It is not a great poem when we measure it by absolute standards, but "The Rising Glory of America" is a very great poem if we view it in connection with the conditions and the environment that produced it. Full as it is of Latin influence and Commencement day zeal, it is the first real poem that America ever made--the first poem that was impelled hot from a man's soul. It is more than this, it is the first real fruit of a new influence in the world of letters--the first literary product of that mighty force that was to set in motion the American and French Revolutions, with all that they mean in human history. America should have recognized this new and original voice, and should have encouraged it to sing the new message which it had to proclaim to the world, but she was not yet ready. How the young dreamer, who had seen life from his earliest years only through the medium of his books, was gradually disillusioned, we have endeavored to show. His first book, put forth in the enthusiasm of inexperience, with his name on the title-page, was "damned by all good and judicious judges." So was Wordsworth's; so have been the earliest ventures of every innovator in the field of song. Gradually the young poet awoke to a realization of his position: America was unprepared for her prophet; she would not listen. The discovery disheartened him; his Celtic temperament would not patiently wait for recognition, as did Wordsworth; he was too proud to force his poetry upon an unwilling public. He would leave the scene, for three years to dwell in the dreamy seclusion of the tropic islands. This was his period of pure invention, where he showed the possibilities of his genius. With the "House of Night" he became one of the earliest pioneers in that dimly-lighted region which was soon to be exploited by Coleridge and Poe. The poem is the first distinctly romantic note heard in America. Moreover, one may search in vain in the English poetry of the early romantic movement for anything that can equal it in strength of conception, in mastery of weird epithet, and in sustained command over the vaguely terrible. The page that recounts the poet's departure from the house of night, quaking with fear,-- "Beneath my feet substantial darkness lay, And screams were heard from the distempered ground," his timid look behind him to find the windows of the infernal dome a "flaming hell-red," the fearful shrieks of the dying monster within the walls, the "hell-red wandering light" that led him to the graves, the sudden peal of the iron bell above him in the darkness, and then the troop of spectres galloping fiercely on Death's horses, while "their busy eyes shot terror to my soul,"--all this is worthy of Poe. As a product of pure imagination, the poem is most remarkable, especially when we view it in connection with the English literature of its day. In its weird supernaturalism it anticipated Scott, and in its unearthly atmosphere it clearly anticipated Coleridge.