Robert Dinsmore by John Greenleaf Whittier

The great charm of Scottish poetry consists in its simplicity, and genuine, unaffected sympathy with the common joys and sorrows of daily life. It is a home-taught, household melody. It calls to mind the pastoral bleat on the hillsides, the kirkbells of a summer Sabbath, the song of the lark in the sunrise, the cry of the quail in the corn-land, the low of cattle, and the blithe carol of milkmaids "when the kye come hame" at gloaming. Meetings at fair and market, blushing betrothments, merry weddings, the joy of young maternity, the lights and shades of domestic life, its bereavements and partings, its chances and changes, its holy death-beds, and funerals solemnly beautiful in quiet kirkyards, -- these furnish the hints of the immortal melodies of Burns, the sweet ballads of the Ettrick Shepherd and Allan Cunningham, and the rustic drama of Ramsay. It is the poetry of home, of nature, and the affections.

All this is sadly wanting in our young literature. We have no songs; American domestic life has never been hallowed and beautified by the sweet and graceful and tender associations of poetry. We have no Yankee pastorals. Our rivers and streams turn mills and float rafts, and are otherwise as commendably useful as those of Scotland; but no quaint ballad or simple song reminds us that men and women have loved, met, and parted on their banks, or that beneath each roof within their valleys the tragedy and comedy of life have been enacted. Our poetry is cold and imitative; it seems more the product of over-strained intellects than the spontaneous outgushing of hearts warm with love, and strongly sympathizing with human nature as it actually exists about us, with the joys and griefs of the men and women whom we meet daily. Unhappily, the opinion prevails that a poet must be also a philosopher, and hence it is that much of our poetry is as indefinable in its mysticism as an Indian Brahmin's commentary on his sacred books, or German metaphysics subjected to homeopathic dilution. It assumes to be prophetical, and its utterances are oracular. It tells of strange, vague emotions and yearnings, painfully suggestive of spiritual "groanings which cannot be uttered. " If it "babbles o' green fields" and the common sights and sounds of nature, it is only for the purpose of finding some vague analogy between them and its internal experiences and longings. It leaves the warm and comfortable fireside of actual knowledge and human comprehension, and goes wailing and gibbering like a ghost about the impassable doors of mystery: --