Through the red glare of rage there s.h.i.+nes suddenly a stream of white light, gus.h.i.+ng from one of the purest fountains: wrathful fury is suddenly subdued by love. A moment before she was possessed with savage fierceness, her blood boiling with hate and revenge; now it glows with a mother's joy. Her nature rises to the highest whereof it is capable. It is the poetry of animalism.

In the poetical, thought is amplified and ripened, while purified, in the calm warmth of emotion. From being emotive, poetry draws in more of the man, and higher, finer powers, than prose. The poetical has, must have, rotundity. No poet ever had a square head. Prose, in its naked quality, is to poetry what a skeleton is to a moving, flesh-and-spirit-endowed body. From the skeleton you can learn osteology, but neither aesthetics nor human nature. Imaginative prose partakes of the spiritual character of poetry. When a page is changed from poetry into prose it is flattened, deadened; when from prose into poetry it is uplifted, enlivened. You get a something else and a something more. Reduced to plain prose, the famous pa.s.sage from the mouth of Viola in "Twelfth Night" would read somewhat thus: "My father had a daughter who loved a man and would let no one know of her love, but concealed it, until her cheek grew pale with grief, patiently bearing within her bosom the misery of an untold attachment." Now hear the poet:--

"She never told her love, But let concealment, like a worm i' the bud, Feed on her damask cheek: she pined in thought: And with a green and yellow melancholy She sat like patience on a monument, Smiling at grief."

What has been done with the prose statement? Instead of a bare fact we have a picture, a twofold picture; and this, in its compact, fresh, rose-tinted vividness, carries the whole into our hearts with a tenfold success. Through emotional joy we apprehend, as by the light of an instantaneous ignition, the state of the sufferer. The prose-report is a smoldering fire on the hearth, through whose sleepy smoke there comes a partial heat; the poetic is the flame in full fervor, springing upward, illuminating, warming the heart, delighting the intellect. The imagination of the reader, quickened by ill.u.s.trations so apt and original, is by their beauty tuned to its most melodious key, while by the rare play of intellectual vitality his mind is dilated. He has become mentally a richer man, enriched through the refining and enlarging of his higher sensibilities, and the activity imparted to his intellect.

To say of a man that he is without imagination were to say he is an idiot; that is, one lacking the inward force and the inward instruments to grasp and handle the materials collected from without by perception and memory, and from within by consciousness. To say of a poet that he is without poetic imagination were to say he is no poet. What is poetic imagination? This, for our theme, is a vital question. Can there be given to it an approximate answer?

Figure to yourself a company of men and women in presence of a September sunset near the sea, the eye taking in at once ocean and a variegated landscape. The company must not be a score of tawny American aborigines, nor of European peasants, nor of individuals whose life of monotonous labor, whether for necessaries or luxuries, has no opportunity or no will for the finer mental culture; but, to give aptness to our ill.u.s.tration, should consist of persons whose being has been unfolded to the tissue of susceptibility to the wonders and beauties of nature, and whose intellect has been tilled sufficiently to receive and nourish any fresh seed of thought that may be thrown upon it; in short, a score of cultivated adults. The impression made by such a scene on such a company is heightened by a rare atmospheric calm. The heart of each gazer fills with emotion, at first unutterable except by indefinite exclamation; when one of the company says,--

"A fairer face of evening cannot be."

These words, making a smooth iambic line, give some utterance, and therefore some relief, to the feeling of all. Then another adds,--

"The holy time is quiet as a nun Breathless with adoration."

Instantly the whole scene, steeped in the beams of the sinking sun, is flooded with a light that illuminates the sunlight, a spiritual light.

The scene is transfigured before their eyes: it is as if the heavens had opened, and inundated all its features with a celestial subtilizing aura. How has this been accomplished? The first line has little of the quality of poetic imagination.

"A fairer face of evening cannot be."

is simple and appropriate, but in it there is no fresh glow, no mysterious throb. Above the level of this line rise suddenly the first three words of the second, "the holy time." The presence of a scene where sky, earth, and ocean combine for the delight of the beholders puts them in a mood which crowns the landscape with a religious halo.

That the time is holy they all feel; and now, to make its tranquillity appreciable by filling the heart with it, the poet adds--"is quiet as a nun breathless with adoration." By this master-stroke of poetic power the atmospheric earthly calm is vivified with, is changed into, super-earthly calm. By a fresh burst of spiritual light the mind is set aesthetically aglow, as by the beams of the setting sun the landscape is physically. By an exceptionally empowered hand the soul is strung to a high key. Fullness and range of sensibility open to the poet[4] a wide field of ill.u.s.tration; its exacting fineness reveals the one that carries his thought into the depths of the reader's mind, bringing him that exquisite joy caused by keen intellectual power in the service of pure emotion.

[4] Wordsworth.

Take now other samples from the treasury of choicest poetry. Here is one from Coleridge:--

"And winter, slumbering in the open air, Wears on his smiling face a dream of spring."

Here again the intellect is urged to its highest action, the abstract or imaginative action, to do the hests of a sensibility so finely wrought by the inward impulsion to seek for the most exquisite that nature can furnish, that it yields similitudes most delicate, most apt, most expressive.

Milton thus opens the fifth book of "Paradise Lost:"--

"Now morn, her rosy steps in the eastern clime Advancing, sowed the earth with orient pearl."

Shakespeare makes Romeo describe daybreak:--

"And jocund day Stands tiptoe on the misty mountain-tops."

Keats begins "Hyperion" with these lines:

"Deep in the shady sadness of a vale, Far sunken from the healthy breath of morn."

In the Monody on Keats, Sh.e.l.ley, describing the lamentation of nature at his death, concludes a stanza as follows:--

"Morning sought Her eastern watch-tower, and, her hair unbound, Wet with the tears that should adorn the ground, Dimmed the aerial eyes that kindle day; Afar the melancholy thunder moaned, Pale Ocean in unquiet slumber lay, And the wild winds flew around, sobbing in their dismay."

Such pa.s.sages are the very flower of poetry, thought exquisitely dyed in sentiment, laying suddenly bare a picture with so much light in it that each pa.s.sage irradiates its page and the reader's mind. By their happiness the similitudes emphasize and enforce the thought; and they do a higher service than this; for, being a breath from the inner life of genius, they blow power into the reader. To translate these pa.s.sages into prose were like trying to translate a lily into the mold out of which it springs, or a bar of Beethoven into the sounds of the forum, or the sparkle of stars into the warmth of a coal fire.

The best poetry has a far background; it comes out of deeps within the poet, unfathomed by himself, unfathomable. He feels more than he can express. Hence the imaginative poet always suggests, revealing enough to inspirit the reader's higher faculties to strive for more; not because, with artistic design, he leaves much untold, which he often does, but because through imaginative susceptibility he at times grasps at and partly apprehends much that cannot be embodied. He feels his subject more largely and deeply than he can see or represent it.

To you his work is suggestive because to him the subject suggested more than he could give utterance to. Every subject, especially every subject of poetic capability, having infinite relations, he who most apprehends this boundlessness--and indeed because he does apprehend it--can do or say what will open it to you or me; and the degree of his genius is measured by the extent to which he can present or expose it. The unimaginative gives surface-work, and, suggesting nothing, is at once exhausted.

The poetic imagination shows itself in the epithets the poet has at his command, creative insight drawing an epithet out of the heart of an object; whence, there is beneath such an epithet a depth that keeps feeding it with significance, bringing out its aptness the longer we look. Sometimes epithets are brighter than their object; the unimaginative thus futilely striving to impart power instead of deriving it. To be lasting, the light of the epithet must be struck by the imagination out of its object. The inspired poet finds a word so sympathetic with the thought that it caresses and hugs it.

Depth and breadth of nature are implied in the full poetic imagination. The love of the beautiful, wielding a keen intellect, needs furthermore rich material to mold, and only out of the poet's individual resources can this be drawn. To make a high artist, you must have very much of a man. Behind "Paradise Lost" and "Samson Agonistes" is a big Miltonic man. The poet has to put a great deal of himself, and the best of him, into his work; thence, for high poetry, there must be a great deal of high self to put in. He must coin his soul, and have a large soul to coin; the best work cannot be made out of materials gathered by memory and fancy. His stream of thought must flow from springs, not from reservoirs. Hence the universal biographical interest in such men; they have necessarily a rich personality.

The pa.s.sages I have cited are all pictures of outward nature, natural scenes mirrored on the mind, or rather refracted through it, and in the act transfigured, spiritualized; for such scenes, having the fortune to fall on the minds of poets, are reproduced with joyful revelation of their inmost being, as sunbeams are through a crystal prism. Exhibiting material nature spiritualized, well do these pa.s.sages show the uplifting character of poetic imagination. But this displays a higher, and its highest power when, striking like a thunderbolt into the core of things, it lays bare mysteries of G.o.d and of the heart which mere prosaic reason cannot solve or approach, cannot indeed alone even dimly apprehend.

I will now quote pa.s.sages, brief ones, wherein through the poet are opened vast vistas into the s.h.i.+ning universe, or is concentrated in single or few lines the life of man's finer nature, as in the diamond are condensed the warmth and splendor that lie latent in acres of fossil carbon.

When, in the sixth book of "Paradise Lost," Milton narrates the arrival on the battle-field of the Son,--

"Attended by ten thousand thousand saints,"

and then adds:--

"Far off his coming shone,"

in these five short words is a sudden glare of grandeur that dilates the capable mind with light, and, as the sublime always does, with awe.

When Ferdinand, in "The Tempest," leaps "with hair up-staring"

into the sea, crying,--

"h.e.l.l is empty, And all the devils are here,"

the mind is suddenly filled with an image of the tumult and flaming rage of a thunder-storm at sea, such as words have never elsewhere carried. What a reach in the imaginative stroke! In the first scene of "Faust," the earth-spirit, whom Faust has evoked, concludes the whirling, dazzling, brief, but gigantic sketch of his function with these words, the majesty of which translation cannot entirely subdue:--

"I ply the resounding great loom of old Time, And work at the G.o.dhead's live vesture sublime."

How enn.o.bling is the idea the mind harbors of humanity, after taking in these lines from Wordsworth's "Ode on Intimations of Immortality:"--

"But trailing clouds of glory do we come From G.o.d, who is our home."

With a single epithet, coined for the occasion, Keats flashes upon our imagination the dethroned Saturn and the immensity of his fall:

"Upon the sodden ground His old right hand lay nerveless, listless, dead, Unsceptered; and his _realmless_ eyes were closed."

The "Hyperion" of this transcendent genius, written in his twenty-fourth year, the year before he died, is as great poetry as has ever been treasured in words. In it he lavishes poetic wealth as though gold were with him as plenty as silver; and so on the next page he exceeds, if possible, the sublimity of the above lines, making Thea write in the catalogue of Saturn's colossal deprivations,--

"And all the air Is emptied of thine h.o.a.ry majesty."

These pa.s.sages vividly exemplify poetic imagination, which is the illumining of a capable material by a spiritual light, a light thrown into it from the glow kindled in the poet's mind with richest sensibilities, that are refined and sublimated by an exacting, subtle inward demand for the best they can render. A single flash of new thrilling light irradiates a continent of thought. This is the work of genius, and genius is ever marked by a deeper sympathy with and recognition of the creative spirit and the divine action, a sympathy and recognition so sensitive that the spirit and action of the writer are permeated by the divine effluence, he becoming thereby the interpreter of divine law, the exhibitor of divine beauty.

In these pa.s.sages the thought of the poet is thrust up through the overlaying crust of the common, by a warming, expanding, inward motion, which is sped by a vitality so urgent and irresistible that, to make pa.s.sage for the new thought, lightly is lifted a load which, but for this spiritual efficacy, could not be stirred, just as heavy stones are raised by delicate growing plants. To exert this power the poet is always moved at the instance of feeling. Poetry having its birth in feeling, no man can enjoy or value it but through feeling.

But what moves him to embody and shape his feeling is that ravis.h.i.+ng sentiment which will have the best there is in the feeling, the sentiment which seeks satisfaction through contemplation or entertainment of the most divine and most perfect, and ever rises to the top of the refined joy which such contemplation educes.

The poetic imagination is the Ariel of the poet,--his spiritual messenger and Mercury. A clear look into the above pa.s.sages would show that the source of their power is in the farther scope or exquisite range the imagination opens to us, often by a word. For further ill.u.s.tration I will take a few other examples, scrutinizing them more minutely. Had Lorenzo opened the famous pa.s.sage in "The Merchant of Venice" thus,--