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By Root 16406 0

the "Poets and Poetry of America," will not, in a hundred instances, be tempted to throw it aside, because its prejudices and partialities are, in these hundred instances, altogether at war with his own. Had the work, nevertheless, been that of the finest critic in existence — and this, we are sorry to say, Mr. GRISWOLD is not — there would still have been these inevitable discrepancies of opinion, to startle and to vex us, as now.

When we avow, therefore, that we differ with the compiler in much — in very much that he has advanced — this difference will not fail to be taken at the proper value of any unsupported and merely individual opinion. As such, it is [[of]] little worth. Very sincerely, however, we do believe, that, as a general rule, he has not given us, in his selections, the best compositions of the poets respectively mentioned. As a matter of less importance — he has placed in his Appendix some two or three whom he should have placed in the body of the book. He has placed in the body of the book some three or four whom he should have placed in the Appendix. He has omitted altogether some four or five whom we should have been tempted to introduce. On the other hand, he has scarcely made amends by introducing some four or five dozen whom we should not have scrupled to treat with contempt. In several instances, he has rendered himself liable, we fear, to the charge of personal partiality — it is often so very difficult a thing to keep separate, in the mind's eye, our conceptions of the poetry of a friend, from our impressions of his good-fellowship. Indeed the task undertaken by Mr. GRISWOLD was one of exceeding difficulty, and he has performed it with much credit to himself. lt demanded qualities, however, some of which he is too good-natured to possess. It demanded analytical ability — a distinct impression of the nature, the principles, and the aims of poetry — a thorough contempt for all prejudice at war with principle — a poetic sense of the poetic — sagacity in the detection and audacity in the exposure of demerit — in a word, talent and faith — the lofty honor which places more courtesy beneath its feet — the boldness to praise an enemy and the more unusual courage to damn a friend. It will not do to say that his book is a judicious book; but, whatever be its faults, it is the best book of its class, and the only source whence any distinct or satisfactory knowledge of our poetical literature is to be obtained.

We might write much more on this subject, and might notice the American poets in detail, but postpone our remarks until another opportunity. This will be afforded very shortly, not only by the forthcoming publication, amended, of a seventh edition of Mr. GRISWOLD'S book; but of another volume, from which we expect much. Perhaps; in the latter expectation, we may be disappointed.

American Poetry [lecture],” (Text-01), “Wrenn” fragment, 1843

Mrs. Maria Brooks, the author of “Zophiel, or The Bride of Seven”, is >>one of<< the most distinguished of our poetesses. Her language is bold, nervous, passionate — her imagination rich, lofty, spiritual. Her chief faults are bombast and extravagance. She has been highly lauded by Southey — and is one among the few of Southey’s innumerable protégés, whom he has not quite overwhelmed and destroyed by indiscriminate laudation.

The allusion to the poet laureate brings to my remembrance the patronage he was pleased to bestow upon two very remarkable instances of precocious poetical talent — I mean the Misses Davidson — Lucretia Maria and Margaret Miller.

It is about >>4<< years ago, I believe, that Mess: Lea & Blanchard published “The Biography and Poetical Remains of the late Margaret Miller Davidson” — a work given to the world by Washington Irving. In common with all who read I was deeply interested in the narrative set forth. The portrait of the young and beautiful enthusiast did not fail to excite my warmest sympathies, and I dwelt upon the pleasing yet melancholy theme with a lingering delight. Of the biographical portion