There must be the steady
pressing
down
of the stamp upon the wax.
of the stamp upon the wax.
Edgar Allen Poe
But the day of
these artistic anomalies is over. If, at any time, any very long poem
_were _popular in reality, which I doubt, it is at least clear that no
very long poem will ever be popular again.
That the extent of a poetical work is, _ceteris paribus, _the measure
of its merit, seems undoubtedly, when we thus state it, a proposition
sufficiently absurd--yet we are indebted for it to the Quarterly
Reviews. Surely there can be nothing in mere _size, _abstractly
considered--there can be nothing in mere _bulk, so _far as a volume
is concerned, which has so continuously elicited admiration from these
saturnine pamphlets! A mountain, to be sure, by the mere sentiment of
physical magnitude which it conveys, _does _impress us with a sense
of the sublime--but no man is impressed after _this _fashion by the
material grandeur of even "The Columbiad. " Even the Quarterlies have
not instructed us to be so impressed by it. As _yet, _they have not
_insisted _on our estimating "Lamar" tine by the cubic foot, or Pollock
by the pound--but what else are we to _infer _from their continual
plating about "sustained effort"? If, by "sustained effort," any little
gentleman has accomplished an epic, let us frankly commend him for the
effort--if this indeed be a thing conk mendable--but let us forbear
praising the epic on the effort's account. It is to be hoped that common
sense, in the time to come, will prefer deciding upon a work of Art
rather by the impression it makes--by the effect it produces--than by
the time it took to impress the effect, or by the amount of "sustained
effort" which had been found necessary in effecting the impression. The
fact is, that perseverance is one thing and genius quite another--nor
can all the Quarterlies in Christendom confound them. By and by, this
proposition, with many which I have been just urging, will be received
as self-evident. In the meantime, by being generally condemned as
falsities, they will not be essentially damaged as truths.
On the other hand, it is clear that a poem may be improperly brief.
Undue brevity degenerates into mere epigrammatism. A very short poem,
while now and then producing a brilliant or vivid, never produces a
profound or enduring effect.
There must be the steady pressing down
of the stamp upon the wax. De Beranger has wrought innumerable
things, pungent and spirit-stirring, but in general they have been too
imponderous to stamp themselves deeply into the public attention, and
thus, as so many feathers of fancy, have been blown aloft only to be
whistled down the wind.
A remarkable instance of the effect of undue brevity in depressing
a poem, in keeping it out of the popular view, is afforded by the
following exquisite little Serenade--
I arise from dreams of thee
In the first sweet sleep of night,
When the winds are breathing low,
And the stars are shining bright.
I arise from dreams of thee,
And a spirit in my feet
Has led me--who knows how? --
To thy chamber-window, sweet!
The wandering airs they faint
On the dark the silent stream--
The champak odors fail
Like sweet thoughts in a dream;
The nightingale's complaint,
It dies upon her heart,
As I must die on shine,
O, beloved as thou art!
O, lift me from the grass!
I die, I faint, I fail!
Let thy love in kisses rain
On my lips and eyelids pale.
My cheek is cold and white, alas!
My heart beats loud and fast:
O, press it close to shine again,
Where it will break at last.
Very few perhaps are familiar with these lines--yet no less a poet
than Shelley is their author. Their warm, yet delicate and ethereal
imagination will be appreciated by all, but by none so thoroughly as by
him who has himself arisen from sweet dreams of one beloved to bathe in
the aromatic air of a southern midsummer night.
One of the finest poems by Willis--the very best in my opinion which
he has ever written--has no doubt, through this same defect of undue
brevity, been kept back from its proper position, not less in the
The shadows lay along Broadway,
'Twas near the twilight-tide--
And slowly there a lady fair
Was walking in her pride.
Alone walk'd she; but, viewlessly,
Walk'd spirits at her side.
Peace charm'd the street beneath her feet,
And Honor charm'd the air;
And all astir looked kind on her,
And called her good as fair--
For all God ever gave to her
She kept with chary care.
these artistic anomalies is over. If, at any time, any very long poem
_were _popular in reality, which I doubt, it is at least clear that no
very long poem will ever be popular again.
That the extent of a poetical work is, _ceteris paribus, _the measure
of its merit, seems undoubtedly, when we thus state it, a proposition
sufficiently absurd--yet we are indebted for it to the Quarterly
Reviews. Surely there can be nothing in mere _size, _abstractly
considered--there can be nothing in mere _bulk, so _far as a volume
is concerned, which has so continuously elicited admiration from these
saturnine pamphlets! A mountain, to be sure, by the mere sentiment of
physical magnitude which it conveys, _does _impress us with a sense
of the sublime--but no man is impressed after _this _fashion by the
material grandeur of even "The Columbiad. " Even the Quarterlies have
not instructed us to be so impressed by it. As _yet, _they have not
_insisted _on our estimating "Lamar" tine by the cubic foot, or Pollock
by the pound--but what else are we to _infer _from their continual
plating about "sustained effort"? If, by "sustained effort," any little
gentleman has accomplished an epic, let us frankly commend him for the
effort--if this indeed be a thing conk mendable--but let us forbear
praising the epic on the effort's account. It is to be hoped that common
sense, in the time to come, will prefer deciding upon a work of Art
rather by the impression it makes--by the effect it produces--than by
the time it took to impress the effect, or by the amount of "sustained
effort" which had been found necessary in effecting the impression. The
fact is, that perseverance is one thing and genius quite another--nor
can all the Quarterlies in Christendom confound them. By and by, this
proposition, with many which I have been just urging, will be received
as self-evident. In the meantime, by being generally condemned as
falsities, they will not be essentially damaged as truths.
On the other hand, it is clear that a poem may be improperly brief.
Undue brevity degenerates into mere epigrammatism. A very short poem,
while now and then producing a brilliant or vivid, never produces a
profound or enduring effect.
There must be the steady pressing down
of the stamp upon the wax. De Beranger has wrought innumerable
things, pungent and spirit-stirring, but in general they have been too
imponderous to stamp themselves deeply into the public attention, and
thus, as so many feathers of fancy, have been blown aloft only to be
whistled down the wind.
A remarkable instance of the effect of undue brevity in depressing
a poem, in keeping it out of the popular view, is afforded by the
following exquisite little Serenade--
I arise from dreams of thee
In the first sweet sleep of night,
When the winds are breathing low,
And the stars are shining bright.
I arise from dreams of thee,
And a spirit in my feet
Has led me--who knows how? --
To thy chamber-window, sweet!
The wandering airs they faint
On the dark the silent stream--
The champak odors fail
Like sweet thoughts in a dream;
The nightingale's complaint,
It dies upon her heart,
As I must die on shine,
O, beloved as thou art!
O, lift me from the grass!
I die, I faint, I fail!
Let thy love in kisses rain
On my lips and eyelids pale.
My cheek is cold and white, alas!
My heart beats loud and fast:
O, press it close to shine again,
Where it will break at last.
Very few perhaps are familiar with these lines--yet no less a poet
than Shelley is their author. Their warm, yet delicate and ethereal
imagination will be appreciated by all, but by none so thoroughly as by
him who has himself arisen from sweet dreams of one beloved to bathe in
the aromatic air of a southern midsummer night.
One of the finest poems by Willis--the very best in my opinion which
he has ever written--has no doubt, through this same defect of undue
brevity, been kept back from its proper position, not less in the
The shadows lay along Broadway,
'Twas near the twilight-tide--
And slowly there a lady fair
Was walking in her pride.
Alone walk'd she; but, viewlessly,
Walk'd spirits at her side.
Peace charm'd the street beneath her feet,
And Honor charm'd the air;
And all astir looked kind on her,
And called her good as fair--
For all God ever gave to her
She kept with chary care.
