One of these is the desire to extort admiration by striking novelties of expression; and the other, the ambition to distinguish themselves by subtilties of thought, remote from the common apr asion.

With regard to the first of these I have only to say what has been often said before, that, however favorable may be the idea which this luxuriance of poetic imagery and of cpithet at first gives us of the author's talent, our admiration soon exhausts itself. We feel that the thought moves heavily under its load of garments, some of which perhaps strike us as tawdry and others as ill-fitting, and we lay down the book to take it up no more.

The other mistake, if I may so call it, deserves more attention, since we find able critics speaking with high praise of passages in the poetry of the day to which the general reader is puzzled to attach a meaning. This is often the case when the words themselves seem simple enough, and keep within the range of the Saxon or household element of our language. The obscurity lies sometimes in the phrase itself, and sometimes in the recondite or remote allusion. I will not say that certain minds are not affected by this, as others are by verses in plainer English. To the few it may be genuine poetry, althongh it may be a riddle to the mass of readers. I remember reading somewhere of a mathematician who was affected with a sense of sublimity by the happy solution of an algebraical or geometrical problem, and I have been assured by one who devoted himself to the science of mathematics that the phenomenon is no uncommon one. Let us beware, therefore, of assigning too narrow limits to the causes which produce the poetic exaltation of mind. The genius of those who write in this manner may be freely acknowledged, but they do not write for mankind at large.

To me it seems that one of the most important requisites for a great poet is a luminous style. The elements of poetry lie in natural objects, in the vicissitudes of human life, in the emotions of the human heart, and the relations of man to man. He who can present them in combinations and lights which at once affect the mind with a deep sense of their truth and beauty is the poet for his own age and the ages that succeed it. It is no disparagement either to his skill or his power that he finds them near at hand; the nearer they lie to the common track of the human intelligence, the more certain is he of the sympathy of his own generation, and of those which shall come after him. The metaphysician, the subtile thinker, the dealer in abstruse speculations, whatever his skill in versification, misapplies it when he abandons the more convenient form of prose and perplexes himself with the attempt to express his ideas in poetic numbers.

Let me say for the poets of the present day, that in one important respect they have profited by the example of their immediate predecessors; they have learned to go directly to nature for their imagery, instead of taking it from what had once been regarded as the common stock of the guild of poets. I have often had occasion to verify this remark with no less delight than surprise on meeting in recent verse new images in their untarnished lustre, like coins fresh from the mint, unworn and unsoiled by passing from pocket to pocket. It is curious, also, to observe how a certain set of hackneyed phrases, which Leigh Hunt, I believe, was the first to ridicule, and which were once used for the convenience of rounding out a line or supplying a

rhyme, have disappeared from our poetry, and how our blank verse in the hands of the most popular writers has dropped its stiff Latinisms and all the awkward distortions resorted to by those who thought that by putting a sentence out of its proper shape they were writing like Milton.

I have now brought this brief survey of the progress of our poetry down to the present time, and refer the reader, for samples of it in the different stages of its exist, ence, to those which are set before him in this volume.





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Idenny W. Longfellow

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