LITMIR.BIZ

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That he had, in youth, the feelings of a poet I believe—for there are glimpses of extreme delicacy in his writings—(and delicacy is the poet’s own kingdom—his El Dorado)—but they have the appearance of a better day recollected; and glimpses, at best, are little evidence of present poetic fire—we know that a few straggling flowers spring up daily in the crevices of the Avalanche.

      He was to blame in wearing away his youth in contemplation with the end of poetizing in his manhood. With the increase of his judgment the light which should make it apparent has faded away. His judgment consequently is too correct. This may not be understood, but the old Goths of Germany would have understood it, who used to debate matters of importance to their State twice, once when drunk, and once when sober—sober that they might not be deficient in formality—drunk lest they should be destitute of vigor.

      The long wordy discussions by which he tries to reason us into admiration of his poetry, speak very little in his favor: they are full of such assertions as this—(I have opened one of his volumes at random) “Of genius the only proof is the act of doing well what is worthy to be done, and what was never done before”—indeed! then it follows that in doing what is unworthy to be done, or what has been done before, no genius can be evinced: yet the picking of pockets is an unworthy act, pockets have been picked time immemorial, and Barrington, the pick-pocket, in point of genius, would have thought hard of a comparison with William Wordsworth, the poet.

      Again—in estimating the merit of certain poems, whether they be Ossian’s or M’Pherson’s, can surely be of little consequence, yet, in order to prove their worthlessness, Mr. W. has expended many pages in the controversy. Tantæne animis? Can great minds descend to such absurdity? But worse still: that he may bear down every argument in favor of these poems, he triumphantly drags forward a passage, in his abomination of which he expects the reader to sympathize. It is the beginning of the epic poem “Temora.” “The blue waves of Ullin roll in light; the green hills are covered with day; trees shake their dusky heads in the breeze.” And this—this gorgeous, yet simple imagery—where all is alive and panting with immortality—than which earth has nothing more grand, nor paradise more beautiful—this—William Wordsworth, the author of Peter Bell, has selected to dignify with his imperial contempt. We shall see what better he, in his own person, has to offer. Imprimis:

      “And now she’s at the poney’s head,

      And now she’s at the poney’s tail,

      On that side now, and now on this,

      And almost stifled her with bliss—

      A few sad tears does Betty shed,

      She pats the poney where or when

      She knows not: happy Betty Foy!

      O Johnny! never mind the Doctor!”

      Secondly:

      “The dew was falling fast, the—stars began to blink,

      I heard a voice, it said—— drink, pretty creature, drink;

      And looking o’er the hedge, be—fore me I espied

      A snow-white mountain lamb with a—maiden at its side,

      No other sheep were near, the lamb was all alone,

      And by a slender cord was—tether ‘d to a stone.”

      Now we have no doubt this is all true; we will believe it, indeed we will, Mr. W. Is it sympathy for the sheep you wish to excite? I love a sheep from the bottom of my heart.

      But there are occasions, dear B——there are occasions when even Wordsworth is reasonable. Even Stamboul, it is said, shall have an end, and the most unlucky blunders must come to a conclusion. Here is an extract from his preface.

      ”Those who have been accustomed to the phraseology of modern writers, if they persist in reading this book to a conclusion (impossible!) will, no doubt, have to struggle with feelings of awkwardness; (ha! ha! ha!) they will look round for poetry (ha! ha! ha! ha!) and will be induced to inquire by what species of courtesy these attempts have been permitted to assume that title.” Ha! ha! ha! ha! ha!

      Yet let not Mr. W. despair; he has given immortality to a wagon, and the bee Sophocles has eternalized a sore toe, and dignified a tragedy with a chorus of turkeys.

      Of Coleridge I cannot speak but with reverence. His towering intellect! his gigantic power! To use an author quoted by himself, ”Jai trouve souvent que la plupart des sectes ont raison dans une bonne partie de ce quelles avancent, mais non pas en ce quelles nient,” and, to employ his own language, he has imprisioned his own conceptions by the barrier he has erected against those of others. It is lamentable to think that such a mind should be buried in metaphysics, and, like the Nyctanthes, waste its perfume upon the night alone. In reading that man’s poetry I tremble, like one who stands upon a volcano, conscious, from the very darkness bursting from the crater, of the fire and the light that are weltering below.

      What is Poetry?—Poetry! that Proteus-like idea, with as many appellations as the nine-titled Corcyra! Give me, I demanded of a scholar some time ago, give me a definition of poetry? “Tres volontiers,”—and he proceeded to his library, brought me a Dr. Johnson, and overwhelmed me with a definition. Shade of the immortal Shakespeare! I imagined to myself the scowl of your spiritual eye upon the profanity of that scurrilous Ursa Major. Think of poetry, dear B——think of poetry, and then think of—Dr. Samuel Johnson! Think of all that is airy and fairy-like, and then of all that is hideous and unwieldy; think of his huge bulk, the Elephant! and then—and then think of the Tempest—the Midsummer Night’s Dream—Prospero—Oberon—and Titania!

      A poem, in my opinion, is opposed to a work of science by having, for its immediate object, pleasure, not truth; to romance, by having for its object an indefinite instead of a definite pleasure, being a poem only so far as this object is attained; romance presenting perceptible images with definite, poetry with indefinite sensations, to which end music is an essential, since the comprehension of sweet sound is our most indefinite conception. Music, when combined with a pleasurable idea, is poetry; music without the idea is simply music; the idea without the music is prose from its very definitiveness.

      What was meant by the invective against him who had no music in his soul?

      To sum up this long rigmarole, I have, dear B——what you no doubt perceive, for the metaphysical poets, as poets, the most sovereign contempt. That they have followers proves nothing—

      No Indian prince has to his palace

      More followers than a thief to the gallows.

       }

      ¹ Σπουδιοτατον και φιλοσοφικοτατον γενος.

      ² B—— is presumed to be Elam Bliss, the publisher of the Poems (1831).

Poe’s Preface to “The Raven and Other Poems”

      These trifles are collected and republished chiefly with a view to their redemption from the many improvements to which they have been subjected while “going the rounds of the press.” I am naturally anxious that if what I have written is to circulate at all, it should circulate as I wrote it. In defence of my own taste, nevertheless, it is incumbent on me to say that I think nothing in this volume of much value to the public, or very creditable to myself. Events not to be controlled have prevented me from making, at any time, any serious effort in what, under happier circumstances would have been the field of my choice. With me poetry has not been a purpose, but a passion; and the passions should be held in reverence; they must not—they cannot at will be excited, with an eye to the paltry compensations, or the more paltry commendations, of mankind

       E. A. P.

       }

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