First Spirit.
And the elements shall boldly
All your dust to dust constrain;
Unresistedly and coldly,
I will smite you with my rain!
From the slowest of my frosts is no receding.
Second Spirit.
And my little worm, appointed
To assume a royal part,
He shall reign, crown'd and anointed,
O'er the noble human heart!
Give him counsel against losing of that Eden!"
In one of the lyrical effusions, man is informed that when he goes to heaven—
"Then a sough of glory
Shall your entrance greet,
Ruffling round the doorway
The smooth radiance it shall meet."
We wonder what meaning Miss Barrett attaches to the word sough! It is a term expressive of the dreary sighing of autumnal winds, or any sound still more disconsolate and dreary; and therefore, to talk of a "sough of glory," is to talk neither more nor less than absolute nonsense.
What can be more unlyrical than this verse?
"Live, work on, oh, Earthy!
By the Actual's tension
Sped the arrow worthy
Of a pure ascension."
We have said that the lyrical effusions interspersed throughout the "Drama of Exile," are very slovenly and defective in point of rhyme. What can be worse than "Godhead" and "wooded," "treading" and "Eden," "glories" and "floorwise," "calmly" and "palm-tree," "atoms" and "fathoms," "accompted" and "trumpet," and a hundred others? What can be worse, do we ask? We answer that there is one species of rhyme which Miss Barrett is sometimes, though, we are happy to say, very rarely, guilty of, which is infinitely more reprehensible than any of these inaccuracies. We allude to the practice of affixing an r to the end of certain words, in order to make them rhyme with other words which terminate in that letter. Writers who are guilty of this atrocity are not merely to be condemned as bad rhymesters: they are to be blamed on the far more serious ground that they give the sanction and authority of print to one of the vilest vulgarisms which pollutes the oral language of certain provincial societies. What makes the practice so offensive in literary composition is the fact, that the barbarism is one which may sometimes be actually heard falling from living lips. But for this, it would be pardonable. We verily believe that Miss Barrett herself does not talk of "Laurar" and "Matildar;" we verily believe that she would consider any one who does so no fit associate for herself in point of manners or education:—yet she scruples not to make "Aceldama"(r) rhyme to "tamer," and "Onora"(r) rhyme to "o'er her." When we think of these things, we turn to the following "stage-direction" with which her "Drama of Exile" concludes—"There is a sound through the silence as of the falling tears of an angel." That angel must have been a distressed critic like ourselves.
Next to the "Drama of Exile," the longest poem in the collection is the composition entitled "A Vision of Poets." This poem is designed, says our authoress, "to indicate the necessary relations of genius to suffering and self-sacrifice." It is stamped throughout with the thoughtful earnestness of Miss Barrett's character, and is, on the whole, a very impressive performance. But it would have been more impressive still if it had been composed after less vicious models, or if Miss Barrett had trusted more to a style prompted by her own native powers, and less to the fantastical modes of phraseology which have been introduced into literature by certain inferior artists of this and the preceding generation. We cannot read it, however, without appreciating the fervour which stirs the soul of the authoress through all its depths, when she declares and upholds the sacred mission of the poet, and teaches him that he must embrace his destiny with gratitude and pride, even though the crown which encircles his living brows be one in which the thorns far out-number the laurel leaves. We shall grace our pages with a series of portraits, in which Miss Barrett sketches off first the true poets and then the pretenders. They certainly contain some good points, although many of her touches must be pronounced unsuccessful. Let Homer lead the van:—
"Here, Homer, with the broad suspense
Of thunderous brows, and lips intense
Of garrulous god-innocence.