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The Poems of Sidney Lanier by Sidney Lanier
page 35 of 312 (11%)

These investigations in the science of verse bore their fruit especially
in the poems written during the last three or four years of his life,
when his sense of the solemn sacredness of Art became more profound,
and he acquired a greater ease in putting into practice his theory of verse.
And this made him thoroughly original. He was no imitator
either of Tennyson or of Swinburne, though musically he is nearer to them
than to any others of his day. We constantly notice in his verse
that dainty effect which the ear loves, and which comes
from deft marshalling of consonants and vowels, so that they shall add their
suppler and subtler reinforcement to the steady infantry tramp of rhythm.
Of this delicate art, which is much more than mere alliteration,
which is concerned with dominant accented vowels as well as consonants,
with the easy flow of liquids and fricatives, and with
the progressive opening or closing of the organs of articulation,
the laws are not easy to formulate, but examples abound in Lanier's poems.

Mr. Stedman, poet and critic, raises the question whether Lanier's
extreme conjunction of the artistic with the poetic temperament,
which he says no man has more clearly displayed, did not somewhat hamper
and delay his power of adequate expression. Possibly,
but he was building not for the day, but for time. He must work out
his laws of poetry, even if he had almost to invent its language;
for to him was given the power of analysis as well as of construction,
and he was too conscientious to do anything else than to find out
what was best and why, and then tell and teach it as he had learnt it,
even if men said that his late spring was delaying bud and blossom.

But it would be a great mistake to find in Lanier only, or chiefly,
the artist. He had the substance of poetry. He possessed both elements,
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