Collected Works of Poe, Edgar Allan Poe [best mobile ebook reader TXT] 📗

critique; whatever should be deducted on the score of self-love might be replaced on account of his intimate acquaintance with the subject; in short, we have more instances of false criticism than of just where one's own writings are the test, simply because we have more bad poets than good. There are, of course, many objections to what I say: Milton is a great example of the contrary; but his opinion with respect to the 'Paradise Regained' is by no means fairly ascertained. By what trivial circumstances men are often led to assert what they do not really believe! Perhaps an inadvertent word has descended to posterity. But, in fact, the 'Paradise Regained' is little, if at all, inferior to the 'Paradise Lost,' and is only supposed so to be because men do not like epics, whatever they may say to the contrary, and, reading those of Milton in their natural order, are too much wearied with the first to derive any pleasure from the second.

"I dare say Milton preferred 'Comus' to either-. if so-justly.

"As I am speaking of poetry, it will not be amiss to touch slightly upon the most singular heresy in its modern history-the heresy of what is called, very foolishly, the Lake School. Some years ago I might have been induced, by an occasion like the present, to attempt a formal refutation of their doctrine; at present it would be a work of supererogation. The wise must bow to the wisdom of such men as Coleridge and Southey, but, being wise, have laughed at poetical theories so prosaically exemplifled.

"Aristotle, with singular assurance, has declared poetry the most philosophical of all writings*-but it required a Wordsworth to pronounce it the most metaphysical. He seems to think that the end of poetry is, or should be, instruction; yet it is a truism that the end of our existence is happiness; if so, the end of every separate part of our existence, everything connected with our existence, should be still happiness. Therefore the end of instruction should be happiness; and happiness is another name for pleasure;-therefore the end of instruction should be pleasure: yet we see the above-mentioned opinion implies precisely the reverse.

"To proceed: _ceteris paribus, _be who pleases is of more importance to his fellow-men than he who instructs, since utility is happiness, and pleasure is the end already obtained which instruction is merely the means of obtaining.

"I see no reason, then, why our metaphysical poets should plume themselves so much on the utility of their works, unless indeed they refer to instruction with eternity in view; in which case, sincere respect for their piety would not allow me to express my contempt for their judgment; contempt which it would be difficult to conceal, since their writings are professedly to be understood by the few, and it is the many who stand in need of salvation. In such case I should no doubt be tempted to think of the devil in 'Melmoth.' who labors indefatigably, through three octavo volumes, to accomplish the destruction of one or two souls, while any common devil would have demolished one or two thousand.

"Against the subtleties which would make poetry a study-not a passion-it becomes the metaphysician to reason-but the poet to protest. Yet Wordsworth and Coleridge are men in years; the one imbued in contemplation from his childhood; the other a giant in intellect and learning. The diffidence, then, with which I venture to dispute their authority would be overwhelming did I not feel, from the bottom of my heart, that learning has little to do with the imagination-intellect with the passions-or age with poetry.

"'Trifles, like straws, upon the surface flow; He who would search for pearls must dive below,'

are lines which have done much mischief. As regards the greater truths, men oftener err by seeking them at the bottom than at the top; Truth lies in the huge abysses where wisdom is sought-not in the palpable palaces where she is found. The ancients were not always right in hiding -the goddess in a well; witness the light which Bacon has thrown upon philosophy; witness the principles of our divine faith -that moral mechanism by which the simplicity of a child may overbalance the wisdom of a man.

"We see an instance of Coleridge's liability to err, in his 'Biographia Literaria'--professedly his literary life and opinions, but, in fact, a treatise _de omni scibili et quibusdam aliis. _He goes wrong by reason of his very profundity, and of his error we have a natural type in the contemplation of a star. He who regards it directly and intensely sees, it is true, the star, but it is the star without a ray-while he who surveys it less inquisitively is conscious of all for which the star is useful to us below-its brilliancy and its beauty.

"As to Wordsworth, I have no faith in him. 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 glacier.

"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 unw orthy act, pockets have been picked time immemorial, and Barrington, the pickpocket, 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 Macpherson's can surely be of little consequence, yet, in order to prove their worthlessness, Mr. W. has expended many pages in the controversy. _Tantaene 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 with 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 dusty heads in the breeze.' And this this gorgeous, yet simple imagery, where all is alive and panting with immortality-this, William Wordsworth, the author of 'Peter Bell,' has _selected _for his contempt. We shall see what better he, in his own person, has to offer. Imprimis:

"'And now she's at the pony's tail, And now she's at the pony's head, On that side now, and now on this; And, almost stifled with her bliss,

A few sad tears does Betty shed. . . . She pats the pony, where or when She knows not . . . . happy Betty Foy! Oh, 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 was 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 modem 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 transmitted to eternity a sore toe, and dignified a tragedy with a chorus of turkeys.

"Of Coleridge, I can not speak but with reverence. His towering intellect! his gigantic power! To use an author quoted by himself, _'Tai trouv� souvent que la plupart des sectes ont raison dans une bonne partie de ce qu'elles avancent, mais non pas en ce qu'elles nient , ' and _to employ his own language, he has imprisoned 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.' _'Tr�svolontiers;' _and he proceeded to his library, brought me a Dr. Johnson, and overwhelmed me with a definition. Shade of the immortal Shakespeare! I imagine 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, wi thout 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.

GJL*4@J"J@< 6"4 N48@F@M46@J"J@< (,<@.

~~~~~~ End of Introduction ~~~~~~

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SONNET -- TO SCIENCE

SCIENCE! true daughter of Old Time thou art! Who alterest all things with thy peering eyes. Why preyest thou thus upon the poet's heart,