|
Main
- books.jibble.org
My Books
- IRC Hacks
Misc. Articles
- Meaning of Jibble
- M4 Su Doku
- Computer Scrapbooking
- Setting up Java
- Bootable Java
- Cookies in Java
- Dynamic Graphs
- Social Shakespeare
External Links
- Paul Mutton
- Jibble Photo Gallery
- Jibble Forums
- Google Landmarks
- Jibble Shop
- Free Books
- Intershot Ltd
|
books.jibble.org
Previous Page
| Next Page
Page 19
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 antitype 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 passions and
his pleasures, next becomes the object of the passions and pleasures
of man; an additional class 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 constitute 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 classes 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 classes of thoughts
instead of pictures of integral thoughts; and then if no new poets
should arise to create afresh the associations which have been thus
disorganized, language will be dead to all the nobler 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.
Previous Page
| Next Page
|
|