suffering is long, obscure, and infinite!"

Perhaps for want of light and shade, and the unshackled spirit of the drama, this performance was never brought forward. Our critic has a great dislike to Gray, and a fondness for Thomson and Collins. It is mortifying to hear him speak of Pope and Dryden, whom, because they have been supposed to have all the possible excellences of poetry, he will allow to have none. Nothing, however, can be fairer, or more amusing, than the way in which he sometimes exposes the unmeaning verbiage of modern poetry. Thus, in the beginning of Dr. Johnson's Vanity of Human Wishes —

"Let observation with extensive view
Survey mankind from China to Peru"

he says there is a total want of imagination accompanying the words, the same idea is repeated three times under the disguise of a different phraseology: it comes to this— “let observation, with extensive observation, observe mankind ;" or take away the first line, and the second,

"Survey mankind from China to Peru," literally conveys the whole. Mr. Wordsworth is, we must say, a perfect Drawcansir as to prose writers. He complains of the dry reasoners and matter-of-fact people for their want of passion; and he is jealous of the rhetorical declaimers and rhapsodists as trenching on the province of poetry. He condemns all French writers (as well of poetry as prose) in the lump. His list in this way is indeed small. He approves of Walton's Angler, Paley, and some other writers of an inoffensive modesty of pretension. He also likes books of voyages and travels, and Robinson Crusoe. In art, he greatly esteems Bewick's wood-cuts, and Waterloo's sylvan etchings. But he sometimes takes a higher tone, and gives his mind fair play. We have known him enlarge with a noble intelligence and enthusiasm on Nicolas Poussin's fine landscape-compositions, pointing out the unity of design that pervades them, the superintending mind, the imaginative principle that brings all to bear on the same end; and declaring he would not give a rush for any landscape that did not express the time of day, the climate, the period of the world it was meant to illustrate, or had not this character of wholeness in it. His eye also does justice to Rembrandt's fine and masterly effects. In the way in which that artist works something out of nothing, and transforms the stump of a tree, a common figur