Complete Essays, Literary Criticism, Cryptography, Autography, Translations & Letters. Эдгар Аллан По

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СКАЧАТЬ Psalm cxxxvii; To . . .; Love; Domestic Happiness; Magdalen, From the Italian; Woman; Connecticut; Music; On the Death of Lieut. William Howard Allen; A Poet’s Daughter; and On the Death of Joseph Rodman Drake. Of the majority of these we deem it unnecessary to say more than that they partake, in a more or less degree, of the general character observable in the poems of Halleck. The Poet’s Daughter appears to us a particularly happy specimen of that general character, and we doubt whether it be not the favorite of its author. We are glad to see the vulgarity of

      I’m busy in the cotton trade

       And sugar line,

      omitted in the present edition. The eleventh stanza is certainly not English as it stands — and besides it is altogether unintelligible. What is the meaning of this?

      But her who asks, though first among

       The good, the beautiful, the young

       The birthright of a spell more strong

       Than these have brought her.

      The Lines on the Death of Joseph Rodman Drake, we prefer to any of the writings of Halleck. It has that rare merit in composition of this kind — the union of tender sentiment and simplicity. This poem consists merely of six quatrains, and we quote them in full.

      Green be the turf above thee,

       Friend of my better days!

       None knew thee but to love thee,

       Nor named thee but to praise.

       Tears fell when thou wert dying

       From eyes unused to weep,

       And long, where thou art lying,

       Will tears the cold turf steep.

       When hearts whose truth was proven,

       Like thine are laid in earth,

       There should a wreath be woven

       To tell the world their worth.

       And I, who woke each morrow

       To clasp thy hand in mine,

       Who shared thy joy and sorrow,

       Whose weal and woe were thine-

       It should be mine to braid it

       Around thy faded brow,

       But I’ve in vain essayed it,

       And feel I cannot now.

       While memory bids me weep thee,

       Nor thoughts nor words are free,

       The grief is fixed too deeply,

       That mourns a man like thee.

      If we are to judge from the subject of these verses, they are a work of some care and reflection. Yet they abound in faults. In the line,

      Tears fell when thou wert dying;

      wert is not English.

      Will tears the cold turf steep,

      is an exceedingly rough verse. The metonymy involved in

      There should a wreath be woven

       To tell the world their worth,

      is unjust. The quatrain beginning,

      And I who woke each morrow,

      is ungrammatical in its construction when viewed in connection with the quatrain which immediately follows. “Weep thee” and “deeply” are inaccurate rhymes — and the whole of the first quatrain,

      Green be the turf, &c.

      although beautiful, bears too close a resemblance to the still more beautiful lines of William Wordsworth,

      She dwelt among the untrodden ways

       Beside the springs of Dove,

       A maid whom there were none to praise

       And very few to love.

      As a versifier Halleck is by no means equal to his friend, all of whose poems evince an ear finely attuned to the delicacies of melody. We seldom meet with more inharmonious lines than those, generally, of the author of Alnwick Castle. At every step such verses occur as,

      And the monk’s hymn and minstrel’s song-

       True as the steel of their tried blades-

       For him the joy of her young years-

       Where the Bard-peasant first drew breath-

       And withered my life’s leaf like thine-

      in which the proper course of the rhythm would demand an accent upon syllables too unimportant to sustain it. Not infrequently, too, we meet with lines such as this,

      Like torn branch from death’s leafless tree,

      in which the multiplicity of consonants renders the pronunciation of the words at all, a matter of no inconsiderable difficulty.

      But we must bring our notice to a close. It will be seen that while we are willing to admire in many respects the poems before us, we feel obliged to dissent materially from that public opinion (perhaps not fairly ascertained) which would assign them a very brilliant rank in the empire of Poesy. That we have among us poets of the loftiest order we believe — but we do not believe that these poets are Drake and Halleck.

1. This charge of indiscriminant puffing will, of course, only apply to the general character of our criticism — there are some noble exceptions. We wish also especially to discriminate between those notices of new works which are intended merely to call public attention to them, and deliberate criticism on the works themselves.

2. In addition to these things we observe, in the New York Mirror, what follows: “Those who have read the Notices of American books in a certain Southern Monthly, which is striving to gain notoriety by the loudness of its abuse, may find amusement in the sketch on another page, entitled “The Successful Novel.” The Southern Literary Messenger knows by experience what it is to write a successless novel.” We have, in this case, only to deny, flatly, the assertion of the Mirror. The Editor of the Messenger never in his life wrote or published, or attempted to publish, a novel either successful or successless.

3. We separate the sublime and the mystical — for, despite of high authorities, we are firmly convinced that the latter may exist, in the most vivid degree, without giving rise to the sense of the former.

4. The consciousness of this truth was by no mortal more fully than by Shelley, although he has only once especially alluded to it. In his Hymn to intellectual Beauty we find these lines.

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