To write a modern romance of chivalry, seems to be
much such a fantasy as to build a modern abbey, or an English pagoda.
For once, however, it may be excused as a pretty caprice of genius; but
a second production of the same sort is entitled to less indulgence, and
imposes a sort of duty to drive the author from so idle a task, by a
fair exposition of the faults which are in a manner inseparable from its
execution. To enable our readers to judge fairly of the present
performance, we shall first present them with a brief abstract of the
story; and then endeavour to point out what seems to be exceptionable,
and what is praiseworthy, in the execution.
[Here follows a detailed outline of the plot of _Marmion_.]
Now, upon this narrative, we are led to observe, in the first place,
that it forms a very scanty and narrow foundation for a poem of such
length as is now before us. There is scarcely matter enough in the main
story for a ballad of ordinary dimensions; and the present work is not
so properly diversified with episodes and descriptions, as made up and
composed of them.
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