CRITICISM ON THE WORKS OF THE SWEET SINGER OF MICHIGAN.
Through the courtesy of a popular young lady of Chicago, who recognizes struggling genius at all times, I have been permitted to carefully read and enjoy the lays of the sweet singer of Michigan; and I ask the reader to come with me a few moments into the great field of literature, while we flit from flower to flower on the wings of the Muse.
There are few, indeed, of us who do not love the heaven-born music of true poesy. Hardened, indeed, must he be whose soul is dead to the glad song of the true poet, and we can but pity the gross, brutal nature which refuses to throb and burn with spiritual fire lighted with coals from the altar of the gods.
I speak only for myself when I say that seven or eight twangs of the lyre stir my impressible nature so that I rise above the cares and woes of this earthly life, and I paw the ground and yearn for the unyearnable, and howl.
Julia A. Moore, better known as the Sweet Singer of Michigan, was born some time previous to the opening of this chapter, of poor but honest parents, and although she couldn't have custard pie and frosted cake every day she, was middling chipper, as appears by a little poem in the collection, entitled, "The Author's Early Life," in which she says:
My heart was gay and happy:
This was ever in my mind,
There is better days a coming,
And I hope some day to find
Myself capable of composing.
It was my heart's delight
To compose on a sentimental subject
If it came in my mind just right
This would show that the Muse was getting in its work, as I might say, even while yet Julia was a little nut-brown maid trudging along to school with bare feet that looked like the back of a warty toad. In my visions I see her now standing in front of the teacher's desk, soaking the first three joints of her thumb in her rosebud mouth, and trying to work her off toe into a knot-hole in the floor, while outside, the turtle-dove and the masculine Michigan mule softly coo to their mates.
A portrait of the author appears on the cover of the little volume. It is a very striking face. There are lines of care about the mouth—that is, part way around the mouth. They did not reach all the way around because they didn't have time. Lines of care are willing to do anything that is reasonable, but they can't reach around the North Park without getting fatigued. These lines of care and pain look to the student of physiognomy as though the author had lost a good deal of sleep trying to compose obituary poems. The brow is slightly drawn, too, as though her corns might be hurting her. Julia wears her hair plain, like Alfred Tennyson and Sitting Bull. It hangs down her back in perfect abandon and wild profusion, shedding bear's oil ever the collar of her delaine dress, regardless of expense.
I can not illustrate or describe the early vision of dimpled loveliness, which Julia presented in her childhood, better than by giving a little gem from "My Infant Days:"
When I was a little infant,
And I lay in mother's arms,
Then I felt the gentle pressure
Of a loving mother's arms.
"Go to sleep my little baby,
Go to sleep," mamma would say;
"O, will not my little baby
Go to sleep for ma to-day?"
When I read this little thing the other day it broke me alf up. It took me back to my childhood days when I lay in my little trundle bed, and was wakeful, and had a raging thirst, insomuch that I used to want a drink of water every fifteen seconds. Mamma didn't ask if I would "go to sleep for ma, to-day." She used to turn the bed-clothes back over the footboard, so that she could have plenty of sea room, and then she would take an old sewing-machine belt, and it would sigh through the agitated air for a few moments pretty plenty, till the writer of these lines would conclude to sob himself to sleep, and anon through the night he would dream that he had backed up against the Hill Smeltingg works. That's the kind of "Go to sleep for ma to-day," that comes up vividly to my mind.
But I must give another stanza or two from Julia's collection—as showing how this gifted writer can with a word dispel the chilling temperature of December, and run the thermometer up to 100 degrees in the shade. I will quote from the death of "Little Henry:"
It was on the eleventh of December,
On a cold and windy day,
Just at the close of evening,
When the sunlight fades away,
Little Henry he was dying,
In his little crib he lay,
With the soft winds around him sighing,
From early morn till close of day.
One of Julia's poems opens out in such a cheerful, pleasant way, that I wish I could give it all, but space forbids. She tunes her lyre so that it will mash all right, and then says:
Come all kind friends, both far and near,
O, come, and see what you can hear.
Then she proceeds to slaughter some one. In looking over her poems one is struck with the terrible mortality which they show. Julia is worse than a Gatling gun. I have counted twenty-one killed and nine wounded, in the small volume which she has given to the public. In giving the circumstances which attended the death of one of her subjects, and the economical principles of the deceased, she says:
And he was sick and very bad,
Poor boy, he thought, no doubt,
If he came home in a smoking car
His money would hold out.
He started to come back alone,
He came one-third the way.
One evening, in the car alone,
His spirit fled away.
That's the way Julia kills off a young man just as we get interested in him. You just begin to like one of her heroes or heroines and Julia proceeds to lay said hero or heroine out colder than a wedge. A sad, sad thing, which goes to the tune of Belle Mahone, starts out as follows:
"Once there lived a lady fair,
With black eyes and curly hair;
She has left this world of care,
Sweet Carrie Monroe,"
To which I have added in my poor weak way—
She could not her sorrows bear,
For she was a dumpling rare;
She has clum the golden stair,
Sweet Carrie Monroe.
'Twas indeed a day of gloom
When we gathered in her room,
While she cantered up the flume,
Sweet Carrie Monroe.
I will give but one more example of Julia's exquisite word painting, and then after a word or two relative to her style generally I will close.
After speaking tearfully of her life as a child, she says:
My childhood days have passed and gone,
And it fills my heart with pain,
To think that youth will never more
Return to me again.
And now, kind friends, what I have wrote
I hope you will pass o'er,
And not criticize, as some have done,
Hitherto herebefore.
I know that it ill becomes me to assume the prerogative of criticizing a poet's style or even to suggest any improvements, but sometimes an outsider may be able to stand off as it were and see little defects in a masterpiece which the author can not see.
My idea would be to take these poems and remove the crown sheet, then put in new running gear, upset and bush the pitman, kalsomine the boiler plate, drill new holes in the eccentric, rim out the gas pipe, raise the posterior eccentric to a level with the gang plank, slide the ash pan forward of the monkey wrench, securing it by draw bars to the topgallant mizzen. Then, throwing open the condenser and allowing the cerebellum to rest firmly against the vicarious whippety-whop, fair time may be made on a gentle grade.
If I were to suggest anything further it would be that Julia have entire change of air and surroundings. Michigan is too healthy for an ambitious obituary poet. She naturally has too much time on her hands. Let her go into the yellow fever districts next summer, where she can work in two or three of her cheerful little funeral odes every morning before breakfast. That's the place for her. It may kill her, but if it should we will trust in Providence to raise up some inspired idiot to take her place. We will struggle along anyway with George Francis Train and Denis Kearney and Dr. Mary Walker, even if Julia joins the glad throng of poets who let their hair grow long and kick up their heels in the green fields of Eden.
One more suggestion which will, I know, be accepted as coming from one who never says anything but in the kindest spirit. I think that Julia takes advantage of her poetic license. A poetic license, as I understand it, simply allows the poet to jump the 15 over the 14 in order to bring in the proper rhyme, but it does not allow the writer to usurp the management of the entire system of worlds, and introduce dog-days and ice-cream between Christmas and New Year. It does not in any way allow the contractor of prize funeral puffs to sandwich a tropical evening with the scent of orange blossom and mignonette, in between two December days in Michigan, that would freeze the lightning rods off the houses, and when the owners of cast iron dogs have to bring them in, and stand them behind the parlor stove.
Julia can't fool me much on a Michigan winter. When the seductive breath from the north comes soughing across Lake Superior, redolent with the blossom rock of the copper mines, and dead cranberry vines, and slippery elm bark, the poet or poetess who could maliciously crawl into a buffalo overcoat, and write a dirge that worked in "sighing soft winds," just for the benefit of one whose spirit is in a land where house plants never freeze, should have no poetic license. I would be in favor of having such license revoked, or raising the price so high that none but good, reliable, square toed poets could practice. I would suggest $500 per year for poets driving one horse, and dealing in native poems on death, spring, beautiful snow, etc., etc.; $1,000 per year for two horse, platform spring poets, retailers of imported poems; and $1,500 per year for poets who do a general business in manufactured Havana poems, or native wrappers with Havana fillers.
We have too many poets in our glorious republic who ought to be peeling the epidermis off a bull train; and too many poetesses who would succeed better boiling soap-grease, or spiking a 6 x 8 patch on the quarter-deck of a faithful husband's overalls.
I do not refer entirely to Julia in the last few lines, for Julia is not deserving of such criticism. She was never intended to do the drudgery of housework. She is too frail. She couldn't cook, because her cake would be sad, and her soft, wavy hair, like the mane of a Cayuse plug, would get in the cod-fish balls, and cling to the butter.
No, Julia, you don't look like a woman whose career as a housewife would be a success. From the mournful look in your limpid eye, I would say that your lignum-vitæ bread, and celluloid custard pie, and indestructible waffles, and fireproof pancakes, and burglar-proof chicken pie, would give you away. Your mind would be far away in the poet's realm, and you would put shoe blacking in the blanc mange, and silver gloss starch in the tea, and cod liver oil in the sponge cake. So, Julia, you may continue right along as you are doing. It don't do much harm, and no doubt it does you a heap of good.