human
All one, ever the same, Putting invention in a noted weed, That every word doth almost tell his name.
gpt
All for Love ; but it was Dryden who said of him, by instinctive conviction rather than judgment, that within his magic circle none dared tread but he. Is he to blame for the extravagances of modern diction, which are but the reaction of the brazen age against the degeneracy of art into artifice, that has characterized the silver period in every literature? We see in them only the futile effort of misguided persons to torture out of language the secret of that inspiration which should be in themselves. We do not find the extravagances in Shakespeare himself. We never saw a line in any modern poet that reminded us of him, and will venture to assert that it is only poets of the second class that find successful imitators. And the reason seems to us a very plain one. The genius of the great poet seeks repose in the expression of itself, and finds it at last in style, which is the establishment of a perfect mutual understanding between the worker and his material.[128] The secondary intellect, on the other hand, seeks for excitement in expression, and stimulates itself into mannerism, which is the wilful obtrusion of self, as style is its unconscious abnegation. No poet of the first class has ever left a school, because his imagination is incommunicable; while, just as surely as the thermometer tells of the neighborhood of an iceberg, you may detect the presence of a genius of the second class in any generation by the influence of his mannerism, for that, being an artificial thing, is capable of reproduction. Dante, Shakespeare, Goethe, left no heirs either to the form or mode of their expression; while Milton, Sterne, and Wordsworth left behind them whole regiments uniformed with all their external characteristics. We do not mean that great poetic geniuses may not have influenced thought, (though we think it would be difficult to show how Shakespeare had done so, directly and wilfully,) but that they have not infected contemporaries or followers with mannerism. The quality in him which makes him at once so thoroughly English and so thoroughly cosmopolitan is that aëration of the understanding by the imagination which he has in common with all the greater poets, and which is the privilege of genius. The modern school, which mistakes violence for intensity, seems to catch its breath when it finds itself on the verge of natural expression, and to say to itself,
human
Good heavens! I had almost forgotten I was inspired!