We entertained some doubt about the admission of "The Doom" into our columns, not because of any inferiority in the style and composition, but because of the revolting character of the story. The writer, with apparent sincerity, states it to be founded upon actual occurrences; but we confess that it seems to us a wild and incredible fiction. True or false however, we derive from it this sound and wholesome moral,—that sooner or later wickedness will find its just reward,—and that of all the passions which ravage the heart and destroy the peace of society, there is none more detestable than revenge. The hero of the tale, who is described by his friend the writer, as "a light hearted and joyous fellow," was in truth a remorseless fiend; compared with whom Iago and Zanga were personifications of virtue; nor does the idle phantasy of a supernatural vision, or the pretended influence of fatalism, palliate the deep enormity of his crime. If the writer, who assumes the signature of "Benedict," really had such a friend, he should have drawn the mantle of oblivion over his dark frailties, and never have recorded them with seeming approbation. He should have avoided too, certain profane and unchaste allusions in his manuscript, which we have been obliged to suppress; for we scarcely deem it necessary to repeat that the "Messenger" shall not be the vehicle of sentiments at war with the interests of virtue and sound morals—the only true and solid foundation of human happiness.
We invite attention to the third letter from New England, by a Virginian,—whose talents, learning, and acute observation of men and things, and whose easy style of composition, qualify him in a high degree for the task of a tourist.
The paper from our friend "Oliver Oldschool" will we hope be read by the Dandies, if such creatures ever do read any thing calculated to produce improvement either in mind or morals.
The selected prose articles in this number will, we doubt not, be read with pleasure and interest. The article on "American Literature," and the impediments which retard its progress, is entitled to a patient and deliberate reading. Its sentiments and language, if they should be so unfortunate as not to command, at least deserve attention. The author has happily combined solidity of argument with grace and beauty in composition.
As we intend from this time forward to be less indulgent than heretofore to our poetical contributors, so we hope that the specimens now presented, if not all of equal merit, have at least enough to save them from censure. It is not expected indeed that CRITICISM will be either silent or forbearing; for we have never been so fortunate as to light upon any production, in prose or verse, in which its searching and microscopic eye might not detect some slight blemishes.
It will be perceived that we are again favored with a piece from the pen of Mr. Wilde; and we seize this opportunity of expressing the great pleasure we feel in transferring to our pages (under the head of "Variety") the letter of that gentleman, in which he assumes explicitly the sole authorship of those beautiful lines, which have been alike claimed for an ancient Greek bard and a modern Irish poet. The enemies of Mr. Wilde's literary reputation will now recant their unmerited charge of plagiarism, and one of the most exquisite poems which the genius of our country has produced will remain the undisputed property of its owner.
The author of "A Song of the Seasons," who assumes the quaint cognomen of "Zarry Zyle," (we wish he had chosen some other,) is unquestionably a youth of talent, and acute perception of all those minute, lovely and delicate objects, both in the natural and moral world, which can only be discerned by minds of superior mould. We beg leave however to suggest for consideration, whether he does not take too much pains to appear obscure—whether he does not too studiously delight in dressing up his thoughts in that mysterious and eccentric form of expression, which has detracted so much from the usefulness and popularity of men of genius. But for this fault, Coleridge, we doubt not would have ranked among the greatest bards of the present age. As it is, his reputation is only seen through the dim shadows of twilight—it does not blaze with the splendor of open day. Simplicity, unaffected simplicity, is the great rule in composition, as it is in the manners and conduct of life; and he who departs from it, does so at the hazard of not securing the just reward of his merits.