O my life, have we not had seasons
That only said, Live and rejoice?
That asked not for causes and reasons,
But made us all feeling and voice?

When we went with the winds in their blowing,
When Nature and we were peers,

And we seemed to share in the flowing

Of the inexhaustible years?

Have we not from the earth drawn juices

Too fine for earth's sordid uses?

Have I heard, have I seen

All I feel and I know?
Doth my heart overween?
Or could it have been
Long ago?

Sometimes a breath floats by me,
An odor from Dreamland sent,
That makes the ghost seem nigh me
Of a splendor that came and went,
Of a life lived somewhere, I know not
In what diviner sphere,

Of memories that stay not and go not,
Like music heard once by an ear
That cannot forget or reclaim it,
A something so shy, it would shame it
To make it a show,

A something too vague, could I name it,
For others to know,

As if I had lived it or dreamed it,

As if I had acted or schemed it,
Long ago!

And yet, could I live it over,

This life that stirs in my brain,
Could I be both maiden and lover,
Moon and tide, bee and clover,

As I seem to have been, once again,
Could I but speak and show it,
This pleasure more sharp than pain,
That baffles and lures me so,
The world should not lack a poet,

Such as it had

In the ages glad,

Long ago!

ABRAHAM LINCOLN.

FROM THE ODE RECITED AT THE HARVARD COMMEMORATION, 21 JULY,

L

1865.

IFE may be given in many ways,

And loyalty to Truth be sealed
As bravely in the closet as the field,
So bountiful is Fate;

But then to stand beside her,
When craven churls deride her,
To front a lie in arms and not to yield,
This shows, methinks, God's plan
And measure of a stalwart man,

Limbed like the old heroic breeds,

Who stands self-poised on manhood's solid earth,

Not forced to frame excuses for his birth,

Fed from within with all the strength he needs.

Such was he, our Martyr-Chief,

Whom late the Nation he had led,

With ashes on her head,

Wept with the passion of an angry grief:
Forgive me, if from present things I turn
To speak what in my heart will beat and burn,
And hang my wreath on his world-honored urn.
Nature, they say, doth dote,

And cannot make a man

Save on some worn-out plan,
Repeating us by rote:

For him her Old-World moulds aside she threw,
And, choosing sweet clay from the breast
Of the unexhausted West,

With stuff untainted shaped a hero new,
Wise, steadfast in the strength of God, and true.
How beautiful to see

Once more a shepherd of mankind indeed,
Who loved his charge, but never loved to lead;
One whose meek flock the people joyed to be,
Not lured by any cheat of birth,

But by his clear-grained human worth,
And brave old wisdom of sincerity!

They knew that outward grace is dust;
They could not choose but trust

In that sure-footed mind's unfaltering skill,
And supple-tempered will

That bent like perfect steel to spring again and thrust.
His was no lonely mountain-peak of mind,
Thrusting to thin air o'er our cloudy bars,
A sea-mark now, now lost in vapors blind:

Broad prairie rather, genial, level-lined,

Fruitful and friendly for all human kind,

Yet also nigh to heaven and loved of loftiest stars.
Nothing of Europe here,

Or, then, of Europe fronting mornward still,
Ere any names of Serf and Peer
Could Nature's equal scheme deface
And thwart her genial will;

Here was a type of the true elder race,

And one of Plutarch's men talked with us face to face.

I praise him not; it were too late;

And some innative weakness there must be

In him who condescends to victory

Such as the Present gives, and cannot wait,

Safe in himself as in a fate.

So always firmly he:

He knew to bide his time,

And can his fame abide,

Still patient in his simple faith sublime,
Till the wise years decide.

Great captains, with their guns and drums,
Disturb our judgment for the hour,

But at last silence comes;

These all are gone, and, standing like a tower,
Our children shall behold his fame,

The kindly-earnest, brave, foreseeing man,
Sagacious, patient, dreading praise, not blame,
New birth of our new soil, the first American.

TAR

AKE from Wordsworth all which an honest criticism cannot but allow, and what is left will show how truly great he was. He had no humor, no dramatic power, and his temperament was of that dry and juiceless quality, that in all his published correspondence you shall not find a letter, but only essays. If we consider carefully where he was most successful, we shall find that it was not so much in description of natural scenery, or delineation of character, as in vivid expression of the effect produced by external objects and events upon his own mind, and of the shape and hue (perhaps momentary) which they in turn took from his mood or temperament. His finest passages are always monologues. He had a fondness for particulars, and there are parts of his poems which remind us of local histories in the undue relative importance given to

trivial matters. He was the historian of Wordsworthshire.

This power

of particularization (for it is as truly a power as generalization) is what gives such vigor and greatness to single lines and sentiments of Wordsworth, and to poems developing a single thought or sentiment. It was this that made him so fond of the sonnet. That sequestered nook forced upon him the limits which his fecundity (if I may not say his garrulity) was never self-denying enough to impose on itself. It suits his solitary and meditative temper, and it was there that Lamb (an admirable judge of what was permanent in literature) liked him best. Its narrow bounds, but fourteen paces from end to end, turn into a virtue his too common fault of giving undue prominence to every passing emotion. He excels in monologue, and the law of the sonnet tempers monologue with mercy. In "The Excursion" we are driven to the subterfuge of a French verdict of extenuating circumstances. His mind had not that reach and elemental movement of Milton's, which, like the trade-wind, gathered to itself thoughts and images like stately fleets from every quarter; some deep with silks and spicery, some brooding over the silent thunders of their battailous armaments, but all swept forward in their destined track, over the long billows of his verse, every inch of canvas strained by the unifying breath of their common epic impulse. It was an organ that Milton mastered, mighty in compass, capable equally of the trumpet's ardors or the slim delicacy of the flute, and sometimes it bursts forth in great crashes through his prose, as if he touched it for solace in the intervals of his toil. If Wordsworth sometimes puts the trumpet to his lips, yet he lays it aside soon and willingly for his appropriate instrument, the pastoral reed. And it is not one that grew by any vulgar stream, but that which Apollo breathed through, tending the flocks of Admetus, that which Pan endowed with every melody of the visible universe, the same in which the soul of the despairing nymph took refuge and gifted with her dual nature, so that ever and anon, amid the notes of human joy or sorrow, there comes suddenly a deeper and almost awful tone, thrilling us into dim consciousness of a forgotten divinity.

Wordsworth's absolute want of humor, while it no doubt confirmed his self-confidence by making him insensible both to the comical incongruity into which he was often led by his earlier theory concerning the language of poetry and to the not unnatural ridicule called forth by it, seems to have been indicative of a certain dulness of perception in other directions. We cannot help feeling that the material of his nature was essentially prose, which, in his inspired moments, he had the power of transmuting, but which, whenever the inspiration failed or was factitious, remained obstinately leaden. The normal condition of many poets would seem to approach that temperature to which Wordsworth's

mind could be raised only by the white heat of profoundly inward passion. And in proportion to the intensity needful to make his nature thoroughly aglow is the very high quality of his best verses. They seem rather the productions of nature than of man, and have the lastingness of such, delighting our age with the same startle of newness and beauty that pleased our youth. Is it his thought? It has the shifting inward lustre of diamond. Is it his feeling? It is as delicate as the impressions of fossil ferns. He seems to have caught and fixed forever in immutable grace the most evanescent and intangible of our intuitions, the very ripple-marks on the remotest shores of being. But this intensity of mood which insures high quality is by its very nature incapable of prolongation, and Wordsworth, in endeavoring it, falls more below himself, and is, more even than many poets his inferiors in imaginative quality, a poet of passages. Indeed, one cannot help having the feeling sometimes that the poem is there for the sake of these passages, rather than that these are the natural jets and elations of a mind energized by the rapidity of its own motion. In other words, the happy couplet or gracious image seems not to spring from the inspiration of the poem conceived as a whole, but rather to have dropped of itself into the mind of the poet in one of his rambles, who then, in a less rapt mood, has patiently built up around it a setting of verse too often ungraceful in form and of a material whose cheapness may cast a doubt on the priceless quality of the gem it encumbers.

Τ

MILTON.

IT results from the almost scornful withdrawal of Milton into the fortress of his absolute personality that no great poet is so uniformly self-conscious as he. We should say of Shakespeare that he had the power of transforming himself into everything; of Milton, that he had that of transforming everything into himself. Dante is individual rather than self-conscious, and he, the cast-iron man, grows pliable as a field of grain at the breath of Beatrice, and flows away in waves of sunshine. But Milton never let himself go for a moment. As other poets are possessed by their theme, so is he self-possessed, his great theme being John Milton, and his great duty that of interpreter between him and the world. I say it with all respect, for he was well worthy translation, and it is out of Hebrew that the version is made. Pope says he makes God the Father reason "like a school-divine." The criticism is witty, but inaccurate. He makes Deity a mouthpiece for his present theology, and had the poem been written a few years later, the Almighty would have