Part 1 — Art and Poetry: (continued 2)
Reading edition
Sir Reginald's narrative concludes after this fashion:
“‘But what is this? A dubious compromise; Twilight of cloudy zones, whereon the blaze Of sunshine breaks but seldom with its rays Of heavenly hope, towards which the spirit sighs Its aspirations, and is lost again 'Mid doubts: to grasp the wisdom of the skies Too feeble, tho' convinced earth's bonds are vain, Cowering faint-hearted in the festering chain.’”—p. 60.
A similar instance of conventionality constantly repeated is the sin of inversion, which is no less prevalent, throughout the poem, in the conversational than in the narrative portions. In some cases the exigencies of rhyme may be pleaded in palliation, as for “Cam's marge along” and “breezy willows cool,” which occur in two consecutive lines of a speech; but there are many for which no such excuse can be urged. Does any one talk of “sloth obscure,” or of “hearts afflicted?” Or what reason is there for preferring “verses easy” to easy verses? Ought not the principle laid down in the following passage of the introduction to be followed out, not only into the intention, but into the manner and quality also, of the whole work?
“‘I mean to be sincere in this my lay: That which I think I shall write down without A drop of pain or varnish. Therefore, pray, Whatever I may chance to rhyme about, Read it without the shadow of a doubt.’”—p. 12.
Again, the Author appears to us to have acted unwisely in occasionally departing from the usual construction of his stanzas, as in this instance:
“‘But, as I said, you know my history; And your's—not that you made a mystery Of it, nor used reserve, yet, being not By nature an Autophonophilete, (A word De Lacy fashioned and called me it)— Your's you have never told me yet. And what Can be a more appropriate occasion Than this true epic opening for relation?’”—p. 48.
Here the lines do not cohere so happily as in the more varied distribution of the rhymes; and, moreover, as a question of principle, we think it not advisable to allow of minor deviations from the uniformity of a prescribed metre.
It may be well to take leave of Mr. Cayley with a last quotation of his own words,—words which no critic ought to disregard:
“I shall be deeply grateful to reviews, Whether they deign approval, or rebuke, For any hints they think may disabuse Delusions of my inexperienced muse.”— p.8.
If our remarks have been such as to justify the Author's wish for sincere criticism, our object is attained; and we look forward for the second canto with confidence in his powers.
Published Monthly.—Price One S.
Art and Poetry, Being Thoughts towards Nature.
Conducted principally by Artists.
Of the little worthy the name of writing that has ever been written upon the principles of Art, (of course excepting that on the mere mechanism), a very small portion is by Artists themselves; and that is so scattered, that one scarcely knows where to find the ideas of an Artist except in his pictures.
With a view to obtain the thoughts of Artists, upon Nature as evolved in Art, in another language besides their own proper one, this Periodical has been established. Thus, then, it is not open to the conflicting opinions of all who handle the brush and palette, nor is it restricted to actual practitioners; but is intended to enunciate the principles of those who, in the true spirit of Art, enforce a rigid adherence to the simplicity of Nature either in Art or Poetry, and consequently regardless whether emanating from practical Artists, or from those who have studied nature in the Artist's School.
Hence this work will contain such original Tales (in prose or verse), Poems, Essays, and the like, as may seem conceived in the spirit, or with the intent, of exhibiting a pure and unaffected style, to which purpose analytical Reviews of current Literature—especially Poetry—will be introduced; as also illustrative Etchings, one of which latter, executed with the utmost care and completeness, will appear in each number.
No. 4. (Price One Shilling.) MAY, 1850.
With an Etching by W.H. Deverell.