Graham's Magazine Vol XXXIII No. 2 August 1848. Various
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attracted any attention. At the end of a month but about twenty copies had been sold, and, in a moment of disappointment, Mrs. Brooks caused the remainder of the impression to be withdrawn from the market. The poem has therefore been little read in this country, and even the title of it would have remained unknown to the common reader of elegant literature but for occasional allusions to it by Southey and other foreign critics. 2
In the summer of 1843, while Mrs. Brooks was residing at Fort Columbus, in the bay of New York, – a military post at which her son, Captain Horace Brooks, was stationed several years – she had printed for private circulation the remarkable little work to which allusion has already been made, entitled "Idomen, or the Vale of the Yumuri." It is in the style of a romance, but contains little that is fictitious except the names of the characters. The account which Idomen gives of her own history is literally true, except in relation to an excursion to Niagara, which occurred in a different period of the author's life. It is impossible to read these interesting "confessions" without feeling a profound interest in the character which they illustrate; a character of singular strength, dignity and delicacy, subjected to the severest tests, and exposed to the most curious and easy analysis. "To see the inmost soul of one who bore all the impulse and torture of self-murder without perishing, is what can seldom be done: very few have memories strong enough to retain a distinct impression of past suffering, and few, though possessed of such memories, have the power of so describing their sensations as to make them apparent to another." "Idomen" will possess an interest and value as a psychological study, independent of that which belongs to it as a record of the experience of so eminent a poet.
Mrs. Brooks was anxious to have published an edition of all her writings, including "Idomen," before leaving New York, and she authorized me to offer gratuitously her copyrights to an eminent publishing house for that purpose. In the existing condition of the copyright laws, which should have been entitled acts for the discouragement of a native literature, she was not surprised that the offer was declined, though indignant that the reason assigned should have been that they were "of too elevated a character to sell." Writing to me soon afterward she observed, "I do not think any thing from my humble imagination can be 'too elevated,' or elevated enough, for the public as it really is in these North American States… In the words of poor Spurzheim, (uttered to me a short time before his death, in Boston,) I solace myself by saying, 'Stupidity! stupidity! the knowledge of that alone has saved me from misanthropy.'"
In December, 1843, Mrs. Brooks sailed the last time from her native country for the Island of Cuba. There, on her coffee estate, Hermita, she renewed for a while her literary labors. The small stone building, smoothly plastered, with a flight of steps leading to its entrance, in which she wrote some of the cantos of "Zophiël," is described by a recent traveler 3 as surrounded by alleys of "palms, cocoas, and oranges, interspersed with the tamarind, the pomegranate, the mangoe, and the rose-apple, with a back ground of coffee and plantains covering every portion of the soil with their luxuriant verdure. I have often passed it," he observes, "in the still night, when the moon was shining brightly, and the leaves of the cocoa and palm threw fringe-like shadows on the walls and the floor, and the elfin lamps of the cocullos swept through the windows and door, casting their lurid, mysterious light on every object, while the air was laden with mingled perfume from the coffee and orange, and the tube-rose and night-blooming ceres, and have thought that no fitter birth-place could be found for the images she has created."
Her habits of composition were peculiar. With an almost unconquerable aversion to the use of the pen, especially in her later years, it was her custom to finish her shorter pieces, and entire cantos of longer poems, before committing a word of them to paper. She had long meditated, and had partly composed, an epic under the title of "Beatriz, the Beloved of Columbus," and when transmitting to me the MS. of "The Departed," in August, 1844, she remarked: "When I have written out my 'Vistas del Infierno' and one other short poem, I hope to begin the penning of the epic I have so often spoken to you of; but when or whether it will ever be finished, Heaven alone can tell." I have not learned whether this poem was written, but when I heard her repeat passages of it, I thought it would be a nobler work than "Zophiël."
Mrs. Brooks died at Patricio, in Cuba, near the close of December, 1844.
I have no room for particular criticism of her minor poems. They will soon I trust be given to the public in a suitable edition, when it will be discovered that they are heart-voices, distinguished for the same fearlessness of thought and expression which is illustrated by the work which has been considered in this brief reviewal.
The accompanying portrait is from a picture by Mr. Alexander, of Boston, and though the engraver has very well preserved the details and general effect of the painting, it does little justice to the fine intellectual expression of the subject. It was a fancy of Mr. Southey's that induced her to wear in her hair the passion-flower, which that poet deemed the fittest emblem of her nature.
THE CRUISE OF THE RAKER
CHAPTER I
It was a dark and cloudy afternoon near the close of the war of 1812-15. A little vessel was scudding seaward before a strong sou'wester, which lashed the bright waters of the Delaware till its breast seemed a mimic ocean, heaving and swelling with tiny waves. As the sky and sea grew darker and darker in the gathering shades of twilight, the little bark rose upon the heavy swell of the ocean, and meeting Cape May on its lee-beam, shot out upon the broad waste of waters, alone in its daring course, seeming like the fearless bird which spreads its long wings amid the fury of the storm and the darkness of the cloud.
Upon the deck, near the helm, stood the captain, whom we introduce to our readers as George Greene, captain of the American privater, Raker. He was a weather-bronzed, red-cheeked, sturdy-built personage, with a dark-blue eye, the same in color as the great sea over which it was roving with an earnest and careful glance, rather as if in search of a strange sail, than in apprehension of the approaching storm. His countenance denoted firmness and resolution, which he truly possessed in an extraordinary degree, and his whole appearance was that of a hardy sailor accustomed to buffet with the storm and laugh at the fiercest wave.
It was evident that a bad night was before them, and there were some on board the little privateer who thought they had better have remained inside the light-house of Cape May, than ventured out upon the sea. The heavy masses of black clouds which were piled on the edge of the distant horizon seemed gradually gathering nearer and nearer, as if to surround and ingulf the gallant vessel, which sped onward fearlessly and proudly, as if conscious of its power to survive the tempest, and bide the storm.
Captain Greene's eye was at length attracted by the threatening aspect of the sky, and seizing his speaking-trumpet he gave the orders of preparation, which were the more promptly executed inasmuch as they had been anxiously awaited.
"Lay aloft there, lads, and in with the fore to'gallant-sail and royal – down with the main gaff top-sail! – bear a hand, lads, a norther on the Banks is no plaything! Clear away both cables, and see them bent to the anchors – let's have all snug – lower the flag from the gaff-peak, and send up the storm-pennant, there – now we are ready."
A thunder-storm at sea is perhaps the sublimest sight in nature, especially when attended with the darkness and mystery of night. The struggling vessel plunges onward into the deep blackness, like a blind and unbridled war-horse. All is dark – fearfully dark. Stand with me, dear reader, here in the bow of the ship! make fast to that halliard, and share with me in the glorious feelings engendered by the storm which is now rioting over the waters and rending the sky. We hear the fierce roar of the contending surges, yet we see them not. We hear the quivering sails and strained sheets, creaking and fluttering like imprisoned spirits, above and around us, but all is solemnly invisible; now, see in the distant horizon the faint premonitory flush of light, preceding the vivid lightning flash – now, for a moment, every thing – sky – water – sheet – shroud and spar are glowing with a brilliancy that exceedeth the brightness of day – the sky is a broad canopy of golden radiance, and the waves are crested with a red and fiery surge, that reminds you of your conception of the "lake of
Maria del Occidente – otherwise, we believe, Mrs. Brooks – is styled in "The Doctor," &c. "the most impassioned and most imaginative of all poetesses." And without taking into account
The author of "Notes on Cuba." Boston, 1844.