[page 91:]

THIS work combines the rich embellishments of the very best of the race of Annuals, with a far higher claim to notice than any of them in its strictly literary department. If we regard this volume as the only one to appear, the title will convey no idea of the design — but we are promised a continuation. The whole, if we comprehend, will contain specimens of all the principal poets and artists of Great Britain. In the present instance we have the poets as far as Prior, including a period of about four hundred years, with extracts from Chaucer, Lydgate, James I, Hawes, Carew, Quarles, Shirley, Habington, Lovelace, Wyatt, Surrey, Sackville, Vere, Gascoigne, Raleigh, Spenser, Sidney, Brooke, Southwell, Daniel, Drayton, Shakspeare, Walton, Davies, Donne, Jonson, Corbet, Phineas Fletcher, Giles Fletcher, Drummond, Wither, Carew, Browne, Herrick, Quarles, Herbert, Davenant. Waller, Milton, Suckling, Butler, Crashaw, Denham, Cowley, Marvell, Dryden, Roscommon, Dorset, Sedley, Rochester, Sheffield, and Prior. Of these, all the autographs have been obtained and are published collectively at the end of the book, with the exception of the nine first mentioned. The work is illustrated by fifty-three engravings, each by different artists. A sea-side group by Harding, and L’Allegro and II Penseroso by Parris, are particularly good — but all are excellent.

We had prepared some observations in regard to the [page 92:] book itself, (over which we have been poring for many days with intense delight) and in regard more especially to the character and justice of that deep feeling with which most men, having claim to taste, are wont to look, even through a veil of exceedingly troublesome obscurity and antiquity, upon the writings of the elder poets and dramatists of Great Britain. But we have been so nearly anticipated in our design by a paper in the American Monthly Magazine for July, that what we should now say, and say con amore, would be looked upon as little better than a rifacimento of the article we mention. At the same time it would be an ill deed to remodel our thoughts, and proceed to think falsely, for the mere purpose of proving that we can think originally. In this dilemma then, we will merely express our general accordance in the opinions of the Northern Magazine, copy, of its critique, a portion which seems to embody, in little compass, much of what we have said less forcibly and more diffusely, and add some few additional observations which have lately suggested themselves.

Notwithstanding the direct truth of what has been here so well advanced, it cannot, we think, be a matter of doubt with any reflecting mind, that at least one-third of the reverence, or of the affection, with which we regard the elder poets of Great Britain, should be credited to what is, in itself, a thing [[apart]] from poetry — we mean to the simple love of the antique — and that again a third of even the proper poetic sentiment inspired by these writings should be ascribed to a fact which, while it has a strict connection with poetry in the abstract, and also with the particular poems in question, must not be looked upon as a merit appertaining to the writers of the poems. Almost every devout reader of the old English bards, if demanded his opinion of their productions, would mention vaguely, yet with perfect sincerity, a sense of dreamy, wild, indefinite, and he would perhaps say, undefinable delight. Upon being required to point out the source of this so shadowy pleasure, he would be apt to speak of the quaint in phraseology and of the grotesque in rhythm. And this quaintness and grotesqueness are, as we have elsewhere endeavored to show, very powerful, and if well managed, very admissible adjuncts to Ideality. But in the present instance they arise independently of the author's will, and are matters altogether apart from his intention. The American Monthly [[American Monthly]] has forcibly painted the general character of the old English Muse. She was a maid, frank, guileless, and perfectly sincere, and although very learned at times, still very learned without art. No general error evinces a more thorough confusion of ideas than the error of supposing Donne and Cowley metaphysical in the sense wherein Wordsworth and Coleridge are so. [page 95:]

With the two former ethics were the end — with the two latter the means. The poet of the Creation wished, by highly artificial verse, to inculcate what he considered moral truth — he of the Auncient Mariner to infuse the Poetic Sentiment through channels suggested by mental analysis. The one finished by complete failure what he commenced in the grossest misconception — the other[[,]] by a path which could not possibly lead him astray, arrived at a certainty and intensity of triumph which is not the less brilliant and glorious because concentrated among the very few who have the power to perceive it. It will now be seen that even the “metaphysical verse” of Cowley is no more than evidence of the straight-forward simplicity and single-heartedness of the man. And he was in all this but a type of his school [[school]] — for we may as well designate in this way the entire class of writers whose poems are bound up in the volume before us, and throughout all of whom runs a very perceptible general character. They used but little art in composition. Their writings sprang immediately from the soul — and partook intensely of the nature of that soul. It is not difficult to perceive the tendency of this glorious abandon. To elevate immeasurably all the energies of mind — but again — so to mingle the greatest possible fire, force, delicacy, and all good things, with the lowest possible bathos, baldness, and utter imbecility, as to render it not a matter of doubt, but of certainty, that the average results of mind in such a school, will be found inferior to those results in one (ceteris paribus) more artificial: Such, we think, is the view of the older English Poetry, in which a very calm examination will bear us out. The quaintness in manner of which we were just speaking, is an adventitious [page 96:] advantage. It formed no portion of the poet's intention. Words and their rhythm have varied. Verses which affect us to-day with a vivid delight, and which [[delight]] in some instances, may be traced to this one source of grotesqueness and to none other, must have worn in the days of their construction an air of a very common-place nature. This is no argument, it will be said, against the poems now. Certainly not — we mean it for the poets then. The notion of power, of excessive power, in the English antique writers should be put in its proper light. This is all we desire to see done.

We cannot bring ourselves to believe that the selections made use of in the Book of Gems, are such as will impart to a poetical reader the highest possible idea of the beauty of the school. Better extracts might be made. Yet if the intention were merely to show the character of the school the attempt is entirely successful. There are long passages now before us of the most utterly despicable trash, with no merit whatever beyond their simple antiquity. And it is almost needless to say that there are many passages too of a glorious strength — a radiant loveliness, making the blood tingle in our veins as we peruse them. The criticisms of the Editor do not please us in a great degree. He seems to have fallen into the common cant in such cases. In one instance the American Monthly accords with him in an unjust opinion touching some verses by Sir Henry Wotton, on the Queen of Bohemia, daughter of James I, and about which it is said that “there are few finer things in our language.” Our readers will agree with us, we believe, that this praise is exaggerated. We quote the lines in full. [page 97:]

In such lines we can perceive not one of those higher attributes of the Muse which belong to her under all circumstances and throughout all time. Here every thing is art, naked or but awkwardly concealed. No prepossession for the mere antique (for in this case we can imagine no other prepossession) should induce us to dignify with the sacred name of Poesy, a series such as this, of elaborate and threadbare compliments, (threadbare even at the time of their composition) stitched apparently together, without fancy, without plausibility, without adaptation of parts — and it is needless to add, without a jot of imagination. [page 98:]

We have been much delighted with the Shepherd's Hunting, by Wither — a poem partaking, in a strange degree, of the peculiarities of the Penseroso. Speaking of Poesy he says —

But these verses, however good, do not bear with them much of the general character of the English antique. Something more of this will be found in the following lines by Corbet — besides a rich vein of humor and sarcasm. [page 99:]

The Maiden lamenting for her Fawn, by Marvell, is, we are pleased to see, a favorite with our friends of [page 101:] the American Monthly. Such portion of it as we now copy, we prefer not only as a specimen of the elder poets, but, in itself, as a beautiful poem, abounding in the sweetest pathos, in soft and gentle images, in the most exquisitely delicate imagination, and in truth — to any thing of its species.

How truthful an air of deep lamentation hangs here upon every gentle syllable! It pervades all. It comes over the sweet melody of the words, over the gentleness and grace which we fancy in the little maiden herself, even over the half-playful, half-petulant air with which she lingers on the beauties and good qualities of her favorite — like the cool shadow of a summer cloud over a bed of lilies and violets, and “all sweet flowers.”

The whole thing is redolent with poetry of the very loftiest order. It is positively crowded with nature and with pathos. Every line is an idea — conveying either the beauty and playfulness of the fawn, or the artlessness of the maiden, or the love of the maiden, or her admiration, or her grief, or the fragrance and sweet warmth, and perfect appropriateness of the little nest-like bed of lilies and roses, which the fawn devoured as it lay upon them, and could scarcely be distinguished from them by the once happy little damsel who went to seek her pet with an arch and rosy smile upon her face. Consider the great variety of truth and delicate thought in the few lines we have quoted — the wonder of the maiden at the fleetness of her favorite — the “little silver feet” — the fawn challenging his mistress to the race, “with a pretty skipping grace,” running on before, and then, with head turned back, awaiting her approach only to fly from it again — can we not distinctly perceive all these things? The exceeding vigor, too, and beauty of the line

which are vividly apparent when we regard the artless nature of the speaker, and the four feet of the favorite [page 103:] — one for each wind. Then the garden of “my own,” so overgrown — entangled — with lilies and roses as to be “a little wilderness” — the fawn loving to be there and there “only” — the maiden seeking it “where it should lie,” and not being able to distinguish it from the flowers until “itself would rise” — the lying among the lilies “like a bank of lilies” — the loving to “fill” itself with roses,

and these things being its “chief” delights — and then the pre-eminent beauty and naturalness of the concluding lines — whose very outrageous hyperbole and absurdity only render them the more true to nature and to propriety, when we consider the innocence, the artlessness, the enthusiasm, the passionate grief, and more passionate admiration of the bereaved child.