PREFACE.
The object of this Poem is two-fold; first, to photograph a phase of human depravity incredible, had we not witnessed it; and to hand down its subjects to eternal infamy: and, secondly, to paint the beauty and power of goodness and loyalty in the sacred cause of God and of Country. “Sir Copp” represents the element of mean servility exhibited in those whom duty called in vain to the support of their invaded liberties; the most venomous “copperheads” being those who, under a loyal mask, betrayed their trust, starved our soldiers, robbed their widows and orphans, and, like Benedict Arnold, sold themselves to the enemy. Contrasted with this dark side of the picture the patriotism of our loyal citizens stands out in bold relief. Our army, like a torrent, sweeps away the strongholds of the rebels and restores peace and happiness to the nation. But this glimpse of light is clouded by the murder of Mr. Lincoln, and, in “Abel Misraim,” the people bewail the irreparable loss of their martyred chief. A digression on certain British poets, and a severe criticism on “Enoch Arden,” are followed by a discussion demonstrating the impossibility of sustaining liberty, unless founded on the basis of popular virtue and intelligence; and that no man, whatever be hiscolor, is entitled to the privileges, unless he be prepared to discharge the duties of a citizen. The abuse of this principle caused all our troubles in the past, and, unless a speedy and a radical reform shall be effected, we can expect nothing better for the future.
“Sir Copp,” having undergone a severe physical and moral dissection, is finally introduced into hell, whence Satan, unwilling to entertain him, sends him back to earth to be punished there according to his deserts.
This is the first of a series of works, chiefly on the war, by the same author, which will be issued in due course, if “home production” shall receive here, at the West, a sufficient patronage to justify the undertaking.
It is proposed, also, to republish here, from the London editions, the most popular of the author’s published works, to which the opinions of the best English critics will be appended, according to him a high rank amongst the first poets of our day.
Perhaps it may not be deemed out of place to give here a few brief extracts from those criticisms:
The London Athenæum says: “Mr. Clarke is highly successful in his management of blank verse, and the following passage from his “Day in May,” is worthy of praise for the happy arrangement of its cadences, and the pure and natural feelings contained in it.” [Here follows a quotation of over 40 lines.]
The London Spectator speaks of the same poem in the highest terms; so do the Court Journal, Indian Review, Morning Post, &c.
Blackwood says of “Donna Rosa,” that “it cannotbe surpassed for elegance of style and correctness of metre.” Tait’s Edinburgh Magazine coincides, and Bell’s Messenger says: “This is the best and most musical poem which the present season has produced.”
Much more might be quoted, had we space. The above must suffice for the present.
With regard to this new poem, “Sir Copp,” the author relies entirely on the good sense and judgment of the people of the Great West, for an impartial decision of its claims to public favor; and he will rest satisfied with that decision, whatever it may be; for he cannot but believe, that those who have been able to appreciate the best political, military and legal talent in the country, will also be able to discriminate, and reward, literary merit, when it is fairly and candidly presented for their consideration.
Chicago, Illinois.