Further, it is the language of men who speak of what they do not understand; who talk of Poetry as of a matter of amusement and idle pleasure; who will converse with us as gravely about a taste for Poetry, as they express it, as if it were a thing as indifferent as a taste for Rope-dancing, or Frontiniac or Sherry. Here, then, he will apply the principle on which I have so much insisted, namely, that of selection; on this he will depend for removing what would otherwise be painful or disgusting in the passion; he will feel that there is no necessity to trick out or to elevate nature: and, the more industriously he applies this principle, the deeper will be his faith that no words, which his fancy or imagination can suggest, will be to be compared with those which are the emanations of reality and truth. The tenderest mood Of that Man's mind--what can it be? If an Author by any single composition has impressed us with respect for his talents, it is useful to consider this as affording a presumption, that, on other occasions where we have been displeased, he nevertheless may not have written ill or absurdly; and, further, to give him so much credit for this one composition as may induce us to review what has displeased us with more care than we should otherwise have bestowed upon it. Can truth exist only in an anthropocentric context, without reference to higher standards? This opinion may be further illustrated by appealing to the Reader's own experience of the reluctance with which he comes to the re-perusal of the distressful parts of Clarissa Harlowe, or the Gamester. He considers man and the objects that surround him as acting and re-acting upon each other, so as to produce an infinite complexity of pain and pleasure; he considers man in his own nature and in his ordinary life as contemplating this with a certain quantity of immediate knowledge, with certain convictions, intuitions, and deductions which by habit become of the nature of intuitions; he considers him as looking upon this complex scene of ideas and sensations, and finding every where objects that immediately excite in him sympathies which, from the necessities of his nature, are accompanied by an overbalance of enjoyment. You get the idea: anthemic rebel music which strikes at the heart chords of angst-ridden teens who feel more intently than anyone has ever felt before… Point is, sometimes creation is an act of self expression; the real intended audience is the poet or, it must be said, artist.
The world will probably discover his or her genius too late, possibly after a tragic early death, in a dog-eared notebook or — the modern equivalent — blog site. It might be proved that it is impossible. Whether we like a poem or not, we should be able to recognise the craftsmanship that has gone into making it, the ways in which stylistic techniques and devices have worked to create meaning. Poetry is the first and last of all knowledge--it is as immortal as the heart of man. It helps us from being one-hit wonders, wondering what we did differently that one time to create something that was successful.
He later adds my emphasis : I have said that poetry is the spontaneous overflow of powerful feelings: it takes its origin from emotion recollected in tranquillity: the emotion is contemplated till, by a species of reaction, the tranquillity gradually disappears, and an emotion, kindred to that which was before the subject of contemplation, is gradually produced, and does itself actually exist in the mind. In spite of difference of soil and climate, of language and manners, of laws and customs, in spite of things silently gone out of mind and things violently destroyed, the Poet binds together by passion and knowledge the vast empire of human society, as it is spread over the whole earth, and over all time. What then does the Poet? But it also strikes a chord in the present. His choice of subject is already original because it rejects the Neoclassical rule that poetry should focus primarily upon extraordinary events and characters. Poetry is the image of man and nature. If it be affirmed that rhyme and metrical arrangement of themselves constitute a distinction which overturns what I have been saying on the strict affinity of metrical language with that of prose, and paves the way for other artificial distinctions which the mind voluntarily admits, I answer that the language of such Poetry as I am recommending is, as far as is possible, a selection of the language really spoken by men; that this selection, wherever it is made with true taste and feeling, will of itself form a distinction far greater than would at first be imagined, and will entirely separate the composition from the vulgarity and meanness of ordinary life; and, if metre be superadded thereto, I believe that a dissimilitude will be produced altogether sufficient for the gratification of a rational mind.
To these qualities he has added a disposition to be affected more than other men by absent things as if they were present; an ability of conjuring up in himself passions, which are indeed far from being the same as those produced by real events, yet especially in those parts of the general sympathy which are pleasing and delightful do more nearly resemble the passions produced by real events, than any thing which, from the motions of their own minds merely, other men are accustomed to feel in themselves; whence, and from practice, he has acquired a greater readiness and power in expressing what he thinks and feels, and especially those thoughts and feelings which, by his own choice, or from the structure of his own mind, arise in him without immediate external excitement. All good poetry is a spontaneous overflow of powerful feelings ~ William Wordsworth Poetry is one of the best forms to express and manifest the spontaneous emotions of a poet. For all good poetry is the spontaneous overflow of powerful feelings: but though this be true, Poems to which any value can be attached, were never produced on any variety of subjects but by a man, who being possessed of more than usual organic sensibility, had also thought long and deeply. He also refers to the gaudiness of his predecessor's poetry, in terms of intricate vocabulary and, innate literary themes and techniques. Poetry is the image of man and nature. Unlike other poets his ideas lead straight to the point, and there are no completely abstract, innate or thought provoking ideas that can surmise from his poetry.
But, would my limits have permitted me to point out how this pleasure is produced, I might have removed many obstacles, and assisted my Reader in perceiving that the powers of language are not so limited as he may suppose; and that it is possible that poetry may give other enjoyments, of a purer, more lasting, and more exquisite nature. We have no sympathy but what is propagated by pleasure: I would not be misunderstood; but wherever we sympathize with pain it will be found that the sympathy is produced and carried on by subtle combinations with pleasure. It would not have been a useless employment to have applied this principle to the consideration of metre, and to have shewn that metre is hence enabled to afford much pleasure, and to have pointed out in what manner that pleasure is produced. And if we try to re-create something, we must choose our methods and our words carefully in order to convey what we experienced as closely as possible. What other distinction would we have? Hope you found this article on this literary device to be informative.
Low and rustic life was generally chosen, because in that condition, the essential passions of the heart find a better soil in which they can attain their maturity, are less under restraint, and speak a plainer and more emphatic language; because in that condition of life our elementary feelings co-exist in a state of greater simplicity, and, consequently, may be more accurately contemplated, and more forcibly communicated; because the manners of rural life germinate from those elementary feelings; and, from the necessary character of rural occupations, are more easily comprehended, and are more durable; and lastly, because in that condition the passions of men are incorporated with the beautiful and permanent forms of nature. But, if the words by which this excitement is produced are in themselves powerful, or the images and feelings have an undue proportion of pain connected with them, there is some danger that the excitement may be carried beyond its proper bounds. All good poetry is the spontaneous overflow of powerful feelings. Outside of academia, pretty much the entire Western World has adopted this model. Why was this particular word chosen from a whole range of words that might have said much the same? Once human identity becomes freed from our understanding of nature, the expression of emotion, poetic or not, can no longer make direct claims to sincerity and authenticity. My heart leaps up when I behold A rainbow in the sky: So was it when my life began; So is it now I am a man; So be it when I shall grow old, Or let me die! For to treat the subject with the clearness and coherence, of which I believe it susceptible, it would be necessary to give a full account of the present state of the public taste in this country, and to determine how far this taste is healthy or depraved; which, again, could not be determined, without pointing out, in what manner language and the human mind act and re-act on each other and without retracing the revolutions, not of literature alone, but likewise of society itself.
To this it may be added, that the Reader ought never to forget that he is himself exposed to the same errors as the Poet, and perhaps in a much greater degree: for there can be no presumption in saying, that it is not probable he will be so well acquainted with the various stages of meaning through which words have passed, or with the fickleness or stability of the relations of particular ideas to each other; and above all, since he is so much less interested in the subject, he may decide lightly and carelessly. To this it may be added, that while he is only selecting from the real language of men, or, which amounts to the same thing, composing accurately in the spirit of such selection, he is treading upon safe ground, and we know what we are to expect from him. You don't have to agree with Wordsworth about what poetry is or how best to achieve it. More precious than silver and gold, Or all that this earth can afford. The key vehicle for this kind of imitation was visual: a picture was viewed as best approximating the object it imitated. When emotions find the right words to express themselves a poem is born.
She has a world of ready wealth, Our minds and hearts to bless-- Spontaneous wisdom breathed by health, Truth breathed by cheerfulness. For early Romanticism had presented more questions than it answered: In what ways can the truth of emotion and beauty be verified if not by generating a kind of consensus in viewers and readers? Notice the significant time lapse implied there — the idea that, however powerful or spontaneous the emotion, it needs to be carefully considered before you start writing. The representation is not less than the object it is supposed to depict, but on the contrary, better: hence the French phrase, la belle nature or beautiful nature. Now, supposing for a moment that whatever is interesting in these objects may be as vividly described in prose, why am I to be condemned, if to such description I have endeavoured to superadd the charm which, by the consent of all nations, is acknowledged to exist in metrical language? In the one case, the Reader is utterly at the mercy of the Poet respecting what imagery or diction he may choose to connect with the passion, whereas, in the other, the metre obeys certain laws, to which the Poet and Reader both willingly submit because they are certain, and because no interference is made by them with the passion but such as the concurring testimony of ages has shewn to heighten and improve the pleasure which coexists with it. To this, in addition to such answer as is included in what I have already said, I reply in the first place, because, however I may have restricted myself, there is still left open to me what confessedly constitutes the most valuable object of all writing whether in prose or verse, the great and universal passions of men, the most general and interesting of their occupations, and the entire world of nature, from which I am at liberty to supply myself with endless combinations of forms and imagery. It is supposed, that by the act of writing in verse an Author makes a formal engagement that he will gratify certain known habits of association; that he not only thus apprizes the Reader that certain classes of ideas and expressions will be found in his book, but that others will be carefully excluded. The definition of this piece of literature can be quoted as, ' a form of poetry where a story is narrated in the form of a lyrical ballad.
Art is at once Romantic and modern, as Baudelaire puts it. This entry was posted in by. This separated the genuine language of Poetry still further from common life, so that whoever read or heard the poems of these earliest Poets felt himself moved in a way in which he had not been accustomed to be moved in real life, and by causes manifestly different from those which acted upon him in real life. Would you always want a poem to express powerful emotion, for example? This is unquestionably true, and hence, though the opinion will at first appear paradoxical, from the tendency of metre to divest language in a certain degree of its reality, and thus to throw a sort of half consciousness of unsubstantial existence over the whole composition, there can be little doubt but that more pathetic situations and sentiments, that is, those which have a greater proportion of pain connected with them, may be endured in metrical composition, especially in rhyme, than in prose. Now the music of harmonious metrical language, the sense of difficulty overcome, and the blind association of pleasure which bas been previously received from works of rhyme or metre of the same or similar construction, an indistinct perception perpetually renewed of language closely resembling that of real life, and yet, in the circumstance of metre, differing from it so widely, all these imperceptibly make up a complex feeling of delight, which is of the most important use in tempering the painful feeling, which will always be found intermingled with powerful descriptions of the deeper passions. The Reader or Hearer of this distorted language found himself in a perturbed and unusual state of mind: when affected by the genuine language of passion he had been in a perturbed and unusual state of mind also: in both cases he was willing that his common judgment and understanding should be laid asleep, and he had no instinctive and infallible perception of the true to make him reject the false; the one served as a passport for the other. His corpse has disappeared inside a cause.
Literature and poetry become above all else an expression of human emotion, and that emotion connects the modern self to the artistic medium of expression. They who have been accustomed to the gaudiness and inane phraseology of many modern writers, if they persist in reading this book to its conclusion, will, no doubt, frequently have to struggle with feelings of strangeness and aukwardness: they will look round for poetry, and will be induced to inquire by what species of courtesy these attempts can be permitted to assume that title. Poetry was supposed to imitate painting by focusing upon visual imagery that produced a mental picture of the object it represented in the mind of the reader. This is mentioned, not with so ridiculous a purpose as to prevent the most inexperienced Reader from judging for himself, I have already said that I wish him to judge for himself; but merely to temper the rashness of decision, and to suggest, that, if Poetry be a subject on which much time has not been bestowed, the judgment may be erroneous; and that in many cases it necessarily will be so. There are also many examples of dramatic poetry for children.