Who loosened and let down this brutal jaw?
Whose was the hand that slanted back this brow?
Whose breath blew out the light within this brain?
One is somehow reminded by these lines of Coleridge’s questions in the Chamouni hymn, and one is tempted to answer them the same way: God. “The Man with the Hoe” is not a product of the “masters, lords and rulers in all lands”: they are not, and no class of men is, accountable for him, his limitations and his woes, which are not of those “that kings or laws can cause or cure.” The “masters, lords and rulers” are as helpless “in the fell clutch of circumstance” as he—which Mr. Markham would be speedily made to understand if appointed Dictator. The notion that the sorrows of the humble are due to the selfishness of the great is “natural,” and can be made poetical, but it is silly. As a literary conception it has not the vitality of a sick fish. It will not carry a poem of whatever excellence through two generations. That a man of Mr. Markham’s splendid endowments should be chained to the body of this literary death is no less than a public calamity.
For his better work in poetry Mr. Markham merits all the praise that he has received for “The Man with the Hoe,” and more. It is not likely that he is now under any illusion in the matter. He probably knows the real nature of his sudden flare of “popularity”; knows that to-morrow it will be “one with Nineveh and Tyre”; knows that its only service to him is to arrest attention of competent critics and scholars who would otherwise have overlooked him for a time. The “plaudits of the multitude” can not long be held by the poet, and are not worth holding. The multitude knows nothing of poetry and does not read it. The multitude will applaud you to-day, calumniate you to-morrow and thwack you athwart the mazzard the day after. He who builds upon the sea-sand of its favor holds possession by a precarious tenure; the wind veers and the wave
Lolls out his large tongue—
Licks the whole labor flat.
If the great have left the humble so wise that the philosophies of the factory and the plow-tail are true; if the sentiments and the taste of the mob are so just and elevated that its judgment of poetry is infallible and its approval a precious possession; if “the masses” have more than “a thin veneering of civilization,” and are not in peace as fickle as the weather and in anger as cruel as the sea; if these victims of an absolutely universal oppression “in all lands” are deep, discriminating, artistic, liberal, magnanimous—in brief, wise and good—it is difficult to see what they have to complain about. Mr. Markham, at least, is forbidden to weep for them, for he is a lover of Marcus Aurelius, of Seneca, of Epictetus. These taught, and taught truly—one from the throne of an empire, one writing at a gold table, and one in the intervals of service as a slave—the supreme value of wisdom and goodness, the vanity of power and wealth, the triviality of privation, discomfort and pain. Mr. Markham is a disciple of Jesus Christ, who from the waysides and the fields taught that poverty is not only a duty, but indispensable to salvation. So my argumentum ad hominem runs thus: The objects of our poet’s fierce invective and awful threats have suffered his protégés to remain rather better off than they are themselves—have appropriated and monopolized only what is not worth having. In view of this mitigating circumstance I feel justified in demanding in their behalf a lighter sentence. Let the portentous effigy of the French Revolution be forbidden to make faces at them.
I know of few literary phenomena more grotesque than some of those growing out of “The Man with the Hoe”—that sudden popularity being itself a thing which “goes neare to be fonny.” Mr. Markham, whom for many years those of us who modestly think ourselves illuminati considered a great poet whose greatness full surely was a-ripening, wrote many things far and away superior to “The Man,” but these brought him recognition from the judicious only, with which we would all have sworn that he was content. All at once he published a poem which, despite some of its splendid lines, is neither true in sentiment nor admirable in form—which is, in fact, addressed to peasant understandings and soured hearts. Instantly follow a blaze and thunder of notoriety, seen and heard over the entire continent; and even the coasts of Europe are “telling of the sound.” Straightway before the astonished vision of his friends the author stands transfigured! The charming poet has become a demagogue, a “labor leader” spreading that gospel of hate known as “industrial brotherhood,” a “walking delegate” diligently inciting a strike against God and clamoring for repeal of the laws of nature. Saddest of all, we find him conscientiously promoting his own vogue. He personally appears at meetings of cranks and incapables convened to shriek against the creed of law and order; speaks at meetings of sycophants eager to shine by his light; introduces lecturers to meetings of ninnies and femininnies convened to glorify themselves. When he is not waving the red flag of discontent and beating the big drum of revolution I presume he is resting—perched, St.-Simeon-Styliteswise, atop a lofty capital I, erected in the market place, diligently and rapturously contemplating his new identity. All of which is very sad to those of us who find it difficult to unlove him.
The trouble with Mr. Markham is that he has formed the habit of thinking of mankind as divided on the property line—as comprising only two classes, the rich and the poor. When a man has acquired that habit he is lost to sense and righteousness. Assassins sometimes reform, and with increasing education thieves renounce the error of theft to embrace the evangel of embezzlement; but a demagogue never gets again into shape unless he becomes wealthy. I hope Mr. Markham’s fame will so promote his pecuniary interest that it will convert him from the conviction that his birth was significantly coincident in point of time with the Second Advent. Only one thing is more disagreeable than a man with a mission, namely a woman with a mission, and the superior objectionableness of the latter is largely due to her trick of inspiring the former.