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only conscious reformer, and his hostility to the existing formalism injured his earlier poems by tinging them with something of iconoclastic extravagance. He was the deepest thinker, Keats the most essentially a poet, and Byron the most keenly intellectual of the three. Keats had the broadest mind, or at least his mind was open in more sides, and he was able to understand Wordsworth and judge Byron, equally conscious, through his artistic sense, of the greatnesses of the one, and the many littlenesses of the other, while Wordsworth was isolated in a feeling of his prophetic character, and Byron had only an uneasy and jealous instinct of contemporary merit. The poems of Wordsworth, as he was the most individual, accordingly reflect the moods of his own nature; those of Keats, from sensitiveness of organization, the moods of his own taste and feeling ; and those of Byron, who was impressible chiefly through the understanding, the intellectual and moral wants of the times in which he lived. Wordsworth has influenced most the ideas of succeeding poets ; Keats their forms ; and Byron, interesting to men of imagination less for his writings than for what his writings indicate, reappears no more in poetry, but presents an ideal to youth made restless with vague desires not yet regulated by experience nor supplied with motives by the duties of life.

As every young person goes through all the world-old experiences, fancying them something peculiar and personal to himself, so it is with every new generation, whose youth always finds its representatives in its poets. Keats rediscovered the delight and wonder that lay enchanted in the dictionary. Wordsworth revolted at the poetic diction which he found in vogue, but his own language rarely rises above it except when it is upborne by the thought. Keats had an instinct for fine words, which are in themselves pictures and ideas, and had more of the power of poetic expression than any modern English poet. And by poetic expression we do not mean merely a vividness in particulars, but the right feeling which heightens or subdues a passage or a whole poem to the proper tone, and gives entireness to the effect. There is a great deal more than is commonly supposed in this choice of words. Men's thoughts and opinions are in a great degree vassals of him who invents a new phrase or reapplies an old epithet. The thought or feeling a thousand times repeated, becomes his at last who utters it best. This power of language is veiled in the old legends which make the invisible powers the servants of some word.

As soon as we have discovered the word for our joy or sorrow we are no longer its serfs, but its lords. We reward the discoverer of an anæsthetic for the body and make him member of all the societies, but him who finds a nepenthe for the soul we elect into the small academy of the immortals.

The poems of Keats mark an epoch in English poetry; for, however often we may find traces of it in others, in them found its strongest expression, that reaction against the barrel-organ style which had been reigning by a kind of sleepy divine right for half a century. The lowest point was indicated when there was such an utter confounding of the common and the uncommon sense that Dr. Johnson wrote verse and Burke prose. The most profound gospel of criticism

was, that nothing was good poetry that could not be translated into good prose, as if one should say that the test of sufficient moonlight was that tallow-candles could be made of it. We find Keats at first going to the other extreme, and endeavoring to extract green cucumbers from the rays of tallow; but we see also incontestable proof of the greatness and purity of his poetic gift in the constant return toward equilibrium and repose in his later poems. And it is a repose always lofty and clear-aired, like that of the eagle balanced in incommunicable sunshine. In him a vigorous understanding developed itself in equal measure with the divine faculty; thought emancipated itself from expression without becoming its tyrant; and music and meaning floated together, accordant as swan and shadow, on the smooth element of his verse. Without losing its sensuousness, bis poetry refined itself and grew more inward, and the sensational was elevated into the typical by the control of that finer sense which underlies the senses and is the spirit of them.

J. R. L.

END Y MION:

A POETIC ROMANCE.

INSCRIBED TO THE

MEMORY OF THOMAS CHATTERTON.

THE STRETCHED METRE OF AN ANTIQUE SONG.

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