The Atlantic Monthly, Volume 18, No. 105, July 1866

The meadow-birds sing sweeter, and the airs
Of heaven with more caressing softness play,
Welcoming man to liberty like theirs.
A glory clothes the land from sea to sea,
For the great land and all its coasts are free.

Within that land wert thou enthroned of late,
And they by whom the nation's laws were made,
And they who filled its judgment-seats, obeyed
Thy mandate, rigid as the will of fate.
Fierce men at thy right hand,
With gesture of command,
Gave forth the word that none might dare gainsay;
And grave and reverend ones, who loved thee not,
Shrank from thy presence, and, in blank dismay,
Choked down, unuttered, the rebellious thought;
While meaner cowards, mingling with thy train,
Proved, from the book of God, thy right to reign.

Great as thou wert, and feared from shore to shore,
The wrath of God o'ertook thee in thy pride;
Thou sitt'st a ghastly shadow; by thy side
Thy once strong arms hang nerveless evermore.
And they who quailed but now
Before thy lowering brow
Devote thy memory to scorn and shame,
And scoff at the pale, powerless thing thou art.
And they who ruled in thine imperial name,
Subdued, and standing sullenly apart,
Scowl at the hands that overthrew thy reign,
And shattered at a blow the prisoner's chain.

Well was thy doom deserved; thou didst not spare
Life's tenderest ties, but cruelly didst part
Husband and wife, and from the mother's heart
Didst wrest her children, deaf to shriek and prayer;
Thy inner lair became
The haunt of guilty shame;
Thy lash dropped blood; the murderer, at thy side,
Showed his red hands, nor feared the vengeance due.
Thou didst sow earth with crimes, and, far and wide,
A harvest of uncounted miseries grew,
Until the measure of thy sins at last
Was full, and then the avenging bolt was cast.

Go then, accursed of God, and take thy place
With baleful memories of the elder time,
With many a wasting pest, and nameless crime,
And bloody war that thinned the human race;
With the Black Death, whose way
Through wailing cities lay,
Worship of Moloch, tyrannies that built
The Pyramids, and cruel creeds that taught
To avenge a fancied guilt by deeper guilt,—
Death at the stake to those that held them not.
Lo, the foul phantoms, silent in the gloom
Of the flown ages, part to yield thee room.

I see the better years that hasten by
Carry thee back into that shadowy past,
Where, in the dusty spaces, void and vast,
The graves of those whom thou hast murdered lie.
The slave-pen, through whose door
Thy victims pass no more,
Is there, and there shall the grim block remain
At which the slave was sold; while at thy feet
Scourges and engines of restraint and pain
Moulder and rust by thine eternal seat.
There, 'mid the symbols that proclaim thy crimes,
Dwell thou, a warning to the coming times.

REVIEWS AND LITERARY NOTICES

Ecce Homo: a Survey of the Life and Work of Jesus Christ. Boston: Roberts Brothers.

The merits of this book are popular and obvious, consisting in a strain of liberal, enlightened sentiment, an ingenious and original cast of thought, and a painstaking lucidity of style which leaves the writer's meaning even prosaically plain. There is a good deal of absurd and even puerile exegesis in its pages, which makes you wonder how so much sentimentality can co-exist with so much ability; but the book is vitiated for all purposes beyond mere literary entertainment by one grand defect, which is the guarded theologic obscurity the writer keeps up, or the attempt he makes to estimate Christianity apart from all question of the truth or falsity of Christ's personal pretensions towards God. The author may have reached in his own mind the most definite theologic convictions, but he sedulously withholds them from his reader; and the consequence is, that the book awakens and satisfies no intellectual interest in the latter, but remains at best a curious literary speculation. For what men have always been moved by in Christianity is not so much the superiority of its moral inculcations to those of other faiths, as its uncompromising pretension to be a final or absolute religion. If Christ be only the eminently good and wise and philanthropic man the author describes him to be, deliberating, legislating, for the improvement of man's morals, he may be very admirable, but nothing can be inferred from that circumstance to the deeper inquiry. If he claim no essentially different significance to our regard, on God's part, than that claimed by Zoroaster, Confucius, Mahomet, Hildebrand, Luther, Wesley, he is to be sure still entitled to all the respect inherent in such an office; but then there is no a priori reason why his teaching and influence should not be superseded in process of time by that of any at present unmentionable Anne Lee, Joanna Southcote, or Joe Smith. And what the human mind craves, above all things else, is repose towards God,—is not to remain a helpless sport to every fanatic sot that comes up from the abyss of human vanity, and claims to hold it captive by the assumption of a new Divine mission.

The objection to the mythic view of Christ's significance, which is that maintained by Strauss, is, that it violates men's faith in the integrity of history as a veracious outcome of the providential love and wisdom which are extant and operative in human affairs. And the objection to what has been called the Troubadour view of the same subject, which is that represented by M. Renan, is, that it outrages men's faith in human character, regarded, if not as habitually, still as occasionally capable of heroic or consistent veracity. We may safely argue, then, that neither Strauss nor Renan will possess any long vitality to human thought. They are both fascinating reading;—the one for his profound sincerity, or his conviction of a worth in Christianity so broadly human and impersonal as to exempt it from the obligations of a literal historic doctrine; the other for his profound insincerity, so to speak, or an egotism so subtile, so capacious and frank, as permits him to take up the grandest character in history into the hollow of his hand, and turn him about there for critical inspection and definite adjustment to the race, with absolutely no more reverence nor reticence than a buyer of grain shows to a handful of wheat, as he pours it dexterously from hand to hand, and blows the chaff in the seller's face.[7 - Of course we have no disposition to deny M. Renan's right to reduce Christ and every other historic figure to the standard of the most modern critical art. We merely mean to say that this is all M. Renan does, and that the all is not much.] But both writers alike are left behind us in the library, and are not subsequently brought to mind by anything we encounter in the fields or the streets.

The author of Ecce Homo does no dishonor to the Christian history as history, however foolishly he expatiates at times upon its incidents and implications; much less to the simple and perfect integrity of Christ as a man, but no more than Strauss or Renan does he meet the supreme want of the popular understanding, which is to know wherein Christianity has the right it claims to be regarded as a final or complete revelation of the Divine name upon the earth. We think, moreover, that the reason of the omission is the same in every case, being the sheer and contented indifference which each of the writers feels to the question of a revelation in the abstract or general, regarded as a sine qua non of any sympathetic or rational intercourse which may be considered as possible between God and man. We should not be so presumptuous as to invite our readers' attention to the discussion of so grave a philosophic topic as the one here referred to, in the limited space at our command; but surely it may be said, without any danger of misunderstanding from the most cursory reader, that if creation were the absolute or unconditioned verity which thoughtless people deem it, there could be no ratio between Creator and creature, hence no intercourse or intimacy, inasmuch as the one is being itself, and the other does not even exist or seem to be but by him. In order that creation should be a rational product of Divine power, in order that the creature should be a being of reason, endowed with the responsibility of his own actions, it is imperative that the Creator disown his essential infinitude and diminish himself to the creature's dimensions; that he hide or obscure his own perfection in the creature's imperfection, to the extent even of rendering it fairly problematic whether or not an infinite being really exist, so putting man, as it were, upon the spontaneous search and demand for such a being, and in that measure developing his rational possibilities. And if this be so,—if creation philosophically involve a descending movement on the Creator's part proportionate to the ascending one contemplated on the creature's part,—then it follows that creation is not a simple, but a complex process, involving equally a Divine action and a human reaction, or the due adjustment of means and ends; and that no writer, consequently, can long satisfy the intellect in the sphere of religious thought, who either jauntily or ignorantly overlooks this philosophic necessity. This, however, is what Messrs. Strauss and Renan and the author of Ecce Homo agree to do; and this is what makes their several books, whatever subjective differences characterize them to a literary regard, alike objectively unprofitable as instruments of intellectual progress.

The Masquerade and Other Poems. By John Godfrey Saxe. Boston: Ticknor and Fields.

It was remarked lately by an ingenious writer, that "it never seems to occur to some people, who deliver upon the books they read very unhesitating judgments, that they may be wanting, either by congenital defect, or defect of experience, or defect of reproductive memory, in the qualifications which are necessary for judging fairly of any particular book." To poetry this remark applies with especial force.

By poetry we do not understand mere verse, but any form of literary composition which reproduces in the mind certain emotions which, in the absence of an epithet less vague, we shall call poetical. These emotions may be a compound of the sensuous and the purely intellectual, or they may partake much more of the one than of the other. (The rigorous metaphysician will please not begin to carp at our definition.) These emotions may be excited by an odor, the state of the atmosphere, a strain of music, a form of words, or by a single word; and, as they result largely from association, it is obvious that what may be poetry to some minds may not be poetry to others,—may not be poetry to the same mind at different periods of life or in different moods. The most sympathetic, most catholic, most receptive mind will always be the best qualified to detect and appreciate poetry under all its various forms, and would as soon think of denying the devotional faculty to a man of differing creed, as of denying the poetical to one whose theory or habit of expression may chance to differ from its own. Goethe was so apt to discover something good in poems which others dismissed as wholly worthless, that it was said of him, "his commendation is a brevet of mediocrity." Perhaps it was his "many-sidedness" that made him so accurate a "detective" in criticism.

According to Wordsworth, "poetry is the spontaneous overflow of powerful feelings; it takes its origin from emotion recollected in tranquillity." A good definition so far as it goes. But Wordsworth could see only one side of the shield. He was notoriously so deficient in the faculty of humor, that even Sydney Smith was unintelligible to him. Few specimens of what can be called wit can be found in his writings. He could not see that there is a poetry of wit as well as of sentiment,—of the intellect as well as of the emotions. No wonder he could not enjoy Pope, and had little relish for Horace. And yet how grand is Wordsworth in his own peculiar sphere!

Those narrow views of the province of poetry, which roused the indignation of Byron, and which would exclude such writers as Goldsmith, Pope, Campbell, Scott, Praed, Moore, and Saxe from the rank of poets, are not unfrequently reproduced in our own day. We do not perceive that they spring from a liberal or philosophical consideration of the subject. Poetry,ποιησις, or "making," creation, or re-creation, does not address itself to any single group of those faculties of our complex nature, the gratification of which brings a sense of the agreeable, the exhilarating, or the elevating. As well might we deny to didactic verse the name of poetry, as to those vers de société in which a profound truth may be found in a comic mask, or the foibles which scolding could not reach may be reflected in the mirror held up in gayety of heart. As well might we deny that a waltz is music, and claim the name of music only for a funeral march or a nocturne, as deny that Shakespeare's description of Queen Mab is as much poetry as the stately words in which Prospero compares the vanishing of his insubstantial pageant to that of

"The cloud-capped towers, the gorgeous palaces,
The solemn temples, the great globe itself."

The new volume of poems by Mr. Saxe is, in many respects, an improvement on all that he has given us hitherto. There is more versatility in the style, a freer and firmer touch in the handling. Like our best humorists, he shows that the founts of tears and of laughter lie close together; for his power of pathos is almost as marked as that of fun. As good specimens of what he has accomplished in the minor key, we may instance "The Expected Ship," "The Story of Life," and "Pan Immortal." But it is in his faculty of turning upon us the whimsical and humorous side of a fact or a character that Saxe especially excels. The lines entitled "The Superfluous Man" are an illustration of what we mean. In some learned treatise the author stumbles on the following somewhat startling reflection: "It is ascertained by inspection of the registers of many countries, that the uniform proportion of male to female births is as 21 to 20: accordingly, in respect to marriage, every 21st man is naturally superfluous." Here is hint enough to set Saxe's bright vein of humor flowing. The Superfluous Man becomes a concrete embodiment, and sings his discovery of the cause of his forlorn single lot and his hopeless predicament. It flashes upon him that he is that 21st man alluded to by the profound statistician. He is under a natural ban,—for he's a superfluous man. There's no use fighting 'gainst nature's inflexible plan. There's never a woman for him,—for he's a superfluous man. The whole conception and execution of the poem afford a fine example of the manner in which a genuine artist may inform a subtile and an extravagant whim with life, humor, and consistency.

"The Mourner a la Mode" contains some good instances of the neatness and felicity with which the author floods a whole stanza with humor by a single epithet.

"What tears of vicarious woe.
That else might have sullied her face,