THE perception of matter is made the common- sense, and for cause. This was the cradle, this the go-cart, of the human child. We must learn the homely laws of fire and water; we must feed, wash, plant, build. These are ends of necessity, and first in the order of nature. Poverty, frost, famine, disease, debt, are the beadles and guardsmen that hold us to common-sense. The intellect, yielded up to itself, cannot supersede this tyrannic necessity. The restraining grace of common-sense is the mark of all the valid minds, — • of -<Esop, Aristotle, Alfred, Luther, Shakspeare, Cervantes, Franklin, Napoleon. The common-sense wliich does not meddle with the absolute, but takes things at their word, — things as they appear, — believes in the existence of mat ter, not because we can touch it, or conceive of it, but because it agrees with ourselves, and the uni verse does not jest with us, but is in earnest, — is the house of health and life. In spite of all the joys of poets and the joys of saints, the most im aginative and abstracted person never makes, with impunity, the least mistake in this particular, — 4 POETRY AND IMAGINATION.
never tries to kindle his oven with water, nor carries a torch into a powder-mill, nor seizes his wild charger by the tail. We should not pardon the blunder in another, nor endure it in ourselves.
But whilst we deal with this as finality, early hints are given that we are not to stay here; that we must be making ready to go; — a warning that this magnificent hotel and conveniency we call Nature is not final. First innuendoes, then broad hints, then smart taps, are given, suggesting that nothing stands still in nature but death; that the creation is on wheels, in transit, always passing into something else, streaming into something higher; that matter is not what it appears; — that chemis try can blow it all into gas. Faraday, the most exact of natural philosophers, taught that when we should arrive at the monads, or primordial elements (the supposed little cubes or prisms of which all matter was built up), we should not find cubes, or prisms, or atoms, at all, but spherules of force. It was whispered that the globes of the universe were pre cipitates of something more subtle; nay, somewhat was murmured in our ear that dwindled astronomy into a toy; — that too was no finali ty; — only pro visional, — a makeshift; — that under chemistry was power and purpose: power and purpose ride on matter to the last atom. It was steeped in thought, — did everywhere express thought; that, as great conquerors have burned their ships when INTRODUCTORY. 5 once they were landed on the wished-for shore, so the noble house of Nature we inhabit has tempo rary uses, and we can afford to leave it one day. The ends of all are moral, and therefore the begin nings are such. Thin or solid, everything is in flight. I believe this conviction makes the charm of chemistry, — that we have the same avoirdu pois matter in an alembic, without a vestige of the old form; and in animal transformation not less, as in grub and fly, in egg and bird, in embryo and man; everything undressing and stealing away from its old into new form, and nothing fast but those in visible cords which we call laws, on which all is strung. Then we see that things wear different names and faces, but belong to one family; that the secret cords, or laws, show their well-known virtue through every variety, — be it animal, or plant, or planet, — and the interest is gradually transferred from the forms to the lurking method. This hint, however conveyed, upsets our politics, trade, customs, marriages, nay, the common-sense side of religion and literature, which are all founded on low nature, — on the clearest and most economi cal mode of administering the material world, con sidered as final. The admission, never so covertly, that this is a makeshift, sets the dullest brain in ferment; — our little sir, from his first tottering steps, — as soon as he can crow, — does not like to be practised upon, suspects that some one is 6 POETRY AND IMAGINATION.
" doing " him, — and, at this alarm, everything is compromised; — gunpowder is laid under every man's breakfast-table.
But whilst the man is startled by this closer in spection of the laws of matter, his attention is called to the independent action of the mind, — its strange suggestions and laws, — a certain tyranny which springs up in his own thoughts, which have an order, method, and beliefs of their own, very different from the order which this common-sense uses.
Suppose there were in the ocean certain strong currents which drove a ship, caught in them, with a force that no skill of sailing with the best wind, and no strength of oars, or sails, or steam, could make any head against, any more than against the current of Niagara: such currents — so tyran nical — exist in thoughts, those finest and sub- tilest of all waters, — that, as soon as once thought begins, it refuses to remember whose brain it be longs to, — what country, tradition, or religion, — and goes whirling off — swim we merrily — in a direction self-chosen, by law of thought, and not by law of kitchen clock or county committee. It has its own polarity. One of these vortices or self- directions of thought is the impulse to search re semblance, affinity, identity, in all its objects, and hence our science, from its rudest to its most refined theories.
INTRODUCTORY. 7 INTRODUCTORY. 7 The electric word pronounced by John Hunter a hundred years ago, — arrested and progressive de velopment, — indicating the way upward from the invisible protoplasm to the highest organisms, — gave the poetic key to Natural Science, — of which the theories of Geoffrey St. Hilaire, of Oken, of Goethe, of Agassiz, and Owen, and Darwin, in zoology and botany, are the fruits, — a hint whose power is not yet exhausted, showing unity and per fect order in physics.
The hardest chemist, the severest analyzer, scorn ful of all but dryest fact, is forced to keep the poetic curve of nature, and his result is like a myth of Theocritus. All multiplicity rushes to be resolved into unity. Anatomy, osteology, exhibit arrested or progressive ascent in each kind; the lower pointing to the higher forms, the higher to the highest, from the fluid in an elastic sack, from radiate, mollusk, articulate, vertebrate, — up to man; as if the whole animal world were only a Hunterian museum to exhibit the genesis of man kind.
Identity of law, perfect order in physics, perfect parallelism between the laws of Nature and the laws of thought exist. In botany we have the like, the poetic perception of metamorphosis, — that the same vegetable point or eye which is the unit of the plant can be transformed at pleasure into every part, as bract, leaf, petal, stamen, pistil, or seed.
8 POETRY AND IMAGINATION.
In geology, what a useful hint was given to the early inquirers on seeing in the possession of Pro fessor Playfair a hough of a fossil tree which was perfect wood at one end, and perfect mineral coal at the other. Natural objects, if individually de scribed, and out of connection, are not yet known, since they are really parts of a symmetrical uni verse, like words of a sentence; and if their true order is found, the poet can read their divine sig nificance orderly as in a Bible. Eacli animal or vegetable form remembers the next inferior, and predicts the next higher.
There is one animal, one plant, one matter, and one force. The laws of light and of heat trans late each other; — so do the laws of sound and of color; and so galvanism, electricity, and magnetism are varied forms of the selfsame energy. While the student ponders this immense unity, he observes that all tilings in nature, the animals, the mountain, the river, the seasons, wood, iron, stone, vapor,— have a mysterious relation to his thoughts and his life; their growths, decays, quality, and use so curi ously resemble himself, in parts and in wholes, that he is compelled to speak by means of them. His words and his thoughts are framed by their help. Every noun is an image. Xature gives him, sometimes in a flattered likeness, sometimes in cari cature, a copy of every humor and shade in his character and mind. The world is an immeu.se INTRODUCTORY. 9 picture-book of every passage in human life. Every object he beholds is the mask of a man.
" The privates of man's heart The}7 speken and sound in his ear As tho' they loud winds were "; for the universe is full of their echoes.
Every correspondence we observe in mind and matter suggests a substance older and deeper than either of these old nobilities. We see the law gleaming through, like the sense of a half-translated ode of Hafiz. The poet who plays with it with most boldness best justifies himself, — is most pro found and most devout. Passion adds eyes, — is a magnifying-glass. Sonnets of lovers are mad enough, but are valuable to the philosopher, as are prayers of saints, for their potent symbolism.
Science was false by being unpoeticaL It as sumed to explain a reptile or mollusk, and isolated it, — which is hunting for life in graveyards. Rep tile or mollusk or man or angel only exists in sys tem, in relation. The metaphysician, the poet, only sees each animal form as an inevitable step in the path of the creating mind. The Indian, the hunter, the boy with his pets, have sweeter knowledge of these than the savant. We use semblances of logic until experience puts us in possession of real logic. The poet knows the missing link by the joy it gives. The poet gives us the eminent experiences only, — a god stepping from peak to peak, nor planting his foot but on a mountain.
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Science does not know its debt to imagination. Goethe did not believe that a great naturalist could exist without this faculty. He was himself con scious of its help, which made him a prophet among the doctors. From this vision he gave brave hints to the zoologist, the botanist, and the optician.
Poetry. — The primary use of a fact is low: the secondary use, as it is a figure or illustration of my thought, is the real worth. First, the fact; second, its impression, or what I think of it. Hence Nature was called "a kind of adulterated reason." Seas, forests, metals, diamonds, and fossils interest the eye, but 't is only with some preparatory or predicting charm. Their value to the intellect appears only when I hear their meaning made plain in the spiritual truth they cover. The mind, penetrated with its sentiment or its thought, projects it out ward on whatever it beholds. The lover sees re minders of his mistress in every beautiful object; the saint, an argument for devotion in every nat ural process; and the facility with which Nature lends itself to the thoughts of man, the aptness with which a river, a flower, a bird, h're, day, or night, can express his fortunes, is as if the world were only a disguised man, and, with a change of form, rendered to him all his experience. We cannot utter a sentence in sprightly conversation POETRY. 11 POETRY. 11 without a similitude. Note our incessant use of the word like, — like fire, like a rock, like thunder, like a bee, "like a year without a spring." Con versation is not permitted without tropes; nothing but great weight in things can afford a quite literal speech. It is ever enlivened by inversion and trope. God himself does not speak prose, but communi cates with us by hints, omens, inference, and dark resemblances in objects lying all around us.
Nothing so marks a man as imaginative expres sions. A figurative statement arrests attention, and is remembered and repeated. How often has a phrase of this kind made a reputation. Pythago- ras's Golden Sayings were such, and Socrates's, and Mirabeau's, and Burke's, and Bonaparte's. Genius thus makes the transfer from one part of Nature to a remote part, and betrays the rhymes and echoes that pole makes with pole. Imaginative minds cling to their images, and do not wish them rashly rendered into prose reality, as cln'ldren re sent your showing them that their doll Cinderella is nothing but pine wood and rags: and my young scholar does not wish to know what the leopard, the wolf, or Lucia, signify in Dante's Inferno, but prefers to keep their veils on. Mark the delight of an audience in an image. When some familiar truth or fact appears in a new dress, mounted as on a fine horse, equipped with a grand pair of ballooning wings, wTe cannot enough testify our 12 POETRY AND IMAGINATION.
surprise and pleasure. It is like the new virtue shown in some unprized old property, as when a boy finds that his pocket-knife will attract steel filings and take up a needle; or when the old horse block in the yard is found to be a Torso Hercules of the Phidian age. Vivacity of expression may indicate this high gift, even when the thought is of no great scope, as when Michel Angelo, praising the terra cottas, said, " If this earth were to become marble, woe to the antiques! " A happy symbol is a sort of evidence that your thought is just. I had rather have a good symbol of my thought, or a good analogy, than the suffrage of Kant or Plato. If you agree with me, or if Locke or Montesquieu agree, I may yet be wrong; but if the elm-tree thinks the same thing, if running water, if burning coal, if crystals, if alkalies, in their several fashions, say what I say, it must be true. Thus, a good sym bol is the best argument, and is a missionary to persuade thousands. The Yedas, the Edda, the Koran, are each remembered by their happiest figure. There is no more welcome gift to men than a newr symbol. That satiates, transports, converts them. They assimilate themselves to it, — deal with it in all ways, and it will last a hundred years. Then comes a new genius, and brings an other. Thus the Greek mythology called the sea " the tear of Saturn." The return of the soul to God was described as " a flask of water broken in TOETRY. 13 the sea." Saint John gave us the Christian figure of " souls washed in the blood of Christ." The aged Michel Angelo indicates his perpetual study as in boyhood, — "I carry my satchel still" Machiavel described the papacy as "a stone inserted in the body of Italy to keep the wound open." To the Parliament debating how to tax America, Burke exclaimed, " Shear the wolf." Our Kentuckian orator said of. his dissent from his companion, " I showed him the back of my hand." And our proverb of the courteous soldier reads: "An iron hand in a velvet glove."
This belief that the higher use of the material world is to furnish us types or pictures to express the thoughts of the mind is carried to its logical extreme by the Hindoos, who, following Buddha, have made it the central doctrine of their religion, that what we call Nature, the external world, has no real existence, — -'is only phenomenal. Youth, age, property, condition, events, persons, — self, even, — are successive maias (deceptions) through which Vishnu mocks and instructs the soul. I think Hindoo books the best gymnastics for the mind, as showing treatment. All European libraries might almost be read without the swing of this gigantic arm being suspected. But these Orientals deal with worlds and pebbles freely.
For the value of a trope is that the hearer is one; and indeed Nature itself is a vast trope, and 14 POETRY AND IMAGINATION.
all particular natures are tropes. As the bird alights on the bough, — then plunges into the air again, so the thoughts of Clod pause but for a mo ment in any form. All thinking is analogizing, and 't is the use of life to learn metoiiomy. The endless passing of one element into new forms, the inces sant metamorphosis, explains the rank which the imagination holds in our catalogue of mental pow ers. The imagination is the reader of these forms. The poet accounts all productions and changes of Nature as the nouns of language, uses them repre sentatively, too well pleased with their ulterior to value much their primary meaning. Every new object so seen gives a shock of agreeable surprise. The impressions on the imagination make the great days of life: the book, the landscape, or the per sonality which did not stay on the surface of the eye or ear, but penetrated to the inward sense, agi tates us, and is not forgotten. Walking, working, or talking, the sole question is how many strokes vibrate on this mystic string, — how many diame ters are drawn quite through from matter to spirit; for, whenever you enunciate a natural law, you dis cover that you have enunciated a law of the mind. Chemistry, geology, hydraulics, are secondary sci ence. The atomic theory is only an interior pro cess produced, as geometers say, or the effect of a foregone metaphysical theory. Swedenborg saw gravity to be only an external of the irresistible POETRY. 15 attractions of affection and faith. Mountains and oceans we think we understand: — yes, so long as they are contented to be such, and are safe witli the geologist, — but when they are melted in Prome thean alembics, and come out men, and then, melted again, come out words, without any abatement, but with an exaltation of power! — r- In poetry we say we require the miracle. The bee flies among the flowers, and gets mint and mar joram, and generates a new product, which is not mint and marjoram, but honey; the chemist mixes hydrogen and oxygen to yield a new product, which is not these, but water; and the poet listens to con versation, and beholds all objects in nature, to give back, not them, but a new and transcendent whole.
Poetry is the perpetual endeavor to express the spirit of the thing, to pass the brute body, and search the life and reason which causes it to exist; — to see that the object is always flowing away, whilst the spirit or necessity which causes it sub sists. Its essential mark is that it betrays in every word instant activity of mind, shown in new uses of every fact and image, — in preternatural quick ness or perception of relations. All its words are poems. It is a presence of mind that gives a .miraculous command of all means of uttering the thought and feeling of the moment. The poet squanders on the hour an amount of life that would more than furnish the seventy years of the man that stands next him.
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The term genius, when used with emphasis, im plies imagination; use of symbols, figurative speech. A deep insight will always, like Nature, ultimate its thought in a thing. As soon as a man masters a principle, and sees his facts in relation to it, fields, waters, skies, offer to clothe his thoughts in images. Then all men understand him: Parthian, Mede, Chi nese, Spaniard, and Indian hear their own tongue. For he can now find symbols of universal signifi cance, which are readily rendered into any dialect; as a painter, a sculptor, a musician, can in their several ways express the same sentiment of anger, or love, or religion.
The thoughts are few; the forms many; the large vocabulary or many-colored coat of the in digent unity. The savans are chatty and vain, — but hold them hard to principle and definition, and they become mute and near-sighted. What is motion? what is beauty? what is matter? what is life? what is force? Push them hard, and they will not be loquacious. They will come to Plato, Proclus, and Swedenborg. The invisible and im ponderable is the sole fact. " Why changes not the violet earth into musk? " What is the term of the ever-flowing metamorphosis? I do not know what are the stoppages, but I see that a devouring unity changes all into that which changes not.
The act of imagination is ever attended by pure delight. It infuses a certain volatility and intoxi- IMAGINATION. 17 cation into all nature. It has a flute which sets the atoms of our frame in a dance. Our indeter minate size is a delicious secret which it reveals to us. The mountains begin to dislimn, and float in the air. In the presence and conversation of a true poet, teeming with images to express his enlarging thought, his person, his form, grows larger to our fascinated eyes. And thus begins that deification which all nations have made of their heroes in every kind, — saints, poets, lawgivers, and warriors.
r r Imagination. — Whilst common-sense looks at things or visible nature as real and final facts, poetry, or the imagination which dictates it, is a second sight, looking through these, and using them as types or words for thoughts which they signify. Or is this belief a metaphysical whim of modern times, and quite too refined? On the contrary, it is as old as the human mind. Our best definition of poetry is one of the oldest sen tences, and claims to come down to us from the Chaldsean Zoroaster, who wrote it thus: " Poets are standing transporters, whose employment con sists in speaking to the Father and to matter; in producing apparent imitations of unapparent natures, and inscribing things unapparent in the apparent fabrication of the world "; in other words, the world exists for thought: it is to make appear things which hide: mountains, crystals, 18 POETRY AND IMAGINATION".
plants, animals, are seen; that which makes them is not seen: these, then, are " apparent copies of uriapparent natures." Bacon expressed the same sense in his definition, " Poetry accommodates the shows of things to the desires of the mind "; and Swedenlx>rg, when he said, " There is nothing exist ing in human thought, even though relating to the most mysterious tenet of faith, but has combined with it a natural and sensuous image." And again: " Names, countries, nations, and the like are not at all known to those who are in heaven; they have no idea of such things, but of the realities signified thereby." A symbol always stimulates the intel lect;.therefore is poetry ever the best reading. The very design of imagination is to domesticate us in another, in a celestial, nature.
This power is in the image because this power is in nature. It so affects, because it so is. All that is wondrous in Swedenborg is not his invention, but his extraordinary perception; — that he was necessitated so to se"e. The world realizes the mind. Better than images is seen through them. The selection of the image is no more arbitrary than the power and significance of the image. The selection must follow fate. Poetry, if perfected, is the only verity; is the speech of man after the real, and not after the apparent.
Or, shall we say that the imagination exists by sharing the ethereal currents? The poet contem- IMAGINATION. 19