The World's Best Poetry, Volume 10 - Poetical Quotations

Various, Bliss Carman, John R. (John Raymond) Howard

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• Publié par: omme
• Publié le: 08 décembre 2010
• Nombre de lectures: 34
• Langue: English

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Project Gutenberg's The World's Best Poetry — Volume 10, by Bliss Carman
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Title: The World's Best Poetry — Volume 10
Author: Various
Edited by Bliss Carman
Release Date: July 17, 2004 [EBook #12925]
Language: English
*** START OF THIS PROJECT GUTENBERG EBOOK THE WORLD'S BEST POETRY—VOLUME 10 ***
Produced by Charles Aldarondo, Leonard Johnson, and the Online Distributed Proofreading Team.
THE WORLD'S BEST POETRY
[Illustration]
I Home: Friendship
II Love
III Sorrow and Consolation
IV The Higher Life
V Nature
VI Fancy: Sentiment
VII Descriptive: Narrative
VIII National Spirit
IX Tragedy: Humor
X Poetical QuotationsTHE WORLD'S BEST POETRY
IN TEN VOLUMES, ILLUSTRATED
Editor-in-Chief
BLISS CARMAN
Associate Editors
John Vance Cheney
Charles G.D. Roberts
Charles F. Richardson
Francis H. Stoddard
Managing Editor
John R. Howard
1904
The World's Best Poetry
Vol. X
POETICAL QUOTATIONS
AFTER ALL, WHAT IS POETRY
By
JOHN R. HOWARD
* * * * *AFTER ALL, WHAT IS POETRY?
BY JOHN RAYMOND HOWARD.
Considering the immense volume of poetical writing produced, and lost or accumulated, by all nations through the
ages, it is of curious interest that no generally accepted definition of the word "Poetry" has ever been made. Of
course, all versifiers aim at "poetry"; yet, what is poetry?
Many definitions have been attempted. Some of these would exclude work by poets whom the world agrees to call
great; others would shut out elements that are undeniably poetic; still others, while not excluding, do not positively
include much that must be recognized as within the poetical realm. In brief, all are more or less partial.
Perhaps a few examples may make this clearer, and show, too, the difficulty of the problem.
"Poetry," says Shelley, "is the record of the best and happiest moments of the happiest and best minds." But how
can this include that genuine poetic genius, Byron, who gloried in being neither good nor happy? Lord Jeffrey, one of
the keenest of critics, says that the term may properly be applied to "every metrical composition from which we
derive pleasure without any laborious exercise of the understanding." In this category, what becomes of Browning,
whom Sharp characterizes "the most profoundly subtle mind that has exercised itself in poetry since Shakespeare"?
Wordsworth, who has influenced all the poets since his day, declares poetry to be "the breath and finer spirit of all
knowledge; it is the impassioned expression which is the countenance of all science." Matthew Arnold accepts this
dictum, and uses it to further his own idea of the great future of poetry as that to which mankind will yet turn, "to
interpret life for us, to console us, to sustain us,"—even in place of religion and philosophy. And yet, some of the
highest and finest of known poetic flights have been in the expression of religious and philosophical truth; while on
the other hand Wordsworth's characterization of poetry turns the cold shoulder to that which is neither knowledge nor
science, the all-powerful passion of Love—probably the most universal fount and origin of poetry since the human
race began to express its thoughts and feelings at all. Coleridge enlarges Wordsworth's phrase, and makes poetry
"the blossom and fragrance of all human knowledge, human thought, human passions, emotions, language." This is
fine; yet it is but a figure, denoting the themes and ignoring the form of poetic production.
Quaint old Thomas Fuller gives a pretty simile when he says that "Poetry is music in words, and music is poetry in
sound"; and, in so far as melodious form and harmonious thought express and arouse emotion, he gives a hint of the
truth.
The German Jean Paul Richter says an admirable thing: "There are so many tender and holy emotions flying about in
our inward world, which, like angels, can never assume the body of an outward act; so many rich and lovely flowers
spring up, which bear no seed, that it is a happiness poetry was invented, which receives into its limbus all these
incorporeal spirits, and the perfume of all these flowers." True: but the tremendous domain of Tragedy—emotion
neither holy nor tender—has been most fruitful of poetic power, and that finds here no recognition.
Edmund Burke's rather disparaging remark that poetry is "the art of substituting shadows, and of lending existence to
nothing," has yet a vital suggestion, reminding one of Shakespeare's graphic touch in "The Tempest":
"And, as imagination bodies forth
The forms of things unknown, the poet's pen
Turns them to shapes, and gives to airy nothings
A local habitation and a name";
and this again recalls in Holy Writ that clarifying description of the imaginative power of "seeing the invisible" which is
called "faith," as being "the substance of things hoped for, the evidence of things not seen."
These varied sayings concern the elements of poetry, and help to an apprehension of its scope and power; yet they
but partially satisfy the desire to know what is meant by that familiar word,—which we constantly use, and use
understandingly, while yet the very makers of poetry find difficulty in telling just what is signified by it.
Let us turn to the dictionary, and see how the matter looks to the cold-minded definer. Webster gives Poetry as "the
art of apprehending and interpreting ideas by the faculty of the imagination; the art of idealizing in thought and in
expression;" and then, specifically, "imaginative language or composition, whether expressed rhythmically or in
prose." This seems to come nearer the mark; although, by admitting poetical prose, the popular idea of poetry is
expanded to include all writing that is infused with the imaginative quality. Thus is found place for Walt Whitman, who
defies all metre, and who yet lays strong hold upon the reader—despite his whimsicalities—by the very multiplicity
and suggestiveness of his imaginings among real things.
Perhaps as satisfactory a presentation of the matter as can be found is in a casual phrase of Stedman's in the
Introduction to his "American Anthology." This true poet and master-critic, in pursuit of another idea, alludes to poetry
as "being a rhythmical expression of emotion and ideality." Here at last we have form, spirit, and theme combined
in one terse utterance. In poetry we look for the musical metre, the recurrent refrain of rhythm; while that which
inspires it arises from the universal motives which Coleridge names as ministers to Love,—
"All thoughts, all passions, all delights, Whatever stirs this mortal frame."
With this view, then, of the vast range of poetical thinking and feeling—such as most arouse interest in all possible
moods of the reader, and recalling the fact that the aim of the poet is to set forth his strains in musical measures that
allure the attention and satisfy the sense of perfect expression, it will be of interest to note a few passagesconcerning this art of all arts from notable thinkers.
In his introduction to Ward's admirable selections from "The English Poets," Matthew Arnold—critic and poet—to
whom allusion has already been made, says:
"The future of poetry is immense, because in poetry, where it is worthy of its high destinies, our race, as time goes
on, will find an ever surer and surer stay….
"We are here invited to trace the stream of English poetry. But whether we set ourselves, as here, to follow only one
of the several streams that make the mighty river of poetry, or whether we seek to know them all, our governing
thought should be the same. We should conceive of poetry worthily, and more highly than it has been the custom to
conceive of it. We should conceive of it as capable of higher uses, and called to higher destinies, than those which in
general men have assigned to it hitherto. More and more mankind will discover that we have to turn to poetry to
interpret life for us, to console us, to sustain us….
"But if we conceive thus highly of poetry, we must also set our standard for poetry high, since poetry, to be capable of
fulfilling such high destinies, must be poetry of a high order of excellence.
… The best poetry is what we want; the best poetry will be found to have a power of forming, sustaining, and
delighting us, as nothing else can. A clearer, deeper sense of the best in poetry, and of the strength and joy to be
drawn from it, is the most precious benefit which we can gather from a poetical collection such as the present."
Macaulay in his brilliant essay on Milton, which, published in the Edinburgh Review in 1825, gave him instant
recognition as "a new literary power," set up an interesting theory. A few extracts will give it:—
"Milton, it is said, inherited what his predecessors created; he lived in an enlightened age; he received a finished
education; and we must therefore, if we would form a j