English Poetry and Prose of the Romantic Movement

within a second and a deeper darkness. This Mater Lachrymarum also has been sitting all this winter of 1844-5 within the bedchamber of the Czar,1 bringing before his eyes a daughter (not less pious) that vanished to God not less suddenly, and left behind her a darkness not less profound. By the power of the keys it is that Our Lady of Tears glides, a ghostly intruder, into the chambers of sleepless men, sleepless women, sleepless children, from Ganges to the Nile, from Nile to Mississippi. And her, because she is the first-born of her house, and has the widest empire, let us honor with the title of "Madonna."

general mother, but for him a stepmother, as he points with the other hand to the Bible, our general teacher, but against him sealed and sequestered; every woman sitting in 5 darkness, without love to shelter her head, or hope to illumine her solitude, because the heaven-born instincts kindling in her nature germs of holy affections, which God implanted in her womanly bosom, having been stifled by social necessities, now burn sullenly to waste, like sepulchral lamps amongst the ancients; every nun defrauded of her unreturning May-time by wicked kinsman, whom God will judge; every captive in every dungeon; all that are betrayed, and all that are rejected; outcasts by traditionary law, and children of hereditary disgrace: all these walk with Our Lady of Sighs. She also carries a key; but she needs it little. For her kingdom is chiefly amongst the tents of Shem, and the houseless vagrant of every clime. Yet in the very highest ranks of man she finds chapels of her own; and even in glorious England there are some that, to the world, carry their heads as proudly as the reindeer, who yet secretly have received her mark upon their foreheads.

The second Sister is called Mater Suspiriorum, Our Lady of Sighs. She never scales the clouds, nor walks abroad upon the winds. She wears no diadem. And her eyes, if they were ever seen, would be neither sweet nor subtle; no man could read their story; they would be found filled with perishing dreams, and with wrecks of forgotten delirium. But she raises not her eyes; her head, on which sits a dilapidated turban, droops forever, forever fastens on the dust. She weeps not. She groans not. But she sighs inaudibly at intervals. Her sister, Madonna, is oftentimes stormy and frantic, raging in the highest against heaven, and demanding back her darlings. But Our Lady of Sighs never clamors, never defies, dreams not of rebellious aspirations. She is humble to abjectness. Hers is the meekness that belongs to the hopeless. Murmur she may, but it is in her sleep. Whisper she may, but it is to herself in the twilight. Mutter she does at times, but it is in solitary places that are desolate as she is desolate, in ruined cities, and when the sun has gone down to his rest. This Sister is the visitor of the Pariah, of the Jew, of the bondsman to the oar in the Mediterranean galleys; of the English criminal in Norfolk Island, blotted out from the books of remembrance2 in sweet far-off England; of the baffled penitent reverting his eyes forever upon a solitary grave, which to him seems the altar overthrown of some past and bloody sacrifice, on which altar no oblations can now be availing, whether towards pardon that he might implore, or towards reparation that he might attempt. Every slave that at noonday looks. up to the tropical sun with timid reproach, 55 as he points with one hand to the earth, our

But the third Sister, who is also the youngest- - Hush! whisper whilst we talk of her! Her kingdom is not large, or else no flesh should live; but within that kingdom all power is hers. Her head, turreted like that of Cybele, rises almost beyond the reach of sight. She droops not; and her eyes, rising so high, might be hidden by distance. But, being what they are, they cannot be hidden; through the treble veil of crape which she wears the fierce light of a blazing misery, that rests not for matins or for vespers, for noon of day or noon of night, for ebbing or for flowing tide, may be read from the very ground. She is the defier of God. She also is the mother of lunacies, and the suggestress of suicides. Deep lie the roots of her power; but narrow is the nation that she rules. For she can approach only those in whom a profound nature has been upheaved by central convulsions; in whom the heart trembles and the brain rocks under conspiracies of tempest from without and

1 "This, the reader will be aware, applies chiefly to the cotton and tobacco States of North America; but not to them only: on which ac count I have not scrupled to figure the sun which looks down upon slavery as tropical,no matter if strictly within the tropics, or simply so near to them as to produce a similar climate."-De Quincey.

That is, among outcasts; literally, among the Hebrews, Arabs, and other Semitic races, said to be descended from Shem, the son of Noah. See Genesis, 9:27.

tempest from within. Madonna moves with uncertain steps, fast or slow, but still with tragic grace. Our Lady of Sighs creeps timidly and stealthily. But this youngest Sister moves with incalculable motions, bounding, and with tiger's leaps. She carries no key; for, though coming rarely amongst men, she storms all doors at which she is permitted to enter at all. And her name is Mater Tenebrarum,-Our Lady of Darkness.

These were the Semnai Theai or Sublime Goddesses, these were the Eumenides or Gracious Ladies (so called by antiquity in shuddering propitiation), of my Oxford dreams. Madonna spoke. She spoke by her mysterious hand. Touching my head, she beckoned to Our Lady of Sighs; and what she spoke, translated out of the signs which (except in dreams) no man reads, was this:

"Lo! here is he whom in childhood I dedicated to my altars. This is he that once I made my darling. Him I led astray, him I beguiled; and from heaven I stole away his 25 young heart to mine. Through me did he become idolatrous; and through me it was, by languishing desires, that he worshipped the worm, and prayed to the wormy grave. Holy was the grave to him; lovely was its darkness; saintly its corruption. Him, this young idolater, I have seasoned for thee, dear gentle Sister of Sighs! Do thou take him now to thy heart, and season him for our dreadful sister. And thou,"-turning 35 to the Mater Tenebrarum, she said,-"wicked sister, that temptest and hatest, do thou take him from her. See that thy sceptre lie heavy on his head. Suffer not woman and her tenderness to sit near him in his darkness. Banish the frailties of hope; wither the relenting of love; scorch the fountains of tears; curse him as only thou canst curse. So shall he be accomplished in the furnace; so shall he see the things that ought not to be seen, sights that are abominable, and secrets that are unutterable. So shall he read elder truths, sad truths, grand truths, fearful truths. So shall he rise again before he dies. And so shall our commission be accomplished which from God we had,-to plague his heart until we had unfolded the capacities of his spirit."

SAVANNAH-LA-MAR1

God smote Savannah-la-mar, and in one night, by earthquake, removed her, with all her towers standing and population sleeping, from the steadfast foundations of the shore to the coral floors of ocean. And God said, "Pompeii did I bury and conceal from men through seventeen centuries; this city I will bury, but not conceal. She shall be a monument to men of my mysterious anger, set in azure light through generations to come; for I will enshrine her in a crystal dome of my tropic seas." This city, therefore, like a mighty galleon with all her apparel mounted, streamers flying, and tackling perfect, seems floating along the noiseless depths of ocean; and oftentimes in glassy calms, through the translucid atmosphere of water that now stretches like an air-woven awning above the silent encampment, mariners from every clime look down into her courts and terraces, count her gates, and number the spires of her churches. She is one ample cemetery, and has been for many a year; but, in the mighty calms that brood for weeks over tropic latitudes, she fascinates the eye with a Fata-Morgana revelation, as of human life still subsisting in submarine asylums sacred from the storms that torment our upper air.

Thither, lured by the loveliness of cerulean depths, by the peace of human dwellings privileged from molestation, by the gleam of marble altars sleeping in everlasting sanctity, oftentimes in dreams did I and the Dark Interpreters cleave the watery veil that divided us from her streets. We looked into the belfries, where the pendulous bells were waiting in vain for the summons which should awaken their marriage peals; together we touched the mighty organ-keys, that sang no jubilates for the ear of heaven, that sang no requiems for the ear of human sorrow; together we searched the silent nurseries, where the children were all asleep, and had been asleep through five generations. "They are waiting for the heavenly dawn," whispered the Interpreter to himself: "and, when that comes, the bells and organs will utter a jubilate repeated by the echoes of Paradise. Then, turning to me, he said, "This is sad, this is piteous; but

1 Plain of the Sea.

2 That is, mirage-like; Fata Morgana is the name of a mirage off the coast of Sicily, formerly regarded as the work of Morgana the Fairy, a famous necromancer in medieval legend. One of the Suspiria papers is entitled "The Dark Interpreter."

Hymns of rejoicing (like the 100th Psalm).

less would not have sufficed for the purpose of God. Look here. Put into a Roman clepsydra1 one hundred drops of water; let these run out as the sands in an hour-glass, every drop measuring the hundredth part of a second, so that each shall represent but the three-hundred-and-sixty-thousandth part of an hour. Now, count the drops as they race along; and, when the fiftieth of the hundred is passing, behold! forty-nine are not, because already they have perished, and fifty are not, because they are yet to come. You see, therefore, how narrow, how incalculably narrow, is the true and actual present. Of that time which we call the present, 15 hardly a hundredth part but belongs either to a past which has fled, or to a future which is still on the wing. It has perished, or it is not born. It was, or it is not. Yet even this approximation to the truth is infinitely false. For again subdivide that solitary drop, which only was found to represent the present, into a lower series of similar fractions, and the actual present which you arrest measures now but the thirty-six-millionth of an hour; and so by infinite declensions the true and very present, in which only we live and enjoy, will vanish into a mote of a mote, distinguishable only by a heavenly vision. Therefore the present, which only man possesses, offers less capacity for his footing than the slenderest film that ever spider twisted from her womb. Therefore, also, even this incalculable shadow from the narrowest pencil of moonlight is more transitory than geometry can measure, or thought of angel can overtake. The time which is contracts into a mathematic point; and even that point perishes a thousand times before we can utter its birth. All is finite in the present; and even that finite is infinite in its velocity of flight towards death. But in God there is nothing finite; but in God there is nothing transitory; but in God there can be nothing that tends to death. Therefore it follows that for God there can be no present. The future is the present of God, and to the future it is that he sacrifices the human present. Therefore it is that he works by earthquake. Therefore it is that he works by grief. O, deep is the ploughing of earthquake! O, deep"- (and his voice swelled like a sanctus2 rising from a choir of a cathedral)"O, deep is the ploughing of grief! But oftentimes less would not suffice for the agriculture of God. Upon a night of

earthquake he builds a thousand years of pleasant habitations for man. Upon the sorrow of an infant he raises oftentimes from human intellects glorious vintages that could not else have been. Less than these fierce ploughshares would not have stirred the stubborn soil. The one is needed for Earth, our planet,- for Earth itself as the dwelling-place of man; but the other is needed yet oftener for God's mightiest instrument, yes," (and he looked solemnly at myself), "is needed for the mysterious children of the Earth!"

What is it that we mean by literature? Popularly, and amongst the thoughtless, it is held to include everything that is printed in a book. Little logic is required to disturb that definition. The most thoughtless person is easily made aware that in the idea of literature one essential element is,-some relation to a general and common interest of man, so that what applies only to a local or professional or merely personal interest, even though presenting itself in the shape of a book, will not belong to literature. So far the definition is easily narrowed; and it is as easily expanded. For not only is much that takes a station in books not literature, but, inversely, much that really is literature never reaches a station in books. The weekly sermons of Christendom, that vast pulpit literature which acts so extensively upon the popular mind-to warn, to uphold, to renew, to comfort, to alarm-does not attain the sanctuary of libraries in the ten-thousandth part of its extent. The drama, again, as for instance the finest of Shakspeare's plays in England and all leading Athenian plays in the noontide of the Attic stage,1 operated as a literature on the public mind, and were (according to the strictest letter of that term) published through the audiences that witnessed their representation, some time before they were published as things to be read; and they were published in this scenical mode of publication with much more effect than they could have had as books 1 The time of Eschylus, Sophocles, and Euripides, 5th century B. Č.

"Charles I, for example, when Prince of Wales, and many others in his father's court, gained their known familiarity with Shakspeare-not through the original quartos, so slenderly dif fused, nor through the first folio of 1623, but through the court representations of his chief dramas at Whitehall."-De Quincey.

during ages of costly copying or of costly printing.

Books, therefore, do not suggest an idea co-extensive and interchangeable with the idea of literature, since much literature, scenic, forensic, or didactic (as from lectures and public orators), may never come into books, and much that does come into books may connect itself with no literary interest. But a far more important correction, applicable to the common vague idea of literature, is to be sought, not so much in a better definition of literature, as in a sharper distinction of the two functions which it fulfils. In that great social organ which, collectively, 15 we call literature, there may be distinguished two separate offices, that may blend and often do so, but capable, severally, of a severe insulation, and naturally fitted for reciprocal repulsion. There is, first, the literature of knowledge, and, secondly, the literature of power. The function of the first is to teach; the function of the second is to move: the first is a rudder; the second an oar or a sail. The first speaks to the mere discursive understanding; the second speaks ultimately, it may happen, to the higher understanding, or reason, but always through affections of pleasure and sympathy. Remotely it may travel towards an object seated in what Lord Bacon calls dry light;1 but proximately it does and must operate-else it ceases to be a literature of power-on and through that humid light which clothes itself in the mists and glittering iris2 of human passions, desires, and genial emotions. Men have so little reflected on the higher functions of literature as to find it a paradox if one should describe it as a mean or subordinate purpose of books to give information. 40 But this is a paradox only in the sense which makes it honorable to be paradoxical. Whenever we talk in ordinary language of seeking information or gaining knowledge, we understand the words as connected with something of absolute novelty. But it is the grandeur of all truth which can occupy a very high place in human interests that it is never absolutely novel to the meanest of minds: it exists eternally, by way of germ or latent principle, in the lowest as in the highest, needing to be developed but never to be planted. To be capable of transplantation is the immediate criterion of a truth that ranges on a lower 1 "Heraclitus the Obscure said: The dry light was the best soul. Meaning, when the faculties intellectual are in vigor, not wet, nor, as it were, blooded by the affections."-Bacon, Apophthegms New and Old, 268 (188).

2 rainbow (Iris was the personification of the rainbow.)

scale. Besides which, there is a rarer thing than truth, namely, power, or deep sympathy with truth. What is the effect, for instance, upon society, of children? By the pity, by the tenderness, and by the peculiar modes of admiration, which connect themselves with the helplessness, with the innocence, and with the simplicity of children, not only are the primal affections strengthened and continually renewed, but the qualities which are dearest in the sight of heaven -the frailty, for instance, which appeals to forbearance, the innocence which symbolizes the heavenly, and the simplicity which is most alien from the worldly-are kept up in perpetual remembrance, and their ideals are continually refreshed. A purpose of the same nature is answered by the higher literature, viz., the literature of power. What do you learn from Paradise Lost? Nothing at all. What do you learn from a cookerybook? Something new, something that you did not know before, in every paragraph. But would you therefore put the wretched cookery-book on a higher level of estimation than the divine poem? What you owe to Milton is not any knowledge, of which a million separate items are still but a million of advancing steps on the same earthly level; what you owe is power, that is, exercise and expansion to your own latent capacity of sympathy with the infinite, where every pulse and each separate influx is a step upwards, a step ascending as upon a Jacob's ladder1 from earth to mysterious altitudes above the earth. All the steps of knowledge, from first to last, carry you further on the same plane, but could never raise you one foot above your ancient level of earth; whereas the very first step in power is a flight, is an ascending movement into another element where earth is forgotten.

Were it not that human sensibilities are ventilated and continually called out into exercise by the great phenomena of infancy, or of real life as it moves through chance and change, or of literature as it recombines these elements in the mimicries of poeiry, romance, etc., it is certain that, like any animal power or muscular energy falling into disuse, all such sensibilities would gradually droop and dwindle. It is in relation to these great moral capacities of man that the literature of power, as contra-distinguished from that of knowledge, lives and has its field of action. It is concerned with what is highest in man; for the Scriptures themselves never condescended to deal by sug1 See Genesis, 28:12.

gestion or co-operation with the mere discursive understanding: when speaking of man in his intellectual capacity, the Scriptures speak, not of the understanding, but of "the understanding heart,'" making the heart, that is, the great intuitive (or nondiscursive) organ, to be the interchangeable formula for man in his highest state of capacity for the infinite. Tragedy, romance, fairy tale, or epopee,2 all alike restore to man's mind the ideals of justice, of hope, of truth, of mercy, of retribution, which else (left to the support of daily life in its realities) would languish for want of sufficient illustration. What is meant, for instance, by poetic justice? It does not mean a justice that differs by its object from the ordinary justice of human jurisprudence, for then it must be confessedly a very bad kind of justice; but it means a justice that differs from common forensic justice by the degree in which it attains its object, a justice that is more omnipotent over its own ends, as dealing, not with the refractory elements of earthly life, but with the elements of its own creation and with materials flexible to its own purest preconceptions. It is certain that, were it not for the literature of power, these ideals would often remain amongst us as mere arid notional forms; whereas, by the creative forces of man put forth in literature, they gain a vernal life of restoration and germinate into vital activities. The commonest novel, by moving in alliance with human fears and hopes, with human instincts of wrong and right, sustains and quickens those affections. Calling them into action, it rescues them from torpor. And hence the pre-eminency, over all authors that merely teach, of the meanest that moves, or that teaches, if at all, indirectly by moving. The very highest work that has ever existed in the literature of knowledge is but a provisional work, a book upon trial and sufferance, and quamdiu bene se gesserit.3 Let its teaching be even partially revised, let it be but expanded, nay, even let its teaching be but placed in a better order, and instantly it is superseded. Whereas the feeblest works in the literature of power, surviving at all, survive as finished and unalterable among men. For instance, the Principia of Sir Isaac Newton was a book militant on earth from the first. In all

stages of its progress it would have to fight for its existence: first, as regards absolute truth; secondly, when that combat was over, as regards its form, or mode of presenting the truth. And as soon as a La Place, or anybody else, builds higher upon the foundations laid by this book, effectually he throws it out of the sunshine into decay and darkness; by weapons won from this book he superannuates and destroys this book, so that soon the name of Newton remains as a mere nominis umbra,1 but his book, as a living power, has transmigrated into other forms. Now, on the contrary, the Iliad, the Prometheus of Eschylus, the Othello or King Lear, the Hamlet or Macbeth, and the Paradise Lost are not militant but triumphant forever, as long as the languages exist in which they speak or can be taught to speak. They never can transmigrate into new incarnations. To reproduce these in new forms or variations, even if in some things they should be improved, would be to plagiarize. A good steam-engine is properly superseded by a better. But one lovely pastoral valley is not superseded by another, nor a statue of Praxiteles by a statue of Michael Angelo. These things are separated, not by imparity, but by disparity. They are not thought of as unequal under the same standard, but as different in kind, and, if otherwise equal, as equal under a different standard. Human works of immortal beauty and works of nature in one respect stand on the same footing: they never absolutely repeat each other, never approach so near as not to differ; and they differ not as better and worse, or simply by more and less; they differ by undecipherable and incommunicable differences, that cannot be caught by mimicries, that cannot be reflected in the mirror of copies, that cannot become ponderable in the scales of vulgar comparison.

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