parent two rods off. She makes a man ; and having brought him to ripe age, she will no longer run the risk of losing this wonder at a blow, but she detaches from him a new self, that the kind may be safe from accidents to which the individual is exposed. So when the soul of the poet has come to ripeness of thought, she detaches and sends away from it its poems or songs,-a fearless, sleepless, deathless progeny, which is not exposed to the accidents of the weary kingdom of time; a fearless, vivacious offspring, clad with wings (such was the virtue of the soul out of which they came), which carry them fast and far, and infix them irrecoverably into the hearts of men. These wings are the beauty of the poet's soul. The songs, thus flying immortal from their mortal parent, are pursued by clamorous flights of censures, which swarm in far greater numbers, and threaten to devour them; but these last are not winged. At the end of a very short leap they fall plump down, and rot, having received from the souls out of which they came no beautiful wings. But the melodies of the poet ascend, and leap, and pierce into the deeps of infinite time. So far the bard taught me, using his freer speech. But nature has a higher end, in the production of new individuals, than security, namely, ascension, or, the passage of the soul into higher forms. I knew, in my younger days, the sculptor who made the statue of the youth which stands in the public garden. He was, as I remember, unable to tell directly what made him happy, or unhappy, but by wonderful indirections he could tell. He rose one day, according to his habit, before the dawn, and saw the morning break, grand as the eternity out of which it came, and, for many days after, he strove to express this tranquillity, and, lo! his chisel had fashioned out of marble the form of a beautiful youth, Phosphorus, whose aspect is such, that, it is said, all persons who look on it become silent. The poet also resigns himself to his mood, and that thought which agitated him is expressed, but alter idem, in a manner totally new. The expression is organic, or, the new type which things themselves take when liberated. As, in the sun, objects paint their images on the retina of the eye, so they, sharing the aspiration of the whole universe, tend to paint a far more delicate copy of their essence in his mind. Like the metamorphosis of things into higher organic forms, is their change into melodies. Over everything stands its demon, or soul, and, as the form of the thing is reflected by eye, so the soul of the thing is reflected by a melody. The sea, the mountain-ridge, Niagara, and every flower-bed, pre-exist, or super-exist, in pre-cantations, which sail like odours in the air, and when any man goes by with an ear sufficiently fine, he overhears them, and endeavours to write down the notes, without diluting or depraving them. And herein is the legitimation of criticism, the in the mind's faith, that the poems are a corrupt version of some text in nature, with which they ought to be made to tally. A rhyme in one of our sonnets shonld not be less pleasing than the iterated nodes of a seashell, or the resembling difference of a group of flowers. The pairing of the birds is an idyl, not tedious as our idyls are; a tempest is a rough ode, without falsehood or rant; a Summer, with its harvest sown, reaped, and stored, is an epic song, subordinating how many admirably executed parts. Why should not the symmetry and truth that modulate these glide into our spirits, and we participate the invention of nature? This insight, which expresses itself by what is called Imagination, is a very high sort of seeing, which does not come by study, but by the intellect being where and what it sees, by sharing the path or circuit of things through forms, and so making them translucid to others. The path of things is silent. Will they suffer a speaker to go with them? A spy they will not suffer; a lover, a poet, is the transcendency of their own nature,him they will suffer. The condition of true naming, on the poet's part, is his resigning himself to the divine aura which breathes through forms, and accompanying that. It is a secret which every intellectual man quickly learns, that, beyond the energy of his possessed and conscious intellect, he is capable of a new energy (as of an intellect doubled on itself), by abandonment to the nature of things; that, beside his privacy of power as an individual man, there is a great public power, on which he can draw, by unlocking, at all risks, his human doors, and suffering the ethereal tides to roll and circulate through him: then he is caught up into the life of the Universe, his speech is thunder, his thought is law, and his words are universally intelligible as the plants and animals. The poet knows that he speaks adequately, then, only, when he speaks somewhat wildly, or, "with the flower of the mind”; not with the intellect, used as an organ, but with the intellect released from all service, and suffered to take its direction from its celestial life; or, as the ancients were wont to express themselves, not with intellect alone, but with the intellect inebriated by nectar. As the traveller who has lost his way throws his reins on his horse's neck, and trusts to the instinct of the animal to find his road, so must we do with the divine animal who carries us through this world. For if in any manner we can stimulate this instinct, new passages are opened for us into nature, the mind flows into and through things hardest and highest, and the metamorphosis is possible. This is the reason why bards love wine, If thou fill thy Poets mead, narcotics, coffee, tea, opium, the | such as are of simple taste. fumes of sandal-wood and tobacco, or what-brain with Boston and New York, with ever other procurers of animal exhilaration. fashion and covetousness, and wilt stimulate All men avail themselves of such means as thy jaded senses with wine and French they can, to add this extraordinary power to coffee, thou shalt find no radiance of wisdom their normal powers; and to this end they in the lonely waste of the pine-woods. prize conversation, music, pictures, sculpture, If the imagination intoxicates the poet, it dancing, theatres, travelling, war, mobs, is not inactive in other men. The metafires, gaming, politics, or love, or science, morphosis excites in the beholder an emotion or animal intoxication, which are several of joy. The use of symbols has a certain coarser or finer quasi-mechanical substitutes power of emancipation and exhilaration for for the true nectar, which is the ravishment all men. We seem to be touched by a of the intellect by coming nearer to the fact. wand, which makes us dance and run about These are auxiliaries to the centrifugal ten- happily, like children. We are like persons dency of a man, to his passage out into free who come out of a cave or cellar into the space, and they help him to escape the open air. This is the effect on us of tropes, custody of that body in which he is pent up, fables, oracles, and all poetic forms. and of that jail-yard of individual relations are thus liberating gods. Men have really in which he is enclosed. Hence a great got a new sense, and found within their number of such as were professionally ex- world another world, or nest of worlds; for, pressors of Beauty, as painters, poets, the metamorphosis once seen, we divine that musicians, and actors, have been more than it does not stop. I will not now consider others wont to lead a life of pleasure and how much this makes the charm of algebra indulgence all but the few who received and the mathematics, which also have their the true nectar; and, as it was a spurious tropes, but it is felt in every definition; as, mode of attaining freedom, as it was an when Aristotle defines space to be an imemancipation not into the heavens, but into movable vessel, in which things are conthe freedom of baser places, they were pun-tained; or, when Plato defines a line to be ished for that advantage they won, by a dissipation and deterioration. But never can any advantage be taken of nature by a trick. The spirit of the world, the great calm presence of the Creator, comes not forth to the sorceries of opium or of wine. The sublime vision comes to the pure and simple soul in a clean and chaste body. That is not an inspiration which we owe to narcotics, but some counterfeit excitement and fury. Milton says that the lyric poet may drink wine and live generously, but the epic poet, he who shall sing of the gods, and their descent unto men, must drink water out of a wooden bowl. For poetry is not Devil's wine,' but God's wine. It is with this as it is with toys. We fill the hands and nurseries of our children with all manner of dolls, drums, and horses, withdrawing their eyes from the plain face and sufficing objects of nature, the sun, and moon, the animals, the water, and stones, which should be their toys. So the poet's habit of living should be set on a key so low, that the common influences should delight him. His cheerfulness should be the gift of the sunlight; the air should suffice for his inspiration, and he should be tipsy with water. That spirit which suffices quiet hearts, which seems to come forth to such from every dry knoll of sere grass, from every pine stump, and half-imbedded stone, on which the dull March sun shines, comes forth to the poor and hungry, and a flowing point; or, figure to be a bound of solid; and many the like. What a joyful sense of freedom we have, when Vitruvius announces the old opinion of artists, that no architect can build any house well, who does not know something of anatomy. When Socrates, in Charmides, tells us that the soul is cured of its maladies by certain incantations, and that these incantations are beautiful reasons, from which temperance is generated in souls; when Plato calls the world an animal; and Timæus affirms that the plants also are animals; or affirms a man to be a heavenly tree, growing with its root, which is his head, upward; and, as George Chapman, following him, writes, "So in our tree of man, whose nervie root, when Orpheus speaks of hoariness as the cheerful hint of the immortality of our essence, and its versatile habit and escapes, as when the gypsies say of themselves," It is in vain to hang them, they cannot die." The poets are thus liberating gods. The ancient British bards had for the title of their order, "Those who are free throughout the world." They are free and they make free. An imaginative book renders us much more service at first, by stimulating us through its tropes, than afterward, when we arrive at the precise sense of the author. I think nothing is of any value in books. excepting the transcendental and extraordinary. If a man is inflamed and carried away by his thought, to that degree that he forgets the authors and the public, and heeds only this one dream, which holds him like an insanity, let me read his paper, and you may have all the arguments and histories and criticism. All the value which attaches to Pythagoras, Paracelsus, Cornelius, Agrippa, Cardan, Kepler, Swedenborg, Schelling, Oken, or any other who introduces questionable facts into his cosmogony, as angels, devils, magic, astrology, palmistry, mesmerism, and so on, is the certificate we have of departure from routine, and that here is a new witness. That also is the best success in conversation, the magic of liberty, which puts the world, like a ball, in our hands. How cheap even the liberty then seems; how mean to study, when an emotion communicates to the intellect the power to sap and upheave nature: how great the perspective! nations, times, systems, enter and disappear, like threads in tapestry of large figure and many colours; dream delivers us to dream, and, while the drunkenness lasts, we will sell our bed, our philosophy, our religion, in our opulence. There is good reason why we should prize this liberation. The fate of the poor shepherd, who, blinded and lost in the snow-storm, perishes in a drift within a few feet of his cottage door, is an emblem of the state of man. On the brink of the waters of life and truth, we are miserably dying. The inaccessibleness of every thought but that we are in, is wonderful. What if you come near to it,-you are as remote, when you are nearest, as when you are farthest. Every thought is also a prison; every Heaven is also a prison. Therefore we love the poet, the inventor, who in any form, whether in an ode, or in an action, or in looks and behaviour, has yielded us a new thought. He unlocks our chains, and admits us to a new scene. This emancipation is dear to all men, and the power to impart it, as it must come from greater depth and scope of thought, is a measure of intellect. Therefore all books of the imagination endure, all which ascend to that truth, that the writer sees nature beneath him, and uses it as his exponent. Every verse or sentence, possessing this virtue, will take care of its own immortality. The religions of the world are the ejaculations of a few imaginative men. But the quality of the imagination is to flow, and not to freeze. The poet did not stopat the colour, or the form, but read their meaning, neither may he rest in this meaning, but he makes the same objects exponents of his new thought. Here is the difference betwixt the poet and the mystic, that the last nails a symbol to one sense, which was a true sense for a moment, but soon becomes old and false. For all symbols are fluxional; all language is vehicular and transitive, and is good, as ferries and horses are, for conveyance, not as farms and houses are, for homestead. Mysticism consists in the mistake of an accidental and individual symbol for an universal one. The morning redness happens to be the favourite meteor to the eyes of Jacob Behmen, and comes to stand to him for truth and faith; and he believes should stand for the same realities to every reader. But the first reader prefers as naturally the symbol of a mother and child, or a gardener and his bulb, or a jeweller polishing a gem. Either of these, or of a myriad more, are equally good to the person to whom they are significant. Only they must be held lightly, and be very willingly translated into the equivalent terms which others use. And the mystic must be steadily told, All that you say is just as true without the tedious use of that symbol as with it. Let us have a little algebra, instead of this trite rhetoric,-universal signs instead of these village symbols,-and we shall both be gainers. The history of hierarchies seems to show, that all religious error consisted in making the symbol too stark and solid, and, at last, nothing but an excess of the organ of language. Swedenborg, of all men in the recent ages, stands eminently for the translator of nature into thought. I do not know the man in history to whom things stood so uniformly for words. Before him the met amorphosis continually plays. Everything on which his eye rests obeys the impulses of moral nature. The figs become grapes whilst he eats them. When some of his angels affirmed a truth, the laurel twig which they held blossomed in their hands. The noise which, at a distance, appeared like gnashing and thumping, on coming nearer was found to be the voice of disputants. The men, in one of his visions, seen in heavenly light, appeared like dragons, and seemed in darkness: but, to each other, they appeared as men, and when the light from Heaven shone into their cabin, they complained of the darkness, and were compelled to shut the window that they might see. There was this perception in him, which makes the poet or seer an object of awe and terror, namely, that the same man, or society of men, may wear one aspect to themselves and their companions, and a different aspect to higher intelligences. Certain priests, whom he describes as conversing very learnedly together, appeared to the children, who were at some distance, like dead horses; and many the like misappearances. And instantly the mind inquires whether these fishes under the bridge, yonder oxen in the pasture, those dogs in the yard, are immutably fishes, oxen, and dogs, or only so appear to me, and perchance to themselves appear upright men; and whether I appear as a man to all eyes. The Bramins and Pythagoras propounded the same question, and if any poet has witnessed the transformation, he doubtless found it in harmony with various experiences. We have all seen changes as considerable in wheat and caterpillars. He is the poet, and shall draw us with love and terror, who sees, through the flowing vest, the firm nature, and can declare it. I look in vain for the poet whom I describe. We do not, with sufficient plainness, or sufficient profoundness, address ourselves to life, nor dare we chant our own times and social circumstance. If we filled the day with bravery, we should not shrink from celebrating it. Time and nature yield us many gifts, but not yet the timely man, the new religion, the reconciler, whom all things await. Dante's praise is, that he dared to write his autobiography in colossal cipher, or into universality. We have yet had no genius in America, with tyrannous eye, which knew the value of our incomparable materials, and saw, in the barbarism and materialism of the times, another carnival of the same gods whose picture he so much admires in Homer; then in the middle age; then in Calvinism. Banks and tariffs, the newspaper and caucus, Methodism and Unitarianism, are flat and dull to dull people, but rest on the same foundations of wonder as the town of Troy, and the temple of Delphos, and are as swiftly passing away. Our log-rolling, our stumps and their politics, our fisheries, our Negroes, our Indians, our boats, and our repudiations, the wrath of rogues, and the pusillanimity of honest men, the Northern trade, the Southern planting, the Western clearing, Oregon and Texas, are yet unsung. Yet America is a poem in our eyes; its ample geography dazzles the imagination, and it will not wait long for metres. If I have not found that excellent combination of gifts in my countrymen which I seek, neither could I aid myself to fix the idea of the poet by reading now and then in Chalmers's collection of five centuries of English poets. These are wits, more than poets, though there have been poets among them. But when we adhere to the ideal of the poet, we have our difficulties even with Milton and Homer. Milton is too literary, and Homer too literal and historical. But I am not wise enough for a national criticism, and must use the old largeness a little longer, to discharge my errand from the muse to the poet concerning his art. Art is the path of the creator to his work. The paths, or methods, are ideal and eternal, though few men ever see them, not the artist himself for years, or for a lifetime, unless 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 demons hem him in. He can no more rest; he says, with the old painter, 'By God, it is in me, and must come 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 neces sity 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 duplex and manifold 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 shouldst walk the world over, thou shalt not be able to find a condition inopportune or ignoble. EXPERIENCE. The lords of life, the lords of life,- Succession swift, and spectral Wrong, Among the legs of his guardians tall, Walked about with puzzled look ;Him by the hand dear Nature took; Dearest Nature, strong and kind, Whispered, Darling, never mind! To-morrow they will wear another face, The founder thou! these are thy race! WHERE do we find ourselves? In a series of which we do not know the extremes, and believe that it has none. We wake and find ourselves on a stair; there are stairs below us which we seem to have ascended; there are stairs above us, many a one, which go upward and out of sight. But the Genius which, according to the old belief, stands at the door by which we enter, and gives us the lethe to drink, that we may tell no tales, mixed the cup too strongly, and we cannot shake off the lethargy now at noonday. Sleep lingers all our lifetime about our eyes, as night hovers all day in the boughs of the fir-tree. All things swim and glitter. Our life is not so much threatened as our perception. Ghostlike we glide through nature, and should not know our place again. Did our birth fall in some fit of indigence and frugality in Nature, that she was so sparing of her fire and so liberal of her earth, that it appears to us that we lack the affirmative |