Chapter 37

The idea of the last quatrain 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, Betrothèd lovers walk in sight Of my low monument? I would the lovely scene around Might know no sadder sight nor sound.

I know that I no more should 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 softened 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 C. 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 burdened 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 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 requires 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 called 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 unrivalled bright; And blessèd 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 gayly by thy side, And whispered 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: Fashioned 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 dishonor, 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 hurled-- 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; Fashioned so slenderly, Young, and so fair!

Ere her limbs frigidly Stiffen too rigidly, Decently--kindly-- Smoothe 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 behavior, And leaving, with meekness, Her sins to her Saviour!

The vigor 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 what 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 remembered kisses after death, And sweet as those by hopeless fancy feigned 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 endeavored 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 elevate the Soul. Love, on the contrary--Love, the true, the divine Eros, the Uranian as distinguished from the Dionaean 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 recognizes 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 the 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 Aeolus, 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 odor 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 sympathize 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 Honor, call Us to the field againe. No shrewish teares shall fill our eye 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!

WALKING

BY

HENRY DAVID THOREAU

_INTRODUCTORY NOTE_

_Henry David Thoreau was born at Concord, Massachusetts, July 12, 1817, and died there May 6, 1862. He was one of the most markedly individual of that group of philosophers and men of letters which has made the name of the little Massachusetts town so notable in the intellectual history of America._

_Thoreau came of a family of French descent, and was educated at Harvard. "He was bred," says his friend Emerson, "to no profession; he never married; he lived alone; he never went to church; he never voted; he refused to pay a tax to the State; he ate no flesh, he drank no wine, he never knew the use of tobacco; and, though a naturalist, he used neither trap nor gun." The individualism which is implied in these facts was the most prominent characteristic of this remarkable person. Holding that "a man is rich in proportion to the number of things which he can afford to let alone," he found that a small part of his time, devoted to making lead-pencils, carpentering, and surveying, gave him enough for his simple needs, and left him free for the rest of the year to observe nature, to think, and to write._

_In 1845 Thoreau built himself a hut on the edge of Walden Pond, and for over two years lived there in solitude, composing his "Week on the Concord and Merrimac Rivers." During these years he kept a journal, from which he later drew the volume called "Walden," and these are his only two books published during his lifetime. From articles in magazines and manuscripts, some eight more volumes have been compiled since his death._

_Interesting as is the philosophy which permeates the work of this solitary, his books have found readers rather on account of their minute and sympathetic observation of nature and the beauty of their style. The following essay on "Walking" represents all three elements; and in its charming discursiveness, in the absence of any structure to hinder the writer's pen from wandering at will, and in the responsiveness which it exhibits to the moods and suggestions of nature, it is a characteristic expression of its author's spirit._

WALKING

[1862]

I wish to speak a word for Nature, for absolute freedom and wildness, as contrasted with a freedom and culture merely civil,--to regard man as an inhabitant, or a part and parcel of Nature, rather than a member of society. I wish to make an extreme statement, if so I may make an emphatic one, for there are enough champions of civilization: the minister and the school committee and every one of you will take care of that.