Criticism; English essays; English poetry -- 19th century -- History and criticism; Poetry
Dexterity in composition, or _eloquence_ as it may be called in a
contracted sense of the word, is however manifestly more or less
necessary in every branch of literature, though its elements may be
different in each. _Poetical_ eloquence consists, first in the power
of illustration--which the poet uses, not as the orator, voluntarily,
for the sake of clearness or ornament; but almost by constraint, as
the sole outlet and expression of intense inward feeling. The
spontaneous power of comparison is in some poetical minds entirely
wanting; these of course cannot show to advantage as poets.--Another
talent necessary to composition is the power of unfolding the meaning
in an orderly manner. A poetical mind is often too impatient to
explain itself justly; it is overpowered by a rush of emotions, which
sometimes want of power, sometimes the indolence of inward enjoyment
prevents it from describing. Nothing is more difficult than to analyse
the feelings of our own minds; and the power of doing so, whether
natural or acquired, is clearly distinct from experiencing them. Yet,
though distinct from the poetical talent, it is obviously necessary to
its exhibition. Hence it is a common praise bestowed upon writers,
that they express what we have often felt but could never describe.
The power of arrangement, which is necessary for an extended poem, is
a modification of the same talent;--being to poetry what method is to
logic. Besides these qualifications, poetical compositions requires
that command of language which is the mere effect of practice. The
poet is a compositor; words are his types; he must have them within
reach, and in unlimited abundance. Hence the need of careful labour to
the accomplished poet--not in order that his diction may attract, but
that language may be subjected to him. He studies the art of
composition as we might learn dancing or elocution; not that we may
move or speak according to rule, but that by the very exercise our
voice and carriage may become so unembarrassed as to allow of our
doing what we will with them.
Public-domain text, read in full here on John Shaqi.
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