SYNCRETIC LITERATURE.
Concluding remarks on an Epic Poem of Giles Scroggins and Molly Brown.
The circumstance which rendered Giles Scroggins peculiarly ineligible as a bridegroom eminently qualified him as a tenant for one of those receptacles in which defunct mortals progress to “that bourne from whence no traveller returns.” Fancy the bereaved Molly, or, as she is in grief, and grief is tragical, Mary Brown, denuded of her scarf and black gloves, turning faintly from the untouched cake and tasteless wine, and retiring to the virtuous couch, whereon, with aching heart, the poet asserts she, the said
“Poor Molly, laid her down to weep;”
and then contemplate her the victim of somnolent consequences, when—
“She cried herself quite fast asleep,”
Here an ordinary mind might have left the maiden and reverted “to her streaming eyes,” inflamed lids, dishevelled locks, and bursting sigh, as satisfactory evidences of the truth of her broken-heartedness, but the “great anonymous” of whom we treat, scorns the application of such external circumstances as agents whereby to depict the intenseness of the passion of the ten thousand condensed turtle-doves glowing in the bosom of his heroine. Sleep falls upon her eyes; but the “life of death,” the subtle essence of the shrouded soul, the watchful sentinel and viewless evidence of immortality, the wild and flitting air-wrought impalpabilities of her fitful dreams, still haunt her in her seeming hours of rest. Fancy her feelings—
“When, standing fast by her bed-post,
A figure tall her sight engross’d,”
and it cried—
“‘I be’s Giles Scroggins’ ghost.’”
Such is the frightful announcement commemorative of this visitation from the wandering spirit of the erratic Giles. Death has indeed parted them. Giles is cold, but still his love is warm! He loved and won her in life—he hints at a right of possession in death; and this very forgetfulness of what he was, and what he is, is the best essence of the overwhelming intensity of his passion. He continues (with a beautiful reliance on the faith and living constancy of Molly, in reciprocation, though dead, of his deathless attachment) to offer her a share, not of his bed and board, but of his shell and shroud. There is somewhat of the imperative in the invitation, which runs thus:—
“The ghost it said so solemnly,
‘Oh, Molly, you must go with me,
All to the grave, your love to cool.’”
We have no doubt this assumption of command on the part of the ghost—an assumption, be it remembered, never ventured upon by the living Giles—gave rise to some unpleasant reflections in the mind of the slumbering Molly. Must is certainly an awkward word. Tell any lady that she must do this, or must do that, and, however much her wishes may have previously prompted the proceeding, we feel perfectly satisfied, that on the very shortest notice she will find an absolute and undeniable reason why such a proceeding is diametrically opposed to the line of conduct she will, and therefore ought to, adopt.
With an intuitive knowledge of human nature, the great poet purposely uses the above objectionable word. How could he do otherwise, or how more effectually, and less offensively, extricate Molly Brown from the unpleasant tenantry of the proposed under-ground floor? Command invariably begets opposition, opposition as certainly leads to argument. So proves our heroine, who, with a beautiful evasiveness, delivers the following expostulation:—
“Says she, ‘I am not dead, you fool!’”
One would think that was a pretty decent clincher, by way of a reason [pg 125] for declining the proposed trip to Giles Scroggins’ little property at his own peculiar “Gravesend;” but as contradiction begets controversy, and the enlightened poet is fully aware of the effect of that cause, the undaunted sprite of the interred Giles instantly opposes this, to him, flimsy excuse, and upon the peculiar veracity of a wandering ghost, triumphantly exclaims, in the poet’s words—words that, lest any mistake should arise as to the speaker by the peculiar construction of the sentence, are rendered doubly individual, for—
“Says the ghost, says he, vy that’s no rule!”
There’s a staggerer! being alive no rule for not being buried! how is Molly Brown to get out of that high-pressure cleft-stick? how! that’s the question! Why not in a state of somnolency, not during the “death of each day’s life; no, it is clear, to escape such a consummation she must be wide awake.” The poet sees this, and with the energy of a master-mind, he brings the invisible chimera of her entranced imagination into effective operation. Argument with a man who denies first premises, and we submit the assertion that vitality is no exception to the treatment of the dead, amounts to that. We say, argument with such a man is worse than nothing; it would be fallacious as the Eolian experiment of whistling the most inspiriting jigs to an inanimate, and consequently unmusical, milestone, opposing a transatlantic thunder-storm with “a more paper than powder” “penny cracker,” or setting an owl to outstare the meridian sun.
The poet knew and felt this, and therefore he ends the delusion and controversy by an overt act:—
“The ghost then seized her all so grim,
All for to go along with him;
‘Come, come,’ said he, ‘e’er morning beam.’”
To which she replies with the following determined announcement:—
“‘I von’t!’ said she, and scream’d a scream,
Then she voke, and found she’d dream’d a dream!”
These are the last words we have left to descant upon: they are such as should be the last; and, like Joseph Surface, “moral to the end.” The glowing passions the fervent hopes, the anticipated future, of the loving pair, all, all are frustrated! The great lesson of life imbues the elaborate production; the thinking reader, led by its sublimity to a train of deep reflection, sees at once the uncertainty of earthly projects, and sighing owns the wholesome, though still painful truth, that the brightest sun is ever the first cause of the darkest shadow; and from childhood upwards, the blissful visions of our gayest fancy—forced by the cry of stern reality—call back the mental wanderer from imaginary bliss, to be again the worldly drudge; and, thus awakened to his real state, confess, like our sad heroine, Molly Brown, he too, has dreamt a dream.
FUSBOS.