Page:The Atlantic Monthly, Volume 18.djvu/260

252 passed too deeply into the popular heart to be affected for good or ill by criticism,—and we have only to express our love of it. Simple, pathetic, and real, it early made the poet a reputation and friends in every home visited by the newspapers, in which it has been printed over and over again. It is but one of various poems by Mr. Aldrich which enjoy a sort of perennial fame, and for which we have come to look in the papers, as we do for certain flowers in the fields, at their proper season. In the middle of June, when the beauty of earth and sky drives one to despair, we know that it is time to find the delicately sensuous and pensive little poem "Nameless Pain" in all our exchanges; and later, when the summer is subject to sudden thunderstorms, we look out for "Before the Rain," and "After the Rain." It is very high praise of these charming lyrics, that they have thus associated themselves with a common feeling for certain aspects of nature, and we confess that we recur to them with greater pleasure than we find in some of our poet's more ambitious efforts. Indeed, we think Mr. Aldrich's fame destined to gain very little from his recent poems, "Judith," "Garnaut Hall," and "Pythagoras"; for when it comes to be decided what is his and what is his period's, these poems cannot be justly awarded to him. To borrow a figure from the polygamic usages of our Mormon brethren, they are sealed to Mr. Aldrich for time and to Mr. Tennyson for eternity. They contain many fine and original passages: the "Judith" contains some very grand ones, but they must bear the penalty of the error common to all our younger poets,—the error of an imitation more or less unconscious. It is to the example of the dangerous poet named that Mr. Aldrich evidently owes, among other minor blemishes, a mouse which does some mischief in his verses. It is a wainscot mouse, and a blood-relation, we believe, to the very mouse that shrieked behind the mouldering wainscot in the lonely moated grange. This mouse of Mr. Aldrich's appears twice in a brief lyric called "December"; in "Garnaut Hall," she makes

and immediately afterwards drags the poet over the precipice of anti-climax:—

A little of Costar's well-known exterminator would rid Mr. Aldrich of this rascal rodent. Perhaps, when the mouse is disposed of, the poet will use some other word than torso to describe a headless, but not limbless body, and will relieve Agnes Vail of either her shield or her buckler, since she can hardly need both.

We have always thought Mr. Aldrich's "Palabras Cariñosas" among the most delicious and winning that he has spoken, and nearly all of his earlier poems please us; but on the whole it seems to us that his finest is his latest poem, "Friar Jerome's Beautiful Book"; for it is original in conception and expression, and noble and elevated in feeling, with all our poet's wonted artistic grace and felicity of diction. We think it also a visible growth from what was strong and individual in his style, before he allowed himself to be so deeply influenced by study of one whose flower indeed becomes a weed in the garden of another.

As a people, we are so used to policeman-like severity or snobbish ridicule from European criticism, that we hardly know what to make of the attentions of a Frenchman who is not an Inspector Javert, or of an Englishman who is not a Commercial Traveller. M. Laugel eulogizes us without the least patronage in his manner; Mr. Goldwin Smith praises us with those reserves which enhance the value of applause. We are ourselves accustomed to deal generously and approvingly with the facts of our civilization, but our pride in them falls short of M. Laugel's; and our most sanguine faith in the national future is not more cordial than Mr. Goldwin Smith's.

The diverse methods in which these writers discuss the same aspects and events of our history are characteristic and interesting, and the difference in spirit