* A review of Drake's poems, emanating from one of our proudest Universities, does not scruple to make use of the following language in relation to the Culprit Fay. "It is, to say the least, an elegant production, the purest specimen of Ideality we have ever met with, sustaining in each incident a most bewitching interest. Its very title is enough," amp;c. amp;c. We quote these expressions as a fair specimen of the general unphilosophical and adulatory tenor of our criticism.
As an instance of what may be termed the sublimely ridiculous we quote the following lines With sweeping tail and quivering fin,
Through the wave the sturgeon flew,
And like the heaven-shot javelin,
He sprung above the waters blue.
Instant as the star-fall light,
He plunged into the deep again,
But left an arch of silver bright
The rainbow of the moony main.
It was a strange and lovely sight
To see the puny goblin there,
He seemed an angel form of light
With azure wing and sunny hair,
Throned on a cloud of purple fair
Circled with blue and edged with white
And sitting at the fall of even
Beneath the bow of summer heaven.
The [lines of the last verse], if considered without their context, have a certain air of dignity, elegance, and chastity of thought. If however we apply the context, we are immediately overwhelmed with the grotesque. It is impossible to read without laughing, such expressions as "It was a strange and lovely sight"- "He seemed an angel form of light"- "And sitting at the fall of even, beneath the bow of summer heaven" to a Fairy- a goblin- an Ouphe- half an inch high, dressed in an acorn helmet and butterfly-cloak, and sitting on the water in a muscleshell, with a "brown-backed sturgeon" turning somersets over his head.
In a world where evil is a mere consequence of good, and good a mere consequence of evil- in short where all of which we have any conception is good or bad only by comparison- we have never yet been fully able to appreciate the validity of that decision which would debar the critic from enforcing upon his readers the merits or demerits of a work with another. It seems to us that an adage has had more to do with this popular feeling than any just reason founded upon common sense. Thinking thus, we shall have no scruple in illustrating our opinion in regard to what is not Ideality or the Poetic Power, by an example of what is.*
* As examples of entire poems of the purest ideality, we would cite the Prometheus Vinctus of Aeschylus, the Inferno of Dante, Cervantes' Destruction of Numantia, the Comus of Milton, Pope's Rape of the Lock, Burns' Tam O'Shanter, the Auncient Mariner, the Christabel, and the Kubla Khan of Coleridge, and most especially the Sensitive Plant of Shelley, and the Nightingale of Keats. We have seen American poems evincing the faculty in the highest degree.
We have already given the description of the Sylphid Queen in the Culprit Fay. In the Queen Mab of Shelley a Fairy is thus introduced Those who had looked upon the sight
Passing all human glory,
Saw not the yellow moon,
Saw not the mortal scene,
Heard not the night wind's rush,
Heard not an earthly sound,
Saw but the fairy pageant,
Heard but the heavenly strains
That filled the lonely dwellingand thus described The Fairy's frame was slight, yon fibrous cloud
That catches but the faintest tinge of even,
And which the straining eye can hardly seize
When melting into eastern twilight's shadow,
Were scarce so thin, so slight; but the fair star
That gems the glittering coronet of morn,
Sheds not a light so mild, so powerful,
As that which, bursting from the Fairy's form,
Spread a purpureal halo round the scene,
Yet with an undulating motion,
Swayed to her outline gracefully.
In these exquisite lines the Faculty of mere Comparison is but little exercised- that of Ideality in a wonderful degree. It is probable that in a similar case the poet we are now reviewing would have formed the face of the Fairy of the "fibrous cloud," her arms of the "pale tinge of even," her eyes of the "fair stars," and her body of the "twilight shadow." Having so done, his admirers would have congratulated him upon his imagination, not, taking the trouble to think that they themselves could at any moment imagine a Fairy of materials equally as good, and conveying an equally distinct idea. Their mistake would be precisely analogous to that of many a schoolboy who admires the imagination displayed in Jack the Giant-Killer, and is finally rejoiced at; discovering his own imagination to surpass that of the author, since the monsters destroyed by Jack are only about forty feet in height, and he himself has no trouble in imagining some of one hundred and forty. It will, be seen that the Fairy of Shelley is not a mere compound of incongruous natural objects, inartificially put together, and unaccompanied by any moral sentimentbut a being, in the illustration of whose nature some physical elements are used collaterally as adjuncts, while the main conception springs immediately or thus apparently springs, from the brain of the poet, enveloped in the moral sentiments of grace, of color, of motion- of the beautiful, of the mystical, of the august- in short of the ideal.*
* Among things, which not only in our opinion, but in the opinion of far wiser and better men, are to be ranked with the mere prettinesses of the Muse, are the positive similes so abundant in the writing of antiquity, and so much insisted upon by the critics of the reign of Queen Anne.
It is by no means our intention to deny that in the Culprit Fay are passages of a different order from those to which we have objected- passages evincing a degree of imagination not to be discovered in the plot, conception, or general execution of the poem. The opening stanza will afford us a tolerable example.
Tis the middle watch of a summer's night The earth is dark but the heavens are bright
Naught is seen in the vault on high
But the moon, and the stars, and the cloudless sky,
And the flood which rolls its milky hue
A river of light on the welkin blue.
The moon looks down on old Cronest,
She mellows the shades of his shaggy breast,
And seems his huge gray form to throw
In a silver cone on the wave below,