But Commencement was at hand. Here was a chance, indeed; here was a theme commensurate with the occasion. The two young dreamers would outline an epic poem; they would essay "Things unattempted yet in prose or rhyme":
"Now shall the adventurous Muse attempt a theme
More new, more noble, and more flush of fame
Than all that went before."
Never was graduating exercise based on broader foundations. The young graduates bewail at every step their limitations of space. The plan they suggest is the plan of a "Columbiad." They would begin with all the tale of Columbus; they would rehearse the story of Cortez and Pizarro; they would discuss at learned length the origin and the characteristics of the Indians; they would tell the story of the early colonies; and would trace the course of settlement and review the progress and the promise of agriculture and commerce; they would peer into the future and mark the time
"When we shall spread
Dominion from the North and South and West,
Far from the Atlantic to Pacific shores,
And shackle half the convex of the main."
But, alas, the time! An epic cannot be condensed into a graduation exercise. Suddenly the poet bursts into true prophetic rapture:
"I see, I see
A thousand kingdoms rais'd, cities, and men
Num'rous as sand upon the ocean shore;
Th' Ohio then shall glide by many a town
Of note: and where the Mississippi stream,
By forests shaded now runs weeping on,
Nations shall grow and States not less in fame
Than Greece and Rome of old: we too shall boast
Our Alexanders, Pompeys, heroes, kings
That in the womb of time yet dormant lye
Waiting the joyful hour of life and light.
O snatch us hence, ye muses! to those days
When, through the veil of dark antiquity,
Our sons shall hear of us as things remote,
That blossom'd in the morn of days, alas!
How could I weep that we were born so soon,
In the beginning of more happy times!
It is not a great poem when we measure it by absolute standards, but "The Rising Glory of America" is a very great poem if we view it in connection with the conditions and the environment that produced it. Full as it is of Latin influence and Commencement day zeal, it is the first real poem that America ever made—the first poem that was impelled hot from a man's soul. It is more than this, it is the first real fruit of a new influence in the world of letters—the first literary product of that mighty force that was to set in motion the American and French Revolutions, with all that they mean in human history.
America should have recognized this new and original voice, and should have encouraged it to sing the new message which it had to proclaim to the world, but she was not yet ready.
How the young dreamer, who had seen life from his earliest years only through the medium of his books, was gradually disillusioned, we have endeavored to show. His first book, put forth in the enthusiasm of inexperience, with his name on the title-page, was "damned by all good and judicious judges." So was Wordsworth's; so have been the earliest ventures of every innovator in the field of song. Gradually the young poet awoke to a realization of his position: America was unprepared for her prophet; she would not listen. The discovery disheartened him; his Celtic temperament would not patiently wait for recognition, as did Wordsworth; he was too proud to force his poetry upon an unwilling public. He would leave the scene, for three years to dwell in the dreamy seclusion of the tropic islands.
This was his period of pure invention, where he showed the possibilities of his genius. With the "House of Night" he became one of the earliest pioneers in that dimly-lighted region which was soon to be exploited by Coleridge and Poe. The poem is the first distinctly romantic note heard in America. Moreover, one may search in vain in the English poetry of the early romantic movement for anything that can equal it in strength of conception, in mastery of weird epithet, and in sustained command over the vaguely terrible. The page that recounts the poet's departure from the house of night, quaking with fear,—