Had he been a New Englander, it is probable that he would have been ranked as the first of American lyrists by that magnanimous cabal which has so long controlled the destinies of American Letters, in conducting the thing called "The North American Review." The poem just cited is especially beautiful; but the poetic elevation which it induces we must refer chiefly to our sympathy in the poet's enthusiasm.
Excellence, in a poem especially, may be considered in the light of an axiom, which need only be properly put, to become self-evident.
Among the "Melodies" of Thomas Moore is one whose distinguished character as a poem proper seems to have been singularly left out of view.
In the compass of the English language I can call to mind no poem more pro.
The vigor of this poem is no less remarkable than its pathos.
What I am about to read is from his last long poem, "The Princess":--
Spenser's 'Faerie Queene' is not only one of the longest but one of the greatest of English poems; it is also very characteristically Elizabethan.
Few poems more clearly illustrate the variety of influences from which most great literary works result.
It has been adopted in no small number of the greatest subsequent English poems, including such various ones as Burns' 'Cotter's Saturday Night,' Byron's 'Childe Harold,' Keats' 'Eve of St.
Uniting the genuineness of the popular ballad with the finer sense of conscious artistic poetry, these poems possess a charm different, though in an only half definable way, from that of any other lyrics.
In England as elsewhere most of these poems were inevitably of mediocre quality and imitative in substance, ringing the changes with wearisome iteration on a minimum of ideas, often with the most extravagant use of conceits.
The last decade of the sixteenth century presents also, in the poems of John Donne,