CRITICISM
Edgar Allan Poe
CRITICISM
Edgar Allan Poe
IT HAS been said that a good critique on a poem may be written by one who is no poet himself. This, according to your idea and mine of poetry, I feel to be false- the less poetical the critic, the less just the critique, and the converse. On this account, and because the world's good opinion as proud of your own. Another than yourself might here observe, "Shakespeare is in possession of the world's good opinion, and yet Shakespeare is the greatest of poets. It appears then that as the world judges correctly, why should you be ashamed of their favourable judgment?" The difficulty lies in the interpretation of the word "judgment" or "opinion." The opinion is the world's, truly, but it may be called theirs as a man would call a book his, having bought it; he did not write the book, but it is his; they did not originate the opinion, but it is theirs. A fool, for example, thinks Shakespeare a great poet- yet the fool has never read Shakespeare. But the fool's neighbor, who is a step higher on the Andes of the mind, whose head (that is to say, his more exalted thought) is too far above the fool to be seen or understood, but whose feet (by which I mean his every-day actions) are sufficiently near to be discerned, and by means of which that superiority is ascertained, which but for them would never have been discovered- this neighbor asserts that Shakespeare is a great poet- the fool believes him, and it is henceforward his opinion. This neighbor's own opinion has, in like manner, been adopted from one above him, and so, ascendingly, to a few gifted individuals who kneel around the summit, beholding, face to face, the master spirit who stands upon the pinnacle...
You are aware of the great barrier in the path of an American writer. He is read, if at all, in preference to the combined and established wit of the world. I say established; for it is with literature as with law or empire- an established name is an estate in tenure, or a throne in possession. Besides, one might suppose that books, like their authors, improve by travel- their having crossed the sea is, with us, so great a distinction. Our antiquaries abandon time for distance; our very fops glance from the binding to the bottom of the title-page, where the mystic characters which spell London, Paris, or Genoa, are precisely so many letters of recommendation.
I mentioned just now a vulgar error as regards criticism. I think the notion that no poet can form a correct estimate of his own writings is another. I remarked before that in proportion to the poetical talent would be the justice of a critique upon poetry. Therefore a bad poet would, I grant, make a false critique, and his self-love would infallibly bias his little judgment in his favour; but a poet, who is indeed a poet, could not, I think, fail of making a just 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 world 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 Comos 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 exemplified.
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 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, he 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 while 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 judgement; 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 labours 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 contemplating 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 vigour.
The long wordy discussions by which he tries to reason us into admiration of his poetry, speak very little in his favour: 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 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 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. Tantaene animis? Can great minds descend to such absurdity? But worse still: that he may bear down every argument in favour of these poems, he triumphantly drags forward a passage in his abomination with which he expects the reader to sympathise. 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 immortalitythis, 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 stified 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. 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 transmitted to eternity 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! He is one more evidence of the fact "que la plupart des sectes ont raison dans une bonne partie de ce qu'elles avancent, mais non pas en ce qu'elles nient." 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. "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 imagine to myself the scowl of your spiritual eye upon the profanity of the scurrilous Ursa Major. Think of poetry, dear 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- Oberonand 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? 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.
THE CULPRIT FAY, AND OTHER POEMS
Joseph Rodman Drake
ALNWICK CASTLE, AND OTHER POEMS
Fitz-Greene Halleck
BEFORE entering upon the detailed notice which we propose of the volumes before us, we wish to speak a few words in regard to the present state of American criticism.
It must be visible to all who meddle with literary matters, that of late years a thorough revolution has been effected in the censorship of our press. That this revolution is infinitely for the worse we believe. There was a time, it is true, when we cringed to foreign opinion- let us even say when we paid most servile deference to British critical dicta. That an American book could, by any possibility, be worthy perusal, was an idea by no means extensively prevalent in the land; and if we were induced to read at all the productions of our native writers, it was only after repeated assurances from England that such productions were not altogether contemptible. But there was, at all events, a shadow of excuse, and a slight basis of reason for a subserviency so grotesque. Even now, perhaps, it would not be far wrong to assert that such basis of reason may still exist. Let us grant that in many of the abstract sciencesthat even in Theology, in Medicine, in Law, in Oratory, in the Mechanical Arts, we have no competitors whatever, still nothing but the most egregious national vanity would assign us a place, in the matter of Polite Literature, upon a level with the elder and riper climes of Europe, the earliest steps of whose children are among the groves of magnificently endowed Academies, and whose innumerable men of leisure, and of consequent learning, drink daily from those august fountains of inspiration which burst around them everywhere from out the tombs of their immortal dead, and from out their hoary and trophied monuments of chivalry and song. In paying then, as a nation, a respectful and not undue deference to a supremacy rarely questioned but by prejudice or ignorance, we should, of course, be doing nothing more than acting in a rational manner. The excess of our subserviency was blamable- but, as we have before said, this very excess might have found a shadow of excuse in the strict justice, if properly regulated, of the principle from which it issued. Not so, however, with our present follies. We are becoming boisterous and arrogant in the pride of a too speedily assumed literary freedom. We throw off, with the most presumptuous and unmeaning hauteur, all deference whatever to foreign opinion- we forget, in the puerile inflation of vanity, that the world is the true theatre of the biblical histrio- we get up a hue and cry about the necessity of encouraging native writers of merit- we blindly fancy that we can accomplish this by indiscriminate puffing of good, bad, and indifferent, without taking the trouble to consider that what we choose to denominate encouragement is thus, by its general application, rendered precisely the reverse. In a word, so far from being asham
ed of the many disgraceful literary failures to which our own inordinate vanities and misapplied patriotism have lately given birth, and so far from deeply lamenting that these daily puerilities are of home manufacture, we adhere pertinaciously to our original blindly conceived idea, and thus often find ourselves involved in the gross paradox of liking a stupid book the better, because, sure enough, its stupidity is American.*
* This charge of indiscriminant puffing will, of course, only apply to the general character of our criticism- there are some noble exceptions. We wish also especially to discriminate between those notices of new works which are intended merely to call public attention to them, and deliberate criticism on the works themselves.
Deeply lamenting this unjustifiable state of public feeling, it has been our constant endeavor, since assuming the Editorial duties of this Journal, to stem, with what little abilities we possess, a current so disastrously undermining the health and prosperity of our literature.
We have seen our efforts applauded by men whose applauses we value. From all quarters we have received abundant private as well as public testimonials in favor of our Critical Notices, and, until very lately, have heard from no respectable source one word impugning their integrity or candor. In looking over, however, a number of the New York Commercial Advertiser, we meet with the following paragraph.
"'The last number of the Southern Literary Messenger is very readable and respectable. The contributions to the Messenger are much better than the original matter. The critical department of this work- much as it would seem to boast itself of impartiality and discernment,- is in our opinion decidedly quacky. There is in it a great assumption of acumen, which is completely unsustained. Many a work has been slashingly condemned therein, of which the critic himself could not write a page, were he to die for it. This affectation of eccentric sternness in criticism, without the power to back one's suit withal, so far from deserving praise, as some suppose, merits the strongest reprehension. Philadelphia Gazette.'
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