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were printed in the first volume of the “ Metropolitan,” edited by Mr. CAMPBELL, after they had been delivered at the Royal INSTITUTION.

To the noble President, and the honourable Managers of that Institution, as well as to the liberal-minded audiences before whom the whole series was delivered, it is but justice to add, distinctly, that they are in nowise responsible for any thing in these Lectures which was unworthy to be repeated before them. The author would disdain to shelter himself under their sanction from any censure which honest criticism can inflict upon him, in cases where he may have abused their confidence. The Lectures have been anxiously revised, especially those parts which the limited time allowed for delivery': rebuired to be omitted on the spot, but, which appeared to be more necessary for their intelligence when submitted to cool perusal, than when uttered before indulgent hearers with the living voice.

Sheffield; April 24, 1833.

CONTENT S.

LECTURE I.

THE PRE-EMINENCE OF POETRY AMONG THE FINE ARTS.

Apologue-The General Claims of Poetry to Pre-eminence-

Poetry and Music—Poetry and Painting--Poetry and Sculpture--The Comparative Rewards of Professors of the Fine Arts—Poetry compared with Eloquence, History, and Phi. losophy-Permanence of Poetry

Page 9

LECTURE II.

WHAT IS POETICAL.

Truth a Test of Poetry—The Poetical in Objects of Sight—The

Poetical in Sounds—The Poetical of Place and Circumstance -The Poetical Aspects of visible Nature—The Poetical in Childhood and Old Age

40

LECTURE III.

THE FORM OF POETRY. Verse and Prose-Characteristics of Prose and Verse-Jeremy

Taylor-Hebrew Poetry-Greek and Latin Prosody—Modern Metres and Forms of Verse—The Spenserian Stanza and the Sonnet

68

LECTURE IV.

THE DICTION OF POETRY. Alliterative English Verse-Rhymed Verse-Blank Verse

Poetic Phraseology-Variety of Style—Mr. Wordsworth's Theory of Poetic Diction-Dr. Darwin's Theory of Poetic Style --Poetic Licenses and Dialects-Scottish Verse-Capa. bilities of Languages

ioi LECTURE V.

LECTURES ON POETRY.

LECTURE I.

THE PRE-EMINENCE OF POETRY AMONG THE FINE ARTS.

Apologue. SIR PAILIP SIDNEY begins his Defence of Poesie in the following manner :-“When the right virtuous E. W. and I were at the emperor's court together, we gave ourselves to learn horsemanship of Gio. Pietro Pugliano-one that, with great commendation, had the place of an esquire in his stable; and he, according to the fertileness of the Italian wit, did not only afford us the demonstration of his practice, but sought to enrich our minds with the contemplation therein, which he thought was most precious. But with none, I remember, mine ears were at any time more loaden than when (angered with our slow payment, or moved with our learnerlike admiration) he exercised his speech in praise of his faculty. He said, soldiers were the noblest of mankind, and horsemen were the noblest soldiers. He said, they were the masters of war, and the ornaments of peace; speedy goers, and strong abiders; triumphers both in camps and courts : nay, to so unbelieved a point he proceeded, as that no earthly thing bred so much wonder to a prince as to be a good horseman;

skill in government was but pedanteria in comparison. Then would he add certain praises, by telling what a peerless beast the horse was; the only serviceable courtier without flattery: the beast of most beauty, faithfulness, courage, and such more, that, if I had not been a piece of a logician before I came to him, I think he would have persuaded me to have wished myself a horse. But thus much, with his no few words, he drove into me,-that self-love is better than any gilding to make that seem gorgeous wherein ourselves are parties. Wherein, if Pugliano's strong affection and weak arguments will not satisfy you, I will give you a nearer example of myself, who (I know not by what mischance, in these my not old years and idlest times), having slipped into the title of a poet, am provoked to say something unto you, in defence of that my unelected vocation ; which if I handle with more good-will than good reasons, bear with me, since the scholar is to be pardoned that followeth in the steps of his master.”

Thus far Sir Philip Sidney.

Without assuming or disclaiming any personal application of the foregoing apologue, the writer of the following strictures believes that he could not more fitly have introduced them to the liberal and enlightened auditory before whom he is permitted to read them; who will thus be prepared both to expect, and, he trusts, to pardon, no small measure of extravagance in them.

The General Claims of Poetry to Pre-eminence.

Poetry is the eldest, the rarest, and the most excellent of the fine arts. It was the first fixed form of language; the earliest perpetuation of thought: it existed before prose in history, before music in melody, before painting in description, and before sculpture in imagery. Anterior to the discovery of letters, it was employed to communicate the lessons

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