Bruce, Greame, Glover, Lovibond, Penrose, Mickle, Jago, Scott, Whitehead, Jenyns, Logan, Cotton, Cunningham, and Blacklock.--I think it will be best to let them pass and say nothing about them. It will be hard to persuade so many respectable persons that they are dull writers, and if we give them any praise, they will send others.

But here comes one whose claims cannot be so easily set aside: they have been sanctioned by learning, hailed by genius, and hallowed by misfortune—I mean Chatterton. Yet I must say what I think of him, and that is not what is generally thought. I pass over the disputes between the learned antiquaries, Dr. Mills, Herbert Croft, and Dr. Knox, whether he was to be placed after Shakspeare and Dryden, or to come after Shakspeare alone. A living poet has borne a better testimony to him

“ I thought of Chatterton, the marvellous boy,

The sleepless soul that perished in his pride;
And him who walked in glory and in joy

Beside his plough along the mountain side." I am loth to put asunder whom so great an authority has joined together; but I cannot find in Chatterton's works anything so extraordinary as the age at which they were written. They have a facility, vigour, and knowledge, which were prodigious in a boy of sixteen, but which would not have been so in a man of twenty. He did not shew extraordinary powers of genius, but extraordinary precocity. Nor do I believe he would have written better, had he lived. He knew this himself, or he would have lived. Great geniuses, like great kings, have too much to think of to kill themselves; for their mind to them also “a kingdom is.” With an unaccountable power coming over him at an unusual age, and with the youthful confidence it inspired, he performed wonders, and was willing to set a seal on his reputation by a tragic catastrophe. He had done his best; and, like another Empedocles, threw himself into Ætna, to ensure immortality. The brazen slippers alone remain !

1 Burns. These lines are taken from the introduction to Mr. Wordsworth's poem of the LEECH-GATHERER.



I am sorry that what I said in the conclusion of the last Lecture respecting Chatterton, should have given dissatisfaction to some persons, with whom I would willingly agree on all such matters. What I meant was less to call in question Chatterton's genius, than to object to the common mode of estimating its magnitude by its prematureness. The lists of fame are not filled with the dates of births or deaths; and the side-mark of the age at which they were done, wears out in works destined for immortality. Had Chatterton really done more, we should have thought less of him, for our attention would then have been fixed on the excellence of the works themselves, instead of the singularity of the circumstances in which they were produced. But because he attained to the full powers of manhood at an early age, I do not see that he would have attained to more than those powers, had he lived to be a man. He was a prodigy, because in him the ordinary march of nature was violently precipitated; and it is therefore inferred, that he would have continued to hold on his course, “unslacked of motion.”

On the contrary, who knows but he might have lived to be poet-laureat ? It is much better to let him remain as he was. Of his actual productions, any one may think as highly as he pleases; I would only guard against adding to the account of his quantum meruit

, those possible productions by which the learned rhapsodists of his time raised his gigantic pretensions to an equality with those of Homer and Shakspeare. It is amusing to read some of these exaggerated descriptions, each rising above the other in extravagance. In Anderson's Life, we find that Mr. Warton speaks of him “ as a prodigy of genius," as “a singular instance of prematurity of abilities : ” that may be true enough, and Warton was at any rate a competent judge ; but Mr.

Malone “believes him to have been the greatest genius that England has produced since the days of Shakspeare.” Dr. Gregory says, “ he must rank, as a universal genius, above Dryden, and perhaps only second to Shakspeare. Mr. Herbert Croft is still more unqualified in his praises ; he asserts, that“ no such being, at any period of life, has ever been known, or possibly ever will be known.” He runs a parallel between Chatterton and Milton; and asserts, “ that an army of Macedonian and Swedish mad butchers fly before him,” meaning, I suppose, that Alexander the Great and Charles the Twelfth were nothing to him : “nor,” he adds,“ does my memory supply me with any human being, who at such an age, with such advantages, has produced such compositions. Under the heathen mythology, superstition and admiration would have explained all, by bringing Apollo on earth ; nor would the God ever have descended with more credit to himself.”--Chatterton's physiognomy would at least have enabled him to pass incognito. It is quite different from the look of timid wonder and delight with which Annibal Caracci has painted a young Apollo listening to the first sounds he draws from a Pan's pipe, under the tutelage of the old Silenus! If Mr. Croft is sublime on the occasion, Dr. Knox is no less pathetic. “The testimony of Dr. Knox,” says Dr. Anderson, (Essays, p. 144), “ does equal credit to the classical taste and amiable benevolence of the writer, and the genius and reputation of Chatterton.” “When I read," says the Doctor, “the researches of those learned antiquaries who have endeavoured to prove that the poems attributed to Rowley were really written by him, I observe many ingenious remarks in confirmation of their opinion, which it would be tedious, if not difficult, to controvert."

Now this is so far from the mark, that the whole controversy might have been settled by any one but the learned antiquaries themselves, who had the smallest share of their learning, from this single circumstance, that the poems read as smooth as any modern poems, if you read them as modern compositions; and that you cannot read

them, or make verse of them at all, if you pronounce or accent the words as they were spoken at the time when the poems were pretended to have been written. The whole secret of the imposture, which nothing but a deal of learned dust, raised by collecting and removing a great deal of learned rubbish, could have prevented our laborious critics from seeing through, lies on the face of it (to say nothing of the burlesque air which is scarcely disguised throughout) in the repetition of a few obsolete words, and in the mis-spelling of common ones.

“No sooner,” proceeds the Doctor, “ do I turn to the poems, than the labour of the antiquaries appears only waste of time ; and I am involuntarily forced to join in placing that laurel

, which he seems so well to have deserved, on the brow of Chatterton. The poems bear so many marks of superior genius, that they have deservedly excited the general attention of polite scholars, and are considered as the most remarkable productions in modern poetry. We have many instances of poetical eminence at an early age ; but neither Cowley, Milton, nor Pope, ever produced any thing while they were boys, which can justly be compared to the poems of Chatterton. The learned antiquaries do not indeed dispute their excellence. They extol it in the highest terms of applause. They raise their favourite Rowley to a rivalry with Homer : but they make the very merits of the works an argument against their real author. Is it possible, say they, that a boy should produce compositions so beautiful and masterly? That a common boy should produce them is not possible," rejoins the Doctor; “but that they should be produced by a boy of an extraordinary genius, such as was that of Homer or Shakspeare, though a prodigy, is such a one as by no means exceeds the bounds of rational credibility.”

Now it does not appear that Shakspeare or Homer were such early prodigies ; so that by this reasoning he must take precedence of them too, as well as of Milton, Cowley, and Pope. The reverend and classical writer then breaks out into the following melancholy raptures :

“Unfortunate boy ! short and evil were thy days, but thy fame shall be immortal. Hadst thou been known to the munificent patrons of genius

“Unfortunate boy! poorly wast thou accommodated during thy short sojourning here among us ;-rudely wast thou treated—sorely did thy feelings suffer from the scorn of the unworthy, and there are at last those who wish to rob thee of thy only meed, thy posthumous glory. Severe too are the censures of thy morals. In the gloomy moments of despondency, I fear thou hast uttered impious and blasphemous thoughts. But let thy more rigid censors reflect, that thou wast literally and strictly but a boy. Let many of thy bitterest enemies reflect what were their own religious principles, and whether they had any at the age of fourteen, fifteen, and sixteen. Surely it is a severe and an unjust surmise that chou wouldst probably have ended thy life as a victim to the laws, if thou hadst not ended it as thou didst.”

Enough, enough, of the learned antiquaries, and of the classical and benevolent testimony of Dr. Knox. Chatterton was, indeed, badly enough off; but he was at least saved from the pain and shame of reading this woful lamentation over fallen genius, which circulates splendidly bound in the fourteenth edition, while he is a prey to

As to those who are really capable of admiring Chatterton's genius, or of feeling an interest in his fate, would only say, that I never heard any one speak of any one of his works as if it were an old well-known favourite, and had become a faith and a religion in his mind. It is his name, his youth, and what he might have lived to have done, that excite our wonder and admiration. He has the same sort of posthumous fame that an actor of the last age has—an abstracted reputation which is independent of any thing we know of his works. The admirers of Collins never think of him without recalling to their minds his Ode on Evening, or on the Poetical Character. Gray's Elegy, and his poetical popularity, are identified together, and inseparable even in imagination. It is the same with respect to Burns : when you speak of him as a poet. you


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