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that the more obvious merit of the poem consists. thousand such quotable paragraphs are interspersed through the work, and of themselves would be sufficient to insure its popularity. But we repeat that a far loftier excellence lies perdu amid the minor deficiences of "The Sinless Child."

The other poems of the volume are, as entire compositions, nearer perfection, but, in general, have less of the true poetical element. "The Acorn" is perfect as regards its construction-although, to be sure, the design is so simple that it could scarcely be marred in its execution. The idea is the old one of detailing the progress of a plant from its germ to its maturity, with the uses and general vicissitudes to which it is subjected. In this case of the acorn the vicissitudes are well imagined, and the execution is more skilfully managed—is more definite, vigorous, and pronounced than in the longer poem. The chief of the minor objections is to the rhythm, which is imperfect, vacillating awkwardly between iambuses and anapæsts, after such fashion that it is impossible to decide whether the rhythm in itself—that is, whether the general intention-is anapastical or iambic. Anapests introduced, for the relief of monotone, into an iambic rhythm, are not only admissible but commendable, if not absolutely demanded; but in this case they prevail to such an extent as to overpower the iambic intention, thus rendering the whole versification difficult of comprehension. We give, by way of example, a stanza with the scanning divisions and quantities:

They came with gifts that should life | bestow; |

The dew and the living air

The bane that should work | its deadly woe, |

The little men | had there; |

In the gray moss cup was the mil | dew brought, |

The worm in a rose- | leaf rolled, |

And many things with destruction fraught |
That its doom were quickly told. |

Here iambuses and anapæsts are so nearly balanced that the ear hesitates to receive the rhythm as either anapastic

or iambic, that is, it hesitates to receive it as anything at all. A rhythm should always be distinctly marked by its first foot-that is to say, if the design is iambic, we should commence with an unmistakeable iambus, and proceed with this foot until the ear gets fairly accustomed to it before we attempt variation; for which, indeed, there is no necessity unless for the relief of monotone. When the rhythm is in this manner thoroughly recognised, we may sparingly vary with anapasts (or if the rhythm be trochaic, with dactyls). Spondees, still more sparingly, as absolute discords, may be also introduced either in an iambic or trochaic rhythm. In common with a very large majority of American, and, indeed, of European poets, Mrs. Smith seems to be totally unacquainted with the principles of versification-by which, of course, we mean its rationale. Of technical rules on the subject there are rather more than enough in our prosodies, and from these abundant rules are deduced the abundant blunders of our poets. There is not a prosody in existence which is worth the paper on which it is printed.

Of the miscellaneous poems included in the volume before us, we greatly prefer "The Summons Answered." It has more of power, more of genuine imagination than anything written by its author. It is a story of three "bacchanals," who, on their way from the scene of their revelry, are arrested by the beckoning of a white hand from the partially unclosing door of a tomb. One of the party obeys the summons. It is the tomb of his wife. We quote the two concluding

stanzas:

"This restless life with its little fears,

Its hopes that fade so soon,
With its yearning tenderness and tears,
And the burning agony that sears-
The sun gone down at noon--

The spirit crushed to its prison wall,
Mindless of all beside-

This young Richard saw, and felt it all

Well might the dead abide!

The crimson light in the east is high,
The hoar-frost coldly gleams,

And Richard, chilled to the heart well-nigh,
Hath raised his wildered and bloodshot eye
From that long night of dreams.

He shudders to think of the reckless band
And the fearful oath he swore-

But most he thinks of the clay-cold hand,
That opened the old tomb door.

With the quotation of these really noble passagesnoble, because full of the truest poetic energy—we take leave of the fair authoress. She is entitled, beyond doubt, to all, and perhaps to much more than the commendation she has received. Her faults are among the peccadilloes, and her merits among the sterling excellences of the muse.

J. G. C. BRAINARD.

AMONG all the pioneers of American literature, whether prose or poetical, there is not one whose productions have not been much overrated by his countrymen. But this fact is more especially obvious in respect to such of these pioneers as are no longer living,-nor is it a fact of so deeply transcendental a nature as only to be accounted for by the Emersons and Alcotts. In the first place, we have but to consider that gratitude, surprise, and a species of hyper-patriotic triumph have been blended, and finally confounded with mere admiration, or appreciation, in respect to the labours of our earlier writers; and, in the second place, that Death has thrown his customary veil of the sacred over these commingled feelings, forbidding them, in a measure, to be now separated or subjected to analysis. "In speaking of the deceased," says that excellent old English Moralist, James Puckle, in his "Gray Cap for a Green Head," "so fold up your discourse that their virtues may be outwardly shown, while their vices are wrapped up in silence." And with somewhat too inconsiderate a promptitude have we followed the spirit of this quaint advice. The mass of American

readers have been, hitherto, in no frame of mind to view with calmness, and to discuss with discrimination, the true claims of the few who were first in convincing the mother country that her sons were not all brainless, as, in the plenitude of her arrogance, she at one period half affected and half wished to believe; and where any of these few have departed from among us, the difficulty of bringing their pretensions to the test of a proper criticism has been enhanced in a very remarkable degree. But even as concerns the living, is there any one so blind as not to see that Mr. Cooper, for example, owes much, and that Mr. Paulding owes all of his reputation as a novelist, to his early occupation of the field? Is there any one so dull as not to know that fictions which neither Mr. Paulding nor Mr. Cooper could have written, are daily published by native authors without attracting more of commendation than can be crammed into a hack newspaper paragraph? And, again, is there any one so prejudiced as not to acknowledge that all this is because there is no longer either reason or wit in the query,—" Who reads an American book?" It is not because we lack the talent in which the days of Mr. Paulding exulted, but because such talent has shown itself to be common. It is not because we have no Mr. Coopers; but because it has been demonstrated that we might, at any moment, have as many Mr. Coopers as we please. In fact, we are now strong in our own resources. We have at length arrived at that epoch when our literature may and must stand on its own merits, or fall through its own defects. We have snapped asunder the leading-strings of our British Grandmamma, and, better still, we have survived the first hours of our novel freedom,—the first licentious hours of a hobbledehoy braggadocio and swagger. At last, then, we are in a condition to be criticised-even more, to be neglected; and the journalist is no longer in danger of being impeached for lèse majesté of the Democratic Spirit who shall assert, with sufficient humility, that we have committed an error in mistaking "Kettell's Specimens" for the Pentateuch, or Joseph Rodman Drake for Apollo.

The case of this latter gentleman is one which well

illustrates what we have been saying. We believe it was about 1835 that Mr. Dearborn republished the "Culprit Fay," which then, as at the period of its original issue, was belauded by the universal American press, in a manner which must have appeared ludicrous-not to speak very plainly in the eyes of all unprejudiced observers. With a curiosity much excited by comments at once so grandiloquent and so general, we procured and read the poem. What we found it we ventured to express distinctly, and at some length, in the pages of the "Southern Messenger." It is a well-versified and sufficiently fluent composition, without high merit of any kind. Its defects are gross and superabundant. Its plot and conduct, considered in reference to its scene, are absurd. Its originality is none at all. Its imagination (and this was the great feature insisted upon by its admirers),-is but a "counterfeit presentment,' —but the shadow of the shade of that lofty quality which is, in fact, the soul of the Poetic Sentiment-but a driveling effort to be fanciful—an effort resulting in a species of hopskip-and-go-merry rhodomontade, which the uninitiated feel it a duty to call ideality, and to admire as such, while lost in surprise at the impossibility of performing at least the latter half of the duty with anything like satisfaction to themselves. And all this we not only asserted, but without difficulty proved. Dr. Drake has written some beautiful poems, but the "Culprit Fay" is not of them. We neither expected to hear any dissent from our opinions, nor did hear any. On the contrary, the approving voice of every critic in the country whose dictum we had been accustomed to respect, was to us a sufficient assurance that we had not been very grossly in the wrong. In fact, the public taste was then approaching the right. The truth indeed had not as yet made itself heard; but we had reached a point at which it had but to be plainly and boldly put to be at least tacitly admitted.

This habit of apotheosising our literary pioneers was a most indiscriminating one. Upon all who wrote, the applause was plastered with an impartiality really refreshing. Of course, the system favoured the dunces at the