FOOTNOTES:

THE TWO HERESIES

And so at last I may explain why I have troubled myself and you with what may seem an arid controversy about mere words. It is not so. These heresies which would make poetry a compound of two factors—a matter common to it with the merest prose,plusa poetic form, as the one heresy says: a poetical substanceplusa negligible form, as the other says—are not only untrue, they are injurious to the dignity of poetry. In an age already inclined to shrink from those higher realms where poetry touches religion and philosophy, the formalist heresy encourages men to taste poetry as they would a fine wine, which has indeed an aesthetic value, but a small one. And then the natural man, finding an empty form, hurls into it the matter of cheap pathos, rancid sentiment, vulgar humour, bare lust, ravenous vanity—everything which, in Schiller's phrase[3], the form should extirpate, but which no mere form can extirpate. And the other heresy—which is indeed rather a practise than a creed—encourages us in the habit so dear to us of putting our own thoughts or fancies into the place of the poet's creation. What hemeant byHamlet, or theOde to a Nightingale, orAbt Vogler, we say, is this or that which we knew already; and so we lose what he had to tell us. But he meant what he said, and said what he meant.

Poetry in this matter is not, as good critics of painting and music often affirm, different from the other arts; in all of them the content is one thing with the form. What Beethoven meant by his symphony, or Turner by his picture, was not something which you can name, but the picture and the symphony. Meaning they have, butwhatmeaning can be uttered in no language but their own: and we know this, though some strange delusion makes us think the meaning has less worth, because we cannot put it into words. Well, it is just the same with poetry. But because poetry is words, we vainly fancy that some other words than its own will express its meaning. And they will do so no more—or, if you like to speak loosely, only a little more—than words will express the meaning of the Dresden Madonna. Something a little like it they may indeed express. And we may find analogues of the meaning of poetry outside it, which may help us to appropriate it. The other arts, the best ideas of philosophy or religion, much that nature and life offer us or force upon us, are akin to it. But they are only akin. Nor is it the expression of them. Poetry does not present to imagination our highest knowledge or belief, and much less our dreams and opinions; but it, content and form in unity, embodies in own irreplaceable way something which embodies itself also in other irreplaceable ways, such as philosophy or religion. And just as each of these gives a satisfaction which the other cannot possibly give, so we find in poetry, which cannot satisfy the needs they meet, that which by theirnatures they cannot afford us. But we shall not find it fully if we look for something else.

THE FURTHER MEANING OF POETRY

And yet, when all is said, the question will still recur, though now in quite another sense, What does poetry mean? This unique expression, which cannot be replaced by any other, still seems to be trying to express something beyond itself. And this, we feel, is also what the other arts, and religion, and philosophy are trying to express: and that is what impels us to seek in vain to translate the one into the other. About the best poetry, and not only the best, there floats an atmosphere of infinite suggestion. The poet speaks to us of one thing, but in this one thing there seems to lurk the secret of all. He said what he meant, but his meaning seems to beckon away beyond itself, or rather to expand into something boundless which is only focussed in it; something also which, we feel, would satisfy not only the imagination, but the whole of us; that something within us, and without, which everywhere

Makes us seemTo patch up fragments of a dream,Part of which comes true, and partBeats and trembles in the heart.

Those who are susceptible to this effect of poetry find it not only, perhaps not most, in the ideals which she has sometimes described, but in a child's song by Christina Rossetti about a mere crown of wind-flowers, and in tragedies likeLear, where the sun seems to have set for ever. They hear this spirit murmuring its undertone through theAeneid, and catch its voice in the song of Keats's nightingale, and its light upon the figures on the Urn, and it pierces them no less in Shelley's hopeless lament,O world, O life, O time, than in therapturous ecstasy of hisLife of Life. This all-embracing perfection cannot be expressed in poetic words or words of any kind, nor yet in music or in colour, but the suggestion of it is in much poetry, if not all, and poetry has in this suggestion, this 'meaning,' a great part of its value. We do it wrong, and we defeat our own purposes when we try to bend it to them:

We do it wrong, being so majestical,To offer it the show of violence;For it is as the air invulnerable,And our vain blows malicious mockery.

It is a spirit. It comes we know not whence. It will not speak at our bidding, nor answer in our language. It is not our servant; it is our master.

FOOTNOTES:[1]What is here called 'substance' is what people generally mean when they use the word 'subject.' I am not arguing against this usage, or in favour of the usage which I have adopted for the sake of clearness. It does not matter which we employ, so long as we and others know what we mean.[2]These remarks will hold good,mutatis mutandis, if by 'substance' is understood the 'moral' or the 'idea' of a poem, although perhaps in one instance out of five thousand this maybe found in so many words in the poem.[3]Not that to Schiller 'form' meant mere style and versification.

[1]What is here called 'substance' is what people generally mean when they use the word 'subject.' I am not arguing against this usage, or in favour of the usage which I have adopted for the sake of clearness. It does not matter which we employ, so long as we and others know what we mean.

[2]These remarks will hold good,mutatis mutandis, if by 'substance' is understood the 'moral' or the 'idea' of a poem, although perhaps in one instance out of five thousand this maybe found in so many words in the poem.

[3]Not that to Schiller 'form' meant mere style and versification.

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