قراءة كتاب Essays from 'The Guardian'

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Essays from 'The Guardian'

Essays from 'The Guardian'

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دار النشر: Project Gutenberg
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of the "great age in France": and, again in reaction against this, the wild mixture of poetry and prose, in our wild nineteenth century, under the influence of such writers as Dickens and Carlyle: such are the three periods into which the story of our prose literature divides itself. And Mr. Saintsbury has his well-timed, practical suggestions, upon a survey of them.

[7] If the invasion of the legitimate sphere of prose in England by the spirit of poetry, weaker or stronger, has been something far deeper than is indicated by that tendency to write unconscious blank verse, which has made it feasible to transcribe about one-half of Dickens's otherwise so admirable Barnaby Rudge in blank-verse lines, a tendency (outdoing our old friend M. Jourdain) commoner than Mr. Saintsbury admits, such lines being frequent in his favourite Dryden; yet, on the other hand, it might be maintained, and would be maintained by its French critics, that our English poetry has been too apt to dispense with those prose qualities, which, though not the indispensable qualities of poetry, go, nevertheless, to the making of all first-rate poetry—the qualities, namely, of orderly structure, and such qualities generally as depend upon second thoughts. A collection of specimens of English poetry, for the purpose of exhibiting the achievement of prose excellences by it (in their legitimate measure) is a desideratum we commend to Mr. Saintsbury. It is the assertion, the development, the product of those very different indispensable qualities of poetry, in the presence [8] of which the English is equal or superior to all other modern literature—the native, sublime, and beautiful, but often wild and irregular, imaginative power in English poetry from Chaucer to Shakespeare, with which Professor Minto deals, in his Characteristics of English Poets (Blackwood), lately reprinted. That his book should have found many readers we can well understand, in the light of the excellent qualities which, in high degree, have gone to the making of it: a tasteful learning, never deserted by that hold upon contemporary literature which is so animating an influence in the study of what belongs to the past. Beginning with an elaborate notice of Chaucer, full of the minute scholarship of our day, he never forgets that his subject is, after all, poetry. The followers of Chaucer, and the precursors of Shakespeare, are alike real persons to him—old Langland reminding him of Carlyle's "Gospel of Labour." The product of a large store of reading has been here secreted anew for the reader who desires to see, in bird's-eye view, the light and shade of a long and varied period of poetic literature, by way of preparation for Shakespeare, [9] (with a full essay upon whom the volume closes,) explaining Shakespeare, so far as he can be explained by literary antecedents.

That powerful poetry was twin-brother to a prose, of more varied, but certainly of wilder and more irregular power than the admirable, the typical, prose of Dryden. In Dryden, and his followers through the eighteenth century, we see the reaction against the exuberance and irregularity of that prose, no longer justified by power, but cognizable rather as bad taste. But such reaction was effective only because an age had come—the age of a negative, or agnostic philosophy—in which men's minds must needs be limited to the superficialities of things, with a kind of narrowness amounting to a positive gift. What that mental attitude was capable of, in the way of an elegant, yet plain-spoken, and life-like delineation of men's moods and manners, as also in the way of determining those moods and manners themselves to all that was lively, unaffected, and harmonious, can be seen nowhere better than in Mr. Austin Dobson's Selections from Steele (Clarendon Press) prefaced by his careful "Life." The well-known qualities of [10] Mr. Dobson's own original work are a sufficient guarantee of the taste and discrimination we may look for in a collection like this, in which the random lightnings of the first of the essayists are grouped under certain heads—"Character Sketches," "Tales and Incidents," "Manners and Fashions," and the like—so as to diminish, for the general reader, the scattered effect of short essays on a hundred various subjects, and give a connected, book-like character to the specimens.

Steele, for one, had certainly succeeded in putting himself, and his way of taking the world—for this pioneer of an everybody's literature had his subjectivities—into books. What a survival of one long-past day, for instance, in "A Ramble from Richmond to London"! What truth to the surface of common things, to their direct claim on our interest! yet with what originality of effect in that truthfulness, when he writes, for instance:

"I went to my lodgings, led by a light, whom I put into the discourse of his private economy, and made him give me an account of the charge, hazard, profit, and loss of a family that depended upon a link."

[11] It was one of his peculiarities, he tells us, to live by the eye far more than by any other sense (a peculiarity, perhaps, in an Englishman), and this is what he sees at the early daily service then common in some City churches. Among those who were come only to see or be seen, "there were indeed a few in whose looks there appeared a heavenly joy and gladness upon the entrance of a new day, as if they had gone to sleep with expectation of it."

The industrious reader, indeed, might select out of these specimens from Steele, a picture, in minute detail, of the characteristic manners of that time. Still, beside, or only a little way beneath, such a picture of passing fashion, what Steele and his fellows really deal with is the least transitory aspects of life, though still merely aspects—those points in which all human nature, great or little, finds what it has in common, and directly shows itself up. The natural strength of such literature will, of course, be in the line of its tendencies; in transparency, variety, and directness. To the unembarrassing matter, the unembarrassed style! Steele is, perhaps, the most impulsive writer of the school [12] to which he belongs; he abounds in felicities of impulse. Yet who can help feeling that his style is regular because the matter he deals with is the somewhat uncontentious, even, limited soul, of an age not imaginative, and unambitious in its speculative flight? Even in Steele himself we may observe with what sureness of instinct the men of that age turned aside at the contact of anything likely to make them, in any sense, forget themselves.

No one indicates better than Charles Lamb, to whose memory Mr. Alfred Ainger has done such good service, the great and peculiar change which was begun at the end of the last century, and dominates our own; that sudden increase of the width, the depth, the complexity of intellectual interest, which has many times torn and distorted literary style, even with those best able to comprehend its laws. In Mrs. Leicester's School, with other Writings in Prose and Verse (Macmillan), Mr. Ainger has collected and annotated certain remains of Charles and Mary Lamb, too good to lie unknown to the present generation, in forgotten periodicals or inaccessible reprints. The story of the Odyssey, abbreviated [13] in very simple prose, for children—of all ages—will speak for itself. But the garland of graceful stories which gives name to the volume, told by a party of girls on the evening of their assembling at school, are in the highest degree characteristic of the brother and sister who were ever so successful in imparting to others their own enjoyment of books and people. The tragic circumstance which strengthened and consecrated their natural community of interest had, one might think, something to do with the far-reaching pensiveness even of their most humorous writing, touching often the deepest springs of pity and awe, as the way of the highest humour is—a way, however, very different from that of the humorists of the eighteenth century. But one cannot forget also that Lamb was early

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