HotFreeBooks.com
The Prose Works of William Wordsworth
by William Wordsworth
Previous Part     1 ... 4  5  6  7  8  9  10  11  12  13  14  15  16  17  18 ... 30     Next Part
Home - Random Browse

And, verily, without the consciousness of a principle of immortality in the human soul, Man could never have had awakened in him the desire to live in the remembrance of his fellows: mere love, or the yearning of kind towards kind, could not have produced it. The dog or horse perishes in the field, or in the stall, by the side of his companions, and is incapable of anticipating the sorrow with which his surrounding associates shall bemoan his death, or pine for his loss; he cannot pre-conceive this regret, he can form no thought of it; and therefore cannot possibly have a desire to leave such regret or remembrance behind him. Add to the principle of love which exists in the inferior animals, the faculty of reason which exists in Man alone; will the conjunction of these account for the desire? Doubtless it is a necessary consequence of this conjunction; yet not I think as a direct result, but only to be come at through an intermediate thought, viz. that of an intimation or assurance within us, that some part of our nature is imperishable. At least the precedence, in order of birth, of one feeling to the other, is unquestionable. If we look back upon the days of childhood, we shall find that the time is not in remembrance when, with respect to our own individual Being, the mind was without this assurance; whereas, the wish to be remembered by our friends or kindred after death, or even in absence, is, as we shall discover, a sensation that does not form itself till the social feelings have been developed, and the Reason has connected itself with a wide range of objects. Forlorn, and cut off from communication with the best part of his nature, must that man be, who should derive the sense of immortality, as it exists in the mind of a child, from the same unthinking gaiety or liveliness of animal spirits with which the lamb in the meadow, or any other irrational creature is endowed; who should ascribe it, in short, to blank ignorance in the child; to an inability arising from the imperfect state of his faculties to come, in any point of his being, into contact with a notion of death; or to an unreflecting acquiescence in what had been instilled into him! Has such an unfolder of the mysteries of nature, though he may have forgotten his former self, ever noticed the early, obstinate, and unappeasable inquisitiveness of children upon the subject of origination? This single fact proves outwardly the monstrousness of those suppositions: for, if we had no direct external testimony that the minds of very young children meditate feelingly upon death and immortality, these inquiries, which we all know they are perpetually making concerning the whence, do necessarily include correspondent habits of interrogation concerning the whither. Origin and tendency are notions inseparably co-relative. Never did a child stand by the side of a running stream, pondering within himself what power was the feeder of the perpetual current, from what never-wearied sources the body of water was supplied, but he must have been inevitably propelled to follow this question by another: 'Towards what abyss is it in progress? what receptacle can contain the mighty influx?' And the spirit of the answer must have been, though the word might be sea or ocean, accompanied perhaps with an image gathered from a map, or from the real object in nature—these might have been the letter, but the spirit of the answer must have been as inevitably,—a receptacle without bounds or dimensions;—nothing less than infinity. We may, then, be justified in asserting, that the sense of immortality, if not a co-existent and twin birth with Reason, is among the earliest of her offspring: and we may further assert, that from these conjoined, and under their countenance, the human affections are gradually formed and opened out. This is not the place to enter into the recesses of these investigations; but the subject requires me here to make a plain avowal, that, for my own part, it is to me inconceivable, that the sympathies of love towards each other, which grow with our growth, could ever attain any new strength, or even preserve the old, after we had received from the outward senses the impression of death, and were in the habit of having that impression daily renewed and its accompanying feeling brought home to ourselves, and to those we love; if the same were not counteracted by those communications with our internal Being, which are anterior to all these experiences, and with which revelation coincides, and has through that coincidence alone (for otherwise it could not possess it) a power to affect us. I confess, with me the conviction is absolute, that, if the impression and sense of death were not thus counterbalanced, such a hollowness would pervade the whole system of things, such a want of correspondence and consistency, a disproportion so astounding betwixt means and ends, that there could be no repose, no joy. Were we to grow up unfostered by this genial warmth, a frost would chill the spirit, so penetrating and powerful, that there could be no motions of the life of love; and infinitely less could we have any wish to be remembered after we had passed away from a world in which each man had moved about like a shadow.—If, then, in a creature endowed with the faculties of foresight and reason, the social affections could not have unfolded themselves uncountenanced by the faith that Man is an immortal being; and if, consequently, neither could the individual dying have had a desire to survive in the remembrance of his fellows, nor on their side could they have felt a wish to preserve for future times vestiges of the departed; it follows, as a final inference, that without the belief in immortality, wherein these several desires originate, neither monuments nor epitaphs, in affectionate or laudatory commemoration of the deceased, could have existed in the world.

Simonides, it is related, upon landing in a strange country, found the corpse of an unknown person lying by the sea-side; he buried it, and was honoured throughout Greece for the piety of that act. Another ancient Philosopher, chancing to fix his eyes upon a dead body, regarded the same with slight, if not with contempt; saying, 'See the shell of the flown bird!' But it is not to be supposed that the moral and tender-hearted Simonides was incapable of the lofty movements of thought, to which that other Sage gave way at the moment while his soul was intent only upon the indestructible being; nor, on the other hand, that he, in whose sight a lifeless human body was of no more value than the worthless shell from which the living fowl had departed, would not, in a different mood of mind, have been affected by those earthly considerations which had incited the philosophic Poet to the performance of that pious duty. And with regard to this latter we may be assured that, if he had been destitute of the capability of communing with the more exalted thoughts that appertain to human nature, he would have cared no more for the corpse of the stranger than for the dead body of a seal or porpoise which might have been cast up by the waves. We respect the corporeal frame of Man, not merely because it is the habitation of a rational, but of an immortal Soul. Each of these Sages was in sympathy with the best feelings of our nature; feelings which, though they seem opposite to each other, have another and a finer connection than that of contrast.—It is a connection formed through the subtle process by which, both in the natural and the moral world, qualities pass insensibly into their contraries, and things revolve upon each other. As, in sailing upon the orb of this planet, a voyage towards the regions where the sun sets, conducts gradually to the quarter where we have been accustomed to behold it come forth at its rising; and, in like manner, a voyage towards the east, the birth-place in our imagination of the morning, leads finally to the quarter where the sun is last seen when he departs from our eyes; so the contemplative Soul, travelling in the direction of mortality, advances to the country of everlasting life; and, in like manner, may she continue to explore those cheerful tracts, till she is brought back, for her advantage and benefit, to the land of transitory things—of sorrow and of tears.

On a midway point, therefore, which commands the thoughts and feelings of the two Sages whom we have represented in contrast, does the Author of that species of composition, the laws of which it is our present purpose to explain, take his stand. Accordingly, recurring to the twofold desire of guarding the remains of the deceased and preserving their memory, it may be said that a sepulchral monument is a tribute to a man as a human being; and that an epitaph (in the ordinary meaning attached to the word) includes this general feeling and something more; and is a record to preserve the memory of the dead, as a tribute due to his individual worth, for a satisfaction to the sorrowing hearts of the survivors, and for the common benefit of the living: which record is to be accomplished, not in a general manner, but, where it can, in close connection with the bodily remains of the deceased: and these, it may be added, among the modern nations of Europe, are deposited within, or contiguous to, their places of worship. In ancient times, as is well known, it was the custom to bury the dead beyond the walls of towns and cities; and among the Greeks and Romans they were frequently interred by the way-sides.

I could here pause with pleasure, and invite the Reader to indulge with me in contemplation of the advantages which must have attended such a practice. We might ruminate upon the beauty which the monuments, thus placed, must have borrowed from the surrounding images of nature—from the trees, the wild flowers, from a stream running perhaps within sight or hearing, from the beaten road stretching its weary length hard by. Many tender similitudes must these objects have presented to the mind of the traveller leaning upon one of the tombs, or reposing in the coolness of its shade, whether he had halted from weariness or in compliance with the invitation, 'Pause, Traveller!' so often found upon the monuments. And to its epitaph also must have been supplied strong appeals to visible appearances or immediate impressions, lively and affecting analogies of life as a journey—death as a sleep overcoming the tired wayfarer—of misfortune as a storm that falls suddenly upon him—of beauty as a flower that passeth away, or of innocent pleasure as one that may be gathered—of virtue that standeth firm as a rock against the beating waves;—of hope 'undermined insensibly like the poplar by the side of the river that has fed it,' or blasted in a moment like a pine-tree by the stroke of lightning upon the mountain-top—of admonitions and heart-stirring remembrances, like a refreshing breeze that comes without warning, or the taste of the waters of an unexpected fountain. These, and similar suggestions, must have given, formerly, to the language of the senseless stone a voice enforced and endeared by the benignity of that Nature with which it was in unison.—We, in modern times, have lost much of these advantages; and they are but in a small degree counterbalanced to the inhabitants of large towns and cities, by the custom of depositing the dead within, or contiguous to, their places of worship; however splendid or imposing may be the appearance of those edifices, or however interesting or salutary the recollections associated with them. Even were it not true that tombs lose their monitory virtue when thus obtruded upon the notice of men occupied with the cares of the world, and too often sullied and defiled by those cares, yet still, when death is in our thoughts, nothing can make amends for the want of the soothing influences of Nature, and for the absence of those types of renovation and decay, which the fields and woods offer to the notice of the serious and contemplative mind. To feel the force of this sentiment, let a man only compare in imagination the unsightly manner in which our monuments are crowded together in the busy, noisy, unclean, and almost grassless church-yard of a large town, with the still seclusion of a Turkish cemetery, in some remote place; and yet further sanctified by the grove of cypress in which it is embosomed. Thoughts in the same temper as these have already been expressed with true sensibility by an ingenuous Poet of the present day. The subject of his poem is 'All Saints Church, Derby:' he has been deploring the forbidding and unseemly appearance of its burial-ground, and uttering a wish, that in past times the practice had been adopted of interring the inhabitants of large towns in the country.—

Then in some rural, calm, sequestered spot, Where healing Nature her benignant look Ne'er changes, save at that lorn season, when, With tresses drooping o'er her sable stole, She yearly mourns the mortal doom of man, Her noblest work, (so Israel's virgins erst, With annual moan upon the mountains wept Their fairest gone,) there in that rural scene, So placid, so congenial to the wish The Christian feels, of peaceful rest within The silent grave, I would have stayed:

* * * * *

—wandered forth, where the cold dew of heaven Lay on the humbler graves around, what time The pale moon gazed upon the turfy mounds, Pensive, as though like me, in lonely muse, Twere brooding on the dead inhumed beneath. There while with him, the holy man of Uz, O'er human destiny I sympathised, Counting the long, long periods prophecy Decrees to roll, ere the great day arrives Of resurrection, oft the blue-eyed Spring Had met me with her blossoms, as the Dove, Of old, returned with olive leaf, to cheer The Patriarch mourning o'er a world destroyed: And I would bless her visit; for to me 'Tis sweet to trace the consonance that links As one, the works of Nature and the word Of God.—JOHN EDWARDS.

A village church-yard, lying as it does in the lap of Nature, may indeed be most favourably contrasted with that of a town of crowded population; and sepulture therein combines many of the best tendencies which belong to the mode practised by the Ancients, with others peculiar to itself. The sensations of pious cheerfulness, which attend the celebration of the sabbath-day in rural places, are profitably chastised by the sight of the graves of kindred and friends, gathered together in that general home towards which the thoughtful yet happy spectators themselves are journeying. Hence a parish-church, in the stillness of the country, is a visible centre of a community of the living and the dead; a point to which are habitually referred the nearest concerns of both.

As, then, both in cities and villages, the dead are deposited in close connection with our places of worship, with us the composition of an epitaph naturally turns, still more than among the nations of antiquity, upon the most serious and solemn affections of the human mind; upon departed worth—upon personal or social sorrow and admiration—upon religion, individual and social—upon time, and upon eternity. Accordingly, it suffices, in ordinary cases, to secure a composition of this kind from censure, that it contain nothing that shall shock or be inconsistent with this spirit. But, to entitle an epitaph to praise, more than this is necessary. It ought to contain some thought or feeling belonging to the mortal or immortal part of our nature touchingly expressed; and if that be done, however general or even trite the sentiment may be, every man of pure mind will read the words with pleasure and gratitude. A husband bewails a wife; a parent breathes a sigh of disappointed hope over a lost child; a son utters a sentiment of filial reverence for a departed father or mother; a friend perhaps inscribes an encomium recording the companionable qualities, or the solid virtues, of the tenant of the grave, whose departure has left a sadness upon his memory. This and a pious admonition to the living, and a humble expression of Christian confidence in immortality, is the language of a thousand church-yards; and it does not often happen that anything, in a greater degree discriminate or appropriate to the dead or to the living, is to be found in them. This want of discrimination has been ascribed by Dr. Johnson, in his Essay upon the epitaphs of Pope, to two causes; first, the scantiness of the objects of human praise; and, secondly, the want of variety in the characters of men; or, to use his own words, 'to the fact, that the greater part of mankind have no character at all.' Such language may be holden without blame among the generalities of common conversation; but does not become a critic and a moralist speaking seriously upon a serious subject. The objects of admiration in human nature are not scanty, but abundant: and every man has a character of his own, to the eye that has skill to perceive it. The real cause of the acknowledged want of discrimination in sepulchral memorials is this: That to analyse the characters of others, especially of those whom we love, is not a common or natural employment of men at any time. We are not anxious unerringly to understand the constitution of the minds of those who have soothed, who have cheered, who have supported us: with whom we have been long and daily pleased or delighted. The affections are their own justification. The light of love in our hearts is a satisfactory evidence that there is a body of worth in the minds of our friends or kindred, whence that light has proceeded. We shrink from the thought of placing their merits and defects to be weighed against each other in the nice balance of pure intellect; nor do we find much temptation to detect the shades by which a good quality or virtue is discriminated in them from an excellence known by the same general name as it exists in the mind of another; and, least of all, do we incline to these refinements when under the pressure of sorrow, admiration, or regret, or when actuated by any of those feelings which incite men to prolong the memory of their friends and kindred, by records placed in the bosom of the all-uniting and equalising receptacle of the dead.

The first requisite, then, in an Epitaph is, that it should speak, in a tone which shall sink into the heart, the general language of humanity as connected with the subject of death—the source from which an epitaph proceeds—of death, and of life. To be born and to die are the two points in which all men feel themselves to be in absolute coincidence. This general language may be uttered so strikingly as to entitle an epitaph to high praise; yet it cannot lay claim to the highest unless other excellencies be superadded. Passing through all intermediate steps, we will attempt to determine at once what these excellencies are, and wherein consists the perfection of this species of composition.—It will be found to lie in a due proportion of the common or universal feeling of humanity to sensations excited by a distinct and clear conception, conveyed to the reader's mind, of the individual, whose death is deplored and whose memory is to be preserved; at least of his character as, after death, it appeared to those who loved him and lament his loss. The general sympathy ought to be quickened, provoked, and diversified, by particular thoughts, actions, images,—circumstances of age, occupation, manner of life, prosperity which the deceased had known, or adversity to which he had been subject; and these ought to be bound together and solemnised into one harmony by the general sympathy. The two powers should temper, restrain, and exalt each other. The reader ought to know who and what the man was whom he is called upon to think of with interest. A distinct conception should be given (implicitly where it can, rather than explicitly) of the individual lamented.—But the writer of an epitaph is not an anatomist, who dissects the internal frame of the mind; he is not even a painter, who executes a portrait at leisure and in entire tranquillity; his delineation, we must remember, is performed by the side of the grave; and, what is more, the grave of one whom he loves and admires. What purity and brightness is that virtue clothed in, the image of which must no longer bless our living eyes! The character of a deceased friend or beloved kinsman is not seen, no—nor ought to be seen, otherwise than as a tree through a tender haze or a luminous mist, that spiritualises and beautifies it; that takes away, indeed, but only to the end that the parts which are not abstracted may appear more dignified and lovely; may impress and affect the more. Shall we say, then, that this is not truth, not a faithful image; and that, accordingly, the purposes of commemoration cannot be answered?—It is truth, and of the highest order; for, though doubtless things are not apparent which did exist; yet, the object being looked at through this medium, parts and proportions are brought into distinct view which before had been only imperfectly or unconsciously seen: it is truth hallowed by love—the joint offspring of the worth of the dead and the affections of the living! This may easily be brought to the test. Let one, whose eyes have been sharpened by personal hostility to discover what was amiss in the character of a good man, hear the tidings of his death, and what a change is wrought in a moment! Enmity melts away; and, as it disappears, unsightliness, disproportion, and deformity, vanish; and, through the influence of commiseration, a harmony of love and beauty succeeds. Bring such a man to the tomb-stone on which shall be inscribed an epitaph on his adversary, composed in the spirit which we have recommended. Would he turn from it as from an idle tale? No;—the thoughtful look, the sigh, and perhaps the involuntary tear, would testify that it had a sane, a generous, and good meaning; and that on the writer's mind had remained an impression which was a true abstract of the character of the deceased; that his gifts and graces were remembered in the simplicity in which they ought to be remembered. The composition and quality of the mind of a virtuous man, contemplated by the side of the grave where his body is mouldering, ought to appear, and be felt as something midway between what he was on earth walking about with his living frailties, and what he may be presumed to be as a spirit in heaven.

It suffices, therefore, that the trunk and the main branches of the worth of the deceased be boldly and unaffectedly represented. Any further detail, minutely and scrupulously pursued, especially if this be done with laborious and antithetic discriminations, must inevitably frustrate its own purpose; forcing the passing Spectator to this conclusion,—either that the dead did not possess the merits ascribed to him, or that they who have raised a monument to his memory, and must therefore be supposed to have been closely connected with him, were incapable of perceiving those merits; or at least during the act of composition had lost sight of them; for, the understanding having been so busy in its petty occupation, how could the heart of the mourner be other than cold? and in either of these cases, whether the fault be on the part of the buried person or the survivors, the memorial is unaffecting and profitless.

Much better is it to fall short in discrimination than to pursue it too far, or to labour it unfeelingly. For in no place are we so much disposed to dwell upon those points, of nature and condition, wherein all men resemble each other, as in the temple where the universal Father is worshipped, or by the side of the grave which gathers all human Beings to itself, and 'equalises the lofty and the low.' We suffer and we weep with the same heart; we love and are anxious for one another in one spirit; our hopes look to the same quarter; and the virtues by which we are all to be furthered and supported, as patience, meekness, good-will, justice, temperance, and temperate desires, are in an equal degree the concern of us all. Let an Epitaph, then, contain at least these acknowledgments to our common nature; nor let the sense of their importance be sacrificed to a balance of opposite qualities or minute distinctions in individual character; which if they do not, (as will for the most part be the case,) when examined, resolve themselves into a trick of words, will, even when they are true and just, for the most part be grievously out of place; for, as it is probable that few only have explored these intricacies of human nature, so can the tracing of them be interesting only to a few. But an epitaph is not a proud writing shut up for the studious: it is exposed to all—to the wise and the most ignorant; it is condescending, perspicuous, and lovingly solicits regard; its story and admonitions are brief, that the thoughtless, the busy, and indolent, may not be deterred, nor the impatient tired: the stooping old man cons the engraven record like a second horn-book;—the child is proud that he can read it;—and the stranger is introduced through its mediation to the company of a friend: it is concerning all, and for all:—in the church-yard it is open to the day; the sun looks down upon the stone, and the rains of heaven beat against it.

Yet, though the writer who would excite sympathy is bound in this case, more than in any other, to give proof that he himself has been moved, it is to be remembered, that to raise a monument is a sober and a reflective act; that the inscription which it bears is intended to be permanent, and for universal perusal; and that, for this reason, the thoughts and feelings expressed should be permanent also—liberated from that weakness and anguish of sorrow which is in nature transitory, and which with instinctive decency retires from notice. The passions should be subdued, the emotions controlled; strong, indeed, but nothing ungovernable or wholly involuntary. Seemliness requires this, and truth requires it also: for how can the narrator otherwise be trusted? Moreover, a grave is a tranquillising object: resignation in course of time springs up from it as naturally as the wild flowers, besprinkling the turf with which it may be covered, or gathering round the monument by which it is defended. The very form and substance of the monument which has received the inscription, and the appearance of the letters, testifying with what a slow and laborious hand they must have been engraven, might seem to reproach the author who had given way upon this occasion to transports of mind, or to quick turns of conflicting passion; though the same might constitute the life and beauty of a funeral oration or elegiac poem.

These sensations and judgments, acted upon perhaps unconsciously, have been one of the main causes why epitaphs so often personate the deceased, and represent him as speaking from his own tomb-stone. The departed Mortal is introduced telling you himself that his pains are gone; that a state of rest is come; and he conjures you to weep for him no longer. He admonishes with the voice of one experienced in the vanity of those affections which are confined to earthly objects, and gives a verdict like a superior Being, performing the office of a judge, who has no temptations to mislead him, and whose decision cannot but be dispassionate. Thus is death disarmed of its sting, and affliction unsubstantialised. By this tender fiction, the survivors bind themselves to a sedater sorrow, and employ the intervention of the imagination in order that the reason may speak her own language earlier than she would otherwise have been enabled to do. This shadowy interposition also harmoniously unites the two worlds of the living and the dead by their appropriate affections. And it may be observed, that here we have an additional proof of the propriety with which sepulchral inscriptions were referred to the consciousness of immortality as their primal source.

I do not speak with a wish to recommend that an epitaph should be cast in this mould preferably to the still more common one, in which what is said comes from the survivors directly; but rather to point out how natural those feelings are which have induced men, in all states and ranks of society, so frequently to adopt this mode. And this I have done chiefly in order that the laws, which ought to govern the composition of the other, may be better understood. This latter mode, namely, that in which the survivors speak in their own persons, seems to me upon the whole greatly preferable: as it admits a wider range of notices; and, above all, because, excluding the fiction which is the ground-work of the other, it rests upon a more solid basis.

Enough has been a said to convey our notion of a perfect epitaph; but it must be borne in mind that one is meant which will best answer the general ends of that species of composition. According to the course pointed out, the worth of private life, through all varieties of situation and character, will be most honourably and profitably preserved in memory. Nor would the model recommended less suit public men, in all instances save of those persons who by the greatness of their services in the employments of peace or war, or by the surpassing excellence of their works in art, literature, or science, have made themselves not only universally known, but have filled the heart of their country with everlasting gratitude. Yet I must here pause to correct myself. In describing the general tenor of thought which epitaphs ought to hold, I have omitted to say, that if it be the actions of a man, or even some one conspicuous or beneficial act of local or general utility, which have distinguished him, and excited a desire that he should be remembered, then, of course, ought the attention to be directed chiefly to those actions or that act: and such sentiments dwelt upon as naturally arise out of them or it. Having made this necessary distinction, I proceed.—The mighty benefactors of mankind, as they are not only known by the immediate survivors, but will continue to be known familiarly to latest posterity, do not stand in need of biographic sketches, in such a place; nor of delineations of character to individualise them. This is already done by their Works, in the memories of men. Their naked names, and a grand comprehensive sentiment of civic gratitude, patriotic love, or human admiration—or the utterance of some elementary principle most essential in the constitution of true virtue;—or a declaration touching that pious humility and self-abasement, which are ever most profound as minds are most susceptible of genuine exaltation—or an intuition, communicated in adequate words, of the sublimity of intellectual power;—these are the only tribute which can here be paid—the only offering that upon such an altar would not be unworthy.

What needs my Shakspeare for his honoured bones The labour of an age in piled stones, Or that his hallowed reliques should be hid Under a star y-pointing pyramid? Dear Son of Memory, great Heir of Fame, What need'st thou such weak witness of thy name? Thou in our wonder and astonishment Hast built thyself a livelong monument, And so sepulchred, in such pomp dost lie, That kings for such a tomb would wish to die.



(b) THE COUNTRY CHURCH-YARD, AND CRITICAL EXAMINATION OF ANCIENT EPITAPHS.

From the Author's Mss.

Yet even these bones from insult to protect Some frail memorial still erected nigh, With uncouth rhymes and shapeless sculpture deck'd, Implores the passing tribute of a sigh. Their name, their years, spelt by the unletter'd Muse, The place of fame and elegy supply, And many a holy text around she strews, That teach the rustic moralist to die.

When a Stranger has walked round a Country Church-yard and glanced his eye over so many brief chronicles, as the tomb-stones usually contain, of faithful wives, tender husbands, dutiful children, and good men of all classes; he will be tempted to exclaim in the language of one of the characters of a modern Tale, in a similar situation, 'Where are all the bad people buried?' He may smile to himself an answer to this question, and may regret that it has intruded upon him so soon. For my own part such has been my lot; and indeed a man, who is in the habit of suffering his mind to be carried passively towards truth as well as of going with conscious effort in search of it, may be forgiven, if he has sometimes insensibly yielded to the delusion of those flattering recitals, and found a pleasure in believing that the prospect of real life had been as fair as it was in that picture represented. And such a transitory oversight will without difficulty be forgiven by those who have observed a trivial fact in daily life, namely, how apt, in a series of calm weather, we are to forget that rain and storms have been, and will return to interrupt any scheme of business or pleasure which our minds are occupied in arranging. Amid the quiet of a church-yard thus decorated as it seemed by the hand of Memory, and shining, if I may so say, in the light of love, I have been affected by sensations akin to those which have risen in my mind while I have been standing by the side of a smooth sea, on a Summer's day. It is such a happiness to have, in an unkind world, one enclosure where the voice of Detraction is not heard; where the traces of evil inclinations are unknown; where contentment prevails, and there is no jarring tone in the peaceful concert of amity and gratitude. I have been rouzed from this reverie by a consciousness suddenly flashing upon me, of the anxieties, the perturbations, and in many instances, the vices and rancorous dispositions, by which the hearts of those who lie under so smooth a surface and so fair an outside have been agitated. The image of an unruffled sea has still remained; but my fancy has penetrated into the depths of that sea,—with accompanying thoughts of shipwreck, of the destruction of the mariner's hopes, the bones of drowned men heaped together, monsters of the deep, and all the hideous and confused sights which Clarence saw in his dream.

Nevertheless, I have been able to return (and who may not?) to a steady contemplation of the benign influence of such a favourable Register lying open to the eyes of all. Without being so far lulled as to imagine I saw in a village church-yard the eye or central point of a rural Arcadia, I have felt that with all the vague and general expressions of love, gratitude, and praise, with which it is usually crowded, it is a far more faithful representation of homely life as existing among a community in which circumstances have not been untoward, than any report which might be made by a rigorous observer deficient in that spirit of forbearance and those kindly prepossessions, without which human life can in no condition be profitably looked at or described. For we must remember that it is the nature of vice to force itself upon notice, both in the act and by its consequences. Drunkenness, cruelty, brutal manners, sensuality and impiety, thoughtless prodigality and idleness, are obstreperous while they are in the height and heyday of their enjoyment; and when that is passed away, long and obtrusive is the train of misery which they draw after them. But on the contrary, the virtues, especially those of humble life, are retired; and many of the highest must be sought for or they will be overlooked. Industry, economy, temperance, and cleanliness, are indeed made obvious by flourishing fields, rosy complexions, and smiling countenances; but how few know anything of the trials to which men in a lonely condition are subject, or of the steady and triumphant manner in which those trials are often sustained, but they themselves? The afflictions which peasants and rural citizens have to struggle with are for the most part secret; the tears which they wipe away, and the sighs which they stifle,—this is all a labour of privacy. In fact their victories are to themselves known only imperfectly; for it is inseparable from virtue, in the pure sense of the word, to be unconscious of the might of her own prowess. This is true of minds the most enlightened by reflection; who have forecast what they may have to endure, and prepared themselves accordingly. It is true even of these, when they are called into action, that they necessarily lose sight of their own accomplishments and support their conflicts in self-forgetfulness and humility. That species of happy ignorance, which is the consequence of these noble qualities, must exist still more frequently, and in a greater degree, in those persons to whom duty has never been matter of laborious speculation, and who have no intimations of the power to act and to resist which is in them, till they are summoned to put it forth. I could illustrate this by many examples, which are now before my eyes; but it would detain me too long from my principal subject which was to suggest reasons for believing that the encomiastic language of rural tomb-stones does not so far exceed reality as might lightly be supposed. Doubtless, an inattentive or ill-disposed Observer, who should apply to surrounding cottages the knowledge which he may possess of any rural neighbourhood, would upon the first impulse confidently report that there was little in their living inhabitants which reflected the concord and the virtue there dwelt upon so fondly. Much has been said in a former Paper tending to correct this disposition; and which will naturally combine with the present considerations. Besides, to slight the uniform language of these memorials as on that account not trustworthy would obviously be unjustifiable.

Enter a church-yard by the sea-coast, and you will be almost sure to find the tomb-stones crowded with metaphors taken from the sea and a sea-faring life. These are uniformly in the same strain; but surely we ought not thence to infer that the words are used of course, without any heartfelt sense of their propriety. Would not the contrary conclusion be right? But I will adduce a fact which more than a hundred analogical arguments will carry to the mind a conviction of the strength and sanctity of those feelings which persons in humble stations of society connect with their departed friends and kindred. We learn from the Statistical Account of Scotland that in some districts, a general transfer of inhabitants has taken place; and that a great majority of those who live, and labour, and attend public worship in one part of the country, are buried in another. Strong and unconquerable still continues to be the desire of all, that their bones should rest by the side of their forefathers, and very poor persons provide that their bodies should be conveyed if necessary to a great distance to obtain that last satisfaction. Nor can I refrain from saying that this natural interchange by which the living inhabitants of a parish have small knowledge of the dead who are buried in their church-yard is grievously to be lamented, wherever it exists. For it cannot fail to preclude not merely much but the best part of the wholesome influence of that communion between living and dead which the conjunction in rural districts of the place of burial and place of worship tends so effectually to promote. Finally, let us remember that if it be the nature of man to be insensible to vexations and afflictions when they have passed away, he is equally insensible to the height and depth of his blessings till they are removed from him. An experienced and well-regulated mind, will not, therefore, be insensible to this monotonous language of sorrow and affectionate admiration; but will find under that veil a substance of individual truth. Yet upon all men, and upon such a mind in particular, an Epitaph must strike with a gleam of pleasure, when the expression is of that kind which carries conviction to the heart at once that the author was a sincere mourner, and that the inhabitant of the grave deserved to be so lamented. This may be done sometimes by a naked ejaculation; as in an instance which a friend of mine met with in a church-yard in Germany, thus literally translated: 'Ah! they have laid in the grave a brave man: he was to me more than many!'

Ach! sie haben Einen Braven Mann begraben Mir war er mehr als viele.

An effect as pleasing is often produced by the recital of an affliction endured with fortitude, or of a privation submitted to with contentment; or by a grateful display of the temporal blessings with which Providence had favoured the deceased, and the happy course of life through which he had passed. And where these individualities are untouched upon, it may still happen that the estate of man in his helplessness, in his dependence upon his Maker, or some other inherent of his nature shall be movingly and profitably expressed. Every Reader will be able to supply from his own observation instances of all these kinds, and it will be more pleasing for him to refer to his memory than to have the page crowded with unnecessary quotations. I will however give one or two from an old book cited before. The following of general application, was a great favourite with our forefathers:

Farwel my Frendys, the tyd abidyth no man, I am departed hens, and so sal ye, But in this passage the best song I can Is Requiem Eternam, now Jesu grant it me. When I have ended all myn adversity Grant me in Paradys to have a mansion That shedst Thy bloud for my redemption.

This epitaph might seem to be of the age of Chaucer, for it has the very tone and manner of the Prioress's Tale.

The next opens with a thought somewhat interrupting that complacency and gracious repose which the language and imagery of a church-yard tend to diffuse, but the truth is weighty and will not be less acceptable for the rudeness of the expression.

When the bells be mearely roung And the Masse devoutly soung And the meate merrely eaten Then sall Robert Trappis his Wyffs and his Chyldren be forgotten. Wherfor Iesu that of Mary sproung Set their soulys Thy Saynts among, Though it be undeservyd on their syde Yet good Lord let them evermor Thy mercy abyde!

It is well known how fond our ancestors were of a play upon the name of the deceased when it admitted of a double sense. The following is an instance of this propensity not idly indulged. It brings home a general truth to the individual by the medium of a pun, which will be readily pardoned for the sake of the image suggested by it, for the happy mood of mind in which the epitaph is composed, for the beauty of the language, and for the sweetness of the versification, which indeed, the date considered, is not a little curious. It is upon a man whose name was Palmer. I have modernized the spelling in order that its uncouthness may not interrupt the Reader's gratification.

Palmers all our Fathers were I a Palmer lived here And travelled still till worn with age I ended this world's pilgrimage, On the blest Ascension-day In the chearful month of May; One thousand with four hundred seven, And took my journey hence to heaven.

With this join the following, which was formerly to be seen upon a fair marble under the portraiture of one of the abbots of St. Albans.

Hic quidem terra tegitur Peccati solvens debitum Cujus nomen non impositum In libro vitae sit inscriptum.

The spirit of it may be thus given: 'Here lies, covered by the earth, and paying his debt to sin, one whose name is not set forth: may it be inscribed in the Book of Life!'

But these instances, of the humility, the pious faith and simplicity of our forefathers, have led me from the scene of our contemplations—a Country Church-yard! and from the memorials at this day commonly found in it. I began with noticing such as might be wholly uninteresting from the uniformity of the language which they exhibit; because, without previously participating the truths upon which these general attestations are founded, it is impossible to arrive at that state of disposition of mind necessary to make those epitaphs thoroughly felt which have an especial recommendation. With the same view, I will venture to say a few words upon another characteristic of these compositions almost equally striking; namely, the homeliness of some of the inscriptions, the strangeness of the illustrative images, the grotesque spelling, with the equivocal meaning often struck out by it, and the quaint jingle of the rhymes. These have often excited regret in serious minds, and provoked the unwilling to good-humoured laughter. Yet, for my own part, without affecting any superior sanctity, I must say that I have been better satisfied with myself, when in these evidences I have seen a proof how deeply the piety of the rude forefathers of the hamlet, is seated in their natures; I mean how habitual and constitutional it is, and how awful the feeling which they attach to the situation of their departed friends,—a proof of this rather than of their ignorance or of a deadness in their faculties to a sense of the ridiculous. And that this deduction may be just, is rendered probable by the frequent occurrence of passages according to our present notion, full as ludicrous, in the writings of the most wise and learned men of former ages, divines and poets, who in the earnestness of their souls have applied metaphors and illustrations, taken either from Holy Writ or from the usages of their own country, in entire confidence that the sacredness of the theme they were discussing would sanctify the meanest object connected with it; or rather without ever conceiving it was possible that a ludicrous thought could spring up in any mind engaged in such meditations. And certainly, these odd and fantastic combinations are not confined to epitaphs of the peasantry, or of the lower orders of society, but are perhaps still more commonly produced among the higher, in a degree equally or more striking. For instance, what shall we say to this upon Sir George Vane, the noted Secretary of State to King Charles I.?

His Honour wonne i'th' field lies here in dust, His Honour got by grace shall never rust: The former fades, the latter shall fade never For why? He was Sr George once but St George ever.

The date is 1679. When we reflect that the father of this personage must have had his taste formed in the punning Court of James I., and that the epitaph was composed at a time when our literature was stuffed with quaint or out-of-the-way thoughts, it will seem not unlikely that the author prided himself upon what he might call a clever hit: I mean his better affections were less occupied with the several associations belonging to the two ideas than his vanity delighted with that act of ingenuity by which they had been combined. But the first couplet consists of a just thought naturally expressed; and I should rather conclude the whole to be a work of honest simplicity; and that the sense of worldly dignity associated with the title, in a degree habitual to our ancestors, but which at this time we can but feebly sympathize with, and the imaginative feeling involved—viz. the saintly and chivalrous name of the champion of England, were unaffectedly linked together: and that both were united and consolidated in the author's mind, and in the minds of his contemporaries whom no doubt he had pleased, by a devout contemplation of a happy immortality, the reward of the just.

At all events, leaving this particular case undecided, the general propriety of these notices cannot be doubted; and I gladly avail myself of this opportunity to place in a clear view the power and majesty of impassioned faith, whatever be its object: to shew how it subjugates the lighter motions of the mind, and sweeps away superficial difference in things. And this I have done, not to lower the witling and the worldling in their own esteem, but with a wish to bring the ingenuous into still closer communion with those primary sensations of the human heart, which are the vital springs of sublime and pathetic composition, in this and in every other kind. And as from these primary sensations such composition speaks, so, unless correspondent ones listen promptly and submissively in the inner cell of the mind to whom it is addressed, the voice cannot be heard; its highest powers are wasted.

These suggestions may be further useful to establish a criterion of sincerity, by which a writer may be judged; and this is of high import. For, when a man is treating an interesting subject, or one which he ought not to treat at all unless he be interested, no faults have such a killing power as those which prove that he is not in earnest, that he is acting a part, has leisure for affectation, and feels that without it he could do nothing. This is one of the most odious of faults; because it shocks the moral sense, and is worse in a sepulchral inscription, precisely in the same degree as that mode of composition calls for sincerity more urgently than any other. And indeed where the internal evidence proves that the writer was moved, in other words where this charm of sincerity lurks in the language of a tomb-stone and secretly pervades it, there are no errors in style or manner for which it will not be, in some degree, a recompence; but without habits of reflection a test of this inward simplicity cannot be come at; and as I have said, I am now writing with a hope to assist the well-disposed to attain it.

Let us take an instance where no one can be at a loss. The following lines are said to have been written by the illustrious Marquis of Montrose with the point of his sword, upon being informed of the death of his master, Charles I.:

Great, good, and just, could I but rate My griefs, and thy so rigid fate; I'd weep the world to such a strain, As it should deluge once again. But since thy loud-tongued blood demands supplies, More from Briareus' hands than Argus' eyes, I'll sing thy obsequies with trumpets' sounds And write thy epitaph with blood and wounds.

These funereal verses would certainly be wholly out of their place upon a tomb-stone; but who can doubt that the writer was transported to the height of the occasion? that he was moved as it became an heroic soldier, holding those principles and opinions, to be moved? His soul labours;—the most tremendous event in the history of the planet—namely, the deluge, is brought before his imagination by the physical image of tears,—a connection awful from its very remoteness and from the slender band that unites the ideas:—it passes into the region of fable likewise; for all modes of existence that forward his purpose are to be pressed into the service. The whole is instinct with spirit, and every word has its separate life; like the chariot of the Messiah, and the wheels of that chariot, as they appeared to the imagination of Milton aided by that of the prophet Ezekiel. It had power to move of itself, but was conveyed by cherubs.

—with stars their bodies all And wings were set with eyes, with eyes the wheels Of beryl, and careering fires between.

Compare with the above verses of Montrose the following epitaph upon Sir Philip Sidney, which was formerly placed over his grave in St. Paul's Church.

England, Netherland, the Heavens, and the Arts, The Soldiers, and the World, have made six parts Of noble Sidney; for who will suppose That a small heap of stones can Sidney enclose? England hath his Body, for she it fed, Netherland his Blood, in her defence shed: The Heavens have his Soul, the Arts have his Fame, The Soldiers the grief, the World his good Name.

There were many points in which the case of Sidney resembled that of Charles I. He was a sovereign, but of a nobler kind—a sovereign in the hearts of men; and after his premature death he was truly, as he hath been styled, 'the world-mourned Sidney.' So fondly did the admiration of his contemporaries settle upon him, that the sudden removal of a man so good, great, and thoroughly accomplished, wrought upon many even to repining, and to the questioning the dispensations of Providence. Yet he, whom Spenser and all the men of genius of his age had tenderly bemoaned, is thus commemorated upon his tomb-stone; and to add to the indignity, the memorial is nothing more than the second-hand coat of a French commander! It is a servile translation from a French epitaph, which says Weever, 'was by some English Wit happily imitated and ingeniously applied to the honour of our worthy chieftain.' Yet Weever in a foregoing paragraph thus expresses himself upon the same subject; giving without his own knowledge, in my opinion, an example of the manner in which an epitaph ought to have been composed: 'But I cannot pass over in silence Sir Philip Sidney, the elder brother, being (to use Camden's words) the glorious star of this family, a lively pattern of virtue, and the lovely joy of all the learned sort; who fighting valiantly with the enemy before Zutphen in Geldesland, dyed manfully. This is that Sidney, whom, as God's will was, he should therefore be born into the world even to shew unto our age a sample of ancient virtues: so His good pleasure was, before any man looked for it, to call for him again and take him out of the world, as being more worthy of heaven than earth. Thus we may see perfect virtue suddenly vanisheth out of sight, and the best men continue not long.'

There can be no need to analyse this simple effusion of the moment in order to contrast it with the laboured composition before given; the difference will flash upon the Reader at once. But I may say it is not likely that such a frigid composition as the former would have ever been applied to a man whose death had so stirred up the hearts of his contemporaries, if it had not been felt that something different from that nature which each man carried in his own breast was in his case requisite; and that a certain straining of mind was inseparable from the subject. Accordingly, an epitaph is adopted in which the Writer had turned from the genuine affections and their self-forgetting inspirations, to the end that his understanding, or the faculty designated by the word head as opposed to heart, might curiously construct a fabric to be wondered at. Hyperbole in the language of Montrose is a mean instrument made mighty because wielded by an afflicted soul, and strangeness is here the order of Nature. Montrose stretched after remote things, but was at the same time propelled towards them; the French Writer goes deliberately in search of them: no wonder then if what he brings home does not prove worth the carriage.

Let us return to an instance of common life. I quote it with reluctance, not so much for its absurdity as that the expression in one place will strike at first sight as little less than impious; and it is indeed, though unintentionally so, most irreverent. But I know no other example that will so forcibly illustrate the important truth I wish to establish. The following epitaph is to be found in a church-yard in Westmoreland; which the present Writer has reason to think of with interest as it contains the remains of some of his ancestors and kindred. The date is 1678.

Under this Stone, Reader, inter'd doth lye, Beauty and Virtue's true epitomy. At her appearance the noone-son Blush'd and shrunk in 'cause quite outdon. In her concentered did all graces dwell: God pluck'd my rose that He might take a smel. I'll say no more: but weeping wish I may Soone with thy dear chaste ashes com to lay. Sic efflevit Maritus.

Can anything go beyond this in extravagance? yet, if the fundamental thoughts be translated into a natural style, they will be found reasonable and affecting—'The woman who lies here interred, was in my eyes a perfect image of beauty and virtue; she was to me a brighter object than the sun in heaven: God took her, who was my delight, from this earth to bring her nearer to Himself. Nothing further is worthy to be said than that weeping I wish soon to lie by thy dear chaste ashes. Thus did the husband pour out his tears.'

These verses are preceded by a brief account of the lady, in Latin prose, in which the little that is said is the uncorrupted language of affection. But, without this introductory communication I should myself have had no doubt, after recovering from the first shock of surprize and disapprobation, that this man, notwithstanding his extravagant expressions, was a sincere mourner; and that his heart, during the very act of composition, was moved. These fantastic images, though they stain the writing, stained not her soul,—they did not even touch it; but hung like globules of rain suspended above a green leaf, along which they may roll and leave no trace that they have passed over it. This simple-hearted man must have been betrayed by a common notion that what was natural in prose would be out of place in verse;—that it is not the Muse which puts on the garb but the garb which makes the Muse. And having adopted this notion at a time when vicious writings of this kind accorded with the public taste, it is probable that, in the excess of his modesty, the blankness of his inexperience, and the intensity of his affection, he thought that the further he wandered from Nature in his language the more would he honour his departed consort, who now appeared to him to have surpassed humanity in the excellence of her endowments. The quality of his fault and its very excess are both in favour of this conclusion.

Let us contrast this epitaph with one taken from a celebrated Writer of the last century.

To the memory of LUCY LYTTLETON, Daughter &c. who departed this life &c. aged 20. Having employed the short time assigned to her here in the uniform practice of religion and virtue.

Made to engage all hearts, and charm all eyes, Though meek, magnanimous; though witty, wise; Polite, as all her life in Courts had been; Yet good, as she the world had never seen; The noble fire of an exalted mind, With gentle female tenderness combined. Her speech was the melodious voice of love, Her song the warbling of the vernal grove; Her eloquence was sweeter than her song, Soft as her heart, and as her reason strong; Her form each beauty of the mind express'd, Her mind was Virtue by the Graces drest.

The prose part of this inscription has the appearance of being intended for a tomb-stone; but there is nothing in the verse that would suggest such a thought. The composition is in the style of those laboured portraits in words which we sometimes see placed at the bottom of a print to fill up lines of expression which the bungling Artist had left imperfect. We know from other evidence that Lord Lyttleton dearly loved his wife; he has indeed composed a monody to her memory which proves this, and she was an amiable woman; neither of which facts could have been gathered from these inscriptive verses. This epitaph would derive little advantage from being translated into another style as the former was; for there is no under current; no skeleton or staminae of thought and feeling. The Reader will perceive at once that nothing in the heart of the Writer had determined either the choice, the order or the expression, of the ideas; that there is no interchange of action from within and from without; that the connections are mechanical and arbitrary, and the lowest kind of these—heart and eyes: petty alliterations, as meek and magnanimous, witty and wise, combined with oppositions in thoughts where there is no necessary or natural opposition. Then follow voice, song, eloquence, form, mind—each enumerated by a separate act as if the Author had been making a Catalogue Raisonne.

These defects run through the whole; the only tolerable verse is,

Her speech was the melodious voice of love.

Observe, the question is not which of these epitaphs is better or worse; but which faults are of a worse kind. In the former case we have a mourner whose soul is occupied by grief and urged forward by his admiration. He deems in his simplicity that no hyperbole can transcend the perfections of her whom he has lost; for the version which I have given fairly demonstrates that, in spite of his outrageous expressions, the under current of his thoughts was natural and pure. We have therefore in him the example of a mind during the act of composition misled by false taste to the highest possible degree; and, in that of Lord Lyttleton, we have one of a feeling heart, not merely misled, but wholly laid asleep by the same power. Lord Lyttleton could not have written in this way upon such a subject, if he had not been seduced by the example of Pope, whose sparkling and tuneful manner had bewitched the men of letters his contemporaries, and corrupted the judgment of the nation through all ranks of society. So that a great portion of original genius was necessary to embolden a man to write faithfully to Nature upon any affecting subject if it belonged to a class of composition in which Pope had furnished examples.

I am anxious not to be misunderstood. It has already been stated that in this species of composition above every other, our sensations and judgments depend upon our opinion or feeling of the Author's state of mind. Literature is here so far identified with morals, the quality of the act so far determined by our notion of the aim and purpose of the agent, that nothing can please us, however well executed in its kind, if we are persuaded that the primary virtues of sincerity, earnestness and a moral interest in the main object are wanting. Insensibility here shocks us, and still more so if manifested by a Writer going wholly out of his way in search of supposed beauties, which if he were truly moved he could set no value upon, could not even think of. We are struck in this case not merely with a sense of disproportion and unfitness, but we cannot refrain from attributing no small part of his intellectual to a moral demerit. And here the difficulties of the question begin, namely in ascertaining what errors in the choice of or the mode of expressing the thoughts, most surely indicate the want of that which is most indispensible. Bad taste, whatever shape it may put on, is injurious to the heart and the understanding. If a man attaches much interest to the faculty of taste as it exists in himself and employs much time in those studies of which this faculty (I use the word taste in its comprehensive though most unjustifiable sense) is reckoned the arbiter, certain it is his moral notions and dispositions must either be purified and strengthened or corrupted and impaired. How can it be otherwise, when his ability to enter into the spirit of works in literature must depend upon his feelings, his imagination and his understanding, that is upon his recipient, upon his creative or active and upon his judging powers, and upon the accuracy and compass of his knowledge, in fine upon all that makes up the moral and intellectual man. What is true of individuals is equally true of nations. Nevertheless a man called to a task in which he is not practised, may have his expression thoroughly defiled and clogged by the style prevalent in his age, yet still, through the force of circumstances that have roused him, his under feeling may remain strong and pure; yet this may be wholly concealed from common view. Indeed the favourite style of different ages is so different and wanders so far from propriety that if it were not that first rate Writers in all nations and tongues are governed by common principles, we might suppose that truth and nature were things not to be looked for in books; hence to an unpractised Reader the productions of every age will present obstacles in various degrees hard to surmount; a deformity of style not the worst in itself but of that kind with which he is least familiar will on the one hand be most likely to render him insensible to a pith and power which may be within, and on the other hand he will be the least able to see through that sort of falsehood which is most prevalent in the works of his own time. Many of my Readers, to apply these general observations to the present case, must have derived pleasure from the epitaph of Lord Lyttleton and no doubt will be startled at the comparison I have made; but bring it to the test recommended it will then be found that its faults, though not in degree so intolerable, are in kind more radical and deadly than those of the strange composition with which it has been compared.

The course which we have taken having brought us to the name of this distinguished Writer—Pope—I will in this place give a few observations upon his Epitaphs,—the largest collection we have in our language, from the pen of any Writer of eminence. As the epitaphs of Pope and also those of Chiabrera, which occasioned this dissertation, are in metre, it may be proper here to enquire how far the notion of a perfect epitaph, as given in a former Paper, may be modified by the choice of metre for the vehicle, in preference to prose. If our opinions be just, it is manifest that the basis must remain the same in either case; and that the difference can only lie in the superstructure; and it is equally plain, that a judicious man will be less disposed in this case than in any other to avail himself of the liberty given by metre to adopt phrases of fancy, or to enter into the more remote regions of illustrative imagery. For the occasion of writing an epitaph is matter-of-fact in its intensity, and forbids more authoritatively than any other species of composition all modes of fiction, except those which the very strength of passion has created; which have been acknowledged by the human heart, and have become so familiar that they are converted into substantial realities. When I come to the epitaphs of Chiabrera, I shall perhaps give instances in which I think he has not written under the impression of this truth; where the poetic imagery does not elevate, deepen, or refine the human passion, which it ought always to do or not to act at all, but excludes it. In a far greater degree are Pope's epitaphs debased by faults into which he could not I think have fallen if he had written in prose as a plain man and not as a metrical Wit. I will transcribe from Pope's Epitaphs the one upon Mrs. Corbet (who died of a cancer), Dr. Johnson having extolled it highly and pronounced it the best of the collection.

Here rests a woman, good without pretence, Blest with plain reason and with sober sense; No conquest she but o'er herself desir'd; No arts essayed, but not to be admir'd. Passion and pride were to her soul unknown, Convinc'd that virtue only is our own. So unaffected, so compos'd a mind, So firm yet soft, so strong yet so refin'd, Heaven as its purest gold by tortures tried, The saint sustain'd it, but the woman died.

This may be the best of Pope's Epitaphs; but if the standard which we have fixed be a just one, it cannot be approved of. First, it must be observed, that in the epitaphs of this Writer, the true impulse is wanting, and that his motions must of necessity be feeble. For he has no other aim than to give a favourable portrait of the character of the deceased. Now mark the process by which this is performed. Nothing is represented implicitly, that is, with its accompaniment of circumstances, or conveyed by its effects. The Author forgets that it is a living creature that must interest us and not an intellectual existence, which a mere character is. Insensible to this distinction the brain of the Writer is set at work to report as flatteringly as he may of the mind of his subject; the good qualities are separately abstracted (can it be otherwise than coldly and unfeelingly?) and put together again as coldly and unfeelingly. The epitaph now before us owes what exemption it may have from these defects in its general plan to the excruciating disease of which the lady died; but it is liable to the same censure, and is, like the rest, further objectionable in this; namely, that the thoughts have their nature changed and moulded by the vicious expression in which they are entangled, to an excess rendering them wholly unfit for the place they occupy.

Here rests a woman, good without pretence, Blest with plain reason—

from which sober sense is not sufficiently distinguishable. This verse and a half, and the one 'so unaffected, so composed a mind,' are characteristic, and the expression is true to nature; but they are, if I may take the liberty of saying it, the only parts of the epitaph which have this merit. Minute criticism is in its nature irksome, and as commonly practiced in books and conversation, is both irksome and injurious. Yet every mind must occasionally be exercised in this discipline, else it cannot learn the art of bringing words rigorously to the test of thoughts; and these again to a comparison with things, their archetypes, contemplated first in themselves, and secondly in relation to each other; in all which processes the mind must be skilful, otherwise it will be perpetually imposed upon. In the next couplet the word conquest, is applied in a manner that would have been displeasing even from its triteness in a copy of complimentary verses to a fashionable Beauty; but to talk of making conquests in an epitaph is not to be endured. 'No arts essayed, but not to be admired,'—are words expressing that she had recourse to artifices to conceal her amiable and admirable qualities; and the context implies that there was a merit in this; which surely no sane mind would allow. But the meaning of the Author, simply and honestly given, was nothing more than that she shunned admiration, probably with a more apprehensive modesty than was common; and more than this would have been inconsistent with the praise bestowed upon her—that she had an unaffected mind. This couplet is further objectionable, because the sense of love and peaceful admiration which such a character naturally inspires, is disturbed by an oblique and ill-timed stroke of satire. She is not praised so much as others are blamed, and is degraded by the Author in thus being made a covert or stalking-horse for gratifying a propensity the most abhorrent from her own nature—'Passion and pride were to her soul unknown.' It cannot be meant that she had no passions, but that they were moderate and kept in subordination to her reason; but the thought is not here expressed; nor is it clear that a conviction in the understanding that 'virtue only is our own,' though it might suppress her pride, would be itself competent to govern or abate many other affections and passions to which our frail nature is, and ought in various degrees, to be subject. In fact, the Author appears to have had no precise notion of his own meaning. If she was 'good without pretence,' it seems unnecessary to say that she was not proud. Dr. Johnson, making an exception of the verse, 'Convinced that virtue only is our own,' praises this epitaph for 'containing nothing taken from common places.' Now in fact, as may be deduced from the principles of this discourse, it is not only no fault but a primary requisite in an epitaph that it shall contain thoughts and feelings which are in their substance common-place, and even trite. It is grounded upon the universal intellectual property of man,—sensations which all men have felt and feel in some degree daily and hourly;—truths whose very interest and importance have caused them to be unattended to, as things which could take care of themselves. But it is required that these truths should be instinctively ejaculated or should rise irresistibly from circumstances; in a word that they should be uttered in such connection as shall make it felt that they are not adopted, not spoken by rote, but perceived in their whole compass with the freshness and clearness of an original intuition. The Writer must introduce the truth with such accompaniment as shall imply that he has mounted to the sources of things, penetrated the dark cavern from which the river that murmurs in every one's ear has flowed from generation to generation. The line 'Virtue only is our own,'—is objectionable, not from the common-placeness of the truth, but from the vapid manner in which it is conveyed. A similar sentiment is expressed with appropriate dignity in an epitaph by Chiabrera, where he makes the Archbishop of Albino say of himself, that he was

—smitten by the great ones of the world, But did not fall; for virtue braves all shocks, Upon herself resting immoveably.

'So firm yet soft, so strong yet so refined': These intellectual operations (while they can be conceived of as operations of intellect at all, for in fact one half of the process is mechanical, words doing their own work and one half of the line manufacturing the rest) remind me of the motions of a Posture-master, or of a man balancing a sword upon his finger, which must be kept from falling at all hazards. 'The saint sustained it, but the woman died.' Let us look steadily at this antithesis: the saint, that is her soul strengthened by religion, supported the anguish of her disease with patience and resignation; but the woman, that is her body (for if anything else is meant by the word woman, it contradicts the former part of the proposition and the passage is nonsense), was overcome. Why was not this simply expressed; without playing with the Reader's fancy, to the delusion and dishonour of his understanding, by a trifling epigramatic point? But alas! ages must pass away before men will have their eyes open to the beauty and majesty of Truth, and will be taught to venerate Poetry no further than as she is a handmaid pure as her mistress—the noblest handmaid in her train!



(c) CELEBRATED EPITAPHS CONSIDERED. From the Author's Mss.

I vindicate the rights and dignity of Nature; and as long as I condemn nothing without assigning reasons not lightly given, I cannot suffer any individual, however highly and deservedly honoured by my countrymen, to stand in my way. If my notions are right, the epitaphs of Pope cannot well be too severely condemned; for not only are they almost wholly destitute of those universal feelings and simple movements of mind which we have called for as indispensible, but they are little better than a tissue of false thoughts, languid and vague expressions, unmeaning antithesis, and laborious attempts at discrimination. Pope's mind had been employed chiefly in observation upon the vices and follies of men. Now, vice and folly are in contradiction with the moral principle which can never be extinguished in the mind; and therefore, wanting the contrast, are irregular, capricious, and inconsistent with themselves. If a man has once said (see Friend, No......), 'Evil, be thou my good!' and has acted accordingly, however strenuous may have been his adherence to this principle, it will be well known by those who have had an opportunity of observing him narrowly that there have been perpetual obliquities in his course; evil passions thwarting each other in various ways; and now and then, revivals of his better nature, which check him for a short time or lead him to remeasure his steps:—not to speak of the various necessities of counterfeiting virtue, which the furtherance of his schemes will impose upon him, and the division which will be consequently introduced into his nature.

It is reasonable then that Cicero, when holding up Catiline to detestation; and (without going to such an extreme case) that Dryden and Pope, when they are describing characters like Buckingham, Shaftsbury, and the Duchess of Marlborough, should represent qualities and actions at war with each other and with themselves; and that the page should be suitably crowded with antithetical expressions. But all this argues an obtuse moral sensibility and a consequent want of knowledge, if applied where virtue ought to be described in the language of affectionate admiration. In the mind of the truly great and good everything that is of importance is at peace with itself; all is stillness, sweetness and stable grandeur. Accordingly the contemplation of virtue is attended with repose. A lovely quality, if its loveliness be clearly perceived, fastens the mind with absolute sovereignty upon itself; permitting or inciting it to pass, by smooth gradation or gentle transition, to some other kindred quality. Thus a perfect image of meekness (I refer to an instance before given) when looked at by a tender mind in its happiest mood, might easily lead on to thoughts of magnanimity; for assuredly there is nothing incongruous in those virtues. But the mind would not then be separated from the person who is the object of its thoughts; it would still be confined to that person or to others of the same general character; that is, would be kept within the circle of qualities which range themselves quietly by each other's sides. Whereas, when meekness and magnanimity are represented antithetically, the mind is not only carried from the main object, but is compelled to turn to a subject in which the quality exists divided from some other as noble, its natural ally: a painful feeling! that checks the course of love, and repels the sweet thoughts that might be settling round the person whom it was the Author's wish to endear to us; but for whom, after this interruption, we no longer care. If then a man, whose duty it is to praise departed excellence not without some sense of regret or sadness, to do this or to be silent, should upon all occasions exhibit that mode of connecting thoughts, which is only natural while we are delineating vice under certain relations, we may be assured that the nobler sympathies are not alive in him; that he has no clear insight into the internal constitution of virtue; nor has himself been soothed, cheared, harmonized, by those outward effects which follow everywhere her goings,—declaring the presence of the invisible Deity. And though it be true that the most admirable of them must fall far short of perfection, and that the majority of those whose work is commemorated upon their tomb-stones must have been persons in whom good and evil were intermixed in various proportions and stood in various degrees of opposition to each other, yet the Reader will remember what has been said before upon that medium of love, sorrow and admiration, through which a departed friend is viewed; how it softens down or removes these harshnesses and contradictions, which moreover must be supposed never to have been grievous: for there can be no true love but between the good; and no epitaph ought to be written upon a bad man, except for a warning.

The purpose of the remarks given in the last Essay was chiefly to assist the Reader in separating truth and sincerity from falsehood and affectation; presuming that if the unction of a devout heart be wanting everything else is of no avail. It was shewn that a current of just thought and feeling may flow under a surface of illustrative imagery so impure as to produce an effect the opposite of that which was intended. Yet, though this fault may be carried to an intolerable degree, the Reader will have gathered that in our estimation it is not in kind the most offensive and injurious. We have contrasted it in its excess with instances where the genuine current or vein was wholly wanting; where the thoughts and feelings had no vital union, but were artificially connected, or formally accumulated, in a manner that would imply discontinuity and feebleness of mind upon any occasion, but still more reprehensible here!

I will proceed to give milder examples not in this last kind but in the former; namely of failure from various causes where the ground-work is good.

Take holy earth! all that my soul holds dear: Take that best gift which Heaven so lately gave: To Bristol's fount I bore with trembling care, Her faded form. She bow'd to taste the wave— And died. Does youth, does beauty read the line? Does sympathetic fear their breasts alarm? Speak, dead Maria! breathe a strain divine; Even from the grave thou shalt have power to charm. Bid them in duty's sphere as meekly move: And if so fair, from vanity as free, As firm in friendship, and as fond in love; Tell them, tho 'tis an awful thing to die, ('Twas e'en to thee) yet, the dread path once trod; Heaven lifts its everlasting portals high, And bids 'the pure in heart behold their God.'

This epitaph has much of what we have demanded; but it is debased in some instances by weakness of expression, in others by false prettiness. 'She bow'd to taste the wave, and died.' The plain truth was, she drank the Bristol waters which failed to restore her, and her death soon followed; but the expression involves a multitude of petty occupations for the fancy. 'She bow'd': was there any truth in this? 'to taste the wave': the water of a mineral spring which must have been drunk out of a goblet. Strange application of the word 'wave' and 'died': This would have been a just expression if the water had killed her; but, as it is, the tender thought involved in the disappointment of a hope however faint is left unexpressed; and a shock of surprise is given, entertaining perhaps to a light fancy but to a steady mind unsatisfactory, because false. 'Speak! dead Maria, breathe a strain divine'! This sense flows nobly from the heart and the imagination; but perhaps it is not one of those impassioned thoughts which should be fixed in language upon a sepulchral stone. It is in its nature too poignant and transitory. A husband meditating by his wife's grave would throw off such a feeling, and would give voice to it; and it would be in its place in a Monody to her memory; but if I am not mistaken, ought to have been suppressed here, or uttered after a different manner. The implied impersonation of the deceased (according to the tenor of what has before been said) ought to have been more general and shadowy.

And if so fair, from vanity as free, As firm in friendship and as fond in love; Tell them—

These are two sweet verses, but the word 'fair' is improper; for unquestionably it was not intended that their title to receive this assurance should depend at all upon their personal beauty. Moreover in this couplet and in what follows, the long suspension of the sense excites the expectation of a thought less common than the concluding one; and is an instance of a failure in doing what is most needful and most difficult in an epitaph to do; namely to give to universally received truths a pathos and spirit which shall re-admit them into the soul like revelations of the moment.

I have said that this excellence is difficult to attain; and why? Is it because nature is weak? No! Where the soul has been thoroughly stricken (and Heaven knows the course of life must have placed all men, at some time or other, in that condition) there is never a want of positive strength; but because the adversary of Nature (call that adversary Art or by what name you will) is comparatively strong. The far-searching influence of the power, which, for want of a better name, we will denominate Taste, is in nothing more evinced than in the changeful character and complexion of that species of composition which we have been reviewing. Upon a call so urgent, it might be expected that the affections, the memory, and the imagination would be constrained to speak their genuine language. Yet, if the few specimens which have been given in the course of this enquiry, do not demonstrate the fact, the Reader need only look into any collection of Epitaphs to be convinced, that the faults predominant in the literature of every age will be as strongly reflected in the sepulchral inscriptions as any where; nay perhaps more so, from the anxiety of the Author to do justice to the occasion: and especially if the composition be in verse; for then it comes more avowedly in the shape of a work of art; and of course, is more likely to be coloured by the work of art holden in most esteem at the time. In a bulky volume of Poetry entitled ELEGANT EXTRACTS IN VERSE, which must be known to most of my Readers, as it is circulated everywhere and in fact constitutes at this day the poetical library of our Schools, I find a number of epitaphs in verse, of the last century; and there is scarcely one which is not thoroughly tainted by the artifices which have over-run our writings in metre since the days of Dryden and Pope. Energy, stillness, grandeur, tenderness, those feelings which are the pure emanations of Nature, those thoughts which have the infinitude of truth, and those expressions which are not what the garb is to the body but what the body is to the soul, themselves a constituent part and power or function in the thought—all these are abandoned for their opposites,—as if our countrymen, through successive generations, had lost the sense of solemnity and pensiveness (not to speak of deeper emotions) and resorted to the tombs of their forefathers and contemporaries, only to be tickled and surprised. Would we not recoil from such gratification, in such a place, if the general literature of the country had not co-operated with other causes insidiously to weaken our sensibilities and deprave our judgments? Doubtless, there are shocks of event and circumstance, public and private, by which for all minds the truths of Nature will be elicited; but sorrow for that individual or people to whom these special interferences are necessary, to bring them into communion with the inner spirit of things! for such intercourse must be profitless in proportion as it is unfrequently irregular and transient. Words are too awful an instrument for good and evil, to be trifled with; they hold above all other external powers a dominion over thoughts. If words be not (recurring to a metaphor before used) an incarnation of the thought, but only a clothing for it, then surely will they prove an ill gift; such a one as those possessed vestments, read of in the stories of superstitious times, which had power to consume and to alienate from his right mind the victim who put them on. Language, if it do not uphold, and feed, and leave in quiet, like the power of gravitation or the air we breathe, is a counter-spirit, unremittingly and noiselessly at work, to subvert, to lay waste, to vitiate, and to dissolve. From a deep conviction then that the excellence of writing, whether in prose or verse, consists in a conjunction of Reason and Passion, a conjunction which must be of necessity benign; and that it might be deduced from what has been said that the taste, intellectual power and morals of a country are inseparably linked in mutual dependence, I have dwelt thus long upon this argument. And the occasion justifies me; for how could the tyranny of bad taste be brought home to the mind more aptly than by showing in what degree the feelings of nature yield to it when we are rendering to our friends the solemn testimony of our love? more forcibly than by giving proof that thoughts cannot, even upon this impulse, assume an outward life without a transmutation and a fall.

Previous Part     1 ... 4  5  6  7  8  9  10  11  12  13  14  15  16  17  18 ... 30     Next Part
Home - Random Browse