A History of American Literature Since 1870

by Fred Lewis Pattee

III

When one approaches the poetry of Joaquin Miller, one is at first confused by the lavishness of it, the strength, and then swiftly the dreary weakness of it. It is like his own landscapes, abounding in vast barrens and flats, with here and there glimpses of glittering peaks and vast ranges, and now and then oases full of marvelous revel of color and strange birds and tropic flowers. Three-fourths of all he wrote is lifeless and worthless, but the other quarter is to American poetry what the Rockies are to the American landscape. Few poets have so needed an editor with courage to reject and judgment to arrange. Miller himself has edited his poems with barbarous savageness. He has not hesitated to lop off entire cantos, to butcher out the whole trunk of a poem, leaving only straggling and unrelated branches, to add to work in his early manner stanzas after his later ideals, and to revamp and destroy and cast utterly away after a fashion that has few precedents. He has done the work with a broad-ax when a lancet was needed. His editings are valuable, indeed, only in the new prose matter that he has added as foot-note and introduction.

The key to Miller's poetry is an aphorism from his own pen: "We must, in some sort, live what we write if what we write is to live." The parts of his work that undoubtedly will live are those poems that deal most closely with the material from which he sprang and of which his early life was molded. He is the poet of the frontier and of the great mid-century exodus across the Plains. Poems like "The Heroes of Oregon," and "Exodus for Oregon," are a part of the national history. They thrill at every point with reality and life.

The Plains! the shouting drivers at the wheel;
The crash of leather whips; the crush and roll
Of wheels; the groan of yokes and grinding steel
And iron chain, and lo! at last the whole
Vast line, that reach'd as if to touch the goal,
Began to stretch and stream away and wind
Toward the west, as if with one control;
Then hope loom'd fair, and home lay far behind;
Before, the boundless plain, and fiercest of their kind.

And again

Then dust arose, a long dim line like smoke
From out of riven earth. The wheels went groaning by,
Ten thousand feet in harness and in yoke,
They tore the ways of ashen alkali,
And desert winds blew sudden, swift and dry.
The dust! it sat upon and fill'd the train!
It seemed to fret and fill the very sky.
Lo! dust upon the beasts, the tent, the plain,
And dust, alas! on breasts that rose not up again.

Pictures of the Plains, the Indian camp, the mine, the mountain, the herd, the trail, are to be found scattered everywhere in his work. One finds them in the most unlikely places—diamonds embedded often in whole acres of clay. In so unpromising a book as As It Was in the Beginning with its grotesque introduction explaining in characteristic mixed metaphor that "When, like a sentinel on his watch tower, the President, with his divine audacity and San Juan valor, voiced the real heart of the Americans against 'race suicide,' I hastened to do my part, in my own way, ill or well, in holding up his hands on the firing line"—even in this book one finds sudden flashes of truest poetry. He is describing winter on the Yukon. About him are an eager band of gold-seekers ready to press north:

The siege of Troy knew scarce such men;
The cowards had not voyaged then,
The weak had died upon the way.

He describes with realism the horrors and the beauties of the Arctic night, then at last the rising of the sun after the long darkness:

Then glad earth shook her raiment wide,
As some proud woman satisfied,
Tiptoed exultant, till her form,
A queen above some battle storm,
Blazed with the glory, the delight
Of battle with the hosts of night.
And night was broken, light at last
Lay on the Yukon. Night had past.

In passages like these the imagination of the poet breaks out for a moment like the moon from dark clouds, but all too often it is only for a moment.

He is the poet preëminently of the mountains of the Northwest. The spell of them was on him as it was on John Muir. At times in their presence he bursts into the very ecstasy of poetry; sonorous rhapsodies and invocations in which he reaches his greatest heights:

Sierras, and eternal tents
Of snow that flash o'er battlements
Of mountains! My land of the sun,
Am I not true? have I not done
All things for thine, for thee alone,
O sun-land, sea-land thou mine own?

There is a sweep and vastness about him at his best that one finds in no other American poet. No cameo cutting for him, no little panels, no parlor decorations and friezes. His canvas is all out of doors and as broad as the continent itself:

Oh, heart of the world's heart! West! my West!
Look up! look out! There are fields of kine,
There are clover-fields that are red as wine;
And a world of kine in the fields take rest,
And ruminate in the shade of the trees
That are white with blossoms or brown with bees.
There are emerald seas of corn and cane;
There are cotton fields like a foamy main,
To the far-off South where the sun was born.

The wild freedom of the Western air beats and surges in his lines:

Room! room to turn round in, to breathe and be free,
To grow to be giant, to sail as at sea
With the speed of the wind on a steed with his mane
To the wind, without pathway or route or a rein.
Room! room to be free where the white border'd sea
Blows a kiss to a brother as boundless as he;
Where the buffalo come like a cloud on the plain,
Pouring on like the tide of a storm-driven main,
And the lodge of the hunter to friend or to foe
Offers rest; and unquestion'd you come or you go.
My plains of America! Seas of wild lands!
From a land in the seas in a raiment of foam,
That has reached to a stranger the welcome of home,
I turn to you, lean to you, lift you my hands.

Or again this magnificent apostrophe to the Missouri River:

Hoar sire of hot, sweet Cuban seas,
Gray father of the continent,
Fierce fashioner of destinies,
Of states thou hast upreared or rent,
Thou know'st no limit; seas turn back
Bent, broken from the shaggy shore;
But thou, in thy resistless track,
Art lord and master evermore.
Missouri, surge and sing and sweep!
Missouri, master of the deep,
From snow-reared Rockies to the sea
Sweep on, sweep on eternally!

And grandest of all, the poem that has all America in it and the American soul, perhaps the grandest single poem of the period, "Columbus":

Behind him lay the gray Azores,
Behind the Gates of Hercules;
Before him not the ghost of shores;
Before him only shoreless seas.
The good mate said: "Now must we pray,
For lo! the very stars are gone,
Brave Adm'r'l speak; what shall I say?"
"Why, say: 'Sail on! sail on! and on!'"

In his enthusiasm for the mountains and the American landscape Miller was thoroughly sincere. Despite all his posturing and his fantastic costumes he was a truly great soul, and he spoke from his heart when he said in 1909: "But pity, pity, that men should so foolishly waste time with either me or mine when I have led them to the mighty heart of majestic Shasta. Why yonder, lone as God and white as the great white throne, there looms against the sapphire upper seas a mountain peak that props the very porch of heaven; and yet they bother with and want to torment a poor mote of dust that sinks in the grasses at their feet."[66]