Ralph Waldo Emerson Part 25

and ending with the austere and solemn "Earth-Song."

Full of poetical feeling, and with a strong desire for poetical expression, Emerson experienced a difficulty in the mechanical part of metrical composition. His muse picked her way as his speech did in conversation and in lecturing. He made desperate work now and then with rhyme and rhythm, showing that though a born poet he was not a born singer. Think of making "feeble" rhyme with "people," "abroad" with "Lord," and contemplate the following couplet which one cannot make rhyme without actual verbicide:--

"Where feeds the moose, and walks the surly bear, And up the tall mast runs the woodpeck"-are!

And how could prose go on all-fours more unmetrically than this?

"In Adirondac lakes At morn or noon the guide rows bare-headed."

It was surely not difficult to say--

"At morn or noon bare-headed rows the guide."

And yet while we note these blemishes, many of us will confess that we like his uncombed verse better, oftentimes, than if it were trimmed more neatly and disposed more nicely. When he is at his best, his lines flow with careless ease, as a mountain stream tumbles, sometimes rough and sometimes smooth, but all the more interesting for the rocks it runs against and the grating of the pebbles it rolls over.

There is one trick of verse which Emerson occasionally, not very often, indulges in. This is the crowding of a redundant syllable into a line.

It is a liberty which is not to be abused by the poet. Shakespeare, the supreme artist, and Milton, the "mighty-mouth'd inventor of harmonies,"

knew how to use it effectively. Sh.e.l.ley employed it freely. Bryant indulged in it occasionally, and wrote an article in an early number of the "North American Review" in defence of its use. Willis was fond of it. As a relief to monotony it may be now and then allowed,--may even have an agreeable effect in breaking the monotony of too formal verse.

But it may easily become a deformity and a cause of aversion. A humpback may add picturesqueness to a procession, but if there are too many humpbacks in line we turn away from the sight of them. Can any ear reconcile itself to the last of these three lines of Emerson's?

"Oh, what is Heaven but the fellows.h.i.+p Of minds that each can stand against the world By its own meek and incorruptible will?"

These lines that lift their backs up in the middle--span-worm lines, we may call them--are not to be commended for common use because some great poets have now and then admitted them. They have invaded some of our recent poetry as the canker-worms gather on our elms in June. Emerson has one or two of them here and there, but they never swarm on his leaves so as to frighten us away from their neighborhood.

As for the violently artificial rhythms and rhymes which have reappeared of late in English and American literature, Emerson would as soon have tried to ride three horses at once in a circus as to shut himself up in triolets, or attempt any cat's-cradle tricks of rhyming sleight of hand.

If we allow that Emerson is not a born singer, that he is a careless versifier and rhymer, we must still recognize that there is something in his verse which belongs, indissolubly, sacredly, to his thought. Who would decant the wine of his poetry from its quaint and antique-looking _lagena_?--Read his poem to the Aeolian harp ("The Harp") and his model betrays itself:--

"These syllables that Nature spoke, And the thoughts that in him woke Can adequately utter none Save to his ear the wind-harp lone.

Therein I hear the Parcae reel The threads of man at their humming wheel, The threads of life and power and pain, So sweet and mournful falls the strain.

And best can teach its Delphian chord How Nature to the soul is moored, If once again that silent string, As erst it wont, would thrill and ring."

There is no need of quoting any of the poems which have become familiar to most true lovers of poetry. Emerson saw fit to imitate the Egyptians by placing "The Sphinx" at the entrance of his temple of song. This poem was not fitted to attract wors.h.i.+ppers. It is not easy of comprehension, not pleasing in movement. As at first written it had one verse in it which sounded so much like a nursery rhyme that Emerson was prevailed upon to omit it in the later versions. There are n.o.ble pa.s.sages in it, but they are for the adept and not for the beginner. A commonplace young person taking up the volume and puzzling his or her way along will come by and by to the verse:--

"Have I a lover Who is n.o.ble and free?-- I would he were n.o.bler Than to love me."

The commonplace young person will be apt to say or think _c'est magnifique, mais ce n'est pas_--_l'amour_.

The third poem in the volume, "The Problem," should have stood first in order. This ranks among the finest of Emerson's poems. All his earlier verse has a certain freshness which belongs to the first outburst of song in a poetic nature. "Each and All," "The Humble-Bee," "The Snow-Storm," should be read before "Uriel," "The World-Soul," or "Mithridates." "Monadnoc" will be a good test of the reader's taste for Emerson's poetry, and after this "Woodnotes."

In studying his poems we must not overlook the delicacy of many of their descriptive portions. If in the flights of his imagination he is like the strong-winged bird of pa.s.sage, in his exquisite choice of descriptive epithets he reminds me of the _tenui-rostrals._ His subtle selective instinct penetrates the vocabulary for the one word he wants, as the long, slender bill of those birds dives deep into the flower for its drop of honey. Here is a pa.s.sage showing admirably the two different conditions: wings closed and the selective instinct picking out its descriptive expressions; then suddenly wings flas.h.i.+ng open and the imagination in the firmament, where it is always at home. Follow the pitiful inventory of insignificances of the forlorn being he describes with a pathetic humor more likely to bring a sigh than a smile, and then mark the grand hyperbole of the last two lines. The pa.s.sage is from the poem called "Destiny":--

"Alas! that one is born in blight, Victim of perpetual slight: When thou lookest on his face, Thy heart saith 'Brother, go thy ways!

None shall ask thee what thou doest, Or care a rush for what thou knowest.

Or listen when thou repliest, Or remember where thou liest, Or how thy supper is sodden;'

And another is born To make the sun forgotten."

Of all Emerson's poems the "Concord Hymn" is the most nearly complete and faultless,--but it is not distinctively Emersonian. It is such a poem as Collins might have written,--it has the very movement and melody of the "Ode on the Death of Mr. Thomson," and of the "Dirge in Cymbeline," with the same sweetness and tenderness of feeling. Its one conspicuous line,

"And fired the shot heard round the world,"

must not take to itself all the praise deserved by this perfect little poem, a model for all of its kind. Compact, expressive, serene, solemn, musical, in four brief stanzas it tells the story of the past, records the commemorative act of the pa.s.sing day, and invokes the higher Power that governs the future to protect the Memorial-stone sacred to Freedom and her martyrs.

These poems of Emerson's find the readers that must listen to them and delight in them, as the "Ancient Mariner" fastened upon the man who must hear him. If any doubter wishes to test his fitness for reading them, and if the poems already mentioned are not enough to settle the question, let him read the paragraph of "May-Day," beginning,--

"I saw the bud-crowned Spring go forth,"

"Sea-sh.o.r.e," the fine fragments in the "Appendix" to his published works, called, collectively, "The Poet," blocks bearing the mark of poetic genius, but left lying round for want of the structural instinct, and last of all, that which is, in many respects, first of all, the "Threnody," a lament over the death of his first-born son. This poem has the dignity of "Lycidas" without its refrigerating cla.s.sicism, and with all the tenderness of Cowper's lines on the receipt of his mother's picture. It may well compare with others of the finest memorial poems in the language,--with Sh.e.l.ley's "Adonais," and Matthew Arnold's "Thyrsis,"

leaving out of view Tennyson's "In Memoriam" as of wider scope and larger pattern.

Many critics will concede that there is much truth in Mr. Arnold's remark on the want of "evolution" in Emerson's poems. One is struck with the fact that a great number of fragments lie about his poetical workshop: poems begun and never finished; sc.r.a.ps of poems, chips of poems, paving the floor with intentions never carried out. One cannot help remembering Coleridge with his incomplete "Christabel," and his "Abyssinian Maid," and her dulcimer which she never got a tune out of.

We all know there was good reason why Coleridge should have been infirm of purpose. But when we look at that great unfinished picture over which Allston labored with the hopeless ineffectiveness of Sisyphus; when we go through a whole gallery of pictures by an American artist in which the backgrounds are slighted as if our midsummer heats had taken away half the artist's life and vigor; when we walk round whole rooms full of sketches, impressions, effects, symphonies, invisibilities, and other apologies for honest work, it would not be strange if it should suggest a painful course of reflections as to the possibility that there may be something in our climatic or other conditions which tends to scholastic and artistic anaemia and insufficiency,--the opposite of what we find showing itself in the full-blooded verse of poets like Browning and on the flaming canvas of painters like Henri Regnault. Life seemed l.u.s.tier in Old England than in New England to Emerson, to Hawthorne, and to that admirable observer, Mr. John Burroughs. Perhaps we require another century or two of acclimation.

Emerson never grappled with any considerable metrical difficulties.

He wrote by preference in what I have ventured to call the normal respiratory measure,--octosyllabic verse, in which one common expiration is enough and not too much for the articulation of each line. The "fatal facility" for which this verse is noted belongs to it as recited and also as written, and it implies the need of only a minimum of skill and labor. I doubt if Emerson would have written a verse of poetry if he had been obliged to use the Spenserian stanza. In the simple measures he habitually employed he found least hindrance to his thought.

Every true poet has an atmosphere as much as every great painter. The golden suns.h.i.+ne of Claude and the pearly mist of Corot belonged to their way of looking at nature as much as the color of their eyes and hair belonged to their personalities. So with the poets; for Wordsworth the air is always serene and clear, for Byron the sky is uncertain between storm and suns.h.i.+ne. Emerson sees all nature in the same pearly mist that wraps the willows and the streams of Corot. Without its own characteristic atmosphere, illuminated by

"The light that never was on sea or land,"

we may have good verse but no true poem. In his poetry there is not merely this atmosphere, but there is always a mirage in the horizon.

Emerson's poetry is eminently subjective,--if Mr. Ruskin, who hates the word, will pardon me for using it in connection with a reference to two of his own chapters in his "Modern Painters." These are the chapter on "The Pathetic Fallacy," and the one which follows it "On Cla.s.sical Landscape." In these he treats of the transfer of a writer's mental or emotional conditions to the external nature which he contemplates. He asks his readers to follow him in a long examination of what he calls by the singular name mentioned, "the pathetic fallacy," because, he says, "he will find it eminently characteristic of the modern mind; and in the landscape, whether of literature or art, he will also find the modern painter endeavoring to express something which he, as a living creature, imagines in the lifeless object, while the cla.s.sical and mediaeval painters were content with expressing the unimaginary and actual qualities of the object itself."

Ill.u.s.trations of Mr. Ruskin's "pathetic fallacy" may be found almost anywhere in Emerson's poems. Here is one which offers itself without search:--

"Daily the bending skies solicit man, The seasons chariot him from this exile, The rainbow hours bedeck his glowing wheels, The storm-winds urge the heavy weeks along, Suns haste to set, that so remoter lights Beckon the wanderer to his vaster home."

The expression employed by Ruskin gives the idea that he is dealing with a defect. If he had called the state of mind to which he refers the _sympathetic illusion_, his readers might have looked upon it more justly.

It would be a pleasant and not a difficult task to trace the resemblances between Emerson's poetry and that of other poets. Two or three such resemblances have been incidentally referred to, a few others may be mentioned.

In his contemplative study of Nature he reminds us of Wordsworth, at least in certain brief pa.s.sages, but he has not the staying power of that long-breathed, not to say long-winded, lover of landscapes. Both are on the most intimate terms with Nature, but Emerson contemplates himself as belonging to her, while Wordsworth feels as if she belonged to him.

"Good-by, proud world,"

recalls Spenser and Raleigh. "The Humble-Bee" is strongly marked by the manner and thought of Marvell. Marvell's

"Annihilating all that's made To a green thought in a green shade,"

may well have suggested Emerson's

"The green silence dost displace With thy mellow, breezy ba.s.s."

"The Snow-Storm" naturally enough brings to mind the descriptions of Thomson and of Cowper, and fragment as it is, it will not suffer by comparison with either.

"Woodnotes," one of his best poems, has pa.s.sages that might have been found in Milton's "Comus;" this, for instance:--

"All constellations of the sky Shed their virtue through his eye.

Him Nature giveth for defence His formidable innocence."