Civilization

The authenticity of this hurried statement of young Macaulay has been exposed to criticism from various quarters. But at the same time, it cannot be denied that this controversial point has its own charm and weight which has withstood the adverse criticism. The terms Civilization and Poetry have a wide range of definitions and aspects. Every aspect, introduces us to a new standpoint. And it is in the light of these that the decline and rise of poetry can be determined.

Civilized age, as Macaulay makes use of the term, is an enlightened one in which intelligence, science, philosophy, just classification and subtle analysis abound. Along with the abundance of wit and eloquence, abundance of verses and even of good ones, but little poetry, are other characteristics of the enlightened ages. Civilization is in a way the framework of our life. It is, of course, different from culture which is an inner quality of mind. Now the advancement of civilization means the refinement and growth of a critical attitude. Taken as a whole, when the material framework of life grows more complicated, the paraphernalia of life improves, civilization advances.

Similarly poetry is defined by Macaulay as an art of employing words in such a manner as to produce illusion-the art of doing with words, what a painter does by means of colour. Poetry requires from us imagination-a sort of fine frenzy based on truth, may we call the truth of madness. The effect of imagination on children justifies the truth in the imaginative art, of which poetry is an indispensable part. As far as the enjoyment of poetry is concerned, perhaps no person can be a poet or enjoy poetry without an unsoundness of mind. This again is a controversial point, but let us for the time being take it as it is. In the same way poetry is much more than merely an imaginative art. It is beauty, wonder are primary, but anyhow according to one school of thought it is all imagination.Opposed to civilized state of society, there is the primitive which has been called the age of simple words and vivid impressions. In such an age people are children in a way, but definitely with a greater variety of ideas. If poetry does not advance in an enlightened age it is only in this age of society, that the poetical temperament is at its highest perfection. There we find a kind of abnormality-say of a devotee who worships in a strange manner. The intensity of emotion is the chief trait in this age. The intensification of emotion must be there. It is not the pain or pleasure which matters but it is to be replaced by agony and ecstasy. Such an atmosphere is quite congenial to the growth of good poetry.

There is no chance that the world will ever roll back, or even remain stationary. But with poetry and other intuitive arts, the case is quite different. The material or intellectual refinement, in the realm of these arts may help to bring about the mechanical development but does that mean real progress? The poetry of Pope essentially lacks the genuine charm of imaginative quality-the inevitable trait of poetry. It is not fascinating in this manner, however, attractive its mechanical flow may be. Here the refinement is to be noticed but it is not without the touch of artificial language about it. The introduction of philosophy, psychology and analytical attitude is still worse but the enlightened age must be philosophical and analytical. Philosophy and the analysis help the evolution of better theories but these make worse poems. The poet has to paint a picture of life, and if he tries to be analytical, surely he will be unnatural, we may tolerate faith or no faith but dissection is no poetry. Analysis, we see, kills the very essence of poetry, but the fact remains that a poet can be analytical whereas an analyst cannot be a poet in the real sense of the word. The contention, that refinement is the bane of poetry, is again ruled out by illustrations from poetry in general.The progress of poetry in rude age, then needs, a further explanation. The illusion that poetry produces may be compared, in a borrowed simile, to a magic lantern in dark. The dark ages are there in which the “natural unsoundness of mind” is best suited for the appreciation of real poetry. The extent of abnormality and the intensification of emotion are at their best in the rude state of society. We can take up the intensity of emotions exercised by the romantic poets. Byron’s fiery passion, Keat’s sensuous disposition or Shelley’s ethereal flights are actions of no ordinary heat or intensity and the full throated expression that is born out of this extremism is real poetry representing a rude age. As we begin to judge and compare rather than create, this intensity of emotion is on the decline and so is poetry. It does not remain unadulterated and undiluted.

Examine the literature of any country, and we will find that the greatest works of intuitive art furnished in the darkest ages constitute the greatest form of poetry. Similar is the case with certain scriptures in verse. Poetry has been a favourite pastime in those good old scientific periods and out of these rude practices of the uncivilized man, were born certain immortal pieces of literature. The influence of these arts was also wonderful. Think of an Indian musician harnessing nature through his melodies, the civilized community will laugh it off in their own critical fashion quite neglecting the creative side of the whole thing. In his criticism of Dante, Macaulay asserts that these original works of art were not, appreciated even in their own rude times.