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1839.] are some who find themselves best roused to vigorous and sound thinking by an author with whom they have to contend. There are who can better quiet their own perturbed minds by watching the extravagances of a stronger maniac than themselves, than by listening to placid strains, however eloquent. Some there are, who seem destined to find their entrance into philosophy, and into its calmest recesses, through the avenue of moody and discontented reflection.

As to that description of poetry which is dramatical, where the writer does not advocate any distinct class of opinions or sentiments, but sets forth the various deeds and passions of men with depth but impartiality of colouring—what need be said of this, but that it is the study of the world itself in a more manageable form? It is the study of mankind, facilitated and rendered most attractive. Of all literature, it may be said that it carries us out of ourselves, and brings us acquainted with the endless diversities of our fellow-men; but this is here the very function of the writer, who gains his title and his intellectual rank by performing it with pre-eminent effect. Humanity in all its forms is crowding round the student of dramatic literature; nor is any metropolis in the world half so full of strange shapes, goodly and marvellous, as the solitary chamber of that student after the incantation of the poet has been read.

We are not inclined to prose any longer, upon a theme so easy as the praises of poetry, and where our readers would perhaps prefer to prose each one for himself. We will add only, that there are many influences of poetry which reach even those who have no personal acquaintance with it. Those who are repugnant to verse, and avoid, as much as possible, all contact with rhyme as a thing purely vexatious, are not, perhaps, aware how much they are indebted, indirectly, to the labours of the poet. Many a feeling they would not willingly relinquish, has originated or been fostered by the ideas thrown into general circulation by a succession of poetic teachers. The sentiment of beauty in all its modifications—a sentiment which adds so much to the pleasure of life, so much to the refinement of character—is due, far more than without some effort of reflection we are apt to perceive, to those associations of thought which imaginative writers have brought about.

We need not enter into any discussion on the origin of this sentiment; it is on all hands admitted that it is in most instances the result of an agreeable association of ideas. These associations the poet multiplies, and his combinations, extending through all literature, become the common property of mankind. A little child—how attractive an object, and yet how small a part of the interest it excites is owing originally to its mere form! As you meet one of these round corpulent urchins, scarce balancing itself, and as yet imperfect in every movement, muttering some sad mimicry of language meaning nothing, and looking out with such charming ignorance on all things—you slacken pace, you pause, you contemplate it with a feeling of delight, which you express in the term beautiful, or some other kindred epithet. The feeling seems instantaneous, and yet it was the result of many previous reflections connected with childhood, of comparisons drawn between it and maturity, and of that play of imagination which suggests a sort of ideal happiness for infancy. All this, or the greater part, was due to the poet, unless we choose to say we should have been sufficient poets for ourselves, and refuse our acknowledgment to the long line of men of peculiar genius who have made the world familiar with their thoughts.

The beauty of the fair sex may seem to require, and to admit, of no touches from any art whatever; and it must be confessed that, without aid from poetic or other literature, and without much meditation of any kind soever, men who see beauty nowhere else, are capable of descrying it here. But that peculiar refinement attached to female charms, by which the sex acquires so mysterious, so respectful, and so tender a homage—this comes from the poet. He has been busy in all ages, in all countries, in all languages, investing, by a thousand delicate associations, the form of female beauty with every moral grace—surrounding it with every image pleasing to the fancy or dear to the affections. Nay, has he not carried that form first into the skies, to people his celestial regions with, and then brought it back again