“The stream is like a silvery lake,
And o’er its face each vessel glides
Gently, as if it feared to wake
The slumber of the silent tides.”
In the view of Undercliff, the artist has been peculiarly happy in producing an effect at once brilliant and chaste. The broken foreground is agreeably relieved by the sparkling transparency of the water: the receding figures on the shore are judiciously introduced to mark the perspective. The projecting bluff in the middle distance is thrown into shadow, and stands out in fine contrast from the light horizon, while the lights upon the solitary rock, the entrance gate, the mansion, and the vessels, produce the effect of a setting sun; and the whole subject is treated with masterly skill. We only regret that art has not power to convey the kindly hospitalities hourly exercised in the interior of the mansion.
To enumerate the matchless and minute beauties of Undercliff, would occupy more space than the limits of our descriptive pages will permit. Its superiority, however, may be summed up in one expressive sentence, to which it is justly entitled, and which has been conceded to it by common consent—“The Gem of the Hudson River.” To the belles-lettres reader the “Gem” will acquire additional value by reflecting the light of literature: it is the home of a fine poet, and graceful prose writer. General Morris has been for many years the editor of the “New York Mirror,” a weekly journal, which circulates more extensively among the élite than any other periodical in the country. The typographic neatness of its execution, the talent of its original contributions, and the elegance of its embellishments, have placed upon it a permanent seal of popularity, and seem to have given a tone to taste, and a refinement to fashion.
General Morris has recently published a volume of lyrical effusions, called “The Deserted Bride, and other Poems.” Many of them have been written among the fairy beauties of Undercliff, and under the inspiration of that true poetic feeling which such enchanting scenes are so likely to elicit. Where so many gems of genius enrich a work, it becomes difficult to decide upon that most worthy of selection. It is not our province or intention to review the volume, but we cannot resist the inclination to make a few extracts, because they seem as beautiful accessories to the subject, and create an added interest in the engraving. Where scenes are so replete with the poetry of nature, they are best illustrated by the poetry of numbers; but we were particularly delighted with the following lines, addressed to his young daughter. The natural simplicity of the subject is well expressed by the purity of its poetic images, and breathes the refinement of paternal affection.
IDA.
“Where Hudson’s wave, o’er silvery sands,
Winds through the hills afar,