REMARKS ON AN OPINION OF MR. CRABBE'S. TOPOGRAPHICAL POETRY. DRAYTON.
Do, pious marble, let thy readers know
What they and what their children owe
To Drayton's name, whose sacred dust
We recommend unto thy trust.
Protect his memory, and preserve his story;
Remain a lasting monument of his glory;
And when thy ruins shall disclaim
To be the Treasurer of his name,
His name that cannot fade shall be
An everlasting monument to thee.
EPITAPH IN WESTMINSTER ABBEY.
The Poet Crabbe has said that there subsists an utter repugnancy
between the studies of topography and poetry. He must have intended by
topography when he said so, the mere definition of boundaries and
specification of land-marks, such as are given in the advertisement of
an estate for sale; and boys in certain parts of the country are
taught to bear in mind by a remembrance in tail when the bounds of a
parish are walked by the local authorities. Such topography indeed
bears as little relation to poetry as a map or chart to a picture.
But if he had any wider meaning, it is evident, by the number of
topographical poems, good, bad and indifferent, with which our
language abounds, that Mr. Crabbe's predecessors in verse, and his
contemporaries also, have differed greatly from him in opinion upon
this point. The Poly-olbion, notwithstanding its common-place
personifications and its inartificial transitions, which are as abrupt
as those in the Metamorphoses and the Fasti, and not so graceful, is
nevertheless a work as much to be valued by the students and lovers of
English literature, as by the writers of local history. Drayton
himself, whose great talents were deservedly esteemed by the ablest of
his contemporaries in the richest age of English poetry, thought he
could not be more worthily employed than in what he calls the
Herculean task of this topographical poem; and in that belief he was
encouraged by his friend and commentator Selden, to whose name the
epithet of learned was in old times always and deservedly affixed.
With how becoming a sense of its dignity and variety the Poet entered
upon his subject, these lines may shew:
Thou powerful God of flames, in verse divinely great,
Touch my invention so with thy true genuine heat,
That high and noble things I slightly may not tell,
Nor light and idle toys my lines may vainly swell;
But as my subject serves so high or low to strain,
And to the varying earth so suit my varying strain,
That Nature in my work thou mayest thy power avow;
That as thou first found'st art, and didst her rules allow,
So I, to thine own self that gladly near would be,
May herein do the best in imitating thee.
As thou hast here a hill, a vale there, there a flood,
A mead here, there a heath, and now and then a wood,
These things so in my song I naturally may show;
Now as the mountain high, then as the valley low;
Here fruitful as the mead; there as the heath be bare,
Then as the gloomy wood I may be rough, tho' rare.
I would not say of this Poet, as Kirkpatrick says of him, that when he
———————his Albion sung
With their own praise the echoing vallies rung;
His bounding Muse o'er every mountain rode
And every river warbled where he flowed;
but I may say that if instead of sending his Muse to ride over the
mountains, and resting contented with her report, he had ridden or
walked over them himself, his poem would better have deserved that
praise for accuracy which has been bestowed upon it by critics who had
themselves no knowledge which could enable them to say whether it were
accurate or not. Camden was more diligent; he visited some of the
remotest counties of which he wrote.
This is not said with any intention of detracting from Michael
Drayton's fame: the most elaborate criticism could neither raise him
above the station which he holds in English literature, nor degrade
him from it. He is extolled not beyond the just measure of his deserts
in his epitaph which has been variously ascribed to Ben Jonson, to
Randolph, and to Quarles, but with most probability to the former, who
knew and admired and loved him.
He was a poet by nature, and carefully improved his talent;—one who
sedulously laboured to deserve the approbation of such as were capable
of appreciating, and cared nothing for the censures which others might
pass upon him. “Like me that list,” he says,
my honest rhymes,
Nor care for critics, nor regard the times.
And though he is not a poet _virûm volitare per ora_, nor one of those
whose better fortune it is to live in the hearts of their devoted
admirers, yet what he deemed his greatest work will be preserved by
its subject; some of his minor poems have merit enough in their
execution to ensure their preservation, and no one who studies poetry
as an art will think his time mis-spent in perusing the whole,—if he
have any real love for the art which he is pursuing. The youth who
enters upon that pursuit without a feeling of respect and gratitude
for those elder poets, who by their labours have prepared the way for
him, is not likely to produce any thing himself that will be held in
remembrance by posterity.