No More Learning

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.

O turn again, fair Ines,
Before the fall of night,
For fear the moon should shine alone,
And stars unrivalltd bright;
And blessed will the lover be
That walks beneath their light,
And breathes the love against thy cheek
I dare not even write!

Would I had been, fair Ines,
That gallant cavalier,
Who rode so gaily by thy side,
And whisper'd thee so near!
Were there no bonny dames at home
Or no true lovers here,
That he should cross the seas to win
The dearest of the dear?

I saw thee, lovely Ines,
Descend along the shore,
With bands of noble gentlemen,
And banners waved before;
And gentle youth and maidens gay,
And snowy plumes they wore;
It would have been a beauteous dream,
If it had been no more!

Alas, alas, fair Ines,
She went away with song,
With music waiting on her steps,
And shootings of the throng;
But some were sad and felt no mirth,
But only Music's wrong,
In sounds that sang Farewell, Farewell,
To her you've loved so long.

Farewell, farewell, fair Ines,
That vessel never bore
So fair a lady on its deck,
Nor danced so light before,--
Alas for pleasure on the sea,
And sorrow on the shorel
The smile that blest one lover's heart
Has broken many more!
"The Haunted House," by the same author, is one of the truest poems ever
written,--one of the truest, one of the most unexceptionable, one of the
most thoroughly artistic, both in its theme and in its execution. It
is, moreover, powerfully ideal--imaginative. I regret that its length
renders it unsuitable for the purposes of this lecture. In place of it
permit me to offer the universally appreciated "Bridge of Sighs":--

One more Unfortunate,
Weary of breath,
Rashly importunate
Gone to her death!

Take her up tenderly,
Lift her with care;--
Fashion'd so slenderly,
Young and so fair!

Look at her garments
Clinging like cerements;
Whilst the wave constantly
Drips from her clothing;
Take her up instantly,
Loving not loathing.

Touch her not scornfully;
Think of her mournfully,
Gently and humanly;
Not of the stains of her,
All that remains of her
Now is pure womanly.

Make no deep scrutiny
Into her mutiny
Rash and undutiful;
Past all dishonor,
Death has left on her
Only the beautiful.

Where the lamps quiver
So far in the river,
With many a light
From window and casement
From garret to basement,
She stood, with amazement,
Houseless by night.

The bleak wind of March
Made her tremble and shiver,
But not the dark arch,
Or the black flowing river:
Mad from life's history,
Glad to death's mystery,
Swift to be hurl'd--
Anywhere, anywhere
Out of the world!

In she plunged boldly,
No matter how coldly
The rough river ran,--
Over the brink of it,
Picture it,--think of it,
Dissolute Man!
Lave in it, drink of it
Then, if you can!

Still, for all slips of hers,
One of Eve's family--
Wipe those poor lips of hers
Oozing so clammily,
Loop up her tresses
Escaped from the comb,
Her fair auburn tresses;
Whilst wonderment guesses
Where was her home?

Who was her father?
Who was her mother?
Had she a sister?