The Portland gazette. [volume] (Portland, Me.) 1818-1824, 1821-03-08

we are not able 10 comply fully with our COR
respondents reques 10 publish the whole re-
view of the - Parting OF Florence" as well
the poem itself which appeared in theBaltimore
Federal Gazette, and perhaps the latter would
be unnecessary as il is not long since 1t hrst
appeared in our paper. We have therefore
taken the liberty to make extracts from the
critque, preserving every thing that relates to
the poem. Ed. Gas.
Mr.. SHIRLEY-l wish you would publish the
following review for three reasons. Frat, for as
iatrinslc smgularity- Observation-Disclosures
homsiy ngenuOusness-for, paradoxical as it may
appear, each can be discovered in the perusal.
Secondly, tat the pobii may what is that
genuine and liberal spirit of criticism, which
should always rise up and display itself when
il is to pass judgment on the works OF another,
and which in this instance is doubly fine, as it is
free from lurking unmanly envy, or any thing
like a malicious Misrepresentation. Thirdly,
that it may be a lesson to the merry Andrew
Scoggin, and teach him not TO come with feeble,
unhallowed hands to poetry holy as this is,
while it learns him how TO frame his next FRESH
man moroccan, after style better adapted for
grown folks, or persons who claim any acquain-
lance with the muses..
One word more. Andrew asks " who can
initiate creation ~ This IS very misty-and makes
men contract their eyebrows-Most of us have
been taught that limitation implies creation as
much as creation implies Creator.
From The Baltimore Federal Gazette.
NATIVE POETRY.
.Mr. Editor
You are a DELPHrAN | am told. If 1T be true,
and ifthe Delphians be, indeed, the worshippers
Of the true APOLLO, the very itiing Of this essay
viii secure it place in your paper. Now is the
time. The impulse is already communicated
the impetus, and the chariot of the god is APP
preaching with constantly increasing momen
tum.
You must feel may, you do feel, that the hea-
yens are frightening above you, and the clouds
rolling away from the chambers Of the East
But stop-you may refuse the essay. But
look at the poem first now, what say you. mind
you are 10 take the whole or none-the poem
ciih the notes, or neither the jewelry sstth the
setting--dross and ore. have myreasons for it.
have often known criticks struggled into i'm
mortality by sucn an expedient.
Well SO far, 50 good. The next question
with me Is, shall my remarks precede the poem,
or not The canons Of criticism say yes. AND
WE criiicks as all the world knows, when we are
eft TO marshal Cavalcade TO rerielc it, as we
say technically-whether it be Of poets out at
the elbows and heels, and flaming at the eyes
ragged and glittering like northern streamers
shattered IN hurricane, or rather like trailing
butterflies and flowers suddenly frted into the
air, and hurried past you in a morning wind
princes of the earth, dragging with ridiculous and
theatrical pomp, their moth eaten and moudy
coronation robes, and sweating like the man IN
the lord mayors procession at Lon don, under the
cumbrous armour Of giants that are gone-w beth.
er 1t be of these, procession of poets, or of sa
tans encountered with theories, and grooming,
like an elephant with his tower of armed men
upon his back, beneath the rickety pressure oil
some sky-tipped, paste board HYPOTHESIS; 10 mat
ter which be it the or the other, you know.
it is the invariable practice Of CRITICS to place
OURSELVES first, our AUTHORS last: OURSELVES
in the sunshine walking 10 loud musick. regu-
lar, concentrated and inmeveable, like a Mac
edonian phalsnx--our AUTHORS, cIouded with