And the feast is well lighted, and the guest has not to third his way through knotty sentences, past perilous punctuation-points, to reach the table, nor to grope in the dark for the dainties when he has found it. We imagine that it is this charm of perfect clearness and accessibility which attracts popular liking to Mr. Aldrich's poetry; afterwards, its other qualities easily hold the favor won. He is endowed with a singular richness of fancy, and he has well chosen most of his themes from among those which allow the exercise of his best gifts. He has seldom, therefore, attempted to poetize any feature or incident of our national life; for this might have demanded a realistic treatment foreign to his genius. But it is poetry, the result, which we want, and we do not care from what material it is produced. The honey is the same, whether the bee stores it from the meadow-clover and the wild-flower of our own fields, or, loitering over city wharves, gathers it from ships laden with tropic oranges and orient dates.
If Mr. Aldrich needed any defence for the poems in which he gives rein to his love for the East and the South, he would have it in the fact that they are very beautiful, and distinctively his own, while they breathe full east in their sumptousness of diction, and are genuinely southern in their summer-warmth of feeling. We doubt if any poet of Persia could have told more exquisitely than he what takes place
"WHEN THE SULTAN GOES TO ISPAHAN.
"When the Sultan Shah-Zaman
Goes to the city Ispahan,
Even before he gets so far
As the place where the clustered palm-trees are,
At the last of the thirty palace-gates,
The pet of the harem, Rose-in-Bloom,
Orders a feast in his favorite room,—
Glittering squares of colored ice,
Sweetened with syrop, tinctured with spice,
Creams, and cordials, and sugared dates,
Syrian apples, Othmanee quinces,
Limes, and citrons, and apricots,
And wines that are known to Eastern princes;
And Nubian slaves, with smoking pots
Of spicèd meats and costliest fish,
And all that the curious palate could wish,
Pass in and out of the cedarn doors:
Scattered over mosaic floors
Are anemones, myrtles, and violets,
And a musical fountain throws its jets
Of a hundred colors into the air.
The dusk Sultana loosens her hair,
And stains with the henna-plant the tips
Of her pearly nails, and bites her lips
Till they bloom again,—but, alas! that rose
Not for the Sultan buds and blows;
Not for the Sultan Shah-Zaman,
When he goes to the city Ispahan.
"Then, at a wave of her sunny hand,
the dancing girls of Samarcand
Float in like mists from Fairy-land!
And to the low voluptuous swoons
Of music rise and fall the moons
Of their full, brown bosoms. Orient blood
Runs in their veins, shines in their eyes:
And there, in this Eastern Paradise,
Filled with the fumes of sandal-wood,
And Khoten musk, and aloes and myrrh,
Sits Rose-in-Bloom on a silk divan,
Sipping the wines of Astrakhan;
And her Arab lover sits with her.
That's when the Sultan Shah-Zaman
Goes to the city Ispahan.
"Now, when I see an extra light,
Flaming, flickering on the night
From my neighbor's casement opposite,
I know as well as I know to pray,
I know as well as a tongue can say,
That the innocent Sultan Shah-Zaman
Has gone to the city Ispahan."
As subtilely beautiful as this, and even richer in color and flavor than this, is the complete little poem which Mr. Aldrich calls a fragment:—
"DRESSING THE BRIDE.
"So, after bath, the slave-girls brought
The broidered raiment for her wear,
The misty izar from Mosul,
The pearls and opals for her hair,
The slippers for her supple feet,
(Two radiant crescent moons they were,)
And lavender, and spikenard sweet,
And attars, nedd, and richest musk.
When they had finished dressing her,
(The eye of morn, the heart's desire!)
Like one pale star against the dusk,
A single diamond on her brow
Trembled with its imprisoned fire!"
Too long for quotation here, but by no means too long to be read many times over, is "Pampinea," an idyl in which the poet's fancy plays lightly and gracefully with the romance of life in Boccaccio's Florentine garden, and returns again to the beauty which inspired his dream of Italy, as he lay musing beside our northern sea. The thread of thought running through the poem is slight as the plot of dreams,—breaks, perhaps, if you take it up too abruptly; but how beautiful are the hues and the artificing of the jewels strung upon it!