My Anna! when for thee my head was bowed, The circle of the world, sky, mountain, main, Drew inward to one spot; and now again Wide Nature narrows to the sh.e.l.l and shroud.
In the late dawn they will not be forgot, And evenings early dark; when the low rain Begins at nightfall, though no tempest rave, I know the rain is falling on her grave; The morning views it, and the sunset cloud Points with a finger to that lonely spot; The crops, that up the valley rolling go, Ever toward her slumber bow and blow!
I look on the sweeping corn and the surging rye, And with every gust of wind my heart goes by!
It must not be supposed that the predominant note in Tuckerman"s poetry is elegiac; rather is it a note of tender, wistful, and scrupulously accurate contemplation of the New England countryside, mingled with spiritual speculation. But as the volume closed with the elegiac poems, and as thereafter no more poems were published, it may be surmised that the poet"s will to create was smothered in the poignant ripple of his personal sorrow. Had it not been, and had his pen continued to write, one cannot help wondering how much closer he would have come to the modern note in poetry. That he already felt a tendency to progress from the old metres to freer forms is constantly apparent; and this tendency, combined with his unconsciously scrupulous realism, might well have brought him near to the present. I should like to close this little paper to his memory with one of his lyrics which throws over rhyme altogether, and strictly formal metre, also, though the fetters are still there. It is the stab of grief which comes through to haunt you, the bare simplicity and the woe.
Objective it certainly is not, as the modernists maintain they are.
Yet the personal note will always be modern, for it has no age. This lyric belongs to you and me to-day, not in the pages of a forgotten book, on the shelves of a dusty library. I would that some of our _vers libre_ pract.i.tioners could equal it:
I took from its gla.s.s a flower, To lay on her grave with dull, accusing tears; But the heart of the flower fell out as I handled the rose, And my heart is shattered and soon will wither away.
I watch the changing shadows, And the patch of windy sunshine upon the hill, And the long blue woods; and a grief no tongue can tell Breaks at my eyes in drops of bitter rain.
I hear her baby wagon, And the little wheels go over my heart: Oh! when will the light of the darkened house return?
Oh! when will she come who made the hills so fair?
I sit by the parlor window, When twilight deepens and winds grow cold without; But the blessed feet no more come up the walk, And my little girl and I cry softly together.
[Ill.u.s.tration]
_New Poetry and the Lingering Line_
I have one grave objection to the "new poetry"--I cannot remember it.
Some, to be sure, would say that is no objection at all, but I am not of the number. It would hardly become me, in fact, since I have, in a minor pipe, committed "new poetry" myself on various and sundry occasions, or what I presume it to be, particularly when I didn"t have time to write in rhyme or even metre. The new poets may object all they like, but it _is_ easier to put your thought (when you happen to have one) into rhythm than into rhyme and metre. If, indeed, as the _vers libre_ pract.i.tioners insist, each idea comes clothed in its own inevitable rhythm, there can be very little trouble about the matter.
The poem composes itself, and your chief task will be with the printer! I don"t say the rhythmic irregularity is not, perhaps, more suitable for certain effects, or at any rate that it cannot achieve effects of its own; I certainly don"t say that it isn"t poetry because it does not trip to formal measure. Poetry resides in deeper matters than this. I recall Ibsen"s remark when told that the reviewers declared _Peer Gynt_ wasn"t poetry. "Very well," said he, "it will be." Since it now indubitably is, one is cautious about questioning the work of the present, such work as Miss Lowell"s, for instance. Of course the mere chopping up of unrhythmic prose into capitalized lines without glow, without emotion, is not poetry, any more than the blank verse of the second-rate nineteenth-century "poetic drama," which old Joe Crowell, comedian, described as "good, honest prose set up hind-side foremost." We may eliminate that from the discussion once and for all. But the genuine new poets, who know what they are about, and doubtless why they are about it, I regard with all deference, hailing especially their good fight to free poetry of its ancient inversions, its mincing vocabulary, its thous and thees, its bosky dells and purling streams, its affectations and unrealities, both of speech and subject. But I do say they miss a certain triumphant craftsman"s joy at packing precisely what you mean, hard enough to express in unlimited prose, into a fettered, singing line; and I do say that I can"t remember what they write.
At least, n.o.body can dispute this latter statement. He may declare it the fault of my memory, which has been habituated to retain only such lines as have rhyme and metre to help it out. But I hardly think his retort adequate, because, in the first place, the memory is much less amenable to training and much more a matter of fixed capacity and action than certain advertis.e.m.e.nts in the popular magazines would have the "twenty-dollar-a-week man" believe, and in the second place, because my case, I find, is the case of almost everybody with whom I have talked on the subject. The solution, I believe, is perfectly simple. Nearly anyone can remember a tune; even I can, within limits.
At least, I can do better than Tennyson, who could recognize, he said, two tunes; one was "G.o.d Save the Queen" and the other wasn"t. But when music is broken into independent rhythms, irregular and oddly related phrases, it is only the person exceptionally endowed who can remember it without prolonged study. The very first audience who heard _Rigoletto_ came away humming "Donna e mobile." And the very last audience who heard _Pelleas et Melisande_ came away humming--"Donna e mobile." It is the law. Needless to say, I enjoyed _Pelleas et Melisande_, but I cannot whistle it. What I recall is a mood, a picture, a vague ecstasy, a hushed terror. It was James Huneker, was it not, who, when asked what he thought of the opera, replied that Mary Garden"s hair was superb.
"But the music?" he was urged.
"Oh, the music," said he, "--the music didn"t bother me."
But the new poetry does bother me, because I strive to remember not the mere mood or picture of the poem, but the actual words which created them, and I cannot. I want to compel again, at will, the actual poetic experience, and I cannot, without carrying a library in my pocket. The words hover, sometimes, just beyond the threshold of my brain, like a forgotten name ("If you hadn"t asked me, I could have told you"--you know the sensation); but they never come. I have no comfort of them in the still hours of the day when I would be whispering them to myself. Instead, I have to fall back upon the old-fashioned Golden Treasury. I cannot remember a single line that Amy Lowell has written about her Roxbury garden, but I shall never forget what Wordsworth said about that field of gold he pa.s.sed; I repeat his lines, and then my heart, too, with pleasure fills and dances with his daffodils.
It is an immemorial delight, this pleasure in the lingering line, in the haunting couplet, in the quatrain that will not let you forget. By sacrificing it, the new poetry has sacrificed something precious, something that a common instinct of mankind demands of the minstrel.
It will not suffice for the new poets to deny that they are minstrels, to a.s.sert that they write for the eye, not speak for the ear, that it is not their mission to emit pretty sounds but so to present their vision of the world that it shall etch itself on men"s minds with the bite of reality. Such a creed is admirable, but defective. It is defective because, in the first place, if the new poets did not write for the ear quite as much as the old poets, there would be no excuse even for rhythm. Any reader who is sensitive enough to care to read poetry is sensitive enough to hear it with his inward ear even as he sees it with his outward eye, and his after-pleasure, as it were, his lingering delight, will be in proportion as his ear retains the echo of the song. All poets are minstrels, still. Such a creed is defective, in the second place, because it has always been the mission of genuine poets to impress their vision of the world vividly on mankind, though their vision included more, sometimes, than what the realists choose to consider reality. There is nothing new in such an effort. In slack ages of poetic inspiration, however, the versifiers have no vision of the world, but only of its pale mirrored reflections in visions dead and gone, and some jolt is needed to bring the poets back to first-hand observation. Such a jolt are the new poets. _Spoon River_ is a medicine, a splendid tonic. But the form of _Spoon River_ is not conditioned by eternal needs, only by temporary ones. Its complete absence of loveliness, of lines that linger, will be its greatest handicap to immortality--for poetic immortality to-day as much as ever is not in the pages of a book on a library shelf, but on the lips of men and women. A poem from which n.o.body ever quotes is a poem forgotten.
Tennyson was something of an Imagist at times, presenting his mood or picture with a Flaubertian precision of epithet that even Amy Lowell could not criticise. Consider, for example, his famous _Fragment_ on the eagle:
He clasps the crag with crooked hands Close to the sun in distant lands, Ringed with the azure world he stands.
Beneath, the wrinkled ocean crawls, He watches from his mountain walls, And like a thunderbolt he falls.
The precision of wording here, the tremendousness of scene evoked with stark economy of means, the triumphant vividness of the adjective "wrinkled," transporting the reader at once to a great height above the plain of the sea, the complete absence of any touch of the "poetic" (surely the beautiful word _azure_ may be admitted in modern company), make this poem a masterpiece without date or time. It is as "new" as the latest Imagist anthology. And, be it noted, I have quoted it correctly, I feel confident, from memory. My copy of Tennyson is in storage, and I have not read the fragment probably in ten or a dozen years. Yet whenever I wish to relive its mood, to see again its incomparable picture, I have only to move my lips, even only to repeat the lines inwardly, in silence, and the poem is mine again.
But I have just been reading the latest Imagist anthology, especially the _Lacquer Prints_ by Amy Lowell, not ten years, but hardly ten minutes ago--and I cannot repeat one of them. I could learn them, of course, by an effort. But that is not the way man desires to remember music and poetry. It must come singing into his head and heart--and remain there without his effort. Here is a "Lacquer Print" called _Sunshine_. It is indeed vivid, though (quite properly, of course) a little garden pool to Tennyson"s vast ocean.
The pool is edged with blade-like leaves of irises.
If I throw a stone into the placid water It suddenly stiffens Into rings and rings Of sharp gold wire.
Here is a vivid picture, here is economy and scrupulous selection of epithet, here is no "poetic" diction of the despised sort. But something is lacking, none the less. It does not haunt you, it does not ingratiate itself with your ear, you do not find yourself repeating it days and months later. Close the book--and the poem perishes, even as those rings subside on the pool.
It would be only too easy to find much more striking examples in the new verse. Take, for instance, the opening stanza of Ezra Pound"s poem, _The Return_:
See, they return; ah, see the tentative Movements, and the slow feet, The trouble in the pace and the uncertain Wavering!
It is doubtful if any reader will fail to see the trouble in the pace of these lines! No doubt it was exactly the effect the poet desired, but it will forever effectually prevent the repet.i.tion of his poem by anybody without the book. When a woman once boasted that she could repeat anything on a single hearing, Theodore Hook rattled off the immortal nonsense, beginning, "She went into the garden patch to get a cabbage head to make an apple pie, and a great she bear coming up the road thrust her head into the shop and cried "What, no soap?" and so he died--" and the woman was floored. Such a poem as _The Return_ would have floored her quite as completely. I find, after reading carefully all the twenty pages a.s.signed to Ezra Pound in _The New Poetry Anthology_, edited by Miss Monroe (a greater s.p.a.ce, I believe, than was awarded to any other poet), that I can now repeat just one line--or, rather, two lines, such is Mr. Pound"s odd way of phrasing his rhythms. Here they are:
Dawn enters with little feet Like a gilded Pavlova.
There is a certain humorous charm of epithet here, and a rhythmic suggestion of metrical beat to follow. That, no doubt, is why the line has stuck in my memory. But the metrical beat did not follow, and the rest of the stanza has gone from me. I am sure even a gilded Pavlova would be at some difficulty to dance to Mr. Pound"s rhythms.
But Miss Monroe is catholic in her choice of new poets. She includes, for instance, Walter de la Mare, if in less than two pages. She selects his wonderful poem _The Listeners_, and the quaint, haunting, _Epitaph_. It is a little hard to see just why _The Listeners_ is new poetry, except chronologically. Its odd, apparently simple but really intricate and triumphantly fluid metrical structure, so unified that there is no break from the first syllable to the last; its lyric romanticism of subject; its obvious delight in tune; even its occasional lapses into the ancient "poetic" vocabulary (the traveler "smote" the door, the listeners "hearkened," and so on), are all a part of the nineteenth-century tradition of English verse. It is no more modern than _La Belle Dame Sans Merci_--which, to be sure, is quite modern indeed to some of us. And it has lyric beauty, it has lines of unforgettable musical loveliness, it creeps in through the ear and echoes in the memory. You surely remember the close:
Never the least stir made the listeners, Though every word he spake Fell echoing through the shadowiness of the still house From the one man left awake: Ay, they heard his foot upon the stirrup, And the sound of iron on stone, And how the stillness surged softly backward, When the plunging hoofs were gone.
Is there really any loss of sharpness in the imagery here because of the rhyme and metre? Could any phrase, of any rhythm, however free, render any better and more economically the peculiar noise of a horse turning on a hard drive and starting away in the night, than "the sound of iron on stone"? The last two lines, surely, are close to perfection. A genuine new poet would probably have hunted long for a less hackneyed word than "plunging," but though it would possibly have sharpened his final image, it would, at the same time, in all probability, have robbed it of that very vagueness sought and captured. No, the pa.s.sage pictorially and emotionally is as near perfection as it is often permitted mortals to approach, and it lingers and echoes in the memory, it will not be forgotten. It has the lilt of music, the chime of tune, the immemorial loveliness of song.
If the precise image, the desired emotional effect, the intellectual content can be imparted in fettered verse, and, in addition, the ancient loveliness can be retained, which the new verse lacks, can it be possible that the world will long endure to read _vers libre_ when _vers libre_ has done its work of bringing poets back to first-hand reality for their subjects, relating the minstrels to the spirit of their age? I cannot think so. I cannot but believe that any poetry long to endure must be memorable, in the literal sense, and that is just what the new poetry is not. Already, it seems to me from my acquaintance with under-graduates and the just-graduated, _vers libre_ is a little the cult of the middle-aged, while youth, the future, is swinging back gladly to the fetters of metre and rhyme, and probably forgetful that the public which awaits their effort has been prepared anew for poetry by this revolt from what was stale in tradition. I believe that memorable poetry always has been, and always must be, irradiated by
The light that never was on sea or land,
which is but another way of saying that it must have elevation and the haunting mystery of beauty. The trouble is, of course, to catch this authentic radiation, instead of some pale reflection from Patmore or Rossetti. It was against the sham of second-hand mood and subject, rather than the great truth of music and loveliness, that the new poets broke into unmetrical protest. They have done a brave and needed work,--but they have produced astonishingly little quotable poetry, they have sung their way not far into the hearts of their listeners.
The lingering, lovely line is not for them. No, for still,
The soul of Adonais, like a star, Beacons from the abode where the Eternal are.
[Ill.u.s.tration]
_The Lies We Learn in Our Youth_
The world for a great many years has accepted the dictum of the poet, that--
Of all sad words of tongue or pen, The saddest are these: It might have been.
Even those people who refused to accept the rhyme have accepted the reason. But the fact is that the reason of this copybook couplet is as bad as the rhyme. It would be much nearer the truth to say that of all sad words of tongue or pen, the saddest are these: He"s succeeded again. Here, too, the rhyme may be questioned, but the reason is sound. An entirely successful man is the most pitiful object in the universe. Not only has he nothing to look forward to, but he has nothing to look back upon. Having no regrets, no shadows, in his life, he has no chiaroscuro, no depth, no solidity in his picture. It is painted in the flat. "Regret," says George Moore, to change the figure a little, "is like a mountain top from which we survey our dead life, a mountain top on which we pause and ponder." He has no point of view, then, either. So after all the words, "It might have been," do bear a sadness about them in his case; his life might have been a success if it had only been a failure. "It might have been" thus becomes sad when it reflects back upon itself, when it means there might have been a might have been but there was only a was. So life whirls into paradox!
Let any man in honesty retire into the solitude of his soul and reflect on his joys that might have been and those that were, and let him then answer whether any of his realizations were the equal of his antic.i.p.ations. Therefore, if he had achieved the antic.i.p.ated but lost delights which form the burden of his "Might have been," they, too, would have been as ashes in the mouth. The truth is that the essence of delight is in the antic.i.p.ation, the best of life is the vision, not the reality. It is pathetic not to have entertained the vision, but more pathetic, perhaps, to have attained it. Wasn"t it Oscar Wilde who said that there is only one thing more tragic than failure--success?
Did our regretful poet dream at twenty-one of being the perfect lover?
In his dreams he was the perfect lover, then. Yet actually what was he? What was she? What was their courtship, their marriage? You, prosy, contented, forty and forgetful, by your prosy hearth or shaking down the furnace fire, while the children are being put to bed, you dare to call "It might have been" the saddest words of tongue or pen?
Those now almost forgotten dreams of what might have been are the best you ever were. Remember them as often as you can, as bitterly, as happily, for your soul"s salvation. Without them you are the lowest of G.o.d"s creatures, a mere married man.