THOUGHTS ON SHELLEY AND BYRON.*

THE poets, who forty years ago proclaimed their intention of working a revolution in English literature, and who have succeeded in their purpose, recommended especially a more simple and truthful view of nature. The established canons of poetry were to be discarded as artificial; as to the matter, the poet was to represent mere nature as he saw her; as to form, he was to be his own law. Freedom and nature were to be his watchwords.

No theory could be more in harmony with the spirit of the age, and the impulse which had been given to it by the burning words of Jean Jacques Rousseau. The school which arose expressed fairly the unrest and unruliness of the time, its weariness of artificial restraint and unmeaning laws, its craving after a nobler and a more earnest life, its sense of a glory and mystery in the physical universe, hidden from the poets of the two preceding centuries, and now revealed by science. So far all was hopeful. But * Fraser's Magazine, November, 1853.

it soon became apparent, that each poet's practical success in carrying out the theory was, paradoxically enough, in inverse proportion to his belief in it; that those who like Wordsworth, Southey, and Keats, talked most about naturalness and freedom, and most openly reprobated the school of Pope, were, after all, least natural and least free; that the balance of those excellences inclined much more to those who, like Campbell, Rogers, Crabbe, and Moore, troubled their heads with no theories, but followed the best old models which they knew; and that the rightful sovereign of the new Parnassus, Lord Byron, protested against the new movement, while he followed it; upheld to the last the models which it was the fashion to decry, confessed to the last, in poetry as in morals, "Video meliora proboque, deteriora sequor," and uttered again and again prophecies of the downfall of English poetry and English taste, which seem to be on the eve of realisation.

Now no one will, we presume, be silly enough to say that humanity has gained nothing by all the very beautiful poetry which has been poured out on it during the last thirty years in England. Nevertheless, when we see poetry dying down among us year by year, although the age is becoming year by year more marvellous and inspiring, we have a right to look for some false principle in a school which has had so little enduring vitality, which seems now to be able to perpetuate nothing of itself but its vices.

The answer so easy twenty years ago, that the new poetry was spoiled by an influx of German bad taste, will hardly hold good now, except with a very few

very ignorant people. that whatsoever quarrel Lessing, Schiller, and Goethe may have had with Pope, it was not on account of his being too severe an artist, but too loose a one; not for being too classical, but not classical enough; that English poets borrowed from them nothing but their most boyish and immature types of thought, and that these were reproduced, and laughed at here, while the men themselves were writing works of a purity, and loftiness, and completeness, unknown to the worldexcept in the writings of Milton-for nearly two centuries. This feature, however, of the new German poetry, was exactly the one which no English poet deigned to imitate, save Byron alone; on whom, accordingly, Goethe always looked with admiration and affection. But the rest went their way unheeding; and if they have defects, those defects are their own; for when they did copy the German taste, they, for the most part, deliberately chose the evil, and refused the good; and have their reward in a fame which we believe will prove itself a very short-lived one.

It is now known, of course,

We cannot deny, however, that, in spite of all faults, these men had a strength. They have exercised an influence. And they have done so by virtue of seeing a fact which more complete, and in some cases more manly poets, did not see. Strangely enough, Shelley, the man who was the greatest sinner of them all against the canons of good taste, was the man who saw that new fact, if not most clearly, still most intensely, and who proclaimed it most boldly. His influence, therefore, is outliving that of his compeers, and growing and spreading, for good and for evil; and will grow

and spread for years to come, as long as the present great unrest goes on smouldering in men's hearts, till the hollow settlement of 1815 is burst asunder anew, and men feel that they are no longer in the beginning of the end, but in the end itself, and that this long thirty years' prologue to the reconstruction of rotten Europe is played out at last, and the drama itself begun.

Such is the way of Providence; the race is not to the swift, nor the battle to the strong, nor the prophecy to the wise. The Spirit bloweth where He listeth, and sends on His errands-those who deny Him, rebel against Him-profligates, madmen, and hysterical Rousseaus, hysterical Shelleys, uttering words like the east wind. He uses strange tools in His cosmogony but He does not use them in vain. By bad men if not by good, by fools if not by wise, God's work is done, and done right well.

There was, then, a strength and a truth in all these men; and it was this-that more or less clearly, they all felt that they were standing between two worlds; amid the ruins of an older age; upon the threshold of a new one. To Byron's mind, the decay and rottenness of the old was, perhaps, the most palpable; to Shelley's, the possible glory of the new. Wordsworth declared a little too noisily, we think, as if he had been the first to discover the truth-the dignity and divineness of the most simple human facts and relationships. Coleridge declares that the new can only assume living form by growing organically out of the old institutions. Keats gives a sad and yet a whole

some answer to them both, as, young and passionate, he goes down with Faust "to the Mothers ".

To the rich warm youth of the nations,

Childlike in virtue and faith, though childlike in passion and pleasure,

Childlike still, still near to the gods, while the sunset of Eden Lingered in rose-red rays on the peaks of Ionian mountains.

And there, amid the old classic forms, he cries: "These things, too, are eternal

A thing of beauty is a joy for ever.

These, or things even fairer than they, must have their place in the new world, if it is to be really a home for the human race." So he sings, as best he can, the half-educated and consumptive stable-keeper's son, from his prison-house of London brick, and in one mighty yearn after that beauty from which he is debarred, breaks his young heart, and dies, leaving a name not "writ in water," as he dreamed, but on all fair things, all lovers' hearts, for evermore.

Here, then, to return, is the reason why the hearts of the present generation have been influenced so mightily by these men, rather than by those of whom Byron wrote, with perfect sincerity :

Scott, Rogers, Campbell, Moore, and Crabbe will try
'Gainst you the question with posterity.

These lines, written in 1818, were meant to apply only to Coleridge, Wordsworth, and Southey. Whether