For after his fortieth year the enemy gave way a little, and book after book somehow got itself written. There they stand upon the shelves, a dozen of them—The Pioneers of France, The Jesuits in North America, La Salle, The Old Régime, Frontenac, Montcalm and Wolfe, A Half-Century of Conflict—the boy's dream realized, the man's long warfare accomplished. The history of the forest, as Parkman saw it, was a pageant with the dark wilderness for a background, and, for the actors, taciturn savages, black-robed Jesuits, intrepid explorers, soldiers of France—all struggling for a vast prize, all changing, passing, with a pomp and color unknown to wearied Europe. It was a superb theme, better after all for an American than the themes chosen by Prescott and Ticknor and Motley, and precisely adapted to the pictorial and narrative powers of the soldier-minded, soldier-hearted author.
The quality which Parkman admired most in men—though he never seems to have loved men deeply, even his own heroes—was strength of will. That was the secret of his own power, and the sign, it must be added, of the limitations of this group of historians who came at the close of the golden age. Whatever a New England will can accomplish was wrought manfully by such admirable men as Prescott and Parkman. Trained intelligence, deliberate selection of subject, skillful cultivation of appropriate story-telling and picture-painting style, all these were theirs. But the "wild ecstasy" that thrilled the young Emerson as he crossed the bare Common at sunset, the "supernal beauty" of which Poe dreamed in the Fordham cottage, the bay horse and hound and turtle-dove which Thoreau lost long ago and could not find in his hut at Walden, these were something which our later Greeks of the New England Athens esteemed as foolishness.
[CHAPTER VIII.]
Poe and Whitman
Enter now two egotists, who have little in common save their egotism, two outsiders who upset most of the conventional American rules for winning the literary race, two men of genius, in short, about whom we are still quarreling, and whose distinctive quality is more accurately perceived in Europe than it has ever been in the United States.
Both Poe and Whitman were Romanticists by temperament. Both shared in the tradition and influence of European Romanticism. But they were also late comers, and they were caught in the more morbid and extravagant phases of the great European movement while its current was beginning to ebb. Their acquaintance with its literature was mainly at second-hand and through the medium of British and American periodicals. Poe, who was older than Whitman by ten years, was fifteen when Byron died, in 1824. He was untouched by the nobler mood of Byron, though his verse was colored by the influence of Byron, Moore, and Shelley. His prose models were De Quincey, Disraeli, and Bulwer. Yet he owed more to Coleridge than to any of the Romantics. He was himself a sort of Coleridge without the piety, with the same keen penetrating critical intelligence, the same lovely opium-shadowed dreams, and, alas, with something of the same reputation as a dead-beat.
A child of strolling players, Poe happened to be born in Boston, but he hated "Frog-Pondium"—his favorite name for the city of his nativity—as much as Whistler hated his native town of Lowell. His father died early of tuberculosis, and his mother, after a pitiful struggle with disease and poverty, soon followed her husband to the grave. The boy, by physical inheritance a neurasthenic, though with marked bodily activity in youth, was adopted by the Allans, a kindly family in Richmond, Virginia. Poe liked to think of himself as a Southerner. He was sent to school in England, and in 1826, at seventeen, he attended for nearly a year the newly founded University of Virginia. He was a dark, short, bow-legged boy, with the face of his own Roderick Usher. He made a good record in French and Latin, read, wrote and recited poetry, tramped on the Ragged Mountains, and did not notably exceed his companions in drinking and gambling. But his Scotch foster-father disapproved of his conduct and withdrew him from the University. A period of wandering followed. He enlisted in the army and was stationed in Boston in 1827, when his first volume, Tamerlane, was published. In 1829 he was in Fortress Monroe, and published Al Aaraf at Baltimore. He entered West Point in 1830, and was surely, except Whistler, the strangest of all possible cadets. When he was dismissed in 1831, he had written the marvellous lines To Helen, Israfel, and The City in the Sea. That is enough to have in one's knapsack at the age of twenty-two.
In the eighteen years from 1831 to 1849, when Poe's unhappy life came to an end in a Baltimore hospital, his literary activity was chiefly that of a journalist, critic, and short story writer. He lived in Baltimore, Richmond, Philadelphia, and New York. Authors who now exploit their fat bargains with their publishers may have forgotten that letter which Poe wrote back to Philadelphia the morning after he arrived with his child-wife in New York: "We are both in excellent spirits.… We have now got four dollars and a half left. To-morrow I am going to try and borrow three dollars, so that I may have a fortnight to go upon." When the child-wife died in the shabby cottage at Fordham, her wasted body was covered with the old army overcoat which Poe had brought from West Point. If Poe met some of the tests of practical life inadequately, it must be remembered that his health failed at twenty-five, that he was pitiably poor, and that the slightest indulgence in drink set his over-wrought nerves jangling. Ferguson, the former office-boy of the Literary Messenger, judged this man of letters with an office-boy's firm and experienced eye: "Mr. Poe was a fine gentleman when he was sober. He was ever kind and courtly, and at such times everyone liked him. But when he was drinking he was about one of the most disagreeable men I have ever met." "I am sorry for him," wrote C. F. Briggs to Lowell. "He has some good points, but taken altogether, he is badly made up." "Badly made up," no doubt, both in body and mind, but all respectable and prosperous Pharisees should be reminded that Poe did not make himself; or rather, that he could not make himself over. Very few men can. Given Poe's temperament, and the problem is insoluble. He wrote to Lowell in 1844: "I have been too deeply conscious of the mutability and evanescence of temporal things to give any continuous effort to anything—to be consistent in anything. My life has been whim—impulse—passion—a longing for solitude—a scorn of all things present in an earnest desire for the future." It is the pathetic confession of a dreamer. Yet this dreamer was also a keen analyzer, a tireless creator of beautiful things. In them he sought and found a refuge from actuality. The marvel of his career is, as I have said elsewhere, that this solitary, embittered craftsman, out of such hopeless material as negations and abstractions, shadows and superstitions, out of disordered fancies and dreams of physical horror and strange crime, should have wrought structures of imperishable beauty.