English literary criticism

by Charles Edwyn Vaughan

First truly I note, not only in these mysomousoi poet-haters, but in all that kind of people, who seek a praise by dispraising others, that they do prodigally spend a great many wandering words, in quips, and scoffs; carping and taunting at each thing, which, by stirring the spleen, may stay the brain from a through beholding the worthiness of the subject.

Those kind of objections, as they are full of very idle easiness, sith there is nothing of so sacred a majesty, but that an itching tongue may rub itself upon it: so deserve they no other answer, but instead of laughing at the jest, to laugh at the jester. We know a playing wit can praise the discretion of an ass; the comfortableness of being in debt, and the jolly commodity of being sick of the plague. So of the contrary side, if we will turn Ovid's verse:

Ut lateat virtus proximitate mali,

that good lie hid in nearness of the evil: Agrippa will be as merry in showingthe vanity of science, as Erasmus was in commending of folly. Neither shall any man or matter escape some touch of these smiling railers. But for Erasmus and Agrippa, they had another foundation than the superficial part would promise. Marry, these other pleasant fault-finders, who will correct the verb, before they understand the noun, and confute others' knowledge before they confirm their own: I would have them only remember, that scoffing cometh not of wisdom. So as the best title in true English they get with their merriments is to be called good fools: for so have our grave forefathers ever termed that humorous kind of jesters: but that which giveth greatest scope to their scorning humours is rhyming and versing. It is already said (and as I think, truly said) it is not rhyming and versing that maketh poesy. One may be a poet without versing, and a versifier without poetry. But yet, presuppose it were inseparable (as indeed it seemeth Scaliger judgeth) truly it were an inseparable commendation. For if oratio next to ratio, speech next to reason, be the greatest gift bestowed upon mortality: that cannot be praiseless, which doth most polish that blessing of speech, which considers each word, not only (as a man may say) by his forcible quality, but by his best measured quantity, carrying even in themselves, a harmony: without (perchance) number, measure, order, proportion, be in our time grown odious. But lay aside the just praise it hath, by being the only fit speech for music (music, I say, the most divine striker of the senses): thus much is undoubtedly true, that if reading be foolish, without remembering, memory being the only treasurer of knowledge, those words which are fittest for memory, are likewise most convenient for knowledge.

Now, that verse far exceedeth prose in the knitting up of the memory, the reason is manifest. The words (besides their delight, which hath a great affinity to memory), being so set, as one word cannot be lost, but the whole work fails: which accuseth itself, calleth the remembrance back to itself, and so most strongly confirmeth it. Besides, one word so as it were begetting another, as be it in rhyme or measured verse, by the former a man shall have a near guess to the follower. Lastly, even they that have taught the art of memory have showed nothing so apt for it, as a certain room divided into many places well and thoroughly known. Now, that hath the verse in effect perfectly: every word having his natural seat, which seat must needs make the words remembered. But what needeth more in a thing so known to all men? Who is it that ever was a scholar, that doth not carry away some verses of Virgil, Horace, or Cato [Footnote: The moralist. His elegiacs are constantly quoted by medieval writers, e.g. in Piers Plowman.], which in his youth he learned, and even to his old age serve him for hourly lessons? But the fitness it hath for memory is notably proved by all delivery of arts: wherein for the most part, from grammar to logic, mathematic, physic, and the rest, the rules chiefly necessary to be borne away are compiled in verses. So that, verse being in itself sweet and orderly, and being best for memory, the only handle of knowledge, it must be in jest that any man can speak against it. Now then go we to the most important imputations laid to the poor poets; for aught I can yet learn, they are these: first, that there being many other more fruitful knowledges, a man might better spend his time in them, than in this. Secondly, that it is the mother of lies. Thirdly, that it is the nurse of abuse, infecting us with many pestilent desires: with a siren's sweetness, drawing the mind to the serpent's tail of sinful fancy. And herein especially, comedies give the largest field to err, as Chaucer saith: how both in other nations and in ours, before poets did soften us, we were full of courage, given to martial exercises; the pillars of man-like liberty, and not lulled asleep in shady idleness with poets' pastimes. And lastly, and chiefly, they cry out with an open mouth, as if they outshot Robin Hood, that Plato banished them out of his commonwealth. Truly, this is much, if there be much truth in it. First to the first: that a man might better spend his time, is a reason indeed: but it doth (as they say) but petere principium. For if it be as I affirm, that no learning is so good as that which teacheth and moveth to virtue; and that none can both teach and move thereto so much as poetry: then is the conclusion manifest, that ink and paper cannot be to a more profitable purpose employed. And certainly, though a man should grant their first assumption, it should follow (methinks) very unwillingly, that good is not good, because better is better. But I still and utterly deny that there is sprung out of earth a more fruitful knowledge. To the second, therefore, that they should be the principal liars; I answer paradoxically, but truly I think, truly; that of all writers under the sun, the poet is the least liar: and though he would, as a poet can scarcely be a liar, the astronomer, with his cousin the geometrician, can hardly escape, when they take upon them to measure the height of the stars.

How often, think you, do the physicians lie, when they aver things good for sicknesses, which afterwards send Charon a great number of souls drowned in a potion before they come to his ferry? And no less of the rest, which take upon them to affirm. Now, for the poet, he nothing affirms, and therefore never lieth. For, as I take it, to lie is to affirm that to be true which is false. So as the other artists, and especially the historian, affirming many things, can in the cloudy knowledge of mankind hardly escape from many lies. But the poet (as I said before) never affirmeth. The poet never maketh any circles about your imagination, to conjure you to believe for true what he writes. He citeth not authorities of other histories, but even for his entry calleth the sweet Muses to inspire into him a good invention: in truth, not labouring to tell you what is or is not, but what should or should not be: and therefore, though he recount things not true, yet because he telleth them not for true, he lieth not, without we will say that Nathan lied in his speech, before alleged, to David. Which as a wicked man durst scarce say, so think I, none so simple would say, that Asop lied in the tales of his beasts: for who thinks that Asop wrote it for actually true, were well worthy to have his name chronicled among the beasts he writeth of.

What child is there, that coming to a play, and seeing Thebes written in great letters upon an old door, doth believe that it is Thebes? If then a man can arrive, at that child's age, to know that the poet's persons and doings are but pictures what should be, and not stories what have been, they will never give the lie to things not affirmatively, but allegorically and figuratively, written. And therefore as in history, looking for truth, they go away full fraught with falsehood: so in poesy, looking for fiction, they shall use the narration but as an imaginative groundplot of a profitable invention.

But hereto is replied that the poets give names to men they write of, which argueth a conceit of an actual truth, and so, not being true, proves a falsehood. And doth the lawyer lie, then, when under the names of John a stile and John a noakes, he puts his case? But that is easily answered. Their naming of men is but to make their picture the more lively, and not to build any history: painting men, they cannot leave men nameless. We see we cannot play at chess, but that we must give names to our chessmen; and yet methinks he were a very partial champion of truth that would say we lied for giving a piece of wood the reverend title of a bishop. The poet nameth Cyrus or Aneas no other way than to show what men of their fames, fortunes, and estates should do.

Their third is, how much it abuseth men's wit, training it to wanton sinfulness and lustful love; for indeed that is the principal, if not the only abuse I can hear alleged. They say the comedies rather teach than reprehend amorous conceits. They say the lyric is larded with passionate sonnets. The elegiac weeps the want of his mistress. And that even to the heroical, Cupid hath ambitiously climbed. Alas, Love! I would thou couldst as well defend thyself as thou canst offend others. I would those on whom thou dost attend could either put thee away or yield good reason why they keep thee. But grant love of beauty to be a beastly fault, although it be very hard, sith only man and no beast hath that gift, to discern beauty. Grant that lovely name of love to deserve all hateful reproaches: although even some of my masters the philosophers spent a good deal of their lamp-oil in setting forth the excellency of it. Grant, I say, whatsoever they will have granted; that not only love, but lust, but vanity, but (if they list) scurrility, possesseth many leaves of the poet's books: yet think I, when this is granted, they will find their sentence may with good manners put the last words foremost; and not say that poetry abuseth man's wit, but that man's wit abuseth poetry.

For I will not deny but that man's wit may make poesy (which should be eikastike, which some learned have defined, figuring forth good things) to be fantastic: which doth contrariwise infect the fancy with unworthy objects. As the painter, that should give to the eye either some excellent perspective or some fine picture fit for building or fortification, or containing in it some notable example, as Abraham sacrificing his son Isaac, Judith killing Holofernes, David fighting with Goliath, may leave those and please an ill-pleased eye with wanton shows of better hidden matters. But what, shall the abuse of a thing make the right use odious? Nay, truly, though I yield that poesy may not only be abused, but that, being abused by the reason of his sweet charming force, it can do more hurt than any other army of words: yet shall it be so far from concluding that the abuse should give reproach to the abused, that contrariwise it is a good reason that whatsoever being abused, doth most harm, being rightly used (and upon the right use each thing conceiveth his title) doth most good.