This text is part of:
Table of Contents:
1  elder Dana, the literary mentor who is responsible for more of Bryant's revisions in verse than any one knows,1 spared the shocks that usually stimulate the expression of the passion of friendship. But his feelings, for woman and friend, were deep if quiet-perhaps deeper because quiet. And the other primary feelings were equally deep: awe in the presence of the cosmic process and the movements of mankind, reverence for holiness, pity for suffering, brooding resentment against injustice, rejoicing in moral victory, patriotism, susceptibility to beauty of outline and colour and sound, with peculiar susceptibility to both charm and sublimity in natural phenomena. These emotions, in Bryant, ring out through his poetry, clear, without blur or fringe, like the Italian vowels. He had no emotional crotchets, no erratic sensibilities; among other things, he was too robust and too busy. He had the “feelings of calm power and mighty sweep” of which he himself speaks, as befitting the poet.2The few aspects of man and nature he reported have, in a way, been necessarily already suggested. With senses more alert to observe details in the physiognomy and voice of nature than of man, his imagination continually sees the same general vision: the Indian, shadowy type of a departed world, accoutred with feathers and tomahawk, realized, however, in almost none of his actual customs and in none of his actual feelings save that of sorrow for tribal ruin; the warriors of freedom, especially of the American Revolution; the infinite and mysterious racial past on this earth with all its crimes, triumphs, mutations, rather than with its more ethical future which he believes in more than he visualizes, an act of his thinking rather than of his imagination; the earth itself as the sepulchre of man; and, like one great primeval landscape, the mountain, the sea, the wind, the river, the seasons, the plain, the forest that undergo small change from their reality, take on few subjective peculiarities, by virtue of an imagination that seems, as it were, to absorb rather than to create its objects,--in this more like the world of phenomena in Lucretius than, say, in Tennyson, or in the partially Lucretian Meredith, certainly than in Hugo, to whom
3 The Poet.
This work is licensed under a Creative Commons Attribution-ShareAlike 3.0 United States License.
An XML version of this text is available for download, with the additional restriction that you offer Perseus any modifications you make. Perseus provides credit for all accepted changes, storing new additions in a versioning system.