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Bowing to an impatient demand for verbal meaning, Liszt invented the Symphonic Poem, in which the classic cogency yielded to the loose thread of a musical sketch in one movement, slavishly following the sequence of some literary subject. The symphonic poems of Liszt, in so far as his intent was in destructive reaction to the classic process, were precisely in line with the drama of Wagner.
It was the birthright of man. But what did Wordsworth find in nature? To begin with the lowest; he found amusement in nature. Right amusement is a part of teaching; it is the childish form of teaching, and if we can get this in nature, we get something that lies near the root of good. In proof that Wordsworth found this, I refer to a poem which you probably know well, "The Daisy."
At any rate, in Italy as I have found it, the inner secret of Italian life can be read, not in painting alone, nor poem alone, but in the swift sun, in the streets and shrouded lanes, in the golden pastures, in the plains and blue mountains; in flowery cloisters and carved church porches out of doors as well as in.
Not long ago I wrote a poem, which I never dreamed of giving to the public, on account of its seriousness; but on being invited to address the women students of a certain great university, I was persuaded by a near friend to read this poem. At the close of my lecture I said 'Now, ladies, I am going to read you a poem of mine' which was greeted with bursts of uproarious laughter.
It is like a word in a poem, more effective by its fitness than by its intrinsic beauty, although that is requisite too. We can be shocked at an incongruity of natures more than we can be pleased by the intrinsic beauty of each nature apart, so long, that is, as they remain abstract natures, objects recognized without being studied.
Another night I dreamed that I was reading a tragic poem, relating terrible deeds of blood and rapine, and suddenly I seemed to have become an actor or real spectator of that which I had at first read in a book.
There is one imploring poem by Shelley, addressed to Harriet in May 1814, begging her to relent and pity, if she cannot love, and not to let him endure "The misery of a fatal cure"; but Harriet had not generosity, if it was needed, and, according to Thornton Hunt, she left Shelley and went to Bath, where she still was in July.
"There was something, I forget what, you were to call about! Remind me will you?" "I did not come before, ma'am, because I knew you were occupied. And even now it does not greatly matter." "Oh, I remember! the poem! I am very sorry, but I had so much to think of that it went quite out of my mind."
I have found few men who, whether from the influence of those prints which are always on the outlook for something to ridicule, or from some other cause, did not laugh at the poem. I thought and think it a lovely poem, although I am not quite sure of the transposition of words in the last two lines. But I do not approve of the poem, just because there is no hope in it.
It seemed to be his intention to blurt out whatever was in his mind, and see what would become of it. He was angry too, when catched in an absurdity; but it did not prevent him from falling into another the next minute. I remember Chamier, after talking with him for some time, said, "Well, I do believe he wrote this poem himself: and, let me tell you, that is believing a great deal."
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