Editing Christopher Smart (section)

===Language===
The language and commentary on language is of particular emphasis in ''Jubilate Agno''. To Alan Jacobs, Smart's use of language represents his attempt to connect to the "Ur language", allowing Smart to connect to "the Word calling forth the world."<ref>{{harvnb|Jacobs|1998|p=196}}</ref> This is similar to David and [[Orpheus]]'s ability as poets to create through their song.<ref name="Hawes p. 167" /> In his constant emphasis on the force of poetry, ''Jubilate Agno'' takes on the qualities of the ''[[Ars Poetica (Horace)|Ars Poetica]]'' tradition.<ref>{{harvnb|Ennis|2000|p=8}}</ref> As such, Smart is attempting to develop a poetic language that will connect him to the "one true, eternal poem."<ref>{{harvnb|Ennis|2000|p=10}}</ref> The poetic language that he creates is related to Adam's "onomathetic" tradition, or the idea that names hold significant weight in the universe and that Adam was able to join in with creation by naming objects.<ref>{{harvnb|Costa|2002|p=296}}</ref>

In ''Jubilate Agno'', he describes his writing as creating "impressions".<ref>{{harvnb|Liu|1985|p=127}}</ref> To accomplish this task, he incorporated puns and onomatopoeia in order to emphasize the theological significance of his poetic language.<ref>{{harvnb|Costa|2002|p=305}}</ref> In addition to these techniques, he relied on repeated language and allusions to traditional works and to scripture for a source of authority in various works, especially in his ''Hymns''.<ref>{{harvnb|Walsh|1999|p=40}}</ref> Along with scriptural authority, he relies on prophetic rhetoric to gain his audience's sympathy.<ref>{{harvnb|Katz|1999|p=54}}</ref>

During the 18th century, there was a debate over poetic language and the translations of Smart, especially of Horace, positioned him as one who sought to redeem traditional forms and understanding of language.<ref>{{harvnb|Walsh|1998|p=147}}</ref> However, some critics, like Alan Liu, believe that translations are effectively forced to compete against the original works, and that Smart's language, at least in his translations, must constantly seek to undermine the original authors, like Horace.<ref>{{harvnb|Liu|1985|p=133}}</ref> Not all critics agree with Liu, and those like Donald Davie believe that the Smart's translations cannot be compared to the original works, but are part of a system of Smart competing against the language of his contemporaries.<ref>{{harvnb|Davie|1990|p=825}}</ref> Thomas Keymer further verified this point about Smart's translations by revealing that the poet claims, in William Toldervy's ''The History of Two Orphans'', "But what heaven-exciting harmony might we not expect from that exalted genius, who can produce such lines as these following!" in anticipation of replacing the previous flawed translations of the ''Psalms''.<ref>{{harvnb|Keymer|2003|p=57}}</ref>

Regardless of where he stood on the specific issue of translation Smart believed that there was an importance to language, which carried over to his constant revising of his poems to slowly correct them.<ref>{{harvnb|Mahony|1983|p=196}}</ref> Many of Smart's poems served a dual purpose, and when put to music were altered to meet various standards.<ref>{{harvnb|Mahony|1983|p=200}}</ref> By constantly revising, he ensured that his poems were always the "authentic" version.<ref>{{harvnb|Mahony|1983|p=203}}</ref>