Bauhaus-Universität Weimar

And, once more, here is Tennyson’s picnic at Audleg 
Court : 
“ There, on a slope of orchard, Francis laid 
A damask napkin wrought with horse and hound j 
Brought out a dusky loaf that smelt of home, 
And, half cut down, a pasty costly-made, 
Where quail and pigeon, lark and leveret, lay 
Like fossils of the rock, with golden yolks 
Imbedded and injelliecL ” 
Now in all these passages (omitting for the present the 
emotional elements of costliness, antique allusion, oriental 
tinge, or primitive innocence) the poetical feeling is entirely 
due to their picturesque character. The objects are not 
described as food but as parts of a scene. In itself a game pie 
is vulgar and inartistic enough, appealing to a sense which 
is both monopolist and closely connected with vital function ; 
but the skill of the artist is shown in overcoming the difficulty 
by presenting the pie to us in such a light that we see only 
its beautiful pictorial points. 
So too, with sexual feeling. Closely bound up as it is 
with our most powerful complex emotions, it yet defies 
introduction into Poetry, because the feelings aroused, though 
they may be pleasurable, obviously fall short of æsthetic dis¬ 
interestedness. It can only be introduced under a veil of 
mysterious reverence, as in the well-known love passages of 
Paradise Lost. Even on those only a Milton could have 
It may be added before we proceed to the emotional 
division that descriptive poems, as well as the greater part 
of narrative verse, are chiefly composed of sensuous factors ; 
though no high-class poem can be so entirely. The Georgies


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