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"The tide's at full: the marsh with flooded streams

Glimmers a limpid labyrinth of dreams;"*6*



and of the heavens reflected in the marsh waters:

"Each winding creek in grave entrancement lies



A rhapsody of morning-stars. The skies

Shine scant with one forked galaxy, --



The marsh brags ten: looped on his breast they lie."*7*

Later, as the ebb-tide flows from marsh to sea, we are parenthetically treated



to these two lines:

"Run home, little streams,



With your lapfuls of stars and dreams."*8*

Finally, the heaven itself is thus pictured:



"Now in each pettiest personal sphere of dew

The summ'd morn shines complete as in the blue



Big dew-drop of all heaven;"*9*

beside which must be hung this exquisite picture:



"The dew-drop morn may fall from off the petal of the sky."*10*

--



*1* In `Clover'.

*2* `Corn', ll. 185-187.



*3* See on this point the remarks of Professor Trent

in his admirable life of `Simms' (Boston, 1892), p. 149.



*4* `June Dreams', l. 21 ff.

*5* `Psalm of the West', l. 183 ff.



*6* `Sunrise', ll. 80-81.

*7* Ibid., ll. 82-85.



*8* Ibid., ll. 114-115.

*9* Ibid., ll. 134-136.



*10* `The Ship of Earth', l. 5.

--



As to versification, Lanier uses almost all the types of verse

-- iambic, trochaic, blank, the sonnet, etc. -- and with about equal skill.



Three features, however, speciallycharacterize his verse:

the careful distribution of vowel-colors and the frequent use



of alliteration and of phonetic syzygy,*1* by which last is meant

a combination or succession of identical or similar consonants,



whether initially, medially, or finally, as for instance

the succession of M's in Tennyson's



"The moan of doves in immemorial elms

And murmuring of innumerable bees."



All of these phenomena are illustrated in Lanier's

`Song of the Chattahoochee', which has often been compared



to Tennyson's `The Brook', and which alone proves the author

a master in versification. To be sure, Lanier occasionally" target="_blank" title="ad.偶然地;非经常地">occasionally gives us



an improper rhyme, as `thwart: heart',*2* etc., but so does every poet.

No doubt, too, his love of music sometimes led him,



not "to strain for form effects", but to indulge too much therein,

or, in the words of Mr. Stedman, "to essay in language



feats that only the gamut can render possible."*3* But, as Professor Kent

admirably puts it, "Lanier was a poet as well as an artist,



and if at times his artistictemperament seemed to eclipse his poetic thought,

grant that to the poet mind the very manner of expression



may indicate the thought that lies beneath, while to the duller ear

the thought must come in completed form."*4* Moreover, as we shall see later,



this extraordinarymusicalendowment gave Lanier a unique position

among English poets.



--

*1* See `The Science of English Verse', p. 306 ff.



*2* `In the Foam', ll. 6, 8. See, too, Kent's `Study of Lanier's Poems',

which gives an exhaustive treatment of Lanier's versification.



*3* Stedman's `Poets of America', p. 449.

*4* `Kent', p. 60.



--

After what has been said the qualities of style may be briefly handled.



As we have already seen, Lanier sometimes fails in clearness,

or, more precisely, in simplicity. This comes partly



from infelicitous sentence-construction, partly, perhaps,

from Lanier's extraordinarymusicalendowment, but chiefly, I think,



from over-luxuriance of imagination. But this occasionaldefect

has been unduly exaggerated. Thus Mr. Gosse*1* declares



that Lanier is "never simple, never easy, never in one single lyric

natural and spontaneous for more than one stanza," -- a statement






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