The specific symptoms of poetic power elucidated in a critical analysis of Shakespeare's VENUS AND ADONIS, and RAPE of LUCRECE.

In the application of these principles to purposes of practical criticism, as employed in the appraisement of works more or less imperfect, I have endeavoured to discover what the qualities in a poem are, which may be deemed promises and specific symptoms of poetic power, as distinguished from general talent determined to poetic composition by accidental motives, by an act of the will, rather than by the inspiration of a genial and productive nature. In this investigation, I could not, I thought, do better, than keep before me the earliest work of the greatest genius, that perhaps human nature has yet produced, our myriad-minded [61] Shakespeare. I mean the VENUS AND ADONIS, and the LUCRECE; works which give at once strong promises of the strength, and yet obvious proofs of the immaturity, of his genius. From these I abstracted the following marks, as characteristics of original poetic genius in general.

1. In the VENUS AND ADONIS, the first and most obvious excellence is the perfect sweetness of the versification; its adaptation to the subject; and the power displayed in varying the march of the words without passing into a loftier and more majestic rhythm than was demanded by the thoughts, or permitted by the propriety of preserving a sense of melody predominant. The delight in richness and sweetness of sound, even to a faulty excess, if it be evidently original, and not the result of an easily imitable mechanism, I regard as a highly favourable promise in the compositions of a young man. The man that hath not music in his soul can indeed never be a genuine poet. Imagery,—(even taken from nature, much more when transplanted from books, as travels, voyages, and works of natural history),—affecting incidents, just thoughts, interesting personal or domestic feelings, and with these the art of their combination or intertexture in the form of a poem,—may all by incessant effort be acquired as a trade, by a man of talent and much reading, who, as I once before observed, has mistaken an intense desire of poetic reputation for a natural poetic genius; the love of the arbitrary end for a possession of the peculiar means. But the sense of musical delight, with the power of producing it, is a gift of imagination; and this together with the power of reducing multitude into unity of effect, and modifying a series of thoughts by some one predominant thought or feeling, may be cultivated and improved, but can never be learned. It is in these that "poeta nascitur non fit."

2. A second promise of genius is the choice of subjects very remote from the private interests and circumstances of the writer himself. At least I have found, that where the subject is taken immediately from the author's personal sensations and experiences, the excellence of a particular poem is but an equivocal mark, and often a fallacious pledge, of genuine poetic power. We may perhaps remember the tale of the statuary, who had acquired considerable reputation for the legs of his goddesses, though the rest of the statue accorded but indifferently with ideal beauty; till his wife, elated by her husband's praises, modestly acknowledged that she had been his constant model. In the VENUS AND ADONIS this proof of poetic power exists even to excess. It is throughout as if a superior spirit more intuitive, more intimately conscious, even than the characters themselves, not only of every outward look and act, but of the flux and reflux of the mind in all its subtlest thoughts and feelings, were placing the whole before our view; himself meanwhile unparticipating in the passions, and actuated only by that pleasurable excitement, which had resulted from the energetic fervour of his own spirit in so vividly exhibiting what it had so accurately and profoundly contemplated. I think, I should have conjectured from these poems, that even then the great instinct, which impelled the poet to the drama, was secretly working in him, prompting him—by a series and never broken chain of imagery, always vivid and, because unbroken, often minute; by the highest effort of the picturesque in words, of which words are capable, higher perhaps than was ever realized by any other poet, even Dante not excepted; to provide a substitute for that visual language, that constant intervention and running comment by tone, look and gesture, which in his dramatic works he was entitled to expect from the players. His Venus and Adonis seem at once the characters themselves, and the whole representation of those characters by the most consummate actors. You seem to be told nothing, but to see and hear everything. Hence it is, from the perpetual activity of attention required on the part of the reader; from the rapid flow, the quick change, and the playful nature of the thoughts and images; and above all from the alienation, and, if I may hazard such an expression, the utter aloofness of the poet's own feelings, from those of which he is at once the painter and the analyst; that though the very subject cannot but detract from the pleasure of a delicate mind, yet never was poem less dangerous on a moral account. Instead of doing as Ariosto, and as, still more offensively, Wieland has done, instead of degrading and deforming passion into appetite, the trials of love into the struggles of concupiscence; Shakespeare has here represented the animal impulse itself, so as to preclude all sympathy with it, by dissipating the reader's notice among the thousand outward images, and now beautiful, now fanciful circumstances, which form its dresses and its scenery; or by diverting our attention from the main subject by those frequent witty or profound reflections, which the poet's ever active mind has deduced from, or connected with, the imagery and the incidents. The reader is forced into too much action to sympathize with the merely passive of our nature. As little can a mind thus roused and awakened be brooded on by mean and indistinct emotion, as the low, lazy mist can creep upon the surface of a lake, while a strong gale is driving it onward in waves and billows.

3. It has been before observed that images, however beautiful, though faithfully copied from nature, and as accurately represented in words, do not of themselves characterize the poet. They become proofs of original genius only as far as they are modified by a predominant passion; or by associated thoughts or images awakened by that passion; or when they have the effect of reducing multitude to unity, or succession to an instant; or lastly, when a human and intellectual life is transferred to them from the poet's own spirit,

In the two following lines for instance, there is nothing objectionable, nothing which would preclude them from forming, in their proper place, part of a descriptive poem:

But with a small alteration of rhythm, the same words would be equally in their place in a book of topography, or in a descriptive tour. The same image will rise into semblance of poetry if thus conveyed:

I have given this as an illustration, by no means as an instance, of that particular excellence which I had in view, and in which Shakespeare even in his earliest, as in his latest, works surpasses all other poets. It is by this, that he still gives a dignity and a passion to the objects which he presents. Unaided by any previous excitement, they burst upon us at once in life and in power,—

As of higher worth, so doubtless still more characteristic of poetic genius does the imagery become, when it moulds and colours itself to the circumstances, passion, or character, present and foremost in the mind. For unrivalled instances of this excellence, the reader's own memory will refer him to the LEAR, OTHELLO, in short to which not of the "great, ever living, dead man's" dramatic works? Inopem em copia fecit. How true it is to nature, he has himself finely expressed in the instance of love in his 98th Sonnet.

Scarcely less sure, or if a less valuable, not less indispensable mark

will the imagery supply, when, with more than the power of the painter, the poet gives us the liveliest image of succession with the feeling of simultaneousness:—

4. The last character I shall mention, which would prove indeed but little, except as taken conjointly with the former;—yet without which the former could scarce exist in a high degree, and (even if this were possible) would give promises only of transitory flashes and a meteoric power;—is depth, and energy of thought. No man was ever yet a great poet, without being at the same time a profound philosopher. For poetry is the blossom and the fragrancy of all human knowledge, human thoughts, human passions, emotions, language. In Shakespeare's poems the creative power and the intellectual energy wrestle as in a war embrace. Each in its excess of strength seems to threaten the extinction of the other. At length in the drama they were reconciled, and fought each with its shield before the breast of the other. Or like two rapid streams, that, at their first meeting within narrow and rocky banks, mutually strive to repel each other and intermix reluctantly and in tumult; but soon finding a wider channel and more yielding shores blend, and dilate, and flow on in one current and with one voice. The VENUS AND ADONIS did not perhaps allow the display of the deeper passions. But the story of Lucretia seems to favour and even demand their intensest workings. And yet we find in Shakespeare's management of the tale neither pathos, nor any other dramatic quality. There is the same minute and faithful imagery as in the former poem, in the same vivid colours, inspirited by the same impetuous vigour of thought, and diverging and contracting with the same activity of the assimilative and of the modifying faculties; and with a yet larger display, a yet wider range of knowledge and reflection; and lastly, with the same perfect dominion, often domination, over the whole world of language. What then shall we say? even this; that Shakespeare, no mere child of nature; no automaton of genius; no passive vehicle of inspiration, possessed by the spirit, not possessing it; first studied patiently, meditated deeply, understood minutely, till knowledge, become habitual and intuitive, wedded itself to his habitual feelings, and at length gave birth to that stupendous power, by which he stands alone, with no equal or second in his own class; to that power which seated him on one of the two glory-smitten summits of the poetic mountain, with Milton as his compeer not rival. While the former darts himself forth, and passes into all the forms of human character and passion, the one Proteus of the fire and the flood; the other attracts all forms and things to himself, into the unity of his own ideal. All things and modes of action shape themselves anew in the being of Milton; while Shakespeare becomes all things, yet for ever remaining himself. O what great men hast thou not produced, England, my country!—Truly indeed—