Thou wert never more fair in the way to be cozened, than in this age, in poetry; wherein ... antics to run away from nature, and be afraid of her, is the only [207]point of art that tickles3 the spectators ... For they commend writers, as they do fencers or wrestlers; who if they come in robustuously, and put for it with a great deal of violence, are received for the braver fellows.... I deny not, but that these men, who always seek to do more than enough, may some time happen on some thing that is good, and great; but very seldom ... I give thee this warning, that there is a great difference between those, that utter all they can, however unfitly; and those that use election and a mean. For it is only the disease of the unskilful, to think rude things greater than polished; or scattered4 more numerous than composed.
Ben Jonson's perpetual allusions5 to tobacco always remind one of the odd circumstance that of two such cronies as he and Will Shakespeare, one should have mentioned tobacco continually, the other not at all. Undoubtedly6 Ben smoked a particularly foul7 old pipe and was forever talking about it, spouting8 his rank strangling "Cuban ebolition" across the table; and Will, probably rather nice in his personal habits, grew disgusted with the habit.
At any rate, Shakespeare's silence on the subject has always been a grief to smokers9. At a time when we were interested in that famous and innocent way of wasting time, trying to discover ciphers10 in Shakespeare's sonnets11, we spent long cryptogrammarian evenings seeking to prove some anagram or rebus13 by which the Bard14 could be supposed to have concealed15 a mention of tobacco. But the only lurking16 secret we ever discovered seemed to suggest that the sonnets had been [208]written by an ex-President of the United States. Observe the 131st sonnet12:
Thou art as tyrannous, so as thou art
As those whose beauties proudly make them cruel;
Thou art the fairest and most precious jewel.
And evidently Shakespeare intended to begin the 51st sonnet with the same acrostic; but, with Elizabethan laxity, misspelled Mr. Taft's name as TOFT.
Reading Elizabethan literature always encourages one to proceed, even though decorously, with the use of the pun. Such screams of mirth as (we doubt not) greeted one of Ben Jonson's simpletons when he spoke18 of Roger Bacon as Rasher Bacon (we can hear them laughing, can't you?) are highly fortifying19.
But we began by quoting Ben Jonson on poetry. The passage sent us to the bookcase to look up the "axioms" about poetry stated by another who was also, in spirit at least, an habitué of The Mermaid20. In that famous letter from Keats to his publisher and friend John Taylor, February 27, 1818, there is a fine fluent outburst on the subject. All Keats lovers know these "axioms" already, but they cannot be quoted too often; and we copy them down with additional pleasure because not long ago, by the kindness of the two librarians who watch over one of the most marvellous private collections in the world—Mr. J.P. Morgan's—we saw the original letter itself:—[209]
1st. I think poetry should surprise by a fine excess, and not by singularity. It should strike the reader as a wording of his own highest thoughts, and appear almost a remembrance.
2d. Its touches of beauty should never be half-way, thereby21 making the reader breathless, instead of content. The rise, the progress, the setting of Imagery should, like the sun, come natural to him, shine over him, and set soberly, although in magnificence, leaving him in the luxury of twilight22. But it is easier to think what poetry should be than to write it—and this leads me to
Another axiom—That if poetry comes not as naturally as the leaves to a tree, it had better not come at all.
Some people can always find things to complain about. We have seen protests because the house in Rome where Keats died is used as a steamship23 office. We think it is rather appropriate. No man's mind ever set sail upon wider oceans of imagination. To paraphrase24 Emily Dickinson:
Night after night his purple traffic
Dip, and vanish with fairy sails.
Another pleasing fact is that while he was a medical student Keats lived in Bird-in-Hand Court, Cheapside—best known nowadays as the home of Simpson's, that magnificent chophouse. Who else, in modern times, came so close to holding unruffled in his hand the shy wild bird of Poetry?
点击收听单词发音
1 contemplating | |
深思,细想,仔细考虑( contemplate的现在分词 ); 注视,凝视; 考虑接受(发生某事的可能性); 深思熟虑,沉思,苦思冥想 | |
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2 valid | |
adj.有确实根据的;有效的;正当的,合法的 | |
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3 tickles | |
(使)发痒( tickle的第三人称单数 ); (使)愉快,逗乐 | |
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4 scattered | |
adj.分散的,稀疏的;散步的;疏疏落落的 | |
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5 allusions | |
暗指,间接提到( allusion的名词复数 ) | |
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6 undoubtedly | |
adv.确实地,无疑地 | |
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7 foul | |
adj.污秽的;邪恶的;v.弄脏;妨害;犯规;n.犯规 | |
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8 spouting | |
n.水落管系统v.(指液体)喷出( spout的现在分词 );滔滔不绝地讲;喋喋不休地说;喷水 | |
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9 smokers | |
吸烟者( smoker的名词复数 ) | |
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10 ciphers | |
n.密码( cipher的名词复数 );零;不重要的人;无价值的东西 | |
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11 sonnets | |
n.十四行诗( sonnet的名词复数 ) | |
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12 sonnet | |
n.十四行诗 | |
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13 rebus | |
n.谜,画谜 | |
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14 bard | |
n.吟游诗人 | |
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15 concealed | |
a.隐藏的,隐蔽的 | |
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16 lurking | |
潜在 | |
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17 doting | |
adj.溺爱的,宠爱的 | |
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18 spoke | |
n.(车轮的)辐条;轮辐;破坏某人的计划;阻挠某人的行动 v.讲,谈(speak的过去式);说;演说;从某种观点来说 | |
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19 fortifying | |
筑防御工事于( fortify的现在分词 ); 筑堡于; 增强; 强化(食品) | |
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20 mermaid | |
n.美人鱼 | |
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21 thereby | |
adv.因此,从而 | |
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22 twilight | |
n.暮光,黄昏;暮年,晚期,衰落时期 | |
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23 steamship | |
n.汽船,轮船 | |
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24 paraphrase | |
vt.将…释义,改写;n.释义,意义 | |
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25 strews | |
v.撒在…上( strew的第三人称单数 );散落于;点缀;撒满 | |
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26 poise | |
vt./vi. 平衡,保持平衡;n.泰然自若,自信 | |
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