The poem has always
affected
me in a remarkable manner.
Poe - 5
The poem on the
whole, however, is chiefly to be admired for the graceful _insouciance
_of its metre, so well in accordance with the character of the
sentiments, and especially for the _ease _of the general manner. This
"ease" or naturalness, in a literary style, it has long been the fashion
to regard as ease in appearance alone--as a point of really difficult
attainment. But not so:--a natural manner is difficult only to him who
should never meddle with it--to the unnatural. It is but the result of
writing with the understanding, or with the instinct, that _the tone,
_in composition, should always be that which the mass of mankind would
adopt--and must perpetually vary, of course, with the occasion. The
author who, after the fashion of "The North American Review," should
be upon _all _occasions merely "quiet," must necessarily upon _many
_occasions be simply silly, or stupid; and has no more right to be
considered "easy" or "natural" than a Cockney exquisite, or than the
sleeping Beauty in the waxworks.
Among the minor poems of Bryant, none has so much impressed me as the
one which he entitles "June. " I quote only a portion of it:--
There, through the long, long summer hours,
The golden light should lie,
And thick young herbs and groups of flowers
Stand in their beauty by.
The oriole should build and tell
His love-tale, close beside my cell;
The idle butterfly
Should rest him there, and there be heard
The housewife-bee and humming bird.
And what, if cheerful shouts at noon,
Come, from the village sent,
Or songs of maids, beneath the moon,
With fairy laughter blent?
And what if, in the evening light,
Betrothed lovers walk in sight
Of my low monument?
I would the lovely scene around
Might know no sadder sight nor sound.
I know, I know I should not see
The season's glorious show,
Nor would its brightness shine for me;
Nor its wild music flow;
But if, around my place of sleep,
The friends I love should come to weep,
They might not haste to go.
Soft airs and song, and the light and bloom,
Should keep them lingering by my tomb.
These to their soften'd hearts should bear
The thoughts of what has been,
And speak of one who cannot share
The gladness of the scene;
Whose part in all the pomp that fills
The circuit of the summer hills,
Is--that his grave is green;
And deeply would their hearts rejoice
To hear again his living voice.
The rhythmical flow here is even voluptuous--nothing could be more
melodious.
The poem has always affected me in a remarkable manner. The
intense melancholy which seems to well up, perforce, to the surface of
all the poet's cheerful sayings about his grave, we find thrilling us to
the soul--while there is the truest poetic elevation in the thrill.
The impression left is one of a pleasurable sadness. And if, in the
remaining compositions which I shall introduce to you, there be more or
less of a similar tone always apparent, let me remind you that (how or
why we know not) this certain taint of sadness is inseparably connected
with all the higher manifestations of true Beauty. It is, nevertheless,
A feeling of sadness and longing
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain.
The taint of which I speak is clearly perceptible even in a poem so full
of brilliancy and spirit as "The Health" of Edward Coate Pinckney:--
I fill this cup to one made up
Of loveliness alone,
A woman, of her gentle sex
The seeming paragon;
To whom the better elements
And kindly stars have given
A form so fair that, like the air,
'Tis less of earth than heaven.
Her every tone is music's own,
Like those of morning birds,
And something more than melody
Dwells ever in her words;
The coinage of her heart are they,
And from her lips each flows
As one may see the burden'd bee
Forth issue from the rose.
Affections are as thoughts to her,
The measures of her hours;
Her feelings have the flagrancy,
The freshness of young flowers;
And lovely passions, changing oft,
So fill her, she appears
The image of themselves by turns,--
The idol of past years!
Of her bright face one glance will trace
A picture on the brain,
And of her voice in echoing hearts
A sound must long remain;
But memory, such as mine of her,
So very much endears,
When death is nigh my latest sigh
Will not be life's, but hers.
I fill'd this cup to one made up
Of loveliness alone,
A woman, of her gentle sex
The seeming paragon--
Her health! and would on earth there stood,
Some more of such a frame,
That life might be all poetry,
And weariness a name.
It was the misfortune of Mr. Pinckney to have been born too far south.
Had he been a New Englander, it is probable that he would have been
ranked as the first of American lyrists by that magnanimous cabal which
has so long controlled the destinies of American Letters, in conducting
the thing called "The North American Review. " The poem just cited is
especially beautiful; but the poetic elevation which it induces we must
refer chiefly to our sympathy in the poet's enthusiasm. We pardon his
hyperboles for the evident earnestness with which they are uttered.
whole, however, is chiefly to be admired for the graceful _insouciance
_of its metre, so well in accordance with the character of the
sentiments, and especially for the _ease _of the general manner. This
"ease" or naturalness, in a literary style, it has long been the fashion
to regard as ease in appearance alone--as a point of really difficult
attainment. But not so:--a natural manner is difficult only to him who
should never meddle with it--to the unnatural. It is but the result of
writing with the understanding, or with the instinct, that _the tone,
_in composition, should always be that which the mass of mankind would
adopt--and must perpetually vary, of course, with the occasion. The
author who, after the fashion of "The North American Review," should
be upon _all _occasions merely "quiet," must necessarily upon _many
_occasions be simply silly, or stupid; and has no more right to be
considered "easy" or "natural" than a Cockney exquisite, or than the
sleeping Beauty in the waxworks.
Among the minor poems of Bryant, none has so much impressed me as the
one which he entitles "June. " I quote only a portion of it:--
There, through the long, long summer hours,
The golden light should lie,
And thick young herbs and groups of flowers
Stand in their beauty by.
The oriole should build and tell
His love-tale, close beside my cell;
The idle butterfly
Should rest him there, and there be heard
The housewife-bee and humming bird.
And what, if cheerful shouts at noon,
Come, from the village sent,
Or songs of maids, beneath the moon,
With fairy laughter blent?
And what if, in the evening light,
Betrothed lovers walk in sight
Of my low monument?
I would the lovely scene around
Might know no sadder sight nor sound.
I know, I know I should not see
The season's glorious show,
Nor would its brightness shine for me;
Nor its wild music flow;
But if, around my place of sleep,
The friends I love should come to weep,
They might not haste to go.
Soft airs and song, and the light and bloom,
Should keep them lingering by my tomb.
These to their soften'd hearts should bear
The thoughts of what has been,
And speak of one who cannot share
The gladness of the scene;
Whose part in all the pomp that fills
The circuit of the summer hills,
Is--that his grave is green;
And deeply would their hearts rejoice
To hear again his living voice.
The rhythmical flow here is even voluptuous--nothing could be more
melodious.
The poem has always affected me in a remarkable manner. The
intense melancholy which seems to well up, perforce, to the surface of
all the poet's cheerful sayings about his grave, we find thrilling us to
the soul--while there is the truest poetic elevation in the thrill.
The impression left is one of a pleasurable sadness. And if, in the
remaining compositions which I shall introduce to you, there be more or
less of a similar tone always apparent, let me remind you that (how or
why we know not) this certain taint of sadness is inseparably connected
with all the higher manifestations of true Beauty. It is, nevertheless,
A feeling of sadness and longing
That is not akin to pain,
And resembles sorrow only
As the mist resembles the rain.
The taint of which I speak is clearly perceptible even in a poem so full
of brilliancy and spirit as "The Health" of Edward Coate Pinckney:--
I fill this cup to one made up
Of loveliness alone,
A woman, of her gentle sex
The seeming paragon;
To whom the better elements
And kindly stars have given
A form so fair that, like the air,
'Tis less of earth than heaven.
Her every tone is music's own,
Like those of morning birds,
And something more than melody
Dwells ever in her words;
The coinage of her heart are they,
And from her lips each flows
As one may see the burden'd bee
Forth issue from the rose.
Affections are as thoughts to her,
The measures of her hours;
Her feelings have the flagrancy,
The freshness of young flowers;
And lovely passions, changing oft,
So fill her, she appears
The image of themselves by turns,--
The idol of past years!
Of her bright face one glance will trace
A picture on the brain,
And of her voice in echoing hearts
A sound must long remain;
But memory, such as mine of her,
So very much endears,
When death is nigh my latest sigh
Will not be life's, but hers.
I fill'd this cup to one made up
Of loveliness alone,
A woman, of her gentle sex
The seeming paragon--
Her health! and would on earth there stood,
Some more of such a frame,
That life might be all poetry,
And weariness a name.
It was the misfortune of Mr. Pinckney to have been born too far south.
Had he been a New Englander, it is probable that he would have been
ranked as the first of American lyrists by that magnanimous cabal which
has so long controlled the destinies of American Letters, in conducting
the thing called "The North American Review. " The poem just cited is
especially beautiful; but the poetic elevation which it induces we must
refer chiefly to our sympathy in the poet's enthusiasm. We pardon his
hyperboles for the evident earnestness with which they are uttered.
