No More Learning

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.

It was by no means my design, however, to expatiate upon the _merits
_of what I should read you. These will necessarily speak for themselves.
Boccalini, in his "Advertisements from Parnassus," tells us that Zoilus
once presented Apollo a very caustic criticism upon a very admirable
book:--whereupon the god asked him for the beauties of the work. He
replied that he only busied himself about the errors. On hearing this,
Apollo, handing him a sack of unwinnowed wheat, bade him pick out _all
the chaff _for his reward.

Now this fable answers very well as a hit at the critics--but I am by no
means sure that the god was in the right. I am by no means certain that
the true limits of the critical duty are not grossly misunderstood.
Excellence, in a poem especially, may be considered in the light of an
axiom, which need only be properly _put, _to become self-evident. It is
_not _excellence if it require to be demonstrated as such:--and thus to
point out too particularly the merits of a work of Art, is to admit that
they are _not _merits altogether.

Among the "Melodies" of Thomas Moore is one whose distinguished
character as a poem proper seems to have been singularly left out of
view. I allude to his lines beginning--"Come, rest in this bosom.
"
The intense energy of their expression is not surpassed by anything in
Byron. There are two of the lines in which a sentiment is conveyed that
embodies the _all in all _of the divine passion of Love--a sentiment
which, perhaps, has found its echo in more, and in more passionate,
human hearts than any other single sentiment ever embodied in words:--

Come, rest in this bosom, my own stricken deer
Though the herd have fled from thee, thy home is still here;
Here still is the smile, that no cloud can o'ercast,
And a heart and a hand all thy own to the last.

Oh! what was love made for, if 'tis not the same
Through joy and through torment, through glory and shame?
I know not, I ask not, if guilt's in that heart,
I but know that I love thee, whatever thou art.

Thou hast call'd me thy Angel in moments of bliss,
And thy Angel I'll be, 'mid the horrors of this,--
Through the furnace, unshrinking, thy steps to pursue,
And shield thee, and save thee,--or perish there too!

It has been the fashion of late days to deny Moore Imagination, while
granting him Fancy--a distinction originating with Coleridge--than whom
no man more fully comprehended the great powers of Moore. The fact
is, that the fancy of this poet so far predominates over all his other
faculties, and over the fancy of all other men, as to have induced, very
naturally, the idea that he is fanciful _only. _But never was there a
greater mistake. Never was a grosser wrong done the fame of a true poet.
In the compass of the English language I can call to mind no poem more
profoundly--more weirdly _imaginative, _in the best sense, than the
lines commencing--"I would I were by that dim lake"--which are the com.
position of Thomas Moore. I regret that I am unable to remember them.

One of the noblest--and, speaking of Fancy--one of the most singularly
fanciful of modern poets, was Thomas Hood. His "Fair Ines" had always
for me an inexpressible charm:--

O saw ye not fair Ines?
She's gone into the West,
To dazzle when the sun is down,
And rob the world of rest;
She took our daylight with her,
The smiles that we love best,
With morning blushes on her cheek,
And pearls upon her breast.