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in which the verse can only be made out by running the words together in a very unusual manner; and some appear to us to have no pretension to the name of verses at all
. What apology, for instance, will Mr. Scott make for the last of these two lines?
“ For when in studious mood he pac'd
St. Kentigern's hall;" or for these!
“ How the brave boy, in future war,
Should tame the unicorn's pride.' We have called the negligence which could leave such lines as these in a poem of this nature inexcusable ; because it is perfectly evident, from the general strain of his composition, that Mr. Scott has a very accurate ear for the harmony of versification, and that he composes with a facility which must lighten the labour of correction. There are some smaller faults in the diction which might have been as well corrected also : there is too much alliteration; and he reduplicates his words too often. We have “never, never," several times; besides “ 'tis o'er, 'tis o'er”—“in vain, in vain”—“'tis done, 'tis done;" and several other echoes as ungraceful.
We will not be tempted to say any thing more of this poem. Although it does not contain any great display of what is properly called invention, it indicates perhaps as much vigour and originality of poetical genius as any performance which has been lately offered to the public. The locality of the subject is likely to obstruct its popularity; and the author, by confining himself in a great measure to the description of manners and personal adventures, has forfeited the attraction which might have been derived from the delineation of rural scenery. But he has manifested a degree of genius which cannot be overlooked, and given indication of talents that seem well worthy of being enlisted in the service of the epic muse.
The notes, which contain a great treasure of Border history and antiquarian learning, are too long, we think, for the general reader. The form of the publication is also too expensive; and we hope soon to see a smaller edition, with an abridgment of the notes, for the use of the mere lovers of poetry.
SCOTT'S LADY OF THE LAKE.
The Lady of the Lake: a Poem. By WALTER Scott. Second
Edition. 8vo. pp. 434.: 1810.
Mr. Scott, though living in an age unusually prolific of original poetry, has manifestly outstripped all his competitors in the race of popularity; and stands already upon a height to which no other writer has attained in the memory of any one now alive. We doubt, indeed, whether any English poet ever had so many of his books sold, or so many of his verses read and admired by such a multitude of persons in so short a time. We are credibly informed that nearly thirty thousand copies of “The Lay,'' have been already disposed of in this country; and that the demand for Marmion, and the poem now before us, has been still more considerable, - a circulation we believe, altogether without example, in the case of a bulky work, not addressed to the bigotry of the mere mob, either religious or political.
A popularity so universal is a pretty sure proof of extraordinary merit, - a far surer one, we readily admit, than would be afforded by any praises of ours : and, therefore, though we pretend to be privileged, in ordinary cases, to foretel the ultimate reception of all claims on public admiration, our function may be thought to cease, where the event is already so certain and conspicuous. As it is a sore thing, however, to be deprived of our privileges on so important an occasion, we hope to be pardoned for insinuating, that, even in such a case, the office of the critic may not be altogether superfluous. Though the success of the author be decisive, and even likely to be permanent, it still may not be without its use to point out, in consequence of what, and in spite of what, he has succeeded; nor altogether uninstructive to trace the precise limits of the connection, which, even in this
LADY OF THE LAKE
VERY POPULAR POETRY
dull world, indisputably subsists between success and desert, and to ascertain how far unexampled popularity does really imply unrivalled talent.
As it is the object of poetry to give pleasure, it would seem to be a pretty safe conclusion, that that poetry must be the best which gives the greatest pleasure to the greatest number of persons. Yet we must pause a little, before we give our assent to so plausible a proposition. It would not be quite correct, we fear, to say that those are invariably the best judges who are most easily pleased. The great multitude, even of the reading world, must necessarily be uninstructed and injudicious; and will frequently be found, not only to derive pleasure from what is worthless in finer eyes, but to be quite insensible to those beauties which afford the most exquisite delight to more cultivated understandings. True pathos and sublimity will indeed charm every one: but, out of this lofty sphere, we are pretty well convinced, that the poetry which appears most perfect to a very refined taste, will not often turn out to be very popular poetry.
This, indeed, is saying nothing more, than that the ordinary readers of poetry have not a very refined taste ; and that they are often insensible to many of its highest beauties, while they still more frequently mistake its imperfections for excellence. The fact, when stated in this simple way, commonly excites neither opposition nor surprise: and yet, if it be asked, why the taste of a few individuals, who do not perceive beauty where many others perceive it, should be exclusively dignified with the name of a good taste; or why poetry, which gives pleasure to a very great number of readers, should be thought inferior to that which pleases a much smaller number, — the answer, perhaps, may not be quite so ready as might have been expected from the alacrity of our assent to the first proposition. That there is a good answer to be given, however, we entertain no doubt: and if that which we are about to offer should not appear very clear or satisfactory, we must submit to have it thought, that the fault is not altogether in the subject.
In the first place, then, it should be remembered, that
MAY NOT BE THE VERY BEST.
though the taste of very good judges is necessarily the taste of a few, it is implied, in their description, that they are persons eminently qualified, by natural sensibility, and long experience and reflection, to perceive all beauties that really exist, as well as to settle the relative value and importance of all the different sorts of beauty;
they are in that very state, in short, to which all who are in any degree capable of tasting those refined pleasures would certainly arrive, if their sensibility were increased, and their experience and reflection enlarged. It is difficult, therefore, in following out the ordinary analogies of language, to avoid considering them as in the right, and calling their taste the true and the just one; when it appears that it is such as is uniformly produced by the cultivation of those faculties upon which all our perceptions of taste so obviously depend.
It is to be considered also, that though it be the end of poetry to please, one of the parties whose pleasure, and whose notions of excellence, will always be primarily consulted in its composition, is the poet himself; and as he must necessarily be more cultivated than the great body of his readers, the presumption is, that he will always belong, comparatively speaking, to the class of good judges, and endeavour, consequently, to produce that sort of excellence which is likely to meet with their approbation. When authors, therefore, and those of whose suffrages authors are most ambitious, thus conspire to fix upon the same standard of what is good in taste and composition, it is easy to see how it should come to bear this name in society, in preference to what might afford more pleasure to individuals of less influence. Besides all this, it is obvious that it must be infinitely more difficult to produce any thing conformable to this exalted standard, than merely to fall in with the current of popular taste. To attain the former object, it is necessary, for the most part, to understand thoroughly all the feelings and associations that are modified or created by cultivation : - To accomplish the latter, it will often be sufficient merely to have observed the course of familiar preferences. Success, however, is rare, in pro
240 LADY OF THE LAKE
ELEMENTS OF EXCELLENCE
portion as it is difficult; and it is needless to say, what a vast addition rarity makes to value, — or how exactly our admiration at success is proportioned to our sense of the difficulty of the undertaking.
Such seem to be the most general and immediate causes of the apparent paradox, of reckoning that which pleases the greatest number as inferior to that which pleases the few ; and such the leading grounds for fixing the standard of excellence, in a question of mere feeling and gratification, by a different rule than that of the quantity of gratification produced. With regard to some of the fine arts — for the distinction between popular and actual merit obtains in them all — there are no other reasons, perhaps, to be assigned ; and, in Music, for example, when we have said that it is the authority of those who are best qualified by nature and study, and the difficulty and rarity of the attainment, that entitles certain exquisite performances to rank higher than others that give far more general delight, we have probably said all that can be said in explanation of this mode of speaking and judging. In poetry, however, and in some other departments, this familiar, though somewhat extraordinary rule of estimation, is justified by other considerations.
As it is the cultivation of natural and perhaps universal capacities, that produces that refined taste which takes away our pleasure in vulgar excellence, so, it is to be considered, that there is an universal tendency to the propagation of such a taste; and that, in times tolerably favourable to human happiness, there is a continual progress and improvement in this, as in the other faculties of nations and large assemblages of men.
The number of intelligent judges may therefore be regarded as perpetually on the increase. The inner circle, to which the poet delights chiefly to pitch his voice, is perpetually enlarging; and, looking to that great futurity to which his ambition is constantly directed, it may be found, that the most refined style of composition to which he can attain, will be, at the last, the most extensively and permanently popular. This holds true, we think, with re