Without trying the rather dubious policy of attempting to prove our taste, we think that upon these sonnets alone we could rest De Vere's claim to be a first-class sonnet writer. If it were not a received impossibility, we should be tempted to call him the equal in this respect of Shakespeare. Of course we admit the impossibility.
Leaving the sonnets, we come to a far more interesting portion of the works before us—the religious poems. As a Christian, our author is indeed admirable. He evinces not only a deep, strong, real, and realizing faith, but much fruitful thought over the mental details, so to speak, and a wonderful comprehension of the theory, theology, and mysteries of the church.
More properly than religious poems, we should speak of poems on religion; for the man's whole life is a religious poem. Scarcely a scrap is not full of his deep Catholicity. Of verses specially and professedly devotional, these volumes contain few, besides the May Carols, save some Poems on Sacred Subjects, which we find below the author's average. Some of them carry abstractness to the verge of vagary. What color of pretence, for instance, has a man for printing (if he must write it), and deliberately inviting the public to read, a copy of verses on the Unity of Abstract Truth? We internally know we are not Wordsworths, but it is very unpleasant to have it made so plain. In shrewd anticipation of any mental queries, we utterly decline saying whether we have read the lines or not. We cannot determine which would be the more to our credit.
But we pass by unnumbered beauties to reach our author's best and most memorable work—May Carols. This is noble alike in design, tone, and execution. The plan is simple—to produce a series of poems in honor of the Blessed Virgin, graduating poetical expositions of her relations to faith according to the progress of her month of May. It is just the topic for him, and the result is the most beautiful development of the entire subject that can be imagined. We have no words for the subtlety and success with which the individualities of Mary and Jesus are wrought out. The man who, without seeking adventitious aid by startling and shocking the habits of Christian thought and Christian reverence, can so draw a portrait of the Saviour, has in this alone deserved the thanks of the ages as a standard-bearer on the march of the hosts of God. These great delineations form the first and main function of the whole work. We cannot set forth his purpose more lucidly than in his own words, as we find them in the preface:
"The wisdom of the church, which consecrates the fleeting seasons of time to the interests of eternity, has dedicated the month of May (the birth-day festival, as it were, of creation) to her who was ever destined in the divine counsels to become the Mother of her Creator. It belongs to her, of course, as she is the representative of the incarnation, and its practical exponent to a world but too apt to forget what it professes to hold. The following poems, written in her honor, are an attempt to set forth, though but in mere outline, each of them some of the great ideas or essential principles embodied in that all-embracing mystery. On a topic so comprehensive, converse statements, at one time illustrating highest excellence compatible with mere creaturely existence, at another, the infinite distance between the chief of earthly creatures and the Creator, may seem, at first sight, and to some eyes, contradictory, although in reality mutually correlative. On an attentive perusal, however, that harmony which exists among the many portions of a single mastering truth can hardly fail to appear, and with it the scope and aim of this poem."
This certainly is aiming high. Not only does the poet include in his plan the moral delineation of her whom the church holds the highest type of created humanity; he scales the heavens themselves. But our author is impious Enceladus crushed beneath his own presumption, but a Jacob wrestling with the angel of the Lord, and rising to the infinite sky in beatific visions. Perhaps we best realize the boldness of the enterprise when we think for how many centuries the praise of the Mother and Son has exhausted thought and imagination of the greatest souls. He is a daring gleaner who follows the fathers of the church over their chosen fields. Yet the May [{79}] Carols are a sheaf from the same golden foison where Augustine and Aquinas and Chrysostom led the reapers. How fruitful must be the soil!
We have never seen anything to compare with the picture of the Holy Child here presented, unless it be the picture of the Holy Mother. We cannot, in our allotted space, render all the admirable gradations and delicate shadings, but must cull with difficult choice one or two only. One of the first is the
MATER CHRISTI
Daily beneath his mother's eyes
Her lamb maturity his lowliness:
'Twas hers the lovely sacrifice
With fillet and with flower to dress.
Beside his little cross he knelt,
With human-heavenly lips he prayed;
His will with in her will she felt,
And yet his will her will obeyed. . . .
He willed to lack; he willed to bear;
He willed by suffering to be schooled;
He willed the chains of flesh to wear;
Yet from her arms the world he ruled.
As tapers 'mid the noontide glow
With merged yet separate radiance burn,
With human taste and touch, even so,
The things he knew he willed to learn.
He sat beside the lowly door:
His homeless eyes appeared to trace
In evening skies remembered lore,
And shadows of his Father's face.
One only knew him. She alone
Who nightly to his cradle crept.
And lying like the moonbeam prone
Worshipped her Maker as he slept.
Whoever can read that without admiring it, is a clod: whoever can read it without having his whole idea of Christ's childhood intensely vivified and expanded, must be a St. John or an angel. How beautiful, and, when we look at it, how bold is the epithet "homeless!" How exactly it embodies the longing of his spirit out of its human prison toward the freedom of the heavens! Yet how daringly true to imagine the omnipresent Deity homeless! Again, how acutely the last scene characterizes the tender timidity of Mary's mother-love, and how natural and intensely human the conscious, sweet self-deception which brought her to worship when only the humanity slept, and she seemed separated from her Son and alone with her Creator! But the simile of the taper is perhaps the best touch of all, as being the masterly expression of one of the most subtle and difficult conceptions of the human mind. It must divide the honors of comparison with the concluding lines of the