. . . . .
"By so many roots as the marsh-grass sends in the sod
I will heartily lay me a-hold on the greatness of God:
Oh, like to the greatness of God is the greatness within
The range of the marshes, the liberal marshes of Glynn."*24*
But to Lanier the ministration of nature was by no means passive; and we find him calling upon the leaves actively to minister to his need and even to intercede for him to their Maker:
"Ye lispers, whisperers, singers in storms,
Ye consciences murmuring faiths under forms,
Ye ministers meet for each passion that grieves,
Friendly, sisterly, sweetheart leaves,
Oh, rain me down from your darks that contain me
Wisdoms ye winnow from winds that pain me, —
Sift down tremors of sweet-within-sweet
That advise me of more than they bring, — repeat
Me the woods-smell that swiftly but now brought breath
From the heaven-side bank of the river of death, —
Teach me the terms of silence, — preach me
The passion of patience, — sift me, — impeach me, —
And there, oh there
As ye hang with your myriad palms upturned in the air,
Pray me a myriad prayer."*25*
In this earnest ascription of spirituality to the leaves
Lanier recalls Ruskin.*26*
— *1* See `The Waving of the Corn' and `Corn'. *2* See `Clover'. *3* See `The Mocking-Bird' and `To Our Mocking-Bird'. *4* See `Tampa Robins'. *5* See `The Dove'. *6* See `From the Flats', last stanza. *7* See `Sunrise'. *8* See `Sunrise' and `Corn'. *9* See `The Song of the Chattahoochee' and `Sunrise'. *10* See `Corn'. *11* See `Sunrise' and `At Sunset'. *12* See `Individuality'. *13* See `Sunrise', etc. *14* See `At Sunset'. *15* See `The Marshes of Glynn', and read Barbe's tribute to Lanier, cited in the `Bibliography'. *16* `Intimations of Immortality', ll. 202-203. *17* `The Symphony', l. 3. *18* `The Symphony', ll. 13-14. *19* `Clover', l. 57. *20* `Individuality', l. 1. *21* `Sunrise', l. 42. *22* `Corn', ll. 4-9. Compare `The Symphony', ll. 183-190. *23* Hayne's `In the Gray of Evening': Autumn, ll. 37-46, in `Poems' (Boston, 1882), p. 250. *24* `The Marshes of Glynn', ll. 61-64, 75-78. *25* `Sunrise', ll. 39-53. *26* See his `Modern Painters', vol. v., part vi., chapter iv., and Scudder's note to the same in her `Introduction to Ruskin' (Chicago, 1892), p. 249. —
To take up his next theme, Lanier, like every true Teuton, from Tacitus to the present, saw "something of the divine" in woman. It was this feeling that led him so severely to condemn a vice that is said to be growing, the marriage for convenience. I quote from `The Symphony', and the "melting Clarionet" is speaking:
"So hath Trade withered up Love's sinewy prime,
Men love not women as in olden time.
Ah, not in these cold merchantable days
Deem men their life an opal gray, where plays
The one red sweet of gracious ladies'-praise.
Now, comes a suitor with sharp prying eye —
Says, `Here, you lady, if you'll sell, I'll buy:
Come, heart for heart — a trade? What! weeping? why?'
Shame on such wooer's dapper-mercery!"*1*
And then follows a wooing that, to my mind, should be irresistible, and that, at any rate, is quite as high-souled as Browning's `One Way of Love', which I have long considered the high-water-mark of the chivalrous in love. The Lady Clarionet is still speaking:
"I would my lover kneeling at my feet
In humble manliness should cry, `O Sweet!
I know not if thy heart my heart will greet:
I ask not if thy love my love can meet:
Whate'er thy worshipful soft tongue shall say,
I'll kiss thine answer, be it yea or nay:
I do but know I love thee, and I pray
To be thy knight until my dying day.'"*2*