which it was the express object of this bold dramatic preface to work up, and to hang like a dark electric cloud over the principal plot and personages, when they were subsequently brought upon the stage. This omission Lord Leveson has now supplied, by the translation of the introductory part, called Wallenstein's Camp. The duty required of the ancient prologue was little more than just that amount of information, in the form almost of an advertisement, concerning the parties and their previous story, which should make the medias res intelligible, without beginning at the beginning. Shakspeare, it is true, has found a much more truly poetical use for the prologue, than occurred to any of the ancients, in that beautiful opening to Henry V. By this means, combined with the brilliant choruses from time to time so vividly interposed, Shakspeare has there not only thrown a very sufficient bridge over the loose and crumbling chasm, which the breach of unity of time and place, it must be confessed, often awkwardly creates, but has kept up throughout a dramatic breadth and power, that it would seem otherwise impossible to give to the scattered incidents of a campaign. The first of these objects Schiller did not want. On the preliminary plan which he has here devised, he prepares and accomplishes the second in a more extensive form, and with greater theatrical effect. Schlegel considers Henry V. as Shakspeare's favourite hero. Accordingly, some of the camp-scenes in that play have the same design as that with which Wallenstein's Camp is so skilfully planned-the portraying the devotion of an army towards its victorious leader. By separating this part of his subject, and marshalling it in advance, this precise object is as distinctly attained by Schiller; and with these advantages, there is no necessity afterwards for interrupting the regular course of the principal plot, and interposing a new class of dramatis persone simply for that which, although most important, is yet a collateral purpose. Having set aside a portion of his canvass for a grand military picture, he got also room enough to do justice to a subject perfectly unique, as he has treated it, and which must otherwise have been pushed into a corner. Wallenstein's Camp, taken by itself, is a more vivid sketch of a soldier's life than a battle by Wouvermans, a campaign by Callot, or a Cossack and his horse by Vernet. We do not wonder that, when it was acted at Berlin, on the opening of one of their campaigns, shouts of enthusiasm from the assembled officers burst from every corner of the house. It is strange that, after mentioning this incident, Madame de Staël should be still so much in bondage to the prejudices of Paris, as to call a piece of such irresistible excitement a burlesque-the reason of this being, to all appearance, nothing more or less than that the dramatis persone are taken every one of them out of the lower classes-the peasant, the sutler's wife, the quibbling capuchin, the recruit, and the private soldiers. To put the soul of poetry feel it necessary to apologise for "the Blossom on Earth's Tree," as being novas Frondes, et non sua Poma, unless he should consider that the ingrafted slip is out of character with the parent stem. "The clouds are flying, the woods are sighing, And as the wave breaks with might, with might, "For the world feels cold, and the heart gets old, I have pluck'd the one blossom that hangs on earth's tree; into the coarse enjoyments of common life is no ordinary triumph. The Beggar's Bush, or Opera of Burns, is a greater effort of genius than many lyrics. But more than this, Schiller has thrown a dash of heroism, as well as the light of imagination, over these humble groups. The French revolution, it is said, "has brought out a new hero, the greatest of all,—the people." It is impossible, whilst these bold adventurers are comparing notes, and in the earnestness of proud and gay contention unbosoming their feelings, not to acknowledge, that in the camp and the day of battle the ranks of an army contain its thousands who have every thing of heroism equal with their captains, excepting epaulettes and fame. Mere mechanical command on one side, and obedience as mechanical on the other, are poor distinctions. The stronger this conviction-yet, when onej looks as from a height, on a scene such as Schiller here presents to us, and sees the streams from a thousand hills brought down at one man's bidding to meet in the same channel and rush forward-one and the same wave—we bend, with all around us, before the power and predominance of a single mind. Such seem to have been Hannibal, Wallenstein, and Napoleon, surrounded by their troops. Upon the gloomy background of this scene A bold attempt of an undaunted spirit A desperately daring man is painted. You know him, him the raiser up of hosts," Crime's worshipp'd idol, and the scourge of kingdoms→ The Emperor's prop, and object of his fear; Not he the pageant of our scene to-night. This translation is meant, we presume, as a sort of installation ode on Lord Leveson Gower's appointment to the War-office. We doubt whether Mr. Hume will receive it as a part payment on account. But it may become popular at the Horse Guards, and with military bands. There is certainly considerable talent, as well as considerable carelessness, displayed in parts; and, as usual, the passages of most poetry are those which are done the worst. We can give only Lord Leveson's version of the song with which the piece concludes. It is a sort of ballad, in which the principal characters of the play take each their verse : Are we mark'd for the morrow? Time's goblet runs low- Sergeant. "From heaven his lot derives its birth, Which still for treasure digs the earth, It digs and it shovels, and fashions with pain "Mid festal lamps, a fearful guest The trembling bridegroom counts him, His suit is not settled by parchment or form- "Why pales the cheek, why drops the tear? He has no lasting quarters here How can the brave love truly? His fate drives him onward, and how can the mind Be left with its loves and affections behind? In a spirit of foolish fairness, we will enable Lord Leveson thus far to take revenge. Should he think the translation that follows a more faded representation of the original than the above, it will only be another proof of the truth of Shakspeare's maxim,-" Were it as easy to do, as to know what ought to be done, chapels had been churches, and poor men's cottages princes' palaces." Many a critic has, we fear, been often justified in damning a play, and hissing a performance, though of infinitely less demerit than any possibility of his own. Our verses may claim, at least, the negative propriety of keeping somewhat closer to the metrical movement of the German; nor have we put into the mouth of a dragoon the words of a maudlin maiden, and let him speak of a soldier's death as the "term of his sorrows;" nor have we made the last notes of a flourish of trumpets for the charge send these veteran fatalists into the fight with an omen of discomfiture-in the disheartening close," who stakes it may lose"-ringing in their ears:— "To horse, my brave comrades, to horse! once met In the field a man is worth something yet, "Spirit and freedom are banish'd the land, Who calmly can look at Death full in the face, "All care about life he has thrown far away, Boldly he rides to his fate to-day If it comes not to-day, it will come to morrow! Then, if we've no morrow, to-day let us sup ""Tis folly to strive, and to struggle, and toil, He digs and he shovels, a pitiful knave, Till at fourscore he finds himself digging his grave. "One spring from his steed, and the rider alights, The bride-torch burns bright on the castle heights, He stops not of parley or ransom to hear- "Why mourneth the maiden, and weepeth so sore? Our billets are quarter'd the wide world o'er, Fierce destiny urges us forward too fast. "Then up, my brave comrades, and on with the bridle! The foam of youth's torrent is all the idle Brush off-but let us do our work ere night. Set your lives on the cast, and dash gallantly in: Poetry with Lord L. Gower is evidently an art and an accomplishment; not a prophetical impulse, or divine necessity of nature. There is nothing of" that which the spirit putteth into my mouth, that must I speak." The only object in publishing verses written for mere amusement, must be that their author may obtain, in some way or other, the opinion of the public; therefore we feel at liberty to tell Lord Leveson, that he has conceived, from the first, far too humble an idea of poetry, even as an art; and that, if he has found amusement in these matters, he has acquired an art far better than the poetaster's,-to wit, that of being easily amused. Nevertheless, there are scattered up and down sufficient proofs of a light and lively hand, and a versatile management of numbers, to show that (in case he be willing to stoop to the requisite degree of concealed labour) he may look to a higher station than that in which the present volumes will place him among the middling poets of the day. It is our deliberate opinion, that he should patiently adhere to his plan of translating the thoughts of others, rather than risk any rash experiments with his own. As far as the choice of a subject is concerned, he appears much better qualified to do justice to writers characterised by spirited movement, or familiar and pointed sallies, than to masters of a higher mood, or to the minglers of the bright and delicate shades of feeling and expression. He will find ample scope and verge enough in the hourly enlarging field of German literature. Its philosophy, indeed, is too subtle and airy for our coarse and mechanical understandings, which seem to insist on some practical application even in the case of metaphysics. But German poetry has an affinity with our own. There is a beautifully imagined ode by Klopstock, where he represents the Muse of Germany entering the lists, as for a race, with that of England. The cloud of dust and the intervening distance are supposed, as the competitors approach the goal, to conceal them from his sight. We moderns shall have shame, rather than honour, from the testimony borne in it to our mighty masters, if we can consent to an inglorious repose upon ancient, though indeed immortal, laurels. We would fain explain the woful exhibitions so long made by us in the Drama, by the single error of our having been tempted to try our fortune on this course under the cramping pressure of French pumps, rather than in the noble buskins of our forefathers, glorious in the dust of a hundred triumphs. Under this impression, we see no reason why we should shrink more in the case of tragic than in any other form of poetical rivalry from Klopstock's challenge. When the clouds roll from before that goal, God grant that our nineteenth century may show us (what, assuredly, our eighteenth cannot) an English dramatic poet, whose name is worthy to be mentioned with the names of Goethe and of Schiller! POEMS OF MR. ROBERT MONTGOMERY. The modern practice of Puffing.* The wise men of antiquity loved to convey instruction under the covering of apologue; and, though this practice of theirs is generally thought childish, we shall make no apology for adopting it on the present occasion. A generation which has bought eleven editions of a poem by Mr. Robert Montgomery, may well condescend to listen to a fable of Pilpay. one. A pious Brahmin, it is written, made a vow that on a certain day he would sacrifice a sheep, and on the appointed morning he went forth to buy There lived in his neighbourhood three rogues who knew of his vow, and laid a scheme for profiting by it. The first met him and said, "Oh, Brahmin, wilt thou buy a sheep? I have one fit for sacrifice."—" It is for that very purpose, said the holy man, "that I came forth this day." Then the impostor opened a bag, and brought out of it an unclean beast, an ugly dog, lame and blind. Thereon the Brahmin cried out, "Wretch, who touchest things impure, and utterest things untrue, callest thou that cur a sheep?" Truly," answered the other," it is a sheep of the finest fleece, and of the sweetest flesh. Oh, Brahmin, it will be an offering most acceptable to the gods."-" Friend," said the Brahmin, "either thou or I must be blind." Just then one of the accomplices came up. "Praised be the gods," said this second rogue, "that I have been saved the trouble of going to the market for a sheep! This is such a sheep as I wanted. For how much wilt thou sell it ?" When the Brahmin heard this, his mind waved to and fro, like one swinging in the air at a holy festival. "Sir," said he to the new comer, take heed what thou dost; this is no sheep, but an unclean cur. -"Oh Brahmin," said the new comer, "thou art drunk or mad!" At this time the third confederate drew near. "Let us ask this man,' said the Brahmin, "what the creature is, and I will stand by what he shall say." To this the others agreed; and the Brahmin called out, "Oh, stranger, what dost thou call this beast?"-" Surely O, Brahmin," said the knave," it is a fine sheep." Then the Brahmin said, "Surely the gods have taken away my senses," and he asked pardon of him who carried the dog, and bought it for a measure of rice and a pot of ghee, and offered it 46 The Omnipresence of the Deity, a Poem. By Robert Montgomery. London, 1828.-Vol. li. p. 193. April, 1830. |