Text: James E. Heath, “Editorial Remarks,” Southern Literary Messenger (Richmond, VA), vol. I, no. 7, March 1835, pp. 387

[page 387, col. 1, continued:]

EDITORIAL REMARKS.

We continue the interesting “Sketches of Tripoli and the Barbary States.” We believe that when completed, they will constitute the most authentic record extant, of the military and diplomatic transactions of the period referred to. Besides the author's access to correct sources of information, he has the taste and talent to impart peculiar grace and interest to his narrative.

“Berenice,” a tale, by Mr. Edgar A. Poe, will be read with interest, especially by the patrons of the Messenger in this city, of which Mr. P. is a native, and where he resided until he reached manhood. Whilst we confess that we think there is too much German horror in his subject, there can be but one opinion as to the force and elegance of his style. He discovers a superior capacity and a highly cultivated taste in composition.

The “Extract from the Reminiscences of a Western Traveller,” proceeding as it does from the pen of a practised and polished writer, has the additional advantage, as we are assured, of being founded in strict truth.

We are sorry that we are not permitted to announce the source from which we derive the original story or apologue of “Jonathan Bull and Mary Bull.” Its own merit however, and its obvious application to events of the time at which it was written, will attract a due share of attention.

We especially recommend to our female readers, particularly the young and lovely who are just entering into the flowery but deceitful paths of worldly pleasure, to read the original narrative which is headed “Marrying Well.”

The “Letters from a Sister” will amply repay the reader; so also will the article on the “Fine Arts” — and the “Persian Story,” translated from the French of Florian.

The “Scene in Paris, by a Virginian,” we have no hesitation in particularly recommending. It is an admirable and graphic description of what the writer saw with his own eyes, — and the excellent delineation of the French character, comprising its extremes of energy and weakness, will forcibly strike the reader. With us the whole narrative possesses powerful interest.

It is but sheer justice to insert the letter from “Larry Lyle,” (printed by mistake in our last “Zarry Zyle,”) in answer to the criticisms of our Shepherdstown correspondent. Mr. Lyle defends his muse with spirit and ability.

We also insert from a sense of duty, a letter from the author of a “Note to Blackstone's Commentaries,” accompanied by the expression of our regret that he should have considered himself somewhat unkindly treated by the gentleman who furnished a reply to that article. We think we can vouch for it that the gentleman referred to, fully intended to restrict himself within the bounds of fair and honorable discussion, and if we had thought differently, his article would have been excluded.

We must be excused for saying a word or two in respect to the poetical department. Unless the reader is very fastidious, he must, we think, be pleased. We read “Young Rosalie Lee” more than once, before we could fully perceive the exquisite beauty and delicacy of the mind which produced it, — and we venture the prediction, that unless the author is divorced from the society of the sacred nine by paramount duties, he is destined to no ordinary celebrity. We dare say that for the expression of this opinion, we ourselves shall not be spared, for we confess there is a quaintness in the style which will be repulsive to most readers.

In the “Stray Leaves,” there is something which reminds us of Waller's beautiful lines beginning, “Go lovely rose,” &c. and we almost regretted that the author should have so suddenly glided into the genuine Anacreontic.

Our readers will agree with us that the remaining pieces, particularly the “Extract from an Unfinished Poem” — the lines “To Hope” — ”To the Bible” — ”Moonlight” — and “Hopes and Sorrows,” have each more than ordinary claims to admiration.

The “Lines on Barlow's Monument,” by the celebrated Helen Maria Williams, and now published for the first time, need no praise from our pen; neither do the two original productions of Mrs. Sigourney, which we take great pleasure in inserting.

It would be doing us much injustice to suppose that the pieces which we do not particularly notice, are for that reason lightly esteemed. Whilst there are, it is true, degrees in the pleasure with which we regard the favors of contributors, their insertion ought to forbid the idea that any are unwelcome.