No More Learning

_It
has been assumed, tacitly and avowedly, directly and indirectly, that
the ultimate object of all Poetry is Truth. Every poem, it is said,
should inculcate a morals and by this moral is the poetical merit of the
work to be adjudged. We Americans especially have patronized this happy
idea, and we Bostonians very especially have developed it in full. We
have taken it into our heads that to write a poem simply for the poem's
sake, and to acknowledge such to have been our design, would be to
confess ourselves radically wanting in the true poetic dignity and
force:--but the simple fact is that would we but permit ourselves to
look into our own souls we should immediately there discover that under
the sun there neither exists nor _can _exist any work more thoroughly
dignified, more supremely noble, than this very poem, this poem _per se,
_this poem which is a poem and nothing more, this poem written solely
for the poem's sake.

With as deep a reverence for the True as ever inspired the bosom of man,
I would nevertheless limit, in some measure, its modes of inculcation.
I would limit to enforce them. I would not enfeeble them by dissipation.
The demands of Truth are severe. She has no sympathy with the myrtles.
All _that _which is so indispensable in Song is precisely all _that
_with which _she _has nothing whatever to do. It is but making her a
flaunting paradox to wreathe her in gems and flowers. In enforcing a
truth we need severity rather than efflorescence of language. We must be
simple, precise, terse. We must be cool, calm, unimpassioned. In a
word, we must be in that mood which, as nearly as possible, is the
exact converse of the poetical.
_He _must be blind indeed who does not
perceive the radical and chasmal difference between the truthful and the
poetical modes of inculcation. He must be theory-mad beyond redemption
who, in spite of these differences, shall still persist in attempting to
reconcile the obstinate oils and waters of Poetry and Truth.

Dividing the world of mind into its three most immediately obvious
distinctions, we have the Pure Intellect, Taste, and the Moral Sense. I
place Taste in the middle, because it is just this position which in the
mind it occupies. It holds intimate relations with either extreme;
but from the Moral Sense is separated by so faint a difference that
Aristotle has not hesitated to place some of its operations among the
virtues themselves. Nevertheless we find the _offices _of the trio
marked with a sufficient distinction. Just as the Intellect concerns
itself with Truth, so Taste informs us of the Beautiful, while the Moral
Sense is regardful of Duty. Of this latter, while Conscience teaches
the obligation, and Reason the expediency, Taste contents herself with
displaying the charms:--waging war upon Vice solely on the ground of
her deformity--her disproportion--her animosity to the fitting, to the
appropriate, to the harmonious--in a word, to Beauty.

An immortal instinct deep within the spirit of man is thus plainly a
sense of the Beautiful. This it is which administers to his delight in
the manifold forms, and sounds, and odors and sentiments amid which he
exists. And just as the lily is repeated in the lake, or the eyes of
Amaryllis in the mirror, so is the mere oral or written repetition
of these forms, and sounds, and colors, and odors, and sentiments a
duplicate source of the light. But this mere repetition is not poetry.
He who shall simply sing, with however glowing enthusiasm, or with
however vivid a truth of description, of the sights, and sounds, and
odors, and colors, and sentiments which greet _him _in common with all
mankind--he, I say, has yet failed to prove his divine title. There is
still a something in the distance which he has been unable to attain. We
have still a thirst unquenchable, to allay which he has not shown us the
crystal springs. This thirst belongs to the immortality of Man.