On Poetry and Our Relish for the Beauties of Nature


J.M.W. Turner, Dolbadern Castle, North Wales, c. 1800

by Mary Wollstonecraft

A taste for rural scenes, in the present state of society, appears to be very often an artificial sentiment, rather inspired by poetry and romances, than a real perception of the beauties of nature. But, as it is reckoned a proof of refined taste to praise the calm pleasures which the country affords, the theme is never exhausted. Yet it may be made a question, whether this romantic kind of declamation, has much effect on the conduct of those, who leave, for a season, the crowded cities in which they were bred.

I have been led to these reflections, by observing, when I have resided for any length of time in the country, how few people seem to contemplate nature with their own eyes. I have “brushed the dew away” in the morning; but, pacing over the printless grass, I have wondered that, in such delightful situations, the sun was allowed to rise in solitary majesty, whilst my eyes alone hailed its beautifying beams. The webs of the evening have still been spread across the hedged path, unless some labouring man, trudging to work, disturbed the fairy structure; yet, in spite of this supineness, when I joined the social circle, every tongue rang changes on the pleasures of the country.

Having frequently had occasion to make the same observation, I was led to endeavour, in one of my solitary rambles, to trace the cause, and likewise to enquire why the poetry written in the infancy of society, is most natural: which, strictly speaking (for _natural_ is a very indefinite expression) is merely to say, that it is the transcript of immediate sensations, in all their native wildness and simplicity, when fancy, awakened by the sight of interesting objects, was most actively at work. At such moments, sensibility quickly furnishes similes, and the sublimated spirits combine images, which rising spontaneously, it is not necessary coldly to ransack the understanding or memory, till the laborious efforts of judgment exclude present sensations, and damp the fire of enthusiasm.

The effusions of a vigorous mind, will ever tell us how far the understanding has been enlarged by thought, and stored with knowledge. The richness of the soil even appears on the surface; and the result of profound thinking, often mixing, with playful grace, in the reveries of the poet, smoothly incorporates with the ebullitions of animal spirits, when the finely fashioned nerve vibrates acutely with rapture, or when, relaxed by soft melancholy, a pleasing languor prompts the long-drawn sigh, and feeds the slowly falling tear.

The poet, the man of strong feelings, gives us only an image of his mind, when he was actually alone, conversing with himself, and marking the impression which nature had made on his own heart.–If, at this sacred moment, the idea of some departed friend, some tender recollection when the soul was most alive to tenderness, intruded unawares into his thoughts, the sorrow which it produced is artlessly, yet poetically expressed–and who can avoid sympathizing?

Love to man leads to devotion–grand and sublime images strike the imagination–God is seen in every floating cloud, and comes from the misty mountain to receive the noblest homage of an intelligent creature–praise. How solemn is the moment, when all affections and remembrances fade before the sublime admiration which the wisdom and goodness of God inspires, when he is worshipped in a _temple not made with hands_, and the world seems to contain only the mind that formed, and the mind that contemplates it! These are not the weak responses of ceremonial devotion; nor, to express them, would the poet need another poet’s aid: his heart burns within him, and he speaks the language of truth and nature with resistless energy.

Inequalities, of course, are observable in his effusions; and a less vigorous fancy, with more taste, would have produced more elegance and uniformity; but, as passages are softened or expunged during the cooler moments of reflection, the understanding is gratified at the expence of those involuntary sensations, which, like the beauteous tints of an evening sky, are so evanescent, that they melt into new forms before they can be analyzed. For however eloquently we may boast of our reason, man must often be delighted he cannot tell why, or his blunt feelings are not made to relish the beauties which nature, poetry, or any of the imitative arts, afford.

The imagery of the ancients seems naturally to have been borrowed from surrounding objects and their mythology. When a hero is to be transported from one place to another, across pathless wastes, is any vehicle so natural, as one of the fleecy clouds on which the poet has often gazed, scarcely conscious that he wished to make it his chariot? Again, when nature seems to present obstacles to his progress at almost every step, when the tangled forest and steep mountain stand as barriers, to pass over which the mind longs for supernatural aid; an interposing deity, who walks on the waves, and rules the storm, severely felt in the first attempts to cultivate a country, will receive from the impassioned fancy “a local habitation and a name.”

It would be a philosophical enquiry, and throw some light on the history of the human mind, to trace, as far as our information will allow us to trace, the spontaneous feelings and ideas which have produced the images that now frequently appear unnatural, because they are remote; and disgusting, because they have been servilely copied by poets, whose habits of thinking, and views of nature must have been different; for, though the understanding seldom disturbs the current of our present feelings, without dissipating the gay clouds which fancy has been embracing, yet it silently gives the colour to the whole tenour of them, and the dream is over, when truth is grossly violated, or images introduced, selected from books, and not from local manners or popular prejudices.

In a more advanced state of civilization, a poet is rather the creature of art, than of nature. The books that he reads in his youth, become a hot-bed in which artificial fruits are produced, beautiful to the common eye, though they want the true hue and flavour. His images do not arise from sensations; they are copies; and, like the works of the painters who copy ancient statues when they draw men and women of their own times, we acknowledge that the features are fine, and the proportions just; yet they are men of stone; insipid figures, that never convey to the mind the idea of a portrait taken from life, where the soul gives spirit and homogeneity to the whole. The silken wings of fancy are shrivelled by rules; and a desire of attaining elegance of diction, occasions an attention to words, incompatible with sublime, impassioned thoughts.

A boy of abilities, who has been taught the structure of verse at school, and been roused by emulation to compose rhymes whilst he was reading works of genius, may, by practice, produce pretty verses, and even become what is often termed an elegant poet: yet his readers, without knowing what to find fault with, do not find themselves warmly interested. In the works of the poets who fasten on their affections, they see grosser faults, and the very images which shock their taste in the modern; still they do not appear as puerile or extrinsic in one as the other.–Why?–because they did not appear so to the author.

It may sound paradoxical, after observing that those productions want vigour, that are merely the work of imitation, in which the understanding has violently directed, if not extinguished, the blaze of fancy, to assert, that, though genius be only another word for exquisite sensibility, the first observers of nature, the true poets, exercised their understanding much more than their imitators. But they exercised it to discriminate things, whilst their followers were busy to borrow sentiments and arrange words.

Boys who have received a classical education, load their memory with words, and the correspondent ideas are perhaps never distinctly comprehended. As a proof of this assertion, I must observe, that I have known many young people who could write tolerably smooth verses, and string epithets prettily together, when their prose themes showed the barrenness of their minds, and how superficial the cultivation must have been, which their understanding had received.

Dr. Johnson, I know, has given a definition of genius, which would overturn my reasoning, if I were to admit it.–He imagines, that _a strong mind, accidentally led to some particular study_ in which it excels, is a genius.–Not to stop to investigate the causes which produced this happy _strength_ of mind, experience seems to prove, that those minds have appeared most vigorous, that have pursued a study, after nature had discovered a bent; for it would be absurd to suppose, that a slight impression made on the weak faculties of a boy, is the fiat of fate, and not to be effaced by any succeeding impression, or unexpected difficulty. Dr. Johnson in fact, appears sometimes to be of the same opinion (how consistently I shall not now enquire), especially when he observes, “that Thomson looked on nature with the eye which she only gives to a poet.”

But, though it should be allowed that books may produce some poets, I fear they will never be the poets who charm our cares to sleep, or extort admiration. They may diffuse taste, and polish the language; but I am inclined to conclude that they will seldom rouse the passions, or amend the heart.

And, to return to the first subject of discussion, the reason why most people are more interested by a scene described by a poet, than by a view of nature, probably arises from the want of a lively imagination. The poet contracts the prospect, and, selecting the most picturesque part in his _camera_, the judgment is directed, and the whole force of the languid faculty turned towards the objects which excited the most forcible emotions in the poet’s heart; the reader consequently feels the enlivened description, though he was not able to receive a first impression from the operations of his own mind.

Besides, it may be further observed, that gross minds are only to be moved by forcible representations. To rouse the thoughtless, objects must be presented, calculated to produce tumultuous emotions; the unsubstantial, picturesque forms which a contemplative man gazes on, and often follows with ardour till he is mocked by a glimpse of unattainable excellence, appear to them the light vapours of a dreaming enthusiast, who gives up the substance for the shadow. It is not within that they seek amusement; their eyes are seldom turned on themselves; consequently their emotions, though sometimes fervid, are always transient, and the nicer perceptions which distinguish the man of genuine taste, are not felt, or make such a slight impression as scarcely to excite any pleasurable sensations. Is it surprising then that they are often overlooked, even by those who are delighted by the same images concentrated by the poet?

But even this numerous class is exceeded, by witlings, who, anxious to appear to have wit and taste, do not allow their understandings or feelings any liberty; for, instead of cultivating their faculties and reflecting on their operations, they are busy collecting prejudices; and are predetermined to admire what the suffrage of time announces as excellent, not to store up a fund of amusement for themselves, but to enable them to talk.

These hints will assist the reader to trace some of the causes why the beauties of nature are not forcibly felt, when civilization, or rather luxury, has made considerable advances–those calm sensations are not sufficiently lively to serve as a relaxation to the voluptuary, or even to the moderate pursuer of artificial pleasures. In the present state of society, the understanding must bring back the feelings to nature, or the sensibility must have such native strength, as rather to be whetted than destroyed by the strong exercises of passion.

That the most valuable things are liable to the greatest perversion, is however as trite as true:–for the same sensibility, or quickness of senses, which makes a man relish the tranquil scenes of nature, when sensation, rather than reason, imparts delight, frequently makes a libertine of him, by leading him to prefer the sensual tumult of love a little refined by sentiment, to the calm pleasures of affectionate friendship, in whose sober satisfactions, reason, mixing her tranquillizing convictions, whispers, that content, not happiness, is the reward of virtue in this world.

About the Author

Mary Wollstonecraft was an English writer and philosopher.

Publication Rights

This essay was first published in Monthly Magazine in April 1797, under the title Artificial Taste. It was later reprinted in 1798 in volume one of Posthumous Works of the Author of A Vindication of the Rights of Woman.

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