Various - Harper's New Monthly Magazine, No. XI.—April, 1851—Vol. II.

It was here that he was first inspired with a sense of the glory and mystery of Nature – first learned to "hold communion with her visible forms," and to lend his ear to her "various language" – first awoke to the consciousness of the "vision and the faculty divine," which he has since displayed in such manifold forms of poetic creation. It was under the shadow of his "native hills" —

in the "groves which were God's first temples," where the "sacred influences"

that the spirit of the boy-poet was touched with the mystic harmonies of the universe, and received those impressions of melancholy grandeur from natural objects, which pervade the most characteristic productions of his genius.

Mr. Bryant's vocation for poetry was marked at a very early age. The history of literature scarcely affords an example of such a precocious, and, at the same time, such a healthy development. His first efforts betray no symptoms of a forced, hot-bed culture, but seem the spontaneous growth of a prolific imagination. They are free from the spasmodic forces which indicate a morbid action of the intellect, and flow in the polished, graceful, self-sustaining tranquillity, which is usually the crowning attainment of a large and felicitous experience. Among his earliest productions were several translations from different Latin poets, some of which, made at ten years of age, were deemed so successful, as to induce his friends to publish them in the newspaper of a neighboring town. These were followed by a regular satirical poem, entitled "The Embargo," written during the heated political controversies concerning the policy of Mr. Jefferson, many of whose most strenuous opponents resided at Northampton (at that time the centre of political and social influence to a wide surrounding country), and from the contagion of whose intelligence and zeal, the susceptible mind of the young poet could not be expected to escape. This was published in Boston, in 1808, before the author had completed his fourteenth year. Its merits were at once acknowledged; it was noticed in the principal literary review of that day; it was read with an eagerness in proportion to the warmth of party spirit; and, indeed, so strong was the impression which it made on the most competent judges, that nothing but the explicit assertions of the friends of the writer could convince them of its genuineness. It seemed, in all respects, too mature and finished a performance to have proceeded from such a juvenile pen. This point, however, was soon decided, and if any remaining doubts lingered in their minds, they might have been removed by the production of "Thanatopsis," which was written about four years after, when the author was in the beginning of his nineteenth year.

This remarkable poem was not published until 1816, when it appeared in the North American Review, then under the charge of Mr. Dana, who has himself since attained to such a signal eminence among the poets and essayists of America, and between whom and Mr. Bryant a singular unity of intellectual tastes laid the foundation for a cordial friendship, which has been maintained with a warmth and constancy in the highest degree honorable to the character of both parties. Meanwhile, Mr. Bryant had established himself in the profession of the law, in the beautiful village of Great Barrington, exchanging the mountain wildness of his native region, for the diversified and singularly lovely scenery of the Housatonic Valley, where he composed the lines "To Green Elver," "Inscription for an entrance to a Wood," "To a Waterfowl," and several of his other smaller poems, which have since hardly been surpassed by himself, and certainly not by any other American writer.

The "Thanatopsis," viewed without reference to the age at which it was produced, is one of the most precious gems of didactic verse in the whole compass of English poetry, but when considered as the composition of a youth of eighteen, it partakes of the character of the marvelous. It is, however, unjust to its rich and solemn beauty to contemplate it in the light of a prodigy. Nor are we often tempted to revert to the singularity of its origin, when we yield our minds to the influence of its grand and impressive images. It seems like one of those majestic products of nature, to which we assign no date, and which suggest no emotion but that of admiration at their glorious harmony.

The objection has been made to the "Thanatopsis," that its consolations in view of death are not drawn directly from the doctrines of religion, and that it in fact makes no express allusion to the Divine Providence, nor to the immortality of the soul. These ideas are so associated in most minds with the subject matter of the poem, that their omission causes a painful sense of incongruity. But the writer was not composing a homily, nor a theological treatise. His imagination was absorbed with the soothing influences of nature under the anticipation of the "last bitter hour." In order to make the contrast more forcible, the poem opens with a cold and dreary picture of the common destiny. Earth claims the body which she has nourished; man is doomed to renounce his individual being and mingle with the elements; kindred with the sluggish clod, his mould is pierced by the roots of the spreading oak. The sun shall no more see him in his daily course, nor shall any traces of his image remain on earth or ocean.

But the universality of this fate relieves the desolation of the prospect. Nature imparts a solace to her favorite child, glides into his darker musings with mild and healing sympathy, and gently counsels him not to look with dread on the mysterious realm, which is the final goal of humanity. No one retires alone to his eternal resting-place. No couch more magnificent could be desired than the mighty sepulchre in which kings and patriarchs have laid down to their last repose. Every thing grand and lovely in nature contributes to the decoration of the great tomb of man. The dead are every where. The sun, the planets, the infinite host of heaven, have shone on the abodes of death through the lapse of ages. The living, who now witness the departure of their companions without heed, will share their destiny. With these kindly admonitions, Nature speaks to the spirit when it shudders at the thought of the stern agony and the narrow house.

The stately movement of the versification, the accumulated grandeur of the imagery, the vein of tender and solemn pathos, and the spirit of cheerful trust at the close, which mark this extraordinary poem, render it more effective, in an ethical point of view, than volumes of exhortation; while, regarded as a work of art, the unity of purpose with which its leading thought is presented under a variety of aspects, gives it a completeness and symmetry which remove the force of the objection to which we have alluded.

In a similar style of majestic thought is the "Forest Hymn," from which we can not refrain from quoting an inimitable passage, descriptive of the alternation between Life and Death in the Universe, which seems to us to open the heart of the mystery with a truthfulness of insight that has found expression in language of unsurpassable energy.