'Mozart composed, whenever he had the opportunity, in the soft air of fine weather. His Don Giovanni and the Requiem were written in a bowling-green and a garden. Chatterton found a full moon favourable to poetic invention, and he often sat up all night to enjoy its solemn shining. Winter-time was most agreeable to Crabbe. He delighted in a heavy fall of snow; and it was during a severe storm which blocked him within doors, that he portrayed the strange miseries of Sir Eustace Grey.'
There may be something in this supposed influence of temperature
and seasons; but there certainly is no general law observable in the matter. Shakspeare asks
'A classification of authors to suit all hours and weathers might be amusing. Ariosto spans a wet afternoon like a rainbow. North winds and sleet agree with Junius. The visionary tombs of Dante glimmer into awfuller perspective by moonlight. Crabbe is never so pleasing as on the hot shingle, when we look up from his verses at the sleepy sea, and count the
'Shakspeare is always most welcome at the chimney-corner; so is Goldsmith: who does not wish Dr Primrose to call in the evening, and Olivia to preside at the urn? Elia affirms, that there is no such thing as reading or writing, but by a candle; he is confident that Milton composed the morning hymn of Eden with a clear fire burning in the room; and in Taylor's gorgeous description of sunrise, he found the smell of the lamp quite overpowering.... But Elia,' he says further on, 'carried his fireside theory too far. Some people have tried "the affectation of a book at noonday in gardens and sultry arbours," without finding their task of love to be unlearnt. Indeed, many books belong to sunshine, and should be read out of doors. Clover, violets, and hedge-roses, breathe from their leaves; they are most lovable in cool lanes, along field-paths, or upon stiles overhung by hawthorn; while the black-bird pipes, and the nightingale bathes its brown feathers in the twilight copse.
'The sensation is heightened when an author is read amid the scenery or the manners which he describesas Barrow studied the sermons of Chrysostom in his own see of Constantinople. What daisies sprinkle the walks of Cowper, if we take his Task for a companion through the lanes of Weston! Under the thick hedges of Horton, darkening either
bank of the field in the September moonlight, Il Penseroso is still more pensive. And whoever would feel at his heart the deep pathos of Collins's lamentation for Thomson, must murmur it to himself, as he glides upon the stealing wave, by the breezy lawns and elms of Richmond.'
Our author has some judicious remarks on 'Criticism, its Curiosities and Researches,' and is himself a critic of refined and delicate appreciation. We certainly do not agree with him in thinking that the literature of the last century is superior to that of the present; but we can nevertheless admit that many of his favourite writers are deserving of a higher and more reverent regard than is now generally awarded them. We would quarrel with no man about his preferences; still, we cannot hold Mr Willmott justified in such sweeping condemnation of our current literature as he appears disposed to pass upon it. It would seem, indeed, that in his disgust at 'the corrupted streams of popular entertainment,' he has not cared to make himself acquainted with the best of our modern writers. Of these he seemsif we may judge from his total oversight of themto have hardly a knowledge of the names. 'He lives,' as he admits, 'among the society of an elder age.' Here, however, he numbers 'tasteful learning with the chiefest blessings of his home.' If he had lived in the last century, he would probably have gone back for his idols to an earlier one; and yet his remarks on taste and criticism are of a catholic nature, although his just application of their canons have this chronological boundary. We have no room, however, for his disquisition on these elegant subjects; neither can we follow our accomplished clergyman into his disquisitions on fiction, history, biography, philosophy, and its pleasures, nor the 'domestic interiors' of taste and learning. We had intended to quote some fine sentences on the consolations of poetry, but find we have not room for them. The reader will do well to get the book, and read them there. It is a work altogether well worth reading. Nay, it will bear reading many times, and even become pleasanter as one's acquaintance with it increases. Indeed, it is not at all the kind of book to be run through rapidly, and so disposed of; the thought and observation in it are closely packed and methodised; and if you wish to derive any benefit, or even pleasure from the perusal, you will need to read deliberately. We should say the author thoroughly enjoyed his work while he was engaged in it; but the workmanship exhibits everywhere the greatest care and patience. The same habit of mind employed in writing it will be required in the reading. We may describe the book as being a graceful, suggestive review of literature, considered with regard to its enjoyments. Refined, scholarly, tolerant, and judicious in all his tastes and sympathies, the author's influence upon other minds cannot be otherwise than wholesome, elevating, and benignant.