O the spirit's aspiration,
Glorious through all nature's bound!
The soul yearning through creation—
All the sought, and all the found!
Oh! what is—and what shall be
In far immortality?
For truth's marvels well are able
All of fiction to eclipse,
And the wine of classic fable
Tasteless palls upon the lips.
From the living fount of truth
Wells the soul's immortal youth.
Still at times when basks the river
The long summer afternoon,
When the broad green pastures quiver
In the rippling breeze of June,
I unclose the Iliad's pages,
To unearth those buried ages.
But no Ilium now, nor tragic
Plains I find in Homer's lay;
With a new and stranger magic
Now it leads another way—
Whirls me on a sudden track
To my merry childhood back.
All that fresh young joy rejoices,
Beats the child heart as of yore,
And again I hear—oh! voices
That I thought to hear no more,
Till—the dusk has round me grown;
Close the book—the dream has flown.
C. E. B.
THE WORKS OF GERALD GRIFFIN.[208]
Of the works of fiction in the English language of which the first half of this century has been so prolific, Ireland has contributed at least a fair proportionate share. Her writers in this department of literature are numerous, and their productions have been generally received with due favor on this side of the Atlantic as correct portraitures of the habits and manners of a people in whom we take so deep an interest, and whose very contradictions of character render them interesting studies for the curious and philosophic. Of so large a number four at least deserve special notice, standing, as they do, prominently in the front rank of Irish authors and exhibiting in a marked degree a pleasant diversity of talent and invention, as varied as the peculiar characteristics of the provinces to which they belong. Carleton, for example, was an Ulster-man, rugged and ungraceful, yet possessing a deep vein of caustic humor, while his figures are struck out as distinctly as if his pen had some of the power Of Michael Angelo's chisel; John Banim was the embodiment of Leinster propriety and stability; Lever is never so much at home as at the mess-table of the "Rangers," or when endangering the neck of his hero or heroine over a Galway fence; while through Gerald Griffin's pages flow, now gently as a meandering stream and anon with the impetuosity of a mountain torrent, the poetry and passion of Munster. Still, in the strictest sense, none of these novelists can be considered national; yet all are true to Irish character. To those unacquainted with the radical difference of mind, temperament, and even physique, which is to be found in so comparatively small a country, this may seem paradoxical; but it is nevertheless true. Mickey Frees and Lowry Lovbys are plentiful enough in Ireland, but only in their respective sections; while Valentine McClutchy terrifies the northern tenant each recurring gala-day, and Banim's Paddy Flynn, to use the pithy remark of Sir Philip Crampton, "is hanged twice a year regularly in the south of Ireland."
If any of them be entitled to the term national, that honor should be awarded to Griffin, who in his Invasion, Duke of Monmouth, and some minor stories, has travelled out of his favorite province with some degree of success. But even in his wanderings in Wicklow, Taunton dene, and the wilds of Northumbria, we are constantly catching glimpses of the Shannon and Killarney. The reason of this is obvious. He aimed to be a strict and minute copyist of nature; and nature to him was bounded by the lovely scenery of Munster and the people with whom he had been in daily intercourse for almost the whole of his short life. His power of observation, thus limited, became intensified, and what he lost in breadth of view and amplitude of knowledge, he gained in the distinctness and fidelity of his pictures. Besides, the merits of the true novelist, like those of the painter, should never be estimated by the square of the canvas, but by his faithfulness, either to human figure, action, and circumstance, or to the embodiment of noble ideas. It is not so difficult as it may seem to call up imaginary kings and princes, noble lords and ladies, clothe them with all the gorgeous panoply so easily found in the pages of dear old Froissart, or in the latest book of fashions, and make them speak and act in the most approved manner of our modern romances, because few of us care to inquire into the correctness either of design or execution. Cervantes and Goldsmith painted the men and manners of their day with rare fidelity, and their works will be read by the learned and unlearned as long as the languages in which they wrote shall exist; and no one can doubt that two of the most popular authors of our time, Balzac and Dickens, no matter how inferior in some respects to the authors of Don Quixote and the Vicar of Wakefield, have truly held up to us panoramas of modern society in the two great cities of Europe. For Gerald Griffin we may not, perhaps, claim the universality of those great masters; but in purity of expression, truthfulness to nature, and delicacy of moral perception he is the equal of any of them.