less he come into the conditions. The painter, the sculptor, the composer, the epic rhapsodist, the orator, all partake one desire, namely, to express themselves symmetrically and abundantly, not dwarfishly and fragmentarily. They found or put themselves in certain conditions, as, the painter and sculptor before some impressive human figures; the orator, into the assembly of the people; and the others, in such scenes as each has found exciting to his intellect; and each presently feels the new desire. He hears a voice, he sees a beckoning. Then he is apprised, with wonder, what herds of dæmons hem him in. He can no more rest; he says, with the old painter, "By God, it is in me, and must go forth of me." He pursues a beauty, half seen, which flies before him. The poet pours out verses in every solitude. Most of the things he says are conventional, no doubt; but by and by he says something which is original and beautiful. That charms him. He would say nothing else but such things. In our way of talking, we say, "That is yours, this is mine;" but the poet knows well that it is not his; that it is as strange and beautiful to him as to you; he would fain hear the like eloquence at length. Once having tasted this immortal ichor, he cannot have enough of it, and, as an admirable creative power exists in these intellections, it is of the last importance that these things get spoken. What a little of all we know is said! What drops of all the sea of our science are baled up! and by what accident it is that these are exposed, when so many secrets sleep in nature! Hence the necessity of speech and song; hence these throbs and heart-beatings in the orator, at the door of the assembly, to the end, namely, that thought may be ejaculated as Logos, or Word.

Doubt not, O poet, but persist. Say, "It is in me, and shall out." Stand there, balked and dumb, stuttering and stammering, hissed and hooted, stand and strive, until, at last, rage draw out of thee that dream-power which every night shows thee is thine own; a power transcending all limit and privacy, and by virtue of which a man is the conductor of the whole river of electricity. Nothing walks, or creeps, or grows, or exists, which must not in turn arise and walk before him as exponent of his meaning. Comes he to that power, his genius is no longer exhaustible. All the creatures,

by pairs and by tribes, pour into his mind as into a Noah's ark, to come forth again to people a new world. This is like the stock of air for our respiration, or for the combustion of our fireplace, not a measure of gallons, but the entire atmosphere if wanted. And therefore the rich poets, as Homer, Chaucer, Shakspeare, and Raphael, have obviously no limits to their works, except the limits of their lifetime, and resemble a mirror carried through the street, ready to render an image of every created thing.

O poet! a new nobility is conferred in groves and pastures, and not in castles, or by the sword-blade, any longer. The conditions are hard, but equal. Thou shalt leave the world, and know the muse only. Thou shalt not know any longer the times, customs, graces, politics, or opinions of men, but shalt take all from the muse. For the time of towns is tolled from the world by funereal chimes, but in nature the universal hours are counted by succeeding tribes of animals and plants, and by growth of joy on joy. God wills also that thou abdicate a manifold and duplex life, and that thou be content that others speak for thee. Others shall be thy gentlemen, and shall represent all courtesy and worldly life for thee; others shall do the great and resounding actions also. Thou shalt lie close hid with nature, and canst not be afforded to the Capitol or the Exchange. The world is full of renunciations and apprenticeships, and this is thine: thou must pass for a fool and a churl for a long season. This is the screen and sheath in which Pan has protected his well-beloved flower, and thou shalt be known only to thine own, and they shall console thee with tenderest love. And thou shalt not be able to rehearse the names of thy friends in thy verse, for an old shame before the holy ideal. And this is the reward: that the ideal shall be real to thee, and the impressions of the actual world shall fall like summer rain, copious, but not troublesome, to thy invulnerable essence. Thou shalt have the whole land for thy park and manor, the sea for thy bath and navigation, without tax and without envy; the woods and the rivers thou shalt own; and thou shalt possess that wherein others are only tenants and boarders. Thou true land-lord! sea-lord! air-lord! Wherever snow falls, or water flows, or birds fly, wherever day and night meet in twilight,

wherever the blue heaven is hung by clouds, or sown with stars, wherever are forms with transparent boundaries, wherever are outlets into celestial space, wherever is danger, and awe, and love, there is Beauty, plenteous as rain, shed for thee, and though thou shouldest walk the world over, thou shalt not be able to find a condition inopportune or ignoble.

I

CHARACTER

(1844)

The sun set; but set not his hope:
Stars rose; his faith was earlier up:
Fixed on the enormous galaxy,
Deeper and older seemed his eye:
And matched his sufferance sublime

The taciturnity of time.

He spoke, and words more soft than rain
Brought the Age of Gold again:

His action won such reverence sweet,

As hid all measure of the feat.

Work of his hand

He nor commends nor grieves:
Pleads for itself the fact;

As unrepenting Nature leaves
Her every act.

HAVE read that those who listened to Lord Chatham

felt that there was something finer in the man, than

anything which he said. It has been complained of our brilliant English historian of the French Revolution, that when he has told all his facts about Mirabeau, they do not justify his estimate of his genius. The Gracchi, Agis, Cleomenes, and others of Plutarch's heroes, do not in the record of facts equal their own fame. Sir Philip Sidney, the Earl of Essex, Sir Walter Raleigh, are men of great figure, and of few deeds. We cannot find the smallest part of the personal weight of Washington, in the narrative of his exploits. The authority of the name of Schiller is too great for his books. This inequality of the reputation to the works or the anecdotes is not accounted for by saying that the reverberation is longer than the thunder-clap; but somewhat resided in these men which begot an expectation that outran all their performance. The largest part of their power was