Text: Edgar Allan Poe, “William Lord” (Text-B), The Works of the Late Edgar Allan Poe — Vol III: Literati &c. (1850), 3:167-177

[page 167, continued:]

OF MR. LORD we know nothing — although we believe that he is a student at Princeton College — or perhaps a graduate, or perhaps a Professor of that institution. Of his book, lately, we have heard a good deal — that is to say, we have heard it announced in every possible variation of phrase, as “forthcoming.” For several months past, indeed, much amusement has been occasioned in the various literary coteries in New York, by the pertinacity and obviousness of an attempt made by the poet's friends to get up an anticipatory excitement in his favor. There were multitudinous dark rumors of something in posse — whispered insinuations that the sun had at length arisen or would certainly arise — that a book was really in press which would revolutionize the poetical world — [page 168:] that the MS. had been submitted to the inspection of a junto of critics, whose fiat was well understood to be Fate, (Mr. Charles King, if we remember aright, forming one of the junto) — that the work had by them been approved, and its successful reception and illimitable glorification assured. — Mr. Longfellow, in consequence, countermanding an order given his publishers (Redding & Co.,) to issue forthwith a new threepenny edition of “The Voices of the Night.” Suggestions of this nature, busily circulated in private, were, in good time, insinuated through the press, until at length the public expectation was as much on tiptoe as public expectation, in America, can ever be expected to be about so small a matter as the issue of a volume of American poems. The climax of this whole effort, however, at forestalling the critical opinion, and by far the most injudicious portion of the procedure, was the publisher's announcement of the forthcoming book as “a very remarkable volume of poems.”

The fact is, the only remarkable things about Mr. Lord's compositions, are their remarkable conceit, ignorance, impudence, platitude, stupidity and bombast: — we are sorry to say all this, but there is an old adage about the falling of the Heavens. Nor must we be misunderstood. We intend to wrong neither Mr. Lord nor our own conscience, by denying him particular merits — such as they are. His book is not altogether contemptible — although the conduct of his friends has innoculated nine-tenths of the community with the opinion that it is — but what we wish to say is, that “remarkable” is by no means the epithet to be applied, in the way of commendation, either to anything that he has yet done or to anything that he may hereafter accomplish. In a word, while he has undoubtedly given proof of a very ordinary species of talent, no man whose opinion is entitled to the slightest respect, will admit in him any indication of genius.

The “particular merits” to which, in the case of Mr. Lord, we have allusion, are merely the accidental merits of particular passages. We say accidental — because poetical merit which is not simply an accident, is very sure to be found, more or less, in a state of diffusion throughout a poem. No man is entitled to the sacred name of poet, because from 160 pages of doggrel, may be culled a few sentences of worth. Nor would the case be in any [page 169:] respect altered, if these few sentences, or even if a few passages of length, were of an excellence even supreme. For a poet is necessarily a man of genius, and with the spirit of true genius even its veriest common-places are intertwined and inextricably intertangled. When, therefore, amid a Sahara of platitude, we discover an occasional Oasis, we must not so far forget ourselves as to fancy any latent fertility in the sands. It is our purpose, however, to do the fullest justice to Mr. Lord, and we proceed at once to cull from his book whatever, in our opinion, will put in the fairest light his poetical pretensions.

And first we extract the one brief passage which aroused in us what we recognised as the Poetical Sentiment. It occurs, at page 94, in “Saint Mary's Gift,” which, although excessively unoriginal at all points, is upon the whole, the least reprehensible poem of the volume. The heroine of the story having taken a sleeping draught, after the manner of Juliet, is conveyed to a vault, (still in the same manner) and (still in the same manner) awakes in the presence of her lover, who comes to gaze on what he supposes her corpse:

At page 3, in a composition of much general eloquence, there occur a few lines of which we should not hesitate to speak enthusiastically were we not perfectly well aware that Mr. Lord has no claim to their origination:

At page 6, in the same poem, we meet, also, a passage of high merit, although sadly disfigured:

The disfiguration to which we allude, lies in the making a [page 170:] blazing altar burn merely like a blazing cresset — a simile about as forcible as would be the likening an apple to a pear, or the sea-foam to the froth on a pitcher of Burton's ale.

At page 7, still in the same poem, we find some verses which are very quotable, and will serve to make our readers understand what we mean by the eloquence of the piece:

We extract this not because we like it ourselves, but because we take it for granted that there are many who will, and that Mr. Lord himself would desire us to extract it as a specimen of his power. The “Great worshipper” is Nature. We disapprove, however, the man-milliner method in which she is tricked out, item by item. The “How beautiful!” should be understood, we fancy, as an expression of admiration on the part of Mr. Lord, for the fine idea which immediately precedes — the idea which we have italicized. It is, in fact, by no means destitute of force — but we have met it before.

At page 70, there are two stanzas addressed to “My Sister.” The first of these we cite as the best thing of equal length to be found in the book. Its conclusion is particularly noble.

We give the lines as they are: their grammatical construction is faulty; and the punctuation of the ninth line renders the sense equivocal.

Of that species of composition which comes most appropriately under the head, Drivel, we should have no trouble in selecting as many specimens as our readers could desire. We will afflict them with one or two:

Here is another

In “The Widow's Complaint” we are entertained after this fashion:

In “The New Castalia” we have it thus:

Just above this there is something about aged beldames dreaming

But in mercy to our readers we forbear.

Mr. Lord is never elevated above the dead level of his habitual platitude, by even the happiest thesis in the world. That any man could, at one and the same time, fancy himself a poet and string together as many pitiable inanities as we see here, on so truly suggestive a thesis as that of “A Lady taking the Veil,” is to our apprehension a miracle of miracles. The idea would seem to be, of itself, sufficient to elicit fire from ice — to breathe animation into the most stolid of stone. Mr. Lord winds up a dissertation on the subject by the patronizing advice —

the whole of which would read better if it were

Even with the great theme, Niagara, our poet fails in his obvious effort to work himself into a fit of inspiration. One of his poems has for title “A Hymn to Niagara” — but from beginning to end it is nothing more than a very silly “Hymn to Mr. Lord.” Instead of describing the fall (as well as any Mr. Lord could be supposed to describe it) he rants about what I feel here, and about what I did not feel there — till at last the figure of little Mr. Lord, in the shape of a great capital I gets so thoroughly in between the reader and the waterfall that not a particle of the latter is to be discovered. At one point the poet directs his soul to issue a proclamation as follows:

The “Its” has reference to the soul of Mr. Lord, who thinks it necessary to issue a proclamation to the stars and the hills and the ocean's old familiar face — lest the stars and the hills and the ocean's old familiar face should chance to be unaware of the fact that it (the soul of Mr. Lord,) admitted the waterfall to be a fine thing — but whether the cataract for the compliment, or the stars for the information, are to be considered the party chiefly obliged — that, for the life of us, we cannot tell.

From the “first impression” of the cataract, he says:

That so vast a personage as Mr. Lord should not be o’ermastered by the cataract, but feel “conscious mastery over all without” — and over all within, too — is certainly nothing more than reasonable and proper — but then he should have left the detail of these little facts to the cataract or to some other uninterested individual — even Cicero has been held to blame for a want of modesty — and although, to be sure, Cicero was not Mr. Lord, still Mr. Lord may be in danger of blame. He may have enemies (very little men!) who will pretend to deny that the “hymn of praise and gratulation” (if this is the hymn) bears at all points more than a partial resemblance to the “noise of banded angels when they shout to wake empyreal echoes.” Not that we intend to deny it — but they will: — they are very little people and they will.

We have said that the “remarkable” feature, or at least one of the “remarkable” features of this volume is its platitude — its flatness. Whenever the reader meets anything not decidedly [page 174:] flat, he may take it for granted at once, that it is stolen. When the poet speaks, for example, at page 148, of

who can fail to remember the line in the Merry Wives of Windsor.

At page 10 he says:

The same thought will be found in “Pelham,” where the author is describing the dead tree beneath which is committed the murder. The grossest plagiarisms, indeed, abound. We would have no trouble, even, in pointing out a score from our most unimportant self. At page 27, Mr. Lord says:

In a poem called “Lenore,” we have it

At page 13, Mr. Lord says of certain flowers that

We print it as printed — note of admiration and all. In a poem called “Al Aaraaf” we have it thus:

At page 57, Mr. Lord says:

There are no doubt many of our friends who will remember the commencement of our “Haunted Palace.” [page 175:]

At page 60, Mr. Lord says:

In “The Raven” we have it:

But it is folly to pursue these thefts. As to any property of our own, Mr. Lord is very cordially welcome to whatever use he can make of it. But others may not be so pacifically disposed, and the book before us might be very materially thinned and reduced in cost, by discarding from it all that belongs to Miss Barrett, Tennyson, Keats, Shelley, Proctor, Longfellow and Lowell — the very class of poets, by the way, whom Mr. William W. Lord, in his “New Castalia” the most especially affects to satirize and to contemn.

It has been rumored, we say, or rather it has been announced that Mr. Lord is a graduate or perhaps a Professor of Princeton College — but we have had much difficulty in believing anything of the kind. The pages before us are not only utterly devoid of that classicism of tone and manner — that better species of classicism which a liberal education never fails to impart — but they abound in the most outrageously vulgar violations of grammar — of prosody in its most extended sense.

Of versification, and all that appertains to it, Mr. Lord is ignorant in the extreme. We doubt if he can tell the difference between a dactyl and an anapæst. In the Heroic (Jambic) [[(Iambic)]] Pentameter he is continually introducing such verses as these: [page 176:]

Alexandrines, in the same metre, are encountered at every step — but it is very clear from the points at which they are met, and at which the cœsura [[cæsura]] is placed, that Mr. Lord has no idea of employing them as Alexandrines: — They are merely excessive, that is to say, defective Pentameters. In a word, judging by his rhythm, we might suppose that the poet could neither see, hear, nor make use of his fingers. We do not know, in America, a versifier so utterly wretched and contemptible.

His most extraordinary sins, however, are in point of English. Here is his dedication, embodied in the very first page of the book: —

“To Professor Albert B. Dod, These Poems, the offspring of an Earnest (if ineffectual) Desire towards the True and Beautiful, which were hardly my own by Paternity, when they became his by Adoption, are inscribed, with all Reverence and Affection, by the Author.”

What is anybody to make of all this? What is the meaning of a desire toward? — and is it the “True and Beautiful” or the “Poems” which were hardly Mr. Lord's “own by paternity before they became his [Mr. Dod's] by adoption.”

At page 12, we read:

At page 75, within the compass of eleven lines, we have three of the grossest blunders:

At page 79, we read:

At page 86, is something even grosser than this:

At page 129, there is a similar error:

At page 128 we find —

At page 155, we have —

Invariably Mr. Lord writes didst did'st; couldst could'st, &c. The fact is he is absurdly ignorant of the commonest principles of grammar — and the only excuse we can make to our readers for annoying them with specifications in this respect is that, without the specifications, we should never have been believed.

But enough of this folly. We are heartily tired of the book, and thoroughly disgusted with the impudence of the parties who have been aiding and abetting in thrusting it before the public. To the poet himself we have only to say — from any farther specimens of your stupidity, good Lord deliver us!

[[Footnotes]]

[The following footnote appears at the bottom of page 167:]

*  Poems. By William W. Lord. New York: D. Appleton & Co.