_The Greyson Letters_, Selections from the Correspondence of R.E.H.
GREYSON, ESQ. Edited by HENRY ROGERS, Author of "The Eclipse of Faith," &c.
Boston: Gould & Lincoln. 1 vol. 12mo.
We are assured in the American preface to this volume, that while it
exhibits Henry Rogers as the peer of Butler as a reasoner, it also shows
him not inferior to Lamb as a humorist. Much as we are inclined to echo
the critical decisions of prefaces, we regret being unable to indorse this
confident statement. In amplitude, vigor, and fertility of thought we must
think the author of the "Analogy" holds some slight advantages over the
author of "The Eclipse of Faith"; and we seriously doubt if the lovers of
Charles Lamb will be likely to rush into mirthful ecstasies over the humor
of "The Greyson Letters." But we suppose that Henry Rogers himself would
make no pretensions to the rank of a writer, or reasoner, or humorist of
the first class. Far from being a great man, he occasionally slips into
the prejudices of quite a little one, and he never wholly puts off the
pedagogue and puts on the philosopher. Without much original force of
nature, and never unmistakably stamping his own image and superscription
either on his arguments or his language, he is still a well-trained
theological scholar, a skilful logician, and one of that class of
elegant writers who neither offend the taste nor kindle the soul. As a
controversialist on themes which are now engaging popular attention, he
grasps the questions he discusses at one or two removes from their centre
and heart, where they pass out of the sphere of ideas and pass into the
region of opinions; and in this region he is candid to the extent of his
perceptions, quick to detect the weak points in the formal statements
of his opponents, and, without touching the vitalities of the matter in
controversy, is always hailed as victor by those who agree with him, but
rarely convinces the doubters and deniers he aims to convert. "The Greyson
Letters" are evidently the work of an amiable, learned, accomplished, and
able man, interested in a wide variety of themes which especially attract
the attention of thinkers, but in his treatment of them indicating a lack
of deep and wide experience, and of that close, searching thought which
pierces to the core of a subject, and broods patiently over its living
elements and relations, before it assumes to take them as materials for
argumentation. This broad grasp of premises, which implies a penetrating
and interpretative as well as dialectic mind, is the distinguishing
difference between a great reasoner and an able logician. In regard to the
form of the work, we can see no reason why its essays should be thrown
into the shape of letters. The epistolary spirit vanishes almost as soon
as "Dear Sir" and "Dear Madam" create its expectation. The author's mind
is grave by nature and culture, and is sprightly, as it seems to us, by
compulsion and laborious levity. His nature has none of the richness and
juiciness, none of the instinctive soul of humor, which must have vent in
the ludicrous. Occasionally an adversary or adverse dogma is demolished
with excellent logic, and then comes a dismal grin or chuckle at the feat,
which hardly reminds us of the sly, shy smile of Addison, or the frolic
intelligence which laughs in the victorious eyes of Pascal. Still, with all
abatements, "The Greyson Letters" make a book well worthy of being read,
contain much admirable matter and suggestive thought, and might be allowed
to pass muster among good books of the second class, did they not come
before us with professions that seemed to invite the tests applicable to
the first.
* * * * *
_Essays in Biography and Criticism_. By PETER BAYNE, M.A., Author of "The
Christian Life, Social and Individual," &c. First Series. Boston: Gould &
Lincoln. 1 vol. 12mo.
This volume contains essays on De Quincey, Tennyson and his Teachers, Mrs.
Barrett Browning, Glimpses of Recent British Art, John Ruskin, Hugh Miller,
The Modern Novel, and Currer Bell. Though of various degrees of merit,
they all evince careful study and patient thought, and are written with
considerable brilliancy and eloquence. As a critic, Mr. Bayne is generally
candid, conscientious, and intelligent, with occasional remarks evincing
delicacy and depth of thought; but his perceptions are not always
trustworthy, and his judgments are frequently of doubtful soundness. Thus
when we are told that Wordsworth owed his fame to his moral elevation
rather than to his "intellectual or æsthetic capacities," and that there is
hardly an instance of the highest creative imagination in the whole range
of his poetry,--when we are informed that since Shakspeare no one "has laid
bare the burning heart of passion" so perfectly as Byron,--and when the
question is triumphantly asked, "Where, out of Shakspeare, can we find
such a series of female portraits as those" in Bulwer's "Rienzi,"--we feel
inclined, in this association of Byron and Bulwer with Shakspeare, and this
oversight of Wordsworth's claim to represent the highest original elements
in the English poetry of the present century, to dispute Mr. Bayne's right
to assume the chair of interpretative criticism. But still there are so
many examples in his book of fine and true perception, and so evident a
sympathy with intellectual excellence and moral beauty, that we do not
feel disposed to quarrel with him on account of the apparent erroneousness
of some of his separate opinions. Besides, his work is written in a style
which will recommend it to a class of readers who are not especially
interested in the subjects of which it treats, and it cannot fail to
stimulate in them a desire to know more of the great writers of the
century.
* * * * *
_White Lies. A Novel_. By Charles Reade. Boston: Ticknor & Fields. 1 vol.
12mo.
The early chapters of this novel lack the brisk movement, the sparkling
compactness, the stinging surprises of Mr. Reade's usual style, but he
kindles and condenses as he proceeds. As a whole, the work compares
favorably with his most brilliant compositions. He is a writer difficult to
criticize, because his defects are pleasing defects. Dogmatism is commonly
offensive, and Mr. Reade's dogmatism is of the most uncompromising, not to
say insulting character; yet it is exhibited in connection with insight
so sure and vivid, that we pardon the positiveness of the assertion for
the truth of what is asserted. Then he has a way of forcing Nature, much
against her wish, to be epigrammatic,--of producing startling effects by
artifices almost theatrical; and though his devices are obvious, they are
more than forgiven for the genuine power and real naturalness behind the
rhetorical masquerade. Other men's freaks and eccentricities lead to the
distortion of truth and the confusion of relations, but Mr. Reade has
freaks of wisdom and eccentricities of practical sagacity. Occasionally
he has a stroke of observation that comes like a flash of lightning,
blasting and shattering in an instant a prejudice or hypocrisy which was
strong enough to resist all the arguments of reason and all the appeals
of humanity. "White Lies" is full of examples of his power, and of the
peculiarities of his power. Blunt and bold and arrogant as his earnestness
often appears, it is capable of the most winning gentleness, the most
delicate grace, and the most searching pathos. The delineation of the
female characters in this novel is especially admirable. Josephine
and Laure are exquisite creations, and the Baroness and Jacintha,
though different, are almost as perfect, considered as examples of
characterization. In the invention and management of incidents, the
author exhibits a sure knowledge of the means and contrivances by which
expectation is stimulated, and the interest of the story kept from
flagging. We hope to read many more novels from the same pen as delightful
as "White Lies."
* * * * *
_Brazil and the Brazilians_. Portrayed in Historical and Descriptive
Sketches. By Rev. D.P. Kidder, D.D., and Rev. J.C. Fletcher. Illustrated by
one hundred and fifty Engravings. Philadelphia: Childs & Peterson. 1 vol.
8vo.
Brazil is a country but little known to the majority of readers, and the
little that is known is so fragmentary that it is as likely to convey a
false idea as an incomplete one. The writers of this volume combine two
qualifications for the work of dissipating this ignorance. They have a
direct personal knowledge of Brazil, gained during a long residence in
the country, and they have carefully studied every valuable book on its
history and resources. The manners, customs, laws, government, productions,
literature, art, and religion of the people have all been carefully
observed under circumstances favorable for accurate investigation. The
result is a valuable, interesting, and attractive volume, well worthy of
being extensively read. The elegance of its mechanical execution, and the
profusion of engravings illustrating the text, will add to its popularity,
if not to its value.
* * * * *
_The Poetical Works of Leigh Hunt_. Now first entirely collected. Revised
by himself, and edited, with an Introduction, by S. ADAMS LEE. Boston:
Ticknor & Fields. 2 vols. 18mo.
Leigh Hunt has outlived all the enmities and enemies provoked either by his
merits or his demerits, and is especially interesting as the sole survivor
of the illustrious company of poets with whom the mind instinctively
associates him. Some burnt out; some died out; some dried up; but he
remains the same cosey, chirping, fine-natured, and self-pleased singer,
who won the love of Shelley and Keats, and roused the wrath of Gifford and
Wilson. We are glad to welcome his collected poems in their appropriate
attire of "blue and gold," and trust they will have a wide circulation
in the United States, as the genial poet is himself to be a participant
in the profits of the publication. We wish that a word of ours could
be influential in assisting this veteran of letters to reap from the
publication something more substantial than fame, yet in some degree the
expression of it,--something which shall give him assurance that his
volumes are on thousands of parlor tables, because the proofs of it are
palpable in the increased comforts afforded to his old age. And certainly
the poet deserves a wide circle of readers. Though he does not succeed in
the delineation of the great and grand passions of our nature, he is very
successful in the sphere of its humane and tender sentiments; and though
open to criticism for the jaunty audacity with which he coins dainty
sweetnesses of expression rejected by all dictionaries, and for an
occasional pertness in asserting opinions of doubtful truth, he is so
lovable a creature that we pardon his literary foibles as we would pardon
the personal foibles of a charming companion and friend. He has a genuine
love for all cheerful and cheering things, and power enough to infuse his
cheer into other minds. Disliking all internal and external foes to human
comfort, he is equally the enemy of evil, and of the morbid discontent
which springs from the bitter contemplation of evil. His nature is
essentially sprightly and sensuous, with here a bit of Suckling and there a
bit of Fletcher, carrying us back to an elder period of British poetry by
the careless grace and freedom of his movement, and proving his connection
with the present by the openness of his mind to all liberal thought and
philanthropic feeling. Good-humor and benevolence are so dominant in his
nature, that they prevent him from having any deep perceptions of evil and
calamity. He is personally affronted when he sees the thunder-cloud push
away the sunshine from life; and God, to him, is not only absolute Good,
but absolute Good Nature.
It would be easy to quote passages from these volumes illustrative of his
acute observation, his largeness of sympathy, his delicacy and daintiness
of touch, his sweetness, humor, pathos, and fancy. As a specimen of the
playful and beautiful ingenuity of his mind, we extract a portion of his
little poem on "Love-Letters made of Flowers."
"An exquisite invention this,
Worthy of Love's most honeyed kiss,
This art of writing _billets-doux_
In buds and odors and bright hues!
In saying all one feels and thinks
In clever daffodils and pinks;
In puns of tulips; and in phrases,
Charming for their truth, of daisies;
Uttering, as well as silence may,
The sweetest words the sweetest way.
How fit, too, for the lady's bosom!
The place where _billets-doux_ repose 'em.
"What delight, in some sweet spot
Combining _love_ with _garden_ plot,
At once to cultivate one's flowers
And one's epistolary powers!
Growing one's own choice words and fancies
In orange tubs and beds of pansies;
One's sighs and passionate declarations
In odorous rhetoric of carnations;
Seeing how far one's stocks will reach;
Taking due care one's flowers of speech
To guard from blight as well as bathos,
And watering every day one's pathos!"
From the exquisite little poem entitled "Songs of the Flowers" we should
like to cut a few stanzas; but our limits forbid.