Chapter XIV: Part 14

_Cicada_--There are then many species of poets and crowns?

_Tansillo_--Not only as many as there are Muses, but a great many more; for although genius is to be met with, yet certain modes and species of human ingenuity cannot be thus classified.

_Cicada_--There are certain schoolmen who barely allow Homer to be a poet, and set down Virgil, Ovid, Martial, Hesiod, Lucretius, and many others as versifiers, judging them by the rules of poetry of Aristotle.

_Tansillo_--Know for certain, my brother, that such as these are beasts. They do not consider that those rules serve principally as a frame for the Homeric poetry, and for other similar to it; and they set up one as a great poet, high as Homer, and disallow those of other vein and art and enthusiasm, who in their various kinds are equal, similar, or greater.

_Cicada_--So that Homer was not a poet who depended upon rules, but was the cause of the rules which serve for those who are more apt at imitation than invention, and they have been used by him who, being no poet, yet knew how to take the rules of Homeric poetry into service, so as to become, not a poet or a Homer, but one who apes the Muse of others?

_Tansillo_--Thou dost well conclude that poetry is not born in rules, or only slightly and accidentally so: the rules are derived, from the poetry, and there are as many kinds and sorts of true rules as there are kinds and sorts of true poets.

_Cicada_--How then are the true poets to be known?

_Tansillo_--By the singing of their verses: in that singing they give delight, or they edify, or they edify and delight together.

_Cicada_--To whom then are the rules of Aristotle useful?

_Tansillo_--To him who, unlike Homer, Hesiod, Orpheus, and others, could not sing without the rules of Aristotle, and who, having no Muse of his own, would coquette with that of Homer.

_Cicada_--Then they are wrong, those stupid pedants of our days, who exclude from the number of poets those who do not use words and metaphors conformable to, or whose principles are not in union with, those of Homer and Virgil; or because they do not observe the custom of invocation, or because they weave one history or tale with another, or because they finish the song with an epilogue on what has been said and a prelude on what is to be said, and many other kinds of criticism and censure; from whence it seems they would imply that they themselves, if the fancy took them, could be the true poets: and yet in fact they are no other than worms, that know not how to do anything well, but are born only to gnaw and befoul the studies and labors of others; and not being able to attain celebrity by their own virtue and ingenuity, seek to put themselves in the front, by hook or by crook, through the defects and errors of others.

_Tansillo_--There are as many sorts of poets as there are sentiments and ideas; and to these it is possible to adapt garlands, not only of every species of plant, but also of other kinds of material. So the crowns of poets are made not only of myrtle and of laurel, but of vine leaves for the white-wine verses, and of ivy for the bacchanals; of olive for sacrifice and laws; of poplar, of elm, and of corn for agriculture; of cypress for funerals, and innumerable others for other occasions; and if it please you, also of the material signified by a good fellow when he exclaimed:

"O Friar Leek! O Poetaster!
That in Milan didst buckle on thy wreath
Composed of salad, sausage, and the pepper-caster."

_Cicada_--Now surely he of divers moods, which he exhibits in various ways, may cover himself with the branches of different plants, and may hold discourse worthily with the Muses; for they are his aura or comforter, his anchor or support, and his harbor, to which he retires in times of labor, of agitation, and of storm. Hence he cries:--"O Mountain of Parnassus, where I abide; Muses, with whom I converse; Fountain of Helicon, where I am nourished; Mountain, that affordest me a quiet dwelling-place; Muses, that inspire me with profound doctrines; Fountain, that cleansest me; Mountain, on whose ascent my heart uprises; Muses, that in discourse revive my spirits; Fountain, whose arbors cool my brows,--change my death into life, my cypress to laurels, and my hells into heavens: that is, give me immortality, make me a poet, render me illustrious!"

_Tansillo_--Well; because to those whom Heaven favors, the greatest evils turn to greatest good; for needs or necessities bring forth labors and studies, and these most often bring the glory of immortal splendor.

_Cicada_--For to die in one age makes us live in all the rest.

CANTICLE OF THE SHINING ONES

A Tribute to English Women, from 'The Nolan'

"Nothing I envy, Jove, from this thy sky,"
Spake Neptune thus, and raised his lofty crest.
"God of the waves," said Jove, "thy pride runs high;
What more wouldst add to own thy stern behest?"

"Thou," spake the god, "dost rule the fiery span,
The circling spheres, the glittering shafts of day;
Greater am I, who in the realm of man
Rule Thames, with all his Nymphs in fair array.

"In this my breast I hold the fruitful land,
The vasty reaches of the trembling sea;
And what in night's bright dome, or day's, shall stand
Before these radiant maids who dwell with me?"

"Not thine," said Jove, "god of the watery mount,
To exceed my lot; but thou my lot shalt share:
Thy heavenly maids among my stars I'll count,
And thou shalt own the stars beyond compare!"

THE SONG OF THE NINE SINGERS

[_The first sings and plays the cithern_.]

O cliffs and rocks! O thorny woods! O shore!
O hills and dales! O valleys, rivers, seas!
How do your new-discovered beauties please?
O Nymph, 'tis yours the guerdon rare,
If now the open skies shine fair;
O happy wanderings, well spent and o'er!

[_The second sings and plays to his mandolin_.]

O happy wanderings, well spent and o'er!
Say then, O Circe, these heroic tears,
These griefs, endured through tedious months and years,
Were as a grace divine bestowed
If now our weary travail is no more.

[_The third sings and plays to his lyre_.]

If now our weary travail is no more!
If this sweet haven be our destined rest,
Then naught remains but to be blest,
To thank our God for all his gifts,
Who from our eyes the veil uplifts,
Where shines the light upon the heavenly shore,

[_The fourth sings to the viol_.]

Where shines the light upon the heavenly shore!
O blindness, dearer far than others' sight!
O sweeter grief than earth's most sweet delight!
For ye have led the erring soul
By gradual steps to this fair goal,
And through the darkness into light we soar.

[_The fifth sings to a Spanish timbrel_.]

And through the darkness into light we soar!
To full fruition all high thought is brought,
With such brave patience that ev'n we
At least the only path can see,
And in his noblest work our God adore.

[_The sixth sings to a lute_.]

And in his noblest work our God adore!
God doth not will joy should to joy succeed,
Nor ill shall be of other ill the seed;
But in his hand the wheel of fate
Turns, now depressed and now elate,
Evolving day from night for evermore.

[_The seventh sings to the Irish harp_.]

Evolving day from night for evermore!
And as yon robe of glorious nightly fire
Pales when the morning beams to noon aspire,
Thus He who rules with law eternal,
Creating order fair diurnal,
Casts down the proud and doth exalt the poor.

[_The eighth plays with a viol and bow_.]

Casts down the proud and doth exalt the poor!
And with an equal hand maintains
The boundless worlds which He sustains,
And scatters all our finite sense
At thought of His omnipotence,
Clouded awhile, to be revealed once more.

[_The ninth plays upon the rebeck_.]

Clouded awhile, to be revealed once more!
Thus neither doubt nor fear avails;
O'er all the incomparable End prevails,
O'er fair champaign and mountain,
O'er river-brink and fountain,
And o'er the shocks of seas and perils of the shore.

Translation of Isa Blagden.

OF IMMENSITY

From Frith's 'Life of Giordano Bruno'

'Tis thou, O Spirit, dost within my soul
This weakly thought with thine own life amend;
Rejoicing, dost thy rapid pinions lend
Me, and dost wing me to that lofty goal
Where secret portals ope and fetters break,
And thou dost grant me, by thy grace complete,
Fortune to spurn, and death; O high retreat,
Which few attain, and fewer yet forsake!
Girdled with gates of brass in every part,
Prisoned and bound in vain, 'tis mine to rise
Through sparkling fields of air to pierce the skies,
Sped and accoutred by no doubting heart,
Till, raised on clouds of contemplation vast,
Light, leader, law, Creator, I attain at last.

LIFE WELL LOST

Winged by desire and thee, O dear delight!
As still the vast and succoring air I tread,
So, mounting still, on swifter pinions sped,
I scorn the world, and heaven receives my flight.
And if the end of Ikaros be nigh,
I will submit, for I shall know no pain:
And falling dead to earth, shall rise again;
What lowly life with such high death can vie?
Then speaks my heart from out the upper air,
"Whither dost lead me? sorrow and despair
Attend the rash." and thus I make reply:--
"Fear thou no fall, nor lofty ruin sent;
Safely divide the clouds, and die content,
When such proud death is dealt thee from on high."

PARNASSUS WITHIN

O heart, 'tis you my chief Parnassus are,
Where for my safety I must ever climb.
My wingèd thoughts are Muses, who from far
Bring gifts of beauty to the court of Time;
And Helicon, that fair unwasted rill,
Springs newly in my tears upon the earth,
And by those streams and nymphs, and by that hill,
It pleased the gods to give a poet birth.
No favoring hand that comes of lofty race,
No priestly unction, nor the grant of kings,
Can on me lay such lustre and such grace,
Nor add such heritage; for one who sings
Hath a crowned head, and by the sacred bay,
His heart, his thoughts, his tears, are consecrate alway.

COMPENSATION

The moth beholds not death as forth he flies
Into the splendor of the living flame;
The hart athirst to crystal water hies,
Nor heeds the shaft, nor fears the hunter's aim;
The timid bird, returning from above
To join his mate, deems not the net is nigh;
Unto the light, the fount, and to my love,
Seeing the flame, the shaft, the chains, I fly;
So high a torch, love-lighted in the skies,
Consumes my soul; and with this bow divine
Of piercing sweetness what terrestrial vies?
This net of dear delight doth prison mine;
And I to life's last day have this desire--
Be mine thine arrows, love, and mine thy fire.

LIFE FOR SONG

Come Muse, O Muse, so often scorned by me,
The hope of sorrow and the balm of care,--
Give to me speech and song, that I may be
Unchid by grief; grant me such graces rare
As other ministering souls may never see
Who boast thy laurel, and thy myrtle wear.
I know no joy wherein thou hast not part,
My speeding wind, my anchor, and my goal,
Come, fair Parnassus, lift thou up my heart;
Come, Helicon, renew my thirsty soul.
A cypress crown, O Muse, is thine to give,
And pain eternal: take this weary frame,
Touch me with fire, and this my death shall live
On all men's lips and in undying fame.

WILLIAM CULLEN BRYANT

(1794-1878)

BY GEORGE PARSONS LATHROP

Distinguished as he was by the lofty qualities of his verse, William Cullen Bryant held a place almost unique in American literature, by the union of his activity as a poet with his eminence as a citizen and an influential journalist, throughout an uncommonly long career. Two traits still further define the peculiarity of his position--his precocious development, and the evenness and sustained vigor of all his poetic work from the beginning to the end. He began writing verse at the age of eight; at ten he made contributions in this kind to the county gazette, and produced a finished and effective rhymed address, read at his school examination, which became popular for recitation; and in his thirteenth year, during the Presidency of Thomas Jefferson, he composed a political satire, 'The Embargo.' This, being published, was at first supposed by many to be the work of a man, attracted much attention and praise, and passed into a second edition with other shorter pieces.

But these, while well wrought in the formal eighteenth-century fashion, showed no special originality. It was with 'Thanatopsis,' written in 1811, when he was only seventeen, that his career as a poet of original and assured strength began. 'Thanatopsis' was an inspiration of the primeval woods of America, of the scenes that surrounded the writer in youth. At the same time it expressed with striking independence and power a fresh conception of "the universality of Death in the natural order." As has been well said, "it takes the idea of death out of its theological aspects and restores it to its proper place in the vast scheme of things. This in itself was a mark of genius in a youth of his time and place." Another American poet, Stoddard, calls it the greatest poem ever written by so young a man. The author's son-in-law and biographer, Parke Godwin, remarks upon it aptly, "For the first time on this continent a poem was written destined to general admiration and enduring fame;" and this indeed is a very significant point, that it began the history of true poetry in the United States,--a fact which further secured to Bryant his exceptional place. The poem remains a classic of the English language, and the author himself never surpassed the high mark attained in it; although the balanced and lasting nature of his faculty is shown in a pendant to this poem, which he created in his old age and entitled 'The Flood of Years.' The last is equal to the first in dignity and finish, but is less original, and has never gained a similar fame.

Another consideration regarding Bryant is, that representing a modern development of poetry under American inspiration, he was also a descendant of the early Massachusetts colonists, being connected with the Pilgrim Fathers through three ancestral lines. Born at Cummington, Massachusetts, November 3d, 1794, the son of a stalwart but studious country physician of literary tastes, he inherited the strong religious feeling of this ancestry, which was united in him with a deep and sensitive love of nature. This led him to reflect in his poems the strength and beauty of American landscape, vividly as it had never before been mirrored; and the blending of serious thought and innate piety with the sentiment for nature so reflected gave a new and impressive result.

Like many other long-lived men, Bryant suffered from delicate health in the earlier third of his life: there was a tendency to consumption in his otherwise vigorous family stock. He read much, and was much interested in Greek literature and somewhat influenced by it. But he also lived a great deal in the open air, rejoiced in the boisterous games and excursions in the woods with his brothers and sisters, and took long rambles alone among the hills and wild groves; being then, as always afterwards, an untiring walker. After a stay of only seven months at Williams College, he studied law, which he practiced for some eight years in Plainfield and Great Barrington. In the last-named village he was elected a tithingman, charged with the duty of keeping order in the churches and enforcing the observance of Sunday. Chosen town clerk soon afterwards, at a salary of five dollars a year, he kept the records of the town with his own hand for five years, and also served as justice of the peace with power to hear cases in a lower court. These biographical items are of value, as showing his close relation to the self-government of the people in its simpler forms, and his early practical familiarity with the duties of a trusted citizen.

Meanwhile, however, he kept on writing at intervals, and in 1821 read before the Phi Beta Kappa Society at Harvard a long poem, 'The Ages,' a kind of composition more in favor at that period than in later days, being a general review of the progress of man in knowledge and virtue. With the passage of time it has not held its own as against some of his other poems, although it long enjoyed a high reputation; but its success on its original hearing was the cause of his bringing together his first volume of poems, hardly more than a pamphlet, in the same year. It made him famous with the reading public of the United States, and won some recognition in England. In this little book were contained, besides 'The Ages' and 'Thanatopsis,' several pieces which have kept their hold upon popular taste; such as the well-known lines 'To a Waterfowl' and the 'Inscription for the Entrance to a Wood.'

The year of its publication also brought into the world Cooper's 'The Spy,' Irving's 'Sketch Book' and 'Bracebridge Hall,' with various other significant volumes, including Channing's early essays and Daniel Webster's great Plymouth Oration. It was evident that a native literature was dawning brightly; and as Bryant's productions now came into demand, and he had never liked the profession of law, he quitted it and went to New York in 1825, there to seek a living by his pen as "a literary adventurer." The adventure led to ultimate triumph, but not until after a long term of dark prospects and hard struggles.

Even in his latest years Bryant used to declare that his favorite among his poems--although it is one of the least known--was 'Green River'; perhaps because it recalled the scenes of young manhood, when he was about entering the law, and contrasted the peacefulness of that stream with the life in which he would be

"Forced to drudge for the dregs of men,
And scrawl strange words with the barbarous pen,
And mingle among the jostling crowd,
Where the sons of strife are subtle and loud."

This might be applied to much of his experience in New York, where he edited the New York Review and became one of the editors, then a proprietor, and finally chief editor of the Evening Post. A great part of his energies now for many years was given to his journalistic function, and to the active outspoken discussion of important political questions; often in trying crises and at the cost of harsh unpopularity. Success, financial as well as moral, came to him within the next quarter-century, during which laborious interval he had likewise maintained his interest and work in pure literature and produced new poems from time to time in various editions.

From this point on until his death, June 12th, 1878, in his eighty-fourth year, he was the central and commanding figure in the enlarging literary world of New York. His newspaper had gained a potent reputation, and it brought to bear upon public affairs a strong influence of the highest sort. Its editorial course and tone, as well as the earnest and patriotic part taken by Bryant in popular questions and national affairs, without political ambition or office-holding, had established him as one of the most distinguished citizens of the metropolis, no less than its most renowned poet. His presence and co-operation were indispensable in all great public functions or humanitarian and intellectual movements. In 1864 his seventieth birthday was celebrated at the Century Club with extraordinary honors. In 1875, again, the two houses of the State Legislature at Albany paid him the compliment, unprecedented in the annals of American authorship, of inviting him to a reception given to him in their official capacity. Another mark of the abounding esteem in which he was held among his fellow-citizens was the presentation to him in 1876 of a rich silver vase, commemorative of his life and works. He was now a wealthy man; yet his habits of life remained essentially unchanged. His tastes were simple, his love of nature was still ardent; his literary and editorial industry unflagging.

Besides his poems, Bryant wrote two short stories for 'Tales of the Glauber Spa'; and published 'Letters of a Traveler' in 1850, as a result of three journeys to Europe and the Orient, together with various public addresses. His style as a writer of prose is clear, calm, dignified, and denotes exact observation and a wide range of interests. So too his editorial articles in the Evening Post, some of which have been preserved in his collected writings, are couched in serene and forcible English, with nothing of the sensational or the colloquial about them. They were a fitting medium of expression for his firm conscientiousness and integrity as a journalist.

But it is as a poet, and especially by a few distinctive compositions, that Bryant will be most widely and deeply held in remembrance. In the midst of the exacting business of his career as an editor, and many public or social demands upon his time, he found opportunity to familiarize himself with portions of German and Spanish poetry, which he translated, and to maintain in the quietude of his country home in Roslyn, Long Island, his old acquaintance with the Greek and Latin classics. From this continued study there resulted naturally in 1870 his elaborate translation of Homer's Iliad, which was followed by that of the Odyssey in 1871. These scholarly works, cast in strong and polished blank verse, won high praise from American critics, and even achieved a popular success, although they were not warmly acclaimed, in England. Among literarians they are still regarded as in a manner standards of their kind. Bryant, in his long march of over sixty-five years across the literary field, was witness to many new developments in poetic writing, in both his own and other countries. But while he perceived the splendor and color and rich novelty of these, he held in his own work to the plain theory and practice which had guided him from the start. "The best poetry," he still believed--"that which takes the strongest hold of the general mind, not in one age only but in all ages--is that which is always simple and always luminous." He did not embody in impassioned forms the sufferings, emotions, or problems of the human kind, but was disposed to generalize them, as in 'The Journey of Life,' the 'Hymn of the City,' and 'The Song of the Sower,' it is characteristic that two of the longer poems, 'Sella' and 'The Little People of the Snow,' which are narratives, deal with legends of an individual human life merging itself with the inner life of nature, under the form of imaginary beings who dwell in the snow or in water. On the other hand, one of his eulogists observes that although some of his contemporaries went much beyond him in fullness of insight and nearness to the great conflicts of the age, "he has certainly not been surpassed, perhaps not been approached, by any writer since Wordsworth, in that majestic repose and that self-reliant simplicity which characterized the morning stars of song." In 'Our Country's Call,' however, one hears the ring of true martial enthusiasm; and there is a deep patriotic fervor in 'O Mother of a Mighty Race.' The noble and sympathetic homage paid to the typical womanhood of a genuine woman of every day, in 'The Conqueror's Grave,' reveals also great underlying warmth and sensitiveness of feeling. 'Robert of Lincoln,' and 'The Planting of the Apple-Tree' are both touched with a lighter mood of joy in nature, which supplies a contrast to his usual pensiveness.

Bryant's venerable aspect in old age--with erect form, white hair, and flowing snowy beard--gave him a resemblance to Homer; and there was something Homeric about his influence upon the literature of his country, in the dignity with which he invested the poetic art and the poet's relation to the people.

[All Bryant's poems were originally published by D. Appleton and Company.]

THANATOPSIS

To him who in the love of Nature holds
Communion with her visible forms, she speaks
A various language; for his gayer hours
She has a voice of gladness, and a smile
And eloquence of beauty, and she glides
Into his darker musings, with a mild
And healing sympathy, that steals away
Their sharpness ere he is aware. When thoughts
Of the last bitter hour come like a blight
Over thy spirit, and sad images
Of the stern agony, and shroud, and pall,
And breathless darkness, and the narrow house,
Make thee to shudder, and grow sick at heart;--
Go forth, under the open sky, and list
To Nature's teachings, while from all around--
Earth and her waters, and the depths of air--
Comes a still voice:--

Yet a few days, and thee
The all-beholding sun shall see no more
In all his course; nor yet in the cold ground,
Where thy pale form was laid, with many tears,
Nor in the embrace of ocean, shall exist
Thy image. Earth, that nourished thee, shall claim
Thy growth, to be resolved to earth again,
And, lost each human trace, surrendering up
Thine individual being, shalt thou go
To mix for ever with the elements,
To be a brother to the insensible rock
And to the sluggish clod, which the rude swain
Turns with his share, and treads upon. The oak
Shall send his roots abroad, and pierce thy mold.

Yet not to thine eternal resting-place
Shalt thou retire alone, nor couldst thou wish
Couch more magnificent. Thou shalt lie down
With patriarchs of the infant world--with kings,
The powerful of the earth--the wise, the good,
Fair forms, and hoary seers of ages past,
All in one mighty sepulchre. The hills
Rock-ribbed and ancient as the sun,--the vales
Stretching in pensive quietness between;
The venerable woods--rivers that move
In majesty, and the complaining brooks
That make the meadows green; and, poured round all,
Old Ocean's gray and melancholy waste,--
Are but the solemn decorations all
Of the great tomb of man. The golden sun,
The planets, all the infinite host of heaven,
Are shining on the sad abodes of death,
Through the still lapse of ages. All that tread
The globe are but a handful to the tribes
That slumber in its bosom.--Take the wings
Of morning, pierce the Barcan wilderness,
Or lose thyself in the continuous woods
Where rolls the Oregon, and hears no sound
Save his own dashings--yet the dead are there;
And millions in those solitudes, since first
The flight of years began, have laid them down
In their last sleep--the dead reign there alone.

So shalt thou rest; and what if thou withdraw
In silence from the living, and no friend
Take note of thy departure? All that breathe
Will share thy destiny. The gay will laugh
When thou art gone, the solemn brood of care
Plod on, and each one as before will chase
His favorite phantom; yet all these shall leave
Their mirth and their employments, and shall come
And make their bed with thee. As the long train
Of ages glides away, the sons of men,--
The youth in life's fresh spring and he who goes
In the full strength of years, matron and maid,
The speechless babe and the gray-headed man--
Shall one by one be gathered to thy side,
By those who in their turn shall follow them.

So live, that when thy summons comes to join
The innumerable caravan which moves
To that mysterious realm where each shall take
His chamber in the silent halls of death,
Thou go not, like the quarry-slave at night,
Scourged to his dungeon; but, sustained and soothed
By an unfaltering trust, approach thy grave
Like one who wraps the drapery of his couch
About him, and lies down to pleasant dreams.

THE CROWDED STREET

Let me move slowly through the street,
Filled with an ever-shifting train,
Amid the sound of steps that beat
The murmuring walks like autumn rain.

How fast the flitting figures come!
The mild, the fierce, the stony face--
Some bright with thoughtless smiles, and some
Where secret tears have lost their trace.

They pass to toil, to strife, to rest--
To halls in which the feast is spread--
To chambers where the funeral guest
In silence sits beside the dead.

And some to happy homes repair,
Where children, pressing cheek to cheek,
With mute caresses shall declare
The tenderness they cannot speak.

And some, who walk in calmness here,
Shall shudder as they reach the door
Where one who made their dwelling dear,
Its flower, its light, is seen no more.

Youth, with pale cheek and slender frame,
And dreams of greatness in thine eye!
Go'st thou to build an early name,
Or early in the task to die?

Keen son of trade, with eager brow!
Who is now fluttering in thy snare?
Thy golden fortunes, tower they now,
Or melt the glittering spires in air?

Who of this crowd to-night shall tread
The dance till daylight gleam again?
Who sorrow o'er the untimely dead?
Who writhe in throes of mortal pain?

Some, famine-struck, shall think how long
The cold dark hours, how slow the light;
And some who flaunt amid the throng
Shall hide in dens of shame to-night.

Each where his tasks or pleasures call,
They pass, and heed each other not.
There is Who heeds, Who holds them all
In His large love and boundless thought.

These struggling tides of life, that seem
In wayward, aimless course to tend,
Are eddies of the mighty stream
That rolls to its appointed end.

D. Appleton and Company, New York.

THE DEATH OF THE FLOWERS

The melancholy days are come, the saddest of the year,
Of wailing winds, and naked woods, and meadows brown and sere.
Heaped in the hollows of the grove, the autumn leaves lie dead;
They rustle to the eddying gust, and to the rabbit's tread.
The robin and the wren are flown, and from the shrubs the jay,
And from the wood-top calls the crow through all the gloomy day.

Where are the flowers, the fair young flowers, that lately sprang
and stood
In brighter light and softer airs, a beauteous sisterhood?
Alas! they all are in their graves; the gentle race of flowers
Are lying in their lowly beds, with the fair and good of ours.
The rain is falling where they lie, but the cold November rain
Calls not from out the gloomy earth the lovely ones again.

The wind-flower and the violet, they perished long ago,
And the brier-rose and the orchis died amid the summer glow;
But on the hills the golden-rod, and the aster in the wood,
And the yellow sunflower by the brook, in autumn beauty stood,
Till fell the frost from the clear cold heaven, as falls the plague
on men,
And the brightness of their smile was gone from upland, glade, and
glen.

And now, when comes the calm mild day, as still such days will
come,
To call the squirrel and the bee from out their winter home;
When the sound of dropping nuts is heard, though all the trees are
still,
And twinkle in the smoky light the waters of the rill,
The south-wind searches for the flowers whose fragrance late he
bore,
And sighs to find them in the wood and by the stream no more.

And then I think of one who in her youthful beauty died,
The fair meek blossom that grew up and faded by my side.
In the cold moist earth we laid her, when the forests cast the leaf,
And we wept that one so lovely should have a life so brief;
Yet not unmeet it was that one like that young friend of ours,
So gentle and so beautiful, should perish with the flowers.

THE CONQUEROR'S GRAVE

Within this lowly grave a Conqueror lies,
And yet the monument proclaims it not,
Nor round the sleeper's name hath chisel wrought
The emblems of a fame that never dies,--
Ivy and amaranth, in a graceful sheaf,
Twined with the laurel's fair, imperial leaf.
A simple name alone,
To the great world unknown,
Is graven here, and wild-flowers rising round,
Meek meadow-sweet and violets of the ground,
Lean lovingly against the humble stone.

Here, in the quiet earth, they laid apart
No man of iron mold and bloody hands,
Who sought to wreak upon the cowering lands
The passions that consumed his restless heart:
But one of tender spirit and delicate frame,
Gentlest, in mien and mind,
Of gentle womankind,
Timidly shrinking from the breath of blame;
One in whose eyes the smile of kindness made
Its haunts, like flowers by sunny brooks in May,
Yet, at the thought of others' pain, a shade
Of sweeter sadness chased the smile away.

Nor deem that when the hand that molders here
Was raised in menace, realms were chilled with fear,
And armies mustered at the sign, as when
Clouds rise on clouds before the rainy East--
Gray captains leading bands of veteran men
And fiery youths to be the vulture's feast.
Not thus were waged the mighty wars that gave
The victory to her who fills this grave:
Alone her task was wrought,
Alone the battle fought;
Through that long strife her constant hope was staid
On God alone, nor looked for other aid.

She met the hosts of Sorrow with a look
That altered not beneath the frown they wore,
And soon the lowering brood were tamed, and took
Meekly her gentle rule, and frowned no more.
Her soft hand put aside the assaults of wrath,
And calmly broke in twain
The fiery shafts of pain,
And rent the nets of passion from her path.
By that victorious hand despair was slain.
With love she vanquished hate and overcame
Evil with good, in her Great Master's name.

Her glory is not of this shadowy state,
Glory that with the fleeting season dies;
But when she entered at the sapphire gate
What joy was radiant in celestial eyes!
How heaven's bright depths with sounding welcomes rung,
And flowers of heaven by shining hands were flung!
And He who long before,
Pain, scorn, and sorrow bore,
The Mighty Sufferer, with aspect sweet,
Smiled on the timid stranger from his seat;
He who returning, glorious, from the grave,
Dragged Death disarmed, in chains, a crouching slave.

See, as I linger here, the sun grows low;
Cool airs are murmuring that the night is near.
O gentle sleeper, from the grave I go,
Consoled though sad, in hope and yet in fear.
Brief is the time, I know,
The warfare scarce begun;
Yet all may win the triumphs thou hast won.
Still flows the fount whose waters strengthened thee;
The victors' names are yet too few to fill
Heaven's mighty roll; the glorious armory
That ministered to thee, is open still.

THE-BATTLE-FIELD

Once this soft turf, this rivulet's sands,
Were trampled by a hurrying crowd,
And fiery hearts and armed hands
Encountered in the battle-cloud.

Ah! never shall the land forget
How gushed the life-blood of her brave--
Gushed, warm with hope and courage yet,
Upon the soil they sought to save.

Now all is calm, and fresh, and still;
Alone the chirp of flitting bird,
And talk of children on the hill,
And bell of wandering kine are heard.

No solemn host goes trailing by
The black-mouthed gun and staggering wain;
Men start not at the battle-cry--
Oh, be it never heard again!

Soon rested those who fought; but thou
Who minglest in the harder strife
For truths which men receive not now,
Thy warfare only ends with life.

A friendless warfare! lingering long
Through weary day and weary year;
A wild and many-weaponed throng
Hang on thy front, and flank, and rear.

Yet nerve thy spirit to the proof,
And blench not at thy chosen lot;
The timid good may stand aloof,
The sage may frown--yet faint thou not.

Nor heed the shaft too surely cast,
The foul and hissing bolt of scorn;
For with thy side shall dwell, at last,
The victory of endurance born.

Truth, crushed to earth, shall rise again--
The eternal years of God are hers;
But Error, wounded, writhes in pain,
And dies among his worshipers.

Yea, though thou lie upon the dust,
When they who helped thee flee in fear,
Die full of hope and manly trust,
Like those who fell in battle here!

Another hand thy sword shall wield,
Another hand the standard wave,
Till from the trumpet's mouth is pealed
The blast of triumph o'er thy grave.

D. Appleton and Company, New York.

TO A WATERFOWL

Whither, 'midst falling dew,
While glow the heavens with the last steps of day,
Far through their rosy depths dost thou pursue
Thy solitary way?

Vainly the fowler's eye
Might mark thy distant flight to do thee wrong,
As, darkly painted on the crimson sky,
Thy figure floats along,

Seek'st thou the plashy brink
Of weedy lake, or marge of river wide,
Or where the rocking billows rise and sink
On the chafed ocean-side?

There is a Power whose care
Teaches thy way along that pathless coast--
The desert and illimitable air--
Lone wandering, but not lost.

All day thy wings have fanned,
At that far height, the cold thin atmosphere,
Yet stoop not, weary, to the welcome land,
Though the dark night is near.

And soon that toil shall end;
Soon shalt thou find a summer home, and rest,
And scream among thy fellows; reeds shall bend,
Soon, o'er thy sheltered nest.

Thou'rt gone, the abyss of heaven
Hath swallowed up thy form; yet on my heart
Deeply has sunk the lesson thou hast given,
And shall not soon depart.

He who, from zone to zone,
Guides through the boundless sky thy certain flight,
In the long way that I must tread alone,
Will lead my steps aright.

ROBERT OF LINCOLN

Merrily swinging on brier and weed,
Near to the nest of his little dame,
Over the mountain-side or mead,
Robert of Lincoln is telling his name:--
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
Snug and safe is that nest of ours,
Hidden among the summer flowers.
Chee, chee, chee.

Robert of Lincoln is gayly drest,
Wearing a bright black wedding-coat;
White are his shoulders and white his crest.
Hear him call in his merry note:--
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
Look what a nice new coat is mine,
Sure there was never a bird so fine.
Chee, chee, chee.

Robert of Lincoln's Quaker wife,
Pretty and quiet, with plain brown wings,
Passing at home a patient life,
Broods in the grass while her husband sings:
Bob-o'-link, bob-o'-link,
Spink, spank, spink:
Brood, kind creature; you need not fear
Thieves and robbers while I am here.
Chee, chee, chee.

Modest and shy as a nun is she;
One weak chirp is her only note.
Braggart and prince of braggarts is he,
Pouring boasts from his little throat:--
Bob-o'-link, bob-o'-link,
Spink, spank, spink:
Never was I afraid of man;
Catch me, cowardly knaves, if you can!
Chee, chee, chee.

Six white eggs on a bed of hay,
Flecked with purple, a pretty sight!
There as the mother sits all day,
Robert is singing with all his might:--
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
Nice good wife, that never goes out,
Keeping house while I frolic about.
Chee, chee, chee.

Soon as the little ones chip the shell,
Six wide mouths are open for food;
Robert of Lincoln bestirs him well,
Gathering seeds for the hungry brood.
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
This new life is likely to be
Hard for a gay young fellow like me.
Chee, chee, chee.

Robert of Lincoln at length is made
Sober with work, and silent with care;
Off is his holiday garment laid,
Half forgotten that merry air:
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
Nobody knows but my mate and I
Where our nest and our nestlings lie.
Chee, chee, chee.

Summer wanes; the children are grown;
Fun and frolic no more he knows;
Robert of Lincoln's a humdrum crone;
Off he flies, and we sing as he goes:--
Bob-o'-link, bob-o'-link,
Spink, spank, spink;
When you can pipe that merry old strain,
Robert of Lincoln, come back again.
Chee, chee, chee.

_1855_

JUNE

I gazed upon the glorious sky
And the green mountains round;
And thought that when I came to lie
At rest within the ground,
'Twere pleasant that in flowery June,
When brooks send up a cheerful tune
And groves a joyous sound,
The sexton's hand, my grave to make,
The rich green mountain turf should break.

A cell within the frozen mold,
A coffin borne through sleet,
And icy clods above it rolled,
While fierce the tempests beat--
Away! I will not think of these:
Blue be the sky and soft the breeze,
Earth green beneath the feet,
And be the damp mold gently pressed
Into my narrow place of rest.

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 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.

TO THE FRINGED GENTIAN

Thou blossom, bright with autumn dew,
And colored with the heaven's own blue,
That openest when the quiet light
Succeeds the keen and frosty night;

Thou comest not when violets lean
O'er wandering brooks and springs unseen,
Or columbines, in purple dressed,
Nod o'er the ground-bird's hidden nest.

Thou waitest late, and com'st alone,
When woods are bare and birds are flown,
And frost and shortening days portend
The aged Year is near his end.

Then doth thy sweet and quiet eye
Look through its fringes to the sky,
Blue--blue--as if that sky let fall
A flower from its cerulean wall.

I would that thus, when I shall see
The hour of death draw near to me,
Hope, blossoming within my heart,
May look to heaven as I depart.

D. Appleton and Company, New York.

THE FUTURE LIFE

How shall I know thee in the sphere which keeps
The disembodied spirits of the dead,
When all of thee that time could wither sleeps
And perishes among the dust we tread?

For I shall feel the sting of ceaseless pain
If there I meet thy gentle presence not;
Nor hear the voice I love, nor read again
In thy serenest eyes the tender thought.

Will not thy own meek heart demand me there?
That heart whose fondest throbs to me were given?
My name on earth was ever in thy prayer,
And wilt thou never utter it in heaven?

In meadows fanned by heaven's life-breathing wind,
In the resplendence of that glorious sphere,
And larger movements of the unfettered mind,
Wilt thou forget the love that joined us here?

The love that lived through all the stormy past,
And meekly with my harsher nature bore,
And deeper grew, and tenderer to the last,
Shall it expire with life, and be no more?

A happier lot than mine, and larger light,
Await thee there; for thou hast bowed thy will
In cheerful homage to the rule of right,
And lovest all, and renderest good for ill.

For me, the sordid cares in which I dwell
Shrink and consume my heart, as heat the scroll;
And wrath has left its scar--that fire of hell
Has left its frightful scar upon my soul.

Yet though thou wear'st the glory of the sky,
Wilt thou not keep the same beloved name,
The same fair thoughtful brow, and gentle eye,
Lovelier in heaven's sweet climate, yet the same?

Shalt thou not teach me, in that calmer home,
The wisdom that I learned so ill in this--
The wisdom which is love--till I become
Thy fit companion in that land of bliss?

D. Appleton and Company, New York.

TO THE PAST

Thou unrelenting Past!
Stern are the fetters round thy dark domain,
And fetters, sure and fast,
Hold all that enter thy unbreathing reign.

Far in thy realm withdrawn
Old empires sit in sullenness and gloom,
And glorious ages gone
Lie deep within the shadows of thy womb.

Childhood, with all its mirth,
Youth, Manhood, Age, that draws us to the ground,
And last, Man's Life on earth,
Glide to thy dim dominions, and are bound.

Thou hast my better years,
Thou hast my earlier friends--the good, the kind--
Yielded to thee with tears--
The venerable form, the exalted mind.

My spirit yearns to bring
The lost ones back; yearns with desire intense,
And struggles hard to wring
Thy bolts apart, and pluck thy captives thence.

In vain!--Thy gates deny
All passage save to those who hence depart.
Nor to the streaming eye
Thou givest them back, nor to the broken heart.

In thy abysses hide
Beauty and excellence unknown. To thee
Earth's wonder and her pride
Are gathered, as the waters to the sea.

Labors of good to man,
Unpublished charity, unbroken faith;
Love, that 'midst grief began,
And grew with years, and faltered not in death.

Full many a mighty name
Lurks in thy depths, unuttered, unrevered.
With thee are silent Fame,
Forgotten Arts, and Wisdom disappeared.

Thine for a space are they.
Yet thou shalt yield thy treasures up at last;
Thy gates shall yet give way,
Thy bolts shall fall, inexorable Past!

All that of good and fair
Has gone into thy womb from earliest time
Shall then come forth, to wear
The glory and the beauty of its prime.

They have not perished--no!
Kind words, remembered voices once so sweet,
Smiles, radiant long ago,
And features, the great soul's apparent seat:

All shall come back. Each tie
Of pure affection shall be knit again:
Alone shall Evil die,
And sorrow dwell a prisoner in thy reign.

And then shall I behold
Him by whose kind paternal side I sprung;
And her who, still and cold,
Fills the next grave--the beautiful and young.

D. Appleton and Company, New York.

JAMES BRYCE

(1838-)

James Bryce was born at Belfast, Ireland, of Scotch and Irish parents. He studied at the University of Glasgow and later at Oxford, where he graduated with high honors in 1862, and where after some years of legal practice he was appointed Regius Professor of Civil Law in 1870. He had already established a high reputation as an original and accurate historical scholar by his prize essay on the 'Holy Roman Empire' (1864), which passed through many editions, was translated into German, French, and Italian, and remains to-day a standard work and the best known work on the subject, Edward A. Freeman said on the appearance of the work that it had raised the author at once to the rank of a great historian. It has done more than any other treatise to clarify the vague notions of historians as to the significance of the imperial idea in the Middle Ages, and its importance as a factor in German and Italian politics; and it is safe to say that there is scarcely a recent history of the period that does not show traces of its influence. The scope of this work being juristic and philosophical, it does not admit of much historical narrative, and the style is lucid but not brilliant. It is not in fact as a historian that Mr. Bryce is best known, but rather as a jurist, a politician, and a student of institutions.

The most striking characteristic of the man is his versatility; a quality which in his case has not been accompanied by its usual defects, for his achievements in one field seem to have made him no less conscientious in others, while they have given him that breadth of view which is more essential than any special training to the critic of men and affairs. For the ten years that followed his Oxford appointment he contributed frequently to the magazines on geographical, social, and political topics. His vacations he spent in travel and in mountain climbing, of which he gave an interesting narrative in 'Transcaucasia and Ararat' (1877). In 1880 he entered active politics, and was elected to Parliament in the Liberal interest. He has continued steadfast in his support of the Liberal party and of Mr. Gladstone, whose Home Rule policy he has heartily seconded. In 1886 he became Gladstone's Under-Secretary of Foreign Affairs, and in 1894 was appointed President of the Board of Trade.

The work by which he is best known in this country, the 'American Commonwealth' (1888), is the fruit of his observations during three visits to the United States, and of many years of study. It is generally conceded to be the best critical analysis of American institutions ever made by a foreign author. Inferior in point of style to De Tocqueville's 'Democracy in America,' it far surpasses that book in amplitude, breadth of view, acuteness of observation, and minuteness of information; besides being half a century later in date, and therefore able to set down accomplished facts where the earlier observer could only make forecasts. His extensive knowledge of foreign countries, by divesting him of insular prejudice, fitted him to handle his theme with impartiality, and his experience in the practical workings of British institutions gave him an insight into the practical defects and benefits of ours. That he has a keen eye for defects is obvious, but his tone is invariably sympathetic; so much so, in fact, that Goldwin Smith has accused him of being somewhat "hard on England" in some of his comparisons. The faults of the book pertain rather to the manner than to the matter. He does not mislead, but sometimes wearies, and in some portions of the work the frequent repetitions, the massing of details, and the absence of compact statement tend to obscure the general drift of his argument and to add unduly to the bulkiness of his volumes.

* * * * *

THE POSITION OF WOMEN IN THE UNITED STATES

From 'The American Commonwealth'

Social intercourse between youths and maidens is everywhere more easy and unrestrained than in England or Germany, not to speak of France. Yet there are considerable differences between the Eastern cities, whose usages have begun to approximate to those of Europe, and other parts of the country. In the rural districts, and generally all over the West, young men and girls are permitted to walk together, drive together, go out to parties and even to public entertainments together, without the presence of any third person who can be supposed to be looking after or taking charge of the girl. So a girl may, if she pleases, keep up a correspondence with a young man, nor will her parents think of interfering. She will have her own friends, who when they call at her house ask for her, and are received by her, it may be alone; because they are not deemed to be necessarily the friends of her parents also, nor even of her sisters.