Complete Essays, Literary Criticism, Cryptography, Autography, Translations & Letters. Эдгар Аллан По
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and aided by the “mailed shrimp,” the “prickly prong,” the “blood-red leech,” the “stony star-fish,” the “jellied quarl,” the “soldier-crab,” and the “lancing squab.” But the hopes of our hero are high, and his limbs are strong, so
He spreads his arms like the swallow’s wing,
And throws his feet with a frog-like fling.
All however, is to no purpose.
On his thigh the leech has fixed his hold,
The quarl’s long arms are round him roll’d,
The prickly prong has pierced his skin,
And the squab has thrown his javelin,
The gritty star has rubb’d him raw,
And the crab has struck with his giant claw;
He bawls with rage, and he shrieks with pain
He strikes around but his blows are vain-
So then,
He turns him round and flies amain
With hurry and dash to the beach again.
Arrived safely on land our Fairy friend now gathers the dew from the “sorrel-leaf and henbane-bud” and bathing therewith his wounds, finally ties them up with cobweb. Thus recruited, he
-treads the fatal shore
As fresh and vigorous as before.
At length espying a “purple-muscle shell” upon the beach, he determines to use it as a boat and thus evade the animosity of the water spirits whose powers extend not above the wave. Making a “sculler’s notch” in the stern, and providing himself with an oar of the bootle-blade, the Ouphe a second time ventures upon the deep. His perils are now diminished, but still great. The imps of the river heave the billows up before the prow of the boat, dash the surges against her side, and strike against her keel. The quarl uprears “his island-back” in her path, and the scallop, floating in the rear of the vessel, spatters it all over with water. Our adventurer, however, bails it out with the colen bell (which he has luckily provided for the purpose of catching the drop from the silver bow of the sturgeon,) and keeping his little bark warily trimmed, holds on his course undiscomfited.
The object of his first adventure is at length discovered in a “brownbacked sturgeon,” who
Like the heaven-shot javelin
Springs above the waters blue,
And, instant as the star-fall light
Plunges him in the deep again,
But leaves an arch of silver bright,
The rainbow of the moony main.
From this rainbow our Ouphe succeeds in catching, by means of his colen bell cup, a “droplet of the sparkling dew.” One half of his task is accordingly done —
His wings are pure, for the gem is won.
On his return to land, the ripples divide before him, while the water-spirits, so rancorous before, are obsequiously attentive to his comfort. Having tarried a moment on the beach to breathe a prayer, he “spreads his wings of gilded blue” and takes his way to the elfin court — there resting until the cricket, at two in the morning, rouses him up for the second portion of his penance.
His equipments are now an “acorn-helmet,” a “thistle-down plume,” a corslet of the “wild-bee’s “ skin, a cloak of the “wings of butterflies,” a shield of the “shell of the lady-bug,” for lance “the sting of a wasp,” for sword a “blade of grass,” for horse “a fire-fly,” and for spurs a couple of “cockle seed.” Thus accoutred,
Away like a glance of thought he flies
To skim the heavens and follow far
The fiery trail of the rocket-star.
In the Heavens he has new dangers to encounter. The “shapes of air” have begun their work — a “drizzly mist” is cast around him —“storm, darkness, sleet and shade” assail him —“shadowy hands” twitch at his bridle-rein —“flame-shot tongues” play around him —“fiendish eyes” glare upon him — and
Yells of rage and shrieks of fear
Come screaming on his startled ear.
Still our adventurer is nothing daunted.
He thrusts before, and he strikes behind,
Till he pierces the cloudy bodies through
And gashes the shadowy limbs of mind.
and the Elfin makes no stop, until he reaches the “bank of the milky way.” He there checks his courser, and watches “for the glimpse of the planet shoot.” While thus engaged, however, an unexpected adventure befalls him. He is approached by a company of the “sylphs of Heaven attired in sunset’s crimson pall.” They dance around him, and “skip before him on the plain.” One receiving his “wasp-sting lance,” and another taking his bridle-rein,
With warblings wild they lead him on,
To where, through clouds of amber seen,
Studded with stars resplendent shone
The palace of the sylphid queen.
A glowing description of the queen’s beauty follows: and as the form of an earthly Fay had never been seen before in the bowers of light, she is represented as falling desperately in love at first sight with our adventurous Ouphe. He returns the compliment in some measure, of course; but, although “his heart bent fitfully,” the “earthly form imprinted there” was a security against a too vivid impression. He declines, consequently, the invitation of the queen to remain with her and amuse himself by “lying within the fleecy drift,” “hanging upon the rainbow’s rim,” having his “brow adorned with all the jewels of the sky,” “sitting within the Pleiad ring,” “resting upon Orion’s belt” “riding upon the lightning’s gleam,” “dancing upon the orbed moon,” and “swimming within the milky way.”
Lady, he cries, I have sworn to-night
On the word of a fairy knight
To do my sentence task aright
The queen, therefore, contents herself with bidding the Fay an affectionate farewell — having first directed him carefully to that particular portion of the sky where a star is about to fall. He reaches this point in safety, and in despite of the “fiends of the cloud,” who “bellow very loud,” succeeds finally in catching a “glimmering spark” with which he returns triumphantly to Fairy-land. The poem closes with an Io Paean chaunted by the elves in honor of these glorious adventures.
It is more than probable that from ten readers of the Culprit Fay, nine would immediately pronounce it a poem betokening the most extraordinary powers of imagination, and of these nine, perhaps five or six, poets themselves, and fully impressed with the truth of what we have already assumed, that Ideality is indeed the soul of the Poetic Sentiment, would feel embarrassed between a half-consciousness that they ought to admire the production, and a wonder that they do not. This embarrassment would then arise from an indistinct conception of the results in which Ideality is rendered manifest. Of these results some few are seen in the Culprit Fay, but the greater part of it is utterly destitute of any evidence of imagination whatever. The general character of the poem will, we think, be sufficiently understood by any one who may have taken the trouble to read our foregoing compendium of the narrative. It will be there seen that what is so frequently termed the imaginative power of this story, lies especially — we should have rather said is thought to lie — in the passages we have quoted, or in others of a precisely similar nature. These passages embody, principally, mere specifications of qualities, of habiliments, of punishments, of occupations, of circumstances, &c., which the poet has believed in unison with the size, firstly, and secondly with the nature of his Fairies. To all which may be added specifications of other animal existences (such as the toad, the beetle, the lance-fly, the fire-fly and the like) supposed also to be in accordance.