Poems [5]
that lies beneath its stream. And this is the grievous fault of nearly all Lord Byron's melodies; that he pierces them too profoundly, and passes below the region of grace, charging his lyre with far more vehemence of passion than its slight strings are meant to bear. The beauty which belongs to this production, should be in the form of the thought rather than the fashion of the setting: that genuineness and simplicity of character which constitute almost its essence, are destroyed by any appearance of the cold artifices of construction, palpable springs set for our admiration, whereby the beginning is obviously arranged in reference to a particular ending. This is the short-reaching power of Moore--guilty, by design, of that departure from simplicity, by which he fascinated one generation at the expense of being forgotten by another. The song, while it is general in its impression, should be particular in its occasion; not an abstraction of the mind, but a definite feeling, special to some certain set of circumstances. Rising from out the surface of daily experience, like the watery issuings of a fountain, it throws itself upward for a moment, then descends in a soft, glittering shower to the level whence it rose. Herein resides the chief defect of Bayly's songs; that they are too general and vague--a species of pattern songs--being embodiments of some general feeling, or reflection, but lacking that sufficient reference to some season or occurrence which would justify their appearing, and take away from them the aspect of pretension and display.
The only satisfactory method of criticism is by means of clinical lectures; and we feel regret that our limits do not suffer us--to any great degree--to illustrate what we deem the vigorous simplicity, and genuine grace of Mr. Morris, by that mode of exposition. We must refer to a few cases, however, to show what we have been meaning in the remarks which we made above, upon the proper character of the song. The ballad of "Woodman, spare that tree"--one of those accidents of genius which, however, never happen but to consummate artists--is so familiar to every mind and heart, as to resent citation. Take, then, "My Mother's Bible." We know of no similar production in a truer taste, in a purer style, or more distinctly marked with the character of a good school of composition. Or take "We were boys together." In manly pathos, in tenderness and truth, where shall it be excelled? "The Miniature" posses the captivating elegance of Voiture. "Where Hudson's Wave" is a glorious burst of poetry, modulated into refinement by the hand of a master. Where will you find a nautical song, seemingly more spontaneous in its genial outbreak, really more careful in its construction, than "Land-ho!" How full of the joyous madness of absolute independence, yet made harmonious by instinctive grace, is "Life in the West!" That the same heart whose wild pulse is thrilled by the adventurous interests of the huntsman and the wanderer, can beat in unison with the gentlest truth of deep devotion, is shown in "When other Friends are round Thee." "I love the Night" has the voluptuous elegance of the Spanish models. Were we to meet the lines "Oh, think of me!" in an anthology, we should suppose they were Suckling's--so admirably is the tone of feeling kept down to the limit of probable sincerity--which is a characteristic that the cavalier style of courting never loses. "The Star of Love" might stand as a selected specimen of all that is most exquisite in the songs of the "Trouveurs." "The Seasons of Love" is a charming effusion of gay, yet thoughtful sentiment. The song, "I never have been false to thee," is, of itself, sufficient to establish General Morris's fame as a great poet--as a "potens magister affectuum"--and as a literary creator of a high order. It is a thoroughly fresh and effective poem on a subject as hackneyed as the highway; it is as deep as truth itself, yet light as the movement of a dance. We had almost forgotten, what the world will never forget, the matchless softness
The only satisfactory method of criticism is by means of clinical lectures; and we feel regret that our limits do not suffer us--to any great degree--to illustrate what we deem the vigorous simplicity, and genuine grace of Mr. Morris, by that mode of exposition. We must refer to a few cases, however, to show what we have been meaning in the remarks which we made above, upon the proper character of the song. The ballad of "Woodman, spare that tree"--one of those accidents of genius which, however, never happen but to consummate artists--is so familiar to every mind and heart, as to resent citation. Take, then, "My Mother's Bible." We know of no similar production in a truer taste, in a purer style, or more distinctly marked with the character of a good school of composition. Or take "We were boys together." In manly pathos, in tenderness and truth, where shall it be excelled? "The Miniature" posses the captivating elegance of Voiture. "Where Hudson's Wave" is a glorious burst of poetry, modulated into refinement by the hand of a master. Where will you find a nautical song, seemingly more spontaneous in its genial outbreak, really more careful in its construction, than "Land-ho!" How full of the joyous madness of absolute independence, yet made harmonious by instinctive grace, is "Life in the West!" That the same heart whose wild pulse is thrilled by the adventurous interests of the huntsman and the wanderer, can beat in unison with the gentlest truth of deep devotion, is shown in "When other Friends are round Thee." "I love the Night" has the voluptuous elegance of the Spanish models. Were we to meet the lines "Oh, think of me!" in an anthology, we should suppose they were Suckling's--so admirably is the tone of feeling kept down to the limit of probable sincerity--which is a characteristic that the cavalier style of courting never loses. "The Star of Love" might stand as a selected specimen of all that is most exquisite in the songs of the "Trouveurs." "The Seasons of Love" is a charming effusion of gay, yet thoughtful sentiment. The song, "I never have been false to thee," is, of itself, sufficient to establish General Morris's fame as a great poet--as a "potens magister affectuum"--and as a literary creator of a high order. It is a thoroughly fresh and effective poem on a subject as hackneyed as the highway; it is as deep as truth itself, yet light as the movement of a dance. We had almost forgotten, what the world will never forget, the matchless softness