I SUPPOSE one cannot at this day say anything new, from a literary point of view, about those autochthonic bequests of Asiathe Hebrew Bible, the mighty Hindu epics, and a hundred lesser but typical works; (not now definitely including the Iliadthough that work was certainly of Asiatic genesis, as Homer himself wasconsiderations which seem curiously ignored.) But will there ever be a time or placeever a student, however modern, of the grand art, to whom those compositions will not afford profounder lessons than all else of their kind in the garnerage of the past? Could there be any more opportune suggestion, to the current popular writer and reader of verse, what the office of poet was in primeval timesand is yet capable of being, anew, adjusted entirely to the modern?
All the poems of Orientalism, with the Old and New Testaments at the centre, tend to deep and wide, (I dont know but the deepest and widest,) psychological developmentwith little, or nothing at all, of the mere æsthetic, the principal verse-requirement of our day. Very late, but unerringly, comes to every capable student the perception that it is not in beauty, it is not in art, it is not even in science, that the profoundest laws of the case have their eternal sway and outcropping.
In his discourse on Hebrew Poets De Sola Mendes said: The fundamental feature of Judaism, of the Hebrew nationality, was religion; its poetry was naturally religious. Its subjects, God and Providence, the covenants with Israel, God in Nature, and as reveald, God the Creator and Governor, Nature in her majesty and beauty, inspired hymns and odes to Natures God. And then the checkerd history of the nation furnishd allusions, illustrations, and subjects for epic displaythe glory of the sanctuary, the offerings, the splendid ritual, the Holy City, and lovd Palestine with its pleasant valleys and wild tracts. Dr. Mendes said that rhyming was not a characteristic of Hebrew poetry at all. Metre was not a necessary mark of poetry. Great poets discarded it; the early Jewish poets knew it not.
Compared with the famed epics of Greece, and lesser ones since, the spinal supports of the Bible are simple and meagre. All its history, biography, narratives, etc., are as beads, strung on and indicating the eternal thread of the Deific purpose and power. Yet with only deepest faith for impetus, and such Deific purpose for palpable or impalpable theme, it often transcends the masterpieces of Hellas, and all masterpieces. The metaphors daring beyond account, the lawless soul, extravagant by our standards, the glow of love and friendship, the fervent kissnothing in argument or logic, but unsurpassd in proverbs, in religious ecstacy, in suggestions of common mortality and death, mans great equalizersthe spirit everything, the ceremonies and forms of the churches nothing, faith limitless, its immense sensuousness immensely spiritualan incredible, all-inclusive non-worldliness and dew-scented illiteracy (the antipodes of our Nineteenth Century business absorption and morbid refinement)no hair-splitting doubts, no sickly sulking and sniffling, no Hamlet, no Adonais, no Thanatopsis, no In Memoriam.
The culminated proof of the poetry of a country is the quality of its personnel, which, in any race, can never be really superior without superior poems. The finest blending of individuality with universality (in my opinion nothing out of the galaxies of the Iliad, or Shaksperes heroes, or from the Tennysonian Idyls, so lofty, devoted and starlike,) typified in the songs of those old Asiatic lands. Men and women as great columnar trees. Nowhere else the abnegation of self towering in such quaint sublimity; nowhere else the simplest human emotions conquering the gods of heaven, and fate itself. (The episode, for instance, toward the close of the Mahabharatathe journey of the wife Savitri with the god of death, Yama,
One terrible to seeblood-red his garb,
His body huge and dark, bloodshot his eyes,
Which flamed like suns beneath his turban cloth,
Armd was he with a noose,
who carries off the soul of the dead husband, the wife tenaciously following, andby the resistless charm of perfect poetic recitation!eventually redeeming her captive mate.)
I remember how enthusiastically William H. Seward, in his last days, once expatiated on these themes, from his travels in Turkey, Egypt, and Asia Minor, finding the oldest Biblical narratives exactly illustrated there to-day with apparently no break or change along three thousand yearsthe veild women, the costumes, the gravity and simplicity, all the manners just the same. The veteran Trelawney said he found the only real nobleman of the world in a good average specimen of the mid-aged or elderly Oriental. In the East the grand figure, always leading, is the old man, majestic, with flowing beard, paternal, etc. In Europe and America, it is, as we know, the young fellowin novels, a handsome and interesting hero, more or less juvenilein operas, a tenor with blooming cheeks, black mustache, superficial animation, and perhaps good lungs, but no more depth than skim-milk. But reading folks probably get their information of those Bible areas and current peoples, as depicted in print by English and French cads, the most shallow, impudent, supercilious blood on earth.
I have said nothing yet of the cumulus of associations (perfectly legitimate parts of its influence, and finally in many respects the dominant parts,) of the Bible as a poetic entity, and of every portion of it. Not the old edifice onlythe congeries also of events and struggles and surroundings, of which it has been the scene and motiveeven the horrors, dreads, deaths. How many ages and generations have brooded and wept and agonized over this book! What untellable joys and ecstasieswhat support to martyrs at the stakefrom it. (No really great song can ever attain full purport till long after the death of its singertill it has accrued and incorporated the many passions, many joys and sorrows, it has itself arousd.) To what myriads has it been the shore and rock of safetythe refuge from driving tempest and wreck! Translated in all languages, how it has united this diverse world! Of civilized lands to-day, whose of our retrospects has it not interwoven and linkd and permeated? Not only does it bring us what is claspd within its covers; nay, that is the least of what it brings. Of its thousands, there is not a verse, not a word, but is thick-studded with human emotions, successions of fathers and sons, mothers and daughters, of our own antecedents, inseparable from that background of us, on which, phantasmal as it is, all that we are to-day inevitably dependsour ancestry, our past.
Strange, but true, that the principal factor in cohering the nations, eras and paradoxes of the globe, by giving them a common platform of two or three great ideas, a commonalty of origin, and projecting cosmic brotherhood, the dream of all hope, all timethat the long trains, gestations, attempts and failures, resulting in the New World, and in modern solidarity and politicsare to be identified and resolvd back into a collection of old poetic lore, which, more than any one thing else, has been the axis of civilization and history through thousands of yearsand except for which this America of ours, with its polity and essentials, could not now be existing.
No true bard will ever contravene the Bible. If the time ever comes when iconoclasm does its extremest in one direction against the Books of the Bible in its present form, the collection must still survive in another, and dominate just as much as hitherto, or more than hitherto, through its divine and primal poetic structure. To me, that is the living and definite element-principle of the work, evolving everything else. Then the continuity; the oldest and newest Asiatic utterance and character, and all between, holding together, like the apparition of the sky, and coming to us the same. Even to our Nineteenth Century here are the fountain heads of song.