There frequently is, however, the correct, and even graceful form, without a single trace or spark of the spirit of poetry. It were unbecoming in one like the author of this essay to mention distinct instances of this fact; but such instances will readily recur to the judicious poetical reader. It may, therefore, be safely affirmed-as, indeed, has already been hinted that the genuine poet is a far higher gifted, and a much nobler person, than is the most eminent in the art of versification*. Rhyme is not essential to poetry, although it may be (and sometimes is) a fascinating and powerful auxiliary to it; whereas the power of looking through, or below, the surfaces of things, so as to discover their essential qualitiesor, in other words, the power of perceiving by the "inward eye" what is invisible to the physical organs of sight, and thus of revealing the hidden. springs of human thought or feeling, and of expressing these revelations in "words that burn,” is that which constitutes the essential character of the genuine poet (and which, moreover, distinguishes him from all other men), although he be not able fully to enunciate his conceptions, or his perceptions, in accurately-measured or perfectly harmonious language. Thus much is, indeed, tacitly acknowledged By versification is meant-both here and at page 1, the mere art of composing rhymes, and not that regular, harmonious diction which, whatever be the measure of the verse, makes it fall on the ear in like manner as does a strain of music. This is, indeed, the true poetic style, which, although admitting of great variety, is nevertheless in each case "most musical." by all who allow that (what is called) "genius" is necessary in order to constitute any one a true poet. But here the question arises-"What is genius ?" It is usual to hear it spoken of as being a natural power of the human mind-peculiar, indeed, to the individual possessing it, but yet as being a necessary part of his mental organization. This, however, iş very far from being a satisfactory definition of genius. It can please such only as are unwilling to allow that man is indebted to the immediate agency of the Deity either for the present possession of his intellectual powers, or for the present ability which he has to use them. How much more rational, as well as more modest and becoming, is it to admit, with the elegant poet, Akenside, that- "From Heaven descends The flame of genius to the human breast." And that, too, in a continuous stream, or, at any rate, from time to time, as the wants of the recipient, or the nature of his work, may respectively require. Or (to speak more plainly) may we not define genius to be a species of inspiration, under the influence of which the mind is elevated above its usual level, and thus is empowered to effect that, which without this supernatural aid, it would be wholly unable to accomplish? This, perhaps, is the true definition of genius in general, but especially so of poetical genius. That it was thus understood in ancient times is evident from the testimony of all history; and if it be not so understood now, it is probably because men are not now so ready, as they were in the days of antiquity, to acknowledge a supernatural agency. It is, however, very evident, that this unwillingness to acknowledge the agency of a divine influence, does not prove that such an agency has ceased to be exercised: That the earliest poets were believed to be prophets also, is beyond all question: indeed, they were each called by the same distinctive name; and that, in some eminent instances, they were actually what they were thus believed to be, is equally unquestionable. The most ancient poems extant, viz., those contained in the Bible, partake very largely of the prophetical character; some of them, indeed, consist almost, if not altogether, of predictions which have in many instances subsequently been verified; and that too by events so accurately corresponding to the prophecies, as to establish, beyond all successful dispute, the fact of their having been delivered by the authority of Heaven, and under the direct impulse of the divine Spirit of Jehovah. That the Jewish prophets should have been regarded as the subjects of a super-human influence, is not at all surprising. The validity of their claims to the gift of inspiration, was established beyond all successful controversy. But it is obvious that men of the same class, and making the same or exactly similar pretensions in other countries, were held in equal vene ration with the Jewish by their respective countrymen; and it is not easy to account for this fact upon the principle that they were in all cases mere pretenders to the character which they had assumed. Is it not more reasonable to conclude, that, wherever such pretensions were made, there either were then, or had been, men who really possessed what was thus openly and fearlessly claimed, on the one hand, and so readily and fully conceded, on the other. Both history and tradition are in favour of such a conclusion as this. Balaam was not of the Jewish nation, but it is, nevertheless, quite certain that he was a genuine prophet, and it is equally certain that he was a true poet. Of this, indeed, no one can doubt who is capable of perceiving the qualities of sublimity or beauty (as these qualities are manifested in poetical compositions). There is no reason for believing that he was a single, or solitary, instance of the prophetic character, not connected with the Jewish nation. On the contrary, there seems to be sufficient grounds for the belief that, in the earlier ages of the world, the instances were comparatively numerous in which the Deity vouchsafed to hold converse with man through this medium. The testimony of tradition is, I think, of much weight in cases of this sort; since it is difficult-if not, indeed, impossible-to account for the tradition, except upon the principle of its having originated in matters of palpable and acknowledged fact. Now, the traditionary history of almost all nations contains references to times in which it was both boldly affirmed, and confidently believed, that men held intercourse with Heaven through the medium of persons who were believed to be inspired. The ancient Oracles give additional evidence upon this point. However fallacious they may have been in some instances, or however evident it may be that some of them were mere impostures, they, nevertheless, seem to countenance the belief, if they do not establish the truth of the asserted fact, that there really was (or had been) at some anterior period, such a method as this of revealing the divine will to the human race. * * Milton-as translated by Cowper-thus asserts the divine origin, and (of course) the exalted nature and character of poetry, in an address to his father: "Verse is a work divine, despise not thou Verse, therefore, which evinces-nothing more Bespeaks him animated from above. The Gods love verse; the infernal powers themselves The lowest deep, and binds in triple chains Of adamant both Pluto and the Shades. In verse the Delphic priestess, and the pale, And he who sacrifices, on the shrine Hangs verse-both when he smites the threat'ning bull, And when he spreads his reeking entrails wide, To scrutinize the Fates enveloped there. We too, ourselves-what time we seek again Shall be the only measure of our being Crown'd all with gold, and chaunting to the lyre That wheels yon circling orbs, directs himself |