English Critical Essays: Nineteenth Century
conversed on the subject, the result would engender more than scepticism concerning the desirable influences of low and rustic life in and for itself. Whatever may be concluded on the other side, from the stronger local attachments and enterprising spirit of the Swiss, and other mountaineers, applies to a particular mode of pastoral life, under forms of property that permit and beget manners truly republican, not to rustic life in general, or to the absence of artificial cultivation. On the contrary the mountaineers, whose manners have been so often eulogized, are in general better educated and greater readers than men of equal rank elsewhere. But where this is not the case, as among the peasantry of North Wales, the ancient mountains, with all their terrors and all their glories, are pictures to the blind, and music to the deaf.

[45]

I should not have entered so much into detail upon this passage, but here seems to be the point, to which all the lines of difference converge as to their source and centre;—I mean, as far as, and in whatever respect, my poetic creed does differ from the doctrines promulgated in this preface. I adopt with full faith the principle of Aristotle, that poetry, as poetry, is essentially ideal, that it avoids and excludes all accident; that its apparent individualities[46] of rank, character, or occupation must be representative of a class; and that the persons of poetry must be clothed with generic attributes, with the common attributes of the class: not with such as one gifted individual might possibly possess, but such as from his situation it is most probable beforehand that he would possess. If my premises are right and my deductions legitimate, it follows that there can be no poetic medium between the swains of Theocritus and those of an imaginary golden age.

[46]

The characters of the vicar and the shepherd-mariner in the poem of The Brothers, that of the shepherd of Green-head Ghyll in the Michael, have all the verisimilitude and representative quality, that the purposes of poetry can require. They are persons of a known and abiding class, and their manners and sentiments the natural product of circumstances common to the class. Take Michael for instance:

An old man stout of heart, and strong of limb:

His bodily frame had been from youth to age

Of an unusual strength: his mind was keen,

Intense, and frugal, apt for all affairs,


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