Part 24

This excellence, which constitutes the character of Mr. Wordsworth's mind, I no sooner felt than I sought to understand. Repeated meditations led me to suspect that fancy and imagination were two distinct and widely different faculties, instead of being, according to the general belief, the lower and higher degree of one and the same power. Milton had a highly imaginative, Cowley a very fanciful, mind. The division between fancy and imagination is no less grounded in nature than that of delirium from mania; or of Otway's

Lutes, laurels, seas of milk, and ships amber,

from Shakespeare's

What! Have his daughters brought him to this pass?

IV.--The Philosophical Critic

As materialism has been generally taught, it is utterly unintelligible, and owes all its proselytes to the propensity, so common among men, to mistake distinct images for clear conceptions, and, vice versâ, to reject as inconceivable whatever from its own nature is unimaginable. If God grant health and permission, this subject will be treated of systematically in a work which I have many years been preparing on the Productive Logos, human and divine, with, and as an introduction to, a full commentary on the Gospel of St. John.

To make myself intelligible, so far as my present subject, the imagination, requires, it will be sufficient briefly to observe: (1) That all association demands and presupposes the existence of the thoughts and images to be associated. (2) The hypothesis of an external world exactly correspondent to those images or modifications of our own being, which alone--according to this system--we actually behold, is as thorough idealism as Berkeley's, inasmuch as it equally removes all reality and immediateness of perception, and places us in a dream-world of phantoms and spectres, the inexplicable swarm and equivocal generation of motion in our own brains. (3) That this hypothesis neither involves the explanation nor precludes the necessity of a mechanism and co-adequate forces in the percipient, which, at the more than magic touch of the impulse from without, creates anew for himself the correspondent object. The formation of a copy is not solved by the mere pre-existence of an original; the copyist of Raffael's "Transfiguration" must repeat more or less perfectly the process of Raffael.

The imagination, therefore, is essentially creative. I consider imagination either as primary or secondary. The primary imagination I hold to be the living power and prime agent of all human perception, and as a repetition in the finite mind of the eternal act of creation in the infinite I AM.

The secondary I consider as an echo of the former; it dissolves, diffuses, dissipates, in order to re-create; or where this process is rendered impossible, yet still, at all events, it struggles to idealise and to unify. It is essentially vital, even as all objects are essentially fixed and dead.

Fancy, on the contrary, has no other counters to play with but fixities and definites. The fancy is no other than a mode of memory emancipated from the order of time and space, and blended with, and modified by, choice. But, equally with the ordinary memory, it must receive its materials ready made, from the law of association.

V.--What is a Poem?

During the first year that Mr. Wordsworth and I were neighbours our conversations turned frequently on the two cardinal points of poetry--the power of exciting the sympathy of the reader by a faithful adherence to the truth of Nature, and the power of giving the interest of novelty by the modifying colours of imagination. The sudden charm which accidents of light and shade, moonlight or sunset, diffuse over a familiar landscape appeared to represent the practicability of combining both.

The thought suggested itself that a series of poems might be composed of two sorts. In the one the incidents and agents were to be, in part at least, supernatural; and the excellence aimed at was to consist in the interesting of the affections by the dramatic truth of such emotions as would naturally accompany such situations. For the second class, subjects were to be chosen from ordinary life; the characters and incidents were to be such as will be found in every village and its vicinity where there is a meditative and feeling mind to seek them.

In this idea originated the plan of the "Lyrical Ballads," in which my endeavours were to be directed to persons and characters supernatural, or at least romantic. Mr. Wordsworth, on the other hand, was to attempt to give the charm of novelty to things of every day, and to excite a feeling analogous to the supernatural by awakening the mind's attention from the lethargy of custom, and directing it to the loveliness and the wonders of the world before us--an inexhaustible treasure, but for which, in consequence of the film of familiarity and selfish solicitude, we have eyes, yet see not, and hearts that neither feel nor understand.

With this view I wrote the "Ancient Mariner," and was preparing, among other poems, the "Dark Ladie" and "Christabel." But the number of Mr. Wordsworth's poems was so much greater that my compositions appeared rather an interpolation of heterogeneous matter.

With many parts of Mr. Wordsworth's preface to the "Lyrical Ballads," in which he defines his poetic creed, I have never concurred, and I think it expedient to declare in what points I coincide with his opinions, and in what points I differ.

A poem contains the same elements as a prose composition; the difference, therefore, must consist in a different combination of them, in consequence of a different object proposed. The mere addition of metre does not in itself entitle a work to the name of poem, for nothing can permanently please which does not contain in itself the reason why it is so and not otherwise. Our definition of a poem may be thus worded. "A poem is that species of composition which is opposed to works of science, by proposing for its immediate object pleasure, not truth; and from all other species (having this object in common with it) it is discriminated by proposing to itself such delight from the whole as is compatible with a distinct gratification from each component part."

For, in a legitimate poem, the parts must mutually support and explain each other; all in their proportion harmonising with, and supporting the purpose and known influences of, metrical arrangement.

VI.--A Criticism of Wordsworth

Let me enumerate the prominent defects, and then the excellences, of Mr. Wordsworth's published poems. The first characteristic, though only an occasional defect, is the inconstancy of style; the sudden and unprepared transitions from lines or sentences of peculiar felicity to a style not only unimpassioned, but undistinguished. He sinks too often, too abruptly, into the language of prose. The second defect is a certain matter-of-factness in some of his poems, consisting in a laborious minuteness and fidelity in the representations of objects, and in the insertion of accidental circumstances, such as are superfluous in poetry. Thirdly, there is in certain poems an undue predilection for the dramatic form; and in these cases either the thoughts and diction are different from those of the poet, so that there arises an incongruity of style, or they are the same and indistinguishable, and then it presents a species of ventriloquism. The fourth class includes prolixity, repetition, and an eddying instead of progression of thought. His fifth defect is the employment of thoughts and images too great for the subject; an approximation to what might be called mental bombast, as distinguished from verbal.

To these occasional defects I may oppose the following excellences. First, an austere purity of language both grammatically and logically; in short, a perfect appropriateness of the words to the meaning. Secondly, a correspondent weight and sanity of the thoughts and sentiments, won not from books, but from the poet's own meditative observation. They are fresh, and have the dew upon them. Third, the sinewy strength and originality of single lines and paragraphs; the frequent curious felicity of his diction. Fourth, the perfect truth of Nature in his images and descriptions as taken immediately from Nature, and proving a long and genial intimacy with the very spirit which gives the expression to all the works of nature. Like a green field reflected in a calm and perfectly transparent lake, the image is distinguished from the reality only by its greater softness and lustre.

Fifth, a meditative pathos, a union of deep and subtle thought with sensibility; a sympathy with man as man; the sympathy of a contemplator, from whose view no difference of rank conceals the sameness of the nature; no injuries of wind or weather, of toil, or even of ignorance, wholly disguise the human face divine. The superscription and the image of the Creator still remain legible to him under the dark lines with which guilt or calamity had cancelled or cross-barred it. In this mild and philosophic pathos, Wordsworth appears to me without a compeer.

Lastly, and pre-eminently, I challenge for this poet the gift of imagination in the highest and strictest sense of the word. In the play of fancy, Wordsworth, to my feelings, is not always graceful, and is sometimes recondite. But in imaginative power he stands nearest of all modern writers to Shakespeare and Milton; and yet in a kind perfectly unborrowed and his own. To employ his own words, he does indeed to all thoughts and to all objects

Add the gleam, The light that never was on sea or land, The consecration, and the poet's dream.

* * * * *

WILLIAM COWPER

Letters Written in the Years 1782-1790

William Cowper, son of a chaplain to George II., was born at Berkhampstead Parsonage on November 15, 1731. After being educated at Westminster School, he studied law for three years, and in 1752 took up his residence, for a further course, in the Middle Temple. Though called to the Bar in 1754, he never practised, for he profoundly hated law, while he passionately loved literary pursuits. His friends having provided him with sufficient funds for subsistence, in addition to a small patrimony left by his father, Cowper went to live at Huntingdon, where he formed a deep attachment with the Unwin family, which proved to be a lifelong friendship. The latter years of his life were spent at Olney. He achieved wide fame by the publication of "The Task," which was pronounced by many critics the greatest poem of the period. The main characteristics of his style are its simplicity, its sympathy with nature and with ordinary life, and its unaffected devotional accent. But Cowper is now appreciated more for his incomparably delightful epistles to his friends than for his poetry. Few letters in our language can compare with these for incisive but kindly and gentle irony; innocent but genuine fun; keen and striking acumen, and tender melancholy. Cowper died on April 25, 1800.