later but still limited canon, that poetry is emotionMill and Ruskin. expressed in lyrical language.[1] But a complete definition distinguishes the thing defined from everything else; it denotes, as you know, "the species, the whole species, and nothing but the species." Bascom and Ruskin follow Mill, but Ruskin adds other elements, saying that poetry is the suggestion, by the "imagination," of noble "thoughts" for noble emotions. This does not exclude painting and other emotional and imaginative arts. In truth, he is simply defining art, and takes poetry, as Plato might, as a synonym for art in all its forms of expression.
An elevated view, on the whole, is gained by Imagination.those who recognize more sensibly the force of Imagination. Here the twin contemplative seers, Wordsworth and Coleridge, lift their torches, dispersing many mists. They saw that poetry is not opposed to prose, of which verse is the true antithesis, but that in spirit and action it is the reverse of science or matter of fact. Imagination is its polestar, its utterance the echo of man and nature. The poet has no restriction beyond the duty of giving pleasure. Nothing else stands between him and the very image of nature, from which a hundred barriers shut off the biographer and historian. WordsworthThe Lake School. admits the need of emotion, but renounces taste. Coleridge plainly has the instinct for beauty and the spell of measured words.
- ↑ J. S. Mill's Thoughts on Poetry and its Varieties, 1833.
