ON POETRY AND BELLES-LETTRES

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ON POETRY AND BELLES-LETTRES

THE FUNCTION OF THE POET

This was the concluding lecture in the course which Lowell read before the Lowell Institute in the winter of 1855. Doubtless Lowell never printed it because, as his genius matured, he felt that its assertions were too absolute, and that its style bore too many marks of haste in composition, and was too rhetorical for an essay to be read in print. How rapid was the growth of his intellectual judgment, and the broadening of his imaginative view, may be seen by comparing it with his essays on Swinburne, on Percival, and on Rousseau, published in 1866 and 1867--essays in which the topics of this lecture were touched upon anew, though not treated at large.

But the spirit of this lecture is so fine, its tone so full of the enthusiasm of youth, its conception of the poet so lofty, and the truths it contains so important, that it may well be prized as the expression of a genius which, if not yet mature, is already powerful, and aquiline alike in vision and in sweep of wing. It is not unworthy to stand with Sidney's and with Shelley's "Defence of Poesy," and it is fitted to warm and inspire the poetic heart of the youth of this generation, no less than of that to which it was first addressed. As a close to the lecture Lowell read his beautiful (then unpublished) poem "To the Muse."

_Charles Eliot Norton_

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Whether, as some philosophers assume, we possess only the fragments of a great cycle of knowledge in whose centre stood the primeval man in friendly relation with the powers of the universe, and build our hovels out of the ruins of our ancestral palace; or whether, according to the development theory of others, we are rising gradually, and have come up out of an atom instead of descending from an Adam, so that the proudest pedigree might run up to a barnacle or a zoophyte at last, are questions that will keep for a good many centuries yet. Confining myself to what little we can learn from history, we find tribes rising slowly out of barbarism to a higher or lower point of culture and civility, and everywhere the poet also is found, under one name or other, changing in certain outward respects, but essentially the same.

And however far we go back, we shall find this also--that the poet and the priest were united originally in the same person; which means that the poet was he who was conscious of the world of spirit as well as that of sense, and was the ambassador of the gods to men. This was his highest function, and hence his name of "seer." He was the discoverer and declarer of the perennial beneath the deciduous. His were the _epea pteroenta_, the true "winged words" that could fly down the unexplored future and carry the names of ancestral heroes, of the brave and wise and good. It was thus that the poet could reward virtue, and, by and by, as society grew more complex, could burn in the brand of shame. This is Homer's character of Demodocus, in the eighth book of the "Odyssey," "whom the Muse loved and gave the good and ill"--the gift of conferring good or evil immortality. The first histories were in verse; and sung as they were at feasts and gatherings of the people, they awoke in men the desire of fame, which is the first promoter of courage and self-trust, because it teaches men by degrees to appeal from the present to the future. We may fancy what the influence of the early epics was when they were recited to men who claimed the heroes celebrated in them for their ancestors, by what Bouchardon, the sculptor, said, only two centuries ago: "When I read Homer, I feel as if I were twenty feet high." Nor have poets lost their power over the future in modern times. Dante lifts up by the hair the face of some petty traitor, the Smith or Brown of some provincial Italian town, lets the fire of his Inferno glare upon it for a moment, and it is printed forever on the memory of mankind. The historians may iron out the shoulders of Richard the Third as smooth as they can, they will never get over the wrench that Shakespeare gave them.

The peculiarity of almost all early literature is that it seems to have a double meaning, that, underneath its natural, we find ourselves continually seeing or suspecting a supernatural meaning. In the older epics the characters seem to be half typical and only half historical. Thus did the early poets endeavor to make realities out of appearances; for, except a few typical men in whom certain ideas get embodied, the generations of mankind are mere apparitions who come out of the dark for a purposeless moment, and reënter the dark again after they have performed the nothing they came for.

Gradually, however, the poet as the "seer" became secondary to the "maker." His office became that of entertainer rather than teacher. But always something of the old tradition was kept alive. And if he has now come to be looked upon merely as the best expresser, the gift of seeing is implied as necessarily antecedent to that, and of seeing very deep, too. If any man would seem to have written without any conscious moral, that man is Shakespeare. But that must be a dull sense, indeed, which does not see through his tragic--yes, and his comic--masks awful eyes that flame with something intenser and deeper than a mere scenic meaning--a meaning out of the great deep that is behind and beyond all human and merely personal character. Nor was Shakespeare himself unconscious of his place as a teacher and profound moralist: witness that sonnet in which he bewails his having neglected sometimes the errand that was laid upon him:

Alas, 't is true I have gone here and there,
And made myself a motley to the view,
Gored mine own thoughts, sold cheap what is most dear,
Made old offences of affections new;
Most true it is that I have look'd on truth
Askance and strangely;

the application of which is made clear by the next sonnet, in which he distinctly alludes to his profession.

There is this unmistakable stamp on all the great poets--that, however in little things they may fall below themselves, whenever there comes a great and noble thing to say, they say it greatly and nobly, and bear themselves most easily in the royalties of thought and language. There is not a mature play of Shakespeare's in which great ideas do not jut up in mountainous permanence, marking forever the boundary of provinces of thought, and known afar to many kindreds of men.

And it is for this kind of sight, which we call insight, and not for any faculty of observation and description, that we value the poet. It is in proportion as he has this that he is an adequate expresser, and not a juggler with words. It is by means of this that for every generation of man he plays the part of "namer." Before him, as before Adam, the creation passes to be named anew: first the material world; then the world of passions and emotions; then the world of ideas. But whenever a great imagination comes, however it may delight itself with imaging the outward beauty of things, however it may seem to flow thoughtlessly away in music like a brook, yet the shadow of heaven lies also in its depth beneath the shadow of earth. Continually the visible universe suggests the invisible. We are forever feeling this in Shakespeare. His imagination went down to the very bases of things, and while his characters are the most natural that poet ever created, they are also perfectly ideal, and are more truly the personifications of abstract thoughts and passions than those of any allegorical writer whatever.

Even in what seems so purely a picturesque poem as the "Iliad," we feel something of this. Beholding as Homer did, from the tower of contemplation, the eternal mutability and nothing permanent but change, he must look underneath the show for the reality. Great captains and conquerors came forth out of the eternal silence, entered it again with their trampling hosts, and shoutings, and trumpet-blasts, and were as utterly gone as those echoes of their deeds which he sang, and which faded with the last sound of his voice and the last tremble of his lyre. History relating outward events alone was an unmeaning gossip, with the world for a village. This life could only become other than phantasmagoric, could only become real, as it stood related to something that was higher and permanent. Hence the idea of Fate, of a higher power unseen--that shadow, as of an eagle circling to its swoop, which flits stealthily and swiftly across the windy plains of Troy. In the "Odyssey" we find pure allegory.

Now, under all these names--praiser, seer, soothsayer--we find the same idea lurking. The poet is he who can best see and best say what is ideal--what belongs to the world of soul and of beauty. Whether he celebrate the brave and good man, or the gods, or the beautiful as it appears in man or nature, something of a religious character still clings to him; he is the revealer of Deity. He may be unconscious of his mission; he may be false to it; but in proportion as he is a great poet, he rises to the level of it the more often. He does not always directly rebuke what is bad and base, but indirectly by making us feel what delight there is in the good and fair. If he besiege evil, it is with such beautiful engines of war (as Plutarch tells us of Demetrius) that the besieged themselves are charmed with them. Whoever reads the great poets cannot but be made better by it, for they always introduce him to a higher society, to a greater style of manners and of thinking. Whoever learns to love what is beautiful is made incapable of the low and mean and bad. If Plato excludes the poets from his Republic, it is expressly on the ground that they speak unworthy things of the gods; that is, that they have lost the secret of their art, and use artificial types instead of speaking the true universal language of imagination. He who translates the divine into the vulgar, the spiritual into the sensual, is the reverse of a poet.

The poet, under whatever name, always stands for the same thing--imagination. And imagination in its highest form gives him the power, as it were, of assuming the consciousness of whatever he speaks about, whether man or beast, or rock or tree, fit is the ring of Canace, which whoso has on understands the language of all created things. And as regards expression, it seems to enable the poet to condense the whole of himself into a single word. Therefore, when a great poet has said a thing, it is finally and utterly expressed, and has as many meanings as there are men who read his verse. A great poet is something more than an interpreter between man and nature; he is also an interpreter between man and his own nature. It is he who gives us those key-words, the possession of which makes us masters of all the unsuspected treasure-caverns of thought, and feeling, and beauty which open under the dusty path of our daily life.

And it is not merely a dry lexicon that he compiles,--a thing which enables us to translate from one dead dialect into another as dead,--but all his verse is instinct with music, and his words open windows on every side to pictures of scenery and life. The difference between the dry fact and the poem is as great as that between reading the shipping news and seeing the actual coming and going of the crowd of stately ships,--"the city on the inconstant billows dancing,"--as there is between ten minutes of happiness and ten minutes by the clock. Everybody remembers the story of the little Montague who was stolen and sold to the chimney-sweep: how he could dimly remember lying in a beautiful chamber; how he carried with him in all his drudgery the vision of a fair, sad mother's face that sought him everywhere in vain; how he threw himself one day, all sooty as he was from his toil, on a rich bed and fell asleep, and how a kind person woke him, questioned him, pieced together his broken recollections for him, and so at last made the visions of the beautiful chamber and the fair, sad countenance real to him again. It seems to me that the offices that the poet does for us are typified in this nursery-tale. We all of us have our vague reminiscences of the stately home of our childhood,--for we are all of us poets and geniuses in our youth, while earth is all new to us, and the chalice of every buttercup is brimming with the wine of poesy,--and we all remember the beautiful, motherly countenance which nature bent over us there. But somehow we all get stolen away thence; life becomes to us a sooty taskmaster, and we crawl through dark passages without end--till suddenly the word of some poet redeems us, makes us know who we are, and of helpless orphans makes us the heir to a great estate. It is to our true relations with the two great worlds of outward and inward nature that the poet reintroduces us.

But the imagination has a deeper use than merely to give poets a power of expression. It is the everlasting preserver of the world from blank materialism. It forever puts matter in the wrong, and compels it to show its title to existence. Wordsworth tells us that in his youth he was sometimes obliged to touch the walls to find if they were visionary or no, and such experiences are not uncommon with persons who converse much with their own thoughts. Dr. Johnson said that to kick one's foot against a stone was a sufficient confutation of Berkeley, and poor old Pyrrho has passed into a proverb because, denying the objectivity of matter, he was run over by a cart and killed. But all that he affirmed was that to the soul the cart was no more real than its own imaginative reproduction of it, and perhaps the shade of the philosopher ran up to the first of his deriders who crossed the Styx with a triumphant "I told you so! The cart did not run over _me_, for here I am without a bone broken."

And, in another sense also, do those poets who deal with human character, as all the greater do, continually suggest to us the purely phantasmal nature of life except as it is related to the world of ideas. For are not their personages more real than most of those in history? Is not Lear more authentic and permanent than Lord Raglan? Their realm is a purely spiritual one in which space and time and costume are nothing. What matters it that Shakespeare puts a seaport in Bohemia, and knew less geography than Tommy who goes to the district school? He understood eternal boundaries, such as are laid down on no chart, and are not defined by such transitory affairs as mountain chains, rivers, and seas.

No great movement of the human mind takes place without the concurrent beat of those two wings, the imagination and the understanding. It is by the understanding that we are enabled to make the most of this world, and to use the collected material of experience in its condensed form of practical wisdom; and it is the imagination which forever beckons toward that other world which is always future, and makes us discontented with this. The one rests upon experience; the other leans forward and listens after the inexperienced, and shapes the features of that future with which it is forever in travail. The imagination might be defined as the common sense of the invisible world, as the understanding is of the visible; and as those are the finest individual characters in which the two moderate and rectify each other, so those are the finest eras where the same may be said of society. In the voyage of life, not only do we depend on the needle, true to its earthly instincts, but upon observation of the fixed stars, those beacons lighted upon the eternal promontories of heaven above the stirs and shiftings of our lower system.

But it seems to be thought that we have come upon the earth too late, that there has been a feast of imagination formerly, and all that is left for us is to steal the scraps. We hear that there is no poetry in railroads and steamboats and telegraphs, and especially none in Brother Jonathan. If this be true, so much the worse for him. But because _he_ is a materialist, shall there be no more poets? When we have said that we live in a materialistic age we have said something which meant more than we intended. If we say it in the way of blame, we have said a foolish thing, for probably one age is as good as another, and, at any rate, the worst is good enough company for us. The age of Shakespeare was richer than our own, only because it was lucky enough to have such a pair of eyes as his to see it, and such a gift of speech as his to report it. And so there is always room and occasion for the poet, who continues to be, just as he was in the early time, nothing more nor less than a "seer." He is always the man who is willing to take the age he lives in on trust, as the very best that ever was. Shakespeare did not sit down and cry for the water of Helicon to turn the wheels of his little private mill at the Bankside. He appears to have gone more quietly about his business than any other playwright in London, to have drawn off what water-power he needed from the great prosy current of affairs that flows alike for all and in spite of all, to have ground for the public what grist they wanted, coarse or fine, and it seems a mere piece of luck that the smooth stream of his activity reflected with such ravishing clearness every changing mood of heaven and earth, every stick and stone, every dog and clown and courtier that stood upon its brink. It is a curious illustration of the friendly manner in which Shakespeare received everything that came along,--of what a _present_ man he was,--that in the very same year that the mulberry-tree was brought into England, he got one and planted it in his garden at Stratford.

It is perfectly true that this is a materialistic age, and for that very reason we want our poets all the more. We find that every generation contrives to catch its singing larks without the sky's falling. When the poet comes, he always turns out to be the man who discovers that the passing moment is the inspired one, and that the secret of poetry is not to have lived in Homer's day, or Dante's, but to be alive now. To be alive now, that is the great art and mystery. They are dead men who live in the past, and men yet unborn that live in the future. We are like Hans in Luck, forever exchanging the burdensome good we have for something else, till at last we come home empty-handed.

That pale-faced drudge of Time opposite me there, that weariless sexton whose callous hands bury our rosy hours in the irrevocable past, is even now reaching forward to a moment as rich in life, in character, and thought, as full of opportunity, as any since Adam. This little isthmus that we are now standing on is the point to which martyrs in their triumphant pain, prophets in their fervor, and poets in their ecstasy, looked forward as the golden future, as the land too good for them to behold with mortal eyes; it is the point toward which the faint-hearted and desponding hereafter will look back as the priceless past when there was still some good and virtue and opportunity left in the world.

The people who feel their own age prosaic are those who see only its costume. And that is what makes it prosaic--that we have not faith enough in ourselves to think our own clothes good enough to be presented to posterity in. The artists fancy that the court dress of posterity is that of Van Dyck's time, or Caesar's. I have seen the model of a statue of Sir Robert Peel,--a statesman whose merit consisted in yielding gracefully to the present,--in which the sculptor had done his best to travesty the real man into a make-believe Roman. At the period when England produced its greatest poets, we find exactly the reverse of this, and we are thankful that the man who made the monument of Lord Bacon had genius to copy every button of his dress, everything down to the rosettes on his shoes, and then to write under his statue, "Thus sat Francis Bacon"--not "Cneius Pompeius"--"Viscount Verulam." Those men had faith even in their own shoe-strings.

After all, how is our poor scapegoat of a nineteenth century to blame? Why, for not being the seventeenth, to be sure! It is always raining opportunity, but it seems it was only the men two hundred years ago who were intelligent enough not to hold their cups bottom-up. We are like beggars who think if a piece of gold drop into their palm it must be counterfeit, and would rather change it for the smooth-worn piece of familiar copper. And so, as we stand in our mendicancy by the wayside, Time tosses carefully the great golden to-day into our hats, and we turn it over grumblingly and suspiciously, and are pleasantly surprised at finding that we can exchange it for beef and potatoes. Till Dante's time the Italian poets thought no language good enough to put their nothings into but Latin,--and indeed a dead tongue was the best for dead thoughts,--but Dante found the common speech of Florence, in which men bargained and scolded and made love, good enough for him, and out of the world around him made a poem such as no Roman ever sang.

In our day, it is said despairingly, the understanding reigns triumphant: it is the age of common sense. If this be so, the wisest way would be to accept it manfully. But, after all, what is the meaning of it? Looking at the matter superficially, one would say that a striking difference between our science and that of the world's gray fathers is that there is every day less and less of the element of wonder in it. What they saw written in light upon the great arch of heaven, and, by a magnificent reach of sympathy, of which we are incapable, associated with the fall of monarchs and the fate of man, is for us only a professor, a piece of chalk, and a blackboard. The solemn and unapproachable skies we have vulgarized; we have peeped and botanized among the flowers of light, pulled off every petal, fumbled in every calyx, and reduced them to the bare stem of order and class. The stars can no longer maintain their divine reserves, but whenever there is a conjunction and congress of planets, every enterprising newspaper sends thither its special reporter with his telescope. Over those arcana of life where once a mysterious presence brooded, we behold scientific explorers skipping like so many incarnate notes of interrogation. We pry into the counsels of the great powers of nature, we keep our ears at the keyhole, and know everything that is going to happen. There is no longer any sacred inaccessibility, no longer any enchanting unexpectedness, and life turns to prose the moment there is nothing unattainable. It needs no more a voice out of the unknown proclaiming "Great Pan is dead!" We have found his tombstone, deciphered the arrow-headed inscription upon it, know his age to a day, and that he died universally regretted.

Formerly science was poetry. A mythology which broods over us in our cradle, which mingles with the lullaby of the nurse, which peoples the day with the possibility of divine encounters, and night with intimation of demonic ambushes, is something quite other, as the material for thought and poetry, from one that we take down from our bookshelves, as sapless as the shelf it stood on, as remote from all present sympathy with man or nature as a town history with its genealogies of Mr. Nobody's great-grandparents.

We have utilized everything. The Egyptians found a hint of the solar system in the concentric circles of the onion, and revered it as a symbol, while we respect it as a condiment in cookery, and can pass through all Weathersfield without a thought of the stars. Our world is a museum of natural history; that of our forefathers was a museum of supernatural history. And the rapidity with which the change has been going on is almost startling, when we consider that so modern and historical a personage as Queen Elizabeth was reigning at the time of the death of Dr. John Faustus, out of whose story the Teutonic imagination built up a mythus that may be set beside that of Prometheus.

Science, looked at scientifically, is bare and bleak enough. On those sublime heights the air is too thin for the lungs, and blinds the eyes. It is much better living down in the valleys, where one cannot see farther than the next farmhouse. Faith was never found in the bottom of a crucible, nor peace arrived at by analysis or synthesis. But all this is because science has become too grimly intellectual, has divorced itself from the moral and imaginative part of man. Our results are not arrived at in that spirit which led Kepler (who had his theory-traps set all along the tracks of the stars to catch a discovery) to say, "In my opinion the occasions of new discoveries have been no less wonderful than the discoveries themselves."

But we are led back continually to the fact that science cannot, if it would, disengage itself from human nature and from imagination. No two men have ever argued together without at least agreeing in this, that something more than proof is required to produce conviction, and that a logic which is capable of grinding the stubbornest facts to powder (as every man's _own_ logic always is) is powerless against so delicate a structure as the brain. Do what we will, we cannot contrive to bring together the yawning edges of proof and belief, to weld them into one. When Thor strikes Skrymir with his terrible hammer, the giant asks if a leaf has fallen. I need not appeal to the Thors of argument in the pulpit, the senate, and the mass-meeting, if they have not sometimes found the popular giant as provokingly insensible. The [sqrt of -x] is nothing in comparison with the chance-caught smell of a single flower which by the magic of association recreates for us the unquestioning day of childhood. Demonstration may lead to the very gate of heaven, but there she makes us a civil bow, and leaves us to make our way back again to Faith, who has the key. That science which is of the intellect alone steps with indifferent foot upon the dead body of Belief, if only she may reach higher or see farther.

But we cannot get rid of our wonder--we who have brought down the wild lightning, from writing fiery doom upon the walls of heaven, to be our errand-boy and penny-postman. Wonder is crude imagination; and it is necessary to us, for man shall not live by bread alone, and exact knowledge is not enough. Do we get nearer the truth or farther from it that we have got a gas or an imponderable fluid instead of a spirit? We go on exorcising one thing after another, but what boots it? The evasive genius flits into something else, and defies us. The powers of the outer and inner world form hand in hand a magnetic circle for whose connection man is necessary. It is the imagination that takes his hand and clasps it with that other stretched to him in the dark, and for which he was vainly groping. It is that which renews the mystery in nature, makes it wonderful and beautiful again, and out of the gases of the man of science remakes the old spirit. But we seem to have created too many wonders to be capable of wondering any longer; as Coleridge said, when asked if he believed in ghosts, that he had seen too many of them. But nature all the more imperatively demands it, and science can at best but scotch it, not kill it. In this day of newspapers and electric telegraphs, in which common sense and ridicule can magnetize a whole continent between dinner and tea, we say that such a phenomenon as Mahomet were impossible, and behold Joe Smith and the State of Deseret! Turning over the yellow leaves of the same copy of "Webster on Witchcraft" which Cotton Mather studied, I thought, "Well, that goblin is laid at last!"--and while I mused the tables were turning, and the chairs beating the devil's tattoo all over Christendom. I have a neighbor who dug down through tough strata of clay to a spring pointed out by a witch-hazel rod in the hands of a seventh son's seventh son, and the water is the sweeter to him for the wonder that is mixed with it. After all, it seems that our scientific gas, be it never so brilliant, is not equal to the dingy old Aladdin's lamp.

It is impossible for men to live in the world without poetry of some sort or other. If they cannot get the best they will get some substitute for it, and thus seem to verify Saint Augustine's slur that it is wine of devils. The mind bound down too closely to what is practical either becomes inert, or revenges itself by rushing into the savage wilderness of "isms." The insincerity of our civilization has disgusted some persons so much that they have sought refuge in Indian wigwams and found refreshment in taking a scalp now and then. Nature insists above all things upon balance. She contrives to maintain a harmony between the material and spiritual, nor allows the cerebrum an expansion at the cost of the cerebellum. If the character, for example, run on one side into religious enthusiasm, it is not unlikely to develop on the other a counterpoise of worldly prudence. Thus the Shaker and the Moravian are noted for thrift, and mystics are not always the worst managers. Through all changes of condition and experience man continues to be a citizen of the world of idea as well as the world of fact, and the tax-gatherers of both are punctual.

And these antitheses which we meet with in individual character we cannot help seeing on the larger stage of the world also, a moral accompanying a material development. History, the great satirist, brings together Alexander and the blower of peas to hint to us that the tube of the one and the sword of the other were equally transitory; but meanwhile Aristotle was conquering kingdoms out of the unknown, and establishing a dynasty of thought from whose hand the sceptre has not yet passed. So there are Charles V, and Luther; the expansion of trade resulting from the Spanish and Portuguese discoveries, and the Elizabethan literature; the Puritans seeking spiritual El Dorados while so much valor and thought were spent in finding mineral ones. It seems to be the purpose of God that a certain amount of genius shall go to each generation, particular quantities being represented by individuals, and while no _one_ is complete in himself, all collectively make up a whole ideal figure of a man. Nature is not like certain varieties of the apple that cannot bear two years in succession. It is only that her expansions are uniform in all directions, that in every age she completes her circle, and like a tree adds a ring to her growth be it thinner or thicker.

Every man is conscious that he leads two lives, the one trivial and ordinary, the other sacred and recluse; the one which he carries to the dinner-table and to his daily work, which grows old with his body and dies with it, the other that which is made up of the few inspiring moments of his higher aspiration and attainment, and in which his youth survives for him, his dreams, his unquenchable longings for something nobler than success. It is this life which the poets nourish for him, and sustain with their immortalizing nectar. Through them he feels once more the white innocence of his youth. His faith in something nobler than gold and iron and cotton comes back to him, not as an upbraiding ghost that wrings its pale hands and is gone, but beautiful and inspiring as a first love that recognizes nothing in him that is not high and noble. The poets are nature's perpetual pleaders, and protest with us against what is worldly. Out of their own undying youth they speak to ours. "Wretched is the man," says Goethe, "who has learned to despise the dreams of his youth!" It is from this misery that the imagination and the poets, who are its spokesmen, rescue us. The world goes to church, kneels to the eternal Purity, and then contrives to sneer at innocence and ignorance of evil by calling it green. Let every man thank God for what little there may be left in him of his vernal sweetness. Let him thank God if he have still the capacity for feeling an unmarketable enthusiasm, for that will make him worthy of the society of the noble dead, of the companionship of the poets. And let him love the poets for keeping youth young, woman womanly, and beauty beautiful.

There is as much poetry as ever in the world if we only knew how to find it out; and as much imagination, perhaps, only that it takes a more prosaic direction. Every man who meets with misfortune, who is stripped of material prosperity, finds that he has a little outlying mountain-farm of imagination, which did not appear in the schedule of his effects, on which his spirit is able to keep itself alive, though he never thought of it while he was fortunate. Job turns out to be a great poet as soon as his flocks and herds are taken away from him.

There is no reason why our continent should not sing as well as the rest. We have had the practical forced upon us by our position. We have had a whole hemisphere to clear up and put to rights. And we are descended from men who were hardened and stiffened by a downright wrestle with necessity. There was no chance for poetry among the Puritans. And yet if any people have a right to imagination, it should be the descendants of these very Puritans. They had enough of it, or they could never have conceived the great epic they did, whose books are States, and which is written on this continent from Maine to California.

But there seems to be another reason why we should not become a poetical people. Formerly the poet embodied the hopes and desires of men in visible types. He gave them the shoes of swiftness, the cap of invisibility and the purse of Fortunatus. These were once stories for grown men, and not for the nursery as now. We are apt ignorantly to wonder how our forefathers could find satisfaction in fiction the absurdity of which any of our primary-school children could demonstrate. But we forget that the world's gray fathers were children themselves, and that in their little world, with its circle of the black unknown all about it, the imagination was as active as it is with people in the dark. Look at a child's toys, and we shall understand the matter well enough. Imagination is the fairy godmother (every child has one still), at the wave of whose wand sticks become heroes, the closet in which she has been shut fifty times for being naughty is turned into a palace, and a bit of lath acquires all the potency of Excalibur.

But nowadays it is the understanding itself that has turned poet. In her railroads she has given us the shoes of swiftness. Fine-Ear herself could not hear so far as she, who in her magnetic telegraph can listen in Boston and hear what is going on in New Orleans. And what need of Aladdin's lamp when a man can build a palace with a patent pill? The office of the poet seems to be reversed, and he must give back these miracles of the understanding to poetry again, and find out what there is imaginative in steam and iron and telegraph-wires. After all, there is as much poetry in the iron horses that eat fire as in those of Diomed that fed on men. If you cut an apple across you may trace in it the lines of the blossom that the bee hummed around in May, and so the soul of poetry survives in things prosaic. Borrowing money on a bond does not seem the most promising subject in the world, but Shakespeare found the "Merchant of Venice" in it. Themes of song are waiting everywhere for the right man to sing them, like those enchanted swords which no one can pull out of the rock till the hero comes, and he finds no more trouble than in plucking a violet.

John Quincy Adams, making a speech at New Bedford, many years ago, reckoned the number of whale-ships (if I remember rightly) that sailed out of that port, and, comparing it with some former period, took it as a type of American success. But, alas! it is with quite other oil that those far-shining lamps of a nation's true glory which burn forever must be filled. It is not by any amount of material splendor or prosperity, but only by moral greatness, by ideas, by works of imagination, that a race can conquer the future. No voice comes to us from the once mighty Assyria but the hoot of the owl that nests amid her crumbling palaces. Of Carthage, whose merchant-fleets once furled their sails in every port of the known world, nothing is left but the deeds of Hannibal. She lies dead on the shore of her once subject sea, and the wind of the desert only flings its handfuls of burial-sand upon her corpse. A fog can blot Holland or Switzerland out of existence. But how large is the space occupied in the maps of the soul by little Athens and powerless Italy! They were great by the soul, and their vital force is as indestructible as the soul.

Till America has learned to love art, not as an amusement, not as the mere ornament of her cities, not as a superstition of what is _comme il faut_ for a great nation, but for its humanizing and ennobling energy, for its power of making men better by arousing in them a perception of their own instincts for what is beautiful, and therefore sacred and religious, and an eternal rebuke of the base and worldly, she will not have succeeded in that high sense which alone makes a nation out of a people, and raises it from a dead name to a living power. Were our little mother-island sunk beneath the sea, or, worse, were she conquered by Scythian barbarians, yet Shakespeare would be an immortal England, and would conquer countries, when the bones of her last sailor had kept their ghastly watch for ages in unhallowed ooze beside the quenched thunders of her navy.

Old Purchas in his "Pilgrims" tells of a sacred caste in India who, when they go out into the street, cry out, "Poo! Poo!" to warn all the world out of their way lest they should be defiled by something unclean. And it is just so that the understanding in its pride of success thinks to pooh-pooh all that it considers impractical and visionary. But whatever of life there is in man, except what comes of beef and pudding, is in the visionary and unpractical, and if it be not encouraged to find its activity or its solace in the production or enjoyment of art and beauty, if it be bewildered or thwarted by an outward profession of faith covering up a practical unbelief in anything higher and holier than the world of sense, it will find vent in such wretched holes and corners as table-tippings and mediums who sell news from heaven at a quarter of a dollar the item. Imagination cannot be banished out of the world. She may be made a kitchen-drudge, a Cinderella, but there are powers that watch over her. When her two proud sisters, the intellect and understanding, think her crouching over her ashes, she startles and charms by her splendid apparition, and Prince Soul will put up with no other bride.

The practical is a very good thing in its way--if it only be not another name for the worldly. To be absorbed in it is to eat of that insane root which the soldiers of Antonius found in their retreat from Parthia--which whoso tasted kept gathering sticks and stones as if they were some great matter till he died.

One is forced to listen, now and then, to a kind of talk which makes him feel as if this were the after-dinner time of the world, and mankind were doomed hereafter forever to that kind of contented materialism which comes to good stomachs with the nuts and raisins. The dozy old world has nothing to do now but stretch its legs under the mahogany, talk about stocks, and get rid of the hours as well as it can till bedtime. The centuries before us have drained the goblet of wisdom and beauty, and all we have left is to cast horoscopes in the dregs. But divine beauty, and the love of it, will never be without apostles and messengers on earth, till Time flings his hour-glass into the abyss as having no need to turn it longer to number the indistinguishable ages of Annihilation. It was a favorite speculation with the learned men of the sixteenth century that they had come upon the old age and decrepit second childhood of creation, and while they maundered, the soul of Shakespeare was just coming out of the eternal freshness of Deity, "trailing" such "clouds of glory" as would beggar a Platonic year of sunsets.

No; morning and the dewy prime are born into the earth again with every child. It is our fault if drought and dust usurp the noon. Every age says to her poets, like the mistress to her lover, "Tell me what I am like"; and, in proportion as it brings forth anything worth seeing, has need of seers and will have them. Our time is not an unpoetical one. We are in our heroic age, still face to face with the shaggy forces of unsubdued Nature, and we have our Theseuses and Perseuses, though they may be named Israel Putnam and Daniel Boone. It is nothing against us that we are a commercial people. Athens was a trading community; Dante and Titian were the growth of great marts, and England was already commercial when she produced Shakespeare.

This lesson I learn from the past: that grace and goodness, the fair, the noble, and the true, will never cease out of the world till the God from whom they emanate ceases out of it; that they manifest themselves in an eternal continuity of change to every generation of men, as new duties and occasions arise; that the sacred duty and noble office of the poet is to reveal and justify them to men; that so long as the soul endures, endures also the theme of new and unexampled song; that while there is grace in grace, love in love, and beauty in beauty, God will still send poets to find them and bear witness of them, and to hang their ideal portraitures in the gallery of memory. God with us is forever the mystical name of the hour that is passing. The lives of the great poets teach us that they were the men of their generation who felt most deeply the meaning of the present. _

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