No More Learning

She kept with care her beauties rare
From lovers warm and true--
For heart was cold to all but gold,
And the rich came not to won,
But honor'd well her charms to sell.
If priests the selling do.

Now walking there was one more fair--
A slight girl, lily-pale;
And she had unseen company
To make the spirit quail--
'Twixt Want and Scorn she walk'd forlorn,
And nothing could avail.

No mercy now can clear her brow
From this world's peace to pray
For as love's wild prayer dissolved in air,
Her woman's heart gave way! --
But the sin forgiven by Christ in Heaven
By man is cursed alway!

In this composition we find it difficult to recognize the Willis who has
written so many mere "verses of society. " The lines are not only richly
ideal, but full of energy, while they breathe an earnestness, an evident
sincerity of sentiment, for which we look in vain throughout all the
other works of this author.

While the epic mania, while the idea that to merit in poetry prolixity
is indispensable, has for some years past been gradually dying out of
the public mind, by mere dint of its own absurdity, we find it succeeded
by a heresy too palpably false to be long tolerated, but one which,
in the brief period it has already endured, may be said to have
accomplished more in the corruption of our Poetical Literature than all
its other enemies combined. I allude to the heresy of _The Didactic. _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.