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The Works of Edgar Allan Poe Raven Edition Volume 5
The Poetic Principle
Among the "Melodies" of Thomas Moore is one whose distinguished character as a poem proper seems to have been singularly left out of view. I allude to his lines beginning -- "Come, rest in this bosom." The intense energy of their expression is not surpassed by anything in Byron. There are two of the lines in which a sentiment is conveyed that embodies the _all in all _of the divine passion of Love -- a sentiment which, perhaps, has found its echo in more, and in more passionate, human hearts than any other single sentiment ever embodied in words: --
Come, rest in this bosom, my own stricken deer
Oh! what was love made for, if 'tis not the same
Thou hast call'd me thy Angel in moments of bliss,
It has been the fashion of late days to deny Moore Imagination, while granting him Fancy--a distinction originating with Coleridge--than whom no man more fully comprehended the great powers of Moore. The fact is, that the fancy of this poet so far predominates over all his other faculties, and over the fancy of all other men, as to have induced, very naturally, the idea that he is fanciful _only. _But never was there a greater mistake. Never was a grosser wrong done the fame of a true poet. In the compass of the English language I can call to mind no poem more pro. foundry--more weirdly _imaginative, _in the best sense, than the lines commencing--"I would I were by that dim lake"--which are the com. position of Thomas Moore. I regret that I am unable to remember them.
One of the noblest--and, speaking of Fancy--one of the most singularly fanciful of modern poets, was Thomas Hood. His "Fair Ines" had always for me an inexpressible charm: --
O saw ye not fair Ines?
O turn again, fair Ines,
Would I had been, fair Ines,
I saw thee, lovely Ines,
Alas, alas, fair Ines,
Farewell, farewell, fair Ines,