The Southern Literary Messenger, Vol. II., No. 5, April, 1836

Examples of such ardent aspirations after the _grande et immensum_, are frequent among our best poets. Let the following from Lord Byron suffice. In this will plainly appear that _agony_ in giving birth to the sublime conceptions of his imagination, which metaphysicians say is a sure mark of lofty genius. After describing a terrific thunderstorm in language suited to the majesty of his subject, he proceeds:

"Could I embody and unbosom now That which is most within me,--could I wreak My thoughts upon expression, and thus throw Soul, heart, mind, passions, feelings, strong or weak, All that I would have sought, and all I seek, Bear, know, feel, and yet breathe--into _one_ word, And that one word were lightning, I would speak; But as it is, I live and die unheard, With a most voiceless thought, sheathing it as a sword."

The same burning enthusiasm prevails throughout the odes of Collins, whose works breathe as much the soul of poetry as is shown by any bard of Greece or Rome.

This trait of genius often betrays young writers into a style of affected grandiloquence, which their feebleness of thought makes doubly ridiculous. Yet this pompous style of writing is often a genuine mark of superior powers. Quintilian thinks extravagance a more favorable sign in a very young writer, than a more sedate simplicity; for his maturer judgment may be safely left to prune such luxuriance, but where the soil is barren by nature, no art of cultivation will produce a vigorous growth. Scarcely any writer was ever guilty of more extravagance than Lucan; but his poem was written in the earliest spring of manhood, and shows such strength of genius as would probably have made him equal to Homer, had his rising powers been suffered to reach their utmost elevation, and receive the corrections of his finished taste.

But here it may not be amiss to mention that a style of such affected pomp is tolerable only in young writers. When the fancy is fresh and vigorous, and the judgment unformed, redundance in words and ornament may be pardoned; but it is a sure evidence of feeble genius to continue the same style in riper age. Hortensius, Cicero's rival, was in his youth admired for his florid oratory; but in after life was justly despised for the same childish taste. The most elegant writers always select the simplest words. Learning should appear in the subject, but never in the language. Even the powers of Johnson were too weak to preserve his ponderous learned style from ridicule. It may be assumed as a universal rule, that when two words equally express the same meaning, the shortest and simplest is always the best.

When the enthusiasm of poetry is joined with a correct and chastened judgment, the utmost fastidiousness in composition is often produced. To this may be ascribed the small number and extent of writings left by some of our best authors. "I am tormented with a desire to write better than I can," said Robert Hall in a letter to a friend: and yet his works are said by Dugald Stewart (himself an admirable writer in point of style) to combine the beauties of Addison, Johnson and Burke, without their defects, and to contain the purest specimens of the English language. And of Pascal too, it is told that he spent much time in revising and correcting what to others appeared from the first almost too perfect for amendment. Gray, who had genius to become a pre-eminent poet, was never content with the polish which repeated revisions were able to give his works. The conclusion of Boileau's second Satire is so appropriate to my purpose, that I will give it in full.

"Un sot, en écrivant, fait tout avec plaisir: Il n'a point en ses vers l'embarras de choisir; Et toujours amoureux de ce qu'il vient d'écrire, Ravi d'étonnement, en soi-meme il s'admire. Mais un esprit sublime en vain veut s'élever A ce degré parfait qu'il tache de trouver; Et, toujours mécontent de ce qu'il vient de faire, Il plait a tout le monde, et ne saurait se plaire."

And in a note on this passage, "Voila, s'écria Molière, en interrompant son ami a cet endroit, voila la plus belle vérité que vous ayez jamais dite. Je ne suis pas du nombre de ces esprits sublimes dont vous parlez; mais tel que je suis, je n'ai rien fait en ma vie dont je sois veritablement content." Horace too speaks much the same language in several places.

Of Shakspeare, the greatest poetical genius probably which the world ever produced, our ignorance of his life permits us to speak only from his works. But the fact that he scarcely ever condescended to revise his plays, and took no care to preserve them from oblivion, is ample proof how little his mind was satisfied with its own sublime productions. Shakspeare is an illustrious example of transcendent genius joined with unfinished taste. He had to depend entirely on his own resources, for the best models he had access to were not more faultless than his own writings, while they fell infinitely below him in every positive excellence. His works, in parts, show sublimity, delicacy, and grace of poetry, unequalled perhaps by the productions of any writer before or since. Yet his warmest admirers are often scandalized by the strange conceited witticisms and other evidences of bad taste so abundant in his writings. Still, the Bard of Avon's works will ever rank among the noblest efforts of dramatic poetry.

Poetical genius is always united with a love of {300} sympathy. This is the reason why men of warm imaginations so seldom fully relish a poem when read alone. Robert Hall, in one remarkable passage, says, that the most ardent admirer of poetry or oratory would not consent to witness their grandest display on the sole condition that he should never reveal his emotions.

It is also generally, and perhaps always, joined with a thirst of fame. This feeling impels the poet to make arduous exertions. It is the passion which, as metaphysicians say, is implanted in the human breast as an incentive to deeds beneficial to society. Whether it be in its nature culpable or not, is perhaps a difficult question. Quintilian says that if it be not itself a virtue, it is certainly often the cause of virtuous actions; and this assertion few will venture to question. And at all events, this passion has ever been a characteristic of the greatest men. Few have risen to eminence without its aid. It existed largely in Byron. In verses written shortly after the publication of his English Bards and Scotch Reviewers, he says:

"The fire in the cavern of Ætna concealed, Still mantles unseen in its secret recess; At length in a volume terrific revealed, No torrent can quench it, no bounds can repress.

Oh, thus the desire in my bosom for fame Bids me live but to hope for posterity's praise: Could I soar with the Phœnix on pinions of flame, With him I could wish to expire in the blaze."

How happy for the world had his genius led him to seek applause in works designed for the good of mankind--in recommending religion and virtue by the melody of his verse and the influence of his life, instead of adorning vice with the beauties of poetry!

When the thirst of glory is disappointed, the aspirant is apt to become a gloomy misanthropist, who envies others the reputation which he cannot attain. Much of the sullen melancholy shown by men of genius may doubtless be ascribed to the perverted operation of this principle. The portion of fame which falls to their share is not sufficient to satisfy their wishes.

But after all, the most brilliant genius will avail nothing without study. No illiterate man ever gained renown as a writer. Some have become great without the aid of foreign learning; but all have read and thought. No man is born a poet in the ordinary sense of the word. Whatever his own conceptions may be, he cannot reveal them without the use of words; and this knowledge can be acquired only by diligent study. In all time it has been true that they who have read and thought most, have made the greatest writers, whatever line of science or literature they pursued. Or perhaps there ought to be exceptions made in cases where the mind has been misdirected, as among the schoolmen, who spent their lives in perplexing themselves and others with subtle questions which it was of no use to solve. But however fruitless such labors as wasted their energies may be, this at least is certain, that without study no man will become great, whatever be his natural talents. Even such towering geniuses as Homer, Aristotle, Cicero, Virgil, Shakspeare, Bacon, Newton, and Byron were not exempt from this necessity.

To conclude: Locke has sufficiently proved that all our ideas are originally derived from the senses. These first impressions form the basis of all human knowledge. General conclusions drawn from comparison of such sensations are abstract thought. Reasoning and reflection on these abstract ideas thus obtained, constitute speculations of still greater refinement. Comparing and combining ideas in the mind, for the purpose of discovering relations as they exist in nature, is argument. Such comparisons and combinations made for the purpose of pleasing, are works of fancy, or poetry. He then who most carefully preserves his impressions, most attentively considers and revolves his ideas, and most closely and accurately compares them for the purpose of discovering such combinations as nature has made, or of combining anew the separate images into such grand and beautiful fabrics as may suit the taste of fancy, is likely to make the best philosopher or poet, as his attention is mainly turned to one or the other. Some difference in natural faculties no doubt exists, but this is probably small.[1]

[Footnote 1: Of course no Editor is responsible for the opinions of his contributors--but in the present instance we feel called upon in self-defence to disclaim any belief in the doctrines advanced--and, moreover, to enter a solemn protest against them. The Essay on Genius is well written and we therefore admitted it. While many of its assumptions are indisputable--some we think are not to be sustained--and the inferences, generally, lag far behind the spirit of the age. Our correspondent is evidently no phrenologist.--_Ed._]

A LOAN TO THE MESSENGER.

No. II.

Here is a scrap from another of my poetical friends, which has never seen the light, and which I will lend to the readers of the Messenger for the month. I give it as it came to me, apology and all, and doubt not it will be well received by those to whom I now dedicate it.

J. F. O.

_My Dear O_,--Instead of writing something new for your collection, I copy a few lines from a bagatelle, written a few days ago to a woman who is worthy of better verses: and, as they will never be published, of course, they may answer your purpose.

Very truly yours, WILLIS.

_Boston, August, 1831_.

TO ------.

Lady! the fate that made me poor, Forgot to take away my heart,-- And 'tis not easy to immure The burning soul, and live apart: To meet the wildering touch of beauty, And hear her voice,--and think of _duty_: To check a thought of burning passion, When trembling on the lip like flame,-- And talk indifferently of fashion,-- A language choked till it is tame! Oh God! I know not why I'm gifted With feeling, if I may not love! I know not why my cup is lifted So far my thirsting lips above! My look on thine unchidden lingers, My hand retains thy dewy fingers, Thy smile, thy glance, thy glorious tone For hours and hours are mine alone: {301} Yet must my fervor back, and wait Till solitude can set it free,-- Yet must I not forget that fate Has locked my heart, and lost the key; These very rhymes I'm weaving now Condemn me for a broken vow!

N. P. W.

N. B. My friend soon recovered from this sad stroke, and he has since recovered the "key," and locked within the fate-closed casket a pearl, I learn, of great price. So much for a sophomore's Anacreontics!

If this "loan" prove acceptable, I have a choice one in store for May.

O.

SOME ANCIENT GREEK AUTHORS.

CHRONOLOGICALLY ARRANGED.

Whether Homer or Hesiod lived first has never been determined. Herodotus supposes them both to have lived at the same time, viz. B.C. 884. The Arun. marbles make them contemporaries, but place their era B.C. 907. Besides the Iliad and Odyssey, Homer wrote, according to some, a poem upon Amphiaraus' expedition against Thebes; Also, the Phoceis, the Cercopes, the small Iliad, the Epiciclides, the Batrachomyomachia, and some Hymns to the Gods.

_Hesiod_ wrote a poem on Agriculture, called The Works and Days, also Theogony, which is valuable for its account of the Gods of antiquity. His Shield of Hercules, and some others, are now lost.

_Archilocus_ wrote elegies, satires, odes and epigrams, and was the inventor of Iambics; these are by some ascribed to Epodes. Some fragments of his poetry remain. He is supposed to have lived B.C. 742.

_Alcæus_ is the inventor of Alcaic verses. Of all his works, nothing remains but a few fragments, found in Athenæus. B.C. 600.

He was contemporary with the famous Sappho. She was the inventress of the Sapphic verse, and had composed nine books in lyric verses, besides epigrams, elegies, &c. Of all these, two pieces alone remain, and a few fragments quoted by Didymus.

_Theognis_ of Megara wrote several poems, of which only a few sentences are now extant, quoted by Plato and some others. B.C. 548.

_Simonides_ wrote elegies, epigrams and dramatical pieces; also Epic poems--one on Cambyses, King of Persia, &c. One of his most famous compositions, The Lamentations, a beautiful fragment, is still extant.

_Thespis_, supposed to be the inventor of Tragedy, lived about this time.

_Anacreon_. His odes are thought to be still extant, but very few of them can be truly ascribed to Anacreon.

_Æschylus_ is the first who introduced two actors on the stage, and clothed them with suitable dresses. He likewise removed murder from the eyes of the spectator. He wrote 90 tragedies, of which 7 are extant, viz. Prometheus Vinctus, Septem Duces contra Thebas, Persæ, Agamemnon, Chöephoræ, Eumenides and Supplices.

_Pindar_ was his contemporary. Most of Pindar's works have perished. He had written some hymns to the Gods,--poems in honor of Apollo,--dithyrambics to Bacchus, and odes on several victories obtained at the Olympic, Isthmian, Pythian and Nemean games. Of all these the odes alone remain.

_Sophocles_ first increased the number of actors to three, and added the decorations of painted scenery. He composed 120 tragedies--7 only of which are extant, viz. Ajax, Electra, Œdipus, Antigone, The Trachniæ, Philoctetes and Œdipus at Colonos. B.C. 454.

_Plato_, the comic poet, called the prince of the middle comedy, and of whose pieces some fragments remain, flourished about this time.

Also, _Aristarchus_, the tragic poet of Tegea, who composed 70 tragedies, one of which was translated into Latin verse by Ennius.

_Herodotus_ of Halicarnassus, wrote a history of the Wars of the Greeks against the Persians from the age of Cyrus to the battle of Mycale, including an account of the most celebrated nations in the world. Besides this, he had written a history of Assyria and Arabia which is not extant. There is a life of Homer generally attributed to him, but doubtfully. B.C. 445.

_Euripides_, who lived at this time, wrote 75 or, as some say, 92 tragedies, of which only 19 are extant. He was the rival of Sophocles.

About the commencement of the Peloponnesian war, flourished many celebrated authors, among whom was _Aristophanes_. He wrote 54 comedies, of which only 11 are extant.

Also, _Cratinus_ and _Eupolis_, who with Aristophanes, are mentioned by Horace--they were celebrated for their comic writings. B.C. 431.

Also, the mathematician and astrologer, _Meton_, who, in a book called Enneadecaterides, endeavored to adjust the course of the sun and moon, and maintained that the solar and lunar years could regularly begin from the same point in the heavens. This is called the Metonic cycle.

_Thucydides_ flourished at this time. He wrote a history of the important events which happened during his command. This history is continued only to the 21st year of the war. It has been divided into eight books--the last of which is supposed to have been written by his daughters. It is imperfect.

Also _Hippocrates_;--few of his writings remain.

_Lysias_, the orator, wrote, according to Plutarch, no less than 425 orations--of these 34 are extant. B.C. 404.

Contemporary with him was _Agatho_, an Athenian tragic and comic poet--there is now nothing extant of his works, except quotations in Aristotle and others.

_Xenophon_, whose works are well known, lived about the year 398 before Christ.

_Ctesias_, who wrote a history of the Assyrians and Persians, which Justin and Diodorus have prefered to that of Herodotus, lived also at this time. Some fragments of his compositions have been preserved.

The works of _Plato_ are numerous--they are all written, except twelve letters, in the form of a dialogue. 388.

Of the 64 orations of Isæus, 10 are extant. Demosthenes imitated him. 377.

About 32 of the orations of _Isocrates_, who lived at the same time, remain.

All the compositions of the historian _Theopompus_ are lost, except a few fragments quoted by ancient writers. 354.

{302} _Ephorus_ lived in his time--he wrote a history commencing with the return of the Heraclidæ and ending with the 20th year of Philip of Macedon. It was in 30 books and is frequently quoted by Strabo and others.

Almost all the writings of _Aristotle_ are extant. Diogenes Laertes has given a catalogue of them. His Art of Poetry has been imitated by Horace.

_Æschines_, his contemporary, wrote 5 orations and 9 epistles. The orations alone are extant. 340.

_Demosthenes_ was his contemporary and rival.

_Theophrastus_ composed many books and treatises--Diogenes enumerates 200. Of these 20 are extant--among which are a history of stones--treatises on plants, on the winds, signs of fair weather, &c.--also, his Characters, a moral treatise. 320.

_Menander_ was his pupil; lie was called prince of the new comedy. Only a few fragments remain of 108 comedies which he wrote.

_Philemon_ was contemporary with these two. The fragments of some of his comedies are printed with those of Menander.

_Megasthenes_ lived about this time. He wrote about the Indians and other oriental nations. His history is often quoted by the ancients. There is a work now extant which passes for his composition, but which is spurious.

_Epicurus_ also lived now. He wrote 300 volumes according to Diogenes.

_Chrysippus_ indeed, rivalled him in the number, but not in the merit of his productions. They were contemporaries. 280.

_Bion_, the pastoral poet, whose Idyllia are so celebrated, lived about this time. It is probable that _Moschus_, also a pastoral poet, was his contemporary--from the affection with which he mentions him.

_Theocritus_ distinguished himself by his poetical compositions, of which 30 Idyllia and some epigrams remain--also, a ludicrous poem called Syrinx. Virgil imitated him. B.C. 280.

_Aratus_ flourished now; he wrote a poem on Astronomy, also some hymns and epigrams.

_Lycophron_ also lived at this time. The titles of 20 of his tragedies are preserved. There is extant a strange work of this poet, call Cassandra, or Alexandra,--it contains about 1500 verses, from whose obscurity the author has been named Tenebrosus.

In the Anthology is preserved a most beautiful hymn to Jupiter, written by _Cleanthes_,--of whose writings none except this is preserved.

_Manetho_ lived about this period,--an Egyptian who wrote, in the Greek language, a history of Egypt. The writers of the Universal History suspect some mistake in the passage of Eusebius which contains an account of this history.