Father, I firmly do believe— I _know_—for Death who comes for me From regions of the blest afar, Where there is nothing to deceive, Hath left his iron gate ajar, And rays of truth you cannot see Are flashing thro’ Eternity—— I do believe that Eblis hath A snare in every human path— Else how, when in the holy grove I wandered of the idol, Love, Who daily scents his snowy wings With incense of burnt offerings From the most unpolluted things, Whose pleasant bowers are yet so riven Above with trelliced rays from Heaven No mote may shun—no tiniest fly— The lightning of his eagle eye— How was it that Ambition crept, Unseen, amid the revels there, Till growing bold, he laughed and leapt In the tangles of Love’s very hair?
TO ——.
The bowers whereat, in dreams, I see The wantonest singing birds, Are lips—and all thy melody Of lip-begotten words—
Thine eyes, in Heaven of heart enshrined Then desolately fall, O God! on my funereal mind Like starlight on a pall—
Thy heart—_thy_ heart!—I wake and sigh, And sleep to dream till day Of the truth that gold can never buy— Of the baubles that it may.
A DREAM.
In visions of the dark night I have dreamed of joy departed— But a waking dream of life and light Hath left me broken-hearted.
Ah! what is not a dream by day To him whose eyes are cast On things around him with a ray Turned back upon the past?
That holy dream—that holy dream, While all the world were chiding, Hath cheered me as a lovely beam A lonely spirit guiding.
What though that light, thro’ storm and night, So trembled from afar— What could there be more purely bright In Truth’s day-star?
ROMANCE.
Romance, who loves to nod and sing, With drowsy head and folded wing, Among the green leaves as they shake Far down within some shadowy lake, To me a painted paroquet Hath been—a most familiar bird— Taught me my alphabet to say— To lisp my very earliest word While in the wild wood I did lie, A child—with a most knowing eye.
Of late, eternal Condor years So shake the very heaven on high With tumult as they thunder by, I have no time for idle cares Through gazing on the unquiet sky. And when an hour with calmer wings Its down upon my spirit flings— That little time with lyre and rhyme To while away—forbidden things! My heart would feel to be a crime Unless it trembled with the strings.
FAIRY-LAND.
Dim vales—and shadowy floods— And cloudy-looking woods, Whose forms we can’t discover For the tears that drip all over— Huge moons there wax and wane— Again—again—again— Every moment of the night— For ever changing places— And they put out the starlight With the breath from their pale faces. About twelve by the moon-dial One more filmy than the rest (A kind which, upon trial, They have found to be the best) Comes down—still down—and down With its centre on the crown Of a mountain’s eminence, While its wide circumference In easy drapery falls Over hamlets, over halls, Wherever they may be— O’er the strange woods—o’er the sea— Over spirits on the wing— Over every drowsy thing— And buries them up quite In a labyrinth of light— And then, how deep!—O, deep! Is the passion of their sleep. In the morning they arise, And their moony covering Is soaring in the skies, With the tempests as they toss, Like——almost any thing— Or a yellow Albatross. They use that moon no more For the same end as before— Videlicet a tent— Which I think extravagant: Its atomies, however, Into a shower dissever, Of which those butterflies, Of Earth, who seek the skies, And so come down again, (Never-contented things!) Have brought a specimen Upon their quivering wings.
THE LAKE.
TO ——.
In spring of youth it was my lot To haunt of the wide world a spot The which I could not love the less— So lovely was the loneliness Of a wild lake, with black rock bound, And the tall pines that towered around.
But when the Night had thrown her pall Upon that spot, as upon all, And the mystic wind went by Murmuring in melody— Then—ah then I would awake To the terror of the lone lake.
Yet that terror was not fright, But a tremulous delight— A feeling not the jewelled mine Could teach or bribe me to define— Nor Love—although the Love were thine.
Death was in that poisonous wave, And in its gulf a fitting grave For him who thence could solace bring To his lone imagining— Whose solitary soul could make An Eden of that dim lake.
SONG.
I saw thee on thy bridal day— When a burning blush came o’er thee, Though happiness around thee lay, The world all love before thee:
And in thine eye a kindling light (Whatever it might be) Was all on Earth my aching sight Of Loveliness could see.
That blush, perhaps, was maiden shame— As such it well may pass— Though its glow hath raised a fiercer flame In the breast of him, alas!
Who saw thee on that bridal day, When that deep blush _would_ come o’er thee, Though happiness around thee lay, The world all love before thee.
TO M. L. S——.
Of all who hail thy presence as the morning— Of all to whom thine absence is the night— The blotting utterly from out high heaven The sacred sun—of all who, weeping, bless thee Hourly for hope—for life—ah! above all, For the resurrection of deep-buried faith In Truth—in Virtue—in Humanity— Of all who, on Despair’s unhallowed bed Lying down to die, have suddenly arisen At thy soft-murmured words, “Let there be light!” At the soft-murmured words that were fulfilled In the seraphic glancing of thine eyes— Of all who owe thee most—whose gratitude Nearest resembles worship—oh, remember The truest—the most fervently devoted, And think that these weak lines are written by him— By him who, as he pens them, thrills to think His spirit is communing with an angel’s.
TO HELEN.
Helen, thy beauty is to me Like those Nicéan barks of yore That gently, o’er a perfumed sea, The weary way-worn wanderer bore To his own native shore.
On desperate seas long wont to roam, Thy hyacinth hair, thy classic face, Thy Naiad airs have brought me home To the glory that was Greece, And the grandeur that was Rome.
Lo, in yon brilliant window-niche How statue-like I see thee stand, The agate lamp within thy hand! Ah, Psyche, from the regions which Are holy-land!
NOTES TO AL AARAAF.
NOTES.
[Footnote 2: page 149. _Al Aaraaf._
A star was discovered by Tycho Brahe which appeared suddenly in the heavens—attained, in a few days, a brilliancy surpassing that of Jupiter—then as suddenly disappeared, and has never been seen since.]
[Footnote 3: P. 151. _On the fair Capo Deucato._
On Santa Maura—olim Deucadia.]
[Footnote 4: P. 151. _Of her who loved a mortal—and so died._}—Sappho.]
[Footnote 5: P. 152. _And gemmy flower, of Trebizond misnamed._
This flower is much noticed by Leuwenhoek and Tournefort. The bee, feeding upon its blossom, becomes intoxicated.]
[Footnote 6: P. 153. _And Clytia pondering between many a sun._
Clytia—The Chrysanthemum Peruvianum, or, to employ a better-known term, the turnsol—which turns continually towards the sun, covers itself, like Peru, the country from which it comes, with dewy clouds which cool and refresh its flowers during the most violent heat of the day.—_B. de St. Pierre._]
[Footnote 7: P. 153. _And that aspiring flower that sprang on Earth._
There is cultivated in the king’s garden at Paris, a species of serpentine aloes without prickles, whose large and beautiful flower exhales a strong odour of the vanilla, during the time of its expansion, which is very short. It does not blow till towards the month of July—you then perceive it gradually open its petals—expand them—fade and die.—_St. Pierre._]
[Footnote 8: P. 153. _And Valisnerian lotus thither flown._
There is found, in the Rhone, a beautiful lily of the Valisnerian kind. Its stem will stretch to the length of three or four feet—thus preserving its head above water in the swellings of the river.]
[Footnote 9: P. 153. _And thy most lovely purple perfume, Zante!_}—The Hyacinth.]
[Footnote 10: P. 154.
_And the Nelumbo bud that floats for ever; With Indian Cupid down the holy river._
It is a fiction of the Indians, that Cupid was first seen floating in one of these down the river Ganges—and that he still loves the cradle of his childhood.]
[Footnote 11: P. 154. _To bear the Goddess’ song, in odours, up to heaven._
And golden vials full of odours which are the prayers of the saints.—_Rev. St. John._]
[Footnote 12: P. 155. _A model of their own._
The Humanitarians held that God was to be understood as having really a human form.—_Vide_ _Clarke’s Sermons_, vol. i. page 26, fol. edit.
The drift of Milton’s argument leads him to employ language which would appear, at first sight, to verge upon their doctrine; but it will be seen immediately, that he guards himself against the charge of having adopted one of the most ignorant errors of the dark ages of the Church.—_Dr. Sumner’s Notes on Milton’s Christian Doctrine._
This opinion, in spite of many testimonies to the contrary, could never have been very general. Andeus, a Syrian of Mesopotamia, was condemned for the opinion, as heretical. He lived in the beginning of the fourth century. His disciples were called Anthropomorphites.—_Vide Du Pin._
Among Milton’s minor poems are these lines:—
“Dicite sacrorum præsides nemorum Deæ, &c. Quis ille primus cujus ex imagine Natura solers finxit humanum genus? Eternus, incorruptus, æquævus polo, Unusque et universus exemplar Dei.”
And afterwards,—
“Non cui profundum Cæcitas lumen dedit Dircæus augur vidit hunc alto sinu,” &c.]
[Footnote 13: P. 155. _By winged Fantasy._
Seltsamen Tochter Jovis Seinem Schosskinde Der Phantasie.—_Göthe._]
[Footnote 14: P. 156. _What tho’ in worlds which sightless cycles run._
Sightless—too small to be seen.—_Legge._]
[Footnote 15: P. 156. _Apart—like fire-flies in Sicilian night._
I have often noticed a peculiar movement of the fire-flies;—they will collect in a body and fly off, from a common centre, into innumerable radii.]
[Footnote 16: P. 158. _Her way—but left not yet her Therasæan reign._
Therassea, or Therasea, the island mentioned by Seneca, which, in a moment, arose from the sea to the eyes of astonished mariners.]
[Footnote 17: P. 160.
_Of molten stars their pavement, such as fall Thro’ the ebon air._
Some star which, from the ruin’d roof Of shaked Olympus, by mischance, did fall.—_Milton._]
[Footnote 18: P. 161. _Friezes from Tadmor and Persepolis._
Voltaire, in speaking of Persepolis, says, “Je connois bien l’admiration qu’inspirent ces ruines—mais un palais érigé au pied d’une chaine des rochers sterils—peut-il être un chef-d’œuvre des arts?”]
[Footnote 19: P. 161. _Of beautiful Gomorrah! O, the wave._
“Oh! the wave”—Ula Deguisi is the Turkish appellation; but, on its own shores, it is called Bahar Loth, or Almotanah. There were undoubtedly more than two cities engulfed in the “Dead Sea.” In the valley of Siddim were five—Adrah, Zeboin, Zoar, Sodom and Gomorrah. Stephen of Byzantium mentions eight, and Strabo thirteen (engulfed)—but the last is out of all reason.
It is said, [Tacitus, Strabo, Josephus, Daniel of St. Saba, Nau, Maundrell, Troilo, D’Arvieux] that after an excessive drought, the vestiges of columns, walls, &c. are seen above the surface. At _any_ season, such remains may be discovered by looking down into the transparent lake, and at such distances as would argue the existence of many settlements in the space now usurped by the “Asphaltites.”]
[Footnote 20: P. 161. _That stole upon the ear, in Eyraco._}—Eyraco—Chaldæa.]
[Footnote 21: P. 161. _Is not its form—its voice—most palpable and loud?_
I have often thought I could distinctly hear the sound of the darkness as it stole over the horizon.]
[Footnote 22: P. 162. _Young flowers were whispering in melody._
Fairies use flowers for their charactery.—_Merry Wives of Windsor._]
[Footnote 23: P. 163. _The moonbeam away._
In Scripture is this passage—“The sun shall not harm thee by day, nor the moon by night.” It is perhaps not generally known that the moon, in Egypt, has the effect of producing blindness to those who sleep with the face exposed to its rays, to which circumstance the passage evidently alludes.]
[Footnote 24: P. 164. _Like the lone Albatross._
The Albatross is said to sleep on the wing.]
[Footnote 25: PP. 165. _The murmur that springs._
I met with this idea in an old English tale, which I am now unable to obtain, and quote from memory:—“The verie essence and, as it were, springe-heade and origine of all musiche is the verie pleasaunte sounde which the trees of the forest do make when they growe.”]
[Footnote 26: P. 165. _Have slept with the bee._
The wild bee will not sleep in the shade if there be moonlight.
The rhyme in this verse, as in one about sixty lines before, has an appearance of affectation. It is, however, imitated from Sir W. Scott, or rather from Claud Halcro—in whose mouth I admired its effect:
O! were there an island, Tho’ ever so wild, Where woman might smile, and No man be beguiled, &c.]
[Footnote 27: P. 168. _Apart from Heaven’s Eternity—and yet how far from Hell!_
With the Arabians there is a medium between Heaven and Hell, where men suffer no punishment, but yet do not attain that tranquil and even happiness which they suppose to be characteristic of heavenly enjoyment.
Un no rompido sueno— Un dia puro—allegre—libre Quiera— Libre de amor—de zelo— De odio—de esperanza—de rezelo.—_Luis Ponce de Leon._
Sorrow is not excluded from “Al Aaraaf,” but it is that sorrow which the living love to cherish for the dead, and which, in some minds, resembles the delirium of opium. The passionate excitement of Love and the buoyancy of spirit attendant upon intoxication are its less holy pleasures—the price of which, to those souls who make choice of “Al Aaraaf” as their residence after life, is final death and annihilation.]
[Footnote 28: P. 168. _Unguided Love hath fallen—’mid “tears of perfect moan.”_
There be tears of perfect moan Wept for thee in Helicon.—_Milton._]
[Footnote 29: P. 169. _Was a proud temple called the Parthenon._
It was entire in 1687—the most elevated spot in Athens.]
[Footnote 30: P. 170. _Than e’en thy glowing bosom beats withal._
Shadowing more beauty in their airy brows Than have the white breasts of the Queen of Love.—_Marlowe._]
[Footnote 31: P. 171. _Failed, as my pennoned spirit leapt aloft._
Pennon—for pinion.—_Milton._]
THE POETIC PRINCIPLE.
In speaking of the Poetic Principle, I have no design to be either thorough or profound. While discussing, very much at random, the essentiality of what we call Poetry, my principal purpose will be to cite for consideration, some few of those minor English or American poems which best suit my own taste, or which, upon my own fancy, have left the most definite impression. By “minor poems” I mean, of course, poems of little length. And here, in the beginning, permit me to say a few words in regard to a somewhat peculiar principle, which, whether rightfully or wrongfully, has always had its influence in my own critical estimate of the poem. I hold that a long poem does not exist. I maintain that the phrase, “a long poem,” is simply a flat contradiction in terms.
I need scarcely observe that a poem deserves its title only inasmuch as it excites, by elevating the soul. The value of the poem is in the ratio of this elevating excitement. But all excitements are, through a psychal necessity, transient. That degree of excitement which would entitle a poem to be so called at all, cannot be sustained throughout a composition of any great length. After the lapse of half an hour, at the very utmost, it flags—fails—a revulsion ensues—and then the poem is, in effect and in fact, no longer such.
There are, no doubt, many who have found difficulty in reconciling the critical dictum that the “Paradise Lost” is to be devoutly admired throughout, with the absolute impossibility of maintaining for it, during perusal, the amount of enthusiasm which that critical dictum would demand. This great work, in fact, is to be regarded as poetical, only when, losing sight of that vital requisite in all works of Art, Unity, we view it merely as a series of minor poems. If, to preserve its Unity—its totality of effect or impression—we read it (as would be necessary) at a single sitting, the result is but a constant alternation of excitement and depression. After a passage of what we feel to be true poetry, there follows, inevitably, a passage of platitude which no critical pre-judgment can force us to admire; but if, upon completing the work, we read it again, omitting the first book—that is to say, commencing with the second—we shall be surprised at now finding that admirable which we before condemned—that damnable which we had previously so much admired. It follows from all this that the ultimate, aggregate, or absolute effect of even the best epic under the sun, is a nullity:—and this is precisely the fact.
In regard to the Iliad, we have, if not positive proof, at least very good reason, for believing it intended as a series of lyrics; but, granting the epic intention, I can say only that the work is based in an imperfect sense of Art. The modern epic is of the supposititious ancient model, but an inconsiderate and blindfold imitation. But the day of these artistic anomalies is over. If, at any time, any very long poem _were_ popular in reality—which I doubt—it is at least clear that no very long poem will ever be popular again.
That the extent of a poetical work is, _cœteris paribus_, the measure of its merit, seems undoubtedly, when we thus state it, a proposition sufficiently absurd—yet we are indebted for it to the Quarterly Reviews. Surely there can be nothing in mere _size_, abstractly considered—there can be nothing in mere _bulk_, so far as a volume is concerned, which has so continuously elicited admiration from these saturnine pamphlets! A mountain, to be sure, by the mere sentiment of physical magnitude which it conveys, _does_ impress us with a sense of the sublime—but no man is impressed after _this_ fashion by the material grandeur of even “The Columbiad.” Even the Quarterlies have not instructed us to be so impressed by it. _As yet_, they have not _insisted_ on our estimating Lamartine by the cubic foot, or Pollok by the pound—but what else are we to _infer_ from their continual prating about “sustained effort?” If, by “sustained effort,” any little gentleman has accomplished an epic, let us frankly commend him for the effort—if this indeed be a thing commendable—but let us forbear praising the epic on the effort’s account. It is to be hoped that common sense, in the time to come, will prefer deciding upon a work of Art, rather by the impression it makes—by the effect it produces—than by the time it took to impress the effect, or by the amount of “sustained effort” which had been found necessary in effecting the impression. The fact is, that perseverance is one thing and genius quite another—nor can all the Quarterlies in Christendom confound them. By and by, this proposition, with many which I have been just urging, will be received as self-evident. In the meantime, by being generally condemned as falsities, they will not be essentially damaged as truths.
On the other hand, it is clear that a poem may be improperly brief. Undue brevity degenerates into mere epigrammatism. A _very_ short poem, while now and then producing a brilliant or vivid, never produces a profound or enduring effect. There must be the steady pressing down of the stamp upon the wax. De Béranger has wrought innumerable things, pungent and spirit-stirring; but, in general, they have been too imponderous to stamp themselves deeply into the public attention; and thus, as so many feathers of fancy, have been blown aloft only to be whistled down the wind.
A remarkable instance of the effect of undue brevity in depressing a poem—in keeping it out of the popular view—is afforded by the following exquisite little Serenade:
I arise from dreams of thee In the first sweet sleep of night, When the winds are breathing low, And the stars are shining bright. I arise from dreams of thee, And a spirit in my feet Has led me—who knows how?— To thy chamber-window, sweet!
The wandering airs they faint On the dark, the silent stream— The champak odours fail Like sweet thoughts in a dream; The nightingale’s complaint, It dies upon her heart, As I must die on thine, O, beloved as thou art!
O, lift me from the grass! I die, I faint, I fail! Let thy love in kisses rain On my lips and eyelids pale. My cheek is cold and white, alas! My heart beats loud and fast: Oh! press it close to thine again, Where it will break at last!
Very few, perhaps, are familiar with these lines—yet no less a poet than Shelley is their author. Their warm yet delicate and ethereal imagination will be appreciated by all—but by none so thoroughly as by him who has himself arisen from sweet dreams of one beloved, to bathe in the aromatic air of a southern midsummer night.
One of the finest poems by Willis—the very best, in my opinion, which he has ever written—has, no doubt, through this same defect of undue brevity, been kept back from its proper position, not less in the than in the popular view.
The shadows lay along Broadway, ’Twas near the twilight-tide— And slowly there a lady fair Was walking in her pride. Alone walk’d she: but, viewlessly, Walk’d spirits at her side.
Peace charm’d the street beneath her feet, And Honour charm’d the air; And all astir look’d kind on her, And call’d her good as fair— For all God ever gave to her She kept with chary care.
She kept with care her beauties rare From lovers warm and true— For her heart was cold to all but gold, And the rich came not to woo— But honour’d well are charms to sell, If priests the selling do.
Now walking there was one more fair— A slight girl, lily-pale; And she had unseen company To make the spirit quail— ’Twixt Want and Scorn she walk’d forlorn, And nothing could avail.
No mercy now can clear her brow For this world’s peace to pray; For, as love’s wild prayer dissolved in air, Her woman’s heart gave way!— But the sin forgiven by Christ in heaven By man is cursed alway!
In this composition we find it difficult to recognise the Willis who has written so many mere “verses of society.” The lines are not only richly ideal, but full of energy; while they breathe an earnestness—an evident sincerity of sentiment—for which we look in vain throughout all the other works of this author.
While the epic mania—while the idea that, to merit in poetry, prolixity is indispensable—has, for some years past, been gradually dying out of the public mind, by mere dint of its own absurdity—we find it succeeded by a heresy too palpably false to be long tolerated, but one which, in the brief period it has already endured, may be said to have accomplished more in the corruption of our Poetical Literature than all its other enemies combined. I allude to the heresy of _The Didactic_. It has been assumed, tacitly and avowedly, directly and indirectly, that the ultimate object of all Poetry is Truth. Every poem, it is said, should inculcate a moral; and by this moral is the poetical merit of the work to be adjudged. We Americans especially have patronized this happy idea; and we Bostonians, very especially, have developed it in full. We have taken it into our heads that to write a poem simply for the poem’s sake, and to acknowledge such to have been our design, would be to confess ourselves radically wanting in the true Poetic dignity and force:—but the simple fact is, that, would we but permit ourselves to look into our own souls, we should immediately there discover that under the sun there neither exists nor can exist any work more thoroughly dignified, more supremely noble, than this very poem—this poem _per se_—this poem which is a poem and nothing more—this poem written solely for the poem’s sake.
With as deep a reverence for the True as ever inspired the bosom of man, I would, nevertheless, limit, in some measure, its modes of inculcation. I would limit to enforce them. I would not enfeeble them by dissipation. The demands of Truth are severe. She has no sympathy with the myrtles. All _that_ which is so indispensable in Song, is precisely all _that_ with which _she_ has nothing whatever to do. It is but making her a flaunting paradox, to wreathe her in gems and flowers. In enforcing a truth, we need severity rather than efflorescence of language. We must be simple, precise, terse. We must be cool, calm, unimpassioned. In a word, we must be in that mood which, as nearly as possible, is the exact converse of the poetical. _He_ must be blind indeed who does not perceive the radical and chasmal differences between the truthful and the poetical modes of inculcation. He must be theory-mad beyond redemption who, in spite of these differences, shall still persist in attempting to reconcile the obstinate oils and waters of Poetry and Truth.
Dividing the world of mind into its three most immediately obvious distinctions, we have the Pure Intellect, Taste, and the Moral Sense. I place Taste in the middle, because it is just this position which, in the mind, it occupies. It holds intimate relations with either extreme; but from the Moral Sense is separated by so faint a difference that Aristotle has not hesitated to place some of its operations among the virtues themselves. Nevertheless, we find the _offices_ of the trio marked with a sufficient distinction. Just as the Intellect concerns itself with Truth, so Taste informs us of the Beautiful while the Moral Sense is regardful of Duty. Of this latter, while Conscience teaches the obligation, and Reason the expediency, Taste contents herself with displaying the charms:—waging war upon Vice solely on the ground of her deformity—her disproportion—her animosity to the fitting, to the appropriate, to the harmonious—in a word, to Beauty.
An immortal instinct, deep within the spirit of man, is thus, plainly, a sense of the Beautiful. This it is which administers to his delight in the manifold forms, and sounds, and odours, and sentiments amid which he exists. And just as the lily is repeated in the lake, or the eyes of Amaryllis in the mirror, so is the mere oral or written repetition of these forms, and sounds, and colours, and odours, and sentiments, a duplicate source of delight. But this mere repetition is not poetry. He who shall simply sing, with however glowing enthusiasm, or with however vivid a truth of description, of the sights, and sounds, and odours, and colours, and sentiments, which greet _him_ in common with all mankind—he, I say, has yet failed to prove his divine title. There is still a something in the distance which he has been unable to attain. We have still a thirst unquenchable, to allay which he has not shown us the crystal springs. This thirst belongs to the immortality of Man. It is at once a consequence and an indication of his perennial existence. It is the desire of the moth for the star. It is no mere appreciation of the Beauty before us—but a wild effort to reach the Beauty above. Inspired by an ecstatic prescience of the glories beyond the grave, we struggle, by multiform combinations among the things and thoughts of Time, to attain a portion of that Loveliness whose very elements, perhaps, appertain to eternity alone. And thus when by Poetry—or when by Music, the most entrancing of the Poetic moods—we find ourselves melted into tears—we weep then—not as the Abbaté Gravina supposes—through excess of pleasure, but through a certain, petulant, impatient sorrow at our inability to grasp _now_, wholly, here on earth, at once and for ever, those divine and rapturous joys, of which _through_ the poem, or _through_ the music, we attain to but brief and indeterminate glimpses.
The struggle to apprehend the supernal Loveliness—this struggle, on the part of souls fittingly constituted—has given to the world all _that_ which it (the world) has ever been enabled at once to understand and _to feel_ as poetic.
The Poetic Sentiment, of course, may develop itself in various modes—in Painting, in Sculpture, in Architecture, in the Dance—very especially in Music—and very peculiarly, and with a wide field, in the composition of the Landscape Garden. Our present theme, however, has regard only to its manifestation in words. And here let me speak briefly on the topic of rhythm. Contenting myself with the certainty that Music, in its various modes of metre, rhythm, and rhyme, is of so vast a moment in Poetry as never to be wisely rejected—is so vitally important an adjunct, that he is simply silly who declines its assistance, I will not now pause to maintain its absolute essentiality. It is in Music, perhaps, that the soul most nearly attains the great end for which, when inspired by the Poetic Sentiment, it struggles—the creation of supernal Beauty. It _may_ be, indeed, that here this sublime end is, now and then, attained _in fact_. We are often made to feel, with a shivering delight, that from an earthly harp are stricken notes which _cannot_ have been unfamiliar to the angels. And thus there can be little doubt that in the Union of Poetry with Music in its popular sense, we shall find the widest field for the Poetic development. The old Bards and Minnesingers had advantages which we do not possess—and Thomas Moore, singing his own songs, was, in the most legitimate manner, perfecting them as poems.
To recapitulate, then:—I would define, in brief, the Poetry of words as _The Rhythmical Creation of Beauty_. Its sole arbiter is Taste. With the Intellect or with the Conscience, it has only collateral relations. Unless incidentally, it has no concern whatever either with Duty or with Truth.
A few words, however, in explanation. _That_ pleasure which is at once the most pure, the most elevating, and the most intense, is derived, I maintain, from the contemplation of the Beautiful. In the contemplation of Beauty we alone find it possible to attain that pleasurable elevation, or excitement, _of the soul_, which we recognise as the Poetic Sentiment, and which is so easily distinguished from Truth, which is the satisfaction of the Reason, or from Passion, which is the excitement of the heart. I make Beauty, therefore—using the word as inclusive of the sublime—I make Beauty the province of the poem, simply because it is an obvious rule of Art, that effects should be made to spring as directly as possible from their causes:—no one as yet having been weak enough to deny that the peculiar elevation in question is at least _most readily_ attainable in the poem. It by no means follows, however, that the incitements of Passion, or the precepts of Duty, or even the lessons of Truth, may not be introduced into a poem, and with advantage; for they may subserve, incidentally, in various ways, the general purposes of the work:—but the true artist will always contrive to tone them down in proper subjection to that _Beauty_ which is the atmosphere and the real essence of the poem.
I cannot better introduce the few poems which I shall present for your consideration, than by the citation of the Pröem to Mr. Longfellow’s “Waif.”
The day is done, and the darkness Falls from the wings of Night, As a feather is wafted downward From an Eagle in his flight.
I see the lights of the village Gleam through the rain and the mist, And a feeling of sadness comes o’er me, That my soul cannot resist;
A feeling of sadness and longing, That is not akin to pain, And resembles sorrow only As the mist resembles the rain.
Come, read to me some poem, Some simple and heartfelt lay, That shall soothe this restless feeling, And banish the thoughts of day.
Not from the grand old masters, Not from the bards sublime, Whose distant footsteps echo Through the corridors of Time.
For, like strains of martial music, Their mighty thoughts suggest Life’s endless toil and endeavour; And to-night I long for rest.
Read from some humbler poet, Whose songs gushed from his heart, As showers from the clouds of summer, Or tears from the eyelids start;
Who through long days of labour, And nights devoid of ease, Still heard in his soul the music Of wonderful melodies.
Such songs have power to quiet The restless pulse of care, And come like the benediction That follows after prayer.
Then read from the treasured volume The poem of thy choice, And lend to the rhyme of the poet The beauty of thy voice.
And the night shall be filled with music, And the cares, that infest the day, Shall fold their tents, like the Arabs, And as silently steal away.
With no great range of imagination, these lines have been justly admired for their delicacy of expression. Some of the images are very effective. Nothing can be better than—
——The bards sublime, Whose distant footsteps echo Down the corridors of Time.
The idea of the last quartrain is also very effective. The poem, on the whole, however, is chiefly to be admired for the graceful _insouciance_ of its metre, so well in accordance with the character of the sentiments, and especially for the _ease_ of the general manner. This “ease,” or naturalness, in a literary style, it has long been the fashion to regard as ease in appearance alone—as a point of really difficult attainment. But not so:—a natural manner is difficult only to him who should never meddle with it—to the unnatural. It is but the result of writing with the understanding, or with the instinct, that _the tone_, in composition, should always be that which the mass of mankind would adopt—and must perpetually vary, of course, with the occasion. The author who, after the fashion of “The North American Review,” should be, upon _all_ occasions, merely “quiet,” must necessarily, upon _many_ occasions, be simply silly, or stupid; and has no more right to be considered “easy,” or “natural,” than a Cockney exquisite, or than the sleeping Beauty in the wax-works.
Among the minor poems of Bryant, none has so much impressed me as the one which he entitles “June.” I quote only a portion of it:—
There, through the long, long summer hours, The golden light should lie, And thick, young herbs and groups of flowers Stand in their beauty by. The oriole should build and tell His love-tale close beside my cell; The idle butterfly Should rest him there, and there be heard The housewife-bee and humming-bird.
And what, if cheerful shouts, at noon, Come, from the village sent, Or songs of maids, beneath the moon, With fairy laughter blent? And what if, in the evening light, Betrothed lovers walk in sight Of my low monument? I would the lovely scene around Might know no sadder sight nor sound.
I know, I know I should not see The season’s glorious show, Nor would its brightness shine for me, Nor its wild music flow; But if, around my place of sleep, The friends I love should come to weep, They might not haste to go. Soft airs, and song, and light, and bloom Should keep them lingering by my tomb.
These to their soften’d hearts should bear The thought of what has been, And speak of one who cannot share The gladness of the scene; Whose part in all the pomp that fills The circuit of the summer hills, Is—that his grave is green; And deeply would their hearts rejoice To hear again his living voice.
The rhythmical flow, here, is even voluptuous—nothing could be more melodious. The poem has always affected me in a remarkable manner. The intense melancholy which seems to well up, perforce, to the surface of all the poet’s cheerful sayings about his grave, we find thrilling us to the soul—while there is the truest poetic elevation in the thrill. The impression left is one of a pleasurable sadness. And if, in the remaining compositions which I shall introduce to you, there be more or less of a similar tone always apparent, let me remind you that (how or why we know not) this certain taint of sadness is inseparably connected with all the higher manifestations of true Beauty. It is, nevertheless,
A feeling of sadness and longing That is not akin to pain, And resembles sorrow only As the mist resembles the rain.
The taint of which I speak is clearly perceptible even in a poem so full of brilliancy and spirit as the “Health” of Edward Coote Pinkney:—
I fill this cup to one made up Of loveliness alone, A woman, of her gentle sex The seeming paragon; To whom the better elements And kindly stars have given A form so fair, that, like the air, ’Tis less of earth than heaven.
Her every tone is Music’s own, Like those of morning birds, And something more than melody Dwells ever in her words; The coinage of her heart are they, And from her lips each flows As one may see the burden’d bee Forth issue from the rose.
Affections are as thoughts to her, The measures of her hours; Her feelings have the fragrancy, The freshness of young flowers; And lovely passions, changing oft, So fill her, she appears The image of themselves by turns,— The idol of past years!
Of her bright face one glance will trace A picture on the brain, And of her voice in echoing hearts A sound must long remain; But memory, such as mine of her, So very much endears, When death is nigh my latest sigh Will not be life’s, but hers.
I fill’d this cup to one made up Of loveliness alone, A woman, of her gentle sex The seeming paragon— Her health! and would on earth there stood, Some more of such a frame, That life might be all poetry, And weariness a name.
It was the misfortune of Mr. Pinkney to have been born too far south. Had he been a New Englander, it is probable that he would have been ranked as the first of American lyrists, by that magnanimous cabal which has so long controlled the destinies of American Letters, in conducting the thing called “The North American Review.” The poem just cited is especially beautiful; but the poetic elevation which it induces, we must refer chiefly to our sympathy in the poet’s enthusiasm. We pardon his hyperboles for the evident earnestness with which they are uttered.
It was by no means my design, however, to expatiate upon the _merits_ of what I should read you. These will necessarily speak for themselves. Boccalini, in his “Advertisements from Parnassus,” tells us that Zoilus once presented Apollo a very caustic criticism upon a very admirable book:—whereupon the god asked him for the beauties of the work. He replied that he only busied himself about the errors. On hearing this, Apollo, handing him a sack of unwinnowed wheat, bade him pick out _all the chaff_ for his reward.
Now this fable answers very well as a hit at the critics—but I am by no means sure that the god was in the right. I am by no means certain that the true limits of the critical duty are not grossly misunderstood. Excellence, in a poem especially, may be considered in the light of an axiom, which need only be properly _put_, to become self-evident. It is not excellence if it require to be demonstrated as such:—and thus, to point out too particularly the merits of a work of Art, is to admit that they are _not_ merits altogether.
Among the “Melodies” of Thomas Moore, is one whose distinguished character as a poem proper, seems to have been singularly left out of view. I allude to his lines beginning—“Come, rest in this bosom.” The intense energy of their expression is not surpassed by anything in Byron. There are two of the lines in which a sentiment is conveyed that embodies the _all in all_ of the divine passion of Love—a sentiment which, perhaps, has found its echo in more, and in more passionate, human hearts than any other single sentiment ever embodied in words:
Come, rest in this bosom, my own stricken deer, Though the herd have fled from thee, thy home is still here; Here still is the smile, that no cloud can o’ercast, And a heart and a hand all thy own to the last.
Oh! what was love made for, if ’tis not the same Through joy and through torment, through glory and shame? I know not, I ask not, if guilt’s in that heart, I but know that I love thee, whatever thou art.
Thou hast call’d me thy Angel in moments of bliss, And thy Angel I’ll be ’mid the horrors of this,— Through the furnace, unshrinking, thy steps to pursue, And shield thee, and save thee,—or perish there too!
It has been the fashion, of late days, to deny Moore Imagination, while granting him Fancy—a distinction originating with Coleridge—than whom no man more fully comprehended the great powers of Moore. The fact is, that the fancy of this poet so far predominates over all his other faculties, and over the fancy of all other men, as to have induced, very naturally, the idea that he is fanciful _only_. But never was there a greater mistake. Never was a grosser wrong done the fame of a true poet. In the compass of the English language I can call to mind no poem more profoundly—more weirdly _imaginative_, in the best sense, than the lines commencing—“I would I were by that dim lake”—which are the composition of Thomas Moore. I regret that I am unable to remember them.
One of the noblest—and, speaking of Fancy, one of the most singularly fanciful of modern poets, was Thomas Hood. His “Fair Ines” had always, for me, an inexpressible charm:
O saw ye not fair Ines? She’s gone into the West, To dazzle when the sun is down, And rob the world of rest: She took our daylight with her, The smiles that we love best, With morning blushes on her cheek, And pearls upon her breast.
O turn again, fair Ines, Before the fall of night, For fear the moon should shine alone, And stars unrivall’d bright; And blessed will the lover be That walks beneath their light, And breathes the love against thy cheek I dare not even write!
Would I had been, fair Ines, That gallant cavalier, Who rode so gaily by thy side, And whisper’d thee so near! Were there no bonny dames at home, Or no true lovers here, That he should cross the seas to win The dearest of the dear?
I saw thee, lovely Ines, Descend along the shore, With bands of noble gentlemen, And banners waved before; And gentle youth and maidens gay, And snowy plumes they wore It would have been a beauteous dream, —If it had been no more!
Alas, alas, fair Ines! She went away with song, With Music waiting on her steps, And shoutings of the throng; But some were sad and felt no mirth, But only Music’s wrong, In sounds that sang Farewell, Farewell, To her you’ve loved so long.
Farewell, farewell, fair Ines, That vessel never bore So fair a lady on its deck, Nor danced so light before,— Alas for pleasure on the sea, And sorrow on the shore! The smile that blest one lover’s heart Has broken many more!
“The Haunted House,” by the same author, is one of the truest poems ever written—one of the _truest_—one of the most unexceptionable—one of the most thoroughly artistic, both in its theme and in its execution, It is, moreover, powerfully ideal—imaginative. I regret that its length renders it unsuitable for the purposes of this lecture. In place of it, permit me to offer the universally appreciated “Bridge of Sighs.”
One more Unfortunate, Weary of breath, Rashly importunate, Gone to her death!
Take her up tenderly, Lift her with care;—— Fashion’d so slenderly, Young, and so fair!
Look at her garments Clinging like cerements; Whilst the wave constantly Drips from her clothing; Take her up instantly, Loving, not loathing.—
Touch her not scornfully; Think of her mournfully, Gently and humanly; Not of the stains of her: All that remains of her, Now, is pure womanly.
Make no deep scrutiny Into her mutiny Rash and undutiful; Past all dishonour, Death has left on her Only the beautiful.
Still, for all slips of hers, One of Eve’s family— Wipe those poor lips of hers Oozing so clammily; Loop up her tresses Escaped from the comb, Her fair auburn tresses; Whilst wonderment guesses Where was her home?
Who was her father? Who was her mother? Had she a sister? Had she a brother? Or was there a dearer one Still, and a nearer one Yet, than all other?
Alas for the rarity Of Christian charity Under the sun! Oh! it was pitiful! Near a whole city full, Home she had none.
Sisterly, brotherly, Fatherly, motherly, Feelings had changed: Love, by harsh evidence, Thrown from its eminence: Even God’s providence Seeming estranged.
Where the lamps quiver So far in the river, With many a light From window and casement, From garret to basement, She stood, with amazement, Houseless by night.
The bleak wind of March Made her tremble and shiver; But not the dark arch, Or the black flowing river: Mad from life’s history, Glad to death’s mystery, Swift to be hurl’d— Anywhere, anywhere Out of the world!
In she plunged boldly, No matter how coldly The rough river ran,— Over the brink of it, Picture it,—think of it, Dissolute Man! Lave in it, drink of it Then, if you can!
Take her up tenderly, Lift her with care; Fashion’d so slenderly, Young, and so fair! Ere her limbs frigidly Stiffen too rigidly, Decently,—kindly,— Smooth, and compose them; And her eyes, close them, Staring so blindly!
Dreadfully staring Through muddy impurity, As when with the daring Last look of despairing Fixed on futurity.
Perishing gloomily, Spurred by contumely, Cold inhumanity, Burning insanity, Into her rest,— Cross her hands humbly, As if praying dumbly, Over her breast! Owning her weakness, Her evil behaviour, And leaving, with meekness, Her sins to her Saviour!
The vigour of this poem is no less remarkable than its pathos. The versification, although carrying the fanciful to the very verge of the fantastic, is nevertheless admirably adapted to the wild insanity which is the thesis of the poem.
Among the minor poems of Lord Byron, is one which has never received from the critics the praise which it undoubtedly deserves:—
Though the day of my destiny’s over, And the star of my fate hath declined, Thy soft heart refused to discover The faults which so many could find; Though thy soul with my grief was acquainted, It shrunk not to share it with me, And the love which my spirit hath painted It never hath found but in thee.
Then when nature around me is smiling, The last smile which answers to mine, I do not believe it beguiling, Because it reminds me of thine; And when winds are at war with the ocean, As the breasts I believed in with me, If their billows excite an emotion, It is that they bear me from _thee_.
Though the rock of my last hope is shivered, And its fragments are sunk in the wave, Though I feel that my soul is delivered To pain—it shall not be its slave. There is many a pang to pursue me: They may crush, but they shall not contemn— They may torture, but shall not subdue me— ’Tis of _thee_ that I think—not of them.
Though human, thou didst not deceive me, Though woman, thou didst not forsake, Though loved, thou forborest to grieve me, Though slandered, thou never couldst shake,— Though trusted, thou didst not disclaim me, Though parted, it was not to fly, Though watchful, ’twas not to defame me, Nor mute, that the world might belie.
Yet I blame not the world, nor despise it, Nor the war of the many with one— If my soul was not fitted to prize it, ’Twas folly not sooner to shun: And if dearly that error hath cost me, And more than I once could foresee, I have found that whatever it lost me, It could not deprive me of _thee_.
From the wreck of the past, which hath perished, Thus much I at least may recall, It hath taught me that which I most cherished Deserved to be dearest of all: In the desert a fountain is springing, In the wide waste there still is a tree, And a bird in the solitude singing, Which speaks to my spirit of _thee_.
Although the rhythm, here, is one of the most difficult, the versification could scarcely be improved. No nobler _theme_ ever engaged the pen of poet. It is the soul-elevating idea, that no man can consider himself entitled to complain of Fate while, in his adversity, he still retains the unwavering love of woman.
From Alfred Tennyson—although in perfect sincerity I regard him as the noblest poet that ever lived—I have left myself time to cite only a very brief specimen. I call him, and _think_ him the noblest of poets—_not_ because the impressions he produces are, at _all_ times, the most profound—_not_ because the poetical excitement which he induces is, at _all_ times, the most intense—but because it _is_, at all times, the most ethereal—in other words, the most elevating and the most pure. No poet is so little of the earth, earthy. What I am about to read is from his last long poem, “The Princess:”
Tears, idle tears, I know not what they mean, Tears from the depth of some divine despair Rise in the heart, and gather to the eyes, In looking on the happy Autumn-fields, And thinking of the days that are no more.
Fresh as the first beam glittering on a sail, That brings our friends up from the underworld, Sad as the last which reddens over one That sinks with all we love below the verge; So sad, so fresh, the days that are no more.
Ah, sad and strange as in dark summer dawns The earliest pipe of half-awakened birds To dying ears, when unto dying eyes The casement slowly grows a glimmering square; So sad, so strange, the days that are no more.
Dear as remember’d kisses after death, And sweet as those by hopeless fancy feign’d On lips that are for others; deep as love, Deep as first love, and wild with all regret; O Death in Life, the days that are no more.
Thus, although in a very cursory and imperfect manner, I have endeavoured to convey to you my conception of the Poetic Principle. It has been my purpose to suggest that, while this Principle itself is, strictly and simply, the Human Aspiration for Supernal Beauty, the manifestation of the Principle is always found in _an elevating excitement of the Soul_—quite independent of that passion which is the intoxication of the Heart—or of that Truth which is the satisfaction of the Reason. For, in regard to Passion, alas! its tendency is to degrade, rather than to elevate the Soul. Love, on the contrary—Love—the true, the divine Eros—the Uranian, as distinguished from the Dionæn Venus—is unquestionably the purest and truest of all poetical themes. And in regard to Truth—if, to be sure, through the attainment of a truth, we are led to perceive a harmony where none was apparent before, we experience, at once, the true poetical effect—but this effect is referable to the harmony alone, and not in the least degree to the truth which merely served to render the harmony manifest.
We shall reach, however, more immediately a distinct conception of what the true Poetry is, by mere reference to a few of the simple elements which induce in the Poet himself the true poetical effect. He recognises the ambrosia which nourishes his soul, in the bright orbs that shine in Heaven—in the volutes of the flower—in the clustering of low shrubberies—in the waving of the grain-fields—in the slanting of tall, Eastern trees—in the blue distance of mountains—in the grouping of clouds—in the twinkling of half-hidden brooks—in the gleaming of silver rivers—in the repose of sequestered lakes—in the star-mirroring depths of lonely wells. He perceives it in the songs of birds—in the harp of Æolus—in the sighing of the night-wind—in the repining voice of the forest—in the surf that complains to the shore—in the fresh breath of the woods—in the scent of the violet—in the voluptuous perfume of the hyacinth—in the suggestive odour that comes to him, at eventide, from far-distant, undiscovered islands, over dim oceans, illimitable and unexplored. He owns it in all noble thoughts—in all unworldly motives—in all holy impulses—in all chivalrous, generous, and self-sacrificing deeds. He feels it in the beauty of woman—in the grace of her step—in the lustre of her eye—in the melody of her voice—in her soft laughter—in her sigh—in the harmony of the rustling of her robes. He deeply feels it in her winning endearments—in her burning enthusiasms—in her gentle charities—in her meek and devotional endurances—but above all—ah, far above all—he kneels to it—he worships it in the faith, in the purity, in the strength, in the altogether divine majesty—of her _love_.
Let me conclude—by the recitation of yet another brief poem—one very different in character from any that I have before quoted. It is by Motherwell, and is called “The Song of the Cavalier.” With our modern and altogether rational ideas of the absurdity and impiety of warfare, we are not precisely in that frame of mind best adapted to sympathise with the sentiments, and thus to appreciate the real excellence of the poem. To do this fully, we must identify ourselves, in fancy, with the soul of the old cavalier.
Then mounte! then mounte, brave gallants, all! And don your helmes amaine: Deathe’s couriers, Fame and Honour, call Us to the field againe. No shrewish teares shall fill our eyes When the sword-hilt’s in our hand,— Heart-whole we’ll part, and no whit sighe For the fayrest of the land; Let piping swaine, and craven wight, Thus weepe and puling crye; Our business is like men to fight, And hero-like to die!
LONDON:—PRINTED BY RICHARD CLAY, BREAD STREET HILL