"Why chidest thou the tardy spring?"
Or that,
"Where shall we keep the holiday,
And duly greet the entering May?"
Or this most delicate and exquisite bit of description, which seems painted a tempera,—in colors mixed with the transparent blood of snowdrops and Alpine harebells:—
"See, every patriot oak-leaf throws
His elfin length upon the snows,
Not idle, since the leaf all day
Draws to the spot the solar ray,
Ere sunset quarrying inches down,
And half-way to the mosses brown;
While the grass beneath the rime
Has hints of the propitious time,
And upward pries and perforates
Through the cold slab a hundred gates,
Till green lances, piercing through,
Bend happy in the welkin blue."
There is not great range of sentiment in "May-Day," and through all the incoherence of the poem there is a constant recurrence to the master-theme. This recurrence has at times something of a perfunctory air, and the close of the poem does not seal the whole with any strong impression. There is a rise—or a lapse, as the reader pleases to think—toward a moral at the close; but the motion is evidently willed of the poet rather than the subject. It seems to us that, if the work have any climax, it is in those lines near the end in which the poet draws his reader nearest his own personality, and of which the delicately guarded and peculiar pathos scarcely needs comment:—
"There is no bard in all the choir,
Not Homer's self, the poet sire,
Wise Milton's odes of pensive pleasure,
Or Shakespeare, whom no mind can measure,
Nor Collins' verse of tender pain,
Nor Byron's clarion of disdain,
Scott, the delight of generous boys,
Or Wordsworth, Pan's recording voice,—
Not one of all can put in verse,
Or to this presence could rehearse,
The sights and voices ravishing
The boy knew on the hills in spring,
When pacing through the oaks he heard
Sharp queries of the sentry-bird,
The heavy grouse's sudden whir,
The rattle of the kingfisher;
Saw bonfires of the harlot flies
In the lowland, when day dies;
Or marked, benighted and forlorn,
The first far signal-fire of morn.
These syllables that Nature spoke,
And the thoughts that in him woke,
Can adequately utter none
Save to his ear the wind-harp lone.
And best can teach its Delphian chord
How Nature to the soul is moored,
If once again that silent string,
As erst it wont, would thrill and ring.
"Not long ago, at eventide,
It seemed, so listening, at my side
A window rose, and, to say sooth,
I looked forth on the fields of youth:
I saw fair boys bestriding steeds,
I knew their forms in fancy weeds,
Long, long concealed by sundering fates,
Mates of my youth,—yet not my mates,
Stronger and bolder far than I,
With grace, with genius, well attired,
And then as now from far admired,
Followed with love
They knew not of,
With passion cold and shy.
O joy, for what recoveries rare!
Renewed, I breathe Elysian air,
See youth's glad mates in earliest bloom,—
Break not my dream, obtrusive tomb!
Or teach thou, Spring! the grand recoil
Of life resurgent from the soil
Wherein was dropped the mortal spoil."
Among the other poems in this volume, it appears to us that "The Romany Girl," "Voluntaries," and "The Boston Hymn" are in their widely different ways the best. The last expresses, with a sublime colloquiality in which the commonest words of every-day parlance seem cut anew, and are made to shine with a fresh and novel lustre, the idea and destiny of America. In "Voluntaries" our former great peril and delusion—the mortal Union which lived by slavery—is at first the theme, with the strong pulse of prophecy, however, in the mournful music. Few motions of rhyme so win and touch as those opening lines,—
"Low and mournful be the strain,
Haughty thought be far from me;
Tones of penitence and pain,
Moanings of the tropic sea,"—
in which the poet, with a hardly articulate sorrow, regards the past; and Mr. Emerson's peculiarly exalted and hopeful genius has nowhere risen in clearer and loftier tones than in those stops which open full upon us after the pathetic pleasing of his regrets:—
"In an age of fops and toys,
Wanting wisdom, void of right,
Who shall nerve heroic boys
To hazard all in Freedom's fight,—
Break sharply off their jolly games,
Forsake their comrades gay,
And quit proud homes and youthful dames,
For famine, toil, and fray?
Yet on the nimble air benign
Speed nimbler messages,
That waft the breath of grace divine
To hearts in sloth and ease.
