LITMIR.BIZ

Скачать книгу

imagery, the lines in THE EXCURSION, pp. 96, 97, and 98, may be taken, if not as a striking instance, yet as an illustration of my meaning. It must be some strong motive — (as, for instance, that the description was necessary to the intelligibility of the tale) — which could induce me to describe in a number of verses what a draughtsman could present to the eye with incomparably greater satisfaction by half a dozen strokes of his pencil, or the painter with as many touches of his brush. Such descriptions too often occasion in the mind of a reader, who is determined to understand his author, a feeling of labour, not very dissimilar to that, with which he would construct a diagram, line by line, for a long geometrical proposition. It seems to be like taking the pieces of a dissected map out of its box. We first look at one part, and then at another, then join and dove-tail them; and when the successive acts of attention have been completed, there is a retrogressive effort of mind to behold it as a whole. The poet should paint to the imagination, not to the fancy; and I know no happier case to exemplify the distinction between these two faculties. Masterpieces of the former mode of poetic painting abound in the writings of Milton, for example:

      “The fig-tree; not that kind for fruit renown’d,

      “But such as at this day, to Indians known,

      “In Malabar or Decan spreads her arms

      “Branching so broad and long, that in the ground

      “The bended twigs take root, and daughters grow

      “About the mother tree, a pillar’d shade

      “High overarch’d and ECHOING WALKS BETWEEN;

      “There oft the Indian herdsman, shunning heat,

      “Shelters in cool, and tends his pasturing herds

      “At hoop-holes cut through thickest shade.”

      This is creation rather than painting, or if painting, yet such, and with such copresence of the whole picture flashed at once upon the eye, as the sun paints in a camera obscura. But the poet must likewise understand and command what Bacon calls the vestigia communia of the senses, the latency of all in each, and more especially as by a magical penny duplex, the excitement of vision by sound and the exponents of sound. Thus, “The echoing walks between,” may be almost said to reverse the fable in tradition of the head of Memnon, in the Egyptian statue. Such may be deservedly entitled the creative words in the world of imagination.

      The second division respects an apparent minute adherence to matter-of-fact in character and Incidents; a biographical attention to probability, and an anxiety of explanation and retrospect. Under this head I shall deliver, with no feigned diffidence, the results of my best reflection on the great point of controversy between Mr. Wordsworth and his objectors; namely, on the choice of his characters. I have already declared, and, I trust justified, my utter dissent from the mode of argument which his critics have hitherto employed. To their question, “Why did you choose such a character, or a character from such a rank of life?” — the poet might in my opinion fairly retort: why with the conception of my character did you make wilful choice of mean or ludicrous associations not furnished by me, but supplied from your own sickly and fastidious feelings? How was it, indeed, probable, that such arguments could have any weight with an author, whose plan, whose guiding principle, and main object it was to attack and subdue that state of association, which leads us to place the chief value on those things on which man differs from man, and to forget or disregard the high dignities, which belong to Human Nature, the sense and the feeling, which may be, and ought to be, found in all ranks? The feelings with which, as Christians, we contemplate a mixed congregation rising or kneeling before their common Maker, Mr. Wordsworth would have us entertain at all times, as men, and as readers; and by the excitement of this lofty, yet prideless impartiality in poetry, he might hope to have encouraged its continuance in real life. The praise of good men be his! In real life, and, I trust, even in my imagination, I honour a virtuous and wise man, without reference to the presence or absence of artificial advantages. Whether in the person of an armed baron, a laurelled bard, or of an old Pedlar, or still older Leech-gatherer, the same qualities of head and heart must claim the same reverence. And even in poetry I am not conscious, that I have ever suffered my feelings to be disturbed or offended by any thoughts or images, which the poet himself has not presented.

      But yet I object, nevertheless, and for the following reasons. First, because the object in view, as an immediate object, belongs to the moral philosopher, and would be pursued, not only more appropriately, but in my opinion with far greater probability of success, in sermons or moral essays, than in an elevated poem. It seems, indeed, to destroy the main fundamental distinction, not only between a poem and prose, but even between philosophy and works of fiction, inasmuch as it proposes truth for its immediate object, instead of pleasure. Now till the blessed time shall come, when truth itself shall be pleasure, and both shall be so united, as to be distinguishable in words only, not in feeling, it will remain the poet’s office to proceed upon that state of association, which actually exists as general; instead of attempting first to make it what it ought to be, and then to let the pleasure follow. But here is unfortunately a small hysteron-proteron. For the communication of pleasure is the introductory means by which alone the poet must expect to moralize his readers. Secondly: though I were to admit, for a moment, this argument to be groundless: yet how is the moral effect to be produced, by merely attaching the name of some low profession to powers which are least likely, and to qualities which are assuredly not more likely, to be found in it? The Poet, speaking in his own person, may at once delight and improve us by sentiments, which teach us the independence of goodness, of wisdom, and even of genius, on the favours of fortune. And having made a due reverence before the throne of Antonine, he may bow with equal awe before Epictetus among his fellow-slaves

      —— —”and rejoice

      In the plain presence of his dignity.”

      Who is not at once delighted and improved, when the Poet Wordsworth himself exclaims,

      “Oh! many are the Poets that are sown

      By Nature; men endowed with highest gifts

      The vision and the faculty divine,

      Yet wanting the accomplishment of verse,

      Nor having e’er, as life advanced, been led

      By circumstance to take unto the height

      The measure of themselves, these favoured Beings,

      All but a scattered few, live out their time,

      Husbanding that which they possess within,

      And go to the grave, unthought of. Strongest minds

      Are often those of whom the noisy world

      Hears least.”

      To use a colloquial phrase, such sentiments, in such language, do one’s heart good; though I for my part, have not the fullest faith in the truth of the observation. On the contrary I believe the instances to be exceedingly rare; and should feel almost as strong an objection to introduce such a character in a poetic fiction, as a pair of black swans on a lake, in a fancy landscape. When I think how many, and how much better books than Homer, or even than Herodotus, Pindar or Aeschylus, could have read, are in the power of almost every man, in a country where almost every man is instructed to read and write; and how restless, how difficultly hidden, the powers of genius are; and yet find even in situations the most favourable, according to Mr. Wordsworth, for the formation of a pure and poetic language; in situations which ensure familiarity with the grandest objects of the imagination; but one Burns, among the shepherds of Scotland, and not a single poet of humble life among those of English lakes and mountains; I conclude, that Poetic Genius is not only a very delicate but a very rare plant.

      But be this as it may, the feelings with which,

      “I think of Chatterton, the marvellous Boy,

      The sleepless Soul, that perished in his pride;

      Of Burns, who walk’d in glory and in joy

      Behind his plough, upon the

Скачать книгу