Part 2

During the succeeding nine years (1865-73) his life was checkered indeed. Seriously ill for six weeks, he arose from his bed to see his mother carried off by consumption and to find himself suffering with congestion of the lungs. Slightly relieved, Lanier turned his hand to various projects for making a living: clerking in a hotel in Montgomery, Ala., for two years; writing* and publishing his novel, `Tiger-lilies'; teaching at Prattville, Ala., one year, during which time** he married Miss Mary Day, of Macon, Ga.; studying and then practising law with his father at Macon, Ga., for five years; now, in the winter of 1872-73, trying to recuperate at San Antonio, Texas, for hemorrhages had begun in 1868, and a cough had set in two years later; and, finally, settling in Baltimore, December, 1873, to devote himself to music and literature.

-- * April, 1867. ** December 19, 1867. --

Against the son's devotion of his life to music and literature the father protested, chiefly on business grounds, and begged him to rejoin himself in the practice of the law. Thanking his father for his thoughtfulness, Lanier justified his own course in these earnest words: "My dear father, think how, for twenty years, through poverty, through pain, through weariness, through sickness, through the uncongenial atmosphere of a farcical college and of a bare army and then of an exacting business life, through all the discouragement of being wholly unacquainted with literary people and literary ways -- I say, think how, in spite of all these depressing circumstances and of a thousand more which I could enumerate, these two figures of music and poetry have steadily kept in my heart so that I could not banish them. Does it not seem to you as to me, that I begin to have the right to enroll myself among the devotees of these two sublime arts, after having followed them so long and so humbly, and through so much bitterness?"*1* Of course, the father yielded and did all that his slender means would allow toward keeping up his son, who henceforth devoted every energy to music and literature. Despite continued ill-health, which now and again necessitated visits of months' duration to Florida, North Carolina, and Virginia, Lanier did a vast amount of work. He was engaged as first flute for the Peabody Symphony Concerts, a position that he filled with rare distinction for six years. As to his literary work, this began with the publication of his novel, `Tiger-lilies', in 1867, and in the same year, of occasional poems in `The Round Table' of New York. `Corn', published in `Lippincott's Magazine' (Philadelphia) for February, 1875, is the first of his poems that attracted general notice, and the one that gained him the friendship of Bayard Taylor. To Taylor he owed his selection to write the `Centennial Cantata', which gave him still greater notoriety, though, to be sure, some of it was not very grateful to him. In 1876 the Lippincotts published his `Florida', and in 1877 his first volume of `Poems', which contained ninety-four pages and consisted chiefly of pieces*2* previously published in the magazines. Soon after settling in Baltimore, Lanier made a careful study of Old and Middle English, the fruits of which he partially embodied in courses of lectures given to his private class and to the public, the latter at the Peabody Institute, in 1879. During these years, too, he had been steadily turning out poems of high order. On his birthday, February 3, in 1879, he received notice of his appointment as Lecturer on English Literature at the Johns Hopkins University of Baltimore for the ensuing scholastic year, with a fixed salary, the first since his marriage. In the summer of 1879 he wrote his `Science of English Verse', which constituted the basis of his first course of lectures at the Johns Hopkins University. Notwithstanding serious illness, this same winter, 1879-80, he lectured at three private schools and kept up his musical engagement at the Peabody Concerts. The next winter, 1880-81, he came near dying, but still kept writing (`Sunrise' was written with a fever temperature of 104 Degrees) and went through his twelve lectures at the Hopkins, afterwards embodied in `The English Novel'. How trying this must have been to him can be gathered from the following words of Mr. Ward: "A few of the earlier lectures he penned himself; the rest he was obliged to dictate to his wife. With the utmost care of himself, going in a closed carriage and sitting during his lecture, his strength was so exhausted that the struggle for breath in the carriage on his return seemed each time to threaten the end. Those who heard him listened in a sort of fascinated terror, as in doubt whether the hoarded breath would suffice to the end of the hour."*3* After this a trip was made to New York to arrange for issuing some books for boys, and four were issued, two posthumously: `Boy's Froissart' (1878), `Boy's King Arthur' (1880), `Boy's Mabinogion' (1881), and `Boy's Percy' (1882). Another work, an account of North Carolina similar to that of Florida, was contracted for and was definitely planned, but, owing to aggravating infirmities, could not be completed.

-- *1* Ward's `Memorial', p. xx. f. *2* They are named in the `Bibliography'. *3* Ward's `Memorial', p. xxviii. --

For the end was near at hand. Desperate illness had made it necessary to seek relief near Asheville, N.C., where he was joined by Mrs. Lanier and by his father and step-mother. Growing no better, he was moved to Lynn, Polk County, N.C. Of the rest we shall hear in the words of his wife: "We are left alone (it is August 29, 1881) with one another. On the last night of the summer comes a change. His love and immortal will hold off the destroyer of our summer yet one more week, until the forenoon of September 7th, and then falls the frost, and that unfaltering will renders its supreme submission to the will of God."* Unusually checkered his life had been, and yet for Lanier as for Timrod poetry (and music) had "turned life's tasteless waters into wine, and flushed them through and through with purple tints."** The body was taken to Mr. Lanier's home in Baltimore, thence to the Church of St. Michael and All Angels, where services were conducted by the rector, the Rev. Dr. William Kirkus. It was then buried in Greenmount Cemetery, in the lot of Mr. and Mrs. Lawrence Turnbull, two of the dearest friends that Mr. and Mrs. Lanier had in Baltimore.

-- * Ward's `Memorial', p. xxx. ** Timrod's `A Vision of Poesy', stanza xliv. --

Mr. Lanier left a family consisting of his wife and four sons. Mrs. Lanier, who lives at Tryon, N.C., was the inspiration not only of those glorious tributes, `Laus Mariae' and `My Springs', but also of the poet's whole life. The eldest son, Mr. Charles Day Lanier, was born at Macon, Ga., September 12, 1868, and was graduated A.B. at the Johns Hopkins University in 1888. At one time he was Assistant Editor of `The Cosmopolitan Magazine', a position that he gave up only to become Business Manager of `The Review of Reviews', with which he has been connected from its beginning. He is the author of several graceful sketches in the magazines. The second son, Sidney, is passionately fond of music, and would have devoted himself thereto but for life-long ill-health. After teaching three years in West Virginia, he has started a fruit farm at Tryon, N.C., where he hopes to build up his health. The third son, Henry Wysham, was prevented from entering the Johns Hopkins by a partial failure of sight, and for three years has devoted himself to railroad engineering in Baltimore and in Jamaica. The youngest, Robert Sampson, only fourteen, is at Tryon, N.C., with his mother.

That interest in Lanier's life and work did not cease with his death, there is abundant evidence. On October 22, 1881, a memorial meeting was held by the Faculty and students of the Johns Hopkins University, at which addresses*1* were made by President Gilman and Professor Wm. Hand Browne, of the University, and by the Rev. Dr. William Kirkus, of Baltimore, and a letter*1* was read from the poet-critic, Edmund C. Stedman, of New York. In 1883 `The English Novel' was published, and in 1884 the `Poems', edited by his wife, with the excellent `Memorial' by Dr. Wm. Hayes Ward, who declared that he thought Lanier would "take his final rank with the first princes of American song."*2* Numerous reviews of his life and works were published, notably those by Mr. Wm. R. Thayer, Dr. Merrill E. Gates, Professor Charles W. Kent, and by the London `Spectator'. On February 3, 1888, the Johns Hopkins University held another memorial meeting in Baltimore, attended by many from other cities. "A bust of the poet, in bronze (modelled by Ephraim Keyser, sculptor, in the last period of Lanier's life, at the suggestion of Mr. J. R. Tait), was presented to the University by his kinsman, Charles Lanier, Esq., of New York. It was also announced that a citizen of Baltimore had offered a pedestal, to be cut in Georgia marble from a design by Mr. J. B. N. Wyatt. On a temporary pedestal hung the flute of Lanier, which had so often been his solace, and a roll of his manuscript music. The bust was crowned with a wreath of laurel; the words of Lanier, `The Time needs Heart', were woven into the strings of a floral lyre; and other flowers, likewise brought by personal friends, were grouped around the pedestal. As a memento a card, designed by Mrs. Henry Whitman, of Boston, was given to those who were present. Upon its face was a wreath, with Lanier's name and the date, and the motto -- `Aspiro dum Exspiro'; upon the reverse appeared the closing lines of the Hymn of the Sun, taken from the poet's `Hymns of the Marshes' -- and beneath, a flute with ivy twined about it."*3* The exercises, which were interspersed with music, were as follows: addresses by President Gilman of the Hopkins and President Gates of Rutgers (now of Amherst); selections from Lanier's poetry, read by Miss Susan Hayes Ward, of Newark, N.J.; a paper on Lanier's `Science of English Verse', by Professor A. H. Tolman, of Ripon College, Wis. (now of the University of Chicago); poetic tributes by Mrs. Lawrence Turnbull, Miss Edith M. Thomas, and Messrs. James Cummings, Richard E. Burton, and John B. Tabb; and letters from Messrs. Richard W. Gilder, Edmund C. Stedman, and James Russell Lowell -- all of which may be found in President Gilman's dainty `Memorial of Sidney Lanier'. Again, a replica of the above-mentioned bust, the gift also of Mr. Charles Lanier, was unveiled at the poet's birthplace, Macon, Ga., on October 17, 1890; on which occasion tender tributes*4* were again poured forth in prose and verse, by Messrs. W. B. Hill, Hugh V. Washington, Charles Lanier, Clifford Lanier, Wm. Hand Browne, Charles G. D. Roberts, John B. Tabb, H. S. Edwards, Wm. H. Hayne, Charles W. Hubner, Joel Chandler Harris, Charles Dudley Warner, and Daniel C. Gilman. But more significant than these demonstrations, perhaps, is the steadily growing study devoted to Lanier's works. Mr. Higginson*5* tells us, for instance, that, when he wrote his tribute in 1887, Lanier's `Science of English Verse' had been put upon the list of Harvard books to be kept only a fortnight, and that, according to the librarian, it was out "literally all the time." Moreover, it would not be difficult to cite various poems that have been more or less modeled upon Lanier's; it is sufficient, perhaps, to point out that the marsh, a theme almost unknown to poetry before Lanier immortalized it, is not infrequently the subject of poetic treatment now, as in the works of Charles G. D. Roberts,*6* Clinton Scollard,*7* and Maurice Thompson.*8* It is noteworthy, too, that many of the younger poets of the day, both in Canada and the United States, have sung Lanier's praise. A complete list is given in the `Bibliography'. Still further, a devoted admirer, Mrs. Lawrence Turnbull, of Baltimore, in `The Catholic Man', has in the person of Paul, the poet, given us an imaginative study of the character of Mr. Lanier. Finally, only a few months ago the Chautauquans of the class of 1898 determined to call themselves "The Laniers", in honor of the poet and his brother.

-- *1* See the `Bibliography'. *2* `Memorial', p. xi. *3* Gilman's `A Memorial of Sidney Lanier', pp. 5-6. *4* Published in `The Atlanta (Ga.) Constitution' of October 19, 1890. *5* See `The Chautauquan', as cited in the `Bibliography'. *6* See recent files of `The Independent' (New York). *7* See his `Pictures in Song' (New York, 1884), pp. 45-49. *8* See his `Songs of Fair Weather' (Boston, 1883), pp. 27-28. --

II. Lanier's Prose Works

With this brief sketch of his life, let us turn to Lanier's works, and first to those in prose. At the head of the list comes `Tiger-lilies', a novel written within three weeks and published immediately thereafter, in 1867. Under the figure of "a strange, enormous, terrible flower," the seed of which he hopes may perish beyond resurrection, the author pictures the horror of war in general and of the Civil War in particular. An entertaining love-story runs through the book, the plot of which space does not allow me to detail. In execution the novel has grave defects: it lacks unity; the characters talk as learnedly as Lanier afterward wrote of music; and at times, as in the oft-quoted picture of the war,*1* the style is grandiloquent; owing to which blemishes the author wisely discouraged its republication. But, in spite of these defects, the book has one very strongly put scene,*2* the interview between Smallin and his deserter brother, and several beautiful passages*3* that distinctly proclaim the high-souled poet.

-- *1* `Tiger-lilies', p. 115 ff. *2* `Tiger-lilies', p. 149 ff. *3* That on "love" (p. 26) is quoted later. --

Lanier's next publication, `Florida: Its Scenery, Climate, and History', was written by commission of the Atlantic Coast Line, and appeared in 1876. To use the author's own epithet, `Florida' is "a spiritualized guide-book".

Exclusive of the 1877 volume of `Poems', Lanier's next original work was `The Science of English Verse', which in lecture-form was delivered to the students of the Johns Hopkins in the winter of 1879 and was published in 1880. According to competent critics, the book gives as searching an investigation of the science of verse on its formal side as is to be had in any language. Since the treatise is so evidently an epoch-making one, I regret that the technicality of the subject forbids my attempting in this connection even a brief exposition* of its principles. I can say only that Lanier treats verse in the terms of music; that, according to the promise of the preface, he gives "an account of the true relations of music and verse"; and that in so doing he has given us the best working theory for English verse from Caedmon to Tennyson. This is a high estimate, but it is by no means so high as that of the lamented poet-professor, Edmund Rowland Sill, who said of `The Science of English Verse', "It is the only work that has ever made any approach to a rational view of the subject. Nor are the standard ones overlooked in making this assertion."**

-- * This may be found in Professor Tolman's article, cited in the `Bibliography'. ** Quoted by Tolman. --

Lanier's second course of lectures at the Johns Hopkins University, delivered in the winter and spring of 1881, was published in 1883 under the title, `The English Novel and the Principles of Its Development'.* According to the author's statement, the purpose of the book is "first, to inquire what is the special relation of the novel to the modern man, by virtue of which it has become a paramount literary form; and, secondly, to illustrate this abstract inquiry, when completed, by some concrete readings in the greatest of modern English novelists" (p. 4). Addressing himself to the former, Lanier attempts to prove (1) that our time, when compared with that of Aeschylus, shows an "enormous growth in the personality of man" (p. 5); (2) that what we moderns call Physical Science, Music, and the Novel, all had their origin at practically the same time, about the middle of the seventeenth century (p. 9); and (3) "that the increase of personalities thus going on has brought about such complexities of relation that the older forms of expression were inadequate to them; and that the resulting necessity has developed the wonderfully free and elastic form of the modern novel out of the more rigid Greek drama, through the transition form of the Elizabethan drama" (p. 10). In fulfilment of his second purpose, the author gives a detailed study of several of the novels of George Eliot, whom he takes to be the greatest modern English novelist. Even this brief synopsis of the book must indicate its broad and stimulating character, in which respect it is a worthy successor of `The Science of English Verse'. Despite the limitations induced by failing life, which necessitated the cutting down of the course of lectures from twenty to twelve,** I know of few more life-giving books; and I venture to assert that it cannot safely be overlooked by any careful student of the subject.

-- * Mrs. Lanier informs me that `The English Novel' will soon be issued in an amended form and with a new sub-title, `Studies in the Development of Personality', which indicates precisely what Mr. Lanier intended to attempt, and relieves the book of its seeming incompleteness as to scope. ** `Spann'. --

Among other prose works I may mention Lanier's early extravaganza, `Three Waterfalls'; `Bob', a happy account of a pet mocking-bird, worthy of being placed beside Dr. Brown's `Rab and his Friends'; his books for boys: `Froissart', `King Arthur', `Mabinogion', and `Percy', which have had, as they deserve, a large sale; and his posthumous `From Bacon to Beethoven', a highly instructive essay on music.

III. Lanier's Poetry: Its Themes

But it is chiefly as a poet that we wish to consider Lanier, and I turn to the posthumous edition of his `Poems' gotten out by his wife. At the outset let us ask, How did the poet look at the world? what problems engaged his attention and how were they solved? A careful investigation will show, I believe, that, despite the brevity of his life and its consuming cares, Lanier studied the chief questions of our age, and that in his poems he has offered us noteworthy solutions.

What, for instance, is more characteristic of our age than its tendency to agnosticism? I pass by the manifestations of this spirit in the world of religion, of which so much has been heard, and give an illustration or two from the field of history and politics. Picturesque Pocahontas, we are told, is no more to be believed in; moreover, the Pilgrim Fathers did not land at Plymouth Rock, nor did Jefferson write the Declaration of Independence. Which way we turn there is a big interrogation-point, often not for information but for negation. Of the good resulting from the inquisitive spirit, we all know; of the baneful influence of inquisitiveness that has become a mere intellectual pastime or amateurish agnosticism, we likewise have some knowledge; but the evil side of this tendency has seldom been put more forcibly, I think, than in this stanza from Lanier's `Acknowledgment':

"O Age that half believ'st thou half believ'st, Half doubt'st the substance of thine own half doubt, And, half perceiving that thou half perceiv'st, Stand'st at thy temple door, heart in, head out! Lo! while thy heart's within, helping the choir, Without, thine eyes range up and down the time, Blinking at o'er-bright Science, smit with desire To see and not to see. Hence, crime on crime. Yea, if the Christ (called thine) now paced yon street, Thy halfness hot with his rebuke would swell; Legions of scribes would rise and run and beat His fair intolerable Wholeness twice to hell."*

-- * `Acknowledgment', ll. 1-12. --

More hurtful than agnosticism, because affecting larger masses of people, is the rapid growth of the mercantile spirit during the present century, especially in America. This evil the poet saw most clearly and felt most keenly, as every one may learn by reading `The Symphony', his great poem in which the speakers are the various musical instruments. The violins begin:

"O Trade! O Trade! would thou wert dead! The Time needs heart -- 'tis tired of head."*

Then all the stringed instruments join with the violins in giving the wail of the poor, who "stand wedged by the pressing of Trade's hand":

"`We weave in the mills and heave in the kilns, We sieve mine-meshes under the hills, And thieve much gold from the Devil's bank tills, To relieve, O God, what manner of ills? -- The beasts, they hunger, and eat, and die; And so do we, and the world's a sty; Hush, fellow-swine: why nuzzle and cry? "Swinehood hath no remedy" Say many men, and hasten by, Clamping the nose and blinking the eye. But who said once, in the lordly tone, "Man shall not live by bread alone But all that cometh from the throne"? Hath God said so? But Trade saith "No": And the kilns and the curt-tongued mills say "Go: There's plenty that can, if you can't: we know. Move out, if you think you're underpaid. The poor are prolific; we're not afraid; Trade is Trade."'

"Thereat this passionate protesting Meekly changed, and softened till It sank to sad requesting And suggesting sadder still: `And oh, if men might some time see How piteous-false the poor decree That trade no more than trade must be! Does business mean, "Die, you -- live, I"? Then "Trade is trade" but sings a lie: 'Tis only war grown miserly. If business is battle, name it so.'"**