Select Poems of Sidney Lanier [5]
*6* See recent files of `The Independent' (New York). *7* See his `Pictures in Song' (New York, 1884), pp. 45-49. *8* See his `Songs of Fair Weather' (Boston, 1883), pp. 27-28. --
II. Lanier's Prose Works
With this brief sketch of his life, let us turn to Lanier's works, and first to those in prose. At the head of the list comes `Tiger-lilies', a novel written within three weeks and published immediately thereafter, in 1867. Under the figure of "a strange, enormous, terrible flower," the seed of which he hopes may perish beyond resurrection, the author pictures the horror of war in general and of the Civil War in particular. An entertaining love-story runs through the book, the plot of which space does not allow me to detail. In execution the novel has grave defects: it lacks unity; the characters talk as learnedly as Lanier afterward wrote of music; and at times, as in the oft-quoted picture of the war,*1* the style is grandiloquent; owing to which blemishes the author wisely discouraged its republication. But, in spite of these defects, the book has one very strongly put scene,*2* the interview between Smallin and his deserter brother, and several beautiful passages*3* that distinctly proclaim the high-souled poet.
-- *1* `Tiger-lilies', p. 115 ff. *2* `Tiger-lilies', p. 149 ff. *3* That on "love" (p. 26) is quoted later. --
Lanier's next publication, `Florida: Its Scenery, Climate, and History', was written by commission of the Atlantic Coast Line, and appeared in 1876. To use the author's own epithet, `Florida' is "a spiritualized guide-book".
Exclusive of the 1877 volume of `Poems', Lanier's next original work was `The Science of English Verse', which in lecture-form was delivered to the students of the Johns Hopkins in the winter of 1879 and was published in 1880. According to competent critics, the book gives as searching an investigation of the science of verse on its formal side as is to be had in any language. Since the treatise is so evidently an epoch-making one, I regret that the technicality of the subject forbids my attempting in this connection even a brief exposition* of its principles. I can say only that Lanier treats verse in the terms of music; that, according to the promise of the preface, he gives "an account of the true relations of music and verse"; and that in so doing he has given us the best working theory for English verse from Caedmon to Tennyson. This is a high estimate, but it is by no means so high as that of the lamented poet-professor, Edmund Rowland Sill, who said of `The Science of English Verse', "It is the only work that has ever made any approach to a rational view of the subject. Nor are the standard ones overlooked in making this assertion."**
-- * This may be found in Professor Tolman's article, cited in the `Bibliography'. ** Quoted by Tolman. --
Lanier's second course of lectures at the Johns Hopkins University, delivered in the winter and spring of 1881, was published in 1883 under the title, `The English Novel and the Principles of Its Development'.* According to the author's statement, the purpose of the book is "first, to inquire what is the special relation of the novel to the modern man, by virtue of which it has become a paramount literary form; and, secondly, to illustrate this abstract inquiry, when completed, by some concrete readings in the greatest of modern English novelists" (p. 4). Addressing himself to the former, Lanier attempts to prove (1) that our time, when compared with that of Aeschylus, shows an "enormous growth in the personality of man" (p. 5); (2) that what we moderns call Physical Science, Music, and the Novel, all had their origin at practically the same time, about the middle of the seventeenth century (p. 9); and (3) "that the increase of personalities thus going on has brought about such complexities of relation that the older forms of expression were inadequate to them; and that the resulting necessity has developed the wonderfully free and elastic form of the modern novel out of the more rigid Greek drama,
II. Lanier's Prose Works
With this brief sketch of his life, let us turn to Lanier's works, and first to those in prose. At the head of the list comes `Tiger-lilies', a novel written within three weeks and published immediately thereafter, in 1867. Under the figure of "a strange, enormous, terrible flower," the seed of which he hopes may perish beyond resurrection, the author pictures the horror of war in general and of the Civil War in particular. An entertaining love-story runs through the book, the plot of which space does not allow me to detail. In execution the novel has grave defects: it lacks unity; the characters talk as learnedly as Lanier afterward wrote of music; and at times, as in the oft-quoted picture of the war,*1* the style is grandiloquent; owing to which blemishes the author wisely discouraged its republication. But, in spite of these defects, the book has one very strongly put scene,*2* the interview between Smallin and his deserter brother, and several beautiful passages*3* that distinctly proclaim the high-souled poet.
-- *1* `Tiger-lilies', p. 115 ff. *2* `Tiger-lilies', p. 149 ff. *3* That on "love" (p. 26) is quoted later. --
Lanier's next publication, `Florida: Its Scenery, Climate, and History', was written by commission of the Atlantic Coast Line, and appeared in 1876. To use the author's own epithet, `Florida' is "a spiritualized guide-book".
Exclusive of the 1877 volume of `Poems', Lanier's next original work was `The Science of English Verse', which in lecture-form was delivered to the students of the Johns Hopkins in the winter of 1879 and was published in 1880. According to competent critics, the book gives as searching an investigation of the science of verse on its formal side as is to be had in any language. Since the treatise is so evidently an epoch-making one, I regret that the technicality of the subject forbids my attempting in this connection even a brief exposition* of its principles. I can say only that Lanier treats verse in the terms of music; that, according to the promise of the preface, he gives "an account of the true relations of music and verse"; and that in so doing he has given us the best working theory for English verse from Caedmon to Tennyson. This is a high estimate, but it is by no means so high as that of the lamented poet-professor, Edmund Rowland Sill, who said of `The Science of English Verse', "It is the only work that has ever made any approach to a rational view of the subject. Nor are the standard ones overlooked in making this assertion."**
-- * This may be found in Professor Tolman's article, cited in the `Bibliography'. ** Quoted by Tolman. --
Lanier's second course of lectures at the Johns Hopkins University, delivered in the winter and spring of 1881, was published in 1883 under the title, `The English Novel and the Principles of Its Development'.* According to the author's statement, the purpose of the book is "first, to inquire what is the special relation of the novel to the modern man, by virtue of which it has become a paramount literary form; and, secondly, to illustrate this abstract inquiry, when completed, by some concrete readings in the greatest of modern English novelists" (p. 4). Addressing himself to the former, Lanier attempts to prove (1) that our time, when compared with that of Aeschylus, shows an "enormous growth in the personality of man" (p. 5); (2) that what we moderns call Physical Science, Music, and the Novel, all had their origin at practically the same time, about the middle of the seventeenth century (p. 9); and (3) "that the increase of personalities thus going on has brought about such complexities of relation that the older forms of expression were inadequate to them; and that the resulting necessity has developed the wonderfully free and elastic form of the modern novel out of the more rigid Greek drama,