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by Mrs. Lawrence Turnbull, Miss Edith M. Thomas, and Messrs. James Cummings, Richard E. Burton, and John B. Tabb; and letters from Messrs. Richard W. Gilder, Edmund C. Stedman, and James Russell Lowell-all of which may be found in President Gilman's dainty Memorial of Sidney Lanier. Again, a replica of the above-mentioned bust, the gift also of Mr. Charles Lanier, was unveiled at the poet's birthplace, Macon, Ga., on October 17, 1890; on which occasion tender tributes were again poured forth in prose and verse, by Messrs. W. B. Hill, Hugh V. Washington, Charles Lanier, Clifford Lanier, Wm. Hand Browne, Charles G. D. Roberts, John B. Tabb, H. S. Edwards, Wm. H. Hayne, Charles W. Hubner, Joel Chandler Harris, Charles Dudley Warner, and Daniel C. Gilman. But more significant than these demonstrations, perhaps, is the steadily growing study devoted to Lanier's works. Mr. Higginson tells us, for instance, that, when he wrote his tribute in 1887, Lanier's Science of English Verse had been put upon the list of Harvard books to be kept only a fortnight, and that, according to the librarian, it was out "literally all the time." Moreover, it would not be difficult to cite various poems that have been more or less modeled upon Lanier's; it is sufficient, perhaps, to point out that the marsh, a theme almost unknown to poetry before Lanier immortalized it, is not infrequently the subject of poetic treatment now, as in the works of Charles

1 Published in The Atlanta (Ga.) Constitution of October 19, 1890.

2 See The Chautauquan, as cited in the Bibliography.

3

G. D. Roberts,' Clinton Scollard,' and Maurice Thompson. It is noteworthy, too, that many of the younger poets of the day, both in Canada and the United States, have sung Lanier's praise. A complete list is given in the Bibliography. Still further, a devoted admirer, Mrs. Lawrence Turnbull, of Baltimore, in The Catholic Man, has in the person of Paul, the poet, given us an imaginative study of the character of Mr. Lanier. Finally, only a few months ago the Chautauquans of the class of 1898 determined to call themselves "The Laniers," in honor of the poet and his brother.

II. LANIER'S PROSE WORKS

WITH this brief sketch of his life, let us turn to Lanier's works, and first to those in prose. At the head of the list comes Tiger-lilies, a novel written within three weeks and published immediately thereafter, in 1867. Under the figure of "a strange, enormous, terrible flower," the seed of which he hopes may perish beyond resurrection, the author pictures the horror of war in general and of the Civil War in particular. An entertaining love-story runs through the book, the plot of which space does not allow me to detail. In execution the novel has grave defects: it lacks unity; the characters talk as learnedly as Lanier afterward wrote of music; and at times, as in the oft-quoted picture of the war,1

1 See recent files of The Independent (New York).

2 See his Pictures in Song (New York, 1884), pp. 45-49. See his Songs of Fair Weather (Boston, 1883), pp. 27-28. Tiger-lilies, p. 115 ff.

the style is grandiloquent; owing to which blemishes the author wisely discouraged its republication. But, in spite of these defects, the book has one very strongly put scene,' the interview between Smallin and his deserter brother, and several beautiful passages that distinctly proclaim the highsouled poet.

2

Lanier's next publication, Florida: Its Scenery, Climate, and History, was written by commission of the Atlantic Coast Line, and appeared in 1876. To use the author's own epithet, Florida is “a spiritualized guide-book."

Exclusive of the 1877 volume of Poems, Lanier's next original work was The Science of English Verse, which in lecture-form was delivered to the students of the Johns Hopkins in the winter of 1879 and was published in 1880. According to competent critics, the book gives as searching an investigation of the science of verse on its formal side as is to be had in any language. Since the treatise is so evidently an epoch-making one, I regret that the technicality of the subject forbids my attempting in this connection even a brief exposition of its principles. I can say only that Lanier treats verse in the terms of music; that, according to the promise of the preface, he gives an account of the true relations of music and verse ;" and that in so doing he has given us the best working theory for English verse from Cadmon to Tennyson. This is a high estimate,

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This may be found in Professor Tolman's article, cited in the Bibliography.

but it is by no means so high as that of the lamented poet-professor, Edmund Rowland Sill, who said of The Science of English Verse, "It is the only work that has ever made any approach to a rational view of the subject. Nor are the standard ones overlooked in making this assertion."

1

Lanier's second course of lectures at the Johns Hopkins University, delivered in the winter and spring of 1881, was published in 1883 under the title, The English Novel and the Principles of Its Development. According to the author's statement, the purpose of the book is “first, to inquire what is the special relation of the novel to the modern man, by virtue of which it has become a paramount literary form; and, secondly, to illustrate this abstract inquiry, when completed, by some concrete readings in the greatest of modern English novelists" (p. 4). Addressing himself to the former, Lanier attempts to prove (1) that our time, when compared with that of Eschylus, shows an

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enormous growth in the personality of man” (p. 5); (2) that what we moderns call Physical Science, Music, and the Novel, all had their origin at practically the same time, about the middle of the seventeenth century (p. 9); and (3) “that the increase of personalities thus going on has brought about such complexities of relation that the older forms of expression were inadequate to them; and that the re

1 Quoted by Tolman.

2 Mrs. Lanier informs me that The English Novel will soon be issued in an amended form and with a new sub-title, Studies in the Development of Personality, which indicates precisely what Mr. Lanier intended to attempt, and relieves the book of its seeming incompleteness as to scope.

sulting necessity has developed the wonderfully free and elastic form of the modern novel out of the more rigid Greek drama, through the transition form of the Elizabethan drama" (p. 10). In fulfilment of his second purpose, the author gives a detailed study of several of the novels of George Eliot, whom he takes to be the greatest modern English novelist. Even this brief synopsis of the book must indicate its broad and stimulating character, in which respect it is a worthy successor of The Science of English Verse. Despite the limitations induced by failing life, which necessitated the cutting down of the course of lectures from twenty to twelve,' I know of few more life-giving books; and I venture to assert that it cannot safely be overlooked by any careful student of the subject.

Among other prose works I may mention Lanier's early extravaganza, Three Waterfalls; Bob, a happy account of a pet mocking-bird, worthy of being placed beside Dr. Brown's Rab and his Friends; his books for boys: Froissart, King Arthur, Mabinogion, and Percy, which have had, as they deserve, a large sale; and his posthumous From Bacon to Beethoven, a highly instructive essay on music.

III. LANIER'S POETRY: ITS THEMES

BUT it is chiefly as a poet that we wish to consider Lanier, and I turn to the posthumous edition of his Poems gotten out by his wife. At the outset let us ask, How did the poet look at the world?

1 Spann.