Criticism, Part 4, from Volume VII, The Works of Whittier: the Conflict with Slavery, Politics and Reform, the Inner Life and Criticism

Excerpt

CRITICISM

EVANGELINE

A review of Mr. Longfellow's poem.

EUREKA! Here, then, we have it at last,—an American poem, with the lack of which British reviewers have so long reproached us. Selecting the subject of all others best calculated for his purpose,—the expulsion of the French settlers of Acadie from their quiet and pleasant homes around the Basin of Minas, one of the most sadly romantic passages in the history of the Colonies of the North,—the author has succeeded in presenting a series of exquisite pictures of the striking and peculiar features of life and nature in the New World. The range of these delineations extends from Nova Scotia on the northeast to the spurs of the Rocky Mountains on the west and the Gulf of Mexico on the south. Nothing can be added to his pictures of quiet farm-life in Acadie, the Indian summer of our northern latitudes, the scenery of the Ohio and Mississippi Rivers, the bayous and cypress forests of the South, the mocking-bird, the prairie, the Ozark hills, the Catholic missions, and the wild Arabs of the West, roaming with the buffalo along the banks of the Nebraska. The hexameter measure he has chosen has the advantage of a prosaic freedom of expression, exceedingly well adapted to a descriptive and narrative poem; yet we are constrained to think that the story of Evangeline would have been quite as acceptable to the public taste had it been told in the poetic prose of the author's Hyperion.

In reading it and admiring its strange melody we were not without fears that the success of Professor Longfellow in this novel experiment might prove the occasion of calling out a host of awkward imitators, leading us over weary wastes of hexameters, enlivened neither by dew, rain, nor fields of offering.

Apart from its Americanism, the poem has merits of a higher and universal character. It is not merely a work of art; the pulse of humanity throbs warmly through it. The portraits of Basil the blacksmith, the old notary, Benedict Bellefontaine, and good Father Felician, fairly glow with life. The beautiful Evangeline, loving and faithful unto death, is a heroine worthy of any poet of the present century.

The editor of the Boston Chronotype, in the course of an appreciative review of this poem, urges with some force a single objection, which we are induced to notice, as it is one not unlikely to present itself to the minds of other readers:—

"We think Mr. Longfellow ought to have expressed a much deeper indignation at the base, knavish, and heartless conduct of the English and Colonial persecutors than he has done. He should have put far bolder and deeper tints in the picture of suffering. One great, if not the greatest, end of poetry is rhadamanthine justice. The poet should mete out their deserts to all his heroes; honor to whom honor, and infamy to whom infamy, is due.

"It is true that the wrong in this case is in a great degree fathered upon our own Massachusetts; and it maybe said that it is afoul bird that pollutes its own nest....