A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticismSaintsbury, George
History
A history of criticism and literary taste in Europe, from the earliest texts to the present day. Volume 3 (of 3), Modern criticism
Saintsbury, George
Criticism -- History; Literature -- History and criticism; Literature, Medieval
That catholicity which has been said to be his main critical virtue will
be found (without any of the vice which has been hinted as sometimes
accompanying it) in the very list of the authors selected from—Spenser,
Marlowe, Shakespeare, Jonson, Beaumont and Fletcher, Middleton, Dekker,
and Webster, Milton, Coleridge, Shelley, and Keats: while the less
“imaginative” poets are by no means neglected, and in particular Leigh
Hunt brings out, often as no one had ever done before, that sheer
poetical quality of Dryden to which the critics of 1800-1830 had been as
a rule unjust. But the comment (and one cannot say more) is usually
worthy of the selection. The fullest division of all is that on Spenser—
indeed Leigh Hunt’s appreciation of this at once exquisite and
magnificent poet is one of the very best we have, and would be the best
of all if it had been a little more sensitive to Spenser’s “brave_st_
translunary things,” to the pervading exaltation and sublimation of
thought and feeling which purifies the most luscious details, and unites
the most straggling divagations in a higher unity. But, short of this,
it would be difficult to have a better detailed eulogium, _pièces en
main_, of the subject; nor does Hunt fail to make out something of a
case against, at least, the exaggeration of Lessing’s attack on the _ut
pictura poesis_ view. But his limitations appear in his complete
misunderstanding of Coleridge’s exact and profound observation that
Spenser’s descriptions are “not in the true sense of the word
_picturesque_, but composed of a wondrous series of images as in
dreams.” What Coleridge meant, of course, is that sequence rather than
strict “composition” is Spenser’s secret—that his pageants _dissolve
into_ one another. But in these finesses Hunt is seldom at his ease. So,
again, he blasphemes one of the most beautiful lines of _The Tempest_—
“The fringed curtains of thine eye advance”—
as “elaborate nothingness, not to say nonsense” [how nothingness can in
any case be sense he shall tell us], “pompous,” “declamatory,” and
disapproved of by—Pope!
Public-domain text, read in full here on John Shaqi.
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