The Complete Works of Edgar Allan Poe - Edgar Allan Poe [899]
Mrs. Gove, however, has acquired less notoriety by her literary compositions than by her lectures on physiology to classes of females. These lectures are said to have been instructive and useful; they certainly elicited much attention. Mrs. G. has also given public discourses on Mesmerism, I believe, and other similar themes — matters which put to the severest test the credulity, or, more properly, the faith of mankind. She is, I think, a Mesmerist, a Swedenborgian, a phrenologist, a homœopathist, and a disciple of Priessnitz — what more I am not prepared to say.
She is rather below the medium height, somewhat thin, with dark hair and keen, intelligent black eyes. She converses well and with enthusiasm. In many respects a very interesting woman.
JAMES ALDRICH.
MR. ALDRICH has written much for the magazines, &c., and at one time assisted Mr. Park Benjamin in the conduct of “The New World.” He also originated, I believe, and edited a not very long-lived or successful weekly paper, called “The Literary Gazette,” an imitation in its external appearance of the London journal of the same name. I am not aware that he has made any collection of his writings. His poems abound in the true poetic spirit, but they are frequently chargeable with plagiarism, or something much like it. True, I have seen but three of Mr. Aldrich’s compositions in verse — the three (or perhaps there are four of them) included by Doctor Griswold in his “Poets and Poetry of America.” Of these three, (or four,) however, there are two which I cannot help regarding as palpable plagiarisms. Of one of them, in especial, “A Death-Bed,” it is impossible to say a plausible word in defence. Both in matter and manner it is nearly identical with a little piece entitled “The Death-Bed,” by Thomas Hood.
The charge of plagiarism, nevertheless, is a purely literary one; and a plagiarism even distinctly proved by no means necessarily involves any moral delinquency. This proposition applies very especially to what appear to be poetical thefts. The poetic sentiment presupposes a keen appreciation of the beautiful with a longing for its assimilation into the poetic identity. What the poet intensely admires becomes, thus, in very fact, although only partially, a portion of his own soul. Within this soul it has a secondary origination; and the poet, thus possessed by another’s thought, cannot be said to take of it possession. But in either view he thoroughly feels it as his own; and the tendency to this feeling is counteracted only by the sensible presence of the true, palpable origin of the thought in the volume whence he has derived it — an origin which, in the long lapse of years, it is impossible not to forget, should the thought itself, as it often is, be forgotten. But the frailest association will regenerate it: [[;]] it springs up with all the vigor of a new birth; its absolute originality is not with the poet a matter even of suspicion; and when he has written it and printed it, and on its account is charged with plagiarism, there will be no one more entirely astounded than himself. Now, from what I have said, it appears that the liability to accidents of this character is in the direct ratio of the poetic sentiment, of the susceptibility to the poetic impression; and, in fact, all literary history demonstrates that, for the most frequent and palpable plagiarisms we must search the works of the most eminent poets.
Since penning the above I have found five quatrains by Mr. Aldrich, with the heading “Molly Gray.” These verses are in the fullest exemplification of what I have just said of their author, evincing at once, in the most remarkable manner, both his merit as an imaginative poet and his unconquerable proneness to imitation. I quote the two concluding quatrains.
Pretty, fairy Molly Gray!
What may thy fit emblems be?
Stream or star or bird or flower —
They are all too poor for thee.
No type to match thy beauty
My wandering fancy brings —
Not fairer than its chrysalis
Thy soul with its golden wings!