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HENRY TAYLOR

 
'There is delight in singing, though none hear
Beside the singer: and there is delight
In praising, though the praiser sit alone,
And see the praised far off him, far above.'
 

—W.S. Landor.

It has been said, with more of truth than flattery, that literature of any kind which requires the reader himself to think, in order to enjoy, can never be popular. The writings of Mr Henry Taylor are to be classed in this category. The reader of his dramas must study in order to relish them; and their audience, therefore, must be of the fit, though few kind. Goethe somewhere remarks, that it is not what we take from a book so much as what we bring to it that actually profits us. But this is hard doctrine, caviare to the multitude. And so long as popular indolence and popular distaste for habits of reflection shall continue the order of the day, so long will it be difficult for writers of Mr Taylor's type to popularise their meditations; to see themselves quoted in every provincial newspaper and twelfth-rate magazine; to be gloriously pirated by eager hordes at Brussels and New York; or to create a furor in 'the Row' on the day of publication, and turn bibliopolic premises into 'overflowing houses.' The public asks for glaring effects, palpable hits, double-dyed colours, treble X inspirations, concentrated essence of sentiments, and emotions up to French-romance pitch. With such a public, what has our author in common? While they make literary demands after their own heart, and expect every candidate for their not evergreen laurels to conform to their rules, Mr Taylor calmly unfolds his theory, that it is from 'deep self-possession, an intense repose' that all genuine emanations of poetic genius proceed, and expresses his doubt whether any high endeavour of poetic art ever has been or ever will be promoted by the stimulation of popular applause.² He denies that youth is the poet's prime. He contends that what constitutes a great poet is a rare and peculiar balance of all the faculties—the balance of reason with imagination, passion with self-possession, abundance with reserve, and inventive conception with executive ability. He insists that no man is worthy of the name of a poet who would not rather be read a hundred times by one reader than once by a hundred. He affirms that poetry, unless written simply to please and pamper, and not to elevate or instruct, will do little indeed towards procuring its writer a subsistence, and that it will probably not even yield him such a return as would suffice to support a labouring man for one month out of the twelve.³ Tenets like these are not for the million. The propounder they regard as talking at them, not to them. His principles and practice, his canons of taste, and his literary achievements, are far above out of their sight—his merit they are content to take on trust, by the hearing of the ear, a mystery of faith alone.

Perhaps men shrewder than good Sir Roger de Coverley might aver that much is to be said on both sides—that there may be something of fallacy on the part of poet as well as people in this controversy. It is possible to set the standard too high as well as too low—to plant it on an elevation so distant that its symbol can no longer be deciphered, as well as to fix it so low that its folds draggle in mire and dust. If genius systematically appeal only to the initiated few, it must learn to do without the homage of the outer multitude. For its slender income of fame, it has mainly itself to thank. These remarks apply with primary force to that class of contemporary poets who delight in the mystic and enigmatical, and whose ideas are so apt to vanish, like Homer's heroes, in a cloud—among whom Robert Browning and Philip J. Bailey are conspicuous names; and in a secondary degree to that other class, lucid indeed in thought, and classically definite in expression, but otherwise too scholastic and abstract for popular sympathies—among whom we may cite Walter Savage Landor and Henry Taylor. Coleridge⁴ tells us that, to enjoy poetry, we must combine a more than ordinary sympathy with the objects, emotions, or incidents contemplated by the poet, consequent on rare sensibility, with a more than ordinary activity of the mind in respect of the fancy and imagination. This more than ordinary mental activity is especially demanded from the readers—say rather the students—of Philip van Artevelde and its kindred dramas. Those who are thus equipped will commonly be found to agree in admiring the writings of this author; among them he is unquestionably 'popular,' if it be any test of popularity to send forth a second edition three months after the first. Scholarship can appreciate, pure intellect can find nutriment in, his reflective and carefully-wrought pages. His heroes and heroines, cold and unimpassioned to the man of society, are classic and genial to the man of thought. A Quarterly Reviewer observes, that the blended dignity of thought, and a sedate moral habit, invests his poetry with a stateliness in which the drama is generally deficient, and makes his writings illustrate, in some degree, a new form of the art. In all that he writes he stands revealed the true English gentleman, 'that grand old name,' as Tennyson calls it,

 
Defamed by every charlatan,
And soiled with all ignoble use.'
 

Isaac Comnenus—in which a recent critic discovers much of that Byronian vein upon which Mr Taylor is severe in his own criticisms—being little remarkable in itself, as well as the least remarkable of his dramatic performances, need not detain us. The career of Philip van Artevelde belongs to an era when, as Sir James Stephen remarks, the whole of Europe, under the influence of some strange sympathy, was agitated by the simultaneous discontents of all her great civic populations—when the insurgent spirit, commencing in the Italian republics, had spread from the south to the north of the Alps, everywhere marking its advance by tumult, spoil, and bloodshed. 'Wat Tyler and his bands had menaced London; and the communes of Flanders, under the command of Philip van Artevelde, had broken out into open war with the counts, their seigneurs, and with their suzerain lord, the Duke of Burgundy. On the issue of that attempt the fate of the royal and baronial power seemed to hang in France, not less than in Flanders.'⁵ The drama composed by Mr Taylor to represent the fortunes of the 'Chief Captain of the White Hoods and of Ghent,' consists of two plays and an interlude—The Lay of Elena—and being, as he says in his preface, equal in length to about six such plays as are adapted to the stage, was not, of course, intended to solicit the most sweet voices of pit and gallery, although it has since been subjected to that ordeal at the instance of Mr Macready. Historic truth is said to be preserved in it, as far as the material events are concerned—with the usual exception of such occasional dilatations and compressions of time as are required in dramatic composition. And notwithstanding the limited imagination and the too artificial passion which characterise it, Philip van Artevelde is in very many respects a noble work, as it certainly is its author's chef-d'oeuvre. It has been pronounced by no mean authority the superior of every dramatic composition of modern times, including the Sardanapalus of Lord Byron, the Remorse of Coleridge, and the Cenci of Shelley. The portraiture of Philip is one of those elaborate and highly-finished studies which repay as well as require minute investigation. He is at once profoundly meditative and surpassingly active. His energy of brain is only rivalled by his readiness of hand. In him the active mood and the passive—the practical and the ideal—the objective and the subjective—are not as parallel lines that never meet, but are sections of one line, describing the circle of his all-embracing mind. His youth has been, that of a dreamy recluse, the scorn of men of the world. 'Oh, fear him not, my lord,' says one of them to the Earl of Flanders:

 
—'His father's name
Is all that from his father⁶ he derives.
He is a man of singular address
In catching river fish. His life hath been
Till now, more like a peasant's or a monk's,
Than like the issue of so great a man.'
 

Similarly the earl himself describes him as 'a man that as much knowledge has of war as I of brewing mead—a bookish nursling of the monks—a meacock.' But when the last scene of all has closed his strange eventful history, the testimony of a nobler, wiser foe,⁷ ascribes to him great gifts of courage, discretion, wit, an equal temper, an ample soul, rock-bound and fortified against assaults of transitory passion, but founded on a surging subterranean fire that stirs him to lofty enterprise—a man prompt, capable, and calm, wanting nothing in soldiership except good-fortune. Ever tempted to reverie, he yet refuses, even for one little hour, to yield up the weal of Flanders to idle thought or vacant retrospect. Having once put his hand to the plough of action, with clear foresight, not blindfold bravery, his language is—'Though I indulge no more the dream of living, as I hoped I might have lived, a life of temperate and thoughtful joy, yet I repine not, and from this time forth will cast no look behind.' The first part of the drama leaves him an exultant victor, an honourable prosperous, and happy man. The second part—which alike in interest and treatment is very inferior to the first—finds him falling, and leaves him 'fallen, fallen, fallen, from his high estate.' His sun, no longer trailing clouds of glory, sets in a wintry and misty gloom. And yet in the act of dying he emits flashes of the ancient brightness, and we feel that so dies a hero. The other dramatis personæ pale their ineffectual fires before his central light.

After a silence of nearly ten years—characteristic of Mr Taylor's deliberative and disciplined mind—he produced (1842) Edwin the Fair, of whose story the little that was known, he observes, was romantic enough to have impressed itself on the popular memory—the tale of Edwy and Elgiva having been current in the nursery long before it came to be studied as a historical question. In illustrating this tale he borrows from the bordering reigns 'incidents which were characteristic of the times,' though some are of opinion, that his deviation from historical truth has rather impaired than aided the poetical effect of the drama. With artistic skill, and often with sustained energy, he develops the career of the 'All-Fair' prince, and his relation to the monkish struggle of the tenth century; the hostile intrigues and stormy violence of Dunstan; the loyal tenacity and Saxon frank-heartedness of Earl Leolf and his allies; the celebrated coronation-scene, and 'most admired disorder' of the banquet; the discovery and denunciation of Edwin's secret nuptials; his imprisonment in the Tower of London; the confusion and dispersion of his adherents; the ecclesiastical finesse and conjuror-tricks of Dunstan; the king's rescue and temporary success; the murder of Elgiva, and Edwin's own death in the essay to avenge her. It is around Dunstan, the representative of spiritual despotism, that the interest centres. The character of this 'Saint,' like that of Hildebrand and à Becket, has been made one of the problems of history. Mr Taylor's reading of the part is masterly, and we think correct. His Dunstan is not wholly sane; he believes himself inspired to read the alphabet of Heaven's stars, and to behold visions beyond the bounds of human foresight; one of the few to whom, 'and not in mercy, is it given to read the mixed celestial cypher: not in mercy, save as a penance merciful in issue.' His mischievous influence over the popular mind is sealed by the partial and latent degree of his insanity, for 'madness that doth least declare itself endangers most, and ever most infects the unsound many.' His great natural powers are tainted by the one black spot; his youth has been devoted to books, to the study of chemistry and mechanics; his manhood to observing 'the ways of men and policies of state' in the court of Edred; 'and were he not pushed sometimes past the confines of his reason, he would o'ertop the world.' Next to him in interest comes Earl Leolf, from whose lips proceed some of the finest poetry in the play, especially that exquisite soliloquy⁸ on the sea-shore at Hastings. Athulf, the brother of Elgiva, is another happy portrait—a man bright and jocund as the morn, who can and will detect the springs of fruitfulness and joy in earth's waste places, and whose bluff dislike of Dunstan is aptly illustrated in the scene where he brings the king's commands, and is kept waiting by the monks during Dunstan's matutinal flagellation:—

 
'Athulf. But, sirs, it is in haste—in haste extreme—
Matters of state, and hot with haste.
 
 
Second Monk.                My lord,
We will so say, but truly at this present
He is about to scourge himself.
 
 
Athulf.                          I'll wait.
For a king's ransom would I not cut short
So good a work! I pray you, for how long?
 
 
Second Monk. For twice the De Profundis, sung in slow time.
 
 
Athulf. Please him to make it ten times, I will wait.
And could I be of use, this knotted trifle,
This dog-whip here has oft been worse employed.'
 

In his recent play, The Virgin Widow (1850), Mr Taylor declines from the promise of his earlier efforts. The preface suggests great things; but they are not forthcoming. There is much careful finish, much sententious rhetoric, much elegant description; but there is little of racy humour (the play is a 'romantic comedy'), little of poetical freshness, little of lively flesh and blood portraiture, and more of melodramatic expedience than dramatic construction. Neither comedy nor melodrama is our author's forte.

In 1836 Mr Taylor published The Statesman, a book which contained the 'views and maxims respecting the transaction of public business,' which had been suggested to its author by twelve years' experience of official life. He has since then allowed that it was wanting in that general interest which might possibly have been felt in the results of a more extensive and varied conversancy with public life.⁹ In 1848 he produced Notes from Life, professedly a kind of supplemental volume to the former, embodying the conclusions of an attentive observation of life at large. The first essay investigates in detail the right measure and manner to be adopted in getting, saving, spending, giving, taking, lending, borrowing, and bequeathing 'money;' and a weighty, valuable essay it is, with no lack of golden grains and eke of diamond-dust in its composition. The thoughts are not given in the bullion lump, but are well refined, and having passed through the engraver's hands, they shine with the true polish, ring with the true sound. In terse, pregnant, and somewhat oracular diction, we are here instructed how to avoid the evils contingent upon bold commercial enterprise—how to guard against excesses of the accumulative instinct—how to exercise a thoroughly conscientious mode of regulating expenditure, eschewing prodigality, that vice of a weak nature, as avarice is of a strong one—how to be generous in giving; 'for the essence of generosity is in self-sacrifice, waste, on the contrary, comes always by self-indulgence'—how to withstand solicitations for loans, when the loans are to accommodate weak men in sacrificing the future to the present. The essay on Humility and Independence is equally good, and pleasantly demonstrates the proposition, that Humility is the true mother of Independence; and that Pride, which is so often supposed to stand to her in that relation, is in reality the step-mother by whom is wrought the very destruction and ruin of Independence. False humilities are ordered into court, and summarily convicted by this single-eyed judge, whose cross-examination of these 'sham respectabilities' elicits many a suggestive practical truth. There is more of philosophy and prudence than of romance in the excursus on Choice in Marriage; but the philosophy is shrewd and instructive, uttering many a homely hint of value in its way: as where we are reminded that if marrying for money is to be justified only in the case of those unhappy persons who are fit for nothing better, it does not follow that marrying without money is to be justified in others; and again, that the negotiations and transactions connected with marriage-settlements are eminently useful, as searching character and testing affection, before an irrevocable step be taken; and again, that when two very young persons are joined together in matrimony, it is as if one sweet-pea should be put as a prop to another. The essay on Wisdom is elevated and thoughtful, like most of the essayist's papers, but somewhat too heavy for miscellaneous readers. With his wonted clearness he distinguishes Wisdom from understanding, talents, capacity, ability, sagacity, sense, &c. and defines it as that exercise of the reason into which the heart enters—a structure of the understanding rising out of the moral and spiritual nature. Then follows a section on Children, which explodes not a few educational fallacies, and propounds certain articles of faith and practice wholesome for these times, though it will probably wear a prim and quakerish aspect to the admirers of Jean Paul's famous tractate¹⁰ on the same theme. The concluding paper in this series, entitled The Life Poetic, is the liveliest, if not the most valuable of the six: it has, however, been charged, with considerable show of justice, with a tendency to strip genius of all that is individual and spontaneous, or to accredit it only 'when it moves abroad sedately, clad in the uniform of a peculiar college.' Mr Taylor's 'solicitous and premeditated formalism' of poetical doctrine is, it must be confessed, a little too strait-laced. The true poet is born, not made. Still, in their place, our author's dogmas have their use, and might, if duly marked and inwardly digested, annually deter many aspirants who are not poets from proving so incontestably to the careless public that negative fact.

Notes from Books followed within a few months, but met with a less cordial reception. Of the four essays comprised in this volume, three are reprinted contributions to the Quarterly Review, being criticisms on the poetry of Wordsworth and Aubrey de Vere; and worthily do they illustrate—those on Wordsworth at least—Mr Taylor's composite faculty of depth and delicacy in poetical exposition. Of Wordsworth's many and gifted commentators—among them Wilson, Coleridge, Hazlitt, De Quincey, Lamb, Moir, Sterling—few have shewn a happier insight into the idiosyncrasy, or done more justice to the beauties of the patriarch of the Lakes. With Wordsworth for a subject, and the Quarterly Review for a 'door of utterance,' Mr Taylor is quite in his element. The fourth essay, on the Ways of the Rich and Great, is enriched with wise saws and modern instances. Its matériel is composed of ripe observation and reflective good sense; but the manner is objected to as marred by conceits of style—a sin not very safely to be committed by so stern a censor of it in others. His authoritative air in laying down the law is also occasionally unpleasing to some readers; and great as his tact in essay-writing is, he wants that easy grace and pervading bonhomie which imparts such a charm to the works of one with whom he has been erroneously identified—the anonymous author of Friends in Council. But, after all, he is one of those writers to whom our current literature is really indebted, and whose sage, sententious, and well-hammered thoughts may be profitably, as well as safely, commended to every thinking soul among us.