146 EDGAR ALLAN POE sentially Germanic. "The Luck of Edenhall," however, is a truly beautiful poem ; and we say this with all that deference which the opinion of the "Democratic Review" demands. This composition appears to us one of the very finest. It has all the free, hearty, obvious movement of the true ballad-legend. The greatest force of language is combined in it with the richest imagination, acting in its most legitimate province. Upon the whole, we prefer it even to the "Sword-Song" of Korner. The pointed moral with which it terminates is so exceedingly natural—so perfectly fluent from the incidents—that we have hardly heart to pronounce it in ill taste. We may observe of this ballad, in conclusion, that its subject is more physical than is usual in Germany. Its images are rich rather in physical than in moral beauty. And this tendency, in Song, is the true one. It is chiefly, if we are not mistaken—it is chiefly amid forms of physical loveliness (we use the word forms in its widest sense as embracing modifications of sound and color) that the soul seeks the realization of its dreams of Beauty. It is to her demand in this sense especially, that the poet, who is wise, will most frequently and most earnestly respond. . . . . . .
As we have already alluded, in one or two regards, to a notice of these poems which appeared in the "Democratic Review," we may as well here proceed with some few further comments upon the article in question—with whose general tenor we are happy to agree.
The Review speaks of "Maidenhood" as a poem, "not to be understood but at the expense of more time and trouble than a song can justly claim." We
