The Knickerbocker | Page 3

mentioned, the emotions we feel are similar to those which the sight of the objects themselves would produce; if beautiful, of pleasure; if terrible, of awe. A painting, which is an accurate representation of nature, regarded irrespective of the skill of the artist, would affect us in the same way. But the effects resulting from this cause are too inconsiderable to require particular mention. The picture which words are able to present is so indistinct and vague as rarely to produce any strong emotion. If the objects themselves are generally looked upon with indifference, much less can a verbal description of them afford us any great degree of pleasure.
The language which the poet uses often suggests to the mind of the reader trains of thought and imagery which were never present to his own mind. Hence many expressions which are in themselves eminently poetic, will arouse associations, oftentimes, that entirely spoil the passage. On the other hand, an expression low and vulgar may be ennobled by its associations, and give dignity and force to the composition. We not unfrequently meet phrases which have great beauty in the eyes of one man, which seem flat and insipid in the eyes of another. Every writer who has attempted dignified or pathetic composition, has felt how difficult it is to avoid those words which will suggest ideas that are unworthy of the subject. If, however, the poet is sometimes a loser, he is also sometimes a gainer from this cause. The reader often finds in his own associations, sources of pleasure independent of the poet. The light that illumines the page is but the reflected radiance of his own thoughts, and is unseen by all save himself.
But it is in the moral interest with which the poet invests the objects he describes, that the chief source of our pleasure is to be found. The poet paints Nature, not as she is, but as she seems. He adorns her with beauty not her own, and presents her thus adorned to men, to admire and to love. It is by interweaving human sympathies and feelings with the objects of the material world, that they lose their character of 'mute insensate things,' and acquire the power to charm and to soothe us, amidst all the cares and anxieties of our life. The intellectual process which here takes place is so interesting and important that we shall make no apology for treating the subject at some length.
It is sufficiently obvious that an accurate description of nature, or a beautiful work of art, is not poetical. On the other hand, in proportion as the minuteness of the description is increased, the poetry vanishes. The traveller who should give us the exact dimensions of the pyramids, the precise height of the terraces, the width and height of the inner passages, would give us much more definite ideas of those structures than he who should paint to us the effects produced on his own mind by their vastness, their antiquity, and the solitude that surrounds them. So in descriptions of natural scenery, the geographer who gives us the measurement of mountains, and rivers, and plains, is much more accurate than he who describes them solely from the picture that exists in his fancy. We wish to be rightly understood. We do not mean that vagueness and generality are essential to poetical description. As on the one hand, mathematical accuracy, by allowing no play to the imagination, produces a feeble impression, so on the other the indistinctness arising from indefinite expressions is equally unfavorable. But in neither is the poetry of the description dependent on the greater or less degree of minuteness with which particular objects are spoken of. When Whitbread described the Phenix, according to Sheridan's version, 'like a poulterer; it was green, and red, and yellow, and blue; he did not let us off for a single feather,' he did not fail more egregiously than Thomson in the following lines, in which, by the force of language, a flock of geese are made highly poetical objects:
'Hushed in short suspense The plumy people streak their wings with oil, To throw the lucid moisture trickling off, And wait the approaching sign to strike at once Into the general choir.'
The poet indeed must give us a lively and definite image of the scene or object which he undertakes to describe. But how shall this be done? Simply by telling us how it appeared to him; introducing those circumstances which had the greatest effect on his own imagination. He looks on nature neither as a gardener, a geographer, an astronomer, nor a geologist, but as a man, susceptible of strong impressions, and able to describe clearly to others the objects which affected himself. This he will do in the style which the emotion