Select Poems of Sidney Lanier [11]
line with the greatest poets of our race, from "Caedmon, in the morn A-calling angels with the cow-herd's call That late brought up the cattle,"*6* to him "Who never turned his back, but marched breast forward, Never doubted clouds would break, Never dreamed, though right were worsted, wrong would triumph, Held we fall to rise, are baffled to fight better, Sleep to wake."*7*
-- *1* 1 John 4:16. *2* `The Crystal', ll. 100-111. *3* Hayne's `A Poet's Letters to a Friend'. *4* In `A Florida Sunday', l. 85. *5* Ward's `Memorial', p. xxxix. *6* Lanier's `The Crystal', ll. 90-93. *7* Browning's `Asolando': Epilogue, ll. 11-15. --
Perhaps I may append here a paragraph upon Lanier's criticisms of other writers, for they seem to me acute in the extreme. Despite the elaborate essays in defence of Whitman's poetry by Dowden,*1* Symonds,*2* and Whitman himself, I believe Lanier is right in declaring that "Whitman is poetry's butcher. Huge raw collops slashed from the rump of poetry and never mind gristle -- is what Whitman feeds our souls with. As near as I can make it out, Whitman's argument seems to be, that, because a prairie is wide, therefore debauchery is admirable, and because the Mississippi is long, therefore every American is God."*3* Notice, again, how well the defect of `Paradise Lost' is pointed out: "And I forgive Thee, Milton, those thy comic-dreadful wars Where, armed with gross and inconclusive steel, Immortals smite immortals mortalwise And fill all heaven with folly."*4* Few better things have been said of Langland than this, -- "That with but a touch Of art hadst sung Piers Plowman to the top Of English songs, whereof 'tis dearest, now And most adorable;"*5* or of Emerson than this, -- "Most wise, that yet, in finding Wisdom, lost Thy Self, sometimes;"*6* or of Tennyson than this, -- "Largest voice Since Milton, yet some register of wit Wanting."*7* `The Crystal' abounds in such happy characterizations.
-- *1* See Dowden's `Studies in Literature', pp. 468-523. *2* See Symonds's `Walt Whitman: A Study'. London, 1893. *3* Ward's `Memorial', p. xxxviii. *4* `The Crystal', ll. 66-70. *5* Ibid., ll. 87-90. *6* Ibid., ll. 93-94. *7* Ibid., ll. 95-97. --
IV. Lanier's Poetry: Its Style
So much for the poet's thoughts; what shall we say of their expression? In other words, is Lanier the literary artist equal to Lanier the seer? In order the better to answer this question, let us begin at the beginning, with the elements of style, some of which, however, I pass by as not calling for special comment.
Of Lanier's felicitous choice of words we have already had incidental illustration; but it is desirable, perhaps, to group here a few of his happiest phrases, to show that, as Lowell*1* said, he is "a man of genius with a rare gift for the happy word." Notice this speech about the brook: "And down the hollow from a ferny nook `Lull' sings a little brook!"*2* and this of the well-bucket: "The rattling bucket plumps Souse down the well;"*3* and this of the outburst of a bird: "Dumb woods, have ye uttered a bird?"*4* and the description of a mocking-bird as "Yon trim Shakspere on the tree;"*5* and of midnight as "Death's and truth's unlocking time."*6* Moreover, it should be observed that Lanier frequently uses significant compounds, -- a habit acquired, no doubt, from his study of Old English, in which, as in German, such compounds abound.
-- *1* See `Lowell' in `Bibliography'. *2* `From the Flats', ll. 23-24; cited by Gates. [Line 24 was changed (to "Bright leaps a living brook!") in later editions. -- A. L., 1998.] *3* `Clover', ll. 29-30. *4* `Sunrise', l. 57; cited by Gates. *5* `The Mocking-Bird', l. 14. *6* `The Crystal', l. 1. Other illustrations may be found in the paragraph on figures of speech. --
While in the main Lanier's
-- *1* 1 John 4:16. *2* `The Crystal', ll. 100-111. *3* Hayne's `A Poet's Letters to a Friend'. *4* In `A Florida Sunday', l. 85. *5* Ward's `Memorial', p. xxxix. *6* Lanier's `The Crystal', ll. 90-93. *7* Browning's `Asolando': Epilogue, ll. 11-15. --
Perhaps I may append here a paragraph upon Lanier's criticisms of other writers, for they seem to me acute in the extreme. Despite the elaborate essays in defence of Whitman's poetry by Dowden,*1* Symonds,*2* and Whitman himself, I believe Lanier is right in declaring that "Whitman is poetry's butcher. Huge raw collops slashed from the rump of poetry and never mind gristle -- is what Whitman feeds our souls with. As near as I can make it out, Whitman's argument seems to be, that, because a prairie is wide, therefore debauchery is admirable, and because the Mississippi is long, therefore every American is God."*3* Notice, again, how well the defect of `Paradise Lost' is pointed out: "And I forgive Thee, Milton, those thy comic-dreadful wars Where, armed with gross and inconclusive steel, Immortals smite immortals mortalwise And fill all heaven with folly."*4* Few better things have been said of Langland than this, -- "That with but a touch Of art hadst sung Piers Plowman to the top Of English songs, whereof 'tis dearest, now And most adorable;"*5* or of Emerson than this, -- "Most wise, that yet, in finding Wisdom, lost Thy Self, sometimes;"*6* or of Tennyson than this, -- "Largest voice Since Milton, yet some register of wit Wanting."*7* `The Crystal' abounds in such happy characterizations.
-- *1* See Dowden's `Studies in Literature', pp. 468-523. *2* See Symonds's `Walt Whitman: A Study'. London, 1893. *3* Ward's `Memorial', p. xxxviii. *4* `The Crystal', ll. 66-70. *5* Ibid., ll. 87-90. *6* Ibid., ll. 93-94. *7* Ibid., ll. 95-97. --
IV. Lanier's Poetry: Its Style
So much for the poet's thoughts; what shall we say of their expression? In other words, is Lanier the literary artist equal to Lanier the seer? In order the better to answer this question, let us begin at the beginning, with the elements of style, some of which, however, I pass by as not calling for special comment.
Of Lanier's felicitous choice of words we have already had incidental illustration; but it is desirable, perhaps, to group here a few of his happiest phrases, to show that, as Lowell*1* said, he is "a man of genius with a rare gift for the happy word." Notice this speech about the brook: "And down the hollow from a ferny nook `Lull' sings a little brook!"*2* and this of the well-bucket: "The rattling bucket plumps Souse down the well;"*3* and this of the outburst of a bird: "Dumb woods, have ye uttered a bird?"*4* and the description of a mocking-bird as "Yon trim Shakspere on the tree;"*5* and of midnight as "Death's and truth's unlocking time."*6* Moreover, it should be observed that Lanier frequently uses significant compounds, -- a habit acquired, no doubt, from his study of Old English, in which, as in German, such compounds abound.
-- *1* See `Lowell' in `Bibliography'. *2* `From the Flats', ll. 23-24; cited by Gates. [Line 24 was changed (to "Bright leaps a living brook!") in later editions. -- A. L., 1998.] *3* `Clover', ll. 29-30. *4* `Sunrise', l. 57; cited by Gates. *5* `The Mocking-Bird', l. 14. *6* `The Crystal', l. 1. Other illustrations may be found in the paragraph on figures of speech. --
While in the main Lanier's