Atlantic Monthly by - (a court of thorns and roses ebook free .TXT) 📕

SONNET.

The Maple puts her corals on in May, While loitering frosts about the lowlands cling, To be in tune with what the robins sing, Plastering new log-huts ‘mid her branches gray; But when the Autumn southward turns away, Then in her veins burns most the blood of Spring, And every leaf, intensely blossoming, Makes the year’s sunset pale the set of day. O Youth unprescient, were it only so With trees you plant, and in whose shade reclined, Thinking their drifting blooms Fate’s coldest snow, You carve dear names upon the faithful rind, Nor in that vernal stem the cross foreknow That Age may bear, silent, yet unresigned!

THE ROUND TABLE.

It was said long ago, that poets, like canaries, must be starved in order to keep them in good voice, and, in the palmy days of Grub Street, an editor’s table was nothing grander than his own knee, on which, in his airy garret, he unrolled his paper-parcel of dinner, happy if its wrapping were a sheet from Brown’s last poem, and not his own. Now an editorial table seems to mean a board of green cloth at which literary broken-victuals are served out with no carving but that of the editorial scissors.

La Maga has her table, too, and at fitting times invites to it her various Eminent Hands. It is a round table,—that is, rounded by the principle of rotation,—for how could she settle points of precedence with the august heads of her various Departments without danger of the dinner’s growing cold? Substantial dinners are eaten thereat with Homeric appetite, nor, though impletus venter non vult studere libenter, are the visits of the Muse unknown. At these feasts no tyranny of speech-making is allowed, but the bonbons are all wrapped in original copies of verses by various contributors, which, having served their festive turn, become the property of the guests. Reporters are not admitted, for the eating is not done for inspection, like that of the hapless inmates of a menagerie; but La Maga herself sometimes brings away in her pocket a stanza or so which she esteems worthy of a more general communication. Last month she thus sequestered the following Farewell addressed by Holmes to the historian of William the Silent.

Yes, we knew we must lose him,—though friendship may claim To blend her green leaves with the laurels of fame; Though fondly, at parting, we call him our own, ‘Tis the whisper of love when the bugle has blown.

As the rider that rests with the spur on his heel,— As the guardsman that sleeps in his corselet of steel,— As the archer that stands with his shaft on the string, He stoops from his toil to the garland we bring.

What pictures yet slumber unborn in his loom Till their warriors shall breathe and their beauties shall bloom, While the tapestry lengthens the life-glowing dyes That caught from our sunsets the stain of their skies!

In the alcoves of death, in the charnels of time, Where flit the gaunt spectres of passion and crime, There are triumphs untold, there are martyrs unsung, There are heroes yet silent to speak with his tongue!

Let us hear the proud story that time has bequeathed From lips that are warm with the freedom they breathed! Let him summon its tyrants, and tell us their doom, Though he sweep the black past like Van Tromp with his broom!

*

The stream flashes by, for the west-winds awake On pampas, on prairie, o’er mountain and lake, To bathe the swift bark, like a sea-girdled shrine, With incense they stole from the rose and the pine.

So fill a bright cup with the sunlight that gushed When the dead summer’s jewels were trampled and crushed: THE TRUE KNIGHT OF LEARNING,—the world holds him dear,— Love bless him, Joy crown him, God speed his career!

Aug. 8, 1857.

LITERARY NOTICES.

The Greyson Letters, Selections from the Correspondence of R.E.H. GREYSON, ESQ. Edited by HENRY ROGERS, Author of “The Eclipse of Faith,” &c. Boston: Gould & Lincoln. 1 vol. 12mo.

We are assured in the American preface to this volume, that while it exhibits Henry Rogers as the peer of Butler as a reasoner, it also shows him not inferior to Lamb as a humorist. Much as we are inclined to echo the critical decisions of prefaces, we regret being unable to indorse this confident statement. In amplitude, vigor, and fertility of thought we must think the author of the “Analogy” holds some slight advantages over the author of “The Eclipse of Faith”; and we seriously doubt if the lovers of Charles Lamb will be likely to rush into mirthful ecstasies over the humor of “The Greyson Letters.” But we suppose that Henry Rogers himself would make no pretensions to the rank of a writer, or reasoner, or humorist of the first class. Far from being a great man, he occasionally slips into the prejudices of quite a little one, and he never wholly puts off the pedagogue and puts on the philosopher. Without much original force of nature, and never unmistakably stamping his own image and superscription either on his arguments or his language, he is still a well-trained theological scholar, a skilful logician, and one of that class of elegant writers who neither offend the taste nor kindle the soul. As a controversialist on themes which are now engaging popular attention, he grasps the questions he discusses at one or two removes from their centre and heart, where they pass out of the sphere of ideas and pass into the region of opinions; and in this region he is candid to the extent of his perceptions, quick to detect the weak points in the formal statements of his opponents, and, without touching the vitalities of the matter in controversy, is always hailed as victor by those who agree with him, but rarely convinces the doubters and deniers he aims to convert. “The Greyson Letters” are evidently the work of an amiable, learned, accomplished, and able man, interested in a wide variety of themes which especially attract the attention of thinkers, but in his treatment of them indicating a lack of deep and wide experience, and of that close, searching thought which pierces to the core of a subject, and broods patiently over its living elements and relations, before it assumes to take them as materials for argumentation. This broad grasp of premises, which implies a penetrating and interpretative as well as dialectic mind, is the distinguishing difference between a great reasoner and an able logician. In regard to the form of the work, we can see no reason why its essays should be thrown into the shape of letters. The epistolary spirit vanishes almost as soon as “Dear Sir” and “Dear Madam” create its expectation. The author’s mind is grave by nature and culture, and is sprightly, as it seems to us, by compulsion and laborious levity. His nature has none of the richness and juiciness, none of the instinctive soul of humor, which must have vent in the ludicrous. Occasionally an adversary or adverse dogma is demolished with excellent logic, and then comes a dismal grin or chuckle at the feat, which hardly reminds us of the sly, shy smile of Addison, or the frolic intelligence which laughs in the victorious eyes of Pascal. Still, with all abatements, “The Greyson Letters” make a book well worthy of being read, contain much admirable matter and suggestive thought, and might be allowed to pass muster among good books of the second class, did they not come before us with professions that seemed to invite the tests applicable to the first.

*

Essays in Biography and Criticism. By PETER BAYNE, M.A., Author of “The Christian Life, Social and Individual,” &c. First Series. Boston: Gould & Lincoln. 1 vol. 12mo.

This volume contains essays on De Quincey, Tennyson and his Teachers, Mrs. Barrett Browning, Glimpses of Recent British Art, John Ruskin, Hugh Miller, The Modern Novel, and Currer Bell. Though of various degrees of merit, they all evince careful study and patient thought, and are written with considerable brilliancy and eloquence. As a critic, Mr. Bayne is generally candid, conscientious, and intelligent, with occasional remarks evincing delicacy and depth of thought; but his perceptions are not always trustworthy, and his judgments are frequently of doubtful soundness. Thus when we are told that Wordsworth owed his fame to his moral elevation rather than to his “intellectual or æsthetic capacities,” and that there is hardly an instance of the highest creative imagination in the whole range of his poetry,—when we are informed that since Shakspeare no one “has laid bare the burning heart of passion” so perfectly as Byron,—and when the question is triumphantly asked, “Where, out of Shakspeare, can we find such a series of female portraits as those” in Bulwer’s “Rienzi,”—we feel inclined, in this association of Byron and Bulwer with Shakspeare, and this oversight of Wordsworth’s claim to represent the highest original elements in the English poetry of the present century, to dispute Mr. Bayne’s right to assume the chair of interpretative criticism. But still there are so many examples in his book of fine and true perception, and so evident a sympathy with intellectual excellence and moral beauty, that we do not feel disposed to quarrel with him on account of the apparent erroneousness of some of his separate opinions. Besides, his work is written in a style which will recommend it to a class of readers who are not especially interested in the subjects of which it treats, and it cannot fail to stimulate in them a desire to know more of the great writers of the century.

*

White Lies. A Novel. By Charles Reade. Boston: Ticknor & Fields. 1 vol. 12mo.

The early chapters of this novel lack the brisk movement, the sparkling compactness, the stinging surprises of Mr. Reade’s usual style, but he kindles and condenses as he proceeds. As a whole, the work compares favorabiy with his most brilliant compositions. He is a writer difficult to criticize, because his defects are pleasing defects. Dogmatism is commonly offensive, and Mr. Reade’s dogmatism is of the most uncompromising, not to say insulting character; yet it is exhibited in connection with insight so sure and vivid, that we pardon the positiveness of the assertion for the truth of what is asserted. Then he has a way of forcing Nature, much against her wish, to be epigrammatic,—of producing startling effects by artifices almost theatrical; and though his devices are obvious, they are more than forgiven for the genuine power and real naturalness behind the rhetorical masquerade. Other men’s freaks and eccentricities lead to the distortion of truth and the confusion of relations, but Mr. Reade has freaks of wisdom and eccentricities of practical sagacity. Occasionally he has a stroke of observation that comes like a flash of lightning, blasting and shattering in an instant a