Collected Works of Poe by Edgar Allan Poe (the red fox clan .txt) 📖

sun there neither exists nor _can _exist any work more thoroughly dignified, more supremely noble, than this very poem, this poem _per se, _this poem which is a poem and nothing more, this poem written solely for the poem's sake. With as deep a reverence for the True as ever inspired the bosom of man, I would nevertheless limit, in some measure, its modes of inculcation. I would limit to enforce them. I would not enfeeble them by dissipation. The demands of Truth are severe. She has no sympathy with the myrtles. All _that _which is so indispensable in Song is precisely all _that _with which _she _has nothing whatever to do. It is but making her a flaunting paradox to wreathe her in gems and flowers. In enforcing a truth we need severity rather than efflorescence of language. We must be simple, precise, terse. We must be cool, calm, unimpassioned. In a word, we must be in that mood which, as nearly as possible, is the exact converse of the poetical. _He _must be blind indeed who does not perceive the radical and chasmal difference between the truthful and the poetical modes of inculcation. He must be theory-mad beyond redemption who, in spite of these differences, shall still persist in attempting to reconcile the obstinate oils and waters of Poetry and Truth. Dividing the world of mind into its three most immediately obvious distinctions, we have the Pure Intellect, Taste, and the Moral Sense. I place Taste in the middle, because it is just this position which in the mind it occupies. It holds intimate relations with either extreme; but from the Moral Sense is separated by so faint a difference that Aristotle has not hesitated to place some of its operations among the virtues themselves. Nevertheless we find the _offices _of the trio marked with a sufficient distinction. Just as the Intellect concerns itself with Truth, so Taste informs us of the Beautiful, while the Moral Sense is regardful of Duty. Of this latter, while Conscience teaches the obligation, and Reason the expediency, Taste contents herself with displaying the charms: -- waging war upon Vice solely on the ground of her deformity -- her disproportion -- her animosity to the fitting, to the appropriate, to the harmonious -- in a word, to Beauty. An immortal instinct deep within the spirit of man is thus plainly a sense of the Beautiful. This it is which administers to his delight in the manifold forms, and sounds, and odors and sentiments amid which he exists. And just as the lily is repeated in the lake, or the eyes of Amaryllis in the mirror, so is the mere oral or written repetition of these forms, and sounds, and colors, and odors, and sentiments a duplicate source of de" light. But this mere repetition is not poetry. He who shall simply sing, with however glowing enthusiasm, or with however vivid a truth of description, of the sights, and sounds, and odors, and colors, and sentiments which greet _him _in common with all mankind -- he, I say, has yet failed to prove his divine title. There is still a something in the distance which he has been unable to attain. We have still a thirst unquenchable, to allay which he has not shown us the crystal springs. This thirst belongs to the immortality of Man. It is at once a consequence and an indication of his perennial existence. It is the desire of the moth for the star. It is no mere appreciation of the Beauty before us, but a wild effort to reach the Beauty above. Inspired by an ecstatic prescience of the glories beyond the grave, we struggle by multiform combinations among the things and thoughts of Time to attain a portion of that Loveliness whose very elements perhaps appertain to eternity alone. And thus when by Poetry, or when by Music, the most entrancing of the poetic moods, we find ourselves melted into tears, we weep then, not as the Abbate Gravina supposes, through excess of pleasure, but through a certain petulant, impatient sorrow at our inability to grasp now, wholly, here on earth, at once and for ever, those divine and rapturous joys of which _through' _the poem, or _through _the music, we attain to but brief and indeterminate glimpses. The struggle to apprehend the supernal Loveliness -- this struggle, on the part of souls fittingly constituted -- has given to the world all _that _which it (the world) has ever been enabled at once to understand and _to feel _as poetic. The Poetic Sentiment, of course, may develop itself in various modes --in Painting, in Sculpture, in Architecture, in the Dance -- very especially in Music -- and very peculiarly, and with a wide field, in the com position of the Landscape Garden. Our present theme, however, has regard only to its manifestation in words. And here let me speak briefly on the topic of rhythm. Contenting myself with the certainty that Music, in its various modes of metre, rhythm, and rhyme, is of so vast a moment in Poetry as never to be wisely rejected -- is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music perhaps that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles -- the creation of supernal Beauty. It _may _be, indeed, that here this sublime end is, now and then, attained in _fact. _We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which _cannot _have been unfamiliar to the angels. And thus there can be little doubt that in the union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess -- and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems. To recapitulate then: -- I would define, in brief, the Poetry of words as _The Rhythmical Creation of Beauty. _Its sole arbiter is Taste. With the Intellect or with the Conscience it has only collateral relations. Unless incidentally, it has no concern whatever either with Duty or with Truth. A few words, however, in explanation. _That _pleasure which is at once the most pure, the most elevating, and the most intense, is derived, I maintain, from the contemplation of the Beautiful. In the contemplation of Beauty we alone find it possible to attain that pleasurable elevation, or excitement _of the soul, _which we recognize as the Poetic Sentiment, and which is so easily distinguished from Truth, which is the satisfaction of the Reason, or from Passion, which is the excitement of the heart. I make Beauty, therefore--using the word as inclusive of the sublime -- I make Beauty the province of the poem, simply because it is an obvious rule of Art that effects should be made to spring as directly as possible from their causes: -- no one as yet having been weak enough to deny that the peculiar elevation in question is at least _most readily _attainable in the poem. It by no means follows, however, that the incitements of Passion' or the precepts of Duty, or even the lessons of Truth, may not be introduced into a poem, and with advantage; for they may subserve incidentally, in various ways, the general purposes of the work: but the true artist will always contrive to tone them down in proper subjection to that _Beauty _which is the atmosphere and the real essence of the poem. I cannot better introduce the few poems which I shall present for your consideration, than by the citation of the Proem to Longfellow's "Waif":

--

The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an Eagle in his flight.

I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o'er me, That my soul cannot resist;

A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain.

Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day.

Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time.

For, like strains of martial music, Their mighty thoughts suggest Life's endless toil and endeavor; And to-night I long for rest.

Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start;

Who through long days of labor, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies.

Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer.

Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice.

And the night shall be filled with music, And the cares that infest the day Shall fold their tents like the Arabs, And as silently steal away.

With no great range of imagination, these lines have been justly admired for their delicacy of expression. Some of the images are very effective. Nothing can be better than --

------------- the bards sublime, Whose distant footsteps echo Down the corridors of Time.

The idea of the last quatrain is also very effective. The poem on the whole, however, is chiefly to be admired for the graceful _insouciance _of its metre, so well in accordance with the character of the sentiments, and especially for the _ease _of the general manner. This "ease" or naturalness, in a literary style, it has long been the fashion to regard as ease in appearance alone--as a point of really difficult attainment. But not so:--a natural manner is difficult only to him who should never meddle with it--to the unnatural. It is but the result of writing with the understanding, or with the instinct, that _the tone, _in composition, should always be that which the mass of mankind would adopt--and must perpetually vary, of course, with the occasion. The author who, after the fashion of "The North American Review," should be upon _all _occasions merely "quiet," must necessarily upon _many _occasions be simply silly, or stupid; and has no more right to be considered "easy" or "natural" than a Cockney exquisite, or than the sleeping Beauty in the waxworks.

Among the minor poems of Bryant, none has so much impressed me as the one which he entitles "June." I quote only a portion of it: --

There, through the long, long summer hours, The golden light should lie, And thick young herbs and groups of flowers Stand in their beauty by. The oriole should build and tell His love-tale, close beside my cell; The idle butterfly Should rest him there, and there be heard The housewife-bee and humming bird.

And what, if cheerful shouts at noon, Come, from the village sent, Or songs of maids, beneath the moon, With