As perhaps I have no right to
expect from a Reader of an introduction to a volume of Poems that attentive
perusal without which it is impossible, imperfectly as I have been compelled to
express my meaning, that what I have said in the Preface should throughout be
fully understood, I am the more anxious to give an exact notion of the sense in
which I use the phrase poetic diction; and for this purpose I will here
add a few words concerning the origin of the phraseology which I have condemned
under that name. The earliest Poets of all nations generally wrote from passion
excited by real events; they wrote naturally, and as men: feeling powerfully as
they did, their language was daring and figurative. In succeeding times, Poets,
and men ambitious of the fame of Poets, perceiving the influence of such
language, and desirous of producing the same effect, without having the same
animating passion, set themselves to a mechanical adoption of those figures of
speech, and made use of them, sometimes with propriety, but much more frequently
applied them to feelings and ideas with which they had no natural connection
whatsoever. A language was thus insensibly produced, differing materially from
the real language of men in any situation. The Reader or Hearer of this
distorted language found himself in a perturbed and unusual state of mind: when
affected by the genuine language of passion he had been in a perturbed and
unusual state of mind also: in both cases he was willing that his common
judgment and understanding should be laid asleep, and he had no instinctive and
infallible perception of the true to make him reject the false; the one served
as a passport for the other. The agitation and confusion of mind were in both
cases delightful, and no wonder if he confounded the one with the other, and
believed them both to be produced by the same, or similar causes. Besides, the
Poet spoke to him in the character of a man to be looked up to, a man of genius
and authority. Thus, and from a variety of other causes, this distorted language
was received with admiration; and Poets, it is probable, who had before
contented themselves for the most part with misapplying only expressions which
at first had been dictated by real passion, carried the abuse still further, and
introduced phrases composed apparently in the spirit of the original figurative
language of passion, yet altogether of their own invention, and distinguished by
various degrees of wanton deviation from good sense and nature.
It
is indeed true that the language of the earliest Poets was felt to differ
materially from ordinary language, because it was the language of extraordinary
occasions; but it was really spoken by men, language which the Poet himself had
uttered when he had been affected by the events which he described, or which he
had heard uttered by those around him. To this language it is probable that
metre of some sort or other was early superadded. This separated the genuine
language of Poetry still further from common life, so that whoever read or heard
the poems of these earliest Poets felt himself moved in a way in which he had
not been accustomed to be moved in real life, and by causes manifestly different
from those which acted upon him in real life. This was the great temptation to
all the corruptions which have followed: under the protection of this feeling
succeeding Poets constructed a phraseology which had one thing, it is true, in
common with the genuine language of poetry, namely, that it was not heard in
ordinary conversation; that it was unusual. But the first Poets, as I have said,
spoke a language which though unusual, was still the language of men. This
circumstance, however, was disregarded by their successors; they found that they
could please by easier means: they became proud of a language which they
themselves had invented, and which was uttered only by themselves; and, with the
spirit of a fraternity, they arrogated it to themselves as their own. In process
of time metre became a symbol or promise of this unusual language, and whoever
took upon him to write in metre, according as be possessed more or less of true
poetic genius, introduced less or more of this adulterated phraseology into his
compositions, and the true and the false became so inseparably interwoven that
the taste of men was gradually perverted; and this language was received as a
natural language; and, at length, by the influence of books upon men, did to a
certain degree really become so. Abuses of this kind were imported from one
nation to another, and with the progress of refinement this diction became daily
more and more corrupt, thrusting out of sight the plain humanities of nature by
a motley masquerade of tricks, quaintnesses, hieroglyphics, and enigmas.
It
would be highly interesting to point out the causes of the pleasure given by
this extravagant and absurd language; but this is not the place; it depends upon
a great variety of causes, but upon none perhaps more than its influence in
impressing a notion of the peculiarity and exaltation of the Poet's character,
and in flattering the Reader's self-love by bringing him nearer to a sympathy
with that character; an effect which is accomplished by unsettling ordinary
habits of thinking, and thus assisting the Reader to approach to that perturbed
and dizzy state of mind in which if he does not find himself, he imagines that
he is balked of a peculiar enjoyment which poetry can, and ought to
bestow.
The
sonnet which I have quoted from Gray, in the Preface, except the lines printed
in Italics, consists of little else but this diction, though not of the worst
kind; and indeed, if I may be permitted to say so, it is far too common in the
best writers, both antient and modern. Perhaps I can in no way, by positive
example, more easily give my Reader a notion of what I mean by the phrase poetic
diction than by referring him to a comparison between the metrical paraphrases
which we have of passages in the old and new Testament, and those passages as
they exist in our common Translation. See Pope's "Messiah' throughout, Prior's
"Did sweeter sounds adorn my flowing tongue," &c. &c. "Though I speak
with the tongues of men and of angels," &c. &c. See 1st Corinthians,
Chapter 13th. By way of immediate example, take the following of Dr. Johnson.
"Turn
on the prudent Ant thy heedless eyes,
Observe her labours, Sluggard, and be
wise;
No stern command, no monitory voice,
Prescribes her duties, or
directs her choice;
Yet timely provident she hastes away,
To snatch the
blessings of a plenteous day;
When fruitful Summer loads the teeming
plain,
She crops the harvest and she stores the grain.
How long, shall
sloth usurp thy useless hours,
Unnerve thy vigour, and enchain thy
powers?
While artful shades thy downy couch enclose,
And soft solicitation
courts repose,
Amidst the drowsy charms of dull delight,
Year chases year
with unremitted flight,
Till want now following, fraudulent and
slow,
Shall spring to seize thee, like an ambushed foe."
[The Ant]
From
this hubbub of words pass to the original, "Go to the Ant, thou Sluggard,
consider her ways, and be wise: which having no guide, overseer, or ruler,
provideth her meat in the summer, and gathereth her food in the harvest. How
long wilt thou sleep, 0 Sluggard? when wilt thou arise out of thy sleep? Yet a
little sleep, a little slumber, a little folding of the hands to sleep. So shall
thy poverty come as one that travaileth, and thy want as an armed man."
Proverbs, chap. 6th.
One
more quotation and I have done. It is from Cowper's verses supposed to be
written by Alexander Selkirk.
"Religion!
what treasure untold
Resides in that heavenly word!
More precious than
silver and gold,
Or all that this earth can afford.
But the sound of the
church-going bell
These valleys and rocks never heard
Ne'er sigh'd at the
sound of a knell,
Or smil'd when a sabbath appear'd.
Ye
winds, that have made me your sport,
Convey to this desolate shore
Some
cordial endearing report
Of a land I must visit no more.
My Friends, do
they now and then send
A wish or a thought after me?
0 tell me I yet have
a friend
Though a friend I am never to see."
I
have quoted this passage as an instance of three different styles of
composition. The first four lines are poorly expressed; some Critics would call
the language prosaic; the fact is, it would be bad prose, so bad, that it is
scarcely worse in metre. The epithet "church-going" applied to a bell, and that
by so chaste a writer as Cowper, is an instance of the strange abuses which
Poets have introduced into their language till they and their Readers take them
as matters of course, if they do not single them out expressly as objects of
admiration. The two lines "Ne'er sigh'd at the sound," &c. are, in my
opinion, an instance of the language of passion wrested from its proper use,
and, from the mere circumstance of the composition being in metre, applied upon
an occasion that does not justify such violent expressions, and I should condemn
the passage, though perhaps few Readers will agree with me, as vicious poetic
diction. The last stanza is throughout admirably expressed: it would be equally
good whether in prose or verse, except that the Reader has an exquisite pleasure
in seeing such natural Ianguage so naturally connected with metre. The beauty of
this stanza tempts me here to add a sentiment which ought to be the pervading
spirit of a system, detached parts of which have been imperfectly explained in
the Preface, namely, that in proportion as ideas and feelings are valuable,
whether the composition be in prose or in verse, they require and exact one and
the same language.
by William Wordsworth & Samuel Taylor Coleridge
