English poet (1835-1913)
For what is it that renders Hamlet so great and so powerful? Is it single lines of beautiful poetry? Is it detached passages of profound and elevated thought presented in poetic guise? These go for much, more especially when we consider them in connection with that of which they are the drapery. But what would they be, and what should we think of them, detached from the conception of the drama itself, without the plot, action, and progress of the piece, without the invention and unfolding of its characters, without its varied and forcible situations, without its wit, its irony, its humor? What should we think of Hamlet if divested of the panorama of moving human passions, of its merciless tragedy, and, finally, of its utter absence of moral so complete, that moralists have been for a hundred years wrangling what the moral is? These are the qualities, and these alone, which make great poetry and great poets.
ALFRED AUSTIN
The Bridling of Pegasus
Now the highest literature—and Poetry is confessedly the highest literature—is a transfiguring reflex of life; and in its magic mirror we perforce see reflected all the thoughts, feelings, interests, passions, and events of human existence.
ALFRED AUSTIN
The Bridling of Pegasus
The imaginative estimate or ideal conception of Woman by the Poets has always been deemed exceptionally interesting, especially by women themselves, for, as a rule, it is agreeable; and, even if the presentation be sometimes a little overcharged with glowing color, all of us, men and women alike, are not otherwise than pleased with descriptions that portray us, not exactly as we are, but as we should like to be. Withal, a portrait, to obtain recognition, must have in it some resemblance to the original; and, speaking in the most prosaic manner, one need not hesitate to affirm that any representation of women, at least of womanly women, that was not attractive would be a travesty of the fact.
ALFRED AUSTIN
The Bridling of Pegasus
The Romans had a proverb that you cannot carve a Mercury out of every piece of wood, meaning thereby that by reason of Mercury not being a standing or reposing figure, but a figure flying through the air, and therefore with limbs and wings extended, the material out of which he is made has to be both considerable in size and excellent in quality. What is true of Mercury is truer still of Apollo. You cannot make poetry out of every subject; and your only chance of making poetry out of any subject is to do so by treating the subject either nobly, or with charm.
ALFRED AUSTIN
The Bridling of Pegasus
Would not the proper conclusion, therefore—a conclusion not overstrained and if not stated with excessive dogmatism—seem to be, that literature, though demanding precedence in the affections, and exacting the chief attention of one who professes really to love it, is not a jealous mistress, but, on the contrary, is only too well pleased to see even its most attached votaries combine with their one supreme passion a number of minor interests and even minor affections.
ALFRED AUSTIN
The Bridling of Pegasus
Never forgetting the essential qualities of melody and lucidity, do we not find that mere descriptive verse, which depends on perception or observation, is the humblest and most elementary form of poetry; that descriptive verse, when suffused with sentiment, gains in value and charm; that if, to the foregoing, thought or reflection be superadded, there is a conspicuous rise in dignity, majesty, and relative excellence; and finally, that the employment of these in narrative action, whether epic or dramatic, carries us on to a stage of supreme excellence which can rarely be predicated of any poetry in which action is absent?
ALFRED AUSTIN
The Bridling of Pegasus