A Dish of Orts : Chiefly Papers on the Imagination and on Shakespeare, George MacDonald [websites to read books for free .TXT] 📗

of forms; and if for man it be not enough to be rooted in God, but he must likewise lay hold on God; then surely no question, in whatever direction, can be truly answered, save by him who stands at the side of Christ. The doings of God cannot be understood, save by him who has the mind of Christ, which is the mind of God. All things must be strange to one who sympathizes not with the thought of the Maker, who understands not the design of the Artist. Where is he to begin? What light has he by which to classify? How will he bring order out of this apparent confusion, when the order is higher than his thought; when the confusion to him is caused by the order's being greater than he can comprehend? Because he stands outside and not within, he sees an entangled maze of forces, where there is in truth an intertwining dance of harmony. There is for no one any solution of the world's mystery, or of any part of its mystery, except he be able to say with our poet:-

"I have looked to Thee from the beginning,
Straight up to Thee through all the world,
Which, like an idle scroll, lay furled
To nothingness on either side:
And since the time Thou wast descried,
Spite of the weak heart, so have I
Lived ever, and so fain would die,
Living and dying, Thee before!"

Christianity is not the ornament, or even complement, of life; it is its necessity; it is life itself glorified into God's ideal.

Dr. Chalmers, from considering the minuteness of the directions given to Moses for the making of the tabernacle, was led to think that he himself was wrong in attending too little to the " petite morale " of dress. Will this be excuse enough for occupying a few sentences with the rhyming of this poem? Certainly the rhymes of a poem form no small part of its artistic existence. Probably there is a deeper meaning in this part of the poetic art than has yet been made clear to poet's mind. In this poem the rhymes have their share in its humorous charm. The writer's power of using double and triple rhymes is remarkable, and the effect is often pleasing, even where they are used in the more solemn parts of the poem. Take the lines:-

"No! love which, on earth, amid all the shows of it,
Has ever been seen the sole good of life in it,
The love, ever growing there, spite of the strife in it,
Shall arise, made perfect, from death's repose of it."

A poem is a thing not for the understanding or heart only, but likewise for the ear; or, rather, for the understanding and heart through the ear. The best poem is best set forth when best read. If, then, there be rhymes which, when read aloud, do, by their composition of words, prevent the understanding from laying hold on the separate words, while the ear lays hold on the rhymes, the perfection of the art must here be lost sight of, notwithstanding the completeness which the rhyming manifests on close examination. For instance, in " equipt yours," "Scriptures;" "Manchester," "haunches stir ;" or " affirm any," "Germany ;" where two words rhyme with one word. But there are very few of them that are objectionable on account of this difficulty and necessity of rapid analysis.

One of the most wonderful things in the poem is, that so much of argument is expressed in a species of verse, which one might be inclined, at first sight, to think the least fitted for embodying it. But, in fact, the same amount of argument in any other kind of verse would, in all likelihood, have been intolerably dull as a work of art. Here the verse is full of life and vigour, flagging never. Where, in several parts, the exact meaning is difficult to reach, this results chiefly from the dramatic rapidity and condensation of the thoughts. The argumentative power is indeed wonderful; the arguments themselves powerful in their simplicity, and embodied in words of admirable force. The poem is full of pathos and humour; full of beauty and grandeur, earnestness and truth.


ESSAYS ON SOME OF THE FORMS OF LITERATURE [Footnote: "Essays on some of the Forms of Literature." By T.T. Lynch, Author of "Theophilus Trinal." Longmans.]


Schoppe, the satiric chorus of Jean Paul's romance of Titan, makes his appearance at a certain masked ball, carrying in front of him a glass case, in which the ball is remasked, repeated, and again reflected in a mirror behind, by a set of puppets, ludicrously aping the apery of the courtiers, whose whole life and outward manifestation was but a body-mask mechanically moved with the semblance of real life and action. The court simulates reality. The masks are a multiform mockery at their own unreality, and as such are regarded by Schoppe, who takes them off with the utmost ridicule in his masked puppet-show, which, with its reflection in the mirror, is again indefinitely multiplied in the many-sided reflector of Schoppe's, or of Richter's, or of the reader's own imagination. The successive retreating and beholding in this scene is suggested to the reviewer by the fact that the last of these essays by Mr. Lynch is devoted in part to reviews. So that the reviews review books,-Mr. Lynch reviews the reviews, and the present Reviewer finds himself (somewhat presumptuously, it may be) attempting to review Mr. Lynch. In this, however, his office must be very different from that of Schoppe (for there is a deeper and more real correspondence between the position of the showman and the reviewer than that outward resemblance which first caused the one to suggest the other). The latter's office, in the present instance, was, by mockery, to destroy the false, the very involution of the satire adding to the strength of the ridicule. His glass case was simply a review uttered by shapes and wires instead of words and handwriting. And the work of the true critic must sometimes be to condemn, and, as far as his strength can reach, utterly to destroy the false,-scorching and withering its seeming beauty, till it is reduced to its essence and original groundwork of dust and ashes. It is only, however, when it wears the form of beauty which is the garment of truth, and so, like the Erl-maidens, has power to bewitch, that it is worth the notice and attack of the critic. Many forms of error, perhaps most, are better left alone to die of their own weakness, for the galvanic battery of criticism only helps to perpetuate their ghastly life. The highest work of the critic, however, must surely be to direct attention to the true, in whatever form it may have found utterance. But on this let us hear Mr. Lynch himself in the last of these four lectures which were delivered by him at the Royal Institution, Manchester, and are now before us in the form of a book:-

"The kritikos, the discerner, if he is ever saying to us, This is not gold; and never, This is; is either very humbly useful, or very perverse, or very unfortunate. This is not gold, he says. Thank you, we reply, we perceived as much. And this is not, he adds. True, we answer, but we see gold grains glittering out of its rude, dark mass. Well, at least, this is not, he proceeds. Perverse man! we retort, are you seeking what is not gold? We are inquiring for what is, and unfortunate indeed are we if, born into a world of Nature, and of Spirit once so rich, we are born but to find that it has spent or has lost all its wealth. Unhappy man would he be, who, walking his garden, should scent only the earthy savour of leaves dead or dying, never perceiving, and that afar off, the heavenly odour of roses fresh to-day from the Maker's hands. The discerning by spiritual aroma may lead to discernment by the eye, and to that careful scrutiny, and thence greater knowledge, of which the eye is instrument and minister."

And again:-

"The critic criticized, if dealt with in the worst fashion of his own class, must be pronounced a mere monster, 'seeking whom he may devour;' and, therefore, to be hunted and slain as speedily as possible, and stuffed for the museum, where he may be regarded with due horror, but in safety. But if dealt with after the best fashion of his class, a very honourable and beneficent office is assigned him, and he is warned only-though zealously-against its perversions. A judicial chair in the kingdom of human thought, filled by a man of true integrity, comprehensiveness, and delicacy of spirit, is a seat of terror and praise, whose powers are at once most fostering to whatever is good, most repressive of whatever is evil.... The critic, in his office of censurer, has need so much to controvert, expose, and punish, because of the abundance of literary faults; and as there is a right and a wrong side in warfare, so there will be in criticism. And as when soldiers are numerous, there will be not a few who are only tolerable, if even that, so of critics. But then the critic is more than the censurer; and in his higher and happier aspect appears before us and serves us, as the discoverer, the vindicator, and the eulogist of excellence."

But resisting the temptation to quote further from Mr. Lynch's book on this matter of Criticism, which seemed the natural point of contact by which the Reviewer could lay hold on the book, he would pass on with the remark that his duty in the present instance is of the nobler and better sort-nobler and better, that is, with regard to the object, for duty in the man remains ever the same-namely, the exposition of excellence, and not of its opposite. Mr. Lynch is a man of true insight and large heart, who has already done good in the world, and will do more; although, possibly, he belongs rather to the last class of writers described by himself, in the extract I am about to give from this same essay, than to any of the preceding:-

"Some of the best books are written avowedly, or with evident consciousness of the fact, for the select public that is constituted by minds of the deeper class, or minds the more advanced of their time. Such books may have but a restricted circulation and limited esteem in their own day, and may afterwards extend both their fame and the circle of their readers. Others of the best books, written with a pathos and a power that may be universally felt, appeal at once to the common humanity of the world, and get a response marvellously strong and immediate. An ordinary human eye and heart, whose glances are true, whose pulses healthy, will fit us to say of much that we read-This is good, that is poor. But only the educated eye and the experienced heart will fit us to judge of what relates to matters veiled from ordinary observation, and belonging to the profounder region of human thought and emotion. Powers, however, that the few only possess, may be required to paint what everybody can see, so that everybody shall say, How beautiful! how like! And powers adequate to do this in the finest manner will be often adequate to do much more-may produce, indeed, books or pictures, whose singular merit only the few shall perceive, and the many for awhile deny, and books or