LITMIR.BIZ

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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 analyze 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 passion 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 passionate 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 shining gold, because the least tinge of yellow in the hair has, from novelty and a sense of personal beauty, a more lustrous effect to the imagination than the purest gold. We compare a man of gigantic stature to a tower: not that he is any thing 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 class, 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 agonising 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 passion, and the most striking forms of nature. Tragic poetry, which is the most impassioned 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 passion lending occasion to imagination to make every creature in league against him, conjuring up ingratitude 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 ingratitude, which had pressed upon it for years. What a fine return of the passion upon itself is that in Othello—with what a mingled agony of regret and despair he clings to the last traces of departed happiness—when he exclaims,

      ———"Oh now, for ever

       Farewel the tranquil mind. Farewel content;

       Farewel the plumed troops and the big war,

       That make ambition virtue! Oh farewel!

       Farewel the neighing steed, and the shrill trump,

       The spirit-stirring drum, th' ear-piercing fife,

       The royal banner, and all quality,

       Pride, pomp, and circumstance of glorious war:

       And O you mortal engines, whose rude throats

       Th' immortal Jove's dread clamours counterfeit,

       Farewel! Othello's occupation's gone!"

      How his passion 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 Hellespont:

       Even so my bloody 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 line [sic],

      "But there where I had garner'd up my heart,

       To be discarded thence!"—

      One mode in which the dramatic exhibition of passion 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 passion lays bare and shews us the rich depths of the human soul: the whole of our existence, the sum total of our passions and pursuits, of that which we desire and that which we dread, is brought before us by contrast; the action and re-action are equal; the keenness of immediate suffering only gives us a more intense aspiration after, and a more intimate participation 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.

      Impassioned 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 constitution, 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, 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 Shakspeare, which is true poetry, stirs our inmost affections; abstracts evil from

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