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.
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.
Edgar Allen Poe
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.
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.
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.
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.
