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By Root 16479 0

failures of Sir Philip Sidney, and others, is, perhaps, somewhat discreditable to the scholarship of Professor Longfellow. The “Democratic Review,” in saying that he has triumphed over difficulties in this rhythm, has been deceived, it is evident, by the facility with which some of these verses may be read. In glancing over the poem, we do not observe a single verse which can be read, to English ears, as a Greek Hexameter. There are many, however, which can be well read as mere English dactylic verses; such, for example, as the well known lines of Byron, commencing

Know ye the | land where the | cypress and | myrtle.

These lines (although full of irregularities) are, in their perfection, formed of three dactyls and a cÆsura — just as if we should cut short the initial verse of the Bucolics thus —

Tityre | tu patu | læ recu | bans —

The “myrtle,” at the close of Byron’s line, is a double rhyme, and must be understood as one syllable. ­

Now a great number of Professor Longfellow’s Hexameters are merely these dactylic lines, continued for two feet. For example —

whispered the | race of the | flowers and | merry on | balancing | branches.

In this example, also, “branches,” which is a double ending, must be regarded as the cÆsura, or one syllable, of which alone it has the force.

As we have already alluded, in one or two regards, to a notice of these poems which appeared in the “Democratic Review,” we may as well here proceed with some few further comments upon the article in question — with whose general tenor we are happy to agree.

The Review speaks of “Maidenhood” as a poem, “not to be understood but at the expense of more time and trouble than a song can justly claim.” We are scarcely less surprised at this opinion from Mr. Langtree than we were at the condemnation of “The Luck of Edenhall.”

“Maidenhood” is faulty, it appears to us, only on the score of its theme, which is somewhat didactic. Its meaning seems simplicity itself. A maiden on the verge of womanhood, hesitating to enjoy life (for which she has a strong appetite) through a false idea of duty, is bidden to fear nothing, having purity of heart as her lion of Una.

What Mr. Langtree styles “an unfortunate peculiarity” in Mr. Longfellow, resulting from “adherence to a false system” has really been always regarded by us as one of his idiosyncratic merits. “In each poem,” says the critic, “he has but one idea which, in the progress of his song is gradually unfolded, and at last reaches its full development in the concluding lines; this singleness of thought might lead a harsh critic to suspect intellectual barrenness.” It leads us, individually, only to a full sense of the artistical power and knowledge of the poet. We confess that now, for the first time, we hear unity of conception objected to as a defect. But Mr. Langtree seems to have fallen into the singular error of supposing the poet to have absolutely but one idea in each of his ballads. Yet how “one idea” can be “gradually unfolded” without other ideas, is, to us, a mystery of mysteries. Mr. Longfellow, very properly, has but one leading idea which ­forms the basis of his poem; but to the aid and development of this one there are innumerable others, of which the rare excellence is, that all are in keeping, that none could be well omitted, that each tends to the one general effect. It is unnecessary to say another word upon this topic.

In speaking of “Excelsior,” Mr. Langtree (are we wrong in attributing the notice to his very forcible pen?) seems to labor under some similar misconception. “It carries along with it,” says he, “a false moral which greatly diminishes its merit in our eyes. The great merit of a picture, whether made with the pencil or pen, is its truth; and this merit does not belong to Mr. Longfellow’s sketch. Men of genius may and probably do, meet with greater difficulties in their struggles with the world than their fellow-men who are less highly gifted; but their power of overcoming obstacles is proportionably greater, and the result of their laborious suffering is not death but