by Unknown
The known universe has one complete lover, and that is the greatest poet. He consumes an eternal passion, and is indifferent which chance happens, and which possible contingency of fortune or misfortune, and persuades daily and hourly his delicious pay. What balks or breaks others is fuel for his burning progress to contact and amorous joy. Other proportions of the reception of pleasure dwindle to nothing to his proportions. All expected from heaven or from the highest, he is rapport with in the sight of the daybreak, or the scenes of the winter woods, or the presence of children playing, or with his arm round the neck of a man or woman. His love above all love has leisure and expanse—he leaves room ahead of himself. He is no irresolute or suspicious lover—he is sure—he scorns intervals. His experience and the showers and thrills are not for nothing. Nothing can jar him—suffering and darkness cannot—death and fear cannot. To him complaint and jealousy and envy are corpses buried and rotten in the earth—he saw them buried. The sea is not surer of the shore, or the shore of the sea, than he is of the fruition of his love, and of all perfection and beauty.
The fruition of beauty is no chance of miss or hit—it is as inevitable as life—it is exact and plumb as gravitation. From the eyesight proceeds another eyesight, and from the hearing proceeds another hearing, and from the voice proceeds another voice, eternally curious of the harmony of things with man. These understand the law of perfection in masses and floods—that it is profuse and impartial—that there is not a minute of the light or dark, nor an acre of the earth and sea, without it—nor any direction of the sky, nor any trade or employment, nor any turn of events. This is the reason that about the proper expression of beauty there is precision and balance. One part does not need to be thrust above another. The best singer is not the one who has the most lithe and powerful organ. The pleasure of poems is not in them that take the handsomest measure and sound.
Without effort, and without exposing in the least how it is done, the greatest poet brings the spirit of any or all events and passions and scenes and persons, some more and some less, to bear on your individual character as you hear or read. To do this well is to compete with the laws that pursue and follow Time. What is the purpose must surely be there, and the clew of it must be there—and the faintest indication is the indication of the best, and then becomes the clearest indication. Past and present and future are not disjoin’d but join’d. The greatest poet forms the consistence of what is to be, from what has been and is. He drags the dead out of their coffins and stands them again on their feet. He says to the past, Rise and walk before me that I may realize you. He learns the lesson—he places himself where the future becomes present. The greatest poet does not only dazzle his rays over character and scenes and passions—he finally ascends, and finishes all—he exhibits the pinnacles that no man can tell what they are for, or what is beyond—he glows a moment on the extremest verge. He is most wonderful in his last half-hidden smile or frown; by that flash of the moment of parting the one that sees it shall be encouraged or terrified afterward for many years. The greatest poet does not moralize or make applications of morals—he knows the soul. The soul has that measureless pride which consists in never acknowledging any lessons or deductions but its own. But it has sympathy as measureless as its pride, and the one balances the other, and neither can stretch too far while it stretches in company with the other. The inmost secrets of art sleep with the twain. The greatest poet has lain close betwixt both, and they are vital in his style and thoughts.
The art of art, the glory of expression and the sunshine of the light of letters, is simplicity. Nothing is better than simplicity—nothing can make up for excess, or for the lack of definiteness. To carry on the heave of impulse and pierce intellectual depths and give all subjects their articulations, are powers neither common nor very uncommon. But to speak in literature with the perfect rectitude and insouciance of the movements of animals, and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside, is the flawless triumph of art. If you have look’d on him who has achiev’d it you have look’d on one of the masters of the artists of all nations and times. You shall not contemplate the flight of the gray gull over the bay, or the mettlesome action of the blood horse, or the tall leaning of sunflowers on their stalk, or the appearance of the sun journeying through heaven, or the appearance of the moon afterward, with any more satisfaction than you shall contemplate him. The great poet has less a mark’d style, and is more the channel of thoughts and things without increase or diminution, and is the free channel of himself. He swears to his art, I will not be meddlesome, I will not have in my writing any elegance, or effect, or originality, to hang in the way between me and the rest like curtains. I will have nothing hang in the way, not the richest curtains. What I tell I tell for precisely what it is. Let who may exalt or startle or fascinate or soothe, I will have purposes as health or heat or snow has, and be as regardless of observation. What I experience or portray shall go from my composition without a shred of my composition. You shall stand by my side and look in the mirror with me.
The old red blood and stainless gentility of great poets will be proved by their unconstraint. A heroic person walks at his ease through and out of that custom or precedent or authority that suits him not. Of the traits of the brotherhood of first-class writers, savans, musicians, inventors and artists, nothing is finer than silent defiance advancing from new free forms. In the need of poems, philosophy, politics, mechanism, science, behavior, the craft of art, an appropriate native grand opera, shipcraft, or any craft, he is greatest for ever and ever who contributes the greatest original practical example. The cleanest expression is that which finds no sphere worthy of itself, and makes one.
The messages of great poems to each man and woman are, Come to us on equal terms, only then can you understand us. We are no better than you, what we inclose you inclose, what we enjoy you may enjoy. Did you suppose there could be only one Supreme? We affirm there can be unnumber’d Supremes, and that one does not countervail another any more than one eyesight countervails another—and that men can be good or grand only of the consciousness of their supremacy within them. What do you think is the grandeur of storms and dismemberments, and the deadliest battles and wrecks, and the wildest fury of the elements, and the power of the sea, and the motion of Nature, and the throes of human desires, and dignity and hate and love? It is that something in the soul which says, Rage on, whirl on, I tread master here and everywhere—Master of the spasms of the sky and of the shatter of the sea, Master of nature and passion and death, and of all terror and all pain.
The American bards shall be mark’d for generosity and affection, and for encouraging competitors. They shall be Kosmos, without monopoly or secrecy, glad to pass anything to anyone—hungry for equals night and day. They shall not be careful of riches and privilege—they shall be riches and privilege—they shall perceive who the most affluent man is. The most affluent man is he that confronts all the shows he sees by equivalents out of the stronger wealth of himself. The American bard shall delineate no class of persons, nor one or two out of the strata of interests, nor love most nor truth most, nor the soul most, nor the body most—and not be for the Eastern States more than the Western, or the Northern States more than the Southern.
Exact science and its practical movements are no checks on the greatest poet, but always his encouragement and support. The outset and remembrance are there—there the arms that lifted him first, and braced him best—there he returns after all his goings and comings. The sailor and traveler—the anatomist, chemist, astronomer, geologist, phrenologist, spiritualist, mathematician, historian, and lexicographer, are not poets, but they are the lawgivers of poets, and their construction underlies the structure of every perfect poem. No matter what rises or is utter’d, they sent the seed of the conception of it—of them and by them stand the visible proofs of souls. If there shall be love and content between the father and the son, and if the greatness of the son is the exuding of the
greatness of the father, there shall be love between the poet and the man of demonstrable science. In the beauty of poems are henceforth the tuft and final applause of science.
Great is the faith of the flush of knowledge, and of the investigation of the depths of qualities and things. Cleaving and circling here swells the soul of the poet, yet is president of itself always. The depths are fathomless, and therefore calm. The innocence and nakedness are resumed—they are neither modest nor immodest. The whole theory of the supernatural, and all that was twined with it or educed out of it, departs as a dream. What has ever happen’d—what happens, and whatever may or shall happen, the vital laws inclose all. They are sufficient for any case and for all cases—none to be hurried or retarded—any special miracle of affairs or persons inadmissible in the vast clear scheme where every motion and every spear of grass, and the frames and spirits of men and women and all that concerns them, are unspeakably perfect miracles, all referring to all, and each distinct and in its place. It is also not consistent with the reality of the soul to admit that there is anything in the known universe more divine than men and women.
Men and women, and the earth and all upon it, are to be taken as they are, and the investigation of their past and present and future shall be unintermitted, and shall be done with perfect candor. Upon this basis philosophy speculates, ever looking towards the poet, ever regarding the eternal tendencies of all toward happiness, never inconsistent with what is clear to the senses and to the soul. For the eternal tendencies of all toward happiness make the only point of sane philosophy. Whatever comprehends less than that—whatever is less than the laws of light and of astronomical motion—or less than the laws that follow the thief, the liar, the glutton and the drunkard, through this life and doubtless afterward—or less than vast stretches of time, or the slow formation of density, or the patient upheaving of strata—is of no account. Whatever would put God in a poem or system of philosophy as contending against some being or influence, is also of no account. Sanity and ensemble characterize the great master—spoilt in one principle, all is spoilt. The great master has nothing to do with miracles. He sees health for himself in being one of the mass—he sees the hiatus in singular eminence. To the perfect shape comes common ground. To be under the general law is great, for that is to correspond with it. The master knows that he is unspeakably great, and that all are unspeakably great—that nothing, for instance, is greater than to conceive children, and bring them up well—that to be is just as great as to perceive or tell.
In the make of the great masters the idea of political liberty is indispensable. Liberty takes the adherence of heroes wherever man and woman exist—but never takes any adherence or welcome from the rest more than from poets. They are the voice and exposition of liberty. They out of ages are worthy the grand idea—to them it is confided, and they must sustain it. Nothing has precedence of it, and nothing can warp or degrade it.
As the attributes of the poets of the kosmos concenter in the real body, and in the pleasure of things, they possess the superiority of genuineness over all fiction and romance. As they emit themselves, facts are shower’d over with light—the daylight is lit with more volatile light—the deep between the setting and rising sun goes deeper many fold. Each precise object or condition or combination or process exhibits a beauty—the multiplication table its—old age its—the carpenter’s trade its—the grand opera its—the huge-hull’d clean-shap’d New York clipper at sea under steam or full sail gleams with unmatch’d beauty—the American circles and large harmonies of government gleam with theirs—and the commonest definite intentions and actions with theirs. The poets of the kosmos advance through all interpositions and coverings and turmoils and stratagems to first principles. They are of use—they dissolve poverty from its need, and riches from its conceit. You large proprietor, they say, shall not realize or perceive more than anyone else. The owner of the library is not he who holds a legal title to it, having bought and paid for it. Anyone and everyone is owner of the library, (indeed he or she alone is owner,) who can read the same through all the varieties of tongues and subjects and styles, and in whom they enter with ease, and make supple and powerful and rich and large.
These American States, strong and healthy and accomplish’d, shall receive no pleasure from violations of natural models, and must not permit them. In paintings or mouldings or carvings in mineral or wood, or in the illustrations of books or newspapers, or in the patterns of woven stuffs, or anything to beautify rooms or furniture or costumes, or to put upon cornices or monuments, or on the prows or sterns of ships, or to put anywhere before the human eye indoors or out, that which distorts honest shapes, or which creates unearthly beings or places or contingencies, is a nuisance and revolt. Of the human form especially, it is so great it must never be made ridiculous. Of ornaments to a work nothing outre can be allow’d—but those ornaments can be allow’d that conform to the perfect facts of the open air, and that flow out of the nature of the work, and come irrepressibly from it, and are necessary to the completion of the work. Most works are most beautiful without ornament. Exaggerations will be revenged in human physiology. Clean and vigorous children are jetted and conceiv’d only in those communities where the models of natural forms are public every day. Great genius and the people of these States must never be demean’d to romances. As soon as histories are properly told, no more need of romances.
The great poets are to be known by the absence in them of tricks, and by the justification of perfect personal candor. All faults may be forgiven of him who has perfect candor. Henceforth let no man of us lie, for we have seen that openness wins the inner and outer world, and that there is no single exception, and that never since our earth gather’d itself in a mass have deceit or subterfuge or prevarication attracted its smallest particle or the faintest tinge of a shade—and that through the enveloping wealth and rank of a state, or the whole republic of states, a sneak or sly person shall be discover’d and despised—and that the soul has never once been fool’d and never can be fool’d—and thrift without the loving nod of the soul is only a fœtid puff—and there never grew up in any of the continents of the globe, nor upon any planet or satellite, nor in that condition which precedes the birth of babes, nor at any time during the changes of life, nor in any stretch of abeyance or action of vitality, nor in any process of formation or reformation anywhere, a being whose instinct hated the truth.
Extreme caution or prudence, the soundest organic health, large hope and comparison and fondness for women and children, large alimentiveness and destructiveness and causality, with a perfect sense of the oneness of nature, and the propriety of the same spirit applied to human affairs, are called up of the float of the brain of the world to be parts of the greatest poet from his birth out of his mother’s womb, and from her birth out of her mother’s. Caution seldom goes far enough. It has been thought that the prudent citizen was the citizen who applied himself to solid gains, and did well for himself and for his family, and completed a lawful life without debt or crime. The greatest poet sees and admits these economies as he sees the economies of food and sleep, but has higher notions of prudence than to think he gives much when he gives a few slight attentions at the latch of the gate. The premises of the prudence of life are not the hospitality of it, or the ripeness and harvest of it. Beyond the independence of a little sum laid aside for burial-money, and of a few clap-boards around and shingles overhead on a lot of American soil own’d, and the easy dollars that supply the year’s plain clothing and meals, the melancholy prudence of the abandonment of such a great being as a man is, to the toss and pallor of years of money-making, with all their scorching days and icy nights, and all their stifling deceits and underhand dodgings, or infinitesimals of parlors, or shameless stuffing while others starve, and all the loss of the bloom and odor of the earth, and of the flowers and atmosphere, and of the sea, and of the true taste of the women and men you pass or have to do with in youth or middle age, and the issuing sickn
ess and desperate revolt at the close of a life without elevation or naïveté, (even if you have achiev’d a secure 10,000 a year, or election to Congress or the Governorship,) and the ghastly chatter of a death without serenity or majesty, is the great fraud upon modern civilization and forethought, blotching the surface and system which civilization undeniably drafts, and moistening with tears the immense features it spreads and spreads with such velocity before the reach’d kisses of the soul.
