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are most at leisure to regard poetical works when they first solicit their attention.

Is it the result of the whole, that, in the opinion of the Writer, the judgment of the People is not to be respected ? The thought is most injurious; and, could the charge be brought against him, he would repel it with indignation. The People have already been justified, and their eulogium pronounced by implication, when it was said, above—that, of good poetry, the individual, as well as the species, surrives. And how does it survive but through the People? What preserves it but their intellect and their wisdom ?

-Past and future, are the wings
On whose support, harmoniously conjoined,

Moves the great Spirit of human knowledgeThe voice that issues from this Spirit, is that Vox Populi which the Deity inspires. Foolish must he be who can mistake for this a local acclamation, or a transitory outcry--transitory though it be for years, local though from a Nation. Still more lamentable is his error who can believe that there is any thing of divine infallibility in the clamour of that small though loud portion of the community, ever governed by factitious influence, which, under the name of the PUBLIC, passes itself, upon the unthinking, for the PEOPLE. Towards the Public, the Writer hopes that he feels as much deference as it is entitled to : but to the People, philosophically characterised, and to the embodied spirit of their knowledge, so far as it exists and moves, at the present, faithfully supported by its two wings, the past and the future, his devout respect, his reverence, is due. He offers it willingly and readily; and, this done, takes leave of his Readers, by assuring them—that, if he were not persuaded that the contents of these Volumes, and the Work to which they are subsidiary, evince something of the Vision and the Faculty divine;' and that, both in words and things, they will operate in their degree, to extend the domain of sensibility for the delight, the honour, and the benefit of human nature, notwithstanding the many happy hours which he has employed in their composition, and the manifold comforts and enjoyments they have procured to him, he would not, if a wish could do it, save them from immediate destruction ;--from becoming at this moment, to the world, as a thing that had never been.

1815.

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(d) OF POETRY AS OBSERVATION AND DESCRIPTION. Anale THE powers requisite for the production of poetry are: first, those of Observation and Description,-i.e., the ability to observe with accuracy things as they are in themselves, and with fidelity to describe them, unmodified by any passion or feeling existing in the mind of the describery whether the things depicted be actually present to the senses, or have a place only in the memory. This power, though indispensable to a Poet, is one which he employs only in submission to necessity, and never for a continuance of time: as its exercise supposes all the higher qualities of the mind to be passive, and in a state of subjection to external objects, much in the same way as a translator or engraver ought to be to his original. 2ndly, Sensibility,--which, the more exquisite it is, the wider will be the range of a poet's perceptions; and the more will he be incited to observe objects, both as they exist in themselves, and as re-acted upon by his own mind. (The distinction between poetic and human sensibility has been marked in the character of the Poet delineated in the original preface.) 3dly, Reflection,—which makes the Poet acquainted with the value of actions, images, thoughts, and feelings; and assists the sensibility in perceiving their connection with each other. 4thly, Imagination and Fancy,—to modify, to create, and to associate. 5thly, Invention,-by which characters are composed out of materials supplied by observation; whether of the Poet's own heart and mind, or of external life and nature; and such incidents and situations produced as are most impressive to the imagination, and most fitted to do justice to the characters, sentiments, and passions, which the Poet undertakes to illustrate. And, lastly, Judgment, -to decide now and where, and in what degree, each of these faculties ought to be exerted; so that the less shall not be sacrificed to the greater; nor the greater, slighting the less, arrogate, to its own injury, more than its due. By judgment, also, is determined what are the laws and appropriate graces of every species of composition.*

* As sensibility to harmony of numbers, and the power of producing it, are invariably attendants upon the faculties above specified, nothing has been said upon those requisites.

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The materials of Poetry, by these powers collected and produced, are cast, by means of various moulds, into divers forms. The moulds may be enumerated, and the forms specified, in the following order. 1st, The Narrative,- including the Epopeia, the Historic Poem, the Tale, the Romance, the Mock-Heroic..... and, if the spirit of Homer will tolerate such neighbourhood, that dear production of our days, the metrical Novel. / of this class, the distinguishing mark is, that the Narratoil, however liberally his speaking agents be introduced, is himself the source from which every thing primarily flows. Epic Poets, in order that their mode of composition may accord with the elevation of their subject, represent themselves as singing from the inspiration of the Muse, ' Arma virumque cano ;' but this is a fiction, in modern times, of slight value; the 'Iliad' or the Paradise Lost would gain little in our estimation by being chanted. The other poets who belong to this class are commonly content to tell their tale;—so that of the whole it may be affirmed that they neither require nor reject the accompaniment of music.

2ndly, The Dramatic, - consisting of Tragedy, Historic Drama, Comedy, and Masque, in which the poet does not appear at all in his own person, and where the whole action is carried on by speech and dialogue of the agents; music being admitted only incidentally and rarely. The Opera may be placed here, inasmuch as it proceeds by dialogue; though depending, to the degree that it does, upon music, it has a strong claim to be ranked with the lyrical. The characteristic and impassioned Epistle, of which Ovid and Pope have given examples, considered as a species of monodrama, may, without impropriety, be placed in this class.

3dly, The Lyrical,-containing the Hymn, the Ode, the Elegy, the Song, and the Ballad ; in all which, for the production of their full effect, an accompaniment of music is indispensable.

4thly, The Idyllium,—descriptive chiefly either of the processes and appearances of external nature, as the Seasons of Thomson; or of characters, manners, and sentiments, as are Shenstone's 'Schoolmistress,' The Cotter's Saturday Night' of Burns, ' The Twa Dogs' of the same Author ; or of these in conjunction with the appearances of Nature, as most of the pieces of Theocritus, the 'Allegro' and 'Penseroso' of Milton, Beattie's

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Minstrel,' Goldsmith's ' Deserted Village.' The Epitaph, the Inscription, the Sonnet, most of the epistles of poets writing in their own persons, and all loco-descriptive poetry, belong to this class.

5thly, Didactic,—the principal object of which is direct instruction; as the Poem of Lucretius, the Georgics' of Virgil, • The Fleece' of Dyer, Mason’s ‘ English Garden,' &c.

And, lastly, philosophical Satire, like that of Horace and Juvenal; personal and occasional Satire rarely comprehending sufficient of the general in the individual to be dignified with the name of poetry.

Out of the three last has been constructed a composite order, of which Young's Night Thoughts,' and Cowper's Task,' are excellent examples.

It is deducible from the above, that poems, apparently miscellaneous, may with propriety be arranged either with reference to the powers of mind predominant in the production of them ; or to the mould in which they are cast; or, lastly, to the subjects to which they relate. From each of these considerations, the following Poems have been divided into classes; which, that the work may more obviously correspond with the course of human life, and for the sake of exhibiting in it the three requisites of a legitimate whole, a beginning, a middle, and an end, have been also arranged, as far as it was possible, according to an order of time, commencing with Childhood, and terminating with Old Age, Death, and Immortality. My guiding wish was, that the small pieces of which these volumes consist, thus discriminated, might be regarded under a twofold view; as composing an entire work within themselves, and as adjuncts to the philosophical Poem, 'The Recluse. This arrangement has long presented itself habitually to my own mind. Nevertheless, I should have preferred to scatter the contents of these volumes at random, if I had been persuaded that, by the plan adopted, any thing material would be taken from the natural effect of the pieces, individually, on the mind of the unreflecting Reader. I trust there is a sufficient variety in each class to prevent this; while, for him who reads with reflection, the arrangement will serve as a commentary unostentatiously directing his attention to my purposes, both particular and general. But, as I wish to guard against the possibility of misleading by this classification,

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it is proper first to remind the Reader, that certain poems are placed according to the powers of mind, in the Author's conception, predominant in the production of them ; predominant, which implies the exertion of other faculties in less degree. Where there is more imagination than fancy in a poem, it is placed under the head of imagination, and vice versâ. Both the above classes might without impropriety have been enlarged from that consisting of 'Poems founded on the Affections ;' as might this latter from those, and from the class 'proceeding from Sentiment and Reflection. The most striking characteristics of each piece, mutual illustration, variety, and proportion, have governed me throughout.

None of the other Classes, except those of Fancy and Imagination, require any particular notice. But a remark of general application may be made. All Poets, except the dramatic, have been in the practice of feigning that their works were composed to the music of the harp or lyre : with what degree of affectation this has been done in modern times, I leave to the judicious to determine. For my own part, I have not been disposed to violate probability so far, or to make such a large demand upon the Reader's charity. Some of these pieces are essentially lyrical; and, therefore, cannot have their due force without a supposed musical accompaniment; but, in much the greatest part, as a substitute for the classic lyre or romantic harp, I require nothing more than an animated or impassioned recitation, adapted to the subject. Poems, however humble in their kind, if they be good in that kind, cannot read themselves; the law of long syllable and short must not be so inflexible, — the letter of metre must not be so impassive to the spirit of versification,-as to deprive the Reader of all voluntary power to modulate, in subordination to the sense, the music of the poem ; -in the same manner as his mind is left at liberty, and even summoned, to act upon its thoughts and images. But, though the accompaniment of a musical instrument be frequently dispensed with, the true Poet does not therefore abandon his privilege distinct from that of the mere Proseman;

He murmurs near the running brooks

A music sweeter than their own. Let us come now to the consideration of the words Fancy and Imagination, as employed in the classification of the follow

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