THE SPHINX. THE Sphinx is drowsy, Her wings are furl'd, Her ear is heavy, She broods on the world. "Who'll tell me my secret I awaited the seer While they slumber'd and slept. "The fate of the manchild,—— The meaning of man,- Out of sleeping a waking, The thrush plies his wings, "The waves unashamed In difference sweet, By their animate poles. "Sea, earth, air, sound, silence, "But man crouches and blushes, Absconds and conceals; He creepeth and peepeth, "Outspoke the great mother Cold shudder'd the sphere ; "The fiend that man harries Can't trance him again, "Profounder, profounder Man's spirit must dive: To his aye-rolling orbit "Pride ruin'd the angels, Their shame them restores: And the joy that is sweetest Lurks in stings of remorse. Have I a lover Who is noble and free,I would he were nobler Than to love me. "Eterne alternation Now follows, now flies, And under pain, pleasure,— Under pleasure, pain lies. Love works at the centre Heart heaving alway, Forth speed the strong pulses To the borders of day. "Dull Sphinx, Jove keep thy five wits! Thy sight is growing blear; Hemlock and vitriol for the Sphinx Her muddy eyes to clear." The old Sphinx bit her thick lip,— Of thine eye I am eyebeam. «Thou art the unanswer'd question:- And each answer is a lie. RALPH WALDO EMERSON. Uprose the merry Sphinx, And crouch'd no more in stone, She hopp'd into the baby's eyes, She hopp'd into the moon, She spired into a yellow flame, She flower'd in blossoms red, She flow'd into a foaming wave, She stood Monadnoc's head. Thorough a thousand voices Spoke the universal dame, "Who telleth one of my meanings Is master of all I am." THE PROBLEM. I LIKE a church, I like a cowl, Why should the vest on him allure, Not from a vain or shallow thought The thrilling Delphic oracle; The litanies of nations came, These temples grew as grows the grass, Bestrode the tribes that knelt within. Girds with one flame the countless host, The word unto the prophet spoken, THE FORE-RUNNERS. LONG I follow'd happy guides: Who the road had surely kept, 132 THE POET. For this present, hard Is the fortune of the bard Born out of time; All his accomplishment What others did at distance hear, And guess'd within the thicket's gloom, Was show'd to this philosopher, And at his bidding seem'd to come. From nature's utmost treasure spent Booteth not him. When the pine tosses its cones To the song of its waterfall tones, Not hook nor line hath he: He stands in the meadows wide,- With none has he to do, And none to seek him, Nor men below, Nor spirits dim. What he knows nobody wants; What he knows, he hides, not vaunts. And why the star-form she repeats ;— Lover of all things alive, Wonderer at all he meets, .... Wonderer chiefly at himself,- It seem'd as if the breezes brought him, Which are not shown to common eyes, DIRGE. KNOWS he who tills this lonely field In the long sunny afternoon The winding Concord gleam'd below, As when my brothers, long ago, But they are gone-the holy ones Who trod with me this lonely vale, The strong, star-bright companions Are silent, low, and pale. My good, my noble, in their prime, Who made this world the feast it was, They play'd with it in every mood, They treated Nature as they would. Hearken to yon pine warbler, What he singeth to me? Not unless God made sharp thine ear "Go, lonely man," it saith, "They loved thee from their birth, Their hands were pure, and pure their faith, There are no such hearts on earth. "Ye drew one mother's milk, One chamber held ye all, A very tender history Did in your childhood fall. TO RHEA. RALPH WALDO EMERSON. THEE, dear friend, a brother soothes, To light which dims the morning's eye. And murmuring waters counsell'd me. But thou shalt do as do the gods As they lead, so follow all, Falls, in turn, a new degree. To bless that creature day and night- But I, from my beatitude, Albeit scorn'd as none was scorn'd, Adorn her as was none adorn'd. TO EVA. On fair and stately maid, whose eyes At the same torch that lighted mine; Ah, let me blameless gaze upon Nor fear those watchful sentinels, THE AMULET. YOUR picture smiles as first it smiled; That keeps intelligence with you- THINE EYES STILL SHINED. THINE eyes still shined for me, though far And roamed the pastures through; THE author of "The Last Night of Pompeii" and was born in Warwick, near the western border of Massachusetts, in the autumn of 1803. His father, a respectable physician, died in 1806, and his mother, on becoming a widow, returned with two children to her paternal home in Worcester. E Mr. FAIRFIELD entered Harvard College when thirteen years of age; but, after spending two years in that seminary, was compelled to leave it, to aid his mother in teaching a school in a neighbouring village. He subsequently passed two or three years in Georgia and South Carolina, and in 1824 went to Europe. He returned in 1826, was soon afterwards married, and from that period resided in Philadelphia, where for several years he conducted the North American Magazine," a monthly miscellany in which appeared most of his prose writings and poems. He commenced the business of authorship at a very early period, and perhaps produced more in the form of poetry than any of his American contemporaries. "The Cities of the Plain," one of his earliest poems, was originally published in England. It was founded on the history of the I destruction of Sodom and Gomorrah, in the eighteenth and nineteenth chapters of Genesis. The "Heir of the World," which followed in 1828, is a poetical version of the life of ABRAHAM. It is in the Spenserian measure, and contains some fine passages, descriptive of scenery and feeling. His next considerable work, The Spirit of Destruction," appeared in 1830. Its subject is the deluge. Like the Cities of the Plain," it is in the heroic verse, in which he wrote with great facility. His Last Night of Pompeii"* was published in 1832. It is the result of two years' industrious labour, and was written amid the cares and vexations of poverty. The destruction of the cities of Herculaneum, Pompeii, Retina and Stabiæ, by an eruption of Vesuvius, in the summer of the year seventy-nine, is perhaps one of the finest subjects for poetry in modern history. Mr. FAIRFIELD in this poem exhibits a familiar acquaintance with the manners and events of the period, and his style is stately and sustained. His shorter pieces, though in some cases turgid and unpolished, are generally distinguished for vigour of thought and depth of feeling. An edition of his principal writings was published in a closely-printed octavo volume, in Philadelphia, in 1841. The first and last time I ever saw FAIRFIELD was in the summer of 1842, when he called at my hotel to thank me for some kind notice of him in one of the journals, of which he supposed me *Mr. FAIRFIELD accused Sir EDWARD BULWER LYT. TON of founding on this poem his romance of the "Last Days of Pompeii." 66 to be the author. In a note sent to my apartment he described himself as " an outcast from all human affections" except those of his mother and his children, with whom he should remain but a little while, for he "felt the weight of the arm of Death." He complained that every man's hand had been against him, that exaggerated accounts had been published of his infirmities, and uncharitable views given of his misfortunes. He said his mother, who had been abused as an annoying old crone," in the newspapers, for endeavouring to obtain subscribers for his works, was attending him from his birth to his burial, and would never grow weary till the end. This prediction was verified. About a year afterwards I read in a published letter from New Orleans that FAIRFIELD had wandered to that city, lived there a few months in solitude and destitution, and after a painful illness died. While he lingered on his pallet, between the angel of death and his mother, she counted the hours of day and night, never slumbering by his side, nor leaving him, until as his only mourner she had followed him to a grave. Not wishing to enter into any particular examination of his claims to personal respect, I must still express an opinion that FAIRFIELD was harshly treated, and that even if the specific charges against him were true, it was wrong to permit the private character of the author to have any influence upon critical judgments of his works. He wrote much, and generally with commendable aims. His knowledge of books was extensive and accurate. He had considerable fancy, which at one period was under the dominion of cultivated taste and chastened feeling; but troubles, mostly resulting from a want of skill in pecuniary affairs, induced recklessness, misanthropy, intemperance, and a general derangement and decay of his intellectual and moral nature. I see not much to admire in his poems, but they are by no means contemptible; and "the poet FAIRFIELD" had during a long period too much notoriety not to deserve some notice in a work of this sort, even though his verses had been still less poetical. Persons of an ardent temperament and refined sensibilities have too frequently an aversion to the practical and necessary duties of common life, to the indulgence of which they owe their chief misfortunes and unhappiness. The mind of the true poet, however, is well ordered and comprehensive, and shrinks not from the humblest of duties. FAIRFIELD had the weakness or madness, absurdly thought to belong to the poetical character, which unfitted him for an honourable and distinguished life. He needed, besides his "some learning and more feeling," a strong will and good sense, to be either great or useful. |