“Pluck, pluck cypress, oh pale maidens; Dusk the hall with yew.”
This poem must be read as a whole; for not only would it be difficult to select particular passages for extraction, but such extracts, if made, would fail in producing any adequate impression.
We have already quoted so larely from the concluding piece, “Resignation,” that it may here be necessary to say only that it is in the form of speech held with “Fausta” in retracing, after a lapse of ten years, the same way they had once trod with a joyful company. The tone is calm and sustained, not without touches of familiar truth.
The minor poems comprise eleven sonnets, among which, those “To the Duke of Wellington, on hearing him mispraised,” and on “Religious Isolation,” deserve mention; and it is with pleasure we find one, in the tenor of strong appreciation, written on reading the Essays of the great American, Emerson. The sonnet for “Butler's Sermons” is more indistinct, and, as such, less to be approved, in imagery than is usual with this poet. That “To an Independent Preacher who preached that we should be in harmony with nature,” seems to call for some remark. The sonnet ends with these words:
“Man must begin, know this, where nature ends; Nature and man can never be fast friends; Fool, if thou canst not pass her, rest her slave.”
Now, as far as this sonnet shows of the discourse which occasioned it, we cannot see anything so absurd in that discourse; and where the author confutes the Independent preacher by arguing that
“Nature is cruel; man is sick of blood: Nature is stubborn; man would fain adore: Nature is fickle; man hath need of rest:”
we cannot but think that, by attributing to nature a certain human degree of qualities, which will not suffice for man, he loses sight of the point really raised: for is not man's nature only a part of nature? and, if a part, necessary to the completeness of the whole? and should not the individual, avoiding a factitious life, order himself in conformity with his own rule of being? And, indeed, the author himself would converse with the self-sufficing progress of nature, with its rest in action, as distinguished from the troublous vexation of man's toiling:—
“Two lessons, Nature, let me learn of thee, Two lessons that in every wind are blown; Two blending duties harmonised in one, Tho' the loud world proclaim their enmity.”—p. 1.
The short lyric poem, “To Fausta” has a Shelleian spirit and grace in it. & “The Hayswater Boat” seems a little got up, and is scarcely positive enough. This remark applies also, and in a stonger degree, to the “Stanzas on a Gipsy Child,” which, and the “Modern Sappho,” previously mentioned, are the pieces least to our taste in the volume. There is a something about them of drawing-room sentimentality; and they might almost, without losing much save in size, be compressed into poems of the class commonly set to music. It is rather the basis of thought than the writing of the “Gipsy Child,” which affords cause for objection; nevertheless, there is a passage in which a comparison is started between this child and a “Seraph in an alien planet born,”—an idea not new, and never, as we think, worth much; for it might require some subtlety to show how a planet capable of producing a Seraph should be alien from that Seraph.