English literary criticism Part 13

Man is a poetical animal: and those of us who do not study the principles of poetry, act upon them all our lives, like Moliere's _Bourgeois Gentilhomme_, who had always spoken prose without knowing it. The child is a poet, in fact, when he first plays at Hide-and-seek, or repeats the story of Jack the Giant-killer; the shepherd-boy is a poet when he first crowns his mistress with a garland of flowers; the countryman, when he stops to look at the rainbow; the city apprentice, when he gazes after the Lord Mayor's show; the miser, when he hugs his gold; the courtier, who builds his hopes upon a smile; the savage, who paints his idol with blood; the slave, who wors.h.i.+ps a tyrant; or the tyrant, who fancies himself a G.o.d; the vain, the ambitious, the proud, the choleric man, the hero and the coward, the beggar and the king, the rich and the poor, the young and the old, all live in a world of their own making; and the poet does no more than describe what all the others think and act. If his art is folly and madness, it is folly and madness at second hand. "There is warrant for it." Poets alone have not "such seething brains, such shaping fantasies, that apprehend more than cooler reason" can.

The lunatic, the lover, and the poet Are of imagination all compact.

One sees more devils than vast h.e.l.l can hold, That is, the madman: the lover, all as frantic, Sees Helen's beauty in a brow of Egypt.

The poet's eye, in a fine frenzy rolling, Doth glance from heav'n to earth, from earth to heav'n; And, as imagination bodies forth The forms of things unknown, the poet's pen Turns them to shape, and gives to airy nothing A local habitation and a name.

Such tricks hath strong imagination.

If poetry is a dream, the business of life is much the same. If it is a fiction, made up of what we wish things to be, and fancy that they are, because we wish them so, there is no other nor better reality.

Ariosto has described the loves of Angelica and Medoro: but was not Medoro, who carved the name of his mistress on the barks of trees, as much enamoured of her charms as he? Homer has celebrated the anger of Achilles: but was not the hero as mad as the poet? Plato banished the poets from his Commonwealth, lest their descriptions of the natural man should spoil his mathematical man, who was to be without pa.s.sions and affections--who was neither to laugh nor weep, to feel sorrow nor anger, to be cast down nor elated by anything. This was a chimera, however, which never existed but in the brain of the inventor; and Homer's poetical world has outlived Plato's philosophical Republic.

Poetry then is an imitation of nature, but the imagination and the pa.s.sions are a part of man's nature. We shape things according to our wishes and fancies, without poetry; but poetry is the most emphatical language that can be found for those creations of the mind "which ecstasy is very cunning in". Neither a mere description of natural objects, nor a mere delineation of natural feelings, however distinct or forcible, const.i.tutes the ultimate end and aim of poetry, without the heightenings of the imagination. The light of poetry is not only a direct but also a reflected light, that while it shows us the object, throws a sparkling radiance on all around it: the flame of the pa.s.sions, communicated to the imagination, reveals to us, as with a flash of lightning, the inmost recesses of thought, and penetrates our whole being. Poetry represents forms chiefly as they suggest other forms: feelings, as they suggest forms or other feelings. Poetry puts a spirit of life and motion into the universe. It describes the flowing, not the fixed. It does not define the limits of sense, or a.n.a.lyse the distinctions of the understanding, but signifies the excess of the imagination beyond the actual or ordinary impression of any object or feeling. The poetical impression of any object is that uneasy, exquisite sense of beauty or power that cannot be contained within itself, that is impatient of all limit, that (as flame bends to flame) strives to link itself to some other image of kindred beauty or grandeur, to enshrine itself, as it were, in the highest forms of fancy, and to relieve the aching sense of pleasure by expressing it in the boldest manner, and by the most striking examples of the same quality in other instances. Poetry, according to Lord Bacon, for this reason "has something divine in it, because it raises the mind and hurries it into sublimity, by conforming the shows of things to the desires of the soul, instead of subjecting the soul to external things, as reason and history do". It is strictly the language of the imagination; and the imagination is that faculty which represents objects, not as they are in themselves, but as they are moulded by other thoughts and feelings, into an infinite variety of shapes and combinations of power. This language is not the less true to nature, because it is false in point of fact; but so much the more true and natural, if it conveys the impression which the object under the influence of pa.s.sion makes on the mind. Let an object, for instance, be presented to the senses in a state of agitation or fear, and the imagination will distort or magnify the object, and convert it into the likeness of whatever is most proper to encourage the fear. "Our eyes are made the fools" of our other faculties. This is the universal law of the imagination:

That if it would but apprehend some joy, It comprehends some bringer of that joy: Or in the night imagining some fear, How easy is each bush suppos'd a bear!

When Iachimo says of Imogen:

---The flame o' th' taper Bows toward her, and would under-peep her lids To see the enclosed lights--

This pa.s.sionate interpretation of the motion of the flame, to accord with the speaker's own feelings, is true poetry. The lover, equally with the poet, speaks of the auburn tresses of his mistress as locks of s.h.i.+ning gold, because the least tinge of yellow in the hair has, from novelty and a sense of personal beauty, a more l.u.s.trous effect to the imagination than the purest gold. We compare a man of gigantic stature to a tower: not that he is anything like so large, but because the excess of his size beyond what we are accustomed to expect, or the usual size of things of the same cla.s.s, produces by contrast a greater feeling of magnitude and ponderous strength than another object of ten times the same dimensions. The intensity of the feeling makes up for the disproportion of the objects. Things are equal to the imagination, which have the power of affecting the mind with an equal degree of terror, admiration, delight, or love. When Lear calls upon the heavens to avenge his cause, "for they are old like him", there is nothing extravagant or impious in this sublime identification of his age with theirs; for there is no other image which could do justice to the agonizing sense of his wrongs and his despair!

Poetry is the high-wrought enthusiasm of fancy and feeling. As in describing natural objects, it impregnates sensible impressions with the forms of fancy, so it describes the feelings of pleasure or pain, by blending them with the strongest movements of pa.s.sion, and the most striking forms of nature. Tragic poetry, which is the most impa.s.sioned species of it, strives to carry on the feeling to the utmost point of sublimity or pathos, by all the force of comparison or contrast: loses the sense of present suffering in the imaginary exaggeration of it: exhausts the terror or pity by an unlimited indulgence of it: grapples with impossibilities in its desperate impatience of restraint: throws us back upon the past, forward into the future: brings every moment of our being or object of nature in startling review before us: and in the rapid whirl of events, lifts us from the depths of woe to the highest contemplations on human life. When Lear says of Edgar, "Nothing but his unkind daughters could have brought him to this", what a bewildered amazement, what a wrench of the imagination, that cannot be brought to conceive of any other cause of misery than that which has bowed it down, and absorbs all other sorrow in its own! His sorrow, like a flood, supplies the sources of all other sorrow. Again, when he exclaims in the mad scene, "The little dogs and all, Tray, Blanche, and Sweetheart, see, they bark at me!" it is pa.s.sion lending occasion to imagination to make every creature in league against him, conjuring up ingrat.i.tude and insult in their least looked-for and most galling shapes, searching every thread and fibre of his heart, and finding out the last remaining image of respect or attachment in the bottom of his breast, only to torture and kill it! In like manner, the "So I am" of Cordelia gushes from her heart like a torrent of tears, relieving it of a weight of love and of supposed ingrat.i.tude, which had pressed upon it for years. What a fine return of the pa.s.sion upon itself is that in Oth.e.l.lo--with what a mingled agony of regret and despair he clings to the last traces of departed happiness, when he exclaims:

---O now, for ever, Farewell the tranquil mind: farewell content!

Farewell the plumed troop, and the big wars, That make ambition virtue! O, farewell!

Farewell the neighing steed, and the shrill trump, The spirit-stirring drum, the ear-piercing fife, The royal banner; and all quality, Pride, pomp, and circ.u.mstance of glorious war!

And O you mortal engines, whose rude throats Th' immortal Jove's dread clamours counterfeit, Farewell! Oth.e.l.lo's occupation's gone!

How his pa.s.sion lashes itself up and swells and rages like a tide in its sounding course, when, in answer to the doubts expressed of his returning love, he says:

Never, Iago. Like to the Pontic sea, Whose icy current and compulsive course Ne'er feels retiring ebb, but keeps due on To the Propontic and the h.e.l.lespont: Even so my b.l.o.o.d.y thoughts, with violent pace, Shall ne'er look back, ne'er ebb to humble love, Till that a capable and wide revenge Swallow them up.

The climax of his expostulation afterwards with Desdemona is at that pa.s.sage:

But there where I have garner'd up my heart ...

To be discarded thence!

One mode in which the dramatic exhibition of pa.s.sion excites our sympathy without raising our disgust is that, in proportion as it sharpens the edge of calamity and disappointment, it strengthens the desire of good. It enhances our consciousness of the blessing, by making us sensible of the magnitude of the loss. The storm of pa.s.sion lays bare and shows us the rich depths of the human soul: the whole of our existence, the sum total of our pa.s.sions and pursuits, of that which we desire and that which we dread, is brought before us by contrast; the action and reaction are equal; the keenness of immediate suffering only gives us a more intense aspiration after, and a more intimate partic.i.p.ation with the antagonist world of good: makes us drink deeper of the cup of human life: tugs at the heart-strings: loosens the pressure about them, and calls the springs of thought and feeling into play with tenfold force.

Impa.s.sioned poetry is an emanation of the moral and intellectual part of our nature, as well as of the sensitive--of the desire to know, the will to act, and the power to feel; and ought to appeal to these different parts of our const.i.tution, in order to be perfect. The domestic or prose tragedy, which is thought to be the most natural, is in this sense the least so, because it appeals almost exclusively to one of these faculties, our sensibility. The tragedies of Moore and Lillo, [Footnote: For instance, _The Gamester_ and _George Barnwell_ They are to be found respectively in vols. xiv. and xi. of the _British Theatre_.] for this reason, however affecting at the time, oppress and lie like a dead weight upon the mind, a load of misery which it is unable to throw off; the tragedy of Shakespeare, which is true poetry, stirs our inmost affections; abstracts evil from itself by combining it with all the forms of imagination, and with the deepest workings of the heart; and rouses the whole man within us.

The pleasure, however, derived from tragic poetry is not anything peculiar to it as poetry, as a fict.i.tious and fanciful thing. It is not an anomaly of the imagination. It has its source and ground-work in the common love of strong excitement. As Mr. Burke observes, people flock to see a tragedy; but if there were a public execution in the next street, the theatre would very soon be empty. It is not then the difference between fiction and reality that solves the difficulty.

Children are satisfied with the stories of ghosts and witches in plain prose: nor do the hawkers of full, true, and particular accounts of murders and executions about the streets find it necessary to have them turned into penny ballads, before they can dispose of these interesting and authentic doc.u.ments. The grave politician drives a thriving trade of abuse and calumnies poured out against those whom he makes his enemies for no other end than that he may live by them.

The popular preacher makes less frequent mention of Heaven than of h.e.l.l. Oaths and nicknames are only a more vulgar sort of poetry or rhetoric. We are as fond of indulging our violent pa.s.sions as of reading a description of those of others. We are as p.r.o.ne to make a torment of our fears, as to luxuriate in our hopes of good. If it be asked, Why we do so, the best answer will be, Because we cannot help it. The sense of power is as strong a principle in the mind as the love of pleasure. Objects of terror and pity exercise the same despotic control over it as those of love or beauty. It is as natural to hate as to love, to despise as to admire, to express our hatred or contempt, as our love or admiration:

Masterless pa.s.sion sways us to the mood Of what it likes or loathes.

Not that we like what we loathe: but we like to indulge our hatred and scorn of it, to dwell upon it, to exasperate our idea of it by every refinement of ingenuity and extravagance of ill.u.s.tration, to make it a bugbear to ourselves, to point it out to others in all the splendour of deformity, to embody it to the senses, to stigmatize it by name, to grapple with it in thought--in action, to sharpen our intellect, to arm our will against it, to know the worst we have to contend with, and to contend with it to the utmost. Poetry is only the highest eloquence of pa.s.sion, the most vivid form of expression that can be given to our conception of anything, whether pleasurable or painful, mean or dignified, delightful or distressing. It is the perfect coincidence of the image and the words with the feeling we have, and of which we cannot get rid in any other way, that gives an instant "satisfaction to the thought". This is equally the origin of wit and fancy, of comedy and tragedy, of the sublime and pathetic. When Pope says of the Lord Mayor's show--

Now night descending, the proud scene is o'er, But lives in Settle's numbers one day more!

when Collins makes Danger, "with limbs of giant mould".

----Throw him on the steep Of some loose hanging rock asleep:

when Lear calls out in extreme anguish--

Ingrat.i.tude, thou marble-hearted fiend, More hideous, when thou shew'st thee in a child, Than the sea-monster!

the pa.s.sion of contempt in the one case, of terror in the other, and of indignation in the last, is perfectly satisfied. We see the thing ourselves, and show it to others as we feel it to exist, and as, in spite of ourselves, we are compelled to think of it. The imagination, by thus embodying and turning them to shape, gives an obvious relief to the indistinct and importunate cravings of the will. We do not wish the thing to be so; but we wish it to appear such as it is. For knowledge is conscious power; and the mind is no longer in this case the dupe, though it may be the victim, of vice or folly.

Poetry is in all its shapes the language of the imagination and the pa.s.sions, of fancy and will. Nothing, therefore, can be more absurd than the outcry which has been sometimes raised by frigid and pedantic critics for reducing the language of poetry to the standard of common sense and reason; for the end and use of poetry, "both at the first and now, was and is to hold the mirror up to nature", seen through the medium of pa.s.sion and imagination, not divested of that medium by means of literal truth or abstract reason. The painter of history might as well be required to represent the face of a person who has just trod upon a serpent with the still-life expression of a common portrait, as the poet to describe the most striking and vivid impressions which things can be supposed to make upon the mind, in the language of common conversation. Let who will strip nature of the colours and the shapes of fancy, the poet is not bound to do so; the impressions of common sense and strong imagination, that is, of pa.s.sion and indifference, cannot be the same, and they must have a separate language to do justice to either. Objects must strike differently upon the mind, independently of what they are in themselves, as long as we have a different interest in them, as we see them in a different point of view, nearer or at a greater distance (morally or physically speaking) from novelty, from old acquaintance, from our ignorance of them, from our fear of their consequences, from contrast, from unexpected likeness. We can no more take away the faculty of the imagination, than we can see all objects without light or shade. Some things must dazzle us by their preternatural light; others must hold us in suspense, and tempt our curiosity to explore their obscurity. Those who would dispel these various illusions, to give us their drab-coloured creation in their stead, are not very wise. Let the naturalist, if he will, catch the glow-worm, carry it home with him in a box, and find it next morning nothing but a little gray worm: let the poet or the lover of poetry visit it at evening, when beneath the scented hawthorn and the crescent moon it has built itself a palace of emerald light. This is also one part of nature, one appearance which the glow-worm presents, and that not the least interesting; so poetry is one part of the history of the human mind, though it is neither science nor philosophy. It cannot be concealed, however, that the progress of knowledge and refinement has a tendency to circ.u.mscribe the limits of the imagination, and to clip the wings of poetry. The province of the imagination is princ.i.p.ally visionary, the unknown and undefined: the understanding restores things to their natural boundaries, and strips them of their fanciful pretensions. Hence the history of religious and poetical enthusiasm is much the same; and both have received a sensible shock from the progress of experimental philosophy. It is the undefined and uncommon that gives birth and scope to the imagination; we can only fancy what we do not know. As in looking into the mazes of a tangled wood we fill them with what shapes we please--with ravenous beasts, with caverns vast, and drear enchantments--so in our ignorance of the world about us, we make G.o.ds or devils of the first object we see, and set no bounds to the wilful suggestions of our hopes and fears:

And visions, as poetic eyes avow, Hang on each leaf and cling to every bough.

There can never be another Jacob's Dream. Since that time, the heavens have gone farther off, and grown astronomical. They have become averse to the imagination; nor will they return to us on the squares of the distances, or on Doctor Chalmers's Discourses. Rembrandt's picture brings the matter nearer to us. It is not only the progress of mechanical knowledge, but the necessary advances of civilization, that are unfavourable to the spirit of poetry. We not only stand in less awe of the preternatural world, but we can calculate more surely, and look with more indifference, upon the regular routine of this. The heroes of the fabulous ages rid the world of monsters and giants. At present we are less exposed to the vicissitudes of good or evil, to the incursions of wild beasts or "bandit fierce", or to the unmitigated fury of the elements. The time has been that "our fell of hair would at a dismal treatise rouse, and stir as life were in it". But the police spoils all; and we now hardly so much as dream of a midnight murder. _Macbeth_ is only tolerated in this country for the sake of the music; and in the United States of America, where the philosophical principles of government are carried still further in theory and practice, we find that the _Beggar's Opera_ is hooted from the stage.

Society, by degrees, is constructed into a machine that carries us safely and insipidly from one end of life to the other, in a very comfortable prose style:

Obscurity her curtain round them drew, And siren Sloth a dull quietus sung.

The remarks which have been here made, would, in some measure, lead to a solution of the question of the comparative merits of painting and poetry. I do not mean to give any preference, but it should seem that the argument which has been sometimes set up, that painting must affect the imagination more strongly, because it represents the image more distinctly, is not well founded. We may a.s.sume without much temerity that poetry is more poetical than painting. When artists or connoisseurs talk on stilts about the poetry of painting, they show that they know little about poetry, and have little love for the art.

Painting gives the object itself; poetry what it implies. Painting embodies what a thing contains in itself; poetry suggests what exists out of it, in any manner connected with it. But this last is the proper province of the imagination. Again, as it relates to pa.s.sion, painting gives the event, poetry the progress of events; but it is during the progress, in the interval of expectation and suspense, while our hopes and fears are strained to the highest pitch of breathless agony, that the pinch of the interest lies:

Between the acting of a dreadful thing And the first motion, all the interim is Like a phantasma, or a hideous dream The mortal instruments are then in council; And the state of man, like to a little kingdom, Suffers then the nature of an insurrection.

But by the time that the picture is painted, all is over. Faces are the best part of a picture; but even faces are not what we chiefly remember in what interests us most. But it may be asked then, Is there anything better than Claude Lorraine's landscapes, than t.i.tian's portraits, than Raphael's cartoons, or the Greek statues? Of the two first I shall say nothing, as they are evidently picturesque rather than imaginative. Raphael's cartoons are certainly the finest comments that ever were made on the Scriptures. Would their effect be the same if we were not acquainted with the text? But the New Testament existed before the cartoons. There is one subject of which there is no cartoon: Christ was.h.i.+ng the feet of the disciples the night before His death.

But that chapter does not need a commentary. It is for want of some such resting-place for the imagination that the Greek statues are little else than specious forms. They are marble to the touch and to the heart. They have not an informing principle within them. In their faultless excellence they appear sufficient to themselves. By their beauty they are raised above the frailties of pa.s.sion or suffering.

By their beauty they are deified. But they are not objects of religious faith to us, and their forms are a reproach to common humanity. They seem to have no sympathy with us, and not to want our admiration.

Poetry in its matter and form is natural imagery or feeling, combined with pa.s.sion and fancy. In its mode of conveyance, it combines the ordinary use of language with musical expression. There is a question of long standing in what the essence of poetry consists, or what it is that determines why one set of ideas should be expressed in prose, another in verse. Milton has told us his idea of poetry in a single line:

Thoughts that voluntary move Harmonious numbers.

As there are certain sounds that excite certain movements, and the song and dance go together, so there are, no doubt, certain thoughts that lead to certain tones of voice, or modulations of sound, and change "the words of Mercury into the songs of Apollo". There is a striking instance of this adaptation of the movement of sound and rhythm to the subject, in Spenser's description of the Satyrs accompanying Una to the cave of Sylva.n.u.s:

So from the ground she fearless doth arise, And walketh forth without suspect of crime.

They, all as glad as birds of joyous prime, Thence lead her forth, about her dancing round, Shouting and singing all a shepherd's rhyme; And with green branches strewing all the ground, Do wors.h.i.+p her as queen with olive garland crown'd.

And all the way their merry pipes they sound, That all the woods and doubled echoes ring; And with their horned feet do wear the ground, Leaping like wanton kids in pleasant spring; So towards old Sylva.n.u.s they her bring, Who with the noise awaked, cometh out.

On the contrary, there is nothing either musical or natural in the ordinary construction of language. It is a thing altogether arbitrary and conventional. Neither in the sounds themselves, which are the voluntary signs of certain ideas, nor in their grammatical arrangements in common speech, is there any principle of natural imitation, or correspondence to the individual ideas or to the tone of feeling with which they are conveyed to others. The jerks, the breaks, the inequalities and harshnesses of prose are fatal to the flow of a poetical imagination, as a jolting road or a stumbling horse disturbs the reverie of an absent man. But poetry "makes these odds all even".

It is the music of language, answering to the music of the mind, untying, as it were, "the secret soul of harmony". Wherever any object takes such a hold of the mind as to make us dwell upon it, and brood over it, melting the heart in tenderness, or kindling it to a sentiment of enthusiasm; wherever a movement of imagination or pa.s.sion is impressed on the mind, by which it seeks to prolong and repeat the emotion, to bring all other objects into accord with it, and to give the same movement of harmony, sustained and continuous, or gradually varied, according to the occasion, to the sounds that express it--this is poetry. The musical in sound is the sustained and continuous; the musical in thought is the sustained and continuous also. There is a near connection between music and deep-rooted pa.s.sion. Mad people sing.

As often as articulation pa.s.ses naturally into intonation, there poetry begins. Where one idea gives a tone and colour to others, where one feeling melts others into it, there can be no reason why the same principle should not be extended to the sounds by which the voice utters these emotions of the soul, and blends syllables and lines into each other. It is to supply the inherent defect of harmony in the customary mechanism of language, to make the sound an echo to the sense, when the sense becomes a sort of echo to itself--to mingle the tide of verse, "the golden cadences of poetry", with the tide of feeling, flowing and murmuring as it flows--in short, to take the language of the imagination from off the ground, and enable it to spread its wings where it may indulge its own impulses:

Sailing with supreme dominion Through the azure deep of air--

without being stopped, or fretted, or diverted with the abruptnesses and petty obstacles, and discordant flats and sharps of prose, that poetry was invented. It is to common language what springs are to a carriage, or wings to feet. In ordinary speech we arrive at a certain harmony by the modulations of the voice: in poetry the same thing is done systematically by a regular collocation of syllables. It has been well observed, that every one who declaims warmly, or grows intent upon a subject, rises into a sort of blank verse or measured prose.

The merchant, as described in Chaucer, went on his way "sounding always the increase of his winning". Every prose writer has more or less of rhythmical adaptation, except poets who, when deprived of the regular mechanism of verse, seem to have no principle of modulation left in their writings.

An excuse might be made for rhyme in the same manner. It is but fair that the ear should linger on the sounds that delight it, or avail itself of the same brilliant coincidence and unexpected recurrence of syllables, that have been displayed in the invention and collocation of images. It is allowed that rhyme a.s.sists the memory; and a man of wit and shrewdness has been heard to say, that the only four good lines of poetry are the well-known ones which tell the number of days in the months of the year:

Thirty days hath September, &c.