Chapter 35

The poetry of the future, (a phrase open to sharp criticism, and not satisfactory to me, but significant, and I will use it)--the poetry of the future aims at the free expression of emotion, (which means far, far more than appears at first,) and to arouse and initiate, more than to define or finish. Like all modern tendencies, it has direct or indirect reference continually to the reader, to you or me, to the central identity of everything, the mighty Ego. (Byron's was a vehement dash, with plenty of impatient democracy, but lurid and introverted amid all its magnetism; not at all the fitting, lasting song of a grand, secure, free, sunny race.) It is more akin, likewise, to outside life and landscape, (returning mainly to the antique feeling,) real sun and gale, and woods and shores--to the elements themselves--not sitting at ease in parlor or library listening to a good tale of them, told in good rhyme. Character, a feature far above style or polish--a feature not absent at any time, but now first brought to the fore--gives predominant stamp to advancing poetry. Its born sister, music, already responds to the same influences. "The music of the present, Wagner's, Gounod's, even the later Verdi's, all tends toward this free expression of poetic emotion, and demands a vocalism totally unlike that required for Rossini's splendid roulades, or Bellini's suave melodies."

Is there not even now, indeed, an evolution, a departure from the masters? Venerable and unsurpassable after their kind as are the old works, and always unspeakably precious as studies, (for Americans more than any other people,) is it too much to say that by the shifted combinations of the modern mind the whole underlying theory of first-class verse has changed? "Formerly, during the period term'd classic," says Sainte-Beuve, "when literature was govern'd by recognized rules, he was considered the best poet who had composed the most perfect work, the most beautiful poem, the most intelligible, the most agreeable to read, the most complete in every respect,--the Aeneid, the Gerusalemme, a fine tragedy. To-day, something else is wanted. For us the greatest poet is he who in his works most stimulates the reader's imagination and reflection, who excites him the most himself to poetize. The greatest poet is not he who has done the best; it is he who suggests the most; he, not all of whose meaning is at first obvious, and who leaves you much to desire, to explain, to study, much to complete in your turn."

The fatal defects our American singers labor under are subordination of spirit, an absence of the concrete and of real patriotism, and in excess that modern esthetic contagion a queer friend of mine calls the _beauty disease_. "The immoderate taste for beauty and art," says Charles Baudelaire, "leads men into monstrous excesses. In minds imbued with a frantic greed for the beautiful, all the balances of truth and justice disappear. There is a lust, a disease of the art faculties, which eats up the moral like a cancer."

Of course, by our plentiful verse-writers there is plenty of service perform'd, of a kind. Nor need we go far for a tally. We see, in every polite circle, a class of accomplished, good-natured persons, ("society," in fact, could not get on without them,) fully eligible for certain problems, times, and duties--to mix egg-nog, to mend the broken spectacles, to decide whether the stewed eels shall precede the sherry or the sherry the stewed eels, to eke out Mrs. A. B.'s parlor-tableaux with monk, Jew, lover, Puck, Prospero, Caliban, or what not, and to generally contribute and gracefully adapt their flexibilities and talents, in those ranges, to the world's service. But for real crises, great needs and pulls, moral or physical, they might as well have never been born.

Or the accepted notion of a poet would appear to be a sort of male odalisque, singing or piano-playing a kind of spiced ideas, second-hand reminiscences, or toying late hours at entertainments, in rooms stifling with fashionable scent. I think I haven't seen a new-published, healthy, bracing, simple lyric in ten years. Not long ago, there were verses in each of three fresh monthlies, from leading authors, and in every one the whole central _motif_ (perfectly serious) was the melancholiness of a marriageable young woman who didn't get a rich husband, but a poor one!

Besides its tonic and _al fresco_ physiology, relieving such as this, the poetry of the future will take on character in a more important respect. Science, having extirpated the old stock-fables and superstitions, is clearing a field for verse, for all the arts, and even for romance, a hundred-fold ampler and more wonderful, with the new principles behind. Republicanism advances over the whole world. Liberty, with Law by her side, will one day be paramount--will at any rate be the central idea. Then only--for all the splendor and beauty of what has been, or the polish of what is--then only will the true poets appear, and the true poems. Not the satin and patchouly of today, not the glorification of the butcheries and wars of the past, nor any fight between Deity on one side and somebody else on the other--not Milton, not even Shakspere's plays, grand as they are. Entirely different and hitherto unknown Classes of men, being authoritatively called for in imaginative literature, will certainly appear. What is hitherto most lacking, perhaps most absolutely indicates the future. Democracy has been hurried on through time by measureless tides and winds, resistless as the revolution of the globe, and as far-reaching and rapid. But in the highest walks of art it has not yet had a single representative worthy of it anywhere upon the earth.

Never had real bard a task more fit for sublime ardor and genius than to sing worthily the songs these States have already indicated. Their origin, Washington, '76, the picturesqueness of old times, the war of 1812 and the sea-fights; the incredible rapidity of movement and breadth of area--to fuse and compact the South and North, the East and West, to express the native forms, situations, scenes, from Montauk to California, and from the Saguenay to the Rio Grande--the working out on such gigantic scales, and with such a swift and mighty play of changing light and shade, of the great problems of man and freedom,--how far ahead of the stereotyped plots, or gem-cutting, or tales of love, or wars of mere ambition! Our history is so full of spinal, modern, germinal subjects--one above all. What the ancient siege of Illium, and the puissance of Hector's and Agamemnon's warriors proved to Hellenic art and literature, and all art and literature since, may prove the war of attempted secession of 1861-'65 to the future esthetics, drama, romance, poems of the United States.

Nor could utility itself provide anything more practically serviceable to the hundred millions who, a couple of generations hence, will inhabit within the limits just named, than the permeation of a sane, sweet, autochthonous national poetry--must I say of a kind that does not now exist? but which, I fully believe, will in time be supplied on scales as free as Nature's elements. (It is acknowledged that we of the States are the most materialistic and money-making people ever known. My own theory, while fully accepting this, is that we are the most emotional, spiritualistic, and poetry-loving people also.)

Infinite are the new and orbic traits waiting to be launch'd forth in the firmament that is, and is to be, America. Lately, I have wonder'd whether the last meaning of this cluster of thirty-eight States is not only practical fraternity among themselves--the only real union, (much nearer its accomplishment, too, than appears on the surface)--but for fraternity over the whole globe--that dazzling, pensive dream of ages! Indeed, the peculiar glory of our lands, I have come to see, or expect to see, not in their geographical or republican greatness, nor wealth or products, nor military or naval power, nor special, eminent names in any department, to shine with, or outshine, foreign special names in similar departments,--but more and more in a vaster, saner, more surrounding Comradeship, uniting closer and closer not only the American States, but all nations, and all humanity. That, O poets! is not that a theme worth chanting, striving for? Why not fix your verses henceforth to the gauge of the round globe? the whole race? Perhaps the most illustrious culmination of the modern may thus prove to be a signal growth of joyous, more exalted bards of adhesiveness, identically one in soul, but contributed by every nation, each after its distinctive kind. Let us, audacious, start it. Let the diplomats, as ever, still deeply plan, seeking advantages, proposing treaties between governments, and to bind them, on paper: what I seek is different, simpler. I would inaugurate from America, for this purpose, new formulas--international poems. I have thought that the invisible root out of which the poetry deepest in, and dearest to, humanity grows, is Friendship. I have thought that both in patriotism and song (even amid their grandest shows past) we have adhered too long to petty limits, and that the time has come to enfold the world.

Not only is the human and artificial world we have establish'd in the West a radical departure from anything hitherto known--not only men and politics, and all that goes with them--but Nature itself, in the main sense, its construction, is different. The same old font of type, of course, but set up to a text never composed or issued before. For Nature consists not only in itself, objectively, but at least just as much in its subjective reflection from the person, spirit, age, looking at it, in the midst of it, and absorbing it--faithfully sends back the characteristic beliefs of the time or individual--takes, and readily gives again, the physiognomy of any nation or literature--falls like a great elastic veil on a face, or like the molding plaster on a statue.

What is Nature? What were the elements, the invisible backgrounds and eidolons of it, to Homer's heroes, voyagers, gods? What all through the wanderings of Virgil's Aeneas? Then to Shakspere's characters--Hamlet, Lear, the English-Norman kings, the Romans? What was Nature to Rousseau, to Voltaire, to the German Goethe in his little classical court gardens? In those presentments in Tennyson (see the "Idylls of the King"--what sumptuous, perfumed, arras-and-gold Nature, inimitably described, better than any, fit for princes and knights and peerless ladies--wrathful or peaceful, just the same--Vivien and Merlin in their strange dalliance, or the death-float of Elaine, or Geraint and the long journey of his disgraced Enid and himself through the wood, and the wife all day driving the horses,) as in all the great imported art-works, treatises systems, from Lucretius down, there is a constantly lurking often pervading something, that will have to be eliminated, as not only unsuited to modern democracy and science in America, but insulting to them, and disproved by them.[37]

Still, the rule and demesne of poetry will always be not the exterior, but interior; not the macrocosm, but microcosm; not Nature, but Man. I haven't said anything about the imperative need of a race of giant bards in the future, to hold up high to eyes of land and race the eternal antiseptic models, and to dauntlessly confront greed, injustice, and all forms of that wiliness and tyranny whose roots never die--(my opinion is, that after all the rest is advanced, _that_ is what first-class poets are for; as, to their days and occasions, the Hebrew lyrists, Roman Juvenal, and doubtless the old singers of India, and the British Druids)--to counteract dangers, immensest ones, already looming in America--measureless corruption in politics--what we call religion, a mere mask of wax or lace;--for _ensemble_, that most cankerous, offensive of all earth's shows--a vast and varied community, prosperous and fat with wealth of money and products and business ventures--plenty of mere intellectuality too--and then utterly without the sound, prevailing, moral and esthetic health-action beyond all the money and mere intellect of the world.

Is it a dream of mine that, in times to come, west, south, east, north, will silently, surely arise a race of such poets, varied, yet one in soul--nor only poets, and of the best, but newer, larger prophets--larger than Judea's, and more passionate--to meet and penetrate those woes, as shafts of light the darkness?

As I write, the last fifth of the nineteenth century is enter'd upon, and will soon be waning. Now, and for a long time to come, what the United States most need, to give purport, definiteness, reason why, to their unprecedented material wealth, industrial products, education by rote merely, great populousness and intellectual activity, is the central, spinal reality, (or even the idea of it,) of such a democratic band of-native-born-and-bred teachers, artists, _littérateurs_, tolerant and receptive of importations, but entirely adjusted to the West, to ourselves, to our own days, combinations, differences, superiorities. Indeed, I am fond of thinking that the whole series of concrete and political triumphs of the Republic are mainly as bases and preparations for half a dozen future poets, ideal personalities, referring not to a special class, but to the entire people, four or five millions of square miles.

Long, long are the processes of the development of a nationality Only to the rapt vision does the seen become the prophecy of the unseen.[38] Democracy, so far attending only to the real, is not for the real only, but the grandest ideal--to justify the modern by that, and not only to equal, but to become by that superior to the past.

On a comprehensive summing up of the processes and present and hitherto condition of the United States, with reference to their future, and the indispensable precedents to it, my point, below all surfaces, and subsoiling them, is, that the bases and prerequisites of a leading nationality are, first, at all hazards, freedom, worldly wealth and products on the largest and most varied scale, common education and intercommunication, and, in general, the passing through of just the stages and crudities we have passed or are passing through in the United States.

Then, perhaps, as weightiest factor of the whole business, and of the main outgrowths of the future, it remains to be definitely avow'd that the native-born middle-class population of quite all the United States--the average of farmers and mechanics everywhere--the real, though latent and silent bulk of America, city or country, presents a magnificent mass of material, never before equal'd on earth. It is this material, quite unexpress'd by literature or art, that in every respect insures the future of the republic. During the secession war I was with the armies, and saw the rank and file, north and south, and studied them for four years. I have never had the least doubt about the country in its essential future since.

Meantime, we can (perhaps) do no better than to saturate ourselves with, and continue to give imitations, yet awhile, of the esthetic models, supplies, of that past and of those lands we spring from. Those wondrous stores, reminiscences, floods, currents! Let them flow on, flow hither freely. And let the sources be enlarged, to include not only the works of British origin, as now, but stately and devout Spain, courteous France, profound Germany, the manly Scandinavian lands, Italy's art race, and always the mystic Orient. Remembering that at present, and doubtless long ahead, a certain humility would well become us. The course through time of highest civilization, does it not wait the first glimpse of our contribution to its kosmic train of poems, bibles, first-class structures, perpetuities--Egypt and Palestine and India--Greece and Rome and mediaeval Europe--and so onward? The shadowy procession is not a meagre one, and the standard not a low one. All that is mighty in our kind seems to have already trod the road. Ah, never may America forget her thanks and reverence for samples, treasures such as these--that other life-blood, inspiration, sunshine, hourly in use to-day, all days, forever, through her broad demesne!

All serves our New World progress, even the bafflers, head-winds, cross-tides. Through many perturbations and squalls, and much backing and filling, the ship, upon the whole, makes unmistakably for her destination. Shakspere has served, and serves, may-be, the best of any.

For conclusion, a passing thought, a contrast, of him who, in my opinion, continues and stands for the Shaksperean cultus at the present day among all English-writing peoples--of Tennyson, his poetry. I find it impossible, as I taste the sweetness of those lines, to escape the flavor, the conviction, the lush-ripening culmination, and last honey of decay (I dare not call it rottenness) of that feudalism which the mighty English dramatist painted in all the splendors of its noon and afternoon. And how they are chanted--both poets! Happy those kings and nobles to be so sung, so told! To run their course--to get their deeds and shapes in lasting pigments--the very pomp and dazzle of the sunset!

Meanwhile, democracy waits the coming of its bards in silence and in twilight--but 'tis the twilight of the dawn.

Notes:

[35] A few years ago I saw the question, "Has America produced any great poem?" announced as prize-subject for the competition of some university in Northern Europe. I saw the item in a foreign paper and made a note of it; but being taken down with paralysis, and prostrated for a long season, the matter slipp'd away, and I have never been able since to get hold of any essay presented for the prize, or report of the discussion, nor to learn for certain whether there was any essay or discussion, nor can I now remember the place. It may have been Upsala, or possibly Heidelberg. Perhaps some German or Scandinavian can give particulars. I think it was in 1872.

[36] In a long and prominent editorial, at the time, on the death of William Cullen Bryant.

[37] Whatever may be said of the few principal poems--or their best passages--it is certain that the overwhelming mass of poetic works, as now absorb'd into human character, exerts a certain constipating, repressing, indoor, and artificial influence, impossible to elude--seldom or never that freeing, dilating, joyous one, with which uncramp'd Nature works on every individual without exception.

[38] Is there not such a thing as the philosophy of American history and politics? And if so, what is it?... Wise men say there are two sets of wills to nations and to persons--one set that acts and works from explainable motives--from teaching, intelligence, judgment, circumstance, caprice, emulation, greed, etc.--and then another set, perhaps deep, hidden, unsuspected, yet often more potent than the first, refusing to be argued with, rising as it were out of abysses, resistlessly urging on speakers, doers, communities, unwitting to themselves--the poet to his fieriest words--the race to pursue its loftiest ideal. Indeed, the paradox of a nation's life and career, with all its wondrous contradictions, can probably only be explain'd from these two wills, sometimes conflicting, each operating in its sphere, combining in races or in persons, and producing strangest results.

Let us hope there is (indeed, can there be any doubt there is?) this great unconscious and abysmic second will also running through the average nationality and career of America. Let us hope that, amid all the dangers and defections of the present, and through all the processes of the conscious will, it alone is the permanent and sovereign force, destined to carry on the New World to fulfil its destinies in the future--to resolutely pursue those destinies, age upon age; to build, far, far beyond its past vision, present thought; to form and fashion, and for the general type, men and women more noble, more athletic than the world has yet seen; to gradually, firmly blend, from all the States, with all varieties, a friendly, happy, free, religious nationality--a nationality not only the richest, most inventive, most productive and materialistic the world has yet known, but compacted indissolubly, and out of whose ample and solid bulk, and giving purpose and finish to it, conscience, morals, and all the spiritual attributes, shall surely rise, like spires above some group of edifices, firm-footed on the earth, yet scaling space and heaven.

Great as they are, and greater far to be, the United States, too, are but a series of steps in the eternal process of creative thought. And here is, to my mind, their final justification, and certain perpetuity. There is in that sublime process, in the laws of the universe--and, above all, in the moral law--something that would make unsatisfactory, and even vain and contemptible, all the triumphs of war, the gains of peace, and the proudest worldly grandeur of all the nations that have ever existed, or that (ours included) now exist, except that we constantly see, through all their worldly career, however struggling and blind and lame, attempts, by all ages, all peoples, according to their development, to reach, to press, to progress on, and ever farther on, to more and more advanced ideals.

The glory of the republic of the United States, in my opinion, is to be that, emerging in the light of the modern and the splendor of science, and solidly based on the past, it is to cheerfully range itself, and its politics are henceforth to come, under those universal laws, and embody them, and carry them out, to serve them. And as only that individual becomes truly great who understands well that, while complete in himself in a certain sense, he is but a part of the divine, eternal scheme, and whose special life and laws are adjusted to move in harmonious relations with the general laws of Nature, and especially with the moral law, the deepest and highest of all, and the last vitality of man or state--so the United States may only become the greatest and the most continuous, by understanding well their harmonious relations with entire humanity and history, and all their laws and progress, sublimed with the creative thought of Deity, through all time, past, present, and future. Thus will they expand to the amplitude of their destiny, and become illustrations and culminating parts of the kosmos, and of civilization.

No more considering the States as an incident, or series of incidents, however vast, coming accidentally along the path of time, and shaped by casual emergencies as they happen to arise, and the mere result of modern improvements, vulgar and lucky, ahead of other nations and times, I would finally plant, as seeds, these thoughts or speculations in the growth of our republic--that it is the deliberate culmination and result of all the past--that here, too, as in all departments of the universe, regular laws (slow and sure in planting, slow and sure in ripening) have controll'd and govern'd, and will yet control and govern; and that those laws can no more be baffled or steer'd clear of, or vitiated, by chance, or any fortune or opposition, than the laws of winter and summer, or darkness and light.

The summing up of the tremendous moral and military perturbations of 1861-'65, and their results--and indeed of the entire hundred years of the past of our national experiment, from its inchoate movement down to the present day (1780-1881)--is, that they all now launch the United States fairly forth, consistently with the entirety of civilization and humanity, and in main sort the representative of them, leading the van, leading the fleet of the modern and democratic, on the seas and voyages of the future.