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Introduction to Poems, 1831 Letter to Mr._____

West Point,—— 1831.

DEAR B——¹.

Believing only a portion of my former volume to be worthy a second edition—that small portion I thought it as well to include in the present book as to republish by itself. I have, therefore, herein combined Al Aaraaf and Tamerlane with other Poems hitherto unprinted. Nor have I hesitated to insert from the “Minor Poems,” now omitted, whole lines, and even passages, to the end that being placed in a fairer light, and the trash shaken from them in which they were imbedded, they may have some chance of being seen by posterity.

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 there are but few B——s in the world, I would be as much ashamed of the world’s good opinion as proud of your own. Another than yourself might here observe “Shakspeare is in possession of the world’s good opinion, and yet Shakspeare is the greatest of poets. It appears then that the world judge correctly, why should you be ashamed of their favorable 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 Shakspeare a great poet—yet the fool has never read Shakspeare. 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 Shakspeare 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 favor; 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 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 exemplified.

Aristotle, with singular assurance, has declared poetry the most philosophical of all writing²—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—every thing 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, 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 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 over-whelming, 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; the depth 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.

Poetry, above all things, is a beautiful painting whose tints, to minute inspection, are confusion worse confounded, but start boldly out to the cursory glance of the connoisseur.

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 Avalanche.

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 unworthy act, pockets have been picked time immemorial, and Barrington, the pick-pocket, 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. Tantæne 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 of 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 dusky heads in the breeze.” And this—this gorgeous, yet simple imagery—where all is alive and panting with immortality—than which earth has nothing more grand, nor paradise more beautiful—this—William Wordsworth, the author of Peter Bell, has selected to dignify with his imperial contempt. We shall see what better he, in his own person, has to offer. Imprimis:

“And now she’s at the poney’s head,

And now she’s at the poney’s tail,

On that side now, and now on this,

And almost stifled her with bliss—

A few sad tears does Betty shed,

She pats the poney where or when

She knows not: happy Betty Foy!

O 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 were 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 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 eternalized 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! To use an author quoted by himself, ”Jai trouve souvent que la plupart des sectes ont raison dans une bonne partie de ce quelles avancent, mais non pas en ce quelles nient,” and, to employ his own language, he has imprisioned 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 imagined 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 without 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.

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¹ Σπουδιοτατον και φιλοσοφικοτατον γενος.

² B—— is presumed to be Elam Bliss, the publisher of the Poems (1831).