Keen senses, a just taste, creative force, compose the common dowry of artists. But art is threefold—plastic, pictorial, poetic. To each species belongs a peculiar medium in which memories are embalmed and fancies embodied. The media are solids, colors, words. In language lie certain powers and certain limitations. The poet divines them. He produces a speaking picture, but he remembers that much of a picture cannot be spoken. He demonstrates that much also may be told that cannot be painted. On his canvas vivacity and intensity do duty for light and shade. Elaboration, suggestion, silence, are the elements of his perspective. He borrows from sculpture the significance of isolation, and the incisive lesson of the group. Images, metaphors, similes, are the poet’s graving-tools. He learns their latent capacities and their inherent flaws. He secures subtle effects by climax, antithesis, evolution. He plays the chemist with ideas, and presents them in every stage of development, now vaporous, now congealed. He weighs words, detects their finer applications, and fathoms the deeper meanings which are coiled about their roots. And, finally, he masters the mechanism of speech, the organic structure of sentences, the joints and vertebræ of his native tongue. One step remains, to seize the principles of metre, the secrets of rhythm and cæsura, the march and music of verse. His panoply is finished. He is a poet.
Let us apply some of these tests to Tennyson. And, first, his power of simple imitation. At first sight this seems no lofty triumph of the poet’s art. And yet how much it implies! To translate substance into the unsubstantial. To portray the visible and tangible in that which has neither color nor dimension. Above all, to transfuse through the spirit of man the spirit of nature. It behooves him who would compass this to purge the heart of emotion, abjure self-consciousness, and forget, like the Pythian priestess, his own identity. He is not to steep his landscape in sentiment of his own, nor ascribe to it a fictitious sympathy with human moods and passions. The outward beauty he contemplates must traverse his mental atmosphere, untinctured, unrefracted, like white light. We must catch in his work the soul of the scene, a spirit rising from it like an exhalation, not drenching it with alien dews. We find a happy instance of right treatment in this cool upland valley from “Œnone”:
“There lies a vale in Ida lovelier
Than all the valleys of Ionian hills;
The swimming vapor slopes athwart the glen,
Puts forth an arm, and creeps from pine to pine,
And loiters slowly drawn. On either hand
The lawns and meadow-ledges midway down
Hang rich in flowers, and far below them roars
The long brook falling thro’ the cloven ravine
In cataract after cataract to the sea.
Behind the valley topmost Gargarus
Stands up and takes the morning; but in front
The gorges, opening wide apart, reveal
Troas and Ilion’s columned citadel.”
Beside this place the rank luxuriance of a tropic island where “Enoch Arden,” shipwrecked, waited for a sail:
“The mountain wooded to the peak, the lawns,
And winding glades high up like ways to heaven,
The slender coco’s drooping crown of plumes,
The lightning flash of insect and of bird,
The lustre of the long convolvuluses,
That coiled around the stately stems and ran
Even to the limits of the land, the glows
And glories of the broad belt of the world—
All these he saw.”
Of pure imitative art Scott and Wordsworth are the great modern masters. Yet we shall all acknowledge that the passages quoted exhibit a rare excellence. It would be hard to match in Theocritus the breezy freshness of the “Brook.” As we listen, we lose ourselves, and seem to penetrate the joyous heart of nature. We too are in Arcadia. It is the morning of the world, and the infant god of some slender streamlet hums his naïve song to Pan, who lies along the sward:
“I wind about, and in, and out,
With many a blossom sailing;
And here and there a lusty trout,
And here and there a grayling.
*****
I slip, I slide, I gloom, I glance
Among my skimming swallows,
I make the netted sunbeams dance
Against my sandy shallows.”