And now I write what thou shalt never see.”
Sir Roger Newdigate is fairly entitled, we think, to be ranked among the great critics of this school. He made a law that none of the poems written for the prize which he established at Oxford should exceed fifty lines. This law seems to us to have at least as much foundation in reason as any of those which we have mentioned; nay, much more, for the world, we believe, is pretty well agreed in thinking that the shorter a prize-poem is, the better.
We do not see why we should not make a few more rules of the same kind; why we should not enact that the number of scenes in every act shall be three or some multiple of three, that the number of lines in every scene shall be an exact square, that the dramatis personae shall never be more or fewer than sixteen, and that, in heroic rhymes, every thirty-sixth line shall have twelve syllables. If we were to lay down these canons, and to call Pope, Goldsmith, and Addison incorrect writers for not having complied with our whims, we should act precisely as those critics act who find incorrectness in the magnificent imagery and the varied music of Coleridge and Shelley.
The correctness which the last century prized so much resembles the correctness of those pictures of the garden of Eden which we see in old Bibles. We have an exact square enclosed by the rivers Pison, Gihon, Hiddekel, and Euphrates, each with a convenient bridge in the centre, rectangular beds of flowers, a long canal, neatly bricked and railed in, the tree of knowledge clipped like one of the limes behind the Tuilleries, standing in the centre of the grand alley, the snake twined round it, the man on the right hand, the woman on the left, and the beasts drawn up in an exact circle round them. In one sense the picture is correct enough. That is to say, the squares are correct; the circles are correct; the man and the woman are in a most correct line with the tree; and the snake forms a most correct spiral.
But if there were a painter so gifted that he could place on the canvas that glorious paradise, seen by the interior eye of him whose outward sight had failed with long watching and labouring for liberty and truth, if there were a painter who could set before us the mazes of the sapphire brook, the lake with its fringe of myrtles, the flowery meadows, the grottoes overhung by vines, the forests shining with Hesperian fruit and with the plumage of gorgeous birds, the massy shade of that nuptial bower which showered down roses on the sleeping lovers, what should we think of a connoisseur, who should tell us that this painting, though finer than the absurd picture in the old Bible, was not so correct. Surely we should answer, it is both finer and more correct; and it is finer because it is more correct. It is not made up of correctly drawn diagrams; but it is a correct painting, a worthy representation of that which it is intended to represent.
It is not in the fine arts alone that this false correctness is prized by narrow-minded men, by men who cannot distinguish means from ends, or what is accidental from what is essential. M. Jourdain admired correctness in fencing. “You had no business to hit me then. You must never thrust in quart till you have thrust in tierce.” M. Tomes liked correctness in medical practice. “I stand up for Artemius. That he killed his patient is plain enough. But still he acted quite according to rule. A man dead is a man dead; and there is an end of the matter. But if rules are to be broken, there is no saying what consequences may follow.” We have heard of an old German officer, who was a great admirer of correctness in military operations. He used to revile Bonaparte for spoiling the science of war, which had been carried to such exquisite perfection by Marshal Daun. “In my youth we used to march and countermarch all the summer without gaining or losing a square league, and then we went into winter quarters. And now comes an ignorant, hot-headed young man, who flies about from Boulogne to Ulm, and from Ulm to the middle of Moravia, and fights battles in December. The whole system of his tactics is monstrously incorrect.” The world is of opinion in spite of critics like these, that the end of fencing is to hit, that the end of medicine is to cure, that the end of war is to conquer, and that those means are the most correct which best accomplish the ends.
And has poetry no end, no eternal and immutable principles? Is poetry, like heraldry, mere matter of arbitrary regulation? The heralds tell us that certain scutcheons and bearings denote certain conditions, and that to put colours on colours, or metals on metals, is false blazonry. If all this were reversed, if every coat of arms in Europe were new fashioned, if it were decreed that or should never be placed but on argent, or argent but on or, that illegitimacy should be denoted by a lozenge, and widowhood by a bend, the new science would be just as good as the old science, because both the new and the old would be good for nothing. The mummery of Portcullis and Rouge Dragon, as it has no other value than that which caprice has assigned to it, may well submit to any laws which caprice may impose on it. But it is not so with that great imitative art, to the power of which all ages, the rudest and the most enlightened, bear witness. Since its first great masterpieces were produced, everything that is changeable in this world has been changed. Civilisation has been gained, lost, gained again. Religions, and languages, and forms of government, and usages of private life, and modes of thinking, all have undergone a succession of revolutions. Everything has passed away but the great features of nature, and the heart of man, and the miracles of that art of which it is the office to reflect back the heart of man and the features of nature. Those two strange old poems, the wonder of ninety generations, still retain all their freshness. They still command the veneration of minds enriched by the literature of many nations and ages. They are still, even in wretched translations, the delight of school-boys. Having survived ten thousand capricious fashions, having seen successive codes of criticism become obsolete, they still remain to us, immortal with the immortality of truth, the same when perused in the study of an English scholar, as when they were first chanted at the banquets of the Ionian princes.
Poetry is, as was said more than two thousand years ago, imitation. It is an art analogous in many respects to the art of painting, sculpture, and acting. The imitations of the painter, the sculptor, and the actor, are indeed, within certain limits, more perfect than those of the poet. The machinery which the poet employs consists merely of words; and words cannot, even when employed by such an artist as Homer or Dante, present to the mind images of visible objects quite so lively and exact as those which we carry away from looking on the works of the brush and the chisel. But, on the other hand, the range of poetry is infinitely wider than that of any other imitative art, or than that of all the other imitative arts together. The sculptor can imitate only form; the painter only form and colour; the actor, until the poet supplies him with words, only form, colour, and motion. Poetry holds the outer world in common with the other arts. The heart of man is the province of poetry, and of poetry alone. The painter, the sculptor, and the actor can exhibit no more of human passion and character than that small portion which overflows into the gesture and the face, always an imperfect, often a deceitful, sign of that which is within. The deeper and more complex parts of human nature can be exhibited by means of words alone. Thus the objects of the imitation of poetry are the whole external and the whole internal universe, the face of nature, the vicissitudes of fortune, man as he is in himself, man as he appears in society, all things which really exist, all things of which we can form an image in our minds by combining together parts of things which really exist. The domain of this imperial art is commensurate with the imaginative faculty.
An art essentially imitative ought not surely to be subjected to rules which tend to make its imitations less perfect than they otherwise would be; and those who obey such rules ought to be called, not correct, but incorrect artists. The true way to judge of the rules by which English poetry was governed during the last century is to look at the effects which they produced.
It was in 1780 that Johnson completed his Lives of the Poets. He tells us in that work that, since the time of Dryden, English poetry had shown no tendency to relapse into its original savageness, that its language had been refined, its numbers tuned, and its sentiments improved. It may perhaps be doubted whether the nation had any great reason to exult in the refinements and improvements which gave it Douglas for Othello, and the Triumphs of Temper for the Fairy Queen.