The Southern Literary Messenger, Volume I., 1834-35

Original Literary Notices.

AMIR KHAN, AND OTHER POEMS: the remains of Lucretia Maria Davidson, who died at Plattsburg, N. Y. August 27, 1825, aged 16 years and 11 months. With a Biographical Sketch, by Samuel F. B. Morse, A. M. New York: G. & C. & H. Carvill—1829.

We believe that this little volume, although published several years since, has but recently found its way to this side of the Potomac. Our attention has been attracted towards it by some notice of its contents in the Richmond Enquirer, whose principal editor we will do him the justice to say, has always manifested a lively interest in the productions of American genius. Mr. Ritchie is entitled to the more praise for his efforts in behalf of domestic literature, not only on account of his active and absorbing labors as a political writer, but because, also, we are sorry to add, the subject is one in which southern taste and intelligence have, for the most part, evinced but little concern. It is but too common for our leading men, professional as well as others, to affect something like a sneer at every native attempt in the walks of polite literature. Their example, we fear, has imparted a tone to the reading circles generally, and has served to beget that inordinate appetite for every thing foreign which has either obtained a fashionable currency abroad—or occasioned some excitement in that busy, noisy, gossipping class of society, whose merit is so vastly disproportioned to its influence. We have often known the sentimental trash and profane ribaldry of some popular Englishman eagerly sought after, and as eagerly devoured, whilst the pure and genuine productions of native genius have remained neglected on the bookseller's shelf, and quietly surrendered to oblivion. That this does, in some measure, proceed from an unenlightened and uncultivated public taste, we do not doubt; but it is much more the fruit of a slavish and inglorious dependence upon accidental circumstances,—a spiritless, and we might add, a cowardly apprehension of appearing singular—that is, of not chiming in with the shallow, vain and heartless tittle-tattle of the self-styled beau monde and corps elite of society. It is not the fault of the bookseller. The undertaker, who prepares the coffin and shroud, has as little participation in the death of the person for whom they are intended. The bookseller is but the caterer of the public palate; and if that palate is diseased, he is no more answerable for it, than the milliners and mantuamakers who are busily occupied in deforming the fairest part of creation, are censurable for the false taste of their customers.

We did not intend by the foregoing observations, to bespeak any extraordinary share of public favor towards the poems of Miss Davidson. What we have said in relation to the neglect of American talent, was designed to have a general and not particular application. Notwithstanding we hear that the poems before us have been extravagantly praised beyond the Atlantic, we are not so intoxicated by a little foreign flattery as to believe that they are destined to immortality. Some may console themselves, if they please, for the whole ocean of obloquy and contempt cast upon us from the British press, by regarding with favorable eyes this little rivulet of praise bestowed upon the juvenile efforts of a lovely and interesting girl. We are not of that number; we shall endeavor to decide upon the work before us, unbiassed by trans-atlantic opinion—and we shall render precisely that judgment which we would have done if that opinion had been pronounced in the usual tone of British arrogance and contumely.

Regarding the volume before us as a literary production merely, and supposing it to have been the offspring of a matured mind, we do not think that it possesses any considerable merit. Estimating its contents, however, as the first lispings of a child of genius,—as furnishing proofs of the existence of that ethereal spark which, under favorable circumstances, might have been kindled into a brilliant flame, we do consider it as altogether extraordinary. We do not say that these poems are equal to the early productions of Chatterton, Henry Kirke White, or Dermody, those prodigies of precocious talent,—but we entertain not a shadow of doubt if Miss Davidson had lived, that she would have ranked among the highest of her own sex in poetical excellence. In forming a correct judgment upon the offspring of her muse, her youth is not alone to be considered. She had also to contend with those remorseless enemies of mental effort,—poverty, sorrow, and ill health; and it is, perhaps, a circumstance in her history not unworthy of notice, that possessing a high degree of personal beauty, and being on that account the object of much admiration and attention, she did not suffer herself to be withdrawn from the purer sources of intellectual enjoyment. Love indeed, seems to have found no permanent lodgment in her heart. It might have stolen to the threshold and infused some of its gentle influences, but she seems to have been resolved to cast off the silken cord before it was too firmly bound around her. Thus in the piece which bears the title of Cupid's Bower, written in her fifteenth year.

"Am I in fairy land?—or tell me, pray,
To what love-lighted bower I've found my way?
Sure luckless wight was never more beguiled
In woodland maze, or closely-tangled wild.

And is this Cupid's realm?—if so, good by!
Cupid, and Cupid's votaries, I fly;
No offering to his altar do I bring,
No bleeding heart—or hymeneal ring."

The longest, most elaborate, and perhaps best of her poems, is that which gives the principal title to the volume. Amir Khan is a simple oriental tale, written in her sixteenth year, and is worked up with surprising power of imagery for one so young. The most fastidious and critical reader could not fail to be struck with its resemblance to the gorgeous magnificence of Lalla Rookh; a resemblance, to be sure, which no more implies equality of merit than does the brilliancy of the mock diamond establish its value with that of the real gem. We give the opening passage from the poem as a fair specimen of the rest, and from which the reader may form a correct opinion of the style and composition.

"Brightly o'er spire, and dome, and tower,
The pale moon shone at midnight hour,
While all beneath her smile of light
Was resting there in calm delight;
Evening with robe of stars appears,
Bright as repentant Peri's tears,
And o'er her turban's fleecy fold
Night's crescent streamed its rays of gold,
While every chrystal cloud of heaven,
Bowed as it passed the queen of even.
Beneath—calm Cashmere's lovely vale
Breathed perfumes to the sighing gale;
The amaranth and tuberose,
Convolvulus in deep repose,
Bent to each breeze which swept their bed,
Or scarcely kissed the dew and fled;
The bulbul, with his lay of love;
Sang mid the stillness of the grove;
The gulnare blushed a deeper hue,
And trembling shed a shower of dew,
Which perfumed e'er it kiss'd the ground,
Each zephyr's pinion hovering round.
The lofty plane-tree's haughty brow
Glitter'd beneath the moon's pale glow;
And wide the plantain's arms were spread,
The guardian of its native bed."

We venture to assert that if Thomas Moore had written Amir Khan at the age of sixteen, there are thousands by whom it would be read and admired who would hardly condescend to open Miss Davidson's volume; and that too, without being able to assign any other or better reason than that Moore is a distinguished and popular British bard, whereas the other was an obscure country girl, who lived and died in the state of New York.

The lines to the memory of Henry Kirk White, which were composed at thirteen, are much superior to many elegiac stanzas written by poets of some reputation at twenty-five or thirty. Of all her minor pieces however, those which were written at fifteen seem to us to possess the greatest merit, if we except the Coquette, a very spirited production in imitation of the Scottish dialect, composed in her fourteenth year. The following are the two first stanzas:

"I hae nae sleep, I hae nae rest,
My Ellen's lost for aye;
My heart is sair and much distressed,
I surely soon must die.

I canna think o' wark at a',
My eyes still wander far,
I see her neck like driven snaw,
I see her flaxen hair."

The image of the snowy neck and flaxen hair of the beautiful but unkind fair one, presented so strongly to the rejected lover, as to prevent his performing his daily work, strikes us as highly poetical and true to nature, as we doubt not all genuine lovers will testify. Burns wrote many, very many verses, which were much superior, but Burns wrote some also, which were not so good. Ruth's answer to Naomi, must be allowed, we think, to be a good paraphrase of that most affecting passage of scripture. We must give the whole to the reader.

"Entreat me not, I must not hear,
Mark but this sorrow-beaming tear;
Thy answer's written deeply now
On this warm cheek and clouded brow;
'Tis gleaming o'er this eye of sadness
Which only near thee sparkles gladness.

The hearts most dear to us are gone,
And thou and I are left alone;
Where'er thou wanderest, I will go,
I'll follow thee through joy or wo;
Shouldst thou to other countries fly,
Where'er thou lodgest, there will I.

Thy people shall my people be,
And to thy God, I'll bend the knee;
Whither thou fliest, will I fly,
And where thou diest, I will die;
And the same sod which pillows thee
Shall freshly, sweetly bloom for me."¹

[¹ We subjoin the passage of scripture paraphrased by Miss Davidson, and also another paraphrase which has been ascribed to the Hon. R. H. Wilde of Georgia. Our readers can compare and decide between them.

"And Ruth said, entreat me not to leave thee, or to return from following after thee: for whither thou goest, I will go: and where thou lodgest, I will lodge: thy people shall be my people, and thy God my God. Where thou diest will I die, and there will I be buried."

Nay, do not ask!—entreat not—no!
O no! I will not leave thy side,
Whither thou goest—I will go—
Where thou abidest—I'll abide.

Through life—in death—my soul to thine
Shall cleave as fond, as first it clave—
Thy home—thy people—shall be mine—
Thy God my God—thy grave my grave.]

We present an extract from a piece called "Woman's Love," as a specimen of Miss Davidson's management of blank verse, a form of poetic diction which Montgomery thinks the most unmanageable of any. The fair authoress might not herself have experienced that holy passion, but she certainly knew how deep and imperishable it is when once planted in the female bosom.

"Love is
A beautiful feeling in a woman's heart,
When felt, as only woman love can feel!
Pure, as the snow-fall, when its latest shower
Sinks on spring-flowers; deep, as a cave-locked fountain;
And changeless as the cypress' green leaves;
And like them, sad!—She nourished
Fond hopes and sweet anxieties, and fed
A passion unconfessed, till he she loved
Was wedded to another. Then she grew
Moody and melancholy; one alone
Had power to soothe her in her wanderings,
Her gentle sister;—but that sister died,
And the unhappy girl was left alone,
A maniac. She would wander far, and shunned
Her own accustomed dwelling; and her haunt
Was that dead sister's grave: and that to her
Was as a home."

We have italicised such of the lines as we think breathe the air and spirit of genuine poetry. The snow flake has often been used as the emblem of purity; but the snow flake reposing on beds of vernal blossoms, is to us original as well as highly poetical. The "cave-locked fountain" too, with its lone, deep, and quiet waters, seems to us to express with force that profound and melancholy sentiment which the writer intended to illustrate.

We shall conclude our selections with the one addressed to a lady whose singing resembled that of an absent sister.

"Oh! touch the chord yet once again,
Nor chide me, though I weep the while;
Believe me, that deep, seraph strain
Bore with it memory's moonlight smile.

It murmured of an absent friend;
The voice, the air, 'twas all her own;
And hers those wild, sweet notes, which blend
In one mild, murmuring, touching tone.

And days and months have darkly passed,
Since last I listened to her lay;
And sorrow's cloud its shade hath cast,
Since then, across my weary way.

Yet still the strain comes sweet and clear,
Like seraph-whispers, lightly breathing;
Hush, busy memory,—sorrow's tear
Will blight the garland thou art wreathing.

'Tis sweet, though sad—yes, I will stay,
I cannot tear myself away.
I thank thee, lady, for the strain,
The tempest of my soul is still;
Then touch the chord yet once again,
For thou canst calm the storm at will."

We beg the reader to bear it in mind that these are the productions of a young, inexperienced, and almost uneducated girl, and that they are not to be tried by the tests which are usually applied to more matured efforts. In conclusion, we will say in the language of Dr. Morse, her biographer, "that her defects will be perceived to be those of youth and inexperience, while in invention, and in that mysterious power of exciting deep interest, of enchaining the attention, and keeping it alive to the end of the story; in that adaptation of the measure to the sentiment, and in the sudden change of measure to suit a sudden change of sentiment, in wild and romantic description, and in the congruity of the accompaniments to her characters, all conceived with great purity and delicacy, she will be allowed to have discovered uncommon maturity of mind; and her friends to have been warranted in forming very high expectations of her future distinction."

We are pleased to learn that it is in contemplation by Miss Davidson's friends, to publish a new and improved edition of her works, with various additions from her unpublished manuscripts.

THE PILGRIMS OF THE RHINE; by the author of Pelham, Eugene Aram, &c. New York: Published by Harper & Brothers—1834.

Mr. Bulwer's novels have acquired no inconsiderable degree of popularity in the circles of fashionable literature. Whether they are destined to survive the temporary admiration bestowed on them, is at this time a subject of speculation; but in the next generation, will become matter of fact. We are among those who think that they will quietly glide into that oblivious ocean, which is destined to receive a large proportion of the ever multiplying productions of this prolific age. We do not say this either, in disparagement of many of those labors of the mind which even intrinsic excellence cannot save from perishing. Great and valuable as some of them undoubtedly are, such is the onward march of intellect, and such the endless creations which fancy and genius are continually rearing for man's gratification and improvement,—to say nothing of the almost illimitable progress of science, that posterity will find no room for the thousandth part of our present stock of literature. We do not anticipate that Mr. Bulwer's writings will be among the select few which will outlive the general wreck; because, unless we are much mistaken, he is one of those authors who write more for present than permanent fame. This is emphatically the age of great moral and mental excitability. It is a period of incessant restlessness and activity; and he who would expect to command much attention, must seek to gratify the appetite for novelty and variety, even at the expense of good sense, sound morality and correct taste. We incline to the opinion that Mr. Bulwer has forgotten, that society in the aggregate, frequently resembles the individual man; and that whilst it often experiences paroxysms of unnatural excitement, there are long lucid intervals of returning reason and sober simplicity. The volume before us is not calculated, we think, to leave any lasting impression, either of good or evil. Whilst it certainly abounds in felicitous language, and contains passages of fine sentiment, it is grossly defective both in plot and machinery; and if it were worth while to descend to minute criticism, it would be easy to point out many examples of false morality as well as false taste. Mr. Bulwer seems to have been aware, in his preface, that he was making a bold experiment upon popular favor, and accordingly he claims the reader's "indulgence for the superstitions he has incorporated with his tale—for the floridity of his style, and the redundance of his descriptions." As if somewhat apprehensive, however, that that indulgence might not possibly be granted, he assures the public that "various reasons have conspired to make this the work, above all others that he has written, which has given him the most delight (though not unmixed with melancholy,) in producing, and in which his mind, for the time, has been the most completely absorbed." A popular writer, thus bespeaking the public approbation in advance, by stamping his last production with his own decided preference, could not expect to be treated uncourteously by his readers. In the first sentence of the second chapter too, the author declares as follows: "I wish only for such readers as give themselves heart and soul up to me: if they begin to cavil, I have done with them; their fancy should put itself entirely under my management." Now whether it proceeded from a spirit of perverseness or not, we cannot tell; but we resolved when we read this passage, neither to surrender our heart, fancy or judgment to Mr. Bulwer's guidance. On the contrary, we determined to read the book and decide on its merits, in the spirit of perfect impartiality and entire independence. The story upon which the work is founded—at least that part of it which treats of mortal affairs, consists of the simplest materials. Trevylyan, a gentleman of "a wild, resolute and active nature, who had been thrown upon the world at the age of sixteen, and had passed his youth in alternate pleasure, travel and solitary study," falls in love with Gertrude Vane, a young girl, described as "the loveliest person that ever dawned upon a poet's vision." A fatal disease, "consumption in its most beautiful shape," had set its seal upon her, and yet Trevylyan loved with an irresistible passion. With the consent, rather than by the advice of the faculty and her friends, the young and interesting invalid, attended by her father and lover, goes upon a pilgrimage up the beautiful and romantic Rhine. From that pilgrimage she never returned; but in one of those wild and legendary spots which impart such interest to that celebrated stream—a spot selected by herself as her last grassy couch, she breathed out her gentle spirit, and quietly sunk to her lasting repose. Such is the simple thread upon which Mr. Bulwer has contrived to weave a variety of German legends and fairy fictions, having no necessary connection with the main story, except that the principal episodes were suggested by some remarkable scenery or some castellated ruin on the banks of the Rhine. The underplot, if it may be so called, or the adventures of Nymphalin, queen of the fairies, and her Elfin court, is altogether unworthy of Mr. Bulwer's genius. It is rather a bungling attempt to revive the exploded machinery of supernatural agency; and we moreover do not perceive any possible connection or sympathy between these imaginary beings and the principal personages of the tale. Apart from other considerations, the actions and conversations of these roving elves are destitute of all interest and attraction; and nothing in our eyes appears more preposterous than the introduction of the Lord Treasurer into Queen Nymphalin's train. We always thought that the fairies were mischievous spirits—sometimes a little wicked, and often very benevolent; but never before did we suspect that this ideal population of the world of fancy, manifested any concern in the dry subject of finance, or in the unfairy-like establishment of a regular exchequer. The story of "The Wooing of Master Fox," related for the amusement of Queen Nymphalin, making every allowance for the author's design in introducing it, is to our taste unutterably disgusting and ridiculous.

We have no objection to the occasional use of the fairy superstition in tales of fancy; no more than we have to the frequent classical allusions to heathen mythology which distinguish the best writers. They are pleasing and beautiful illustrations, when happily introduced. But we do protest against lifting the veil from the world of imagination, and investing its shadowy beings with the common place attributes, the vulgar actions and frivolous dialogue of mere mortals. It is in truth dispelling the illusion in which the spirit of poetry delights to indulge. It takes away the most powerful charm from the cool and sequestered grotto, the shady grove or moonlit bower. It vulgarises the world of romance, and reduces the region of mind to a level with brute sense, or even coarser matter.

Condemning as we do, in perfect good faith, these exceptionable portions of Mr. Bulwer's volume, we take pleasure in awarding due praise to some of the legends and stories introduced into the work, and which are for the most part related by Trevylyan for the amusement of Gertrude. Of these, we give the decided preference to "The Brothers" and "The Maid of Malines." The latter indeed, strikes us as so finished an illustration of some of the noble qualities of woman kind, that we have determined to present it entire for the benefit of our readers.