I was led to arrange "The Oracles
from the Poets," by observing
the vivid interest taken by
persons of all ages in a very common-place
Fortune-Teller in the
hands of a young girl. It occurred
to me that I might avail myself of this love
of the mysterious, for the intellectual enjoyment of
my family circle.
Instead, however, of the pastime of a few days,
it has been the work of every leisure moment for
six months. The first movement was the pebble
thrown into the stream; circle after circle formed,
until I found, with old Thomas Heywood,
"My pen was dipt
As well in opening each hid manuscript,
As tracts more vulgar, whether read or sung
In our domestic or more foreign tongue."
How rich these six months have been in the
purest and highest enjoyment, I will not stop to
say; but to be allowed to float in such an atmosphere,
buoyed up with the sweetest sympathies
of friends, may be conceived to be no common
happiness. And now, with the hope of communicating
a portion of this pleasure more extensively,
I yield this volume up as a public offering,
for the advancement of those rational social enjoyments
which seem to belong to the moral
movement of the age.
I do not know how far early associations may
have influenced me, but I distinctly recollect the
first Oracle of my childhood. At the age of eight
years I attended a female seminary in a village.
The classes were allowed a half hour for recreation,
and they usually played on the green within
view of the academy building. One day I observed
a group of girls of the senior class pass
beyond the bounds and enter the church, which
was opened for some approaching occasional service.
I followed quietly. They walked through
the aisle with agitated whispers, and ascended to
the pulpit. Then each, in turn, opening the large
Bible, laid a finger, with closed eyes, on a verse,
and read it aloud, as indicating her fate or character.
I well remember the eagerness with which I
listened on the stairs, for I was afraid to crowd
into the pulpit with the big girls. As they retired,
I entered. I can recall the timid feeling with
which I glanced round the shadowy building, the
awe with which I closed my eyes and placed my
small finger on the broad page, and the faith with
which I read my Oracle.
I must make an early apology for venturing to
alter the tenses of authors so as to conform to
answers. I tried the method of literal extracts,
but they were deficient in spirit and directness.
I can now only warn my readers not to quote the
Oracles habitually, as exact transcripts, but resort
to the originals. I have trembled as if it were
sacrilege to turn thus the streams of Helicon into
this little channel, but I hope the evil may be
balanced by the increased acquaintance of many
with slighted authors.
I have not allowed myself to select from periodicals,
though American journals contain perhaps
more favorable specimens of our literature than
the published volumes to which I have felt bound
to confine myself.
My selections have extended so far beyond the
limits of my plan, that I propose furnishing another
volume, in the course of the year, with additional
questions, including translations from
popular authors. One question in the present
volume, To what have you a distaste or aversion?
is, I think, nearly exhausted, while its opposite,
What gratifies your taste or affections? presents
still an ample field for gleaning. Will this furnish
any argument against those ascetics, who
think misery preponderates over happiness? One
fanciful question in the succeeding volume will
be, What is the name of your Lady-love? and another,
Of him who loves you?
I shall consider with respectful attention friendly
suggestions made to me directly, or through my
publishers, preparatory to the arrangement of another
volume, particularly in bringing to view
any poet, who, by accident, may have escaped
attention.
I have been urged to communicate, in a preface,
the literary results which have necessarily flowed
from the examination and comparison of such
a mass of poets, but the task is beyond the limits
of this humble effort. It would, indeed, be a rich
field for a Schlegel or De Stäel.
A few curious speculations, however, may present
themselves to the most superficial critic. In
Shakspeare, for instance, so affluent in various
delineations of character and personal appearance,
I looked in vain for places of residence.
There seemed not to be even a fair proportion of
passages descriptive of musical sounds, hours,
seasons, and (except in The Winter's Tale) of
flowers.
In Wordsworth, scarcely a flower or musical
sound is described. They are alluded to, but not
painted out. The poetry of Crabbe, though
abounding in numerous characters, could surrender
almost none for my purpose, on account of
their being woven into the general strain of his
narratives. Shelley, Landon, and Howitt, are
eminently the poets of flowers, while Darwin,
with a whole Botanic Garden before him, and
Mason, in his English Garden, gave me, I think,
none that I conceived fairly entitled to selection.
Few passages of any sort, except those hackneyed
into adages, could be gained from Milton,
on account of the abstract, lofty, and continuous
flow of his diction. Coleridge has corresponding
peculiarities.
Keats and Shelley are the poets of the heavens.
Byron, with faint exceptions, does not describe
a flower, or musical sound, or place of
residence.
The American poets, in contradistinction to
their elder and superior brethren of the fatherland,
display a more marked devotion to nature,
with which a continual glow of religious sentiment
aptly harmonizes.
But I am recalled by these lengthening paragraphs
to my disclaimer, and only wish that an
abler and more philosophical pen than mine could
take my recent experience.
After a close examination of the earlier dramatic
poets, though I have rescued from them
some exquisite gems, it seems to me far from desirable
that they should be brought forward as
prominently as many of their wordy commentators
desire. A kind of pure instinct in the British
taste has placed Shakspeare without a brother on
the throne. The fathers of dramatic poetry acted
according to their light, but it was not the "true
light." A few relics, selected with caution, may
honor their memory, but we should be careful
while warning our youth against the impurities
of some modern poets, how we extol these vulgarities
of a darker moral age.
Before parting I must ask clemency for classing
all my authors among Poets, that great word so
deservedly sacred, and to which I bow with deep
reverence; but the Parnassus of my Oracles has
many steps, and I cannot but feel kindly towards
those, who sit gracefully even on the lower platform,
nor apprehend that they will do more than
look up deferentially to the laurel-crowned worthies
at its summit. Besides, it has been the
character of my taste, or perhaps philosophy,
whenever literally or figuratively I gather a
wreath of flowers, to twine the wild blossom as
heartily as the exotic, and even insert a weed, if
its color or contrast lends beauty to the combination;—and
thus with my Oracles.