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Blackwood's Edinburgh Magazine – Volume 57, No. 352, February 1845
Blackwood's Edinburgh Magazine - Volume 57, No. 352, February 1845
NORTH'S SPECIMENS OF THE BRITISH CRITICS
Dryden
Poetry, according to Lord Bacon a Third Part of Learning, must be a social interest of momentous power. That Wisest of Men — so our dear friends may have heard — extols it above history and above philosophy, as the more divine in its origin, the more immediately and intimately salutary and sanative in its use. Are not Shakspeare and Milton two of our greatest moral teachers? Criticism opens to us the poetry we possess; and, like a magnanimous kingly protector, shelters and fosters all its springing growths. What is criticism as a science? Essentially this — FEELING KNOWN — that is, affections of the heart and imagination become understood subject-matter to the self-conscious intelligence. Must feeling perish because intelligence sounds its depths? Quite the reverse. Greatest minds are those in which, in and out of poetry, the understanding contemplates the will. Then first the soul has its proper strength. Disorderly passions are then tamed, and become the massy pillars of high-built virtue. Criticism? It is a shape of self-intuition. Confession and penitence, in the church, are a moral and a religious criticism. The imagination is less august and solemn, but of the same character. The first age of the world lived by divine instincts; the later must by reason. How, then, shall we possess the poetry of our being, unless we guard and arm it? If it be a benign, holy, potent faculty, nevertheless it cannot, the most delicate of all our faculties, sustain itself in the strife of opinions raging and thundering around. Then, if it should rightly hold dominion over us, let legislative opinion acknowledge, establish, and fortify that impaled territory. The temper of the times is in sundry respects favourable, notwithstanding its too frequent possession by an incensed political spirit. Has there not been for half a century a spontaneous, an ardent, a loving return in literature, of our own and all countries, to the old and great in the productions of the human mind — to nature, with all her fountains? Does not the spirit of man, in the great civilized nations at this day, travail with desire of knowing itself, its laws, its conditions, its means, its powers, its hopes? It studies with irregular, often blind and perverted, efforts; but still it studies — itself. And is not criticism, when it speaks, much bolder, more glowing and generous, ampler-spirited, more inspiring, and withal more enquiring and philosophical? During the whole period we speak of, poetry and criticism — in nature near akin — with occasional complaints and quarrels, have flourished amicably together, side by side. Both have been strong, healthy, and good. Prigs of both kinds — the pert and the pompous — will keep prating about the shallowness and superficiality of periodical criticism — deep enough to drown the whole tribe in its very fords. They call for systems. Why will they not be contented with the system of the universe? — of which they know not that periodical criticism is a conspicuous part. Every other year the nations without telescopes see the rising of some new, bright, particular star. Comets, with tails like O'Connell, are so common as to lose attraction, and blaze by weekly into indiscoverable realms. We have constructed an Orrery of Ebony, which we mean to exhibit at the next great cattle-show, displaying, in their luminous order, the orbs and orbits of all the heavenly bodies. In the centre — but this is not the time for such high revelations. We have now another purpose; and, leaving all those golden urns to yield light at their leisure, we desire you to take a look along with us at the choice critics of other days, waked by our potent voice from the long-gathering dust. In our plainer style, we beg, ladies and gentlemen, to draw your attention to a series of articles in Blackwood, of which this is Alpha. Omega is intended for a Christmas present to your great-grandchildren.
Ay, there were giants in those days, as well as in these — also much dwarfs. But we shall not lose ourselves with you in the darkness of antiquity — one longish stride backwards of some hundred and fifty years or so, and then let us leisurely look about us for the Critics. Who comes here? A grenadier — Glorious John. Him Scott, Hallam, Macaulay, have pronounced, each in his own peculiar and admirable way, to have been, in criticism, "a light to his people." Him Samuel Johnson called "a man whom every English generation must mention with reverence as a critic and a poet."
"Dryden," says the sage, in a splendid eulogium on his prose writings, "may be properly considered as the father of English criticism — as the writer who first taught us to determine, upon principles, the merit of composition. Of our former poets, the greatest dramatist wrote without rules, conducted through life and nature by a genius that rarely misled, and never deserted him. Of the rest, those who knew the laws of propriety had neglected to teach them." And he adds wisely — "To judge rightly of an author, we must transport ourselves to his time, and examine what were the wants of his contemporaries, and what were his means of supplying them. That which is easy at one time was difficult at another." Let us, then, examine some of Dryden's expositions of principles; and first, those on which he defends Heroic Verse in Rhyme, as the best language of the tragic drama.
This can be done effectually only by following him wherever he has treated the subject, and by condensing all his opinions into one consecutive argument.
His first play, (a comedy,) "The Wild Gallant," was brought on the stage in February 1662-3, and with indifferent success, though he has told us that it was more than once the divertisement of Charles II. by his own command, and a favourite with "the Castlemain." "The Rival Ladies" (a tragi-comedy) was acted and published in the year following, and the serious scenes are executed in rhyme. Of its success we know nothing in particular; but Sir Walter thinks that the flowing verse into which some part of the dialogue is thrown, with the strong point and antithesis which all along distinguished his style, especially his argumentative poetry, tended to redeem the credit of the author of the "Wild Gallant." Up to this time Dryden, now in his thirty-third year, had not written much; but in his "Heroic Stanzas on the death of Oliver Cromwell," "Astrea Redux, or Poem on the Happy Restoration and Return of his Sacred Majesty," and "A Panegyric on his Coronation," he had not only shown his measureless superiority to the Sprats and Wallers — poetasters of the same class after all, though Sprat was always but a small fish, while Waller was long thought like a whale — but manifested a vigour of thought and expression that gave assurance of a veritable poet. In those noble compositions he exults in his conscious power of numerous verse; and, like an eagle in the middle element, sweeps along majestically on easy wings. In "The Rival Ladies," the rhymed dialogue is exceedingly graceful, the blank verse somewhat cumbrous; and, in his dedication to the Earl of Orrery, he justifies himself "for following the new way; I mean, of writing scenes in verse." It may here, once for all, be remarked, that in all his disquisitions, by "verse" he usually means rhyme as opposed to blank verse. "To speak properly," he says, "it is not so much a new way amongst us, as an old way revived; for many years before Shakspeare's plays was the tragedy of 'Queen Gorboduc,' in English verse, written by that famous Lord Buckhurst, afterwards Earl of Dorset." Dryden here shows how little conversant he then was with the old English drama. For the tragedy of "Ferrex and Porrex" was first surreptitiously published under the title of "Gorboduc," who is not Queen, but King of England; and it is not written in rhyme, but, excepting the choruses, in blank verse; while Sackville's part of the play comprehends only the two last acts, of themselves sufficient to place him in the highest order of Noble Authors. "But supposing," he continues, "our countrymen had not received this writing till of late, shall we oppose ourselves to the most polished and civilized nations of Europe? * * * All the Spanish and Italian tragedies I have yet seen are writ in rhyme. * * * Shakspeare (who, with some errors not to be avoided in that age, had undoubtedly a larger soul of poesy than ever any of our nation,) was the first who, to shun the pains of continual rhyming, invented that kind of writing which we call blank verse, but the French more properly prose mesurée; into which the English tongue so naturally glides, that in writing prose it is hardly to be avoided." Here again, it is hardly indeed worth while to remark, is another mistake; Marlow and several other dramatists having used blank verse (but how inferior to the divine man's!) before Shakspeare. Coleridge somewhere quotes a verse or two forming itself in prose composition as a rarity and a fault; but, though it had better perhaps be avoided, and though its frequent recurrence would be offensive, yet, when words in their natural order do form a verse, it might be difficult to give a good reason why they may not be permitted to do so, more especially if they are not felt to be a verse insulated among the circumfluent prose. From the very best prose we could pick out thousands of single verses, which are to be found only when you seek for them; and not from rich prose only like Coleridge's own or Jeremy Taylor's, but from the poorest, like Dr Blair's or Gerald's of Aberdeen. Dryden says he cannot "but admire how some men should perpetually stumble in a way so easy" — that is, as blank verse — "into which the English tongue so naturally glides," and should strive to attain it by inverting the order of the words, to make the "blanks" sound more heroically — as, for example, instead of "Sir, I ask your pardon," "Sir, I your pardon ask." And adds — "I should judge him to have little command of English, when the necessity of a rhyme should force often upon this rock; though sometimes it cannot easily be avoided; and, indeed, this is the only inconvenience with which rhyme can be charged." In this lively style does he pursue his argument in favour of rhyme. For this it is which makes its adversaries say rhyme is not natural! But the fault lies with the poet who is not master of his art, and either makes a vicious choice of words, or places them, for rhyme's sake, so unnaturally as no man would in ordinary speech. But when it is so judiciously ordered that the first word in the verse seems to beget the second, and that again the next, till that becomes the last word in the line, which, in the negligence of prose, would be so; it must then be granted, that rhyme has all the advantages of prose —besides its own.
"Glorious John" (who must have been laughing in his sleeve) then declares, that the "excellence and dignity of it were never fully known till Mr Waller taught it;" that it was afterwards "followed in the epic by Sir John Denham, in his 'Cooper's Hill,' a poem which your lordship knows, for the majesty of the style, is, and ever will be, the exact standard of good writing;" and that we are "acknowledging for the noblest use of it to Sir William D'Avenant, who at once brought it upon the stage, and made it perfect in the Siege of Rhodes!"
Having thus carried things all his own way, he triumphantly declares, that the advantages which rhyme has over blank verse are so many, that "it were lost time to name them." And then, with fresh vigour, he sets himself to name some of the chief — and first, that one illustrated by Sir Philip Sidney in his "Defence of Poesy," "the help it brings to memory, which rhyme so knits up by the affinity of sound, that by remembering the last word in one line, we often call to mind both the verses." Then, in the quickness of repartees (which in discoursive scenes fall very often) it has, he says, so particular a grace, and is so aptly united to them, that the sudden smartness of the answer, and the exactness of the rhyme, set off the beauty of each other.
But its greatest benefit of all, according to Dryden, is, that it bounds and circumscribes the fancy. The great easiness of blank verse renders the poet too luxuriant; he is tempted to say many things which might be better omitted, or at least shut up in fewer words. But when the difficulty of artificial rhyming is interposed; where the poet commonly confines his verse to his couplet, and must continue that verse in such words that the rhyme shall naturally follow them, not they the rhyme, the fancy then gives leisure to the judgment to come in; which, seeing so heavy a task imposed, is ready to cut off all unnecessary expenses. And this furnishes a complete answer, he maintains, to the ordinary objection, that rhyme is only an embroidery of verse, to make that which is ordinary in itself pass for excellent with less examination. For that which most regulates the fancy, and gives the judgment its busiest employment, is like to bring forth the richest and clearest thoughts. The poet examines that most which he produces with the greatest leisure, and which he knows must pass the severest test of the audience, because they are aptest to have it ever in the memory. In conclusion, he winds up skilfully by applying all he has said to "a fit subject" — that is, an Heroic Play. For neither must the argument alone, but the characters and persons, be great and noble, otherwise rhymed verse would be out of place, which, for the reasons assigned, is manifestly suited for the utterance of lofty sentiments, and for occasions of dignity and importance. Heroic Plays were then all the rage, and Dryden was meditating to enter on that career which for many years occupied his genius, not essentially dramatic, to the exclusion of other kinds of poetry in which he afterwards excelled all competitors.