SAT英文阅读扩展(3):What is Poetry? Poetry, when it is really such, is truth; and fiction, if it is good for anything, is truth: but they are different truths The truth of poetry is to paint the human soul truly: the truth of fiction is to give a true picture of life. The two kinds of knowledge are different, and come by different ways, come mostly to different persons. Great poets are often proverbially ignorant of life. What they know has come by observation of themselves: they have found within them one, highly, delicate and sensitive specimen of human nature, on which the laws of emotion are written in large characters, such as can be read off without much study. Other knowledge of mankind, such as comes to men of the world by outward experience, is not indispensable to them as poets: but, to the novelist, such, knowledge is all in all; he bas to describe outward things, not the inward man; actions and events, not feelings; and it will not do for him to be numbered among those, who, as Madame Roland said of Brissot, know man, but not men. All this is no bar to the possibility of combining both elements, poetry and narrative or incident, in the same work, and calling it either a novel or a poem; but so may red and white combine on the same human features or on the same canvas. There is one order of composition which requires the union of poetry and incident, each in its highest kind, the dramatic. Even there, the two elements are perfectly distinguishable, and may exist of unequal quality and in the most various proportion. The incidents of a dramatic poem may be scanty and infective, though the delineation of passion and character may be of the highest order, as in Goethe&aposs admirable ``Torquato Tasso&apos' or, again, the story as a mere story may be well got up for fect, as is the case with some of the most trashy productions of the Minerva press: it may even be, what those are not, a coherent and probable series of events, though there be scarcely a feeling exhibited which is not represented falsely, or in a manner absolutely commonplace. The combination of the two excellences is what renders Shakespeare so generally acceptable, each sort of readers finding in him what is suitable to their faculties. To the many, he is great as a story-teller; to the few, as a poet. In limiting poetry to the delineation of states of feeling, and denying the name where nothing is delineated but outward objects, we may be thought to have done what we promised to avoid,---to have not found, but made, a dinition in opposition to the usage of language, since it is established by common consent that there is a poetry called descriptive. We deny the charge. Description is not poetry because there is descriptive poetry, no more than science is poetry because there is such a thing as a didactic poem. But an object which admits of being described, or a truth which may fill a place in a scientific treatise, may also furnish an occasion for the generation of poetry, which we thereupon choose to call descriptive or didactic. The poetry is not in the object itself, nor in the scientific truth itself, but in the state of mind in which the one and the other may be contemplated. The mere delineation of the dimensions and colors of external objects is not poetry, no more than a geometrical ground-plan of St. Peter&aposs or Westminster Abbey is painting. Descriptive poetry consists, no doubt, in description, but in description of things as they appear, not as they are; and it paints them, not in their bare and natural lineaments, but seen through the medium and arrayed in the colors of the imagination set in action by the feelings. If a poet describes a lion, be does not describe him as a naturalist would, nor even as a traveller would, who was intent upon stating the truth, the whole truth, and nothing but the truth. He describes him by imagery, that is, by suggesting the most striking likenesses and contrasts which might occur to a mind contemplating a lion, in the state of awe, wonder, or terror, which the spectacle naturally excites, or is, on the occasion, supposed to excite. Now, this is describing the lion professedly, but the state of excitement of the spectator really. The lion may be described falsely, or with exaggeration, and the poetry be all the better: but, if the human emotion be not painted with scrupulous truth, the poetry is bad poetry; i.e., is not poetry at all, but a failure.

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