Reference > Cambridge History > Colonial and Revolutionary Literature; Early National Literature, Part I > Bryant and the Minor Poets > Bryant’s Images
  Nature in Bryant His “Surveys”  

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The Cambridge History of English and American Literature in 18 Volumes (1907–21).
VOLUME XV. Colonial and Revolutionary Literature; Early National Literature, Part I.

V. Bryant and the Minor Poets.

§ 6. Bryant’s Images.


The few aspects of man and nature he reported have, in a way, been necessarily already suggested. With senses more alert to observe details in the physiognomy and voice of nature than of man, his imagination continually sees the same general vision: the Indian, shadowy type of a departed world, accoutred with feathers and tomahawk, realized, however, in almost none of his actual customs and in none of his actual feelings save that of sorrow for tribal ruin; the warriors of freedom, especially of the American Revolution; the infinite and mysterious racial past on this earth with all its crimes, triumphs, mutations, rather than with its more ethical future which he believes in more than he visualizes, an act of his thinking rather than of his imagination; the earth itself as the sepulchre of man; and, like one great primeval landscape, the mountain, the sea, the wind, the river, the seasons, the plain, the forest that undergo small change from their reality, take on few subjective peculiarities, by virtue of an imagination that seems, as it were, to absorb rather than to create its objects,—in this more like the world of phenomena in Lucretius than, say, in Tennyson, or in the partially Lucretian Meredith, certainly than in Hugo, to whom nature becomes so often monstrous and grotesque. And yet Bryant’s imagination has its characteristic modes of relating its objects. Three or four huge and impressive metaphors underlie a great part of his poetry: the past as a place, an underworld, 17  dim and tremendous, most poignantly illustrated in the poem The Past with its personal allusions, and most sublimely in The Death of Slavery, a great political hymn, with Lowell’s Commemoration Ode, and Whitman’s When Lilacs last in the Dooryard Bloomed, the highest poetry of solemn grandeur produced by the Civil War; death as a mysterious passageway, whether through gate 18  or cloud, 19  with the hosts ever entering and disappearing in the Beyond; mankind conceived as one vast company, a troop, a clan; and, as suggested above, nature as a multitudinous Life.   14

Note 17
       
The figure is in Kirke White’s Time:
“Where are conceal’d the days which have elapsed
Hid in the mighty cavern of the past,
They rise upon us only to appeal,
By indistinct and half-glimpsed images.”
This is doubtless one of the many indications of how thoroughly Bryant’s early reading penetrated his subconsciousness and, with boyhood’s woods and mountains, contributed to his essential make-up in maturity.
[ back ]
Note 18Poems, p. 260. [ back ]
Note 19Ibid., p. 250. [ back ]

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  Nature in Bryant His “Surveys”  
 
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