William Hazlitt - The Spirit of the Age Contemporary Portraits (Mr. Gifford) lyrics

Mr. Gifford Mr. Gifford was originally bred to some handicraft: he afterwards contrived to learn Latin, and was for some time an usher in a school, till he became a tutor in a nobleman's family. The low-bred, self-taught man, the pedant, and the dependant on the great contribute to form the Editor of the Quarterly Review. He is admirably qualified for this situation, which he has held for some years, by a happy combination of defects, natural and acquired; and in the event of his d**h, it will be difficult to provide him a suitable successor. Mr. Gifford has no pretensions to be thought a man of genius, of taste, or even of general knowledge. He merely understands the mechanical and instrumental part of learning. He is a critic of the last age, when the different editions of an author, or the dates of his several performances were all that occupied the inquiries of a profound scholar, and the spirit of the writer or the beauties of his style were left to shift for themselves, or exercise the fancy of the light and superficial reader. In studying an old author, he has no notion of any thing beyond adjusting a point, proposing a different reading, or correcting, by the collation of various copies, an error of the press. In appreciating a modern one, if it is an enemy, the first thing he thinks of is to charge him with bad grammar—he scans his sentences instead of weighing his sense; or if it is a friend, the highest compliment he conceives it possible to pay him is, that his thoughts and expressions are moulded on some hackneyed model. His standard of ideal perfection is what he himself now is, a person of mediocre literary attainments: his utmost contempt is shewn by reducing any one to what he himself once was, a person without the ordinary advantages of education and learning. It is accordingly a**umed, with much complacency in his critical pages, that Tory writers are cla**ical and courtly as a matter of course; as it is a standing jest and evident truism, that Whigs and Reformers must be persons of low birth and breeding—imputations from one of which he himself has narrowly escaped, and both of which he holds in suitable abhorrence. He stands over a contemporary performance with all the self-conceit and self-importance of a country schoolmaster, tries it by technical rules, affects not to understand the meaning, examines the hand-writing, the spelling, shrugs up his shoulders and chuckles over a slip of the pen, and keeps a sharp look-out for a false concord and—a flogging. There is nothing liberal, nothing humane in his style of judging: it is altogether petty, captious, and literal. The Editor's political subserviency adds the last finishing to his ridiculous pedantry and vanity. He has all his life been a follower in the train of wealth and power—strives to back his pretensions on Parna**us by a place at court, and to gild his reputation as a man of letters by the smile of greatness. He thinks his works are stamped with additional value by having his name in the Red-Book. He looks up to the distinctions of rank and station as he does to those of learning, with the gross and overweening adulation of his early origin. All his notions are low, upstart, servile. He thinks it the highest honour to a poet to be patronised by a peer or by some dowager of quality. He is prouder of a court-livery than of a laurel-wreath; and is only sure of having established his claims to respectability by having sacrificed those of independence. He is a retainer to the Muses; a door-keeper to learning; a lacquey in the state. He believes that modern literature should wear the fetters of cla**ical antiquity; that truth is to be weighed in the scales of opinion and prejudice; that power is equivalent to right; that genius is dependent on rules; that taste and refinement of language consist in word-catching. Many persons suppose that Mr. Gifford knows better than he pretends; and that he is shrewd, artful, and designing. But perhaps it may be nearer the mark to suppose that his dulness is guarantee for his sincerity; or that before he is the tool of the profligacy of others, he is the dupe of his own jaundiced feelings, and narrow, hoodwinked perceptions.  "Destroy his fib or sophistry: in vain—  The creature's at his dirty work again!" But this is less from choice or perversity, than because he cannot help it and can do nothing else. He damns a beautiful expression less out of spite than because he really does not understand it: any novelty of thought or sentiment gives him a shock from which he cannot recover for some time, and he naturally takes his revenge for the alarm and uneasiness occasioned him, without referring to venal or party motives. He garbles an author's meaning, not so much wilfully, as because it is a pain to him to enlarge his microscopic view to take in the context, when a particular sentence or pa**age has struck him as quaint and out of the way: he fly-blows an author's style, and picks out detached words and phrases for cynical reprobation, simply because he feels himself at home, or takes a pride and pleasure in this sort of petty warfare. He is tetchy and impatient of contradiction; sore with wounded pride; angry at obvious faults, more angry at unforeseen beauties. He has the chalk-stones in his understanding, and from being used to long confinement, cannot bear the slightest jostling or irregularity of motion. He may call out with the fellow in the Tempest—"I am not Stephano, but a cramp!" He would go back to the standard of opinions, style, the faded ornaments, and insipid formalities that came into fashion about forty years ago. Flashes of thought, flights of fancy, idiomatic expressions, he sets down among the signs of the times—the extraordinary occurrences of the age we live in. They are marks of a restless and revolutionary spirit: they disturb his composure of mind, and threaten (by implication) the safety of the state. His slow, snail-paced, bed-rid habits of reasoning cannot keep up with the whirling, eccentric motion, the rapid, perhaps extravagant combinations of modern literature. He has long been stationary himself, and is determined that others shall remain so. The hazarding a paradox is like letting off a pistol close to his ear: he is alarmed and offended. The using an elliptical mode of expression (such as he did not use to find in Guides to the English Tongue) jars him like coming suddenly to a step in a flight of stairs that you were not aware of. He pishes and pshaws at all this, exercises a sort of interjectional criticism on what excites his spleen, his envy, or his wonder, and hurls his meagre anathemas ex cathedrâ at all those writers who are indifferent alike to his precepts and his example! Mr. Gifford, in short, is possessed of that sort of learning which is likely to result from an over-anxious desire to supply the want of the first rudiments of education; that sort of wit, which is the offspring of ill-humour or bodily pain; that sort of sense, which arises from a spirit of contradiction and a disposition to cavil at and dispute the opinions of others; and that sort of reputation, which is the consequence of bowing to established authority and ministerial influence. He dedicates to some great man, and receives his compliments in return. He appeals to some great name, and the Under-graduates of the two Universities look up to him as an oracle of wisdom. He throws the weight of his verbal criticism and puny discoveries in black-letter reading into the gap, that is supposed to be making in the Constitution by Whigs and Radicals, whom he qualifies without mercy as dunces and miscreants; and so entitles himself to the protection of Church and State. The character of his mind is an utter want of independence and magnanimity in all that he attempts. He cannot go alone, he must have crutches, a go-cart and trammels, or he is timid, fretful, and helpless as a child. He cannot conceive of any thing different from what he finds it, and hates those who pretend to a greater reach of intellect or boldness of spirit than himself. He inclines, by a natural and deliberate bias, to the traditional in laws and government; to the orthodox in religion; to the safe in opinion; to the trite in imagination; to the technical in style; to whatever implies a surrender of individual judgment into the hands of authority, and a subjection of individual feeling to mechanic rules. If he finds any one flying in the face of these, or straggling from the beaten path, he thinks he has them at a notable disadvantage, and falls foul of them without loss of time, partly to soothe his own sense of mortified self-consequence, and as an edifying spectacle to his legitimate friends. He takes none but unfair advantages. He twits his adversaries (that is, those who are not in the leading-strings of his school or party) with some personal or accidental defect. If a writer has been punished for a political libel, he is sure to hear of it in a literary criticism. If a lady goes on crutches and is out of favour at court, she is reminded of it in Mr. Gilford's manly satire. He sneers at people of low birth or who have not had a college-education, partly to hide his own want of certain advantages, partly as well-timed flattery to those who possess them. He has a right to laugh at poor, unfriended, untitled genius from wearing the livery of rank and letters, as footmen behind a coronet-coach laugh at the rabble. He keeps good company, and forgets himself. He stands at the door of Mr. Murray's shop, and will not let any body pa** but the well-dressed mob, or some followers of the court. To edge into the Quarterly Temple of Fame the candidate must have a diploma from the Universities, a pa**port from the Treasury. Otherwise, it is a breach of etiquette to let him pa**, an insult to the better sort who aspire to the love of letters—and may chance to drop in to the Feast of the Poets. Or, if he cannot manage it thus, or get rid of the claim on the bare ground of poverty or want of school-learning, he trumps up an excuse for the occasion, such as that "a man was confined in Newgate a short time before"—it is not a lie on the part of the critic, it is only an amiable subserviency to the will of his betters, like that of a menial who is ordered to deny his master, a sense of propriety, a knowledge of the world, a poetical and moral license. Such fellows (such is his cue from his employers) should at any rate be kept out of privileged places: persons who have been convicted of prose-libels ought not to be suffered to write poetry—if the fact was not exactly as it was stated, it was something of the kind, or it ought to have been so, the a**ertion was a pious fraud,—the public, the court, the prince himself might read the work, but for this mark of opprobrium set upon it—it was not to be endured that an insolent plebeian should aspire to elegance, taste, fancy—it was throwing down the barriers which ought to separate the higher and the lower cla**es, the loyal and the disloyal—the paraphrase of the story of Dante was therefore to perform quarantine, it was to seem not yet recovered from the gaol infection, there was to be a taint upon it, as there was none in it—and all this was performed by a single slip of Mr. Gifford's pen! We would willingly believe (if we could) that in this case there was as much weakness and prejudice as there was malice and cunning.—Again, we do not think it possible that under any circumstances the writer of the Verses to Anna could enter into the spirit or delicacy of Mr. Keats's poetry. The fate of the latter somewhat resembled that of —"a bud bit by an envious worm, Ere it could spread its sweet leaves to the air, Or dedicate its beauty to the sun." Mr. Keats's ostensible crime was that he had been praised in the Examiner Newspaper: a greater and more unpardonable offence probably was, that he was a true poet, with all the errors and beauties of youthful genius to answer for. Mr. Gifford was as insensible to the one as he was inexorable to the other. Let the reader judge from the two subjoined specimens how far the one writer could ever, without a presumption equalled only by a want of self-knowledge, set himself in judgment on the other.  "Out went the taper as she hurried in;  Its little smoke in pallid moonshine died:  She closed the door, she panted, all akin  To spirits of the air and visions wide:  No utter'd syllable, or woe betide!  But to her heart, her heart was voluble,  Paining with eloquence her balmy side;  As though a tongueless nightingale should swell  Her heart in vain, and die, heart-stifled, in her dell.  "A casement high and triple-arch'd there was,  All garlanded with carven imag'ries  Of fruits, and flowers, and bunches of knot-gra**,  And diamonded with panes of quaint device,  Innumerable of stains and splendid dyes,  As are the tiger-moth's deep-damask'd wings;  And in the midst, 'mong thousand heraldries,  And twilight saints and dim emblazonings,  A shielded scutcheon blush'd with blood of queens and kings.  "Full on this casement shone the wintry moon,  And threw warm gules on Madeline's fair breast,  As down she knelt for Heaven's grace and boon;  Rose-bloom fell on her hands, together prest,  And on her silver cross soft amethyst,  And on her hair a glory, like a Saint:  She seem'd a splendid angel, newly drest,  Save wings, for heaven:—Porphyro grew faint:  She knelt, so pure a thing, so free from mortal taint.  "Anon his heart revives: her vespers done,  Of all its wreathed pearls her hair she frees;  Unclasps her warmed j**els one by one;  Loosens her fragrant boddice; by degrees  Her rich attire creeps rustling to her knees:  Half-hidden, like a mermaid in sea-weed,  Pensive awhile she dreams awake, and sees,  In fancy, fair St. Agnes in her bed,  But dares not look behind, or all the charm is fled.  "Soon trembling in her soft and chilly nest,  In sort of wakeful swoon, perplex'd she lay,  Until the poppied warmth of sleep oppress'd  Her soothed limbs, and soul fatigued away  Flown, like a thought, until the morrow-day:  Blissfully haven'd both from joy and pain;  Clasp'd like a missal where swart Paynims pray;  Blinded alike from sunshine and from rain,  As though a rose should shut, and be a bud again." EVE OF ST. AGNES. With the rich beauties and the dim obscurities of lines like these, let us contrast the Verses addressed To a Tuft of early Violets by the fastidious author of the Baviad and Mæviad.—  "Sweet flowers! that from your humble beds  Thus prematurely dare to rise,  And trust your unprotected heads  To cold Aquarius' watery skies.  "Retire, retire! These tepid airs  Are not the genial brood of May;  That sun with light malignant glares,  And flatters only to betray.  "Stern Winter's reign is not yet past—  Lo! while your buds prepare to blow,  On icy pinions comes the blast,  And nips your root, and lays you low.  "Alas, for such ungentle doom!  But I will shield you; and supply  A kindlier soil on which to bloom,  A nobler bed on which to die.  "Come then—'ere yet the morning ray  Has drunk the dew that gems your crest,  And drawn your balmiest sweets away;  O come and grace my Anna's breast.  "Ye droop, fond flowers! But did ye know  What worth, what goodness there reside,  Your cups with liveliest tints would glow;  And spread their leaves with conscious pride.  "For there has liberal Nature joined  Her riches to the stores of Art,  And added to the vigorous mind  The soft, the sympathising heart.  "Come, then—'ere yet the morning ray  Has drunk the dew that gems your crest,  And drawn your balmiest sweets away;  O come and grace my Anna's breast.  "O! I should think—that fragrant bed  Might I but hope with you to share—[A]  Years of anxiety repaid  By one short hour of transport there.  "More blest than me, thus shall ye live  Your little day; and when ye die,  Sweet flowers! the grateful Muse shall give  A verse; the sorrowing maid, a sigh.  "While I alas! no distant date,  Mix with the dust from whence I came,  Without a friend to weep my fate,  Without a stone to tell my name." We subjoin one more specimen of these "wild strains"[B] said to be "Written two years after the preceding." ECCE ITERUM CRISPINUS.  "I wish I was where Anna lies;  For I am sick of lingering here,  And every hour Affection cries,  Go, and partake her humble bier.  "I wish I could! for when she died  I lost my all; and life has prov'd  Since that sad hour a dreary void,  A waste unlovely and unlov'd.  "But who, when I am turn'd to clay,  Shall duly to her grave repair,  And pluck the ragged moss away,  And weeds that have "no business there?"  "And who, with pious hand, shall bring  The flowers she cherish'd, snow-drops cold,  And violets that unheeded spring,  To scatter o'er her hallow'd mould?  "And who, while Memory loves to dwell  Upon her name for ever dear,  Shall feel his heart with pa**ion swell,  And pour the bitter, bitter tear?  "I did it; and would fate allow,  Should visit still, should still deplore—  But health and strength have left me now,  But I, alas! can weep no more.  "Take then, sweet maid! this simple strain,  The last I offer at thy shrine;  Thy grave must then undeck'd remain,  And all thy memory fade with mine.  "And can thy soft persuasive look,  That voice that might with music vie,  Thy air that every gazer took,  Thy matchless eloquence of eye,  "Thy spirits, frolicsome as good,  Thy courage, by no ills dismay'd,  Thy patience, by no wrongs subdued,  Thy gay good-humour—can they "fade?"  "Perhaps—but sorrow dims my eye:  Cold turf, which I no more must view,  Dear name, which I no more must sigh,  A long, a last, a sad adieu!" It may be said in extenuation of the low, mechanic vein of these impoverished lines, that they were written at an early age—they were the inspired production of a youthful lover! Mr. Gifford was thirty when he wrote them, Mr. Keats died when he was scarce twenty! Farther it may be said, that Mr. Gifford hazarded his first poetical attempts under all the disadvantages of a neglected education: but the same circumstance, together with a few unpruned redundancies of fancy and quaintnesses of expression, was made the plea on which Mr. Keats was hooted out of the world, and his fine talents and wounded sensibilities consigned to an early grave. In short, the treatment of this heedless candidate for poetical fame might serve as a warning, and was intended to serve as a warning to all unfledged tyros, how they venture upon any such doubtful experiments, except under the auspices of some lord of the bedchamber or Government Aristarchus, and how they imprudently a**ociate themselves with men of mere popular talent or independence of feeling!—It is the same in prose works. The Editor scorns to enter the lists of argument with any proscribed writer of the opposite party. He does not refute, but denounces him. He makes no concessions to an adversary, lest they should in some way be turned against him. He only feels himself safe in the fancied insignificance of others: he only feels himself superior to those whom he stigmatizes as the lowest of mankind. All persons are without common-sense and honesty who do not believe implicitly (with him) in the immaculateness of Ministers and the divine origin of Kings. Thus he informed the world that the author of TABLE-TALK was a person who could not write a sentence of common English and could hardly spell his own name, because he was not a friend to the restoration of the Bourbons, and had the a**urance to write Characters of Shakespears Plays in a style of criticism somewhat different from Mr. Gifford's. He charged this writer with imposing on the public by a flowery style; and when the latter ventured to refer to a work of his, called An Essay on the Principles of Human Action, which has not a single ornament in it, as a specimen of his original studies and the proper bias of his mind, the learned critic, with a shrug of great self-satisfaction, said, "It was amusing to see this person, sitting like one of Brouwer's Dutch boors over his gin and tobacco-pipes, and fancying himself a Leibnitz!" The question was, whether the subject of Mr. Gifford's censure had ever written such a work or not; for if he had, he had amused himself with something besides gin and tobacco-pipes. But our Editor, by virtue of the situation he holds, is superior to facts or arguments: he is accountable neither to the public nor to authors for what he says of them, but owes it to his employers to prejudice the work and vilify the writer, if the latter is not avowedly ready to range himself on the stronger side.—The Quarterly Review, besides the political tirades and denunciations of suspected writers, intended for the guidance of the heads of families, is filled up with accounts of books of Voyages and Travels for the amusement of the younger branches. The poetical department is almost a sinecure, consisting of mere summary decisions and a list of quotations. Mr. Croker is understood to contribute the St. Helena articles and the liberality, Mr. Canning the practical good sense, Mr. D'Israeli the good-nature, Mr. Jacob the modesty, Mr. Southey the consistency, and the Editor himself the chivalrous spirit and the attacks on Lady Morgan. It is a double crime, and excites a double portion of spleen in the Editor, when female writers are not advocates of pa**ive obedience and non-resistance. This Journal, then, is a depository for every species of political sophistry and personal calumny. There is no abuse or corruption that does not there find a jesuitical palliation or a bare-faced vindication. There we meet the slime of hypocrisy, the varnish of courts, the cant of pedantry, the cobwebs of the law, the iron hand of power. Its object is as mischievous as the means by which it is pursued are odious. The intention is to poison the sources of public opinion and of individual fame—to pervert literature, from being the natural ally of freedom and humanity, into an engine of priestcraft and despotism, and to undermine the spirit of the English Constitution and the independence of the English character. The Editor and his friends systematically explode every principle of liberty, laugh patriotism and public spirit to scorn, resent every pretence to integrity as a piece of singularity or insolence, and strike at the root of all free inquiry or discussion, by running down every writer as a vile scribbler and a bad member of society, who is not a hireling and a slave. No means are stuck at in accomplishing this laudable end. Strong in patronage, they trample on truth, justice, and decency. They claim the privilege of court-favourites. They keep as little faith with the public, as with their opponents. No statement in the Quarterly Review is to be trusted: there is no fact that is not misrepresented in it, no quotation that is not garbled, no character that is not slandered, if it can answer the purposes of a party to do so. The weight of power, of wealth, of rank is thrown into the scale, gives its impulse to the machine; and the whole is under the guidance of Mr. Gifford's instinctive genius—of the inborn hatred of servility for independence, of dulness for talent, of cunning and impudence for truth and honesty. It costs him no effort to execute his disreputable task—in being the tool of a crooked policy, he but labours in his natural vocation. He patches up a rotten system as he would supply the chasms in a worm-eaten man*script, from a grovelling incapacity to do any thing better; thinks that if a single iota in the claims of prerogative and power were lost, the whole fabric of society would fall upon his head and crush him; and calculates that his best chance for literary reputation is by black-balling one half of the competitors as Jacobins and levellers, and securing the suffrages of the other half in his favour as a loyal subject and trusty partisan! Mr. Gifford, as a satirist, is violent and abrupt. He takes obvious or physical defects, and dwells upon them with much labour and harshness of invective, but with very little wit or spirit. He expresses a great deal of anger and contempt, but you cannot tell very well why—except that he seems to be sore and out of humour. His satire is mere peevishness and spleen, or something worse—personal antipathy and rancour. We are in quite as much pain for the writer, as for the object of his resentment. His address to Peter Pindar is laughable from its outrageousness. He denounces him as a wretch hateful to God and man, for some of the most harmless and amusing trifles that ever were written—and the very good- humour and pleasantry of which, we suspect, constituted their offence in the eyes of this Drawcansir.—His attacks on Mrs. Robinson were unmanly, and even those on Mr. Merry and the Della-Cruscan School were much more ferocious than the occasion warranted. A little affectation and quaintness of style did not merit such severity of castigation.[C] As a translator, Mr. Gifford's version of the Roman satirist is the baldest, and, in parts, the most offensive of all others. We do not know why he attempted it, unless he had got it in his head that he should thus follow in the steps of Dryden, as he had already done in those of Pope in the Baviad and Maeviad. As an editor of old authors, Mr. Gifford is entitled to considerable praise for the pains he has taken in revising the text, and for some improvements he has introduced into it. He had better have spared the notes, in which, though he has detected the blunders of previous commentators, he has exposed his own ill-temper and narrowness of feeling more. As a critic, he has thrown no light on the character and spirit of his authors. He has shewn no striking power of an*lysis nor of original illustration, though he has chosen to exercise his pen on writers most congenial to his own turn of mind, from their dry and caustic vein; Ma**inger, and Ben Jonson. What he will make of Marlowe, it is difficult to guess. He has none of "the fiery quality" of the poet. Mr. Gifford does not take for his motto on these occasions—Spiritus precipitandus est!—His most successful efforts in this way are barely respectable. In general, his observations are petty, ill-concocted, and discover as little tact, as they do a habit of connected reasoning. Thus, for instance, in attempting to add the name of Ma**inger to the list of Catholic poets, our minute critic insists on the profusion of crucifixes, glories, angelic visions, garlands of roses, and clouds of incense scattered through the Virgin-Martyr, as evidence of the theological sentiments meant to be inculcated by the play, when the least reflection might have taught him, that they proved nothing but the author's poetical conception of the character and costume of his subject. A writer might, with the same sinister, short-sighted shrewdness, be accused of Heathenism for talking of Flora and Ceres in a poem on the Seasons! What are produced as the exclusive badges and occult proofs of Catholic bigotry, are nothing but the adventitious ornaments and external symbols, the gross and sensible language, in a word, the poetry of Christianity in general. What indeed shews the frivolousness of the whole inference is that Deckar, who is a**erted by our critic to have contributed some of the most pa**ionate and fantastic of these devotional scenes, is not even suspected of a leaning to Popery. In like manner, he excuses Ma**inger for the grossness of one of his plots (that of the Unnatural Combat) by saying that it was supposed to take place before the Christian era; by this shallow common-place persuading himself, or fancying he could persuade others, that the crime in question (which yet on the very face of the story is made the ground of a tragic catastrophe) was first made statutory by the Christian religion. The foregoing is a harsh criticism, and may be thought illiberal. But as Mr. Gifford a**umes a right to say what he pleases of others—they may be allowed to speak the truth of him! Footnotes: [Footnote A: What an awkward bed-fellow for a tuft of violets!] [Footnote B:  "How oft, O Dart! what time the faithful pair  Walk'd forth, the fragrant hour of eve to share,  On thy romantic banks, have my wild strains   (Not yet forgot amidst my native plains)  While thou hast sweetly gurgled down the vale.  Filled up the pause of love's delightful tale!  While, ever as she read, the conscious maid,  By faultering voice and downcast looks betray'd,  Would blushing on her lover's neck recline,  And with her finger—point the tenderest line!"  Mæviad, pp. 194, 202.  Yet the author a**ures us just before, that in these "wild strains" "all was plain."  "Even then (admire, John Bell! my simple ways)  No heaven and hell danced madly through my lays,  No oaths, no execrations; all was plain;  Yet trust me, while thy ever jingling train  Chime their sonorous woes with frigid art,  And shock the reason and revolt the heart;  My hopes and fears, in nature's language drest,  Awakened love in many a gentle breast."  Ibid. v. 185-92. If any one else had composed these "wild strains," in which "all is plain," Mr. Gifford would have accused them of three things, "1. Downright nonsense. 2. Downright frigidity. 3. Downright doggrel;" and proceeded to anatomise them very cordially in his way. As it is, he is thrilled with a very pleasing horror at his former scenes of tenderness, and "gasps at the recollection" of watery Aquarius! he! jam satis est! "Why rack a grub—a bu*terfly upon a wheel?"] [Footnote C: Mr. Merry was even with our author in personality of abuse. See his Lines on the Story of the Ape that was given in charge to the ex-tutor.]