The Indianapolis journal., 1896-04-26

IN AmfrIf4m TOtk Oh A<ohtt
and sweet Spirit.
The announcement OF reading from sid
ney Lanier's poems, by his wife. will meet
with a warm response from everyone WHO
has formed even a slight acquaintance with
the work OF that noble and beautiful spirit.
The publication Of Sidney Laniers poems.
o. the Scribners. in 1881, was a revelation
10 many VINO had not previously known their
author. or had known him only through such
disconnected impressions as one Is likely to
get from magazine contributions. At once 1t
became apparent how much the world had
gained. and. alas. how much also It had lost
through the too-early death OF this
poet Comparisons are usually odious. but
certainly one may search a long way in
poetry and not ind such grace and beauty
and strength OF musical form. clothing
thoughts Of so great nobility. embodying vi
sions OF such purity and worth.
Lanier had remarkable sense OF sound,
OF the rhythmical value OF words: IT was a
part OF his musical inheritance. He might
have been great musical composer. as he
was a great musician. The Song of the
Chattahoochie' win rank with Tennyson's $
Brook" even II 1t does not outrank it in
ioftiness OF theme. but they are both revela-
tons OF the rhythmical power and value OF
words.
But this aspect OF poetry was in Sidney
Laniers thought only the beginning, only and
always subordinate. how subordinate one may
understand from his own criticism OF SWIM
burne: "He invited me to eat; the service
was silver and gold, but no food therein save
pepper and salt" And OF William Morris:
He caught a crystal cupful OF the yellow
light Of sunset. and. persuading himself to
dream 1t wine. drank IL with sort OF
SMILE"
In the outward form Of Lanier's verse one
finds 'fhe service Of silver and gold' and the
light OF sunset" but he finds more than that
he finds the presence OF a great spirit-the
Inspiration OF a great purpose. An age that
feels the presence of literary eccentricity
and all the signs OF inspiration yielding to
aestheticism may well arouse itself by lis
tening to what this lamented poet, who was
for brief time lecturer in literature at
Johns Hopkins University. had to say on the
subject OF the moral element In literature:
let any sculptor hew US out the most raw
tshing combination OF tender curves and
epheric softness that ever stood for woman,
yet, IL the lip have a certain fullness that
hints OF the flesh, If the brow be insincere,
II In the nrinutest particular the physical
beauty suggests moral ugliness, that sculp-
tor-unless he be portraying moral ugliness
for a moral purpose-may as we'll give over
his marble for paving stones. Time, whose
judgments are inexorably moral will not ac-
cept his work For indeed we may say that
he has not yet perceived how artistic beauty
and moral beauty are convergent lines which
run back into q common ideal origin, and
who, therefore. Is not afire with moral beauty
just an with artistic beauty; that he, in
abort. who has not come to that stage of
quiet and eternal frenzy in which the beauty
OF holiness and the holiness of beauty mean
one thing. burn as one fire. shine as one
light with him-he is not yet the great art
ist."
There Is almost no story In our recent lit
erary annals more touching or more tragic
than the struggle of this brave soul for life.
. Against hopeless odds, fighting the ravages
OF disease, utterly incapable OF work for
weeks together, his indomitable will again
and again compelled the spirit that was in
him 20 speak out. This single volume Of his
verse, one is painfully aware. is but the wit
ness that we had among us a noble genius
which was stricken down before It had fully
uttered itself; II is the prophecy OF what
might have been a lofty contribution to our
permanent literature. and it will even now be
q long time before the greatest of these
poems will cease to sing in our ears. A col
lection OF verse, under the title OF "A Masque
OF Poets" was published in the NO Name
Series OF Roberts Brothers, in 1878. One
poem In this anonymous collection was ''The
Marshes OF Giynn.'' 1T was from the pen of
Sidney Lanier. and 1t not only evinced itself
one OF the finest in that collection. but IL
also bears witness to much that is loftiest
and best In the character OF this poet, who
learned in suffering what he taught in
cong"
''Ye marshes. how candid and simple and
nothing Withholding and free
Ye publish yourselves 10 the sky and offer
yourselves TO the sea,
Tolerant plains. that suffer the sea and the
rains and the sun.
Ye spread and span like the catholic man
who hath nightly won
God out Of knowledge and good out Of infinite
And sight out of blindness and purity out of
stain.
As the marsh-hen secretly builds on the
Behold. l will build me nest on the great
ness OF God:
] will fly. in the greatness OF God as the
n-Qen
In the freedom that fills all the space 'twixt
the marsh and the skies;
BY 50 many roots as the marsh-grass sends
In the sod
I will heartily lay me a-hold or the great
ness Of God"
Sidney Lanier is one OF the spirits to whom
many OF US will turn for strength and cour-
age and Inspiration; TO know the story of his
life Is itself an incentive to fortitude and pa
tience: and everyone who has felt the touch
OF his spirit will rejoice in the opportunity
that is offered the community tomorrow
evening TO listen to an Interpretation of his
poetry from one who knew and loved hin,
best. d
RICTCIC CIryAT CONN