Blackwood's Edinburgh Magazine, Volume 56, Number 349, November, 1844

In calm of glory sleep: – like them serene,
In virtue firmlier mail'd than they with dust,
Wait, Clarkson, on our sorrow-trodden sphere,
Until her climes waft promise to thine ear,
How each thy proud renown will have in trust:
Then call'd, at the life-judging Throne appear
On the right hand, avouched Loving and Just.

    A. B.

LETTER FROM THE RIGHT HON. CHARLES HOPE, LATE LORD PRESIDENT OF THE COURT OF SESSION

    Edinburgh, 25th October 1844.

TO THE EDITOR OF BLACKWOOD'S MAGAZINE.

Sir,

I did not read Mr Lockhart's "Life of Sir Walter Scott," and therefore it was only lately, and by mere accident, I heard that he has inserted an anecdote of Lord Braxfield, which, if it had been true, must for ever load his memory with indelible infamy. The story, in substance, I understand to be this – That Lord Braxfield once tried a man for forgery at the Circuit at Dumfries, who was not merely an acquaintance, but an intimate friend of his Lordship, with whom he used to play at chess: That he did this as coolly as if he had been a perfect stranger: That the man was found guilty: That he pronounced sentence of death upon him; and then added, "Now, John, I think I have checkmated you now." A more unfeeling and brutal conduct it is hardly possible to imagine. The moment I heard the story I contradicted it; as, from my personal knowledge of Lord Braxfield, I was certain that it could not be true. Lord Braxfield certainly was not a polished man in his manners; and now-a-days especially would be thought a coarse man. But he was a kind-hearted man, and a warm and steady friend – intimately acquainted with all my family, and much esteemed by them all. I was under great obligations to him for the countenance he showed me when I came to the bar, just sixty years ago, and therefore I was resolved to probe the matter to the bottom. For that purpose, I directed the record of the South Circuit to be carefully searched, and the result is, that Lord Braxfield never tried any man for forgery at Dumfries. But I was not satisfied with this, as it might have been said that Sir Walter had only mistaken the town, and that the thing might have happened at some of the other Circuit towns. Therefore I then directed a search to be made of the records of all the other Circuits in Scotland, during the whole time that Lord Braxfield sat on the Justiciary Bench; and the result is, that his Lordship never tried any man for forgery at any of the Circuits, except once at Stirling; and then the culprit, instead of being a friend, or even a common acquaintance of Lord Braxfield's, was a miserable shopkeeper in the town of Falkirk, whose very name it is hardly possible he could have heard till he read it in the indictment. Therefore I think I have effectually cleared his character from the ineffable infamy of such brutality.

I understand that Mr Lockhart became completely satisfied that this story did not apply to Lord Braxfield; and therefore has set it down, in his second edition, to the credit, or rather to the discredit, not of Lord Braxfield, but of a "certain judge." But this does not sufficiently clear Lord Braxfield of it. Because thousands may never see his second edition, or if they did, might think that the story still related to Lord Braxfield, but that Mr Lockhart had suppressed his name out of delicacy to his family; and therefore, as your excellent Magazine has a more extensive circulation in Scotland than the Quarterly, I beg of you to give this letter an early place. I understand one circumstance which satisfied Mr Lockhart that the story did not apply to Lord Braxfield is, that the family had assured him that he never played at chess – a fact of which I could also have assured Mr Lockhart. But the search of the records of Justiciary, which I directed to be made, is the most satisfactory refutation of the infamous calumny; and I cannot imagine how Sir Walter could have believed it for a moment. Certainly he would not, if he had known Lord Braxfield as intimately as I did. I owe a debt of gratitude to his memory, and am happy to have an opportunity of repaying it.

I am,

Sir,

Your most obedient servant,

C. Hope.

POEMS BY ELIZABETH B. BARRETT.[31 - London. Moxon. 1844.]

These volumes, from the pen of Miss Barrett, would be a remarkable publication at any time; but, in the present dearth of poetical genius, their appearance is doubly welcome; their claims on our consideration are doubly strong; and we cannot allow ourselves to pass them over without some detailed notice of their contents. In spite of many blemishes in point of execution, this lady's poems have left a very favourable impression on our mind. If the poetess does not always command our unqualified approbation, we are at all times disposed to bend in reverence before the deep-hearted and highly accomplished woman – a woman, whose powers appear to us to extend over a wider and profounder range of thought and feeling, than ever before fell within the intellectual compass of any of the softer sex.

If we might venture to divine this lady's moral and intellectual character from the general tone of her writings, we should say, that never did woman's mind dwell more habitually among the thoughts of a solemn experience – never was woman's genius impressed more profoundly with the earnestness of life, or sanctified more purely by the overshadowing awfulness of death. She aspires to write as she has lived; and certainly her poetry opens up many glimpses into the history of a pure and profound heart which has felt and suffered much. At the same time, a reflective cast of intellect lifts her feelings into a higher and calmer region than that of ordinary sorrow. There are certain delicate and felicitous peculiarities in the constitution of her sensibilities, which frequently impart a rare and subtle originality to emotions which are as old, and as widely diffused, as the primeval curse. The spirit of her poetry appears to us to be eminently religious; not because we think her very successful when she deals directly with the mysteries of divine truth, but because she makes us feel, even when handling the least sacred subjects, that we are in the presence of a heart which, in its purity, sees God. In the writings of such a woman, there must be much which is calculated to be a blessing and a benefit to mankind. If her genius always found a suitable exponent in her style, she would stand unrivaled, we think, among the poetesses of England.

But whether it be that Miss Barrett is afraid of degrading poetry to the low rank of an accomplishment– whether it be that she has some peculiar theory of her own on the subject of language, and on the mode in which poetical emotions may be most felicitously expressed – whether it be that nature has denied her the possession of a sound critical judgment, or that she refuses to exercise it in the moment of inspiration – whether it be that she considers the habit of pure and polished composition an attainment of very secondary importance – or whether it be that she has allowed herself to be infected by the prevailing mannerisms of the day – certain it is, that there is a large proportion of her poetry in which she has failed to add the graces of good style and of careful versification to her other excellent acquirements. That she can write pure English, and that she frequently does so, is undeniable. In some of the extracts which we shall give, we believe that the language could scarcely be improved. But we are constrained to say, that her compositions are very often disfigured by strained or slovenly modes of phraseology, which greatly detract from their impressiveness, and which must materially injure the reputation of their authoress, by turning away many hearts from the homage which they otherwise would most willingly have rendered to her exalted genius.

Miss Barrett is a classical scholar. She surely knows that the great works in which she delights have earned the epithet of classical, and come recommended to the reverence of all mankind, solely in virtue of the scrupulous propriety of their language; and because they are fitted to serve as models of style to all succeeding generations. The purity of their diction, and nothing else, has been their passport to immortality. We cannot but lament that Miss Barrett has not provided more surely for her future fame, by turning to their best account the lessons which the masterpieces of antiquity are especially commissioned to teach.

Let it not be thought that we would counsel Miss Barrett, or any one else, to propose these works to themselves as direct objects of imitation. Far from it. Such directions would be very vague and unmeaning, and might lead to the commission of the very errors which they aimed at preventing. The words "purity and propriety of diction" are themselves very vague words. Let us say, then, that a style which goes at once to the point, which is felt to get through business, and which carries with it no affectation, either real or apparent, is always a good style; and that no other style is good. This is the quality which may be generalized from the works of the great authors of all ages, as the prime characteristic of all good writing. Their style is always pregnant with a working activity – it impresses us with the feeling that real work is done here. We fear not to say that Milton himself owes much of his reputation to the peremptory and business-like vigour of his style. He never beats about the bush – he never employs language which a plain man would not have employed – if he could. The sublimity of "Paradise Lost" is supported throughout by the direct force of its language – language the most elaborate, but also the most to the point, and the least fantastical, that ever fell from human lips. There are difficulties to encounter in the abstract conception of the poem. The naked argument does not at first recommend itself to our understanding. It is not till we have vanquished those difficulties, – in which step we are mainly assisted by the unparalleled execution of the work, – that all our sympathies gravitate towards the mysterious theme.

Now if it be true that it requires all the force of a thoroughly practical style to reconcile our affections to such remote and obscure conceptions as the fall of man, the war of the rebellious angels, &c., it is peculiarly unfortunate that Miss Barrett, in her opening poem, entitled a "Drama of Exile," should have ventured to tread on Miltonic ground. For, while our feelings are naturally disposed to fly off at a tangent from the vague and impalpable conceptions which form the staple of her poem, the dreamy and unpractical character of her style makes them fly still further from the subject. The force of her language is not sufficient to bind down and rivet our sympathies to the theme; and the lyrical portions of the drama, in particular, are so inarticulate, that we are compelled to pronounce this composition – partial to it as its authoress is – the least successful of her works.

But it is our wish to do full justice to Miss Barrett's extraordinary merits, and to convey to our readers a favourable impression of her powers; and therefore we shall say no more at present about the "Drama of Exile," but shall turn our attention to some of the fairer and less questionable manifestations of her genius. We shall commence with her sonnets; for these appear to us to be by far the most finished of her compositions in point of style; and in depth and purity of sentiment, we think that they surpass any thing she has ever written, with the exception of the poem entitled "Bertha in the Lane," which we shall quote hereafter. As our first specimen, we select one which she entitles

Discontent

"Light human nature is too lightly tost
And ruffled without cause; complaining on —
Restless with rest – until, being overthrown,
It learneth to lie quiet. Let a frost
Or a small wasp have crept to the innermost
Of our ripe peach; or let the wilful sun
Shine westward of our window, – straight we run
A furlong's sigh, as if the world were lost.
But what time through the heart and through the brain
God hath transfix'd us – we, so moved before,
Attain to a calm! Ay, shouldering weights of pain,
We anchor in deep waters, safe from shore;
And hear, submissive, o'er the stormy main,
God's charter'd judgments walk for evermore."

Yes; we fear it is too true that the voice of God never speaks so articulately to man, as when it speaks in the desperate calm of a soul to which life or death has done its worst. The same solemn thought with which the sonnet concludes, forms the moral of her ballad entitled the "Lay of the Brown Rosary." It is thus that the heroine of that poem speaks —

"Then breaking into tears – 'Dear God,' she cried, 'and must we see
All blissful things depart from us, or ere we go to Thee?
We cannot guess thee in the wood, or hear thee in the wind?
Our cedars must fall round us, ere we see the light behind?
Ay sooth, we feel too strong in weal, to need thee on that road;
But woe being come, the soul is dumb that crieth not on 'God.'"

Then it is that the despair which blackens the earth strikes clear the face of the sky. Listen again to Miss Barrett, when her soul is cheered by the promises of "Futurity: " —

Futurity

"And, O beloved voices! upon which
Ours passionately call, because erelong
Ye brake off in the middle of that song
We sang together softly, to enrich
The poor world with the sense of love, and witch
The heart out of things evil – I am strong, —
Knowing ye are not lost for aye among
The hills, with last year's thrush. God keeps a niche
In Heaven to hold our idols! and albeit
He brake them to our faces, and denied
That our close kisses should impair their white, —
I know we shall behold them raised, complete, —
The dust shook from their beauty, – glorified
New Memnons singing in the great God-light."

And again, listen to her hallowed and womanly strain when she speaks of "Comfort: " —

Comfort

"Speak low to me, my Saviour – low and sweet
From out the hallelujahs, sweet and low,
Lest I should fear and fall, and miss thee so
Who art not miss'd by any that entreat.
Speak to me as to Mary at thy feet —