the severest of all writers, the most hard and impenetrable, the most opposite to the flowery and glittering; who relies most on his own power, and the sense of it in others, and who leaves most room to the imagination of his readers. Dante's only endeavour is to interest; and he interests by exciting our sympathy with the emotion by which he is himself possessed. He does not place before us the objects by which that emotion has been created ; but he seizes on the attention, by shewing us the effect they produce on his feelings; and his poetry accordingly gives the same thrilling and overwhelming sensation, which is caught by gazing on the face of a person who has seen some object of horror. The improbability of the events, the abruptness and monotony in the Inferno, are excessive : but the interest never flags, from the continued earnestness of the author's mind. Dante's great power is in combining internal feelings with external objects. Thus the gate of hell, on which that withering inscription is written, seems to be endowed with speech and consciousness, and to utter its dread warning, not without a sense of mortal woes. This author habitually unites the absolutely local and individual with the greatest wildness and mysticism. In the midst of the obscure and shadowy regions of the lower world, a tomb suddenly rises up with the inscription, “I am the tomb of Pope Anastasius the Sixth : ” and half the personages whom he has crowded into the Inferno are his own acquaintance. All this, perhaps, tends to heighten the effect by the bold intermixture of realities, and by an appeal, as it were, to the individual knowledge and experience of the reader. He affords few subjects for picture. There is, indeed, one gigantic one, that of Count Ugolino, of which Michael Angelo made a bas-relief, and which Sir Joshua Reynolds ought not to have painted.

Another writer whom I shall mention last, and whom I cannot persuade myself to think a mere modern in the groundwork, is Ossian. He is a feeling and a name that can never be destroyed in the minds of his readers. As Homer is the first vigour and lustihed, Ossian is the

of poetry

decay and old age

. He lives only in the recollection and regret of the past. There is one impression which he conveys more entirely than all other poets, namely, the sense of privation, the loss of all things, of friends, of good name, of country-he is even without God in the world. He converses only with the spirits of the departed; with the motionless and silent clouds. The cold moonlight sheds its faint lustre on his head; the fox peeps out of the ruined tower ; the thistle waves its beard to the wandering gale ; and the strings of his harp seem, as the hand of age, as the tale of other times, passes over them, to sigh and rustle like the dry reeds in the winter's wind ! The feeling of cheerless desolation, of the loss of the pith and sap of existence, of the annihilation of the substance, and the clinging to the shadow of all things as in a mock-embrace, is here perfect. In this way, the lamentation of Selma for the loss of Salgar is the finest of all. If it were indeed possible to shew that this writer was nothing, it would only be another instance of mutability, another blank made, another void left in the heart, another confirmation of that feeling which makes him so often complain, “Roll on, ye dark brown years, ye bring no joy on your wing to Ossian!”



Having, in the former Lecture, given some account of the nature of poetry in general, I shall proceed, in the next place, to a more particular consideration of the genius and history of English poetry. I shall take, as the subject of the present lecture, Chaucer and Spenser, two out of four of the greatest names in poetry, which this country has to boast. Both of them, however, were much indebted to the early poets of Italy, and may be

considered as belonging, in a certain degree, to the same school. The freedom and copiousness with which our most original writers, in former periods, availed themselves of the productions of their predecessors, frequently transcribing whole passages, without scruple or acknowledgment, may appear contrary to the etiquette of modern literature, when the whole stock of poetical commonplaces has become public property, and no one is compelled to trade upon any particular author. But it is not so much a subject of wonder, at a time when to read and write was of itself an honorary distinction, when learning was almost as great a rarity as genius, and when in fact those who first transplanted the beauties of other languages into their own, might be considered as public benefactors, and the founders of a national literature. There are poets older than Chaucer, and in the interval between him and Spenser ; but their genius was not such as to place them in any point of comparison with either of these celebrated men; and an inquiry into their particular merits or defects might seem rather to belong to the province of the antiquary, than be thought generally interesting to the lovers of poetry in the present day.

Chaucer (who has been very properly considered as the father of English poetry) preceded Spenser by two centuries. He is supposed to have been born in London, in the year 1328, during the reign of Edward III. and to have died in 1400, at the age of seventy-two. He received a learned education at one, or at both of the universities, and travelled early into Italy, where he became thoroughly imbued with the spirit and excellences of the great Italian poets and prose-writers, Dante, Petrarch, and Boccace; and is said to have had a personal interview with one of these, Petrarch. He was connected, by marriage, with the famous John of Gaunt, through whose interest he was introduced into several public employments. Chaucer was an active partisan, a religious reformer, and from the share he took in some disturbances, on one occasion, he was obliged to fly the country. On his return, he was imprisoned, and made his peace with

great world.

government, as it is said, by a discovery of his associates. Fortitude does not appear, at any time, to have been the distinguishing virtue of poets.—There is, however, an obvious similarity between the practical turn of Chaucer's mind and restless impatience of his character, and the tone of his writings. Yet it would be too much to attribute the one to the other as cause and effect : for Spenser, whose poetical temperament was as effeminate as Chaucer's was stern and masculine, was equally engaged in public affairs, and had mixed equally in the

So much does native disposition predominate over accidental circumstances, moulding them to its previous bent and purposes ! For while Chaucer's intercourse with the busy world, and collision with the actual passions and conflicting interests of others, seemed to brace the sinews of his understanding, and gave to his writings the air of a man who describes persons and things that he had known and been intimately concerned in; the same opportunities, operating on a differently constituted frame, only served to alienate Spenser's mind the more from the close-pent up.” scenes of ordinary life, and to make him “rive their concealing continents,” to give himself up to the unrestrained indulgence of flowery tenderness.'

It is not possible for any two writers to be more opposite in this respect. Spenser delighted in luxurious enjoyment; Chaucer, in severe activity of mind. As Spenser was the most romantic and visionary, Chaucer was the most practical of all the great poets, the most a man of business and the world. His poetry reads like history. Every thing has a downright reality ; at least in the relator's mind. A simile, or a sentiment, is as if it were given in upon evidence. Thus he describes Cressid's first avowal of her love.

“And as the new abashed nightingale,
That stinteth first when she beginneth sing,
When that she heareth any herde's tale,
Or in the hedges any wight stirring,
And after, sicker, doth her voice outring;
Right so Cresseide, when that her dread stent,
Open'd her heart, and told him her intent.”


This is so true and natural, and beautifully simple, that the two things seem identified with each other. Again, it is said in the Knight's Tale

“Thus passeth yere by yere, and day by day,
Till it felle ones in a morwe of May,
That Emelie that fayrer was to sene
Than is the lilie upon his stalke grene ;
And fresher than the May with floures newe,
For with the rose-colour strof hire hewe:

I n'ot which was the finer of hem two." This scrupulousness about the literal preference, as if some question of matter of fact was at issue, is remarkable. I might mention that other, where he compares the meeting between Palamon and Arcite to a hunter waiting for a lion in a gap;

“That stondeth at a gap with a spere,
Whan hunted is the lion or the bere,
And hereth him come rushing in the greves,

And breking bothe the boughes and the leves :”— or that still finer one of Constance, when she is condemned to death :

“Have ye not seen somtime a pale face
(Among a prees) of him that hath been lad
Toward his deth, wheras he geteth no grace,
And swiche a colour in his face hath had,
Men mighten know him that was so bestad,
Amonges all the faces in that route ;

So stant Custance, and loketh hire aboute.” The beauty, the pathos here does not seem to be of the poet's seeking, but a part of the necessary texture of the fable. He speaks of what he wishes to describe with the accuracy, the discrimination of one who relates what has happened to himself, or has had the best information from those who have been eye-witnesses of it. The strokes of his pencil always tell. He dwells only on the essential, on that which would be interesting to the persons really concerned : yet as he never omits any material circumstance, he is prolix from the number of points on which he touches, without being diffuse on any one ; and is sometimes tedious from the fidelity with which he adheres to his subject, as other writers

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