poet to maintain it than in others.

Let us take first the ‘passages’ and suppose them to occur in one of the more poetic kinds of poetry. In certain parts of any epic or tragedy matter has to be treated which, though necessary to the whole, is not in itself favourable to poetry, or would not in itself be a good ‘subject.’ But it is the business of the poet to do his best to make this matter poetry, and pure poetry. And, if he succeeds, the passage, though it will probably be less poetic than the bulk of the poem, will exhibit the complete unity of content and form. It will not strike us as a mere bridge between other passages; it will be enjoyable for itself; and it will not occur to us to think that the poet was dealing with an un-poetic ‘matter’ and found his task difficult or irksome. Shakespeare frequently does not trouble himself to face this problem and leaves an imperfect unity. The conscientious artists, like Virgil, Milton, Tennyson, habitually face, it and frequently solve it.13 And when they wholly or partially fail, the fault is still theirs. It is, in one sense, due to the ‘matter,’ which set a hard problem; but they would be the first to declare that nothing in the poem ought to be only mixedly poetic.

13

In the same way, satire is not in its nature a highly poetic kind of poetry, but it ought, in its own kind, to be poetry throughout, and therefore ought not to show a merely partial 32 unity of content and form. If the satirist makes us exclaim ‘This is sheer prose wonderfully well disguised,’ that is a fault, and his fault (unless it happens to be ours). The idea that a tragedy or lyric could really be reproduced in a form not its own strikes us as ridiculous; the idea that a satire could so be reproduced seems much less ridiculous; but if it were true the satire would not be poetry at all.

32

The reader will now see where, in my judgment, the paragraph is wrong. Elsewhere it is, I think, right, though it deals with a subject far too large for a paragraph. This is also true of the next paragraph, which uses the false distinction of ‘pure’ and ‘mixed,’ and which will hold in various degrees of poetry in various degrees poetical.

It is of course possible to use a distinction of ‘pure’ and ‘mixed’ in another sense. Poetry, whatever its kind, would be pure as far as it preserved the unity of content and form; mixed, so far as it failed to do so—in other words, failed to be poetry and was partly prosaic.

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