No More Learning

But the fool's neighbor, who is a
step higher on the Andes of the mind, whose head (that is to say,
his more exalted thought) is too far above the fool to be seen or
understood, but whose feet (by which I mean his everyday actions)
are sufficiently near to be discerned, and by means of which that
superiority is ascertained, which but for them would never have been
discovered-this neighbor asserts that Shakespeare is a great poet--the
fool believes him, and it is henceforward his _opinion. _This neighbor's
own opinion has, in like manner, been adopted from one above him,
and so, ascendingly, to a few gifted individuals who kneel around the
summit, beholding, face to face, the master spirit who stands upon the
pinnacle.

"You are aware of the great barrier in the path of an American writer.
He is read, if at all, in preference to the combined and established wit
of the world. I say established; for it is with literature as with law
or empire-an established name is an estate in tenure, or a throne in
possession. Besides, one might suppose that books, like their authors,
improve by travel-their having crossed the sea is, with us, so great a
distinction. Our antiquaries abandon time for distance; our very fops
glance from the binding to the bottom of the title-page, where the
mystic characters which spell London, Paris, or Genoa, are precisely so
many letters of recommendation.

"I mentioned just now a vulgar error as regards criticism. I think the
notion that no poet can form a correct estimate of his own writings is
another. I remarked before that in proportion to the poetical talent
would be the justice of a critique upon poetry. Therefore a bad
poet would, I grant, make a false critique, and his self-love would
infallibly bias his little judgment in his favor; but a poet, who is
indeed a poet, could not, I think, fail of making-a just critique;
whatever should be deducted on the score of self-love might be replaced
on account of his intimate acquaintance with the subject; in short,
we have more instances of false criticism than of just where one's own
writings are the test, simply because we have more bad poets than good.
There are, of course, many objections to what I say: Milton is a great
example of the contrary; but his opinion with respect to the
'Paradise Regained' is by no means fairly ascertained. By what trivial
circumstances men are often led to assert what they do not really
believe! Perhaps an inadvertent word has descended to posterity. But,
in fact, the 'Paradise Regained' is little, if at all, inferior to the
'Paradise Lost,' and is only supposed so to be because men do not like
epics, whatever they may say to the contrary, and, reading those of
Milton in their natural order, are too much wearied with the first to
derive any pleasure from the second.
"I dare say Milton preferred 'Comus' to either-. if so-justly.

"As I am speaking of poetry, it will not be amiss to touch slightly upon
the most singular heresy in its modern history-the heresy of what is
called, very foolishly, the Lake School. Some years ago I might have
been induced, by an occasion like the present, to attempt a formal
refutation of their doctrine; at present it would be a work of
supererogation. The wise must bow to the wisdom of such men as Coleridge
and Southey, but, being wise, have laughed at poetical theories so
prosaically exemplifled.

"Aristotle, with singular assurance, has declared poetry the most
philosophical of all writings*-but it required a Wordsworth to pronounce
it the most metaphysical. He seems to think that the end of poetry
is, or should be, instruction; yet it is a truism that the end of our
existence is happiness; if so, the end of every separate part of our
existence, everything connected with our existence, should be still
happiness. Therefore the end of instruction should be happiness; and
happiness is another name for pleasure;-therefore the end of instruction
should be pleasure: yet we see the above-mentioned opinion implies
precisely the reverse.

"To proceed: _ceteris paribus,_ he who pleases is of more importance to
his fellow-men than he who instructs, since utility is happiness, and
pleasure is the end already obtained which instruction is merely the
means of obtaining.

"I see no reason, then, why our metaphysical poets should plume
themselves so much on the utility of their works, unless indeed they
refer to instruction with eternity in view; in which case, sincere
respect for their piety would not allow me to express my contempt for
their judgment; contempt which it would be difficult to conceal, since
their writings are professedly to be understood by the few, and it is
the many who stand in need of salvation. In such case I should no doubt
be tempted to think of the devil in 'Melmoth. ' who labors indefatigably,
through three octavo volumes, to accomplish the destruction of one
or two souls, while any common devil would have demolished one or two
thousand.

"Against the subtleties which would make poetry a study-not a passion-it
becomes the metaphysician to reason-but the poet to protest.
Yet Wordsworth and Coleridge are men in years; the one imbued in
contemplation from his childhood; the other a giant in intellect and
learning. The diffidence, then, with which I venture to dispute their
authority would be overwhelming did I not feel, from the bottom of my
heart, that learning has little to do with the imagination-intellect
with the passions-or age with poetry.

"'Trifles, like straws, upon the surface flow;
He who would search for pearls must dive below,'

are lines which have done much mischief.