Childhood in literature and art, with some observations on literature for children : $b A studyScudder, Horace Elisha
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Childhood in literature and art, with some observations on literature for children : $b A study
Scudder, Horace Elisha
Children in art; Children in literature
While, therefore, Longfellow is repeatedly aware of the presence of
children, it is not by the poems which spring out of that recognition
that he especially reaches them. In his poem From my Arm-Chair, he refers
to The Village Blacksmith; that has a single verse in which children
figure, but the whole poem will arrest the attention of children far more
than From my Arm-Chair, and it belongs to them more. It cannot be too
often repeated that books and poems about children are not necessarily
for children. The thoughts which the man has of the child often depend
wholly upon the fact that he has passed beyond childhood, and looks back
upon it; it is impossible for the child to stand by his side. Thus the
poem Weariness contains the reflection of a man who anticipates the after
life of children; there is nothing in it which belongs to the reflection
of childhood itself. Tennyson’s May Queen, which has found its way into
most of our anthologies for the young, is a notable example of a large
class of verses quite unfit for such a place. It may be said in general
that sentiment, when made a part of childhood, is very sure to be morbid
and unnatural. We have a sentiment which rises at the sight of childhood,
but children themselves have none of it; the more refined it is, the more
unfit it is to go into their books.
Here is a collection of poetry for children, having all the marks of a
sound and reputable work. As I turn its leaves, I come upon a long ballad
of The Dying Child, Longfellow’s The Reaper and the Flowers, a poem
called The Little Girl’s Lament, in which a child asks, “Is heaven a long
way off, mother?” and for two or three pages dwells upon a child’s pain
at the loss of her father; Tennyson’s May Queen, who is so unconscionably
long a time dying; Mrs. Hemans’s imitation of Mignon’s song in a poem
called The Better Land; and a poem by Dora Greenwell which I must regard
as the most admirable example of what a poem for a child should not be.
It is entitled A Story by the Fire, and begins,—
“Children love to hear of children!
I will tell of a little child
Who dwelt alone with his mother
By the edge of a forest wild.
One summer eve, from the forest,
Late, late, down the grassy track
The child came back with lingering step,
And looks oft turning back.
“‘Oh, mother!’ he said, ‘in the forest
I have met with a little child;
All day he played with me,—all day
He talked with me and smiled.
At last he left me alone, but then
He gave me this rosebud red;
And said he would come to me again
When all its leaves were spread.’”
Thereupon the child declares that it will put the rosebud in a glass, and
wait eagerly for the friend to come. So the night goes and the morning
comes, and the child sleeps.
Public-domain text, read in full here on John Shaqi.
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