Summary

Various The Atlantic Monthly, Volume 06…

It excites our wonder to observe how in pathos Hood's genius divests itself of attributes which had seemed essential to its existence. All that is grotesque, whimsical, or odd disappears, and we have only the soul of pity in the sound of song,—in song "most musical, most melancholy." In pathos, Hood's is not what we should call a transformed genius so much as a genius becoming divested of its coarser life, and then breathing purely the inner spirit of goodness and beauty. The result is what one might almost term the "absolute" in pathos. Nothing is excluded that is necessary to impression
Source: Gutenberg

Various The Atlantic Monthly, Volume 06…

A waning moon was rising behind the trees, it fell upon the little quay that had been built that summer, and seemed with its hollow beams still to continue the structure upon the water. The Arrow floated in the shadow just beyond. Mr. Raleigh's eyes were on the quay; he paused, nerveless, both oars trailing, a cold damp starting on his forehead. Some one approached as if looking out upon the dim sheet,—some one who, deceived by the false light, did not know the end to be so near, and walked forward firmly and confidently. Indeed, the quay had been erected in Mr. Laudersdale's absence.
Source: Gutenberg

Various The Atlantic Monthly, Volume 06…

Other writers transcended Hood in the region of the terrible. It is almost useless to name such sublime masters of it as Dante, Shakspeare, and Milton. But in the intermingling of the grotesque and terrible, and in the infinite diversification of them as thus united, not only has Hood no equal, but no rival. In some few marked and outward directions of his genius he may have imitators; but in this magical alchemy of sentiment, thought, passion, fancy, and imagination, the secret of his laboratory was his alone; no other man has discovered it, and no other man, as he did, could use it.
Source: Gutenberg

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