"In Virgilian Barlow's tuneful lines
With added splendor great Columbus shines."
Then we have "Majestic Dwight, sublime in epic strain"; "Blest Dwight"; Dwight of "Homeric fire." Colonel Humphreys is fully up to the regulation standard:—
"In lore of nations skilled and brave in arms,
See Humphreys glorious from the field retire,
Sheathe the glad sword and string the sounding lyre."
Dwight thought "McFingal" much superior to "Hudibras"; and Hopkinson, the author of "Hail Columbia," mentions, as a melancholy instance of æsthetic hallucination, that Secretary Wolcott, whose taste in literature was otherwise good, had an excessive admiration for "The Conquest of Canaan." A general chorus of neighbors and friends rose in the columns of the "Connecticut Magazine and New Haven Gazette":—"It is with a noble and patriotic pride that America boasts of her Barlow, Dwight, Trumbull, and Humphreys, the poetical luminaries of Connecticut"; and all true New-Englanders preferred their home-made verses to the best imported article. The fame of the Seven extended into the neighboring States; Boston, not yet the Athens of America, confessed "that Pegasus was not backed by better horsemen from any part of the Union." But the glory grew fainter as the distance increased from the centre of illumination. In New York, praise was qualified. The Rev. Samuel Miller of that city, who published in 1800 "A Brief Retrospect of the Literature of the Eighteenth Century," calls Mr. Trumbull a respectable poet, thinks that Dr. Dwight's "Greenfield Hill" is entitled to considerable praise, and finds much poetic merit in Mr. Barlow's "Vision"; but he closes the chapter sadly, with a touch of Johnson's vigor:—"The annals of American literature are short and simple. The history of poverty is usually neither very various nor very interesting." Farther South the voice of the scoffer was heard. Mr. Robert Morris ventured to say in the Assembly of Pennsylvania, that America had not as yet produced a good poet. Great surprise and indignation, when this speech reached the eyes of the Connecticut men! Morris might understand banking, but in taste he was absurdly deficient. No poets! What did he call John Trumbull of Hartford, and Joel Barlow, author of "The Vision of Columbus"? "We appeal to the bar of taste, whether the writings of the poets now living in Connecticut are not equal to anything which the present age can produce in the English language."
Cowper showed excellent sense when he wrote,—"Wherever else I am accounted dull, let me at least pass for a genius at Olney." The Hartford Wits passed for geniuses in Connecticut, which is better, as far as the genius is concerned, than any extent or duration of posthumous fame. Let their shades, then, be satisfied with the good things in the way of praise they received in their lives; for between us and them there is fixed a great gulf of oblivion, into which Time, the merciless critic from whose judgment there is no appeal, has tumbled their works.
In 1793, a volume of "American Poems, Selected and Original," was published in Litchfield by subscription. A second volume was promised, if the first met with "that success which the value of the poems it contained seemed to warrant"; but no second volume appeared. When Hopkins died, in 1801, the constellation was sinking fast to the horizon; a few years later it had set, and only elderly inhabitants remembered when the Down-Eastern sky was made bright by it. Barlow's magnificent edition revived the recollection for a time, and the old defiant cry was raised again, that the "Columbiad" was comparable, not to say superior, to any poem that had appeared in Europe since the independence of the United States. But English reviewers refused to chime in. Their critical remarks were not flattering, although merciful as compared with the jeers of the "Edinburgh" at Byron's "Hours of Idleness," or the angry abuse with which the earlier productions of the Lake School were received. Nevertheless, Paulding, Ingersoll, and Walsh, indignant, sprang to their quills, and attacked the prejudiced British with the argumentum ad hominem, England's "sores and blotches," etc.; the argumentum Tu quoque, "We're as good a poet as you are, and a better, too"; and, lastly, pleaded minority in bar of adverse criticism, "We are a young nation," and so on. This was to yield the point. If a young nation necessarily writes verses similar in quality to those of very young persons, it would always be proper to take Uncle Toby's advice, "and say no more about it." Deaf to Walsh's "Appeal," and to Inchiquin's "Letters," Sydney Smith, as late as January, 1820, asked, in the "Edinburgh," that well-known and stinging question, "In the four quarters of the globe, who reads an American book?" Even at home, "Hesper" and "The Mount of Vision" soon faded out of sight. At that time, 1808-1810, readers of verse had, not to mention Cowper, "The Lay of the Last Minstrel" and "Marmion," "Gertrude of Wyoming," "Thalaba," Moore's "Anacreon," and two volumes by William Wordsworth,—poems with which the American producer was unable to compete. In 1820 Samuel G. Goodrich of Hartford published a complete edition of Trumbull's works in two volumes, the type large and the paper excellent,—with a portrait of the author, and good engravings of McFingal in the Cellar, and of Abijah Mann bearing the Town Resolves of Marshfield to Boston. The sale did not repay the outlay. When Trumbull died, in 1831, he was as completely forgotten as any Revolutionary colonel or captain.
Humphreys once feeling, that, in spite of all his struggles, he was not doing much, exclaimed,—
"Why, niggard language, dost thou balk my soul?"
He did not see the reason why: his soul had not much to say. This was the trouble with them all. There was not a spark of genuine poetic fire in the Seven. They sang without an ear for music; they strewed their pages with faded artificial flowers which they mistook for Nature, and endeavored to overcome sterility of imagination and want of passion by veneering with magniloquent epithets. They padded their ill-favored Muse, belaced and beruffled her, and covered her with garments stiffened with tawdry embroidery to hide her leanness; they overpowdered and overrouged to give her the beauty Providence had refused. I say their Muse, but they had no Muse of their own; they imported an inferior one from England, and tried her in every style,—Pope's and Dryden's, Goldsmith's and Gray's, and never rose above a poor imitation; producing something which looked like a model, but lacked its flavor: wooden poetry, in short,—a genuine product of the soil.
Judging from their allusions to themselves, no one of the Seven mistrusted his own poetical powers or the gifts of his colleagues. They seem to have died in their error, unrepentant, in the comfortable hope of an hereafter of fame. Their works have faded out of sight like an unfinished photograph. It was a sad waste of human endeavor, a profitless employment of labor, unusual in Connecticut.[C]