or make applications of morals—he knows the soul. The soul has that measureless pride which consists in never acknowledging any lessons but its own. But it has sympathy as measureless as its pride, and the one balances the other, and neither can stretch too far while it stretches in company with the other. The inmost secrets of art sleep with the twain. The greatest poet has lain close betwixt both, and they are vital in his style and thoughts.
The art of art, the glory of expression and the sunshine of the light of letters, is simplicity. Nothing is better than simplicity—nothing can make up for excess or for the lack of definiteness. To carry on the heave of impulse, and pierce intellectual depths, and give all subjects their articulations, are powers neither common nor very uncommon. But to speak in literature with the perfect rectitude and insousiance of the movements of animals, and the unimpeachableness of the sentiment of trees in the woods and grass by the roadside, is the flawless triumph of art. If you, have looked on him who has achieved it, you have looked on one of the masters of the artists of all nations and times. You shall not contemplate the flight of the grey-gull over the bay, or the mettlesome action of the blood-horse, or the tall leaning of sunflowers on their stalk, or the appearance of the sun journeying through heaven, or the appearance of the moon afterward, with any more satisfaction than you shall contemplate him. The greatest poet has less a marked style, and is more the channel of thoughts and things without increase or diminution, and is the free channel of himself. He swears to his art—I will not be meddlesome, I will not have in my writing any elegance or effect or originality to hang in the way between me and the rest like curtains. I will have nothing hang in the way, not the richest curtains. What I tell I tell for precisely what it is. Let who may exalt or startle or fascinate or soothe, I will have purposes as health or heat or snow has, and be as regardless of observation. What I experience or pourtray shall go from my composition without a shred of my composition. You shall stand by my side, and look in the mirror with me.
The old red blood and stainless gentility of great poets will be proved by their unconstraint. A heroic person walks at his ease through and out of that custom or precedent or authority that suits him not. Of the traits of the brotherhood of writers, savans, musicians, inventors, and artists, nothing is finer than silent defiance advancing from new free forms. In the need of poems, philosophy, politics, mechanism, science, behaviour, the craft of art, an appropriate native grand opera, shipcraft or any craft, he is greatest for ever and for ever who contributes the greatest original practical example. The cleanest expression is that which finds no sphere worthy of itself, and makes one.
The messages of great poets to each man and woman are—Come to us on equal terms, only then can you understand us. We are no better than you; what we enclose you enclose, what we enjoy you may enjoy. Did you suppose there could be only one Supreme? We affirm there can be unnumbered Supremes, and that one does not countervail another any more than one eyesight countervails another—and that men can be good or grand only of the consciousness of their supremacy within them. What do you think is the grandeur of storms and dismemberments, and the deadliest battles and wrecks, and the wildest fury of the elements, and the power of the sea, and the motion of nature, and of the throes of human desires, and dignity and hate and love? It is that something in the soul which says—Rage on, whirl on, I tread master here and everywhere; master of the spasms of the sky and of the shatter of the sea, master of nature and passion and death, and of all terror and all pain.
The American bards shall be marked for generosity and affection and for encouraging competitors: they shall be kosmos—without monopoly or secrecy—glad to pass anything to any one—hungry for equals night and day. They shall not be careful of riches and privilege—they shall be riches and privilege: they shall perceive who the most affluent man is. The most affluent man is he that confronts all the shows he sees by equivalents out of the stronger wealth of himself. The American bard shall delineate no class of persons, nor one or two out of the strata of interests, nor love most nor truth most, nor the soul most nor the body most; and not be for the eastern states more than the western, or the northern states more than the southern.
Exact science and its practical movements are no checks on the greatest poet, but always his encouragement and support. The outset and remembrance are there—there the arms that lifted him first and brace him best—there he returns after all his goings and comings. The sailor and traveller, the anatomist, chemist, astronomer, geologist, phrenologist, spiritualist, mathematician, historian, and lexicographer, are not poets; but they are the lawgivers of poets, and their construction underlies the structure of every perfect poem. No matter what rises or is uttered, they send the seed of the conception of it: of them and by them stand the visible proofs of souls. If there shall be love and content between the father and the son, and if the greatness of the son is the exuding of the greatness of the father, there shall be love between the poet and the man of demonstrable science. In the beauty of poems are the tuft and final applause of science.
Great is the faith of the flush of knowledge, and of the investigation of the depths of qualities and things. Cleaving and circling here swells the soul of the poet: yet is president of itself always. The depths are fathomless, and therefore calm. The innocence and nakedness are resumed—they are neither modest nor immodest. The whole theory of the special and supernatural, and all that was twined with it or educed out of it, departs as a dream. What has ever happened, what happens, and whatever may or shall happen, the vital laws enclose all: they are sufficient for any case and for all cases—none to be hurried or retarded—any miracle of affairs or persons inadmissible in the vast clear scheme where every motion, and every spear of grass, and the frames and spirits of men and women, and all that concerns them, are unspeakably perfect miracles, all referring to all, and each distinct and in its place. It is also not consistent with the reality of the soul to admit that there is anything in the known universe more divine than men and women.
Men and women, and the earth and all upon it, are simply to be taken as they are, and the investigation of their past and present and future shall be unintermitted, and shall be done with perfect candour. Upon this basis philosophy speculates, ever looking toward the poet, ever regarding the eternal tendencies of all toward happiness, never inconsistent with what is clear to the senses and to the soul. For the eternal tendencies of all toward happiness make the only point of sane philosophy. Whatever comprehends less than that—whatever is less than the laws of light and of astronomical motion—or less than the laws that follow the thief, the liar, the glutton, and the drunkard, through this life, and doubtless afterward—or less than vast stretches of time, or the slow formation of density, or the patient upheaving of strata—is of no account. Whatever would put God in a poem or system of philosophy as contending against some being or influence is also of no account. Sanity and ensemble characterise the great master:—spoilt in one principle, all is spoilt. The great master has nothing to do with miracles. He sees health for himself in being one of the mass—he sees the hiatus in singular eminence. To the perfect shape comes common ground. To be under the general law is great, for that is to correspond with it. The master knows that he is unspeakably great, and that all are unspeakably great—that nothing, for instance, is greater than to conceive children, and bring them up well—that to be is just as great as to perceive or tell.
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