But scarcely less remarkable is the success in the other grand aim of the May Carols—what he himself calls "an attempt at a Christian rendering of external nature." His attempt has brought forth a series of purely descriptive pieces, interspersed at intervals, intended to present the symbolism which the aspect of May's successive phases might offer to the imagination of faith. To cultivate Christianity in the shifting soil of fancy is of itself a bold endeavor; but when the method proposed is by picturing the delicate and evanescent shades of spring's advance, the difficulty can be realized.
How far the author succeeds in this most subtle undertaking of educing the symbolism of May, we must leave to country criticism for final adjudication. We have our opinion; we can discover many sweet emblems; but we cannot analyze or reason out our thoughts satisfactorily. We recognize portraits in the May-gallery, but are not familiar enough with nature's costumes to judge of the historical order. We can exult with the earth in the gladness of the season; we are permeated in a measure, as are all, with the influences of the bluer skies, the softer breezes, the more confident advance of the flowers. But when it comes to reading the succession of the changing clouds, harmonizing the melody of the gales, deciphering the hieroglyphics that spring's myriad fingers write in verdure on the woods and meadows, we feel that ours is but a city acquaintance with May. We have rested too well content with the beauty to think of its moral suggestiveness or significance.
But this we do know, that the author has struck such a vein of descriptive felicity that, according to Dr. Holmes's witty logic, he can afford to write no more description till he dies. There are touches of this here and there in other places, but nothing to promise such little gems of landscape as stud the May Carols. There is an accession of naturalness and a flow of happy phrases as soon as he reaches one of these themes, that is like swimming out of fresh water into salt. Take for instance, this:
When April's sudden sunset cold
Through boughs half-clothed with watery sheen
Bursts on the high, new-cowslipped wold,
And bathes a world half gold half green,
Then shakes the illuminated air With din of birds; the vales far down
Grow phosphorescent here and there;
Forth flash the turrets of the town;
Along the sky thin vapors scud;
Bright zephyrs curl the choral main; The wild ebullience of the blood
Rings joy-bells in the heart and brain:
Yet in that music discords mix;
The unbalanced lights like meteors play;
And, tired of splendors that perplex,
The dazzled spirit sighs for May.
It is a great disadvantage to these beautiful little poems to be thus taken from their frames, thereby losing their emblematic and retaining only their intrinsic beauty. But even so, there are two more which we fearlessly present on the merit of their own unaided charms. Here is the first:
Brow-bound with myrtle and with gold,
Spring, sacred now from blasts and blights,
Lifts in a firm, untrembling hold
Her chalice of fulfilled delights.
Confirmed around her queenly lip
The smile late wavering, on she moves;
And seems through deepening tides to step
Of steadier joys and larger loves.
The stony Ash itself relents,
Into the blue embrace of May
Sinking, like old impenitents
Heart-touched at last; and, far away,
The long wave yearns along the coast With sob suppressed, like that which thrills
(While o'er the altar mounts the Host)
Some chapel on the Irish hills.
We scarcely know which to admire most, the precise, clear-cut elegance of the opening personification, the beauty of the third verse, or the melody (how the first line matches the sense!) and admirable comparison in the last one. Only, if the poet had ever waded among the waves of bloom of our western prairies, he would have found a better expression than the awkward one of "deepening tides," which is out of character with the rest.
But the last one we give is the finest. We had put it in the first rank ourselves before finding that it had also struck the fine ear of Mr. Landor. It is a Claude Lorraine done into verse:
Pleasant the swarm about the bough;
The meadow-whisper round the woods;
And for their coolness pleasant now
The murmur of the falling floods.
Pleasant beneath the thorn to lie,
And let a summer fancy loose;
To hear the cuckoo's double cry;
To make the noon-tide sloth's excuse.
Panting, but pleased, the cattle stand
Knee-deep in water-weed and sedge,
And scarcely crop the greener band
Of osiers round the river's edge.
But hark! Far off the south wind sweeps
The golden-foliaged groves among,
Renewed or lulled, with rests and leaps—
Ah! how it makes the spirit long
To drop its earthly weight, and drift
Like yon white cloud, on pinions free,
Beyond that mountain's purple rift,
And o'er that scintillating sea!