"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
partlyfrom infelicitous sentence-construction,
partly, perhaps,
from Lanier's
extraordinarymusicalendowment, but
chiefly, I think,
from over-luxuriance of
imagination. But this
occasionaldefecthas 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