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We have already given the description of the Sylphid Queen in the Culprit Fay. In the Queen Mab of Shelley a Fairy is thus introduced —
Those who had looked upon the sight
Passing all human glory,
Saw not the yellow moon,
Saw not the mortal scene,
Heard not the night wind’s rush,
Heard not an earthly sound,
Saw but the fairy pageant,
Heard but the heavenly strains
That filled the lonely dwelling-
and thus described —
The Fairy’s frame was slight, yon fibrous cloud
That catches but the faintest tinge of even,
And which the straining eye can hardly seize
When melting into eastern twilight’s shadow,
Were scarce so thin, so slight; but the fair star
That gems the glittering coronet of morn,
Sheds not a light so mild, so powerful,
As that which, bursting from the Fairy’s form,
Spread a purpureal halo round the scene,
Yet with an undulating motion,
Swayed to her outline gracefully.
In these exquisite lines the Faculty of mere Comparison is but little exercised — that of Ideality in a wonderful degree. It is probable that in a similar case the poet we are now reviewing would have formed the face of the Fairy of the “fibrous cloud,” her arms of the “pale tinge of even,” her eyes of the “fair stars,” and her body of the “twilight shadow.” Having so done, his admirers would have congratulated him upon his imagination, not, taking the trouble to think that they themselves could at any moment imagine a Fairy of materials equally as good, and conveying an equally distinct idea. Their mistake would be precisely analogous to that of many a schoolboy who admires the imagination displayed in Jack the Giant-Killer, and is finally rejoiced at; discovering his own imagination to surpass that of the author, since the monsters destroyed by Jack are only about forty feet in height, and he himself has no trouble in imagining some of one hundred and forty. It will, be seen that the Fairy of Shelley is not a mere compound of incongruous natural objects, inartificially put together, and unaccompanied by any moral sentiment — but a being, in the illustration of whose nature some physical elements are used collaterally as adjuncts, while the main conception springs immediately or thus apparently springs, from the brain of the poet, enveloped in the moral sentiments of grace, of color, of motion — of the beautiful, of the mystical, of the august — in short of the ideal.9
It is by no means our intention to deny that in the Culprit Fay are passages of a different order from those to which we have objected — passages evincing a degree of imagination not to be discovered in the plot, conception, or general execution of the poem. The opening stanza will afford us a tolerable example.
Tis the middle watch of a summer’s night-
The earth is dark but the heavens are bright
Naught is seen in the vault on high
But the moon, and the stars, and the cloudless sky,
And the flood which rolls its milky hue
A river of light on the welkin blue.
The moon looks down on old Cronest,
She mellows the shades of his shaggy breast,
And seems his huge gray form to throw
In a silver cone on the wave below,
His sides are broken by spots of shade,
By the walnut bow and the cedar made,
And through their clustering branches dark
Glimmers and dies the fire-fly’s spark-
Like starry twinkles that momently break
Through the rifts of the gathering tempest rack.
There is Ideality in these lines — but except in the case of the (second and the fourteenth lines)— it is Ideality not of a high order. We have, it is true, a collection of natural objects, each individually of great beauty, and, if actually seen as in nature, capable of exciting in any mind, through the means of the Poetic Sentiment more or less inherent in all, a certain sense of the beautiful. But to view such natural objects as they exist, and to behold them through the medium of words, are different things. Let us pursue the idea that such a collection as we have here will produce, of necessity, the Poetic Sentiment, and we may as well make up our minds to believe that a catalogue of such expressions as moon, sky, trees, rivers, mountains, &c., shall be capable of exciting it — it is merely an extension of the principle. But in the line “the earth is dark, but the heavens are bright” besides the simple mention of the “dark earth” “and the bright heaven,” we have, directly, the moral sentiment of the brightness of the sky compensating for the darkness of the earth — and thus, indirectly, of the happiness of a future state compensating for the miseries of the present. All this is effected by the simple introduction of the word but between the “dark earth” and the “bright heaven”— this introduction, however, was prompted by the Poetic Sentiment, and by the Poetic Sentiment alone. The case is analogous in the expression “glimmers and dies,” where the imagination is exalted by the moral sentiment of beauty heightened in dissolution.
In one or two shorter passages of the Culprit Fay the poet will recognize the purely ideal, and be able at a glance to distinguish it from that baser alloy upon which we have descanted. We give them without farther comment.
The winds are whist, and the owl is still,
The bat in the shelvy rock is hid
And naught is heard on the lonely hill
But the cricket’s chirp and the answer shrill
Of the gauze-winged katydid;
And the plaint of the wailing whippoorwill
Who mourns unseen, and ceaseless sings
Ever a note of wail and wo-
Up to the vaulted firmament
His path the fire-fly courser bent,
And at every gallop on the wind
He flung a glittering spark behind.
He blessed the force of the charmed line
And he banned the water-goblins’ spite,
For he saw around in the sweet moonshine,
Their little wee faces above the brine,
