Not long ago a writer of distinction was idling his way pleasantly through a volume of Mrs. Browning’s poetry, when his attention was arrested by a quotation8 which stood at the head of that rather nebulous effusion, “A Rhapsody of Life’s Progress.” It was but a single line,
“Fill all the stops of life with tuneful breath,”
and it was accredited9 to Cornelius Mathews, author of “Poems on Man.” A foot-note,—people were more generous in the matter of foot-notes forty years ago than now—gave the additional and somewhat startling information that “Poems on Man” was “a small volume by an American poet, as remarkable10 in thought and manner for a vital sinewy11 vigour12 as the right arm of Pathfinder.” This was stout13 praise. “The right arm of Pathfinder.” We all know what sinewy vigor14 was there; but of Cornelius Mathews, it would seem, no man knew anything at all. Yet his poems had traveled far when they lay in Mrs. Browning’s path, and of her admiration15 for{203} them she had left us this unstinted proof. Moreover the one line,
“Fill all the stops of life with tuneful breath”
had in it enough of character and sweetness to provoke an intelligent curiosity. As a scholar and a man of letters, the reader felt his interest awakened17. He replaced Mrs. Browning on the book shelf, and made up his mind with characteristic distinctness he would read the poems of this forgotten American author.
It was not an easy resolution to keep. A confident appeal to the public libraries of New York and Philadelphia brought to light the astonishing fact that no copy of the “Poems on Man” was to be found within their walls. The work had been published in several editions by Harper and Brothers between the years 1838 and 1843; but no forlorn and dust covered volume still lingered on their shelves. The firm, when interrogated18, knew no more about Cornelius Mathews than did the rest of the reading world. The next step was to advertise for a second-hand19 copy; but for a long while it seemed as though even second-hand{204} copies had disappeared from the face of the continent. The book was so exceedingly rare that it must have been a universal favorite for the lighting20 of household fires. In the end, however, persevering21 effort was crowned with its inevitable22 success. “The works of Cornelius Mathews” were unearthed23 from some dim corner of obscurity, and suffered to see the genial24 light of day.
They comprise a great deal of prose and a very little verse, all bound up together, after the thrifty25 fashion of our fathers, in one portly volume, with dull crimson26 sides, and double columns of distressingly27 fine print. The “Poems on Man” are but nineteen in number, and were originally published in a separate pamphlet. They are arranged systematically28, and are designed to do honor to American citizenship29 under its most sober and commonplace aspect. The author is in no way discouraged by the grayness of his atmosphere, nor by the unheroic material with which he has to deal. On the contrary, he is at home with farmers, and mechanics, and merchants; and ill at ease with painters and soldiers, to whom it must be confessed he preaches a little{205} too palpably. It is painful to consider what bad advice he gives to the sculptor30 in this one vicious line,
“Think not too much what other climes have done.”
Yet, in truth, he is neither blind to the past, nor unduly31 elated with the present. He feels the splendid possibilities of a young nation with all its life before it; and earnestly, and with dignity, he pleads for the development of character, and for a higher system of morality. If his verse be uneven32 and mechanical, and the sinewy vigor of Pathfinder be not so apparent as might have been reasonably expected, I can still understand how these simple and manly33 sentiments should have awakened the enthusiasm of Mrs. Browning, who was herself no student of form, and who sincerely believed that poetry was a serious pursuit designed for the improvement of mankind.
In his narrower fashion, Mr. Cornelius Mathews shared this pious34 creed35, and strove, within the limits of his meagre art, to awaken16 in the hearts of his countrymen a patriotism36 sober and sincere. He calls on the journalist to tell the truth, on the artisan to respect the{206} interests of his employer, on the merchant to cherish an old-time honor and honesty, on the politician to efface37 himself for the good of his constituency.
“Accursed who on the Mount of Rulers sits,
Nor gains some glimpses of a fairer day;
Who knows not there, what there his soul befits,—
The coming time! Who rather dulls the ear
Owning no hopeful object, far or near,
Save what the universal self affords.”
This is not heroic verse, but it shows an heroic temper. The writer has evidently some knowledge of things as they are, and some faith in things as they ought to be, and these twin sources of grace save him from bombast41 and from cynicism. Never in all the earnest and appealing lines does he indulge himself or his readers in that exultant42 self-glorification which is so gratifying and so inexpensive. His patriotism is not of the shouting and hat-flourishing order, but has its roots in an anxious and loving regard for the welfare of his fatherland. Occasionally he strikes a poetic43 note, and has moments of brief but genuine inspiration.{207}
which lend their calm and shadowy presence to the farmer’s toil45, bring with them swift glimpses of a strong pastoral world. Not a blithe46 world by any means. No Pan pipes in the rushes. No shaggy herdsmen sing in rude mirthful harmony. No sun-burnt girls laugh in the harvest-field. Rusticity47 has lost its native grace, and the cares of earth sit at the fireside of the husbandman. Yet to him belong moments of deep content, and to his clean and arduous48 life are given pleasures which the artisan has never known.
“Better to watch the live-long day
The clouds that come and go,
Wearying the heaven they idle through,
Though sadness on the woods may often lie,
Pure blows the air, and purer shines the sky,
For nearer always to Heaven’s gate you stand.”
The most curious characteristic of Mr. Mathew’s work is the easy and absolute fashion in which it ignores the influence, and indeed the very existence of woman. The word “man” must here be taken in its literal significance. It is not of the human race that the author{208} sings, but of one half of it alone. No troublesome flutter of petticoats disturbs his serene52 meditations53; no echo of passion haunts his placid54 verse. Even in his opening stanzas55 on “The Child,” there is no allusion56 to any mother. The infant appears to have come into life after the fashion of Pallas Athene, and upon the father only depends its future weal or woe57. The teacher apparently58 confines his labors59 to little boys; the preacher has a congregation of men; the reformer, the scholar, the citizen, the friend, all dwell in a cool masculine world, where the seductive voice of womankind never insinuates60 itself to the endangering of sober and sensible behavior. This enforced absence of “The Eternal Feminine” is more striking when we approach the realms of art. Does the painter desire subjects for his brush?
“The mountain and the sea, the setting sun,
The storm, the face of men, and the calm moon,”
are considered amply sufficient for his needs. Does the sculptor ask for models? They are presented him in generous abundance.
“Crowned heroes of the early age,
Chieftain and soldier, senator and sage;{209}
Or, should he prefer less conventional types—
“Colossal and resigned, the gloomy gods
Towering and swart, and knit in every limb;
With brows on which the tempest lives,
With eyes wherein the past survives,
Gloomy, and battailous, and grim.”
With all these legitimate65 subjects at his command, why indeed should the artist turn aside after that beguiling66 beauty which Eve saw reflected in the clear waters of Paradise, and which she loved with unconscious vanity or ever Adam met her amorous67 gaze. Only to the poet is permitted the smallest glimpse into the feminine world. In one brief half-line, Mr. Mathews coldly and chastely68 allows that “young Love” may whisper something—we are not told what—which is best fitted for the poetic ear.
What an old-fashioned bundle of verse it is, though written a bare half century ago! How far removed from the delicate conceits69, the inarticulate sadness of our modern versifiers; from the rondeaux, and ballades, and pastels,{210} and impressions, and nocturnes, with which we have grown bewilderingly familiar. How these titles alone would have puzzled the sober citizen who wrote the “Poems on Man,” and who endeavored with rigid70 honesty to make his meaning as clear as English words would permit. There is no more chance to speculate over these stanzas than there is to speculate over Hogarth’s pictures. What is meant is told, not vividly71, but with steadfast72 purpose, and with an innocent hope that it may be of some service to the world. The world, indeed, has forgotten the message, and forgotten the messenger as well. Only in a brief foot-note of Mrs. Browning’s there lingers still the faint echo of what once was life. For such modest merit there is no second sunrise; and yet a quiet reader may find an hour well spent in the staid company of these serious verses, whose best eloquence73 is their sincerity74.
点击收听单词发音
1 sufficiently | |
adv.足够地,充分地 | |
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2 covet | |
vt.垂涎;贪图(尤指属于他人的东西) | |
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3 posthumous | |
adj.遗腹的;父亡后出生的;死后的,身后的 | |
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4 immortality | |
n.不死,不朽 | |
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5 abhorrence | |
n.憎恶;可憎恶的事 | |
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6 delightfully | |
大喜,欣然 | |
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7 incurred | |
[医]招致的,遭受的; incur的过去式 | |
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8 quotation | |
n.引文,引语,语录;报价,牌价,行情 | |
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9 accredited | |
adj.可接受的;可信任的;公认的;质量合格的v.相信( accredit的过去式和过去分词 );委托;委任;把…归结于 | |
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10 remarkable | |
adj.显著的,异常的,非凡的,值得注意的 | |
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11 sinewy | |
adj.多腱的,强壮有力的 | |
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12 vigour | |
(=vigor)n.智力,体力,精力 | |
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14 vigor | |
n.活力,精力,元气 | |
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15 admiration | |
n.钦佩,赞美,羡慕 | |
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16 awaken | |
vi.醒,觉醒;vt.唤醒,使觉醒,唤起,激起 | |
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17 awakened | |
v.(使)醒( awaken的过去式和过去分词 );(使)觉醒;弄醒;(使)意识到 | |
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18 interrogated | |
v.询问( interrogate的过去式和过去分词 );审问;(在计算机或其他机器上)查询 | |
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19 second-hand | |
adj.用过的,旧的,二手的 | |
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20 lighting | |
n.照明,光线的明暗,舞台灯光 | |
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21 persevering | |
a.坚忍不拔的 | |
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22 inevitable | |
adj.不可避免的,必然发生的 | |
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23 unearthed | |
出土的(考古) | |
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24 genial | |
adj.亲切的,和蔼的,愉快的,脾气好的 | |
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25 thrifty | |
adj.节俭的;兴旺的;健壮的 | |
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26 crimson | |
n./adj.深(绯)红色(的);vi.脸变绯红色 | |
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27 distressingly | |
adv. 令人苦恼地;悲惨地 | |
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28 systematically | |
adv.有系统地 | |
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29 citizenship | |
n.市民权,公民权,国民的义务(身份) | |
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30 sculptor | |
n.雕刻家,雕刻家 | |
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31 unduly | |
adv.过度地,不适当地 | |
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32 uneven | |
adj.不平坦的,不规则的,不均匀的 | |
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33 manly | |
adj.有男子气概的;adv.男子般地,果断地 | |
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34 pious | |
adj.虔诚的;道貌岸然的 | |
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35 creed | |
n.信条;信念,纲领 | |
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36 patriotism | |
n.爱国精神,爱国心,爱国主义 | |
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37 efface | |
v.擦掉,抹去 | |
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38 kindle | |
v.点燃,着火 | |
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39 brawling | |
n.争吵,喧嚷 | |
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40 discord | |
n.不和,意见不合,争论,(音乐)不和谐 | |
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41 bombast | |
n.高调,夸大之辞 | |
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42 exultant | |
adj.欢腾的,狂欢的,大喜的 | |
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43 poetic | |
adj.富有诗意的,有诗人气质的,善于抒情的 | |
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44 mighty | |
adj.强有力的;巨大的 | |
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45 toil | |
vi.辛劳工作,艰难地行动;n.苦工,难事 | |
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46 blithe | |
adj.快乐的,无忧无虑的 | |
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47 rusticity | |
n.乡村的特点、风格或气息 | |
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48 arduous | |
adj.艰苦的,费力的,陡峭的 | |
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49 fretting | |
n. 微振磨损 adj. 烦躁的, 焦虑的 | |
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50 everlasting | |
adj.永恒的,持久的,无止境的 | |
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51 wither | |
vt.使凋谢,使衰退,(用眼神气势等)使畏缩;vi.枯萎,衰退,消亡 | |
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52 serene | |
adj. 安详的,宁静的,平静的 | |
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53 meditations | |
默想( meditation的名词复数 ); 默念; 沉思; 冥想 | |
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54 placid | |
adj.安静的,平和的 | |
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55 stanzas | |
节,段( stanza的名词复数 ) | |
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56 allusion | |
n.暗示,间接提示 | |
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57 woe | |
n.悲哀,苦痛,不幸,困难;int.用来表达悲伤或惊慌 | |
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58 apparently | |
adv.显然地;表面上,似乎 | |
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59 labors | |
v.努力争取(for)( labor的第三人称单数 );苦干;详细分析;(指引擎)缓慢而困难地运转 | |
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60 insinuates | |
n.暗示( insinuate的名词复数 );巧妙或迂回地潜入;(使)缓慢进入;慢慢伸入v.暗示( insinuate的第三人称单数 );巧妙或迂回地潜入;(使)缓慢进入;慢慢伸入 | |
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61 tawny | |
adj.茶色的,黄褐色的;n.黄褐色 | |
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62 warrior | |
n.勇士,武士,斗士 | |
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63 kindling | |
n. 点火, 可燃物 动词kindle的现在分词形式 | |
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64 abodes | |
住所( abode的名词复数 ); 公寓; (在某地的)暂住; 逗留 | |
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65 legitimate | |
adj.合法的,合理的,合乎逻辑的;v.使合法 | |
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66 beguiling | |
adj.欺骗的,诱人的v.欺骗( beguile的现在分词 );使陶醉;使高兴;消磨(时间等) | |
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67 amorous | |
adj.多情的;有关爱情的 | |
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68 chastely | |
adv.贞洁地,清高地,纯正地 | |
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69 conceits | |
高傲( conceit的名词复数 ); 自以为; 巧妙的词语; 别出心裁的比喻 | |
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70 rigid | |
adj.严格的,死板的;刚硬的,僵硬的 | |
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71 vividly | |
adv.清楚地,鲜明地,生动地 | |
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72 steadfast | |
adj.固定的,不变的,不动摇的;忠实的;坚贞不移的 | |
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73 eloquence | |
n.雄辩;口才,修辞 | |
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74 sincerity | |
n.真诚,诚意;真实 | |
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