Table-Talk - William Hazlitt (tohfa e dulha read online TXT) 📗

character. He stamps that character, that deep individual interest, on whatever he meets. The object is nothing but as it furnishes food for internal meditation, for old associations. If there had been no other being in the universe, Mr. Wordsworth’s poetry would have been just what it is. If there had been neither love nor friendship, neither ambition nor pleasure nor business in the world, the author of the Lyrical Ballads need not have been greatly changed from what he is⁠—might still have “kept the noiseless tenour of his way,” retired in the sanctuary of his own heart, hallowing the Sabbath of his own thoughts. With the passions, the pursuits, and imaginations of other men he does not profess to sympathise, but “finds tongues in the trees, books in the running brooks, sermons in stones, and good in everything.” With a mind averse from outward objects, but ever intent upon its own workings, he hangs a weight of thought and feeling upon every trifling circumstance connected with his past history. The note of the cuckoo sounds in his ear like the voice of other years; the daisy spreads its leaves in the rays of boyish delight that stream from his thoughtful eyes; the rainbow lifts its proud arch in heaven but to mark his progress from infancy to manhood; an old thorn is buried, bowed down under the mass of associations he has wound about it; and to him, as he himself beautifully says,

“The meanest flow’r that blows can give
Thoughts that do often lie too deep for tears.”

It is this power of habitual sentiment, or of transferring the interest of our conscious existence to whatever gently solicits attention, and is a link in the chain of association without rousing our passions or hurting our pride, that is the striking feature in Mr. Wordsworth’s mind and poetry. Others have left and shown this power before, as Wither, Burns, etc., but none have felt it so intensely and absolutely as to lend to it the voice of inspiration, as to make it the foundation of a new style and school in poetry. His strength, as it so often happens, arises from the excess of his weakness. But he has opened a new avenue to the human heart, has explored another secret haunt and nook of nature, “sacred to verse, and sure of everlasting fame.” Compared with his lines, Lord Byron’s stanzas are but exaggerated commonplace, and Walter Scott’s poetry (not his prose) old wives’ fables.19 There is no one in whom I have been more disappointed than in the writer here spoken of, nor with whom I am more disposed on certain points to quarrel; but the love of truth and justice which obliges me to do this, will not suffer me to blench his merits. Do what he can, he cannot help being an original-minded man. His poetry is not servile. While the cuckoo returns in the spring, while the daisy looks bright in the sun, while the rainbow lifts its head above the storm⁠—

“Yet I’ll remember thee, Glencairn,
And all that thou hast done for me!”

Sir Joshua Reynolds, in endeavouring to show that there is no such thing as proper originality, a spirit emanating from the mind of the artist and shining through his works, has traced Raphael through a number of figures which he has borrowed from Masaccio and others. This is a bad calculation. If Raphael had only borrowed those figures from others, would he, even in Sir Joshua’s sense, have been entitled to the praise of originality? Plagiarism, in so far as it is plagiarism, is not originality. Salvator is considered by many as a great genius. He is what they call an irregular genius. My notion of genius is not exactly the same as theirs. It has also been made a question; whether there is not more genius in Rembrandt’s Three Trees than in all Claude Lorraine’s landscapes. I do not know how that may be; but it was enough for Claude to have been a perfect landscape-painter.

Capacity is not the same thing as genius. Capacity may be described to relate to the quantity of knowledge, however acquired; genius, to its quality and the mode of acquiring it. Capacity is power over given ideas combinations of ideas; genius is the power over those which are not given, and for which no obvious or precise rule can be laid down. Or capacity is power of any sort; genius is power of a different sort from what has yet been shown. A retentive memory, a clear understanding, is capacity, but it is not genius. The admirable Crichton was a person of prodigious capacity; but there is no proof (that I know) that he had an atom of genius. His verses that remain are dull and sterile. He could learn all that was known of any subject; he could do anything if others could show him the way to do it. This was very wonderful; but that is all you can say of it. It requires a good capacity to play well at chess; but, after all, it is a game of skill, and not of genius. Know what you will of it, the understanding still moves in certain tracks in which others have trod it before, quicker or slower, with more or less comprehension and presence of mind. The greatest skill strikes out nothing for itself, from its own peculiar resources; the nature of the game is a thing determinate and fixed: there is no royal or poetical road to checkmate your adversary. There is no place for genius but in the indefinite and unknown. The discovery of the binomial theorem was an effort of genius; but there was none shown in Jedediah Buxton’s being able to multiply 9 figures by 9 in his head. If he could have multiplied 90 figures by 90 instead of 9, it would have been equally useless toil and trouble.20 He is a man of