New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-10-24
OF him who's" eyes he Light behold
OF Italy and Paradise ...-

shop keeper dreaming over his Cornggio the
one particular shop-keeper whose personality
could touch Muse VIGOROUSLY indifferent to
the appeal OF trade. Therein lies one OF Mr..
Stedman's most conc.liatng traits His themes
are sometimes unromantc, but he gives them the
turn that makes them poetic. Cousin Lucrece'
is on the whole. homely figure, and the
laughter she provoked among the villagers OF
old Norwich echoes carelessy in these verses;
but the pa;hos underlying what was ludicrous 10
Cousin Lucrece is perceptibie beneath what is
almost cruelty frank IN the poem. and the unin-
teresting old gentlewoman remains sweet and
an interesting memory. Partly this is due to
the poets gracious handling Of his material
partly also it is due to his broad sympathy for
all human feeling. When that sympathy is at
tracted by issues OF a more passionate character
ne becomes not only humane. but dramatic.
His intuition pierces then to the centre and Is
needless Of any barriers which time might be
disposed to put in his way. In fact. he is more
felicious. sometimes. in the Interpretation OF an
old emotion than Of a modern one. Compare
the gallant and smooth bat light hearted verses
adore ,sed 70 the siren OF a modern ballroom
with the more direct. more nervous more yig-
orous stanzas in celebration Of a seventeenth
century precursor OF tfidt DchitNtt4ilS
Dame Anne. mye hate goe with you heete =
AZ driftes the Bay fogg overhead
Or over yonder iil-topp. where
There is tree ripe fruite shall bear
When. neighbour myne. your wicked feet
The stones Of Galowes Hill shall tread.
1t is true that a contrast Of types calls for
certain contrast of feeling We do not say that
Mr.. Stedman loses the effect he seeks in his
"Witchcraft A. D. 1854" 1t is simply that in
..xI sa.c ..;,l
greater naturancss. with quicker ami warmer
sympathy He would hardly be the poet that
he u.s. indeed IL he did not make his liyellest re-
sponses to subjects SURPRISING others in color.
in picturesqueness. In rarity The poet is after
! all. artist and the reader is constantly aware
in this volume of the imaginative bent which
has sent Mr.. Stedman in chase Of striking in
spiration We refuse to be touched by verse from
which the spirit Of human nature is absent but In
spite OF the realists we gravitate naturally
toward the poets who offer US the most Divert
ing pictures. the most original imagery. Mr..
Stedmans poetry Is full Of original and effective
pictures. Here that precision to which we have
referred stands him in good stead. M matter
what the time. matter what the place, the
vision is always clear and rich. Whether It be
Aucassin and Nicolette Within the garden OF
Beaucaire' or Petrus Stuyvesant and his
ghOsuy Nine revisiting the scene of his Governor
ship on Christmas eve. or shabby genteel Luz
crece. or the four proud ladies Of Huntington
House" the figures are always limned in bold
strokes ag liust a tangible background In
genious verse it is. and suave and lyrical. bu1
very animated sometimes busting and marked
by veracity which makes the reader feel
positive cOmpanionship with the and women
whose remote traits and faded personalities are
SO confidently renewed. Mr. Stedman writes
with force that suggests zest for his theme.
you feel that he is himself mbuei with tho
passion or sensation which he sings. and thus to
his keenly balanced music there is added a note
Of artless energy. A good example OF this is
provided by "Faistaff's Song" a set Of three
brief stanzas. which recalls in it's vitality and
swing those earlier English carols which express
the very core Of material enjoyment
Where's ne that died O. Wednesday?
What place on eartn hath he,
A tailors yard beneath. | wot.
Where worms approaching be.
For the wight that died u Wednesday,
Just laid the light below
Is dead as the yarlet turned ID clay
score Of years ago.
Where's he that died o. Saba day?
Good Lord Id not be he.
The best Of days is foul enough
From this worlds fare to fee:
And the saint that died o Saba day.
With his grave turf yet to grow.
Is dead the sinner brought To pray
hundred years ago.
The rollicking tone OF this song is In interest'
Ing contrast to the grave seriousness which per-
meates d considerable body OF the work In MI
Stedman's volume. We have laid stress up'"
the spirited key which has attracted him 80
often because it Is eloquent of his buoyant EN-
permanent. but there is much else in the pooS'
in another key which is quite as characteristics