In a notice of Brainard's Poems, we took occasion to show
that the common use of a certain instrument (rhythm) had tended,
more than aught else, to confound humorous verse with poetry. The
observation is now recalled to corroborate what we have just said in
respect to the vast effect or force of melody in itself- an effect
which could elevate into even momentary confusion with the highest
efforts of mind, compositions such as are the greater number of
satires or burlesques.
Of the poets who have appeared most fully instinct with the
principles now developed, we may mention Keats as the most remarkable.
He is the sole British poet who has never erred in his themes.
Beauty is always his aim.
We have thus shown our ground of objection to the general themes
of Professor Longfellow. In common with all who claim the sacred title
of poet, he should limit his endeavours to the creation of novel moods
of beauty, in form, in colour, in sound, in sentiment; for over all
this wide range has the poetry of words dominion. To what the world
terms prose may be safely and properly left all else. The artist who
doubts of his thesis, may always resolve his doubt by the single
question- "might not this matter be as well or better handled in
prose?" If it may, then is it no subject for the Muse. In the
general acceptation of the term Beauty we are content to rest, being
careful only to suggest that, in our peculiar views, it must be
understood as inclusive of the sublime.
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