The Poetical Works of Beattie, Blair, and Falconer: With Lives, Critical Dissertations, and Explanatory Notes — John Shaqi
The Poetical Works of Beattie, Blair, and Falconer: With Lives, Critical Dissertations, and Explanatory NotesBeattie, James
General
The Poetical Works of Beattie, Blair, and Falconer: With Lives, Critical Dissertations, and Explanatory Notes
Beattie, James
English poetry
Again, scenery will help sometimes to settle a question with a young
mind, whose intellectual and imaginative faculties are nearly equal,
whether it shall turn permanently to philosophy or to poetry. Such
dilemmas or Hercules choices are not uncommon; and there is a period in
life when the sight of a mountain, or a sunset, or an autumn river, amid
its yellow woods, can have more power than even a book, or the influence
of an older mind, or a young love-passion, in deciding them. Again,
early intimacy with fine scenery furnishes the poetic mind with an
exhaustless supply of images. These being sown in youth, sown broadcast,
and without any effort of the mind to receive or retain them, bear fruit
for ever. It is a shower of morning manna, which no after fervours of
noon, or chills of evening, are able to melt or freeze. Or, shall we say
the mind of the young, especially if gifted, is a daguerreotype plate of
the finest construction, and when surrounded by romantic or lovely
scenes, it receives and preserves them to the last, and can reproduce
them, too, in ever-varying forms, and perpetual succession? And hence,
in fine, it follows, that the greatest poets have either been brought up
in the country, or have early come in contact with a beautiful nature,
as the names of Homer, Virgil, Shakspeare, Milton, Thomson, Burns,
Scott, Wordsworth, Shelley, Byron, Wilson, and Thomas Aird, abundantly
prove.
Beattie employs the greater part of his first Canto of the "Minstrel" in
showing the influence of Nature on the dawning mind of a poet. And there
can be little doubt that it is the scenery of his own native region, and
the progress of his own mind, that he has described. "The long, long
vale withdrawn," is the Howe of the Mearns--the "uplands" whence he
views it, are the hills of Garvock--the "mountain grey," is the Grampian
ridge to the north-west--the "blue main" is the German Ocean, expanding
eastward--and the "vale" where the hermit is overheard pouring out his
plaint, may not inaptly be figured by that portion of Glen Esk, which
meets the all-beautiful Burn, and where "rocks on rocks are piled by
magic spell," and where, then as now,
"Southward a mountain rose with easy swell,
Whose long, long groves eternal murmur made."
And, besides, there is his famous piece of cloud scenery, beginning,
"And oft the craggy cliff he loved to climb,"
the truth of which any one may attest by walking up, in the cloudy and
dark day, the Cairn-a-Mount, a lofty knoll, across which a road leads to
Deeside, to the north of the poet's birthplace, and watching the sea of
vapour boiling, shifting, sinking, rising, tumultuating at his feet.
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