: The Southern Literary Messenger Vol. I. No. 10 June 1835 by Various Sparhawk Edward Vernon Editor - American literature 19th century Periodicals

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this one ballad stands alone--the father of English heroic poetry.

"Res gestae, regumque, ducumque, et tristia bella, Quo scribi possent numero monstravit Homerus."

But he has attained excellence, without following the path which Homer "has shown;" and without using Homer's "numbers," has sung a great song.

But Surrey added more. His love for the fair haired Lady Geraldine sent him "knight-erranting" among the romances and romantic grounds of Italy; and he is said to have been so well acquainted with the Tuscan tongue, and so well read in Italian authors, as to be a marvel, even in the days when Venice was the Paris of young English noblemen, and the Appenines their Switzerland. It may be as well to quote a few lines from Surrey's poems, as he has the reputation of having introduced much of the southern softness into English verse.

"I never sawe my ladie laye apart Her cornet blacke, in colde, nor yet in heate, Sith first she knew my griefe was growen so greate, But on her face, mine eies mote never rest: Yet synce I knew I dyd her love and serve, Her golden tresses--cladd allway with blacke, Her smyling lookes, that had thus evermore, And that restraynes which I desire so sore: So doth this cornet governe me alacke! In sommer sunne, in winter's breathe, a frost Wherebye the lyghte of her fayre lookes I lost."

Sir Philip Sidney's poetry was not without the faults of his time. It abounds with conceits and strained similes, and the versification is occasionally cramped. Nevertheless, many of his sonnets contain beautiful images and deep sentiment, though a little impoverished by this alloy. But Sidney's reputation was won upon crimson fields, as well as upon poetic mountains. He wooed Bellona, as well as the Muses; and his last great act, when dying at Zutphen, is of itself enough to justify the high admiration of his countrymen.

The ancients were particularly fond of allegory. A field as vast as could be desired was here opened for their poets. The whole heathen mythology was a splendid allegory. Virgil's AEnead may be called an allegory. As Eneas conducted the remnant of his countrymen from the Trojan ruins to a new settlement in Italy, so Augustus, from the ruins of the aristocracy, modelled a completely new government. I have not leisure to pursue the parallel. Homer has in the Odyssey many allegorical fables; as for instance those of Circe and Calypso. In imitation of these, Virgil introduced his Dido. Going farther on we find the love of allegory increasing in Italy. Ariosto's Alcina and the Armida of Tasso are "copies from the copy" of Virgil; and coming on English ground we find Spenser stealing from Tasso. As for the kinds of poetry in which allegory should be used--In an epic, persons of the "imaginary life," such as Virgil's

Mr. Pope's remarks in the preface to his pastorals are evidently correct. "The simplest states of life and feeling best suit this style of poetry." Spenser's early pastorals, written

"amongst the cooly shade Of the green alders by the Mulla's shore,"

But the Fairy Queen is his wonderful work. The elegant and sometimes magnificent beauty of that lay, where the "great bard"

"In sage and solemn tunes hath sung Of tourneys and of trophies hung, Of forests and enchantments drear, Where more is meant than meets the ear"--

has elevated his name to the high place which it fills with such brilliancy. Every poetic palate will relish "the grapes of hidden meaning so abundant under the vine-leaves of his exquisite allegory."

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