'njv 9.'. V /^* .'^'^^fex.'- -^ ' ■ ^<- ^ 'ii .^ '" .° **'% '■ /•v ^ .' .^^^ .Or, h^^^ & /^ C^^'^r. 0. . Vd^«' W" /- ,4q ENGLISH SONGS, OTHER SMALL POEMS. BARRY CORNWALL h^) BOSTON : WILLIAM D. TICKNOR & COMPANY. M DCCC XHV. tt^^ \^^ ■^',^- boston: thurston, torry and co., printers, 18 Devonshire Street. " Barry Cornwall, with the exception of Cole- ridge, is the most genuine poet of love, who has, for a long period, appeared among us. There is an intense and passionate beauty, a depth of af- fection, in his little dramatic poems, which appear even in the affectionate triflings of his gentle characters. He illustrates that holiest of human emotions, which, while it will twine itself with the frailest twig, or dally with the most evanes- cent shadow of creation, wasting its excess of kindliness on all a]:oyn^it,.is yet able to ' look on tempests and be never shaken.' Love is gently omnipotent in his poems ; accident and death it- self are but passing clouds, which scarcely vex and which cannot harm it. The lover seems to breathe out his life in the arms of his mistress, as calmly as the infant sinks into its softest slum- ber. The fair blossoms of his genius, though light and trembling at the breeze, spring from a wide, and deep, and robust stock, which will sustain far taller branches without being ex- hausted." INTRODUCTION England is singularly barren of Song-writers. There is no English writer of any rank, in my recollection, whose songs form the distinguishing feature of his poetry. The little lyrics which are scattered, like stars, over the surface of our old dramas, are sometimes minute, trifling, and unde- fined in their object ; but they are often eminently fine, ^— in fact, the finest things of the kind which our language pos- sesses. There is more inspiration, more air and lyrical quality about them, than in songs of ten times their preten- sions. And this, perhaps, arises from the dramatic faculty of the writers ; who, being accustomed, in other things, to shape their verse, so as to suit the characters and different purposes of the drama, naturally extend this care to the fashion of the songs themselves. In cases where a WTiter speaks in his own person, he expends all his egotism upon his lyrics ; and requires that a critic should be near to cur- tail his misdeeds. When he writes as a dramatist, he is, or ought to be, the critic himself. He is not, so to speak, at all implicated in what is going forward in the poem ; but deals out the dialogue, like an indifferent by-stander, seeking only VI INTRODUCTION. to adjust it to the necessities of the actors. He is above the struggle and turmoil of the battle below, and ' Sees, ad from a tower, the end of all.' It is, in fact, this power of forgetting himself, and of im- agining and fashioning characters different from his own, which constitutes the dramatic quality. A man who can set aside his own idiosyncracy, is half a dramatist. It may be thought paradoxical to assert that the songs which occur in dramas are more natural than those which proceed from the author in person : yet such is generally the case. If, indeed, a poet wrote purely and seasonably only, — that is to say, if his poetry sprung always from the passion or humor of the moment, the fact might be other- wise. But it may easily be seen, that many rhymes are produced out of season ; and are often nothing more than the result of ingenuity taxed to the uttermost ; or otherwise, are simply the indiscretions of ' gentlemen at ease,' who have nothing, or nothing better to do. Now Poetry is not to be thus constrained ; nor is it ever the offspring of ennui or languor. It demands not only the ' faculty divine,' (so called,) but also, that it should be left to its own impulses. The intellectual faculties are, in no one, always in a state of tension, or capable of projecting those thoughts which, in happier moments, are cast forth with perfect ease, — and which, when thrown out by the Imagination or the Fancy, constitute the charm, and indeed form the essence of poetry. Much of what I have said applies to verse in general ; but it applies more especially to songs and small pieces of verse — those nugcB canor