poem is divided into two parts, and is nineteen | dently the production of an earlier period. The pages, or about eight hundred lines in length. 'Bridal," is a fragment which bears all the distinguishing marks of the poet's happiest manner. The succeeding extract will convey but an imperfect idea of the graceful and touching picture he has ably sketched. The next article in the volume is a fragment, entitled, "The Neglected," the subject of which is explained in the following lines from Percival, which are placed at its head: "He comes not-I have watched the moon go down, It is one of those gentle and touching pictures, which the poet delights to paint. In his delineation of the deeper emotions of the heart, Mr. Gallagher is eminently happy. After eloquently picturing the sufferings of the fair young wife, neglected by him "who had won the richness of her early love," and had now "Bowed him down At the shrine of drunkenness," the poet thus speaks of woman with great truth and feeling: "Woman hath that within Which will not brook neglect: but either turn A short poem addressed " To my Mother," and an "Ode for Independence Day," the first, beautiful for the filial sensibility breathing in every line; the last marked by a degree of vigor, cqually partaking of the enthusiasm of the patriot, and the inspiration of the poet; a fragment called "The Usurer's Death," drawn with a masterly hand ; "Eve's Banishment," the gem of the volume; "May-Day Morning;" "The Bridal;" "The Revellers," and an Elegiac Lyric, written upon the death of an eminent artist, comprise, with "The Wreck of the Hornet," already named, the remainder of the volume. "The Usurer's Death" is remarkably graphic. We have room only for two brief extracts from its commencement and close. "He was a man of curious workmanship: His skeleton hand so firmly clenched a key, It seemed the fleshless bone would burst. His hair Had shorn himself for years, to save the mite, * "The hand of death was on him. He recoiled, And conquering king. His door, long closed, was forced; "May-Day Morning" is lively, fanciful and rich, with appropriate simlies and beautiful imagery; but it is carelessly written, and evi "And she, the loved, the beautiful, stood up They stood together--and their hearts were proud,... "This was too much for the Bacchanal." Mr. Gallagher's reputation as a poet, is not based, however, upon this volume, which appears to be the sheaf in which he has collected and bound up the earlier fruits of his muse. Early in the fall of 1835, he issued a volume which he called "ERATO No. II." It is on this book Mr. Gallagher's claims as a poet are to be founded. This volume contains sixty pages, and was likewise published in Cincinnati; but it is much superior to the first in typographical appearance. It is to be regretted, that in justice to the poet, this volume was not published in one of the Atlantic cities, inasmuch, as it would have extended the reputation of the author, and given a currency to his works which a western press cannot secure to them. The Atlantic side of the Alleghanies is sufficiently controlled by that kind of prejudice in relation to ultra montane literature, that led one, some two thousand years ago, to say, "Can any good thing come out of Nazareth?" These prejudices, which we are glad to find are gradually subsiding, should not be neglected or despised by western writers. The names of the Messrs. "Harper and Brothers," or "Carey, Lea and Blanchard," on the title page of many a book, has often proved a better endorsement to the public eye than the author's. How natural it is to condemn a book unread, when it bears the imprint of a country town! A circumstance apparently so trivial, has stifled, it is well known to the literary world, many books of merit in their birth. There is the same kind of faith extended to an unknown book, as to an unknown bank note; if it bears city names, and is of a city bank, it is received with confidence; if it is a country bill, it is taken with hesitation and suspicion. Extensive publishers have also an opportunity, by their widespread agencies, of circulating a new work over a vast extent of country; whereas, a book published without these advantages, has to make its way slowly and with difficulty into notice. It must therefore be an evidence of its intrinsic merit, for a book to win, without these adventitious aids, in the short period of two years, extensive and permanent popularity for its author. The laurels which Mr. Gallagher has won, are, therefore, solely due to his genius. not tread in the same path, is guided to the temple of fame by the same light. Considered as an entire poem, the " Conqueror" is of unequal merit. Its defects, nevertheless, are few-its excellences many. Agreeable harmony of versification, and a lyrical grace and elegance, is united, in this poem, with great boldness, daring imagery, and kindling enthusiasm. The changes of verse are adapted to the variety of the subject; now stirring the blood with its martial vigor, and the hurrying march of its words;" now delighting the taste with its polished and graceful versification; or now elevating the mind with its philosophy. After narrating in lofty verse the political events that preceded the appearance of Bonaparte on the European stage, he describes the "Child of Destiny," arising from the universal chaos, the magician, who is to control the elements. A short extract will convey some idea of the mode in which the poet has treated his subject, and also show the peculiarity of the rythm he has adopted. III. "Soon the strange vision changed, A bright creation of th' events and times, Upon a model different from the old, A dangerous word when wrongly understood-- The nucleus, or leading poem of " ERATO NO. II," is entitled, "The Conqueror." It is twenty pages, or six hundred and sixty lines in length. The subject is Napoleon. The poet is represented as having fallen into a deep sleep over a volume, that records the history of his hero's deeds, during which, the remarkable events of the "Conqueror's" career pass before his mind in a succession of visions. Each vision is narrated, after the exordium, in a separate part or canto, which are twelve in number. This poem is in part modelled upon a fragment of Schiller; but the study of a model does not necessarily imply imitation. In the structure of its verse, there is apparent a slight resemblance to the "Thalaba" of Southey; the dotted with human bones— likeness is not marked by any prominent outlines, but is rather a coincidence of thought and unity of tastes. This is the more apparent when we learn he paints in the following vigorous lines, the that the author had planned "The Conqueror" mysterious influence which the mind of Napoleon several years before he had seen the "Thalaba" exercised over his soldiersof the poet-laureate. The similitude lies in the choice of rythm, not in imitation; and, although the poet in his preface modestly deprecates, in any shape whatsoever, any allusion to that "unsurpassed achievement of the human mind, and imperishable monument of human genius," yet he has unconsciously lighted his torch at the same altar; and although he may The scene of the vision changes in the fourth canto to the land of the Ptolemies. After narrating the effects following the ravages of an invading army-the cities sacked, churches profaned, and scorched plains, fertilized with human blood, and "Heap'd up like pyramids !" "And he, who late Had won the admiration of the world, Him had they followed o'er the trackless sea; Again a change comes o'er the spirit of the poet's dream, and Napoleon is exhibited in a new light; his eyes directed towards a statue of liberty, while his hands are extended to grasp the Bourbon crown, "Which he could almost seize, but seem'd to fear Detection of his base hypocrisy." The solid phalanx : and with gathered force, And desperate fury, shouting to the charge, He rushed upon a single point, and broke The lines compact, and won the gory field." Our limits will not admit of a much longer notice of this poem. It is, throughout, stamped with genius. Its versification, although of an ex There is great power in the following lines, especially the last, with which the poet, after de-ceedingly difficult kind, is characterised by reguscribing the tortures inflicted upon the conqueror's breast, by "the never slumbering fiend" ambition, concludes the fifth canto: "Whose nights are passed in some unknown recess, With the world's chart before his greedy eyes, Marking off lands to conquer !" At length, emboldened by a brilliant series of successes, unprecedented in the history of mankind, the conqueror in a hundred fields, now "feared detection less," "And seized the glittering crown At length, urged onward by ambition, to wield the imperial sceptres and wear the crown of purple, "He cast Dissimulation off, and seized once more VI. "Again the vision changed. The seventh canto is distinguished by unusual power, abounds in vivid descriptions, sublime and often wild imagery. It contains a picture of a battle field drawn with appalling force and truth. In the following strong passage from the eighth canto, we have the reality vividly presented before us; and do not so much read of the fierce encounter of opposing hosts, as we hear the shouts of the combatants, and the earth tremble beneath the shock of encountering phalanxes: "On rush the legions of the conqueror- That rolls with force tremendous 'gainst the rock Wheeling, the master spirit form'd again larity and barmony. In some of the more stirring scenes, there is a glowing rapidity and passionate energy of expression; the words seeming to flow from an irresistible impulse, as if the poet had deserted the trained, yet spirited jennet of his muse, to bestride, as more befitting his theme, a stately war-horse. In "The Conqueror," there is observable a prodigality, or rather opulence of imagery, drawn from the sterner scenes of nature. Aside from the character of his subject, which calls for stern thought and cold conception, the poet has, in this poem, betrayed the peculiar cast of his mind, which is perhaps impressed rather by the grand and terrific, than the picturesque and beautiful; although the uncommon sweetness of his lyrics, and the delicate beauty of the thoughts they embody, and the tranquil ease and grace which pervades all his minor poems, and the sparkling gaiety of his fancy, show that he loves to contemplate the gentler features of nature, as well as the more austere, and delights to connect the tranquil scenes of life with those of a sterner character. Mr. Gallagher's poetry is an accurate transcript of his mind. He is a poet that reminds us of" the blue sky, and green earth; of the babbling brooks; of the singing waterfalls; of the quiet hamlet, embowered in trees and covered with vines; of the peaceful landscape; of the velvet valley, and of the rock-ribbed mountain ;" who enchants as with nature's magnificent repose, and stirs the blood with her awful awakenings to earthquake and tempest. His muse does not haunt the crowded city, the gorgeous palace, or the artificial bower. Unlike many of the ephemera of the muse who flourish in modern times, he can find something else beautiful besides "the face of woman; something else worth apostrophizing besides a pencilled eyebrow; something symmetrical besides a female form; something worth praising besides a well turned ancle; something that floats upon the heart besides dishevelled tresses; and something whose touch thrills us besides the soft white hand." The second poem in this volume, is entitled, "OUR WESTERN LAND," and breathes, throughout, the thoughts" that come of inspiration," and the patriotism of one who loves his native land; it is everywhere marked with the devotion of the poet, and the pride of the patriot. It is divided into seven short cantos, and its subject is sufficiently indicated by its title. It takes a retrospective glance of the early history of the West is: enriched by enchanting descriptions of the scenery to an "Early Spring Flower," and to a "Late on the Ohio river, which, in the poem is termed Fall Flower;" a spirited and energetic poem, traditionally and poetically OHIO-PE-HE-LE; is varied by episode; abounds in traditionary allusions; and, for beauty and variety of imagery, lyric grace of thought and expression, united with conciseness, touching pathos, and manly vigor of style, it is one of those productions which will withstand successfully the test of candid criticism, and perpetuate the fame of the poet. We find our pencil has been drawn around several passages of great beauty. One of these can only be selected. It is in allusion to the meeting of the waters of the Alleghany and Monongahela rivers, and is in a vein that reminds us of Chaucer : "Behold the clear stream's coquetry! The more 'tis woo'd and press'd, the more The remainder of the volume consists of " Miscellaneous Poems" and "Lyrics." The first of the miscellaneous pieces, is "The Old Soldier," a martial and spirited poem, of about 130 lines. The second is called "A Simile." A cloud, breaking into many fragments, which sail away in different directions, but gradually fading into the sky as they move, until all disappear, as if received into the heavens, forms the subject, which the poet has used with great taste, poetical truth, and religious feeling. He paints a family circle, "knowing no bosom's storm," but who are at length entitled "Childe Harold," founded on Byron's BRYANT. The quiet August noon is come : A slumb'rous silence fills the sky; The winds are still--the trees are dumb... In glassy sleep the waters lie. GALLAGHER. Thee, hath the August sun, Looked on with hot and fierce and brassy face; And still and lazily run, Scarce whispering in their pace, The half-dried rivulets, that lately sent A shout of gladness up, as on they went. There is an epigrammatic turn in the following stanza from "The Mountain Path," throughout which poem there is a peculiar joyousness of manner, and an uplifting of the heart that is refreshing. "Gloriously comes he there! Morn on the hills! One hour of life like this, In lyric composition Mr. Gallagher is evidently at * Summer, personified, is here addressed. racterises his compositions, when, at the present [ pouring over legers, or disbursing bank notes day, one idea, well diffused over a page, is frequently deemed an ample expenditure. The following lines are examples of this vigor of style: The heart which had so long convulsed the world, The lyrics in this volume are five in number. "They told me not to love him!" is characterized with that liquid ease and graceful simplicity in which consist the prominent features of his lyrical compositions. It has been set to music, and is extensively popular, and will no doubt be recognized as an old and familiar acquaintance by many fair readers. The " Day Dream," and "The Rose is on thy Cheek," are both set to music; and are sparkling and epigrammatic. The "Zephyr and the Rose Bud," a fanciful allegory; and "The Tears of Youth," conclude the volume.* Several tales of great merit, have occasionally appeared in the periodicals which he has edited judging from these productions, Mr. Gallagher has only to apply his talents to prose composition to rank high as a novel writer; but he is, doubtless, content with the poet's wreath, which is not only more dazzling than the novelist's, but likewise more difficult of attainment; "for many strive, but few there be that gain it." across a counter. The well known fact that all American poets depend on other than literary pursuits, for the means and comforts of life, is a strong attestation of the truth of the remarks with which the writer commenced this sketch. Mr. Gallagher is a married man: he possesses a manly figure, tall and well proportioned, with a lofty and somewhat haughty carriage. His complexion is very fair and ruddy; and his face exhibits a remarkably youthful appearance as if but nineteen, and not twenty eight years had passed over his head. In conversation, he is animated and energetic, evincing the man of quick sensibility, the bold thinker, the acute critic, and severe satirist. His eyes are lively, and, when animated, of a piercing blue. His forehead is fair and open, uniting intellectual strength, with softness of outline, and is the index of the graceful character of his mind. Beautifully along the trembling wave did the light of day wander to its golden couch. It was the sunset hour. The music of the breeze, and the voice of the birds, as they "Turned to the sun their waved coats, dropt with gold," Mr. Gallagher, during the fall of 1836, retired from the editorship of the Literary Journal, which even in the "literary emporium of the west," sunk for the want of support, and accepted the coeditorship of a political paper in Louisville, where he now resides.† But, like all men of a poetic temperament, Mr. Gallagher has but little taste for the "wordy war of politics," and will no doubt sigh floated along the sparkling waters, and mingled, as for the retirement more congenial to his disposi-life from cot and villa, on the banks of the Seine. The they floated, with the gay song and the merry shout of tion. In this country poets cannot live by their muse, who often frowns upon her children, as she finds them wallowing amid a sea of newspapers; * Mr. Gallagher has very recently published a third volume of poems, "Erato No. III," which the writer has not yet seen. It was published in Louisville, and will, consequently, we fear, be limited in its circulation on this side of the mountains. Mr. Gallagher has removed to Columbus, Ohio, since this sketch was penned, and there edits a new Literary Monthly Magazine.-Editor S. Lit. Mes. rich landscape-the broad champaign-the verdant forests-the distant hills- the glassy river, were bathed in the mellowed crimson and purple tints of sunset, as they glittered along the heights of heaven. The air was calm and tranquil, and scarcely moved the leaf of the dim and distant mountain, or the spray of the river. The Seine was motionless as the willows that hung upon its golden bosom. On its either shore arose groves and alleys of tall poplars, winding above which could be seen the curling smoke of distant cottages, and on its smooth, unrippled surface was the large and VOL. IV.-58 |
