Blackwood's Edinburgh Magazine, Volume 69, No. 427, May, 1851. Various
p>Blackwood's Edinburgh Magazine, Volume 69, No. 427, May, 1851
SOME AMERICAN POETS.1
It is probable that there has been written much excellent poetry on the other side of the Atlantic with which we are unacquainted, which perhaps has never crossed the water at all. We should therefore be very unwise if we professed to give here, even if such a plan could be executed within the compass of a few pages, a general review of American poetry. All that we propose is, to make some critical observations on the writers before us, accompanied by such extracts as shall not unworthily occupy the attention of our readers. Even the list of names which we have set down at the head of this paper is the result more of accident than design: the works of these authors lay upon our table. The two first names will be recognised directly as the fittest representatives of American poetry; they rise immediately to the lips of every one who speaks upon the subject. The two last will probably be new to our readers, and if so, it will be our pleasant task to introduce them. One name only, familiar to all ears, has been purposely omitted. We have elsewhere spoken, and with no stinted measure of praise, of the writings of Mr Emerson. That writer has found in prose so much better a vehicle of thought than verse has proved to him, (and that even when the thought is of a poetic cast,) that to summon him to receive judgment here amongst the poets, would be only to detract from the commendation we have bestowed upon him.
We say it is not improbable that there is much poetry published in America which does not reach us, because there is much, and of a very meritorious character, published here at home in England, which fails of obtaining any notoriety. Its circulation is more of a private than a public nature, depending perhaps upon the social position of the author, or following, for a short distance, in the wake of a literary reputation obtained by a different species of writing. Not that our critics are reluctant to praise. On the contrary, they might be accused of rendering their praise of no avail by an indiscriminate liberality, if it were not the true history of the matter that a growing indifference of the public to this species of literature led the way to this very diffuse and indiscriminate commendation. If no one reads the book to test his criticism, the critic himself loses his motive for watchfulness and accuracy: he passes judgment with supreme indifference on a matter the world is careless about; and saves himself any further trouble by bestowing on all alike that safe, moderate, diluted eulogy, which always has the appearance of being fair and equitable. Much meritorious poetry may therefore, for aught we know, both in England and America, exist and give pleasure amongst an almost private circle of admirers. And why not sing for a small audience as well as for a great? It is not every Colin that can pipe, that can now expect to draw the whole countryside to listen to him. What if he can please only a quite domestic gathering, his neighbours or his clan? We are not of those who would tell Colin to lay down his pipe: we might whisper in his ear to mind his sheep as well, and not to break his heart, or to disturb his peace, because some sixty persons, and not six thousand, are grateful for his minstrelsy.
One fine summer's day we stood upon a little bridge thrown over the deep cutting of a newly constructed railway. It was an open country around us, a common English landscape – fields with their hedgerows, and their thin elm-trees stripped of their branches, with here and there a slight undulation of the soil, giving relief to, or partially concealing, the red and white cottage or the red-tiled barn. We were looking, however, into the deep cutting beneath us. Here the iron rails glistened in the sun, and still, as the eye pursued their track, four threads of glittering steel ran their parallel course, but apparently approximating in the far perspective, till they were lost by mere failure of the power of vision to follow them: the road itself was straight as an arrow. On the steep banks, fresh from the spade and pick-axe, not a shrub was seen, not a blade of grass. On the road itself there was nothing but clods of earth, or loose gravel, which lay in heaps by the side of the rails, or in hollows between them: it was enough that the iron bars lay there clear of all obstruction. No human foot, no foot of man or of beast, was ever intended to tread that road. It was for the engine only. From time to time the shrill whistle is heard – the train, upon its hundred iron wheels, shoots through the little bridge, and rolls like thunder along these level grooves. It is soon out of sight, and the country is not only again calm and solitary, but appears for the moment to be utterly abandoned and deserted. It has its old life, however, in it still.
Well, as we were standing thus upon the little bridge, in the open country, and looking down into this deep ravine of the engineer's making, we noticed, fluttering beneath us, a yellow butterfly, sometimes beating its wings against the barren sides, and sometimes perching on the glistering rails themselves. Clearly, most preposterously out of place was this same beautiful insect. What had it to do there? What food, what fragrance, what shelter could it find? Or who was to see and to admire? There was not a shrub, nor an herb, nor a flower, nor a playmate of any description. It is manifest, most beautiful butterfly, that you cannot live here. From these new highways of ours, from these iron thoroughfares, you must certainly depart. But it follows not that you must depart the world altogether. In yonder hollow at a distance there is a cottage, surrounded by its trees and its flowers, and there are little children whom you may sport with, and tease, and delight, taking care they do not catch you napping. There is still garden-ground in the world for you, and such as you.
Sometimes, when we have seen pretty little gilded volumes of song and poetry lying about in the great highways of our industrial world, we have recalled this scene to mind. There is garden-ground left for them also, and many a private haunt, solitary or domestic, where they will be welcome.
We have heard it objected against American poets, but chiefly by their own countrymen, that they are not sufficiently national. This surely is a most unreasonable complaint. The Americans inhabit what was once, and is still sometimes called, the New World, but they are children of the Old. Their religion grew, like ours, in Asia; they receive it, as we do, through the nations of the west of Europe; they are, like us, descendants of the Goth and the Roman, and are compounded of those elements which Rome and Palestine, and the forests of Germany, severally contributed towards the formation of what we call the Middle Ages. They have the same intellectual pedigree as ourselves. No Tintern Abbey, or Warwick Castle, stands on their rivers, to mark the lapse of time; but they must ever look back upon the days of the monk and of the knight, as the true era of romance. Proud as they may be of their Pilgrim Fathers, one would not limit them to this honourable paternity. It is very little poetry they would get out of the Mayflower– or philosophy either.
There are, it is true, subjects for poetry native to America – new aspects of nature and of humanity – the aboriginal forest, the aboriginal man, the prairie, the settler, and the savage. But even in these the American poet cannot keep a monopoly. Englishmen and Frenchmen have visited his forests; they have stolen his Red Indian; and have made the more interesting picture of him in proportion as they knew less of the original. Moreover, many of the peculiar aspects of human life which America presents may require the mellowing effect of time, the half obscurity of the past, to render them poetic. The savage is not the only person who requires to be viewed at a distance: there is much in the rude, adventurous, exciting life of the first settlers which to posterity may appear singularly attractive. They often seem to share the power and the skill of the civilised man, with the passions of the barbarian. What a scene – when viewed at a distance – must be one of their revivals! A camp-meeting is generally described by those who have witnessed it, in the language of ridicule or reproof. But let us ask ourselves this question – When St Francis assembled five thousand of his followers on the plains of Assisi, and held what has been called, in the history of the Franciscan order, "the Chapter of Mats," because the men had no other shelter than rude tents made of mats – on which occasion St Francis himself was obliged to moderate the excesses of fanaticism and fanatical penance in which his disciples indulged – what was this but a camp-meeting? In some future age, a revival in the "Far West," or a company of Millerites expecting their translation into heaven, will be quite as poetical as this Chapter of Mats. For ourselves, we think that any genuine exhibition of sentiment, by great numbers of our fellow-men, is a subject worthy of study, and demands a certain respect. Those, however, who can see nothing but absurdity and madness in a camp-meeting, would have walked through the five thousand followers of St Francis with the feeling only of intolerable disgust. Yet so it is, that merely from the lapse of time, or the obscurity it throws over
Longfellow's Poetical Works.
Bryant's Poetical Works.
Whittier's Poetical Works.
Poems. By James Russell Lowell.
Poems. By O. W. Holmes