Puslapio vaizdai
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fellow, perhaps, is a sleek, smug-looking man, with light hair and eye-brows, the latter by no means jutting out or like a crag,—and with none of those marks which our fancy had pre-bestowed upon him.

I find I am getting unawares too serious; the best way on such occasions is, to leave off, which I shall do by generally recommending to all prosecuting advertisers not to confound crimes with ugliness; or rather, to distinguish between that physiognomical deformity, which I am willing to grant always accompanies crime, and mere physical ugliness,-which signifies nothing, is the exponent of nothing, and may exist in a good or bad person indifferently.

CRITO.

ON THE AMBIGUITIES ARISING FROM PROPER NAMES

(1811)

MR.REFLhad suggest to the minds of two persons hearing

R.REFLECTOR,-How oddly it happens that the same

it ideas the most opposite! I was conversing a few years since with a young friend upon the subject of poetry, and particularly that species of it which is known by the name of the Epithalamium. I ventured to assert, that the most perfect specimen of it in our language was the Epithalamium of Spenser upon his own marriage.

My young gentleman, who has a smattering of taste, and would not willingly be thought ignorant of any thing remotely connected with the belles lettres, expressed a degree of surprise, mixed with mortification, that he should never have heard of this poem, Spenser being an author with whose writings he thought himself peculiarly conversant.

I offered to show him the poem in the fine folio copy of the poet's works, which I have at home. He seemed pleased with the offer, though the mention of the folio seemed again to puzzle him. But presently after, assuming a grave look, he compassionately muttered to himself "poor Spencer."

There was something in the tone with which he spoke these words that struck me not a little. It was more like the accent with which a man bemoans some recent calamity that has happened to a friend, than that tone of sober grief with which we lament the sorrows of a person, however excellent, and however grievous his afflictions may have been, who has been dead more than two centuries. I had the curiosity to enquire into the reasons of so uncommon an ejaculation. My young gentleman, with a more solemn tone of pathos than before, repeated "poor Spencer,” and added, "he has lost his wife."

My astonishment at this assertion rose to such a height, that I began to think the brain of my young friend must be cracked, or some unaccountable reverie had gotten possession of it. But upon further explanation it appeared that the word "Spenser," which to you or me, Reader, in a conversation upon poetry too, would naturally have called up the idea of an old poet in a ruff, one Edmund Spenser, that flourished in the days of Queen Elizabeth, and wrote a poem called the Fairy Queen, with the Shepherd's Calender, and many more verses besides,-did in the mind of my young friend excite a very different and quite modern idea, namely, that of the Honourable William Spencer, one of the living ornaments, if I am not misinformed, of this present poetical era, A.D. 1811.

X. Y. Z.

ON THE GENIUS AND CHARACTER OF HOGARTH; WITH SOME REMARKS ON A PASSAGE IN THE WRITINGS OF THE LATE MR. BARRY

ΟΝ

(1811. TEXT OF 1818)

NE of the earliest and noblest enjoyments I had when a boy was in the contemplation of those capital prints by Hogarth, the Harlot's and Rake's Progresses, which, along with some others, hung upon the walls of a great hall in an old

fashioned house in shire, and seemed the solitary tenants (with myself) of that antiquated and life-deserted apartment. Recollection of the manner in which those prints used to affect me, has often made me wonder, when I have heard Hogarth described as a mere comic painter, as one whose chief ambition was to raise a laugh. To deny that there are throughout the prints which I have mentioned circumstances introduced of a laughable tendency, would be to run counter to the common notions of mankind; but to suppose that in their ruling character they appeal chiefly to the risible faculty, and not first and foremost to the very heart of man, its best and most serious feelings, would be to mistake no less grossly their aim and purpose. A set of severer Satires (for they are not so much Comedies, which they have been likened to, as they are strong and masculine Satires) less mingled with any thing of mere fun, were never written upon paper, or graven upon copper. They resemble Juvenal, or the satiric touches in Timon of Athens.

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I was pleased with the reply of a gentleman, who being asked which book he esteemed most in his library, answered, Shakspeare: being asked which he esteemed next best, replied," Hogarth." His graphic representations are indeed books: they have the teeming, fruitful, suggestive meaning of words. Other pictures we look at,-his prints we read.

In pursuance of this parallel, I have sometimes entertained myself with comparing the Timon of Athens of Shakspeare (which I have just mentioned) and Hogarth's Rake's Progress together. The story, the moral, in both is nearly the same. The wild course of riot and extravagance, ending in the one with driving the Prodigal from the society of men into the solitude of the deserts, and in the other with conducting the Rake through his several stages of dissipation into the still more complete desolations of the mad-house, in the play and in the picture are described with almost equal force and nature. The levee of the Rake, which forms the subject of the second plate in the series, is almost a transcript of Timon's levee in the opening scene of that play. We find a dedicating poet, and other similar characters, in both.

The concluding scene in the Rake's Progress is perhaps superior to the last scenes of Timon. If we seek for something of kindred excellence in poetry, it must be in the scenes

of Lear's beginning madness, where the King and the Fool and the Tom-o'-Bedlam conspire to produce such a medley of mirth checked by misery, and misery rebuked by mirth; where the society of those "strange bed-fellows" which misfortunes have brought Lear acquainted with, so finely sets forth the destitute state of the monarch, while the lunatic bans of the one, and the disjointed sayings and wild but pregnant allusions of the other, so wonderfully sympathize with that confusion, which they seem to assist in the production of, in the senses of that "child-changed father."

In the scene in Bedlam, which terminates the Rake's Progress, we find the same assortment of the ludicrous with the terrible. Here is desperate madness, the overturning of originally strong thinking faculties, at which we shudder, as we contemplate the duration and pressure of affliction which it must have asked to destroy such a building ;-and here is the gradual hurtless lapse into idiocy, of faculties, which at their best of times never having been strong, we look upon the consummation of their decay with no more of pity than is consistent with a smile. The mad taylor, the poor driveller that has gone out of his wits (and truly he appears to have had no great journey to go to get past their confines) for the love of Charming Betty Careless,-these half-laughable, scarce-pitiable objects take off from the horror which the principal figure would of itself raise, at the same time that they assist the feeling of the scene by contributing to the general notion of its subject :

Madness, thou chaos of the brain,

What art, that pleasure giv'st, and pain?
Tyranny of Fancy's reign!

Mechanic Fancy, that can build

Vast labyrinths and mazes wild,

With rule disjointed, shapeless measure,

Fill'd with horror, fill'd with pleasure!

Shapes of horror, that would even

Cast doubts of mercy upon heaven.

Shapes of pleasure, that, but seen,

Would split the shaking sides of spleen.1

Is it carrying the spirit of comparison to excess to remark, that in the poor kneeling weeping female, who accompanies her seducer in his sad decay, there is something analogous

1 Lines inscribed under the plate.

to Kent, or Caius, as he delights rather to be called, in Lear, -the noblest pattern of virtue which even Shakspeare has conceived,-who follows his royal master in banishment, that had pronounced his banishment, and forgetful at once of his wrongs and dignities, taking on himself the disguise of a menial, retains his fidelity to the figure, his loyalty to the carcass, the shadow, the shell and empty husk of Lear?

In the perusal of a book, or of a picture, much of the impression which we receive depends upon the habit of mind which we bring with us to such perusal. The same circumstance may make one person laugh, which shall render another very serious; or in the same person the first impression may be corrected by after-thought. The misemployed incongruous characters at the Harlot's Funeral, on a superficial inspection, provoke to laughter; but when we have sacrificed the first emotion to levity, a very different frame of mind succeeds, or the painter has lost half his purpose. I never look at that wonderful assemblage of depraved beings, who, without a grain of reverence or pity in their perverted minds, are performing the sacred exteriors of duty to the relics of their departed partner in folly, but I am as much moved to sympathy from the very want of it in them, as I should be by the finest representation of a virtuous death-bed surrounded by real mourners, pious children, weeping friends,-perhaps more by the very contrast. What reflexions does it not awake, of the dreadful heartless state in which the creature (a female too) must have lived, who in death wants the accompaniment of one genuine tear. That wretch who is removing the lid of the coffin to gaze upon the corpse with a face which indicates a perfect negation of all goodness or womanhood--the hypocrite parson and his demure partner-all the fiendish group-to a thoughtful mind present a moral emblem more affecting than if the poor friendless carcass had been depicted as thrown out to the woods, where wolves had assisted at its obsequies, itself furnishing forth its own funeral banquet.

It is easy to laugh at such incongruities as are met together in this picture,incongruous objects being of the very essence of laughter, but surely the laugh is far different in its kind from that thoughtless species to which we are moved by mere farce and grotesque. We laugh when Ferdinand Count Fathom, at the first sight of the white cliffs of Britain, feels his

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