ESSAY ON THE LITERATURE, THE ARTS, AND THE MANNERS OF THE ATHENIANS
A FRAGMENT
The period which intervened between the birth of Pericles and the death of Aristotle, is undoubtedly, whether considered in itself, or with reference to the effects which it has produced upon the subsequent destinies of civilized man, the most memorable in the history of the world. What was the combination of moral and political circ.u.mstances which produced so unparalleled a progress during that period in literature and the arts;--why that progress, so rapid and so sustained, so soon received a check, and became retrograde,--are problems left to the wonder and conjecture of posterity. The wrecks and fragments of those subtle and profound minds, like the ruins of a fine statue, obscurely suggest to us the grandeur and perfection of the whole. Their very language--a type of the understandings of which it was the creation and the image--in variety, in simplicity, in flexibility, and in copiousness, excels every other language of the western world. Their sculptures are such as we, in our presumption, a.s.sume to be the models of ideal truth and beauty, and to which no artist of modern times can produce forms in any degree comparable. Their paintings, according to Pliny and Pausanias, were full of delicacy and harmony; and some even were powerfully pathetic, so as to awaken, like tender music or tragic poetry, the most overwhelming emotions. We are accustomed to conceive the painters of the sixteenth century, as those who have brought their art to the highest perfection, probably because none of the ancient paintings have been preserved. For all the inventive arts maintain, as it were, a sympathetic connexion between each other, being no more than various expressions of one internal power, modified by different circ.u.mstances, either of an individual, or of society; and the paintings of that period would probably bear the same relation as is confessedly borne by the sculptures to all succeeding ones. Of their music we know little; but the effects which it is said to have produced, whether they be attributed to the skill of the composer, or the sensibility of his audience, are far more powerful than any which we experience from the music of our own times; and if, indeed, the melody of their compositions were more tender and delicate, and inspiring, than the melodies of some modern European nations, their superiority in this art must have been something wonderful, and wholly beyond conception.
Their poetry seems to maintain a very high, though not so disproportionate a rank, in the comparison. Perhaps Shakespeare, from the variety and comprehension of his genius, is to be considered, on the whole, as the greatest individual mind, of which we have specimens remaining. Perhaps Dante created imaginations of greater loveliness and energy than any that are to be found in the ancient literature of Greece. Perhaps nothing has been discovered in the fragments of the Greek lyric poets equivalent to the sublime and chivalric sensibility of Petrarch.--But, as a poet. Homer must be acknowledged to excel Shakespeare in the truth, the harmony, the sustained grandeur, the satisfying completeness of his images, their exact fitness to the ill.u.s.tration, and to that to which they belong.
Nor could Dante, deficient in conduct, plan, nature, variety, and temperance, have been brought into comparison with these men, but for those fortunate isles laden with golden fruit, which alone could tempt any one to embark in the misty ocean of his dark and extravagant fiction.
But, omitting the comparison of individual minds, which can afford no general inference, how superior was the spirit and system of their poetry to that of any other period! So that had any other genius equal in other respects to the greatest that ever enlightened the world, arisen in that age, he would have been superior to all, from this circ.u.mstance alone--that had conceptions would have a.s.sumed a more harmonious and perfect form. For it is worthy of observation, that whatever the poet of that age produced is as harmonious and perfect as possible. In a drama, for instance, were the composition of a person of inferior talent, it was still h.o.m.ogeneous and free from inequalities it was a whole, consistent with itself. The compositions of great minds bore throughout the sustained stamp of their greatness. In the poetry of succeeding ages the expectations are often exalted on Icarian wings, and fall, too much disappointed to give a memory and a name to the oblivious pool in which they fell.
In physical knowledge Aristotle and Theophrastus had already--no doubt a.s.sisted by the labours of those of their predecessor whom they criticize--made advances worthy of the maturity of science.
The astonishing invention of geometry, that series of discoveries which have enabled man to command the element and foresee future events, before the subjects of his ignorant wonder, and which have opened as it were the doors of the mysteries of nature, had already been brought to great perfection. Metaphysics, the science of man"s intimate nature, and logic, or the grammar and elementary principles of that science received from the latter philosophers of the Periclean age a firm basis. All our more exact philosophy is built upon the labours of these great men, and many of the words which we employ in metaphysical distinctions were invented by them to give accuracy and system to their reasonings. The science of morals, or the voluntary conduct of men in relation to themselves or others, dates from this epoch. How inexpressibly bolder and more pure were the doctrines of those great men, in comparison with the timid maxims which prevail in the writings of the most esteemed modern moralists!
They were such as Phocion, and Epaminondas, and Timoleon, who formed themselves on their influence, were to the wretched heroes of our own age.
Their political and religious inst.i.tutions are more difficult to bring into comparison with those of other times. A summary idea may be formed of the worth of any political and religious system, by observing the comparative degree of happiness and of intellect produced under its influence. And whilst many inst.i.tution and opinions, which in ancient Greece were obstacles to the improvement of the human race, have been abolished among modern nations, how many pernicious superst.i.tions and new contrivances of misrule, and unheard-of complications of public mischief, have not been invented among them by the ever-watchful spirit of avarice and tyranny!
The modern nations of the civilized world owe the progress which they have made--as well in those physical sciences in which they have already excelled their masters, as in the moral and intellectual inquiries, in which, with all the advantage of the experience of the latter, it can scarcely be said that they have yet equalled them,--to what is called the revival of learning; that is, the study of the writers of the age which preceded and immediately followed the government of Pericles, or of subsequent writers, who were, so to speak, the rivers flowing from those immortal fountains.
And though there seems to be a principle in the modern world, which, should circ.u.mstances a.n.a.logous to those which modelled the intellectual resources of the age to which we refer, into so harmonious a proportion, again arise, would arrest and perpetuate them, and consign their results to a more equal, extensive, and lasting improvement of the condition of man--though justice and the true meaning of human society are, if not more accurately, more generally understood; though perhaps men know more, and therefore are more, as a ma.s.s, yet this principle has never been called into action, and requires indeed a universal and an almost appalling change in the system of existing things. The study of modern history is the study of kings, financiers, statesmen, and priests. The history of ancient Greece is the study of legislators, philosophers, and poets; it is the history of men, compared with the history of t.i.tles. What the Greeks were, was a reality, not a promise. And what we are and hope to be, is derived, as it were, from the influence and inspiration of these glorious generations.
Whatever tends to afford a further ill.u.s.tration of the manners and opinions of those to whom we owe so much, and who were perhaps, on the whole, the most perfect specimens of humanity of whom we have authentic record, were infinitely valuable. Let us see their errors, their weaknesses, their daily actions, their familiar conversation, and catch the tone of their society. When we discover how far the most admirable community ever framed was removed from that perfection to which human society is impelled by some active power within each bosom to aspire, how great ought to be our hopes, how resolute our struggles! For the Greeks of the Periclean age were widely different from us. It is to be lamented that no modern writer has. .h.i.therto dared to show them precisely as they were. Barthelemi cannot be denied the praise of industry and system; but he never forgets that he is a Christian and a Frenchman. Wieland, in his delightful novels, makes indeed a very tolerable Pagan, but cherishes too many political prejudices, and refrains from diminishing the interest of his romances by painting sentiments in which no European of modern times can possibly sympathize. There is no book which shows the Greeks precisely as they were; they seem all written for children with the caution that no practice or sentiment, highly inconsistent with our present manners, should be mentioned, lest those manners should receive outrage and violation. But there are many to whom the Greek language is inaccessible, who ought not to be excluded by this prudery from possessing an exact and comprehensive conception of the history of man; for there is no knowledge concerning what man has been and may be, from partaking of which a person can depart, without becoming in some degree more philosophical, tolerant, and just.
One of the chief distinctions between the manners of ancient Greece and modern Europe, consisted in the regulations and the sentiments respecting s.e.xual intercourse. Whether this difference arises from some imperfect influence of the doctrines of Jesus, who alleges the absolute and unconditional equality of all human beings, or from the inst.i.tutions of chivalry, or from a certain fundamental difference of physical nature existing in the Celts, or from a combination of all or any of these causes acting on each other, is a question worthy of voluminous investigation. The fact is, that the modern Europeans have in this circ.u.mstance, and in the abolition of slavery, made an improvement the most decisive in the regulation of human society; and all the virtue and the wisdom of the Periclean age arose under other inst.i.tutions, in spite of the diminution which personal slavery and the inferiority of women, recognized by law and opinion, must have produced in the delicacy, the strength, the comprehensiveness, and the accuracy of their conceptions, in moral, political, and metaphysical science, and perhaps in every other art and science.
The women, thus degraded, became such as it was expected they would become. They possessed, except with extraordinary exceptions, the habits and the qualities of slaves. They were probably not extremely beautiful; at least there was no such disproportion in the attractions of the external form between the female and male s.e.x among the Greeks, as exists among the modern Europeans. They were certainly devoid of that moral and intellectual loveliness with which the acquisition of knowledge and the cultivation of sentiment animates, as with another life of overpowering grace, the lineaments and the gestures of every form which they inhabit.
Their eyes could not have been deep and intricate from the workings of the mind, and could have entangled no heart in soul-enwoven labyrinths.
Let it not be imagined that because the Greeks were deprived of its legitimate object, they were incapable of sentimental love; and that this pa.s.sion is the mere child of chivalry and the literature of modern times. This object or its archetype for ever exists in the mind, which selects among those who resemble it that which most resembles it; and instinctively fills up the interstices of the imperfect image, in the same manner as the imagination moulds and completes the shapes in clouds, or in the fire, into the resemblances of whatever form, animal, building, &c., happens to be present to it. Man is in his wildest state a social being: a certain degree of civilization and refinement ever produces the want of sympathies still more intimate and complete; and the gratification of the senses is no longer all that is sought in s.e.xual connexion. It soon becomes a very small part of that profound and complicated sentiment, which we call love, which is rather the universal thirst for a communion not only of the senses, but of our whole nature, intellectual, imaginative and sensitive, and which, when individualized, becomes an imperious necessity, only to be satisfied by the complete or partial, actual or supposed fulfilment of its claims. This want grows more powerful in proportion to the development which our nature receives from civilization, for man never ceases to be a social being. The s.e.xual impulse, which is only one, and often a small part of those claims, serves, from its obvious and external nature, as a kind of type or expression of the rest, a common basis, an acknowledged and visible link. Still it is a claim which even derives a strength not its own from the accessory circ.u.mstances which surround it, and one which our nature thirsts to satisfy. To estimate this, observe the degree of intensity and durability of the love of the male towards the female in animals and savages and acknowledge all the duration and intensity observable in the love of civilized beings beyond that of savages to be produced from other causes. In the susceptibility of the external senses there is probably no important difference.
Among the ancient Greeks the male s.e.x, one half of the human race, received the highest cultivation and refinement: whilst the other, so far as intellect is concerned, were educated as slaves and were raised but few degrees in all that related to moral of intellectual excellence above the condition of savages. The gradations in the society of man present us with slow improvement in this respect.
The Roman women held a higher consideration in society, and were esteemed almost as the equal partners with their husbands in the regulation of domestic economy and the education of their children.
The practices and customs of modern Europe are essentially different from and incomparably less pernicious than either, however remote from what an enlightened mind cannot fail to desire as the future destiny of human beings.
[1818; publ. 1840]
ON THE SYMPOSIUM, OR PREFACE TO THE BANQUET OF PLATO
A FRAGMENT
The dialogue ent.i.tled The Banquet was selected by the translator as the most beautiful and perfect among all the works of Plato.
[Footnote: The Republic, though replete with considerable errors of speculation, is, indeed, the greatest repository of important truths of all the works of Plato. This, perhaps, is because it is the longest. He first, and perhaps last, maintained that a state ought to be governed, not by the wealthiest, or the most ambitious, or the most cunning, but by the wisest; the method of selecting such rulers, and the laws by which such a selection is made, must correspond with and arise out of the moral freedom and refinement of the people.] He despairs of having communicated to the English language any portion of the surpa.s.sing graces of the composition, or having done more than present an imperfect shadow of the language and the sentiment of this astonishing production.
Plato is eminently the greatest among the Greek philosophers, and from, or, rather, perhaps through him, his master Socrates, have proceeded those emanations of moral and metaphysical knowledge, on which a long series and an incalculable variety of popular superst.i.tions have sheltered their absurdities from the slow contempt of mankind. Plato exhibits the rare union of close and subtle logic with the Pythian enthusiasm of poetry, melted by the splendour and harmony of his periods into one irresistible stream of musical impressions, which hurry the persuasions onward, as in a breathless career. His language is that of an immortal spirit, rather than a man. Lord Bacon is, perhaps, the only writer, who, in these particulars, can be compared with him: his imitator, Cicero, sinks in the comparison into an ape mocking the gestures of a man. His views into the nature of mind and existence are often obscure, only because they are profound; and though his theories respecting the government of the world, and the elementary laws of moral action, are not always correct, yet there is scarcely any of his treatises which do not, however stained by puerile sophisms, contain the most remarkable intuitions into all that can be the subject of the human mind. His excellence consists especially in intuition, and it is this faculty which raises him far above Aristotle, whose genius, though vivid and various, is obscure in comparison with that of Plato.
The dialogue ent.i.tled the Banquet, is called [word in Greek], or a Discussion upon Love, and is supposed to have taken place at the house of Agathon, at one of a series of festivals given by that poet, on the occasion of his gaining the prize of tragedy at the Dionysiaca. The account of the debate on this occasion is supposed to have been given by Apollodorus, a pupil of Socrates, many years after it had taken place, to a companion who was curious to hear it. This Apollodorus appears, both from the style in which he is represented in this piece, as well as from a pa.s.sage in the Phaedon, to have been a person of an impa.s.sioned and enthusiastic disposition; to borrow an image from the Italian painters, he seems to have been the St. John of the Socratic group. The drama (for so the lively distinction of character and the various and well-wrought circ.u.mstances of the story almost ent.i.tle it to be called) begins by Socrates persuading Aristodemus to sup at Agathon"s, uninvited.
The whole of this introduction affords the most lively conception of refined Athenian manners.
[1818; publ. 1840] [UNFINISHED]
A DEFENCE OF POETRY
I
According to one mode of regarding those two cla.s.ses of mental action, which are called reason and imagination, the former may be considered as mind contemplating the relations borne by one thought to another, however produced; and the latter, as mind acting upon those thoughts so as to colour them with its own light, and composing from them, as from elements, other thoughts, each containing within itself the principle of its own integrity. The one is the [word in Greek], or the principle of synthesis, and has for its objects those forms which are common to universal nature and existence itself; the other is the [word in Greek], or principle of a.n.a.lysis, and its action regards the relations of things, simply as relations; considering thoughts, not in their integral unity, but as the algebraical representations which conduct to certain general results.
Reason is the enumeration of quant.i.ties already known; imagination is the perception of the value of those quant.i.ties, both separately and as a whole. Reason respects the differences, and imagination the similitudes of things. Reason is to the imagination as the instrument to the agent, as the body to the spirit, as the shadow to the substance.
Poetry, in a general sense, may be defined to be "the expression of the imagination": and poetry is connate with the origin of man.
Man is an instrument over which a series of external and internal impressions are driven, like the alternations of an ever-changing wind over an Aeolian lyre, which move it by their motion to ever-changing melody. But there is a principle within the human being, and perhaps within all sentient beings, which acts otherwise than in the lyre, and produces not melody alone, but harmony, by an internal adjustment of the sounds or motions thus excited to the impressions which excite them. It is as if the lyre could accommodate its chords to the motions of that which strikes them, in a determined proportion of sound; even as the musician can accommodate his voice to the sound of the lyre. A child at play by itself will express its delight by its voice and motions; and every inflexion of tone and every gesture will bear exact relation to a corresponding ant.i.type in the pleasurable impressions which awakened it; it will be the reflected image of that impression; and as the lyre trembles and sounds after the wind has died away, so the child seeks, by prolonging in its voice and motions the duration of the effect, to prolong also a consciousness of the cause. In relation to the objects which delight a child, these expressions are, what poetry is to higher objects. The savage (for the savage is to ages what the child is to years) expresses the emotions produced in him by surrounding objects in a similar manner; and language and gesture, together with plastic or pictorial imitation, become the image of the combined effect of those objects, and of his apprehension of them. Man in society, with all his pa.s.sions and his pleasures, next becomes the object of the pa.s.sions and pleasures of man; an additional cla.s.s of emotions produces an augmented treasure of expressions; and language, gesture, and the imitative arts, become at once the representation and the medium, the pencil and the picture, the chisel and the statue, the chord and the harmony. The social sympathies, or those laws from which, as from its elements, society results, begin to develop themselves from the moment that two human beings coexist; the future is contained within the present, as the plant within the seed; and equality, diversity, unity, contrast, mutual dependence, become the principles alone capable of affording the motives according to which the will of a social being is determined to action, inasmuch as he is social; and const.i.tute pleasure in sensation, virtue in sentiment, beauty in art, truth in reasoning, and love in the intercourse of kind. Hence men, even in the infancy of society, observe a certain order in their words and actions, distinct from that of the objects and the impressions represented by them, all expression being subject to the laws of that from which it proceeds. But let us dismiss those more general considerations which might involve an inquiry into the principles of society itself, and restrict our view to the manner in which the imagination is expressed upon its forms.
In the youth of the world, men dance and sing and imitate natural objects, observing in these actions, as in all others, a certain rhythm or order. And, although all men observe a similar, they observe not the same order, in the motions of the dance, in the melody of the song, in the combinations of language, in the series of their imitations of natural objects. For there is a certain order or rhythm belonging to each of these cla.s.ses of mimetic representation, from which the hearer and the spectator receive an intenser and purer pleasure than from any other: the sense of an approximation to this order has been called taste by modern writers. Every man in the infancy of art observes an order which approximates more or less closely to that from which this highest delight results: but the diversity is not sufficiently marked, as that its gradations should be sensible, except in those instances where the predominance of this faculty of approximation to the beautiful (for so we may be permitted to name the relation between this highest pleasure and its cause) is very great. Those in whom it exists in excess are poets, in the most universal sense of the word; and the pleasure resulting from the manner in which they express the influence of society or nature upon their own minds, communicates itself to others, and gathers a sort or reduplication from that community. Their language is vitally metaphorical; that is, it marks the before unapprehended relations of things and perpetuates their apprehension, until the words which represent them become, through time, signs for portions or cla.s.ses of thoughts instead of pictures of integral thoughts; and then if no new poets should arise to create afresh the a.s.sociations which have been thus disorganized, language will be dead to all the n.o.bler purposes of human intercourse. These similitudes or relations are finely said by Lord Bacon to be "the same footsteps of nature impressed upon the various subjects of the world"; [Footnote: De Augment. Scient., cap. i, lib. iii.] and he considers the faculty which perceives them as the storehouse of axioms common to all knowledge. In the infancy of society every author is necessarily a poet, because language itself is poetry; and to be a poet is to apprehend the true and the beautiful, in a word, the good which exists in the relation, subsisting, first between existence and perception, and secondly between perception and expression. Every original language near to its source is in itself the chaos of a cyclic poem: the copiousness of lexicography and the distinctions of grammar are the works of a later age, and are merely the catalogue and the form of the creations of poetry.
But poets, or those who imagine and express this indestructible order, are not only the authors of language and of music, of the dance, and architecture, and statuary, and painting; they are the inst.i.tutors of laws, and the founders of civil society, and the inventors of the arts of life, and the teachers, who draw into a certain propinquity with the beautiful and the true, that partial apprehension of the agencies of the invisible world which is called religion. Hence all original religions are allegorical, or susceptible of allegory, and, like Ja.n.u.s, have a double face of false and true. Poets, according to the circ.u.mstances of the age and nation in which they appeared, were called, in the earlier epochs of the world, legislators, or prophets: a poet essentially comprises and unites both these characters. For he not only beholds intensely the present as it is, and discovers those laws according to which present things ought to be ordered, but he beholds the future in the present, and his thoughts are the germs of the flower and the fruit of latest time. Not that I a.s.sert poets to be prophets in the gross sense of the word, or that they can foretell the form as surely as they foreknow the spirit of events: such is the pretence of superst.i.tion, which would make poetry an attribute of prophecy, rather than prophecy an attribute of poetry. A poet partic.i.p.ates in the eternal, the infinite, and the one; as far as relates to his conceptions, time and place and number are not. The grammatical forms which express the moods of time, and the difference of persons, and the distinction of place, are convertible with respect to the highest poetry without injuring it as poetry; and the choruses of Aeschylus, and the book of Job, and Dante"s Paradise, would afford, more than any other writings, examples of this fact, if the limits of this essay did not forbid citation. The creations of sculpture, painting, and music, are ill.u.s.trations still more decisive.
Language, colour, form, and religious and civil habits of action, are all the instruments and materials of poetry; they may be called poetry by that figure of speech which considers the effect as a synonym of the cause. But poetry in a more restricted sense expresses those arrangements of language, and especially metrical language, which are created by that imperial faculty; whose throne is curtained within the invisible nature of man. And this springs from the nature itself of language, which is a more direct representation of the actions and pa.s.sions of our internal being, and is susceptible of more various and delicate combinations, than colour, form, or motion, and is more plastic and obedient to the control of that faculty of which it is the creation. For language is arbitrarily produced by the imagination and has relation to thoughts alone; but all other materials, instruments and conditions of art, have relations among each other, which limit and interpose between conception and expression The former is as a mirror which reflects, the latter as a cloud which enfeebles, the light of which both are mediums of communication. Hence the fame of sculptors, painters, and musicians, although the intrinsic powers of the great masters of these arts may yield in no degree to that of those who have employed language as the hieroglyphic of their thoughts, has never equalled that of poets in the restricted sense of the term, as two performers of equal skill will produce unequal effects from a guitar and a harp. The fame of legislators and founders of religions, so long as their inst.i.tutions last, alone seems to exceed that of poets in the restricted sense; but it can scarcely be a question, whether, if we deduct the celebrity which their flattery of the gross opinions of the vulgar usually conciliates, together with that which belonged to them in their higher character of poets, any excess will remain.
We have thus circ.u.mscribed the word poetry within the limits of that art which is the most familiar and the most perfect expression of the faculty itself. It is necessary, however, to make the circle still narrower, and to determine the distinction between measured and unmeasured language; for the popular division into prose and verse is inadmissible in accurate philosophy.
Sounds as well as thoughts have relation both between each other and towards that which they represent, and a perception of the order of those relations has always been found connected with a perception of the order of the relations of thoughts. Hence the language of poets has ever affected a certain uniform and harmonious recurrence of sound, without which it were not poetry, and which is scarcely less indispensable to the communication of its influence, than the words themselves, without reference to that peculiar order. Hence the vanity of translation; it were as wise to cast a violet into a crucible that you might discover the formal principle of its colour and odour, as seek to transfuse from one language into another the creations of a poet. The plant must spring again from its seed, or it will bear no flower--and this is the burthen of the curse of Babel.
An observation of the regular mode of the recurrence of harmony in the language of poetical minds, together with its relation to music, produced metre, or a certain system of traditional forms of harmony and language. Yet it is by no means essential that a poet should accommodate his language to this traditional form, so that the harmony, which is its spirit, be observed. The practice is indeed convenient and popular, and to be preferred, especially in such composition as includes much action: but every great poet must inevitably innovate upon the example of his predecessors in the exact structure of his peculiar versification. The distinction between poets and prose writers is a vulgar error. The distinction between philosophers and poets has been antic.i.p.ated. Plato was essentially a poet--the truth and splendour of his imagery, and the melody of his language, are the most intense that it is possible to conceive. He rejected the measure of the epic, dramatic, and lyrical forms, because he sought to kindle a harmony in thoughts divested of shape and action, and he forbore to invent any regular plan of rhythm which would include, under determinate forms, the varied pauses of his style. Cicero sought to imitate the cadence of his periods, but with little success. Lord Bacon was a poet.
[Footnote: See the Filum Labyrinthi, and the Essay on Death particularly]. His language has a sweet and majestic rhythm, which satisfies the sense, no less than the almost superhuman wisdom of his philosophy satisfies the intellect; it is a strain which distends, and then bursts the circ.u.mference of the reader"s mind, and pours itself forth together with it into the universal element with which it has perpetual sympathy. All the authors of revolutions in opinion are not only necessarily poets as they are inventors, nor even as their words unveil the permanent a.n.a.logy of things by images which partic.i.p.ate in the life of truth; but as their periods are harmonious and rhythmical, and contain in themselves the elements of verse; being the echo of the eternal music. Nor are those supreme poets, who have employed traditional forms of rhythm on account of the form and action of their subjects, less capable of perceiving and teaching the truth of things, than those who have omitted that form. Shakespeare, Dante, and Milton (to confine ourselves to modern writers) are philosophers of the very loftiest power.
A poem is the very image of life expressed in its eternal truth.
There is this difference between a story and a poem, that a story is a catalogue of detached facts, which have no other connexion than time, place, circ.u.mstance, cause and effect; the other is the creation of actions according to the unchangeable forms of human nature, as existing in the mind of the Creator, which is itself the image of all other minds. The one is partial, and applies only to a definite period of time, and a certain combination of events which can never again recur; the other is universal, and contains within itself the germ of a relation to whatever motives or actions have place in the possible varieties of human nature. Time, which destroys the beauty and the use of the story of particular facts, stripped of the poetry which should invest them, augments that of poetry, and for ever develops new and wonderful applications of the eternal truth which it contains. Hence epitomes have been called the moths of just history; they eat out the poetry of it. A story of particular facts is as a mirror which obscures and distorts that which should be beautiful: poetry is a mirror which makes beautiful that which is distorted.
The parts of a composition may be poetical, without the composition as a whole being a poem. A single sentence may be a considered as a whole, though it may be found in the midst of a series of una.s.similated portions: a single word even may be a spark of inextinguishable thought. And thus all the great historians, Herodotus, Plutarch, Livy, were poets; and although, the plan of these writers, especially that of Livy, restrained them; from developing this faculty in its highest degree, they made copious and ample amends for their subjection, by filling all the interstices of their subjects with living images.
Having determined what is poetry, and who are poets, let us proceed to estimate its effects upon society.
Poetry is ever accompanied with pleasure: all spirits on which it falls open themselves to receive the wisdom which is mingled with its delight. In the infancy of the world, neither poets themselves nor their auditors are fully aware of the excellence of poetry: for it acts in a divine and unapprehended manner, beyond and above consciousness; and it is reserved for future generations to contemplate and measure the mighty cause and effect in all the strength and splendour of their union. Even in modern times, no living poet ever arrived at the fullness of his fame; the jury which sits in judgement upon a poet, belonging as he does to all time, must be composed of his peers: it must be impanelled by Time from the selectest of the wise of many generations. A poet is a nightingale, who sits in darkness and sings to cheer its own solitude with sweet sounds; his auditors are as men entranced by the melody of an unseen musician, who feel that they are moved and softened, yet know not whence or why. The poems of Homer and his contemporaries were the delight of infant Greece; they were the elements of that social system which is the column upon which all succeeding civilization has reposed. Homer embodied the ideal perfection of his age in human character; nor can we doubt that those who read his verses were awakened to an ambition of becoming like to Achilles, Hector, and Ulysses the truth and beauty of friendship, patriotism, and persevering devotion to an object, were unveiled to the depths in these immortal creations: the sentiments of the auditors must have been refined and enlarged by a sympathy with such great and lovely impersonations, until from admiring they imitated, and from imitation they identified themselves with the objects of their admiration.
Nor let it be objected, that these characters are remote from moral perfection, and that they can by no means be considered as edifying patterns for general imitation. Every epoch, under names more or less specious, has deified its peculiar errors; Revenge is the naked idol of the worship of a semi-barbarous age; and Self-deceit is the veiled image of unknown evil, before which luxury and satiety lie prostrate. But a poet considers the vices of his contemporaries as a temporary dress in which his creations must be arrayed, and which cover without concealing the eternal proportions of their beauty. An epic or dramatic personage is understood to wear them around his soul, as he may the ancient armour or the modern uniform around his body; whilst it is easy to conceive a dress more graceful than either. The beauty of the internal nature cannot be so far concealed by its accidental vesture, but that the spirit of its form shall communicate itself to the very disguise, and indicate the shape it hides from the manner in which it is worn. A majestic form and graceful motions will express themselves through the most barbarous and tasteless costume. Few poets of the highest cla.s.s have chosen to exhibit the beauty of their conceptions in its naked truth and splendour; and it is doubtful whether the alloy of costume, habit, &c., be not necessary to temper this planetary music for mortal ears.
The whole objection, however, of the immorality of poetry rests upon a misconception of the manner in which poetry acts to produce the moral improvement of man. Ethical science arranges the elements which poetry has created, and propounds schemes and proposes examples of civil and domestic life: nor is it for want of admirable doctrines that men hate, and despise, and censure, and deceive, and subjugate one another. But poetry acts in another and diviner manner. It awakens and enlarges the mind itself by rendering it the receptacle of a thousand unapprehended combinations of thought.
Poetry lifts the veil from the hidden beauty of the world, and makes familiar objects be as if they were not familiar; it reproduces all that it represents, and the impersonations clothed in its Elysian light stand thenceforward in the minds of those who have once contemplated them as memorials of that gentle and exalted content which extends itself over all thoughts and actions with which it coexists. The great secret of morals is love; or a going out of our own nature, and an identification of ourselves with the beautiful which exists in thought, action, or person, not our own. A man, to be greatly good, must imagine intensely and comprehensively; he must put himself in the place of another and of many others; the pains and pleasures of his species must become his own. The great instrument of moral good is the imagination; and poetry administers to the effect by acting upon the cause. Poetry enlarges the circ.u.mference of the imagination by replenishing it with thought of ever new delight, which have the power of attracting and a.s.similating to their own nature all other thoughts, and which form new intervals and interstices whose void for ever craves fresh food. Poetry strengthens the faculty which is the organ of the moral nature of man, in the same manner as exercise strengthens a limb. A poet therefore would do ill to embody his own conceptions of right and wrong, which are usually those of his place and time, in his poetical creations, which partic.i.p.ate in neither By this a.s.sumption of the inferior office of interpreting the effect in which perhaps after all he might acquit himself but imperfectly, he would resign a glory in a partic.i.p.ation in the cause. There was little danger that Homer, or any of the eternal poets should have so far misunderstood themselves as to have abdicated this throne of their widest dominion.
Those in whom the poetical faculty, though great, is less intense, as Euripides, Lucan, Ta.s.so, Spenser, have frequently affected a moral aim, and the effect of their poetry is diminished in exact proportion to the degree in which they compel us to advert to this purpose.
Homer and the cyclic poets were followed at a certain interval by the dramatic and lyrical poets of Athens, who flourished contemporaneously with all that is most perfect in the kindred expressions of the poetical faculty; architecture, painting, music the dance, sculpture, philosophy, and, we may add, the forms of civil life. For although the scheme of Athenian society was deformed by many imperfections which the poetry existing in chivalry and Christianity has erased from the habits and inst.i.tutions of modern Europe; yet never at any other period has so much energy, beauty, and virtue, been developed; never was blind strength and stubborn form so disciplined and rendered subject to the will of man, or that will less repugnant to the dictates of the beautiful and the true, as during the century which preceded the death of Socrates.
Of no other epoch in the history of our species have we records and fragments stamped so visibly with the image of the divinity in man. But it is poetry alone, in form, in action, or in language, which has rendered this epoch memorable above all others, and the storehouse of examples to everlasting time. For written poetry existed at that epoch simultaneously with the other arts, and it is an idle inquiry to demand which gave and which received the light, which all, as from a common focus, have scattered over the darkest periods of succeeding time. We know no more of cause and effect than a constant conjunction of events: poetry is ever found to coexist with whatever other arts contribute to the happiness and perfection of man. I appeal to what has already been established to distinguish between the cause and the effect.