The world of letters, however, has not seemingly regretted the inability of Byron to trammel his muse with the uncongenial fetters of Pope's metre, and has certainly never quarrelled with Tom Moore for not assuming the manners and diction of the revered Samuel Johnson, LL.D.
With due allowance for difference of latitude, and wide difference of aim and pursuit, the contemplation of the Master of Creole Melody recalls to us a genius which found utterance in song none the less melodious that it was written, not sung. The 'ashen sky' and 'crisped, sere leaves of the lonesome October,' so thrillingly pictured by Edgar Poe in his 'Ulalume,' find echo in the foreboding sadness of the opening bars to Gottschalk's 'Last Hope;' and as both poems grow in vague, dreamy sound, they culminate in a cry of smothered despair at the tomb where all hopes lie buried with the lost Ulalume. The same weird conception and eccentricity of design, with knowledge of rhythmical effect and extreme carefulness of finish, are prominent traits of both artists; and the American disregard of tradition, as evinced in all enterprises, whether literary, artistic, or commercial, and which readily infects the simple sojourner among us as well as the happy being born to republican privileges, marks alike the nationality of poet and pianist.
Edgar Poe's literary reputation undoubtedly gains additional lustre as the lapse of years permits the veil of obscurity to fall over the personal vices and irregularities which so tarnished the living fame of this great artist. Genius draws around itself a magical circle, attracting and keeping by the force of its own magnetism those whom it values, but at the same time exercising an equally repellent effect on the envious and ignorant wandering beyond the pale of its charmed precincts. Hence the difficulty of judging it by contemporaneous standards. The Hyperion head of Poe was lost to the view of many by a too persistent search for the satyr's cloven foot. In considering the poet's eccentricities, in common with other extraordinary and anomalous beings, it must be deeply deplored that one so endowed with wealth of intellect beyond his fellow men, should be still so poor in moral store that the dullest of them could dare look with disdain on this heir to gifts regal and sacred.
He could forget his deep, earnest love of order in things intellectual, in every excess of disorder in things material, and his passionate love of the beautiful could be profaned by frequent grovelling amid the hideous deformities of vice. Poe, in his reverence for Art (his only reverence), seemed generally to set greater store on the elaborate and artistic perfection of his works, than in the spontaneity of genius therein displayed. So it would seem, at least, in his voluntarily exposing the skeleton design of his greatest poem, 'The Raven,' and the various processes by which this grand shadow attained its final harmonious and terrible proportions. This may be a noble sacrifice to the principles of Art, intended as a warning to rash novices against the sin of slovenliness in composition; but the poem must be of solid fibre to resist this disenchanting test. The unveiling of hidden mysteries, the disclosure of trap doors, ropes, and pulleys, may assist in the general dissemination of knowledge; but in behalf of those who prefer to be ignorant that they may be happy, we protest against the innovation. In this dangerous experiment of Poe's, however, we are forced to do what he would have us do—admire the ingenuity of the poet, together with his knowledge of effect, rhythmical and dramatic, his flexibility and strength of versification, and marvellous faculty of word painting. This propensity to make all things subservient to the advancement of Art is not always productive of present good to one's fellow beings, whatever may be the results to posterity, as the luckless women who cross the path of such men cannot unfrequently testify—oftentimes assiduously wooed, won, and lightly discarded, to furnish an artistic study of the female capacity for suffering, as well as to supply renewed inspiration for further poetic bemoanings. In the prose narrations of Edgar Poe, the same skilful handling of mystery, and the turning to account of any incident susceptible of dramatic effect, are always apparent as in his poems. But the want of extended sympathy with mankind, the artist egotism, which looks inwardly for all material, and in truth scorns the approval of the masses, must naturally fail to secure the interest of a large class of readers. His compositions, on the contrary, which give full scope to his keen, subtle powers of analysis, and vigorous handling of the subject in question, are more widely understood and appreciated. Since the days when Poe dealt with contemporaneous literature, and literary men, in not the most temperate mood of criticism, poetic fire in America, with few exceptions, seems to have sunk into a dead, smouldering condition, and to have yielded to its sister art of painting the task of grappling with the New-World monster of utilitarianism and practical reform. The demands for indigenous painters in America being constantly greater, the result is necessarily a vast increase and improvement in this branch of Art.
New England, on whose barren musical soil we have already descanted, and who has not hitherto disputed to the Old World her privilege of pouring out on our untutored continent the accumulated wealth of years of musical study and training, has at last gone far to redeem her reputation of artistic nullity, by producing the greatest landscape painter of which the country can boast. With us, the superiority of atmospheric effects over most countries, and the great variety and originality of American scenery, have united in bringing the landscape painter into existence, and the public have assured this existence by fostering applause and pecuniary compensation. Nature, thus prodigal of gifts to America, has, in a crowning act of munificence, conferred also a painter, capable of interpreting her own most recondite mysteries, and of faithfully transcribing the beauties revealed to all eyes in their simple majesty.
Immensity of theme possesses no terrors for Mr. Church's essentially American genius; his facile brush recoils not before the gigantic natural elements of his own land, but deals as readily and composedly with the unapproachable sublimity of Niagara and the terrible beauty of icebergs as with the peace of simple woodland scenes and the glowing sentiment of the tropics. To tread the beaten path of landscape painting, and offer to the public a tame transcript of the glories he has beheld, is repugnant to the creative power of this true artist; but when form, color, and the legitimate means at his command fail to embody all he would express, his suggestive faculty is generally of force sufficient to reach all beholders, even those of feeblest imagination.
In standing before the Falls of Niagara, one can, in fancy, feel the cool moisture of spray, rising, incense-like, through a rainbow of promise, from the inspired canvas, together with the earth's tremor at the roar of mad waters rushing headlong to a desperate death. This inestimable quality of suggestiveness is preserved in Mr. Church's pictures when deprived of the aid of color and reduced to mere black and white in engraving, a fact bearing equally conclusive testimony to their inherent correctness of lines and elegance of composition.
Mr. Church's prominent characteristics of hardy vigor and adventurous treatment of a subject, seem to have monopolized his artistic nature, to the frequent exclusion of tenderness, either in idea or in the handling of color. The painting, in our eyes, least open to this objection, is Twilight in the Wilderness—a dreamy picture of inexpressible sadness, of a tearful silence that is felt, and of a loneliness too sacred to be profaned by human intrusion. The gorgeous panorama of the Heart of the Andes, its snowy mountain peaks, and plains glowing with tropical verdure, is too bewildering in its complicated grandeur to excite dreams of beauty so tender and sadness so touching.
In contemplating this last-named picture, the demands on the attention are so numerous and weighty,—in the first place, to comprehend the situation, and exchange at a moment's notice the stagnation of the temperate zone for the emotional excitement of the tropics; then to separate and classify the many points of beauty, to rise to the summits of distant mountains, sublime in their snowy crests, and sink again to earth at the foot of the rustic cross, by whose aid we may one day rise to sink no more,—to follow the painter successfully through this maze of thoughts, without the guiding light of his own matchless color, would seem a difficult and displeasing task. But the task has been accomplished with complete success, in an English line engraving of the Heart of the Andes, recently arrived in this country; which indication of popularity abroad conduces materially to the ever-growing fame of the artist. The same test, we believe, is in store for the Icebergs—with what result, time will show. Meanwhile, the picture itself will, on foreign soil, plead the cause of American civilization, and tend to assure those who look with dismay at the tumultuous upheavings of freedom's home, that imperishable Art still maintains her placid sway in this distracted land, and that her votaries falter not in their allegiance.
Volcanoes pour out fiery lava under the red glare of the setting sun, obedient to Church's magic touch—delicate fancies are weaved into poetic life by the fingers of Gottschalk—but the voice of Poe, alas! is mute forever. The 'Lost Lénore,' found too late, may have inspired a song far beyond the dull range of human comprehension, but poor mortals left below, can only echo, with the grim and ghastly raven: Nevermore! Nevermore!