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 businesslike 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 unpalpable 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 rests—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 forevermore."
