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A Week on the Concord and Merrimack Rivers


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What a contrast between the stern and desolate poetry of Ossian, and that of Chaucer, and even of Shakspeare and Milton, much more of Dryden, and Pope, and Gray. Our summer of English poetry, like the Greek and Latin before it, seems well advanced toward its fall, and laden wtih the fruit and foliage of the season, with bright autumnal tints, but soon the winter will scatter its myriad clustering and shading leaves, and leave only a few desolate and fibrous boughs to sustain the snow and rime, and creak in the blasts of ages. We cannot escape the impression that the Muse has stooped a little in her flight, when we come to the literature of civilized eras. Now first we hear of various ages and styles of poetry; it is pastoral, and lyric, and narrative, and didactic; but the poetry of runic monuments is of one style, and for every age. The bard has in a great measure lost the dignity and sacredness of his office. Formerly he was called a seer, but now it is thought that one man sees as much as another. He has no longer the bardic rage, and only conceives the deed, which he formerly stood ready to perform. Hosts of warriors earnest for battle could not mistake nor dispense with the ancient bard. His lays were heard in the pauses of the fight. There was no danger of his being overlooked by his contemporaries. But now the hero and the bard are of different professions. When we come to the pleasant English verse, the storms have all cleared away, and it will never thunder and lighten more. The poet has come within doors, and ex-

In ^the geography of poetry there are only four 
  or five continents—the rest, 
  range among the plenteous archepelag 
  gos,—some large islands, and countless 
  little ones.—
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the nucleus, and that it was not an iceberg;—the practical British reviewer proceeds thus, sticking to his last, "On the 22d of January, afternoon, the Expedition made the latitude of 74° 20', and by 7h P. M., having ground to

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deserve an extra allowance of grog only.

We endeavored in vain to persuade the wind to blow through the long corridor of the canal, which is here cut straight through the woods, and were obliged to resort to our old expedient of drawing by a cord. When we reached the Concord, we were forced to row once more in good earnest, with neither wind nor current in our favor, but by this time the rawness of the day had disappeared, and we experienced the warmth of a summer afternoon. This change in the weather was favorable to our contemplative mood, and disposed us to dream yet deeper at our oars, while we floated in imagination further down the stream of time, as we had floated down the stream of the Merrimack, to poets of a milder period than had engaged us in the morning. Chelmsford and Billerica appeared

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10) FRIDAY. 387

changed the forest and crag for the fireside, the hut of the Gael, and Stonehenge with its circles of stones, for the house of the Englishman. No hero stands at the door prepared to break forth into song or heroic action, but a homely Englishman, who cultivates the art of poetry. We see the comfortable fireside, and hear the crackling fagots in all the verse.

Notwithstanding the broad humanity of Chaucer, and the many social and domestic comforts which we meet with in his verse, we have to narrow our vision somewhat to consider him, as if he occupied less space in the landscape, and did not stretch over hill and valley as Ossian does. Yet, seen from the side of posterity, as the father of English poetry, preceded by a long silence or confusion in history, unenlivened by any strain of pure melody, we easily come to reverence him. Passing over the earlier continental poets, since we are bound to the pleasant archipelago of English poetry, Chaucer's is the first name after that misty weather in which Ossian lived, which can detain us long. Indeed, though he represents so different a culture and society, he may be regarded as in many respects the Homer of the English poets. Perhaps he is the youthfullest of them all. We return to him as to the purest well, the fountain furthest removed from the highway of desultory life. He is so natural and cheerful, compared with later poets, that we might almost regard him as a personification of spring. To the faithful reader his muse has given an aspect to his times, and when he is fresh from perusing him, they seem related to the golden age. It is still the poetry of youth and life, rather than of thought; and though the moral vein is obvious and constant, it has not yet banished the sun and daylight from his verse. The loftiest strains of the muse

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A true poem is distinguished not so much by a felicitous expression, or any thought it suggests, as by the atmosphere which surrounds it. Most have beauty of outline merely, and are striking as the form and bearing of a stranger, but true verses come toward us indistinctly, as the very breath of all friendliness, and envelope us in their spirit and fragrance. Much of our poetry has the very best manners, but no character. It is only an unusual precision and elasticity of speech, as if its author had taken, not an intoxicating draught, but an electuary. It has the distinct outline of sculpture, and chronicles an early hour. Under the influence of passion all men speak thus distinctly, but wrath is not always divine.

There are two classes of men called poets. The one cultivates life, the other art,—one seeks food for nutriment, the other for flavor; one satisfies hunger, the other gratifies the palate. There are two kinds of writing, both great and rare; one that of genius, or the inspired, the other of intellect and taste, in the intervals of inspiration. The former is above criticism, always correct, giving the law to criticism. It vibrates and pulsates with life forever. It is sacred, and to be read with reverence, as the works of nature are studied. There are few instances of a sustained style of this kind; perhaps every man has spoken words, but the speaker is then careless of the record. Such a style removes us out of personal relations with its author, we do not take his words on our lips, but his sense into our hearts. It is the stream of inspiration, which bubbles out, now here, now there, now in this man, now in that. It matters not through what ice-crystals it is seen, now a fountain, now the ocean stream running under ground. It is in Shakspeare, Alpheus, in Burns, Arethuse; but ever the same.— The other is self-possessed

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and wise. It is reverent of genius, and greedy of inspiration. It is conscious in the highest and the least degree. It consists with the most perfect command of the faculties. It dwells in a repose as of the desert, and objects are as distinct in it as oases or palms in the horizon of sand. The train of thought moves with subdued and measured step, like a caravan. But the pen is only an instrument in its hand, and not instinct with life, like a longer arm. It leaves a thin varnish or glaze over all its work. The works of Goethe furnish remarkable instances of the latter.

There is no just and serene criticism as yet. Nothing is considered simply as it lies in the lap of eternal beauty, but our thoughts, as well as our bodies, must be dressed after the latest fashions. Our taste is too delicate and particular. It says nay to the poet's work, but never yea to his hope. It invites him to adorn his deformities, and not to cast them off by expansion, as the tree its bark. We are a people who live in a bright light, in houses of pearl and porcelain, and drink only light wines, whose teeth are easily set on edge by the least natural sour. If we had been consulted, the backbone of the earth would have been made, not of granite, but of Bristol spar. A modern author would have died in infancy in a ruder age. But the poet is something more than a scald, "a smoother and polisher of language;" he is a Cincinnatus in literature, and occupies no west end of the world. Like the sun, he will indifferently select his rhymes, and with a liberal taste weave into his verse the planet and the stubble.

In these old books the stucco has long since crumbled away, and we read what was sculptured in the granite. They are rude and massive in their proportions, rather

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than smooth and delicate in their finish. The workers in stone polish only their chimney ornaments, but their pyramids are roughly done. There is a soberness in a rough aspect, as of unhewn granite, which addresses a depth in us, but a polished surface hits only the ball of the eye. The true finish is the work of time, and the use to which a thing is put. The elements are still polishing the pyramids. Art may varnish and gild, but it can do no more. A work of genius is rough-hewn from the first, because it anticipates the lapse of time, and has an ingrained polish, which still appears when fragments are broken off, an essential quality of its substance. Its beauty is at the same time its strength, and it breaks with a lustre.

The great poem must have the stamp of greatness as well as its essence. The reader easily goes within the shallowest contemporary poetry, and informs it with all the life and promise of the day, as the pilgrim goes within the temple, and hears the faintest strains of the worshippers; but it will have to speak to posterity, traversing these deserts, through the ruins of its outmost walls, by the grandeur and beauty of its proportions.

But here on the stream of the Concord, where we[cutaway] all the while been bodily, Nature, who is superior [cutaway] styles and ages, is now, with pensive face, composin[cutaway] poem Autumn, with which no work of man will bear[cutaway] compared.

In summer we live out of doors, and have only impulses and feelings, which are all for action, and must wait commonly for the stillness and longer nights of autumn and

winter before any thought will sub- 
  side. We are sensible that behind 
  the rustling leaves, and the stacks of 
  grain, and the bare clusters of 
  grape, there is the field of a
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