In the very best styles, as Southey's, you read page
after page, understanding the author perfectly, without once taking notice
of the medium of communication;--it is as if he had been speaking to you
all the while. But in verse you must do more;--there the words, the
_media_, must be beautiful, and ought to attract your notice--yet not so
much and so perpetually as to destroy the unity which ought to result from
the whole poem. This is the general rule, but, of course, subject to some
modifications, according to the different kinds of prose or verse. Some
prose may approach towards verse, as oratory, and therefore a more studied
exhibition of the _media_ may be proper; and some verse may border more on
mere narrative, and there the style should be simpler. But the great thing
in poetry is, _quocunque modo_, to effect a unity of impression upon the
whole; and a too great fulness and profusion of point in the parts will
prevent this. Who can read with pleasure more than a hundred lines or so of
Hudibras at one time? Each couplet or quatrain is so whole in itself, that
you can't connect them. There is no fusion,--just as it is in Seneca.
[Footnote 1:
They led me to the sounding shore--
Heavens! as I passed the crowded way,
My bleeding lord before me lay--
I saw--I saw--and wept no more,
Till, as the homeward breezes bore
The bark returning o'er the sea,
My gaze, oh Ilion, turn'd on thee!
Then, frantic, to the midnight air,
I cursed aloud the adulterous pair:--
"They plunge me deep in exile's woe;
They lay my country low:
Their love--no love! but some dark spell,
In vengeance breath'd, by spirit fell.
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