The watch-dog’s voice, that bayed the whisp’ring wind,

And the loud laugh that spoke the vacant mind.’

With what consummate skill, if indeed it be not rather the instinct of the poet, has Gray avoided all mention of those objects which might awaken associations discordant with the mood of his own mind! Each epithet is full of a plaintive melancholy. There is not one that does not contribute something to the effect; not one that can be omitted; not one that can be altered for the better. Yet there is scarcely one that is descriptive of any quality actually existing in its subject. The fitness of each is to be felt rather than seen.

In the selection of those circumstances and objects which Gray has enumerated, he was governed by the effect which each had upon his own feelings. He looked upon nature in the reflected light of his own heart. He was mournful in view of the destiny of man; and wandering amidst the graves of the lowly and obscure, he saw all the external world colored with the hue of his own sad thoughts. The melancholy spirit within him transformed all things without into its own likeness. His imagination, darting hither and thither, and governed in its flight by laws too subtle and delicate to be analyzed, reposed itself for a moment amidst the gloom of the historical associations that cluster around the curfew, hovered over the lowing herd, and followed the ploughman as he homeward plods his weary way. Goldsmith, recalling the scenes where he had spent many happy hours, looks upon nature under a far different aspect. Every thing to him is gay and joyous. He hears not the hollow tones of the curfew, nor the drowsy tinklings that lull the distant folds. He sees not the wearied ploughman, caring for nought but to forget his toils in the sweet oblivion of sleep. He hears but the song of the milk-maid, and the soft response of her rustic lover; the watchdog’s voice, and the loud laugh of the happy idlers. He sees but the children just escaped from school, running and leaping, and romping in their innocent glee. Happy himself, he fastens upon whatever in nature around him seems to sympathise with him, and dwelling fondly upon it, casts away from his thoughts every thing that can obstruct the full, free flow of his joyous emotions.

We may remark in passing, what has probably been before remarked by the attentive reader, that both Gray and Goldsmith, excited as they are by different passions, refer to the ‘lowing herd’ as raising on the one hand a cheerful, and on the other a melancholy feeling. To our thought, the associations connected with the return of the herds from the fields at sunset are best fitted to awaken that quiet, reflective state of mind which is most congenial to the mood of the elegiac poet. To another, these associations may be of such a character as to produce a directly opposite effect.

The writer of prose who should describe scenes like these, would aim to give us a distinct and accurate picture by presenting all their prominent features, omitting nothing, and grouping them as Nature herself had grouped them. Such descriptions we daily see in all books of voyages and travels. Or if the descriptions be of scenes wholly imaginary, their essential character is not changed. Although they cease to be real, they do not become poetical. The extract which we have made from Irving is not poetical. Accurate, vivid, life-like, it is. We cannot read it without a feeling of pleasure. We admire the genius of the writer; we wonder at the magnificence of the spectacle which, by a few masterly touches, he has raised up before us. But there is no more poetry in it than in his description of Herr Van Tassel’s supper table, covered with all the luxuries of Dutch housewifery. It is true, there may be more of beauty and sublimity in the scenery of the Hudson, in the gathering clouds and muttering thunder, than in the sight of dough-nuts and crullers, sweet-cakes and short-cakes, peach pies and pumpkin pies, slices of ham and slices of smoked beef; yet the spirit of poetry exists no more in the one than in the other. Poetry has its abode in the heart of man; not in the winds, in the clouds, in the mountains, or in the vales. It does not derive its power from the outward world, but breathes into it its own breath of life, investing the earth with a beauty which has no existence but in the human soul, and filling the air with sweet harmonies, which are unheard save by the inspired ear of the poet.

We have now, we think, sufficiently answered the question, why so many who read descriptive poetry with pleasure, look with indifference upon what is beautiful or sublime in nature. The poet is to them like one who gives sight to the blind. The landscape which formerly lay before their eyes unregarded, almost unseen, is now ‘beautiful exceedingly.’ Nature has not changed; they themselves have not changed; yet there is a change. There is a glory unseen before, cast over the earth. It is, as it were, transfigured before them, and made radiant with celestial light. This is the poet’s work. With a keener perception of the beautiful and sublime than other men; with a greater facility of association, and with the power to give to language the hue and intensity of his own feelings, he clothes lifeless nature with the attributes of humanity, making it instinct with human sentiment and passion. Like Burns, he pours forth his lament over the mountain-daisy cut down in its bloom, in a few simple words that find a response in the hearts of all men; and henceforth it is embalmed in our memories, and shall be as immortal as the star that shines in the far depths of the heavens. Like Wordsworth, he wanders upon the banks of his native lakes, and mingles his song with the noise of their waters, until the faintest whisper of the rippling waves seems but the echo of his voice. Wherever he goes fruits, flowers, and herbage spring up in his footsteps. A divine Presence goes with him; Nature speaks to him with her thousand voices, and he hears, and answers, making sweet music in the joy of his heart. Nothing is so inconsiderable as to be without the pale of his sympathy; nothing too humble to stir the fountains of love in his breast. The solitary flower that blossoms by the way-side, the rivulet far away amid the hills, is but the starting point of that wondrous chain of thick-coming fancies, that fill his eyes with light, and his ear with harmony; as if multitudes of angels were hovering around, and he heard on every side the rustling of their wings.

Such are the gifts of the poet. They are God’s gifts, and are indeed ‘wonderful in our eyes.’