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phraseology of low and rustic life than in that of any other clase. Omit the peculiarities of each and the result of course must be common to all. And assuredly the omissions and changes to be made in the language of rustics, before it could be transferred to any species of poem, except the drama or other professed imitation, are at least as numerous and weighty, as would be required in adapting to the same purpose the ordinary language of tradesmen and manufacturers. Not to mention, that the language so highly extolled by Mr. Wordsworth varies in every county, nay in every village, according to the accidental character of the clergyman, the existence or non-existence of schools ; or even, perhaps, as the exciseman, publican, and barber happen to be, or not to be, zealous politicians, and readers of the weekly newspaper pro bono publico. Anterior to cultivation the lingua communis of every country, as Dante has well observed, exists everywhere in parts, and nowhere as a whole.

Neither is the case rendered at all more tenable by the addition of the words, “in a state of excitement.” For the nature of a man's words, when he is strongly affected by joy, grief, or anger, must necessarily depend on the number and quality of the general truths, conceptions and images, and of the words expressing them, with which his mind had been previously stored. For the property of passion is not to create; but to set in increased activity. At least, whatever new connections of thoughts or images, or-(which is equally, if not more than equally, the appropriate effect of strong excitement)-whatever generalizations of truth or experience the heat of passion may produce; yet the terms of their conveyance must have pre-existed in his former conversations, and are only collected and crowded together by the unusual stimulation. It is indeed very possible to adopt in a poem the unmeaning repetitions, habitual phrases, and other blank counters, which an unfurnished or confused understanding interposes at short intervals, in order to keep hold of his subject, which is still slipping from him, and to give him time for recollection; or, in mere aid of vacancy, as in the scanty companies of a country stage the same player pops backwards and forwards, in order to prevent the appearance of empty spaces, in the procession of Macbeth, or Henry VIII. But what assistance to the poet, or ornament to the poem, these can supply, I am at a loss to conjecture. Nothing assuredly can differ either in origin or in mode more VOL. III.

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widely from the apparent tautologies of intense and turbulent feeling, in which the passion is greater and of longer endurance than to be exhausted or satisfied by a single representation of the image or incident exciting it. Such repetitions I admit to be a beauty of the highest kind ; as illustrated by Mr. Wordsworth himself from the song of Deborah. At her feet he bowed, he fell, he lay down; at her feet he bowed, he fell : where he bowed, there he fell down dead. Judges v. 27.

CHAPTER XVIII.

LANGUAGE OF METRICAL COMPOSITION, WHY AND WHEREIN ESSEN

TIALLY DIFFERENT FROM THAT OF PROSE-ORIGIN AND ELEMENTS OF METRE-ITS NECESSARY CONSEQUENCES, AND THE CONDITIONS THEREBY IMPOSED ON THE METRICAL WRITER IN THE

CHOICE OF HIS DICTION.

I CONCLUDE, therefore, that the attempt is impracticable; and that, were it not impracticable, it would still be useless. For the very power of making the selection implies the previous possession of the language selected. Or where can the poet have lived? And by what rules could he direct his choice, which would not have enabled him to select and arrange his words by the light of his own judgment? We do not adopt the language of a class by the mere adoption of such words exclusively, as that class would use, or at least understand; but likewise by following the order, in which the words of such men are wont to succeed each other. Now this order, in the intercourse of uneducated men, is distinguished from the diction of their superiors in knowledge and power, by the greater disjunction and separation in the component parts of that, whatever it be, which they wish to communicate. There is a want of that prospectiveness of mind, that surview, which enables a man to foresee the whole of what he is to convey, appertaining to any one point; and by this means so to subordinate and arrange the different parts according to their relative importance, as to convey it at once, and as an organized whole.

Now I will take the first stanza, on which I have chanced to open, in the Lyrical Ballads. It is one of the most simple and least peculiar in its language.

“In distant countries have I been,
And yet I have not often seen
A healthy man, a man full grown,
Weep in the public roads, alone.
But such a one, on English ground,
And in the broad highway, I met;
Along the broad highway he came,
His cheeks with tears were wet:
Sturdy he seemed, though he was sad;

And in his arms a lamb he had."* The words here are doubtless such as are current in all ranks of life; and of course not less so in the hamlet and cottage than in the shop, manufactory, college, or palace. But is this the order in which the rustic would have placed the words?' I am grievously deceived, if the following less compact mode of commencing the same tale be not a far more faithful copy. "I have been in a many parts, far and near, and I don't know that I ever saw before a man crying by himself in the public road; a grown man I mean, that was neither sick nor hurt, &c. &c.” But when I turn to the following stanza in The Thorn :

“At all times of the day and night
This wretched woman thither goes;
And she is known to every star,
And every wind that blows:
And there beside the Thorn, she sits,
When the blue daylight's in the skies,
And when the wbirlwind's on the hill,
Or frosty air is keen and still,
And to herself she cries,
Oh misery! Oh misery!

Oh woe is me! Oh misery !!! and compare this with the language of ordinary men; or with that which I can conceive at all likely to proceed, in real life, from such a narrator, as is supposed in the note to the poem ; compare it either in the succession of the images or of the sentences; I am reminded of the sublime prayer and hymn of praise, which Milton, in opposition to an established liturgy, pre

* [The last of the Flock, 1st stanza. P. W. i. p. 169.-S. C.]
† (P. W. . p. 127.-S. C.)..

sents as a fair specimen of common extemporary devotion, and such as we might expect to hear from every self-inspired minister of a conventicle! And I reflect with delight, how little a mere theory, though of his own workmanship, interferes with the processes of genuine imagination in a man of true poetic genius, who possesses, as Mr. Wordsworth, if ever man did, most assuredly does possess,

“The Vision and the Faculty divine."* One point then alone remains, but that the most important; its examination having been, indeed, my chief inducement for the preceding inquisition. “There neither is nor can be any essential difference between the language of prose and metrical composition.”+ Such is Mr. Wordsworth's assertion. Now prose itself, at least in all argumentative and consecutive works, differs, and ought to differ, from the language of conversation; even ast

* (The Excursion, B. i. P. W. vi. p. 6.-S. C.1

+ [P. W. ii. p. 315. Preface. The word essential is marked with italics in the edition of 1840.-S. C.)

| It is no less an error in teachers, than a torment to the poor children, to enforce the necessity of reading as they would talk. In order to cure them of singing as it is called, that is, of too great a difference, the child is made to repeat the words with his eyes from off the book; and then, indeed, his tones resemble talking, as far as his fears, tears and trembling will permit. But as soon as the eye is again directed to the printed page, the spell begins anew; for an instinctive sense tells the child's feelings, that to utter its own momentary thoughts, and to recite the written thoughts of another, as of another, and a far wiser than himself, are two widely different things; and as the t'wo acts are accompanied with widely different feelings, so must they justify different modes of enunciation. Joseph Lancaster, among his other sophistications of the excellent Dr. Bell's invaluable system, cures this fault of singing by hanging fetters and chains on the child, to the music of which one of his school-fellows, who walks before, dolefully chants out the child's last speech and confession, birth, parentage, and education. And this soulbenumbing ignominy, this unholy and heart-hardening burlesque on the last fearful infliction of outraged law, in pronouncing the sentence to which the stern and familiarized judge not seldom bursts into tears, bas been extolled as a happy and ingenious method of remedying-what? and how why, one extreme in order to introduce another, scarce less distant from good sense, and certainly likely to have worse moral effects, by enforcing a semblance of petulant ease and self-sufficiency, in repression, and possibly afterperversion of the natural feelings. I have to beg Dr. Bell's pardon for this connection of the two names, but he knows that contrast is no less powerful a cause of association than likeness.

reading ought to differ from talking. Unless therefore the difference denied be that of mere words, as materials common to all styles of writing, and not of the style itself in the universally admitted sense of the term, it might be naturally presumed that there must exist a still greater between the ordonnance of poetic composition and that of prose, than is expected to distinguish prose from ordinary conversation.

There are not, indeed, examples wanting in the history of literature, of apparent paradoxes that have summoned the public wonder as new and startling truths, but which, on examination, have shrunk into tame and harmless truisms; as the eyes of a cat, seen in the dark, have been mistaken for flames of fire. But Mr. Wordsworth is among the last men, to whom a delusion of this kind would be attributed by any one, who had enjoyed the slightest opportunity of understanding his mind and character. Where an objection has been anticipated by such an author as natural, his answer to it must needs be interpreted in some sense which either is, or has been, or is capable of being controverted. My object then must be to discover some other meaning for the term “ essential difference” in this place, exclusive of the indistinction and community of the words themselves. For whether there ought to exist a class of words in the English, in any degree resembling the poetic dialect of the Greek and Italian, is a question of very subordinate importance. The number of such words would be small indeed, in our language ; and even in the Italian and Greek, they consist not so much of different words, as of slight differences in the forms of declining and conjugating the same words ; forms, doubtless, which having been, at some period more or less remote, the common grammatic flexions of some tribe or province, had been accidentally appropriated to poetry by the general admiration of certain master intellects, the first established lights of inspiration, to whom that dialect happened to be native.

Essence, in its primary signification, means the principle of individuation, the inmost principle of the possibility of any thing, as that particular thing. It is equivalent to the idea of a thing, whenever we use the word, idea, with philosophic precision. Existence, on the other hand, is distinguished from essence, by the superinduction of reality. Thus we speak of the essence, and essential properties of a circle ; but we do not therefore as

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