Poetry
Momaday offers a general estimation of the poet and the poetry: "Tuckerman was a man who made herbariums. He had an eye for the minutest aspects of the world. When he wished to focus upon the veins of a leaf, or to find a metaphor for the appearance of an evergreen spine, he could do so with extraordinary skill. His poems are remarkable, point-blank descriptions of nature; they are filled with small, precise, and whole things: purring bees and vervain spikes, shives and amaryllis, wind flowers and stramony. But Tuckerman has more to recommend him than an eye and a nomenclature. His sensibilities are refined; his sensitivity is acute. His experience is pervaded by an always apparent sense of grief. He knows well the side of Man that is most vulnerable to pain, and he treats of it throughout his work with respect and compassion, often with great power and beauty.
But he was also a poet of the nineteenth century, and one who admired Tennyson above others. There is a good deal of bad writing in Tuckerman, and there are many obscurities... occur for the most part in the longer poems, especially those of narrative character. Often they are marred by a tediousness of expression and an overwrought consistency of mood."
Edmund Wilson comments on the issue of Tuckerman's obscurity: "...one of the queerest features of Tuckerman's work is his habit of alluding, not merely to characters from Biblical or classical antiquity so obscure that one cannot believe they are real till one finds them in a concordance or a classical dictionary, but also to personages who cannot be found because their names have been made up by the poet."
Read more about this topic: Frederick Goddard Tuckerman
Famous quotes containing the word poetry:
“Love’s the only thing I’ve thought of or read about since I was knee-high. That’s what I always dreamed of, of meeting somebody and falling in love. And when that remarkable thing happened, I was going to recite poetry to her for hours about how her heart’s an angel’s wing and her hair the strings of a heavenly harp. Instead I got drunk and hollered at her and called her a harpy.”
—Ben Hecht (1893–1964)
“Indeed, the best books have a use, like sticks and stones, which is above or beside their design, not anticipated in the preface, not concluded in the appendix. Even Virgil’s poetry serves a very different use to me today from what it did to his contemporaries. It has often an acquired and accidental value merely, proving that man is still man in the world.”
—Henry David Thoreau (1817–1862)
“Prose—it might be speculated—is discourse; poetry ellipsis. Prose is spoken aloud; poetry overheard. The one is presumably articulate and social, a shared language, the voice of “communication”; the other is private, allusive, teasing, sly, idiosyncratic as the spider’s delicate web, a kind of witchcraft unfathomable to ordinary minds.”
—Joyce Carol Oates (b. 1938)