Critical and Historical Essays - Volume 2 by Thomas Babington Macaulay (fun to read .txt) 📕

spirits of avenging crime; Burst from your bonds, and battle with the time!"

Mr. Robert Montgomery is fond of personification, and belongs, we need not say, to that school of poets who hold that nothing more is necessary to a personification in poetry than to begin a word with a capital letter. Murder may, without impropriety, bare her arm, as she did long ago, in Mr. Campbell's Pleasures of Hope. But what possible motive Rebellion can have for weltering in her storm, what avenging crime may be, who its spirits may be, why they should be burst from their bonds, what their bonds may be, why they should battle with the time, what the time may be, and what a battle between the time and the spirits of avenging crime would resemble, we must confess ourselves quite unable to understand.

"And here let Memory turn her tearful glance On the dark horrors of tumultuous France, When blood and blasphemy defiled her land, And fierce Rebellion shook her savage hand."

Whether Rebellion shakes her own hand, shakes the hand of Memory, or shakes the hand of France, or what any one of these three metaphors would mean, we, know no more than we know what is the sense of the following passage

"Let the foul orgies of infuriate crime Picture the raging havoc of that time, When leagued Rebellion march'd to kindle man, Fright in her rear, and Murder in her van. And thou, sweet flower of Austria, slaughter'd Queen, Who dropp'd no tear upon the dreadful scene, When gush'd the life-blood from thine angel form, And martyr'd beauty perish'd in the storm, Once worshipp'd paragon of all who saw, Thy look obedience, and thy smile a law."

What is the distinction between the foul orgies and the raging havoc which the foul orgies are to picture? Why does Fright go behind Rebellion, and Murder before? Why should not Murder fall behind Fright? Or why should not all the three walk abreast? We have read of a hero who had

"Amazement in his van, with flight combined, And Sorrow's faded form, and Solitude behind."

Gray, we suspect, could have given a reason for disposing the allegorical attendants of Edward thus. But to proceed, "Flower of Austria" is stolen from Byron. "Dropp'd" is false English. "Perish'd in the storm" means nothing at all; and "thy look obedience" means the very reverse of what Mr. Robert Montgomery intends to say.

Our poet then proceeds to demonstrate the immortality of the soul:

"And shall the soul, the fount of reason, die, When dust and darkness round its temple lie? Did God breathe in it no ethereal fire. Dimless and quenchless, though the breath expire?"

The soul is a fountain; and therefore it is not to die, though dust and darkness lie round its temple, because an ethereal fire has been breathed into it, which cannot be quenched though its breath expire. Is it the fountain, or the temple, that breathes, and has fire breathed into it?

Mr. Montgomery apostrophises the

"Immortal beacons,-spirits of the just,"-

and describes their employments in another world, which are to be, it seems, bathing in light, hearing fiery streams flow, and riding on living cars of lightning. The deathbed of the sceptic is described with what we suppose is meant for energy. We then have the deathbed of a Christian made as ridiculous as false imagery and false English can make it. But this is not enough. The Day of Judgment is to be described, and a roaring cataract of nonsense is poured forth upon this tremendous subject. Earth, we are told, is dashed into Eternity. Furnace blazes wheel round the horizon, and burst into bright wizard phantoms. Racing hurricanes unroll and whirl quivering fire-clouds. The white waves gallop. Shadowy worlds career around. The red and raging eye of Imagination is then forbidden to pry further. But further Mr. Robert Montgomery persists in prying. The stars bound through the airy roar. The unbosomed deep yawns on the ruin. The billows of Eternity then begin to advance. The world glares in fiery slumber. A car comes forward driven by living thunder,

"Creation shudders with sublime dismay, And in a blazing tempest whirls away."

And this is fine poetry! This is what ranks its writer with the master-spirits of the age! This is what has been described, over and over again, in terms which would require some qualification if used respecting Paradise Lost! It is too much that this patchwork, made by stitching together old odds and ends of what, when new, was but tawdry frippery, is to be picked off the dunghill on which it ought to rot, and to be held up to admiration as an inestimable specimen of art. And what must we think of a system by means of which verses like those which we have quoted, verses fit only for the poet's corner of the Morning Post, can produce emolument and fame? The circulation of this writer's poetry has been greater than that of Southey's Roderick, and beyond all comparison greater than that of Cary's Dante or of the best works of Coleridge. Thus encouraged, Mr. Robert Montgomery has favoured the public with volume after volume. We have given so much space to the examination of his first and most popular performance that we have none to spare for his Universal Prayer, and his smaller poems, which, as the puffing journals tell us, would alone constitute a sufficient title to literary immortality. We shall pass at once to his last publication, entitled Satan.

This poem was ushered into the world with the usual roar of acclamation. But the thing was now past a joke. Pretensions so unfounded, so impudent, and so successful, had aroused a spirit of resistance. In several magazines and reviews, accordingly, Satan has been handled somewhat roughly, and the arts of the puffers have been exposed with good sense and spirit. We shall, therefore, be very concise.

Of the two poems we rather prefer that on the Omnipresence of the Deity, for the same reason which induced Sir Thomas More to rank one bad book above another. "Marry, this is somewhat. This is rhyme. But the other is neither rhyme nor reason." Satan is a long soliloquy, which the Devil pronounces in five or six thousand lines of bad blank verse, concerning geography, politics, newspapers, fashionable society, theatrical amusements, Sir Walter Scott's novels, Lord Byron's poetry, and Mr. Martin's pictures. The new designs for Milton have, as was natural, particularly attracted the attention of a personage who occupies so conspicuous a place in them. Mr. Martin must be pleased to learn that, whatever may be thought of those performances on earth, they give full satisfaction in Pandaemonium, and that he is there thought to have hit off the likenesses of the various Thrones and Dominations very happily.

The motto to the poem of Satan is taken from the Book of Job: "Whence comest thou? From going to and fro in the earth, and walking up and down in it." And certainly Mr. Robert Montgomery has not failed to make his hero go to and fro, and walk up and down. With the exception, however, of this propensity to locomotion, Satan has not one Satanic quality. Mad Tom had told us that "the prince of darkness is a gentleman"; but we had yet to learn that he is a respectable and pious gentleman, whose principal fault is that he is something of a twaddle and far too liberal of his good advice. That happy change in his character which Origen anticipated, and of which Tillotson did not despair, seems to be rapidly taking place. Bad habits are not eradicated in a moment. It is not strange, therefore, that so old an offender should now and then relapse for a short time into wrong dispositions. But to give him his due, as the proverb recommends, we must say that he always returns, after two or three lines of impiety, to his preaching style. We would seriously advise Mr. Montgomery to omit or alter about a hundred lines in different parts of this large volume, and to republish it under the name of Gabriel. The reflections of which it consists would come less absurdly, as far as there is a more and a less in extreme absurdity, from a good than from a bad angel.

We can afford room only for a single quotation. We give one taken at random, neither worse nor better, as far as we can perceive, than any other equal number of lines in the book. The Devil goes to the play, and moralises thereon as follows:

"Music and Pomp their mingling spirit shed Around me: beauties in their cloud-like robes Shine forth,-a scenic paradise, it glares Intoxication through the reeling sense Of flush'd enjoyment. In the motley host Three prime gradations may be rank'd: the first, To mount upon the wings of Shakspeare's mind, And win a flash of his Promethean thought, To smile and weep, to shudder, and achieve A round of passionate omnipotence, Attend: the second, are a sensual tribe, Convened to hear romantic harlots sing, On forms to banquet a lascivious gaze, While the bright perfidy of wanton eyes Through brain and spirit darts delicious fire The last, a throng most pitiful! who seem, With their corroded figures, rayless glance, And death-like struggle of decaying age, Like painted skeletons in charnel pomp Set forth to satirise the human kind! How fine a prospect for demoniac view! 'Creatures whose souls outbalance worlds awake!' Methinks I hear a pitying angel cry."

Here we conclude. If our remarks give pain to Mr. Robert Montgomery, we are sorry for it. But, at whatever cost of pain to individuals, literature must be purified from this taint. And, to show that we are not actuated by any feeling of personal enmity towards him, we hereby give notice that, as soon as any book shall, by means of puffing, reach a second edition, our intention is to do unto the writer of it as we have done unto Mr. Robert Montgomery.


INDEX AND GLOSSARY OF ALLUSIONS

ABSOLUTE, Sir Anthony, a leading character in Sheridan's play of The Rivals

A darker and fiercer spirit, Jonathan Swift, the great Tory writer (1667-1745)

Agbarus or Abgarus, the alleged author of a spurious letter to Jesus Christ. Edessa is in Mesopotamia.

Alboin, King of the Lombards, 561-573, he invaded Italy as far as the Tiber

Alcina, the personification of carnal pleasure in the Orlando Furioso

Aldus, the famous Venetian printer (1447-1515), who issued the Aldine editions of the classics and invented italic type

Alfieri, Italian dramatist, and one of the pioneers of the revolt against eighteenth-century literary and society models (1749- 1803)

Algarotti, Francesco, a litterateur, friend of Voltaire. Frederic made him a count (1764)

Alnaschar, see "The History of the Barber's Fifth Brother," in the Arabian Nights

Alva, Duke of, the infamous governor of the Netherlands (1508- 82)

Amadeus, Victor, "the faithless ruler of Savoy," who for a bribe deserted Austria, whose troops he was commander-in chief of for France, in 1692

Arbuthnot, Dr., author of the History of John Bull, friend of Swift and Pope (1679-1735)

Arminius, a German who, as a hostage, entered the Roman army, but afterwards revolted and led his countrymen against Rome (d. 23 A.D.)

Armorica, France between the Seine and the Loire, Brittany

Artevelde, Von., Jacob v. A. and Philip, his son, led the people of Flanders in their revolt against Count Louis and his French supporters (fourteenth century)

Ascham, Roger, and Aylmer, John, tutors of Queen Elizabeth and Lady Jane Grey respectively

Athalie, Saul, Cinna, dramas by Racine Alfieri, and Corneille respectively

Atticus, Sporus, i.e. Addison