Essays Aesthetical Part 3

"How _calm_ the moonlight _lies_ upon this bank,"

and continued to the end of the dozen lines in the same key, saying,--

"There's not the _tiniest star_ that _can be seen_ But in its _revolution_ it doth _hum_, Aye _chanting_ to the _heavenly_ cherubins,"

his words would not have become celebrated and quotable. But Lorenzo has the privilege of being one of the mouth-pieces of Shakespeare, and so he begins,--

"How _sweet_ the moonlight _sleeps_ upon this bank."

Two words, _sweet_ and _sleep_, put in the place of _calm_ and _lies_, lift the line out of prose into poetry. A log _lies_ on a bank; so does a dead dog, and the more dead a thing is the more it lies; but only what is alive _sleeps_, and thus the word, besides an image of extreme stillness, brings with it what strengthens the image, the idea of change from liveliness to quiet; for that which was awake now sleeps; and the more full the picture of stillness, the more awake is the mind of the reader, awakened by the fitness and felicity of the image. The subst.i.tution of _sweet_ for _calm_ is, in a less degree, similarly enlivening; for, used in such conjunction, _sweet_ is more individual and subtle, and imports more life, and thus helps the distinctness and vividness of the picture. How does the poetic Lorenzo word the other three lines?

"There's not the _smallest orb_ which _thou behold'st_, But in _his motion like an angel sings_, Still _quiring_ to the _young-eyed_ cherubins."

The words or phrases italicized carry a larger, or a deeper or a finer meaning than the corresponding ones in the subst.i.tuted lines. To _behold_ is more than to _see_: it is to see contemplatively. The figure _prosopopoeia_ is often but an impotent straining to impart poetic life; but the personification in _in his motion_ is apt and effective. _Quiring_ is an amplification of the immediately preceding _sings_, and, signifying to sing in company with others, enlarges, while making more specific, the thought. And what an image of the freshness of heaven and of youthful immortality is conveyed by the epithet _young-eyed_! At every step the thought is expanded and beautiful, reaching at the end of the third line a climax on which the poetically excited mind is left poised in delight.

But the pa.s.sage transformed, and, as we might say, degraded, is still poetical. There is so much poetry in the thought that the flattening of the phraseology cannot smother it, the lines still remaining poetically alive, their poetry s.h.i.+ning through the plainer and less figurative words. And the thought is poetical because it is the result of a flight of intellect made by aid of imagination's wings, these being moved by the soaring demands of the beautiful, and beating an atmosphere exhaled from sensibility. As Joubert says,--herein uttering a cardinal aesthetic principle,--"It is, above all, in the spirituality of ideas that poetry consists." Thought that is poetic will glisten through the plainest words; whereas, if the thought be prosaic or trite, all the gilded epithets in the dictionary will not give it the poetic sheen. Perdita wishes for

"Daffodils That come before the swallow dares, and take The winds of March with beauty."

Note the poetic potency in the simple word _dares_; how much it carries: the cold which the swallow has not the courage to confront; a mental action, I might almost call it, in the swallow, who, after making a recognizance of the season, determines that it would be rash to venture so far north: all this is in the single word. For _dares_ write _does_, and the effect would be like that of cutting a gash in a rising balloon: you would let the line suddenly down, because you take the life out of the thought.

"And take The winds of March with beauty."

Every one is taken at some time or other with the beauty of person or thing, and the thought is common; but that the winds of March be taken with the beauty of daffodils, this was a delicate secret which those winds would confide only to one so sympathetic as Shakespeare. This is poetic imagination, the intellect sent on far errands by a sensibility which is at once generous and bold, and fastidious through the promptings and the exactions of the beautiful.

In the opening of "Il Penseroso" Milton describes the shapes that in sprightly moods possess the fancy,

"As thick and numberless As the gay motes that _people_ the sunbeams."

Put _s.h.i.+ne in_ the sunbeams, for _people_, and, notwithstanding the luminousness of the word subst.i.tuted, you take the sparkle out of the line, which sparkle is imparted by mental activity, and the poetic dash that has the delightful audacity to personify such atomies.

The poetical is the flush on the face of things in the unconscious triumph of their purest life, cognizable by being beheld at the moment when the higher faculties are at their fullest flood, buoyed up on the joy of being and emotional sympathy. The most and the highest of this joy is possessed by him whose imagination is most capable of being poetically agitated; for by such agitation light is engendered within him, whereby objects and sensations that before were dim and opaque grow luminous and pellucid, like great statuary in twilight or moonlight, standing vague and unvalued until a torch is waved over it.

When we begin to speak of poetry, the higher qualities of the mind come up for judgment. No genuine poet is without one or more of these, and a great poet must have most of them. Thence the thought of the poet is pitched on a high key, and even in poets of power the poetry of a page is sometimes shown merely by the sustained tone of the sentiment, giving out no jets of fire, having no pa.s.sages salient with golden embossings. Through sympathy and sense of beauty, the poet gets nearer to the absolute nature of things; and thence, with little of imagery, or coloring, or pa.s.sion, through this holy influence he becomes poetic, depicting by re-creating the object or feeling or condition, and rising naturally into rhythmic lines and sentences, the best substance asking for, and readily obtaining, the most suitable form of words. Yet a poet of inward resources can seldom write a page without there being heard a note or bar or pa.s.sage of the finer melody.

But men wanting this inward wealth, that is, wanting depth and breadth of emotional capacity, have not, whatever their other gifts, the soil needed for highly imaginative poetry. With broad emphasis this aesthetic law is exemplified in the verse of Voltaire, especially in his dramas, and in the verse of one who was deeper and higher than he as thinker and critic, of Lessing. Skillful versifiers, by help of fancy and a certain plastic apt.i.tude and laborious culture, are enabled to give to smooth verse a flavor of poetry and to achieve a temporary reputation. But of such uninspired workmans.h.i.+p the gilding after a while wears off, the externally imparted perfume surely evaporates.

Often the most suitable form of words is made of plainest, commonest parts of speech, and the fewest of them. The more intense and deep the feeling, the greater is the need of briefest, simplest utterance. When in one of those pauses of frantic wrath,--like the sudden rifts that momentarily let the calm stars through a whirling canopy of storm,--Lear utters imploringly that appeal to Heaven, the words are the familiar words of hourly use; but what divine tenderness and what sweep of power in three lines!

"O heavens, If you do love old men, if your sweet sway Allow obedience, if yourselves are old, Make it your cause; send down and take my part!"

The thirty-third canto of the "Inferno" supremely exemplifies the sustaining energy of poetic imagination, that by its sublimating light it can forever hold before the mind, in tearful, irresistible beauty, one of the most woful forms of human suffering, death by starvation.

In that terrific picture, in front of which all the generations of men that come after Dante are to weep purifying tears, the most exquisite stroke is given in five monosyllables; but in those five little words what depth of pathos, what concentration of meaning! On the fourth day one of Ugolino's dying sons throws himself at his father's feet, crying,--

"Father, why dost not help me?"

Here let me remark that it is not by witnessing, through poetically imaginative representation, scenes of suffering and agony, as in this case and the tragic drama, that the sensibilities are "purged," according to the famous saying of Aristotle; but it is because such scenes are witnessed by the light of the beautiful. The beautiful always purifies and exalts.

In either of these two pa.s.sages any piling up of words, any hyperbole of phrase, or boldness or even grandeur of figurative speech, would have proved a hindrance instead of a conductor to the feeling, smothering and not facilitating expression. But when, turned out of doors in "a wild night," by those "unnatural hags," his daughters, Lear, baring his brow to the storm, invokes the thunder to

"Strike flat the thick rotundity o' the world,"

there is no tenderness, no folding of the sore heart upon itself; there is the expansion of defiance, outburst of the mighty wrath of an outraged father and wronged and crownless king: and so we have a gush of the grandest diction, of the most tempestuous rhythm, the storm in Lear's mind marrying itself with a ghastly joy to the storm of the elements, the sublime tumult above echoed in the cras.h.i.+ng splendor of the verse:--

"Blow, winds, and crack your cheeks! Rage, blow!

You cataracts and hurricanoes, spout Till you have drenched our steeples, drowned the c.o.c.ks!

You sulphurous and thought-executing fires, Vaunt-couriers to oak-cleaving-thunderbolts, Singe my white head! And thou, all-shaking thunder, Strike flat the thick rotundity o' the world!

Crack nature's moulds, all germins spill at once, That make ingrateful man!"

I know of no other single pa.s.sage that exhibits so clearly the colossal dimensions of Shakespeare. Here is attained, with almost unique effect, what according to Schiller is the aim of poetry, "no other than to give to humanity its fullest possible expression, its most complete utterance."

The best poetry, like the best music, soars towards the upper light.

The genuinely poetical always lifts up the thought on the swell of emotion. The thought moves free and strong because there is a deep, bubbling head of feeling behind it. Feeling, at its best, has an ascending movement, reaching up towards that high sphere where, through their conjunction, the earthly and the spiritual play in freedom in the suns.h.i.+ne of the beautiful. The surest test of the presence of poetry is buoyancy, springiness, which comes from the union, the divine union, of the spiritual and the beautiful. However weighty it may be with thought, the poetical pa.s.sage floats, thus giving certain sign of life, of a soul irrepressible.

But as in the forest there cannot be height of stem without strength and breadth of root, the highest poetry is the most solid, the firmest set in reality, in truth. The higher a poet is, the closer hold he has of the roots of his subject. He looks at it with a peering, deeply sympathetic insight. The roots, in fact, are in himself; they are in the depths of his soul. Hence a cardinal question about a poem is, How much of it does the poet draw out of himself? Is it his by projection from his inward resources, by injection with his own juices; or is it his only by adoption and adaptation, by dress and adjustment?

Flight of poetic imagination there cannot be unless the wings have been feathered in the heart. Loftiness or grandeur of imagination there cannot be, except there be first innate richness and breadth of feeling. Imagination being simply the tensest action of intellect, is ever, like intellect in all its phases, an instrument of feeling, a mere tool. Height implies inward depth. The gift to touch the vitals of a subject is the test-gift of literary faculty; it is the soul-gift, the gift of fuller, livelier sympathy. Compare Wordsworth with Southey to learn the difference between inward and outward gifts.

Poetry being in the mind, the man who has little poetry within him will find little in nature or in the world or in Shakespeare. The man who has no music in his soul will hear none at the Conservatoire in Paris. Wordsworth sees with the inward eye, Southey too exclusively with the outward. The true poet projects visions and rhythms out from his brain, and gazes at and hearkens to them. The degree of the truthfulness to nature and the vividness of these projections is the measure of his poetic genius and capacity. Only through this intense inwardness can he attain to great visions and rhythmic raptures, and make you see and hear them. What illimitable inward sight must Keats have dwelt in ere, to depict the effect on him of looking into Chapman's Homer, he could write,--

"Then felt I like some watcher of the skies, When a new planet swims into his ken; Or like stout Cortez, when with eagle eyes He stared at the Pacific, and all his men Looked at each other with a wild surmise, Silent, upon a peak in Darien."

Here is a brilliant example of poetic imagination, the intellect urged to its finest action to satisfy the feeling which delights in the grand, the select, the beautiful.

"Silent, upon a peak in Darien."

What an outlook! What a solemn, mysterious, elevating inward moment it creates in us! To ascend to that peak, to carry the reader thither with him, that is the flight of a great poet, of one who has been--as in that choice poem, "The Prelude," Wordsworth, with an electric stroke of poetic imagination, says of Newton--

"Voyaging through strange seas of thought, alone."

This vigor of flight in the poet, bearing on his wing the reader, whom he ushers to new, sudden vistas, is a test of poetic genius. Some poets never carry you to heights, but rather make you feel while reading them as if you were moving through shut-in valleys: their verse wants sky. They are not poetically imaginative, are not strung for those leaps which the great poet at times finds it impossible not to make. They have more poetic fancy than poetic imagination. Poetic fancy is a thin flame kindled deliberately with gathered materials; poetic imagination is an intense flash born unexpectedly of internal collisions. Fancy is superficial and comparatively short-sighted; imagination is penetrative and far-sighted, bringing together things widely sundered, apparently diverse and opposite.

Fancy divides, individualizes; imagination compounds, builds, globes.

Fancy is not so broad or so keen or so warm or so bounding as imagination; is comparatively tame and cold and quiet. Imagination is synthetical. Large exhibitions of poetic imagination are rare even in the greatest poets. At its best it strikes deep into the nature of things, has a celestial quality which invests it with awe. Spenser shows great resources of fancy, but little imagination. The arc of imagination is in him too near its center. Hence there is no reach in his thoughts. He has no exhaustless depths within. He is not, as Coleridge says Shakespeare is, an example of "endless self-reproduction." Cowley, says the same great critic, "is a fanciful writer, Milton an imaginative poet."

As I have already said, the power of imagining, of forming in the mind images, conceptions, is a purely intellectual power, and imagination becomes poetical only when this intellectual power is an agent obeying that emotional power which ardently seeks, intensely longs for, the better, the more perfect, the purer, in one word, the beautiful in each province of multiform life. The willing agent, intellect, is sent out on excursions of discovery, and unexpectedly falls in with and captures all kinds of sparkling booty.

Writers weak in poetic imagination are not visited by those beaming thoughts that come unsummoned out of the invisible, like new stars which, out of the unfathomable deeps of the sky, dart suddenly upon the vision of the heaven-watcher. Such writers deal with the known, with the best commonplace, not the common merely; and under the glance of genius the common grows strange and profound.

Some poets, not weak in poetic imagination, yet use it chiefly for secondary purposes, that is, for beautifying the dress, the externals of poetry. Minds with some breadth but with little depth are not thoroughly original. Their sense of the beautiful busies itself necessarily with that for which they have the readiest gifts; and their readiest gifts being words more than ideas, versification more than thought, form more than substance, they turn out verse, chiefly narrative, which captivates through its easy flow, its smooth sensuousness of diction, its gloss. Take a poet so celebrated, in some respects so admirable, as Tennyson. Tennyson's verse is apt to be too richly dressed, too perfumed. The clothing is costlier than the thoughts can pay for. Hence at every re-reading of him he parts with some of his strength, so that after three or four repet.i.tions he has little left for you. From a similar cause this is the case too with Byron, through whose pen to common sentiment and opinion a glow is imparted by the animal heat of the man, heightened by poetic tints from a keen sense of the beautiful. But this is not the case with Keats or Sh.e.l.ley or Coleridge or Wordsworth, and of course therefore not with Milton or Shakespeare. All these keep fresh, at every contact giving you strength and losing none. As freely and freshly as the sun's beams through a transparent, upspringing Gothic spire, intellect and feeling play, ever undimmed, through Sh.e.l.ley's "Sky-Lark." Not so through Tennyson's "Dream of Fair Women." After a time these mellifluous stanzas droop, and cling to the paper: they have not enough flame-like motion. The nicest word-choosing will not supply the place of choice in thought, a choice prompted by fresh feeling; nor, where there is no new impulse from the heart, will the most gorgeous diction give to a line the poetic carnation. There can be no freshness of expression without freshness of thought; the sparkle on the skin comes from new blood in the heart.

Tennyson's poetry has often too much leaf and spray for the branches, and too much branch for the trunk, and too much trunk for the roots.

There is not living stock enough of thought deeply set in emotion to keep the leaves ever fresh and fragrant. Wordsworth's poetry has for the most part roots deeply hidden.

Poetry is at times fitted to a subject too much like clothes to a body. This is the method with even some writers of good gifts and deserved name. Compared with Goethe, who, sensuous as he is, but healthily sensuous, writes always from within outward, Schiller is chargeable with this kind of externality. To try to make the fancy do the work of feeling is a vain effort. And so much verse is of the memory and fancy more than of the heart and imagination. Inward impulse not being dominant, the words, however s.h.i.+ny, are touched with coldness. Under the inward dominance (supposing always that the intellectual tool be of due temper and sharpness) the poet mounts springily on a ladder self-wrought out of the brain as he ascends; and thus there is a prompt continuity and progressiveness, a forward and upward movement towards the climax which ever awaits you in a subject that has a poem in it. In a genuine poem, a work of inspiration and not mainly of art, there is brisk evolution, phase of feeling climbing over phase, thought kindled by thought seizing unexpected links of a.s.sociation. This gives sure note of the presence of the matrix out of which poetry molds itself, that is, sensibility warm and deep, penetrating sympathy. Where evolution and upward movement are not, it is a sign that the spring lacks depth and is too much fed by surface streams from without.

Through a poem should run a thread of emotional thought, strong enough to bind the parts together so vividly as to hold attention close to the substance. Many a so-called poem is but a string of elaborate stanzas, mostly of four lines each, too slightly connected to cooperate as members of an organic whole. There is not heat enough in the originating impulse to fuse the parts into unity. There is too much manufacture and not enough growth. Coleridge says, "The difference between manufactured poems and works of genius is not less than between an egg and an egg-sh.e.l.l; yet at a distance they both look alike."

Men without depth of sensibility or breadth of nature, but with enough sense of beauty to modulate their thoughts, using with skill the floating capital of sentiment and the current diction and molds of verse, for a generation are esteemed poets of more genius than they have, their pages being elaborate verse flavored with poetry, rather than poems. In much verse are found old thoughts re-dressed in the scoured garments of an ambitious fancy. The remark being made to Goethe in his latter days, that scarce one of the younger German poets had given an example of good prose, he rejoined, "That is very natural; he who would write prose must have something to say; but he who has nothing to say can make verses and rhymes; for one word gives the other, till at last you have before you what in fact is nothing, yet looks as though it were something." There is much good-looking verse which does not fulfill any one of Milton's primary conditions for poetry, being artificial instead of "simple," and having neither soul enough to be "pa.s.sionate," nor body enough to be "sensuous." By pa.s.sionate Milton means imbued with feeling.