No More Learning

"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. As regards the greater truths,
men oftener err by seeking them at the bottom than at the top; Truth
lies in the huge abysses where wisdom is sought-not in the palpable
palaces where she is found. The ancients were not always right in
hiding--the goddess in a well; witness the light which Bacon has thrown
upon philosophy; witness the principles of our divine faith--that moral
mechanism by which the simplicity of a child may overbalance the wisdom
of a man.

"We see an instance of Coleridge's liability to err, in his 'Biographia
Literaria'--professedly his literary life and opinions, but, in fact, a
treatise _de omni scibili et quibusdam aliis. _He goes wrong by reason
of his very profundity, and of his error we have a natural type in the
contemplation of a star.
He who regards it directly and intensely sees,
it is true, the star, but it is the star without a ray-while he who
surveys it less inquisitively is conscious of all for which the star is
useful to us below-its brilliancy and its beauty.

"As to Wordsworth, I have no faith in him. That he had in youth the
feelings of a poet I believe-for there are glimpses of extreme delicacy
in his writings-(and delicacy is the poet's own kingdom-his _El
Dorado)-but they _have the appearance of a better day recollected; and
glimpses, at best, are little evidence of present poetic fire; we know
that a few straggling flowers spring up daily in the crevices of the
glacier.

"He was to blame in wearing away his youth in contemplation with the end
of poetizing in his manhood. With the increase of his judgment the light
which should make it apparent has faded away. His judgment consequently
is too correct. This may not be understood-but the old Goths of Germany
would have understood it, who used to debate matters of importance to
their State twice, once when drunk, and once when sober-sober that they
might not be deficient in formality--drunk lest they should be destitute
of vigor.

"The long wordy discussions by which he tries to reason us into
admiration of his poetry, speak very little in his favor: they are
full of such assertions as this (I have opened one of his volumes at
random)--'Of genius the only proof is the act of doing well what is
worthy to be done, and what was never done before;'-indeed? then it
follows that in doing what is unworthy to be done, or what _has _been
done before, no genius can be evinced; yet the picking of pockets is an
unworthy act, pockets have been picked time immemorial, and Barrington,
the pickpocket, in point of genius, would have thought hard of a
comparison with William Wordsworth, the poet.

"Again, in estimating the merit of certain poems, whether they be
Ossian's or Macpherson's can surely be of little consequence, yet, in
order to prove their worthlessness, Mr. W. has expended many pages in
the controversy. _Tantaene animis? _Can great minds descend to such
absurdity? But worse still: that he may bear down every argument in
favor of these poems, he triumphantly drags forward a passage, in his
abomination with which he expects the reader to sympathize. It is the
beginning of the epic poem 'Temora.