Oxford Lectures on Poetry - Andrew Bradley

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saturated with the results of ‘real’ experience, but still contemplative. Thus, no doubt, one main reason why poetry has poetic value for us is that it presents to us in its own way something which we meet in another form in nature or life; and yet the test of its poetic value for us lies simply in the question whether it satisfies our imagination; the rest of us, our knowledge or conscience, for example, judging it only so far as they appear transmuted in our imagination. So also Shakespeare’s knowledge or his moral insight, Milton’s greatness of soul, Shelley’s ‘hate of hate’ and ‘love of love,’ and that desire to help men or make them happier which may have influenced a poet in hours of meditation – all these have, as such, no poetical worth: they have that worth only when, passing through the unity of the poet’s being, they reappear as qualities of imagination, and then are indeed mighty powers in the world of poetry.

      I come to a third misapprehension, and so to my main subject. This formula, it is said, empties poetry of its meaning: it is really a doctrine of form for form’s sake. ‘It is of no consequence what a poet says, so long as he says the thing well. The what is poetically indifferent: it is the how that counts. Matter, subject, content, substance, determines nothing; there is no subject with which poetry may not deal: the form, the treatment, is everything. Nay, more: not only is the matter indifferent, but it is the secret of Art to “eradicate the matter by means of the form,”’ – phrases and statements like these meet us everywhere in current criticism of literature and the other arts. They are the stock-in-trade of writers who understand of them little more than the fact that somehow or other they are not ‘bourgeois.’ But we find them also seriously used by writers whom we must respect, whether they are anonymous or not; something like one or another of them might be quoted, for example, from Professor Saintsbury, the late R. A. M. Stevenson, Schiller, Goethe himself; and they are the watchwords of a school in the one country where Aesthetics has flourished. They come, as a rule, from men who either practise one of the arts, or, from study of it, are interested in its methods. The general reader – a being so general that I may say what I will of him – is outraged by them. He feels that he is being robbed of almost all that he cares for in a work of art. ‘You are asking me,’ he says, ‘to look at the Dresden Madonna as if it were a Persian rug. You are telling me that the poetic value of Hamlet lies solely in its style and versification, and that my interest in the man and his fate is only an intellectual or moral interest. You allege that, if I want to enjoy the poetry of Crossing the Bar, I must not mind what Tennyson says there, but must consider solely his way of saying it. But in that case I can care no more for a poem than I do for a set of nonsense verses; and I do not believe that the authors of Hamlet and Crossing the Bar regarded their poems thus.’

      These antitheses of subject, matter, substance on the one side, form, treatment, handling on the other, are the field through which I especially want, in this lecture, to indicate a way. It is a field of battle; and the battle is waged for no trivial cause; but the cries of the combatants are terribly ambiguous. Those phrases of the so-called formalist may each mean five or six different things. Taken in one sense they seem to me chiefly true; taken as the general reader not unnaturally takes them, they seem to me false and mischievous. It would be absurd to pretend that I can end in a few minutes a controversy which concerns the ultimate nature of Art, and leads perhaps to problems not yet soluble; but we can at least draw some plain distinctions which, in this controversy, are too often confused.

      In the first place, then, let us take ‘subject’ in one particular sense; let us understand by it that which we have in view when, looking at the title of an un-read poem, we say that the poet has chosen this or that for his subject. The subject, in this sense, so far as I can discover, is generally something, real or imaginary, as it exists in the minds of fairly cultivated people. The subject of Paradise Lost would be the story of the Fall as that story exists in the general imagination of a Bible-reading people. The subject of Shelley’s stanzas To a Skylark would be the ideas which arise in the mind of an educated person when, without knowing the poem, he hears the word ‘skylark’. If the title of a poem conveys little or nothing to us, the ‘subject’ appears to be either what we should gather by investigating the title in a dictionary or other book of the kind, or else such a brief suggestion as might be offered by a person who had read the poem, and who said, for example, that the subject of The Ancient Mariner was a sailor who killed an albatross and suffered for his deed.

      Now the subject, in this sense (and I intend to use the word in no other), is not, as such, inside the poem, but outside it. The contents of the stanzas To a Skylark are not the ideas suggested by the work ‘skylark’ to the average man; they belong to Shelley just as much as the language does. The subject, therefore, is not the matter of the poem at all; and its opposite is not the form of the poem, but the whole poem. The subject is one thing; the poem, matter and form alike, another thing. This being so, it is surely obvious that the poetic value cannot lie in the subject, but lies entirely in its opposite, the poem. How can the subject determine the value when on one and the same subject poems may be written of all degrees of merit and demerit; or when a perfect poem may be composed on a subject so slight as a pet sparrow, and, if Macaulay may be trusted, a nearly worthless poem on a subject so stupendous as the omnipresence of the Deity? The ‘formalist’ is here perfectly right. Nor is he insisting on something unimportant. He is fighting against our tendency to take the work of art as a mere copy or reminder of something already in our heads, or at the best as a suggestion of some idea as little removed as possible from the familiar. The sightseer who promenades a picture-gallery, remarking that this portrait is so like his cousin, or that landscape the very image of his birthplace, or who, after satisfying himself that one picture is about Elijah, passes on rejoicing to discover the subject, and nothing but the subject, of the next – what is he but an extreme example of this tendency? Well, but the very same tendency vitiates much of our criticism, much criticism of Shakespeare, for example, which, with all its cleverness and partial truth, still shows that the critic never passed from his own mind into Shakespeare’s; and it may be traced even in so fine a critic as Coleridge, as when he dwarfs the sublime struggle of Hamlet into the image of his own unhappy weakness. Hazlitt by no means escaped its influence. Only the third of that great trio, Lamb, appears almost always to have rendered the conception of the composer.

      Again, it is surely true that we cannot determine beforehand what subjects are fit for Art, or name any subject on which a good poem might not possibly be written. To divide subjects into two groups, the beautiful or elevating, and the ugly or vicious, and to judge poems according as their subjects belong to one of these groups or the other, is to fall into the same pit, to confuse with our pre-conceptions the meaning of the poet. What the thing is in the poem he is to be judged by, not by the thing as it was before he touched it; and how can we venture to say beforehand that he cannot make a true poem out of something which to us was merely alluring or dull or revolting? The question whether, having done so, he ought to publish his poem; whether the thing in the poet’s work will not be still confused by the incompetent Puritan or the incompetent sensualist with the thing in his mind, does not touch this point: it is a further question, one of ethics, not of art. No doubt the upholders of ‘Art for art’s sake’ will generally be in favour of the courageous course, of refusing to sacrifice the better or stronger part of the public to the weaker or worse; but their maxim in no way binds them to this view. Rossetti suppressed one of the best of his sonnets, a sonnet chosen for admiration by Tennyson, himself extremely sensitive about the moral effect of poetry; suppressed it, I believe, because it was called fleshly. One may regret Rossetti’s judgment and at the same time respect his scrupulousness; but in any case he judged in his capacity of citizen, not in his capacity of artist.

      So far then the ‘formalist’ appears to be right. But he goes too far, I think, if he maintains that the subject is indifferent and that all subjects are the same to poetry. And he does not prove his point by observing that a good poem might be written on a pin’s head, and a bad one on the Fall of Man. That truth shows that the subject settles nothing, but not that it counts for nothing. The Fall of Man is really a more favourable subject than a pin’s head. The Fall of Man, that is to say, offers opportunities of poetic effects wider in range and more penetrating in appeal. And the fact is that such a subject, as it exists in the general imagination, has some aesthetic value before the poet touches it. It is, as you may choose to call it, an inchoate

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