Collected Works of Poe by Edgar Allan Poe (the red fox clan .txt) 📖

her home?

Who was her father? Who was her mother? Had she a sister? Had she a brother? Or was there a dearer one Still, and a nearer one Yet, than all other?

Alas! for the rarity Of Christian charity Under the sun! Oh! it was pitiful! Near a whole city full, Home she had none.

Sisterly, brotherly, Fatherly, motherly, Feelings had changed: Love, by harsh evidence, Thrown from its eminence; Even God's providence Seeming estranged.

Take her up tenderly; Lift her with care; Fashion'd so slenderly, Young, and so fair! Ere her limbs frigidly Stiffen too rigidly, Decently, -- kindly, -- Smooth and compose them; And her eyes, close them, Staring so blindly!

Dreadfully staring Through muddy impurity, As when with the daring Last look of despairing Fixed on futurity.

Perhishing gloomily, Spurred by contumely, Cold inhumanity, Burning insanity, Into her rest, -- Cross her hands humbly, As if praying dumbly, Over her breast! Owning her weakness, Her evil behavior, And leaving, with meekness, Her sins to her Saviour!

The vigor of this poem is no less remarkable than its pathos. The versification although carrying the fanciful to the very verge of the fantastic, is nevertheless admirably adapted to the wild insanity which is the thesis of the poem. Among the minor poems of Lord Byron is one which has never received from the critics the praise which it undoubtedly deserves:--

Though the day of my destiny's over, And the star of my fate bath declined Thy soft heart refused to discover The faults which so many could find; Though thy soul with my grief was acquainted, It shrunk not to share it with me, And the love which my spirit bath painted It never bath found but in thee.

Then when nature around me is smiling, The last smile which answers to mine, I do not believe it beguiling, Because it reminds me of shine; And when winds are at war with the ocean, As the breasts I believed in with me, If their billows excite an emotion, It is that they bear me from thee.

Though the rock of my last hope is shivered, And its fragments are sunk in the wave, Though I feel that my soul is delivered To pain--it shall not be its slave. There is many a pang to pursue me: They may crush, but they shall not contemn-- They may torture, but shall not subdue me-- 'Tis of _thee _that I think--not of them.

Though human, thou didst not deceive me, Though woman, thou didst not forsake, Though loved, thou forborest to grieve me, Though slandered, thou never couldst shake, -- Though trusted, thou didst not disclaim me, Though parted, it was not to fly, Though watchful, 'twas not to defame me, Nor mute, that the world might belie.

Yet I blame not the world, nor despise it, Nor the war of the many with one-- If my soul was not fitted to prize it, 'Twas folly not sooner to shun: And if dearly that error bath cost me, And more than I once could foresee, I have found that whatever it lost me, It could not deprive me of thee.

From the wreck of the past, which bath perished, Thus much I at least may recall, It bath taught me that which I most cherished Deserved to be dearest of all: In the desert a fountain is springing, In the wide waste there still is a tree, And a bird in the solitude singing, Which speaks to my spirit of thee.

Although the rhythm here is one of the most difficult, the versification could scarcely be improved. No nobler _theme _ever engaged the pen of poet. It is the soul-elevating idea that no man can consider himself entitled to complain of Fate while in his adversity he still retains the unwavering love of woman. From Alfred Tennyson, although in perfect sincerity I regard him as the noblest poet that ever lived, I have left myself time to cite only a very brief specimen. I call him, and _think _him the noblest of poets, _not _because the impressions he produces are at _all _times the most profound-- _not _because the poetical excitement which he induces is at _all _times the most intense--but because it is at all times the most ethereal--in other words, the most elevating and most pure. No poet is so little of the earth, earthy. What I am about to read is from his last long poem, "The Princess":-- Tears, idle tears, I know not what they mean, Tears from the depth of some divine despair Rise in the heart, and gather to the eyes, In looking on the happy Autumn fields, And thinking of the days that are no more. Fresh as the first beam glittering on a sail, That brings our friends up from the underworld, Sad as the last which reddens over one That sinks with all we love below the verge; So sad, so fresh, the days that are no more. Ah, sad and strange as in dark summer dawns The earliest pipe of half-awaken'd birds To dying ears, when unto dying eyes The casement slowly grows a glimmering square; So sad, so strange, the days that are no more. Dear as remember'd kisses after death, And sweet as those by hopeless fancy feign'd On lips that are for others; deep as love, Deep as first love, and wild with all regret; O Death in Life, the days that are no more. Thus, although in a very cursory and imperfect manner, I have endeavored to convey to you my conception of the Poetic Principle. It has been my purpose to suggest that, while this principle itself is strictly and simply the Human Aspiration for Supernal Beauty, the manifestation of the Principle is always found in _an elevating excitement of the soul, _quite independent of that passion which is the intoxication of the Heart, or of that truth which is the satisfaction of the Reason. For in regard to passion, alas! its tendency is to degrade rather than to elevate the Soul. Love, on the contrary--Love--the true, the divine Eros--the Uranian as distinguished from the Diona~an Venus--is unquestionably the purest and truest of all poetical themes. And in regard to Truth, if, to be sure, through the attainment of a truth we are led to perceive a harmony where none was apparent before, we experience at once the true poetical effect; but this effect is referable to the harmony alone, and not in the least degree to the truth which merely served to render the harmony manifest. We shall reach, however, more immediately a distinct conception of what the true Poetry is, by mere reference to a few of the simple elements which induce in the Poet himself the poetical effect He recognizes the ambrosia which nourishes his soul in the bright orbs that shine in Heaven--in the volutes of the flower--in the clustering of low shrubberies--in the waving of the grain-fields--in the slanting of tall eastern trees -- in the blue distance of mountains -- in the grouping of clouds-- in the twinkling of half-hidden brooks--in the gleaming of silver rivers --in the repose of sequestered lakes--in the star-mirroring depths of lonely wells. He perceives it in the songs of birds--in the harp of Bolos --in the sighing of the night-wind--in the repining voice of the forest-- in the surf that complains to the shore--in the fresh breath of the woods --in the scent of the violet--in the voluptuous perfume of the hyacinth--in the suggestive odour that comes to him at eventide from far distant undiscovered islands, over dim oceans, illimitable and unexplored. He owns it in all noble thoughts--in all unworldly motives--in all holy impulses--in all chivalrous, generous, and self-sacrificing deeds. He feels it in the beauty of woman--in the grace of her step--in the lustre of her eye--in the melody of her voice--in her soft laughter, in her sigh--in the harmony of the rustling of her robes. He deeply feels it in her winning endearments--in her burning enthusiasms--in her gentle charities--in her meek and devotional endurances--but above all--ah, far above all, he kneels to it--he worships it in the faith, in the purity, in the strength, in the altogether divine majesty--of her love. Let me conclude by -- the recitation of yet another brief poem -- one very different in character from any that I have before quoted. It is by Motherwell, and is called "The Song of the Cavalier." With our modern and altogether rational ideas of the absurdity and impiety of warfare, we are not precisely in that frame of mind best adapted to sympathize with the sentiments, and thus to appreciate the real excellence of the poem. To do this fully we must identify ourselves in fancy with the soul of the old cavalier: --

Then mounte! then mounte, brave gallants all, And don your helmes amaine: Deathe's couriers. Fame and Honor call No shrewish teares shall fill your eye When the sword-hilt's in our hand, -- Heart-whole we'll part, and no whit sighe For the fayrest of the land; Let piping swaine, and craven wight, Thus weepe and poling crye, Our business is like men to fight.

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OLD ENGLISH POETRY *

IT should not be doubted that at least one-third of the affection with which we regard the elder poets of Great Britain should be-attributed 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 their writings should be ascribed to a fact which, while it has strict connection with poetry in the abstract, and with the old British poems themselves, should not be looked upon as a merit appertaining to the authors of the poems. Almost every devout admirer of the old 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, indefinable delight; on being required to point out the source of this so shadowy pleasure, he would be apt to speak of the quaint in phraseology and in general handling. This quaintness is, in fact, a very powerful adjunct to ideality, but in the case in question it arises independently of the author's will, and is altogether apart from his intention. Words and their rhythm have varied. Verses which affect us to-day with a vivid delight, and which delight, in many instances, may be traced to the one source, quaintness, must have worn in the days of their construction, a very commonplace air. This is, of course, no argument against the poems now-we mean it only as against the poets _thew. _There is a growing desire to overrate them. The old English muse was frank, guileless, sincere, and although very learned, still 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. 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 supposed to be moral truth-the poet of the "Ancient Mariner"