Читать книгу The Best Letters of Charles Lamb - Charles Lamb - Страница 13

June 10, 1796.

With "Joan of Arc" I have been delighted, amazed, I had not presumed to expect anything of such excellence from Southey. Why, the poem is alone sufficient to redeem the character of the age we live in from the imputation of degenerating in poetry, were there no such beings extant as Burns, and Bowles, Cowper, and———— fill up the blank how you please; I say nothing. The subject is well chosen; it opens well. To become more particular, I will notice in their order a few passages that chiefly struck me on perusal. Page 26: "Fierce and terrible Benevolence!" is a phrase full of grandeur and originality, The whole context made me feel possessed, even like Joan herself. Page 28: "It is most horrible with the keen sword to gore the finely fibred human frame," and what follows, pleased me mightily. In the second book, the first forty lines in particular are majestic and high-sounding. Indeed, the whole vision of the Palace of Ambition and what follows are supremely excellent. Your simile of the Laplander, "By Niemi's lake, or Balda Zhiok, or the mossy stone of Solfar-Kapper," [1] will bear comparison with any in Milton for fulness of circumstance and lofty-pacedness of versification. Southey's similes, though many of 'em are capital, are all inferior. In one of his books, the simile of the oak in the storm occurs, I think, four times. To return: the light in which you view the heathen deities is accurate and beautiful. Southey's personifications in this book are so many fine and faultless pictures. I was much pleased with your manner of accounting for the reason why monarchs take delight in war. At the 447th line you have placed Prophets and Enthusiasts cheek by jowl, on too intimate a footing for the dignity of the former. Necessarian-like-speaking, it is correct. Page 98: "Dead is the Douglas! cold thy warrior frame, illustrious Buchan," etc., are of kindred excellence with Gray's "Cold is Cadwallo's tongue," etc. How famously the Maid baffles the Doctors, Seraphic and Irrefragable, "with all their trumpery!" Page 126: the procession, the appearances of the Maid, of the Bastard Son of Orleans, and of Tremouille, are full of fire and fancy, and exquisite melody of versification. The personifications from line 303 to 309, in the heat of the battle, had better been omitted; they are not very striking, and only encumber. The converse which Joan and Conrade hold on the banks of the Loire is altogether beautiful. Page 313: the conjecture that in dreams "all things are that seem," is one of those conceits which the poet delights to admit into his creed—a creed, by the way, more marvellous and mystic than ever Athanasius dreamed of. Page 315: I need only mention those lines ending with "She saw a serpent gnawing at her heart!" They are good imitative lines: "he toiled and toiled, of toil to reap no end, but endless toil and never-ending woe." Page 347: Cruelty is such as Hogarth might have painted her. Page 361: all the passage about Love (where he seems to confound conjugal love with creating and preserving love) is very confused, and sickens me with a load of useless personifications; else that ninth book is the finest in the volume—an exquisite combination of the ludicrous and the terrible. I have never read either, even in translation, but such I conceive to be the manner of Dante or Ariosto. The tenth book is the most languid.

On the whole, considering the celerity wherewith the poem was finished, I was astonished at the unfrequency of weak lines, I had expected to find it verbose. Joan, I think, does too little in battle, Dunois perhaps the same; Conrade too much. The anecdotes interspersed among the battles refresh the mind very agreeably, and I am delighted with the very many passages of simple pathos abounding throughout the poem—passages which the author of "Crazy Kate" might have written. Has not Master Southey spoke very slightingly in his preface and disparagingly of Cowper's Homer? What makes him reluctant to give Cowper his fame? And does not Southey use too often the expletives "did" and "does"? They have a good effect at times, but are too inconsiderable, or rather become blemishes when they mark a style. On the whole, I expect Southey one day to rival Milton; I already deem him equal to Cowper, and superior to all living poets besides. What says Coleridge? The "Monody on Henderson" is immensely good; the rest of that little volume is readable and above mediocrity? [2] I proceed to a more pleasant task—pleasant because the poems are yours; pleasant because you impose the task on me; and pleasant, let me add, because it will confer a whimsical importance on me to sit in judgment upon your rhymes. First, though, let me thank you again and again, in my own and my sister's name, for your invitations. Nothing could give us more pleasure than to come; but (were there no other reasons) while my brother's leg is so bad, it is out of the question. Poor fellow! he is very feverish and light-headed; but Cruikshanks has pronounced the symptoms favourable, and gives us every hope that there will be no need of amputation. God send not! We are necessarily confined with him all the afternoon and evening till very late, so that I am stealing a few minutes to write to you.

Thank you for your frequent letters; you are the only correspondent and, I might add, the only friend I have in the world. I go nowhere, and have no acquaintance. Slow of speech and reserved of manners, no one seeks or cares for my society, and I am left alone. Austin calls only occasionally, as though it were a duty rather, and seldom stays ten minutes. Then judge how thankful I am for your letters! Do not, however, burden yourself with the correspondence. I trouble you again so soon only in obedience to your injunctions. Complaints apart, proceed we to our task. I am called away to tea—thence must wait upon my brother; so must delay till to-morrow. Farewell!—Wednesday.

Thursday.—I will first notice what is new to me. Thirteenth page: "The thrilling tones that concentrate the soul" is a nervous line, and the six first lines of page 14 are very pretty, the twenty-first effusion a perfect thing. That in the manner of Spenser is very sweet, particularly at the close; the thirty-fifth effusion is most exquisite—that line in particular, "And, tranquil, muse upon tranquillity." It is the very reflex pleasure that distinguishes the tranquillity of a thinking being from that of a shepherd—a modern one I would be understood to mean—a Damoetas; one that keeps other people's sheep. Certainly, Coleridge, your letter from Shurton Bars has less merit than most things in your volume; personally it may chime in best with your own feelings, and therefore you love it best. It has, however, great merit. In your fourth epistle that is an exquisite paragraph, and fancy-full, of "A stream there is which rolls in lazy flow," etc. "Murmurs sweet undersong 'mid jasmin bowers" is a sweet line, and so are the three next. The concluding simile is far-fetched; "tempest-honored" is a quaintish phrase.

Yours is a poetical family. I was much surprised and pleased to see the signature of Sara to that elegant composition, the fifth epistle. I dare not criticise the "Religious Musings;" I like not to select any part, where all is excellent. I can only admire, and thank you for it in the name of a Christian, as well as a lover of good poetry; only let me ask, is not that thought and those words in Young, "stands in the sun,"—or is it only such as Young, in one of his better moments, might have writ?

"Believe thou, O my soul,

Life is a vision shadowy of Truth;

And vice, and anguish, and the wormy grave,

Shapes of a dream!"

I thank you for these lines in the name of a necessarian, and for what follows in next paragraph, in the name of a child of fancy. After all, you cannot nor ever will write anything with which I shall be so delighted as what I have heard yourself repeat. You came to town, and I saw you at a time when your heart was yet bleeding with recent wounds. Like yourself, I was sore galled with disappointed hope; you had

"Many an holy lay

That, mourning, soothed the mourner on his way."

I had ears of sympathy to drink them in, and they yet vibrate pleasant on the sense. When I read in your little volume your nineteenth effusion, or the twenty-eighth or twenty-ninth, or what you call the "Sigh," I think I hear you again. I image to myself the little smoky room at the "Salutation and Cat," where we have sat together through the winter nights, beguiling the cares of life with poesy. When you left London, I felt a dismal void in my heart. I found myself cut off, at one and the same time, from two most dear to me, "How blest with ye the path could I have trod of quiet life!" In your conversation you had blended so many pleasant fancies that they cheated me of my grief; but in your absence the tide of melancholy rushed in again, and did its worst mischief by overwhelming my reason. I have recovered, but feel a stupor that makes me indifferent to the hopes and fears of this life. I sometimes wish to introduce a religious turn of mind; but habits are strong things, and my religious fervours are confined, alas! to some fleeting moments of occasional solitary devotion,

A correspondence, opening with you, has roused me a little from my lethargy and made me conscious of existence. Indulge me in it; I will not be very troublesome! At some future time I will amuse you with an account, as full as my memory will permit, of the strange turn my frenzy took. I look back upon it at times with, a gloomy kind of envy; for while it lasted, I had many, many hours of pure happiness. Dream not, Coleridge, of having tasted all the grandeur and wildness of fancy till you have gone mad! All now seems to me vapid—comparatively so. Excuse this selfish digression. Your "Monody" [3] is so superlatively excellent that I can only wish it perfect, which I can't help feeling it is not quite. Indulge me in a few conjectures; what I am going to propose would make it more compressed and, I think, more energetic, though, I am sensible, at the expense of many beautiful lines. Let it begin, "Is this the land of song-ennobled line?" and proceed to "Otway's famished form;" then, "Thee, Chatterton," to "blaze of Seraphim;" then, "clad in Nature's rich array," to "orient day;" then, "but soon the scathing lightning," to "blighted land;" then, "sublime of thought," to "his bosom glows;" then

"But soon upon his poor unsheltered head

Did Penury her sickly mildew shed;

Ah! where are fled the charms of vernal grace,

And joy's wild gleams that lightened o'er his face."

Then "youth of tumultuous soul" to "sigh," as before. The rest may all stand down to "gaze upon the waves below." What follows now may come next as detached verses, suggested by the "Monody," rather than a part of it. They are, indeed, in themselves, very sweet;

"And we, at sober eve, would round thee throng,

Hanging enraptured on thy stately song!"

in particular, perhaps. If I am obscure, you may understand me by counting lines. I have proposed omitting twenty-four lines; I feel that thus compressed it would gain energy, but think it most likely you will not agree with me; for who shall go about to bring opinions to the bed of Procrustes, and introduce among the sons of men a monotony of identical feelings? I only propose with diffidence.