The Works of Edgar Allan Poe — Volume 5 by Edgar Allan Poe (ink book reader TXT) 📗
- Author: Edgar Allan Poe
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I asked what was the name of the usurping tyrant.
As well as the Count could recollect, it was Mob.
Not knowing what to say to this, I raised my voice, and deplored the Egyptian ignorance of steam.
The Count looked at me with much astonishment, but made no answer. The silent gentleman, however, gave me a violent nudge in the ribs with his elbows—told me I had sufficiently exposed myself for once—and demanded if I was really such a fool as not to know that the modern steam-engine is derived from the invention of Hero, through Solomon de Caus.
We were now in imminent danger of being discomfited; but, as good luck would have it, Doctor Ponnonner, having rallied, returned to our rescue, and inquired if the people of Egypt would seriously pretend to rival the moderns in the all-important particular of dress.
The Count, at this, glanced downward to the straps of his pantaloons, and then taking hold of the end of one of his coat-tails, held it up close to his eyes for some minutes. Letting it fall, at last, his mouth extended itself very gradually from ear to ear; but I do not remember that he said any thing in the way of reply.
Hereupon we recovered our spirits, and the Doctor, approaching the Mummy with great dignity, desired it to say candidly, upon its honor as a gentleman, if the Egyptians had comprehended, at any period, the manufacture of either Ponnonner’s lozenges or Brandreth’s pills.
We looked, with profound anxiety, for an answer—but in vain. It was not forthcoming. The Egyptian blushed and hung down his head. Never was triumph more consummate; never was defeat borne with so ill a grace. Indeed, I could not endure the spectacle of the poor Mummy’s mortification. I reached my hat, bowed to him stiffly, and took leave.
Upon getting home I found it past four o’clock, and went immediately to bed. It is now ten A.M. I have been up since seven, penning these memoranda for the benefit of my family and of mankind. The former I shall behold no more. My wife is a shrew. The truth is, I am heartily sick of this life and of the nineteenth century in general. I am convinced that every thing is going wrong. Besides, I am anxious to know who will be President in 2045. As soon, therefore, as I shave and swallow a cup of coffee, I shall just step over to Ponnonner’s and get embalmed for a couple of hundred years.
In speaking of the Poetic Principle, I have no design to be either thorough or profound. While discussing, very much at random, the essentiality of what we call Poetry, my principal purpose will be to cite for consideration, some few of those minor English or American poems which best suit my own taste, or which, upon my own fancy, have left the most definite impression. By “minor poems” I mean, of course, poems of little length. And here, in the beginning, permit me to say a few words in regard to a somewhat peculiar principle, which, whether rightfully or wrongfully, has always had its influence in my own critical estimate of the poem. I hold that a long poem does not exist. I maintain that the phrase, “a long poem,” is simply a flat contradiction in terms.
I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be so called at all, cannot be sustained throughout a composition of any great length. After the lapse of half an hour, at the very utmost, it flags—fails—a revulsion ensues—and then the poem is, in effect, and in fact, no longer such.
There are, no doubt, many who have found difficulty in reconciling the critical dictum that the “Paradise Lost” is to be devoutly admired throughout, with the absolute impossibility of maintaining for it, during perusal, the amount of enthusiasm which that critical dictum would demand. This great work, in fact, is to be regarded as poetical, only when, losing sight of that vital requisite in all works of Art, Unity, we view it merely as a series of minor poems. If, to preserve its Unity—its totality of effect or impression—we read it (as would be necessary) at a single sitting, the result is but a constant alternation of excitement and depression. After a passage of what we feel to be true poetry, there follows, inevitably, a passage of platitude which no critical prejudgment can force us to admire; but if, upon completing the work, we read it again, omitting the first book—that is to say, commencing with the second—we shall be surprised at now finding that admirable which we before condemned—that damnable which we had previously so much admired. It follows from all this that the ultimate, aggregate, or absolute effect of even the best epic under the sun, is a nullity:—and this is precisely the fact.
In regard to the Iliad, we have, if not positive proof, at least very good reason for believing it intended as a series of lyrics; but, granting the epic intention, I can say only that the work is based in an imperfect sense of art. The modern epic is, of the supposititious ancient model, but an inconsiderate and blindfold imitation. But the day of these artistic anomalies is over. If, at any time, any very long poem were popular in reality, which I doubt, it is at least clear that no very long poem will ever be popular again.
That the extent of a poetical work is, ceteris paribus, the measure of its merit, seems undoubtedly, when we thus state it, a proposition sufficiently absurd—yet we are indebted for it to the Quarterly Reviews. Surely there can be nothing in mere size, abstractly considered—there can be nothing in mere bulk, so far as a volume is concerned, which has so continuously elicited admiration from these saturnine pamphlets! A mountain, to be sure, by the mere sentiment of physical magnitude which it conveys, does impress us with a sense of the sublime—but no man is impressed after this fashion by the material grandeur of even “The Columbiad.” Even the Quarterlies have not instructed us to be so impressed by it. As yet, they have not insisted on our estimating “Lamar” tine by the cubic foot, or Pollock by the pound—but what else are we to infer from their continual plating about “sustained effort”? If, by “sustained effort,” any little gentleman has accomplished an epic, let us frankly commend him for the effort—if this indeed be a thing conk mendable—but let us forbear praising the epic on the effort’s account. It is to be hoped that common sense, in the time to come, will prefer deciding upon a work of Art rather by the impression it makes—by the effect it produces—than by the time it took to impress the effect, or by the amount of “sustained effort” which had been found necessary in effecting the impression. The fact is, that perseverance is one thing and genius quite another—nor can all the Quarterlies in Christendom confound them. By and by, this proposition, with many which I have been just urging, will be received as self-evident. In the meantime, by being generally condemned as falsities, they will
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