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publication, were made my acquaintances at their own day in the week : but of « his character» I know nodesire, or through the unsought intervention of others: thing personally; I can only speak to his manners, and I never, to the best of my knowledge, sought a personal these have my warmest approbation. But I never judge introduction to any. Some of them to this day I know from manners, for I once had my pocket picked by the only by correspondence; and with one of those it was civilest gentleman I ever met with; and one of the begun by myself, in consequence, however, of a polite mildest persons I ever saw was Ali Pacha. Of Mr Bowles's verbal communication from a third person.

« character,» I will not do him the injustice to judge I have dwelt for an instant on these circumstances, from the edition of Pope, if he prepared it heedlessly ; because it has sometimes been made a subject of bitter nor the justice, should it b: otherwise, because I would reproach to me, to have endeavoured to suppress that neither become a literary executioner, nor a personal satire. I never shrunk, as those who know me know, one. Mr Bowles the individual, and Mr Bowles the from any personal consequences wbich could be attached editor, appear the two most opposite things imaginable ; to its publication. Of its subsequent suppression, as I possessed the copyright, I was the best judge and the I won't say « vile,» because it is harsh; nor « mistaken,» sole master.

The circumstances which occasioned the because it has two syllables too many; but every one suppression I have now stated; of the motives, each

must fill up the blank as he pleases. must judge according to his candour or maligoily.

What I saw of Mr Bowles increased my surprise and Mr Bowles does me the honour to talk of « noble mind,» regret that he should ever have lent his talents to such and « generous magnanimity;» and all this because

If lie had been a fool, there would have been « the circumstance would have been explained had not the book been suppressed.» I see no

some excuse for bim; if he had been a needy or a bad nobility of

man, his conduct would have been intelligible ; but he mind» in an act of simple justice; and I hate the word

is the opposite of all these ; and thinking and feeling as « magnanimity,» because I have sometimes seen it ap: I do of Pope, to me the whole thing is unaccountable. plied to the grossest of impostors by the greatest of fools; but I would have « explained the circumstance,» cannot call his edition of Pope a « candid» work; and

However, I must call things by their right names. not withstanding « the suppression of the book,» if Mr I still think that there is an affectation of that quality, Bowles had expressed any desire that I should. As the

not only in those volumes, but in the pamphlets lately « gallant Galbraith» says to Bailie Jarvie,» « Well, the

published. devil take the mistake and all that occasioned it.» have had as great and greater mistakes made about me

Why yet he doth deny his prisoners! personally and poetically, once a month for these last Mr Bowles says, that he « has seen passages in his letters ten years, and never cared very much about correcting to Martha Blount, which were never published by me, one or the other, at least after the first eight-and-forty and I hope never will be by others; which are so gross hours had gone over them.

as to imply the grossest licentiousness. Is this fair I must now, however, say a word or two about Pope, play? It may, or it may not be that such passages exist; of whom my opinion more at large in the un- and that Pope, who was not a monk, although a cathopublished letter on or to (for I forget which) the editor of lic, may have occasionally sinned in word and in deed « Blackwood's Edinburgh Magazine ;» and here I doubt with woman in his youth; but is this a sufficient ground that Mr Bowles will not approve of my sentiments.

for such a sweeping denunciation? Where is the unAlthough I regret having published « English Bards married Englishman of a certain rank of life, who and Scotch Reviewers,» the part which I regret the least (provided he has not taken orders) has not to reproach is that which regards Mr Bowles with reference to Pope. himself between the ages of sixteen and thirty with far Wbilst I was writing that publication, in 1807 and 1808,

more licentiousness than has ever yet been traced to Mr Ilobhouse was desirous that I should express our Pope ? Pope lived in the public eye from his youth upmutual opinion of Pope, and of Mr Bowles's edition of wards; be had all the dunces of his owo time for his his works. As I had completed my outline, and felt enemies, and, I am sorry to say, some, who have not lazy, I requested that he would do so. Ile did it. His the apology of dulness for detraction, since his death : fourteen lines on Bowles's Pope are in the first edition and yet to what do all their accumulated hints and of u Euglish Bards and Scotch Reviewers ;» and are quite charges amount?—to an equivocal liaison with Martha as severe and much more poetical than my own in the Blount, which might arise as much from his infirmities second. On reprinting the work, as I put my name to

as from his passions; to a hopeless flirtation with Lady it, I omitted Me Hobhouse's lines, and replaced them Mary W. Montagu ; to a story of Cibber's ; and to two with my own, by which the work gained less than Mr or three coarse passages in his works. Who could come Bowles. I have stated this in the preface to the second forth clearer from an invidious inquest, on a life of fiftyedition. It is many years since I have read that poem; six years? Why are we to be ofliciously reminded of but the Quarterly Review, Mr Octavius Gilchrist, and sucha passages in his letters, provided that they exist. Is Mr Bowles himself, have been so obliging as to refresh Mr Bowies aware to what such rummaging among my memory, and that of the public. I I am grieved 10 « letters» and « stories » might lead? I have myself seen say, that in reading over those lines, I repent of their a collection of letters of another eminent, nay, prehaving so far fallen short of what I mcant to express eminent, deceased poet, so abominably gross, and elaupon the subject of Bowles's edition of Pope's Works. borately coarse, that I do not believe that they could be Mr Bowles says that « Lord Byron knows he does not paralleled in our language. What is more strange, is, deserve this character.» I know no such thing. I have that some of these are couched as postscripts to his met Mr Bowles occasionally, in the best society in Lon- serious and sentimental letters, to which are tacked don; he appeared to me an amiable, well-informed, either a piece of prose, or some verses, of the most and extremely able man. I desire nothing better than hyperbolical indecency. He himself says, that if « obto dine in company with such a mannered man every / scenity (using a much coarser word) be the sin against

you have

etc.

the Holy Ghost, le most certainly cannot be saved.» to them in their youth, must laugh at such a ludicrous These letters are in existence, and have been seen by foundation of the charge of a « libertine sort of love ;> many besides myself; but would his editor bave been while the more serious will look upon those who bring « candid» in even alluding to them? Nothing would forward such charges upon an insulated fact, as fanaties have even provoked me, an indifferent spectator, to or hypocrites, perhaps both. The two are sometimes allude to them, but this further attempt at the depre- compounded in a happy mixture. ciation of Pope.

Mr Octavius Gilchrist speaks rather irreverently of a What should we say to an editor of Addison, who « second tumbler of hot white-wine negus. What cited the following passage from Walpole's letters to does he mean? Is there any harm in Degus? or is it George Montagu ? « Dr Young has published a new book, the worse for being hot? or does Mr Bowles drink ne

Mr Addison sent for the young Earl of Warwick, 1 gus? I had a better opinion of him. I hoped that as he was dying, to show him in what peace a Christian whatever wine he drank was neat ; or at least that, like could die; unluckily he died of brandy; nothing makes the ordinary in Jonathan Wild, «he preferred punch, a Christian die in peace like being maudlin! but don't the rather as there was nothing against it in scripture.» say this in Gath, where you are.» Suppose the editor I should be sorry to believe that Mr Bowles was fond introduced it with this preface : « One circumstance is of negus ; it is such a « candid» liquor, so like a wishymentioned by Horace Walpole

, which, if true, was indeed washy compromise between the passion for wine and flagitious. Walpole informs Montagu that Addison sent the propriety of water. But different writers have for the young Earl of Warwick, when dying, to show divers tastes. Judge Blackstone composed his «Comhim in what peace a Christian could die ; but unluckily mentaries » (he was a poet too in his youth), with a he died drunk, etc., etc.» Now, although there might bottle of port before him. Addison's conversation was occur on the subsequent, or on the same page, a faint not good for much till he had taken a similar dose. show of disbelief, seasoned with the expression of « the Perhaps the prescription of these two great men was same candour» (the same exactly as throughout the not inferior to the very different one of a soi-disant book), I should say that this editor was either foolish poet of this day, who, after wandering amongst the hills, or false to his trust; such a story ought not to have been returns, goes to bed, and dictates his verses, being fed admitted, except for one brief mark of crushing in- by a by-stander with bread and butter during the operadignation, unless it were completely proved. Why the lion. words « if true?» that «if» is not a peace-maker. Why I now come to Mr Bowles's a invariable principles of talk of «Cibber's testimony» to his licentiousness; to poetry.» These Mr Bowles and some of his correspondwhat does this amount ? that Pope, when very young, euts prouounce « unanswerable; » and they are « unanwas once decoyed by some nobleman and the player to swered,» at least by Campbell, who seems to bave been a house of carnal recreation. Mr Bowles was not always astounded by the title. The sultan of the time being, a clergyman; and when he was a very young man, was offered to ally himself to a king of France, because he never seduced into as much? If I were in the humour « he hated the word league ;» which proves that the for story-telling, and relating little anecdotes, I could Padishan understood French. Mr Campbell has no tell a much better story of Mr Bowles than Cibber's, up- need of my alliance, nor shall I presume'to offer it; on much better authority, viz. that of Mr Bowles him- but I do hate that word invariable. What is there self. It was not related by him in my presence, but iu of human, be it poetry, philosophy, wit, wisdom, science, that of a third person, whom Mr Bowles names oftener power, clory, mind, matter, life or death, which is than once in the course of his replies. This gentleman «invariable ?» Of course I put things divine out of related it to me as a humorous and willy anecdote; the question. Of all arrogant baptisms of a book, this and so it was, whatever its other characteristics might title to a pamphlet appears the most complacevtly conbe. But should I, from a youthful frolic, brand Mr Bowles ceited. It is Mr Campbell's part to answer the contents with a « libertine sort of love,» or with « licentiousness ?» of this performance, and especially to vindicate his own is he the less now a pious or a good man for not having «Ship,n which Mr Bowles most triumphantly proclaims always been a priest? No such thing ; I am willing to

to have struck to his very first fire. believe him a good man, almost as good a man as Pope,

Quoth be, there was a Skip; but no better.

Now let me go, thou grey-haird loon, The truth is, that in these days the grand «primum

Or my staff shall make thee skip. mobilen of England is cant; cant political, cant poetical, It is no affair of mine, but having once begun (certainly cant religious, cant moral; but always cant, multiplied not by my own wish, but called upon by the frequent through all the varieties of life. It is the fashion, and recurrence to my name in the pamphlets). I am like an while it lasts will be too powerful for those who can Irishman in a « row,» « any body's customer.» I shall only exist by taking the tone of the time. I say cant, therefore say a word or two on the « Ship.» because it is a thing of words, without the smallest in- Mr Bowles asserts that Campbell's « Ship of the Line, tluence upon human actions ; the English being no derives all its poetry, not from «arl,» but from «nature. wiser, no better, and much poorer, and more divided « Take away the waves, the winds, the sun, etc., etc. one amongst themselves, as well as far less moral, than they will become a stripe of blue bunting ; and the other a were before the prevalence of this verbal decorum. piece of coarse canvas on three tall poles.» Very true; This hysterical horror of poor Pope's not very well take away the « waves,» « the winds,» and there will ascertained, and never fully proved amours (for even be no ship at all, not only for poetical, but for any Cibber owns that he prevented the somewhat perilous other purpose ; and take away « the suu,» and we must adventure in which Pope was embarking) sounds very read Mr Bowles's pamphlet by caudlelight. But the virtuous in a controversial pamphlet; but all men of «poetry» of the Ship» does not depend on «the waves, a the world who know what life is, or at least what it was etc.; on the contrary, the « Ship of the Line» confers

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its own poetry upon the waters, and heightens theirs. 1 and Turkish craft, which were obliged to « cut and run»
do not deny, that the « waves and winds, » and above before the wind, from their unsafe anchorage, some for
all « the sun, » are highly poetical; we know it to our Tenedos, some for other isles, some for the main, and
cost, by the many descriptions of them in verse : but some it might be for eternity. The sight of these little
if the waves bore only the foam upon their bosoms, if scudding vessels, darting over the foam in the twilight,
the winds wafted only the sea-weed to the shore, if the now appearing and now disappearing between the waves
sun shone neither upon pyramids, nor fleets, nor for- in the cloud of night, with their peculiarly white sails
tresses, would its beams be equally poctical? I think the Levant sails not being of « coarse canvas», but of
not: the poetry is at least reciprocal. Take away a the white cotton), skimming along as quickly, but less safely
ship of the line» « swinging round, the « calm water,» than the sea-mews which hovered over them; their
and the calm water becomes a somewhat monotonous evident distress, their reduction to fluttering specks in
thing to look at, particularly if not transparently clear; the distance, their crowded succession, their littleness,
witness the thousands who pass by without looking on as contending with the giant element, which made our
it at all. What was it attracted the thousands to the stoul forty-four's teak timbers (she was built in India)
launch? they might have seen the poetical «calm water, » creak again; their aspect and their motion, all struck
at Wapping, or in the « London Dock,» or in the Pad- me as something far more « poctical» than the mere
dington Canal, or in a horse-pond, or in a slop-basin, or broad, brawling, slipless sea, and the sullen winds,
in any other vase. They might have heard the poetical could possibly have been without them.
winds howling through the chinks of a pig-stye, or the

The Euxine is a noble sea to look upon, and the port garret-window; they might bave seen the sun shining of Constantinople the most beautiful of harbours, and on a footman's livery, or on a brass warming-pan; but yet I cannot but think that the twenty sail of the line, could the « calm water,» or the « wind,» or the « sun,» some of one hundred and forty guns, rendered it more make all, or any of these « poetical?» I think not. poetical» by day in the sun, and by night perhaps still Mr Bowles admits « the ship» to be poetical, but only more, for the Turks illuminate their vessels of war in a from those accessaries : now if they con fer poetry so as manner the most picturesque, and yet all this is artito make one thing poetical, they would make other ficial. As for the Euxine, I stood upon the Symplethings poetical; the more so, as Mr Bowles calls a «ship gades—I stood by the broken altar still exposed to the of the line» without them, that is to say, its « masts and winds upon one of them-I felt all the « poetry» of the sails and streamers, » « blue bunting,» and « coarse can. situation, as I repeated the first lines of Medea; but vas,» and « tall poles.» So they are; and porcelain is would not that « poetry» have been heightened by the clay, and man is dust, and flesh is yrass, and yet the Argo? Jt was so even by the appearance of any mertwo latter at least are the subjects of much poesy.

chant vessel arriving from Odessa. But Mr Bowles says, Did Mc Bowles ever gaze upon the sea ? I presume

why bring your ship off the stocks ?» for no reason that he has, at least upon a sea-piece. Did any painter that I know, except that ships are built to be launched. ever paint the sea only, without the addition of a ship, The water, etc., undoubtedly heightens the poetical assoboat, wreck, or some such adjunct? Is the sea itself a ciations, but it does not make them; and the ship ammore attractive, a more moral, a more poetical object ply repays the obligation : they aid each other; the with or without a vessel, breaking its vast but fatiguing water is more poctical with the ship-lhe ship less so monotony! Is a storm more poetical without a ship? without the water. But even a ship, laid

up

in dock, is or, in the poem of the Shipwreck, is it the storm or the a grand and poetical sight. Even an old boat, keel up ship which most interests ? both much undoubtedly; but wards, wrecked upon the barren sand, is a « poetical» without the vessel, what should we care for the tempest? object (and Wordsworth, who made a poem about a It would sink into mere descriptive poetry, which in washing-tub and a blind boy, may tell you so as well itself was never esteemed a high order of that art. as 1; whilst a long extent of sand and unbroken water, I look upon myself as entitled to talk of naval mat

without the boat, would be as like dull prose as any ters, at least to poets :—with the exception of Walter pamphlet lately published. Scott, Moore, and Soutbey, perhaps (who have been

What makes the poetry in the image of the « marble voyagers), I have swam more miles than all the rest of waste of Tadmor,» or Grainger's « Ode to Solitude,» them together now living ever sailed, and have lived so much admired by Johnson? Is it the « marble,» or for months and months on ship-board; and during the the « waste,» the artificial or the natural object. The whole period of my life abroad, have scarcely ever passed « waste» is like all other wastes; but the « marble» of a mooth out of sight of the ocean: besides being brought Palmyra makes the poetry of the passage as of the up from two years till ten on the brink of it. I recol- place. lect, when anchored off Cape Sigæum, in 1810, in an

The beautiful but barren Hymettus, the whole coast English frigate, a violent squall coming on at sunset, so

of Attica, lier Juills and mountains, Pentelicus, Anchesvioleut as to make us imagine that the ship would part mus, Philopappus, etc., etc., are in themselves poetical, cable, or drive from her anchorage. Mr Hobhouse and and would be so if the name of Atheus, of Athenians, myself, and some officers, had been up the Dardanelles and her very ruins, were swept from the earth. But 10 Abydos, and were just returned in time. The aspect am I to be told that the « nature» of Attica would be of a storm in the Archipelago is as poetical as need be, more poetical without the « art» of the Acropolis ? of the sea being particularly short, dashing, and dangerous, the Temple of Theseus? and of the still all Greek and and the navigation intricate and broken by the isles and glorious monuments of her exquisitely artificial genius? currents. Cape Sicæum, the tumuli of the Troad, Lem- Ask the traveller what strikes him as most poetical, nos, Tenedos, all added to the associations of the time. the Parthenon, or the rock on which it stands? The But what seemed the most « poetical» of all at the mo- COLUMNS of Cape Colonna, or the Cape itself? The ment, were the numbers (about two hundred) of Greek rocks, at the foot of it, or the recollection that Falconer's

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ship was bulged upon them. There are a thousand sea, and the innumerable islands which constitute the
rocks and capes, far more picturesque than those of site of this extraordinary city.
the Acropolis and Cape Sunium in themselves; what The

very Cloaca of Tarquin at Rome are as poetical are they to a thousand scenes in the wilder parts of as Richmond Hill; many will think more so. Take Greece, of Asia Minor, Switzerland, or even of Cintra away Rome, and leave the Tiber and the seven hills, in in Portugal, or to many scenes of Italy, and the Sierras the nature of Evander's time; let Mr Bowles, or Mr of Spain? But it is the « art,» the columns, the tem- Wordsworth, or Mr Southey, or any of the other « natuples, the wrecked vessel, which give them their antique rals,» make a poem upon them, and then see which is and their modern poetry, and not the spots

themselves.

most poetical, their production, or the commodest Without them, the spots of earth would be unnoticed guide-book which tells you the road from St Peter's and unknown; buried, like Babylon and Nineveh, in to the Coliseum, and informs you what you will see indistinct confusion, without poetry, as without exist- by the way. The ground interests in Virgil

, because it ence : but to whatever spot of earth these ruins were will be Rome, and not because it is Evander's rural transported, if they were capable of transportation, | domain. like the obelisk, and the sphinx, and the Memnon's Mr Bowles then proceeds to press Homer into his ser. head, there they would still exist in the perfection of vice, in answer to a remark of Mr Campbell's, that their beauty and in the pride of their poetry. I opposed, « Homer was a great describer of works of art.» Mr and will ever oppose, the robbery of ruins from Athens, Bowles contends that all his great power, even in this, to instruct the Evglish in sculpture; but why did I so ? depends upon tbeir connexion with nature. The e shield The ruins are as poetical in Piccadilly as they were in of Achilles derives its poetical interest from the subjects the Parthenon; but the Parthenon and its ro

described on it. >> And from what does the spear of so without them. Such is the poetry of art.

Achilles derive its interest ? and the helmet and the mail Mr Bowles contends, again, that the pyramids of worn by Patroclus, and the celestial armour, and the Egypt are poetical, because of « the association with very brazen greaves of the well-booted Greeks? Is it solely boundless deserts,» and that a « pyramid of the same from the legs, and the back, and the breast, and the hudimensions» would not be sublime in «Lincoln's Inn man body, which they inclose! In that case, it would Fields ;» not so poetical certainly; but take away the have been more poetical to have made them fight naked; • pyramids,” and what is the « desert?» Take away and Gulley and Gregson, as being nearer to a state of Stone-henge from Salisbury plain, and it is nothing nature, are more poetical, boxing in a pair of drawers, more than Hounslow Heath, or any other uninclosed than Hector and Achilles in radiant armour, and with down. It appears to me that St Peter's, the Coliseum, heroic weapons. the Pantheon, the Palatine, the Apollo, the Laocoon, Instead of the clash of helmets, and the rushing of the Venus di Medicis, the Hercules, the dying Gladiator, chariots, and the whizzing of spears, and the glancing of the Moses of Michel Angelo, and all the higher works swords, and the cleaving of shields, and the piercing of of Canova (I have already spoken of those of ancient breast-plates, why not represent the Greeks and Trojans Greece, still extant in that country, or transported to like two savage tribes, tugging and tearing, and kicking, England), are as poeticalas Mont Blanc or Mount Ætna, and biting, and gnashing, foaming, grinuing, and gougperhaps still more so, as they are direct manifestations ing, in all the poetry of martial nature, upincumbered of mind, and presuppose poetry in their very concep-with gross, prosaic, artificial arms, an equal superfluity tion; and have, moreover, as being such, a something to the natural warrior, and his natural poet? Is there of actual life, which cannot belong to any part of inani- any thing unpoetical in Ulysses striking the horses of mate nature, unless we adopt the system of Spinosa, Rhesus with his bow (having forgotten his ihong), or that the world is the deity. There can be nothing more would Mr Bowles have had him kick them with his poetical in its aspect than the city of Venice: does this foot, or smack them with his hand, as being more undepend upon the sea, or the canals ?

sophisticated ? The dirt and sea-weed whenoo proud Venice rose !

In Gray's Elegy, is there an image more striking

than his « shapeless sculpture ?» Of sculpture in geneIs it the canal which runs between the palace and the ral, it may be observed, that it is more poetical dian prison, or the « Bridge of Sighs» which connects them, nature itself, inasmuch as it represents and bodies forth that render it poetical ? Is it the « Canal Grande,» that ideal beauty and sublimity which is never to be or the Rialto which arches it, the churches which tower found in actual nature. This at least is the general over it, the palaces which line, and the gondolas which opinion; but, always excepting the Venus di Medicis, I jilide over the waters, that render this city more poetical differ from that opinion, at least as far as regards fethan Rome itself ? Mr Bowles will say, perhaps, that the male beauty, for the head of Lady Charlemont (when I Rialto is but marble, the palaces and churches only first saw her, nine years ago) seemed to possess all that slone, and the gondolas a «coarse» black cloth, thrown sculpture could require for its ideal. I recollect seeing over some planks of carved wood, with a shining bit of something of the same kind in the head of an Albanian fantastically-formed iron at the prow, « without» the girl, who was actually employed in mending a road in water. And I tell him that without these the water the mountains, and in some Greek, and one or two would be nothing but a clay-coloured ditch; and who- Italian faces. But of sublimity, I have never seen any ever says the contrary, deserves to be at the bottom of thing in human nature at all to approach the expresthat where Pope's heroes are embraced by the mud- sion of sculpture, either in the Apollo, the Moses, or nymphs. There would be nothing to make the canal other of the sterner works of ancient or modern art. of Venice more poetical than that of Paddington, were Let us examine a little further this « babble of green it not for the artificial adjuncts above mentioned, al-fields,» and of bare nature in general, as superior to though it is a perfectly natural canal, formed by the artificial imagery, for the poetical purposes of the fine

arts.

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In landscape painting, the great artist does not pare bis beloved's nose to a « lowers on account of its give you a literal copy of a country, but he invents and length, but of its symmetry; and, making allowance for composes onc. Nature, in her actual aspect, does not eastern hyperbole and the difficulty of finding a discreet furnish him with such existing scenes as he requires. image for a female cose in nature, it is perhaps as good Even where he presents you with some famous city, or a figure as any other. celebrated scene from mountain or other nature, it Art is not inferior to nature for poetical purposes. must be taken from some particular point of view, and What makes a regiment of soldiers a more noble object with such light, and shade, and distance, etc. as serve

of view than the same mass of mob? Their arms, their not only to heighten its beauties, but to shadow its de- dresses, their banners, and the art and artificial symformities. The poetry of nature alone, exactly as she metry of their position and movements. A Highlandappears, is not sufficient to bear him out. The very skyer's plaid, a Mussulman's turban, and a Roman toga, of his painting is not the portrait of the sky of nature; are more poetical than the talioed or untattoed butit is a composition of different skies, observed at diffe-tocks of a New Sandwich savage, although they were rent times, and not the whole copied from any particu- described by William Wordsworth himself like the lar day. And why? Because Nature is noi lavish of « idiot in bis glory.” her beauties; they are widely scattered, and occasionally I have seen as many mountains as most men, and more displayed, to be selected with care, and gathered with Meets than the generality of landsmen: and to my mind, difficulty.

a large convoy, with a few sail of the line to conduct them, Of sculpture I have just spoken. It is the great is as noble and as poetical a prospect as all that inauiscope of the sculptor to heighten nature into heroic mate nature can produce. I prefer the « mast of some beauty, i. e. in plain English, to surpass his model. great ammiral,» with all its tackle, to the Scotch fir or When Canova forms a statue, he takes a limb from one, the Alpine tannen: and think that more poetry has been a hand from another, a feature from a third, and a made out of it. In what does the infinite superiority of shape, it may be, from a fourth, probably at the same « Falconer's Shipwreck,» over all other shipwrecks, contime improving upon all, as the Greek of old did in sist? In his admirable application of the terms of his embodying his Venus.

art; in a poet-sailor's description of the sailor's fate.
Ask a portrait painter to describe his agonies in ac- These very terms, by his application, make the strength
commodating the faces with which Nature and his sit- and reality of his poem. Why? because he was a poet,
ters have crowded his painting-room to the principles of and in the hands of a poet art will not be found less
his art; with the exception of perhaps ten faces in as ornamental than nature. It is precisely in general na-
many millions, there is not one which he can venture to lure, and in stepping out of his element, that Falconer
give without shading much and adding more. Nature, fails; where he digresses to speak of ancient Greece, and
exactly, simply, barely nature, will make no great artist «such branches of learning.»
of

any kind, and least of all a poct-the most artificial, In Dyer's Grongar Hill, upon which his fame rests,
perhaps, of all artists in his very essence. With regard the very appearance of Nature herself is moralised into
to natural imagery, the poets are obliged to take some of an artificial image:
their best illustrations from art. You say that « a foun-

Thus is Nature's restare wrought,
tain is as clear or clearer than glass,» to express its

To instruct our wandering thought; beauty

Thus she dresses green and gay.

To disperse our cares away.
O fons Bandusiæ, splendidior vitro!

And here also we have the telescope, the mis-use of In the speech of Mark Antony, the body of Cæsar is which, from Milton, has rendered Mr Bowles so triumplıdisplayed, but so also is his mantle:

ant over Mr Campbell: You all do know this mantle, etc.

So we mistake the future's face.

Eyed through Hope's doluding glass.
Look! in this place ran Cassius' dagger through.

And here a word, en passant, to Mr Campbell :
If the poet had said that Cassius had run his fist through

As you summits, soft and falr,
the rent of the mantle, it would have had more of Mr

Clad in colours of the air,
Bowles's a nature» to help it; but the artificial dagger is

Which, to those who journey near,

Barren, brown, and rough appear, more poetical than any natural hand without it. In the

Suill we tread the same coarse way
sublime of sacred poetry, «Who is this that cometh

The present's suill a cloudy day.
from Edom ? with dyed garments from Bozrah ?» Would
« the comer» be poetical without his « dyed garments?» Is not this the original of the far-famed
which strike and startle the spectator, and identify the

"Tis distance lends enchantment to the view.
approaching object.

And robes the mountain in its azure bue !
The mother of Sisera is represented listening for the

To return once more to the sca. Let any one look on « wheels of his chariot.» Solomon, in his Soug, com

the long wall of Malamocco, which curbs the Adriatic, pares the nose of his beloved to a « tower,» which to us

and pronounce between the sea and its master. Surely appears an eastern exaggeration. If he had said, that that Roman work (I mean Roman in conception and her statue was like that of «a tower,” it would have

performance), which says to the ocean, « thus far shalt been as poetical as if he had compared her to a tree.

thou come, and no further,» and is obeyed, is not less The virtuous Marcia towers above her sex,

sublime and poetical than the angry waves which vainly

break beneath it. is an instance of an artificial image to express a moral Mr Bowles makes the chief part of a ship's poesy desuperiority. But Solomon, it is probable, did not com peod on the « wind:» then why is a ship under sail more

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