With those deep and tender eyes,
Like the stars, so still and saintlike,
Looking
downward from the skies."
It is from the skies that they look down, those eyes which once read
the "Voices of the Night" from the same book with us, how long ago!
So long ago that one was half-frightened by the legend of the
"Beleaguered City." I know the
ballad brought the scene to me so
vividly that I expected, any
frosty night, to see how
"The white pavilions rose and fell
On the alarmed air;"
and it was down the
valley of Ettrick, beneath the dark "Three
Brethren's Cairn," that I half-hoped to watch when "the troubled
army fled"--fled with battered banners of mist drifting through the
pines, down to the Tweed and the sea. The "Skeleton in Armour"
comes out once more as
terrific as ever, and the "Wreck of the
Hesperus" touches one in the old, simple way after so many, many
days of verse-
reading and even verse-writing.
In brief, Longfellow's qualities are so mixed with what the reader
brings, with so many kindliest associations of memory, that one
cannot easily criticize him in cold blood. Even in spite of this
friendliness and
affection which Longfellow wins, I can see, of
course, that he does moralize too much. The first part of his
lyrics is always the best; the part where he is
dealing directly
with his subject. Then comes the "practical
application" as
preachers say, and I feel now that it is sometimes uncalled for,
disenchanting, and even manufactured.
Look at his "Endymion." It is the earlier verses that win you:
"And silver white the river gleams
As if Diana in her dreams
Had dropt her silver bow
Upon the meadows low."
That is as good as Ronsard, and very like him in manner and matter.
But the moral and consolatory
application is too long--too much
dwelt on:
"Like Dian's kiss, unasked, unsought,
Love gives itself, but is not bought."
Excellent; but there are four weak, moralizing stanzas at the close,
and not only does the poet "moralize his song," but the moral is
feeble, and
fantastic, and
untrue. There are, though he denies it,
myriads of persons now of whom it cannot be said that
"Some heart, though unknown,
Responds unto his own."
If it were true, the
reflection could only
console a school-girl.
A poem like "My Lost Youth" is needed to
remind one of what the
author really was, "simple, sensuous, passionate." What a lovely
verse this is, a verse somehow inspired by the
breath of
Longfellow's favourite Finnish "Kalevala," "a verse of a Lapland
song," like a wind over pines and salt coasts:
"I remember the black
wharves and the slips,
And the sea-tide, tossing free,
And Spanish sailors with bearded lips,
And the beauty and the
mystery of the ships,
And the magic of the sea."
Thus Longfellow, though not a very great
magician and master of
language--not a Keats by any means--has often, by sheer force of
plain
sincerity, struck exactly the right note, and matched his
thought with music that haunts us and will not be forgotten:
"Ye open the eastern windows,
That look towards the sun,
Where thoughts are singing swallows,
And the brooks of morning run."
There is a picture of Sandro Botticelli's, the Virgin seated with
the Child by a hedge of roses, in a faint blue air, as of dawn in
Paradise. This poem of Longfellow's, "The Children's Hour," seems,
like Botticelli's
painting, to open a door into the
paradise of
children, where their angels do ever behold that which is hidden
from men--what no man hath seen at any time.
Longfellow is exactly the antithesis of Poe, who, with all his
science of verse and
ghostly skill, has no
humanity, or puts none of
it into his lines. One is the poet of Life, and
everyday life; the
other is the poet of Death, and of bizarre shapes of death, from
which Heaven deliver us!
Neither of them shows any sign of being particularly American,