Cambridge Sketches Part 5

He was certainly more popular in England than he had ever been in America, and he openly admitted that he disliked to resign his position.

Professor Child said, in 1882: "Lowell's conversation is witty, with a basis of literary cramming; and that seems to be what the English like.

He went to twenty-nine dinner parties in the month of June, and made a speech at each one of them."

In the last years of his life he was greatly infested with imitators who, as he said of Emerson in the "Fable for Critics," stole his fruit and then brought it back to him on their own dishes. Some of them were too influential to be easily disposed of, and others did not know when they were rebuffed. An old man, failing in strength and vigor, he had to endure them as best he could.

The story of Lowell's visions rests on a single authority, and if there was any truth in it, it seems probable that he would have confided the fact to more intimate friends. There are well-authenticated instances of visions seen by persons in a waking condition--this always happens, for instance, in _delirium tremens_--but they are sure to indicate nervous derangement, and are commonly followed by death. If there was ever a poet with a sound mind and a sound body, it was James Russell Lowell.

Edwin Arnold considered him the best of American poets, while Matthew Arnold did not like him at all. Emerson, in his last years, preferred him to Longfellow, but it is doubtful if he always did so. The strong point of his poetry is its intelligent manliness,--the absence of affectation and all sentimentality; but it lacks the musical element. He composed neither songs nor ballads,--nothing to match Hiawatha, or Gray's famous Elegy. America still awaits a poet who shall combine the _savoir faire_ of Lowell with the force of Emerson and the grace and purity of Longfellow.

Emerson had an advantage over his literary contemporaries in the vigorous life he lived. You feel in his writing the energy of necessity. The academic shade is not favorable to the cultivation of genius, and Lowell reclined under it too much. His best work was already performed before he became a professor. What he lacks as a poet, however, he compensates for as a wit. He is the best of American humorists--there are few who will be inclined to dispute that--even though we regret occasional cynicisms, like his jest on Milton's blindness in "Fireside Travels."

[Ill.u.s.tration: C. P. CRANCH]

CRANCH.

Christopher Pearce Cranch was born March 9, 1813, at Alexandria, Virginia, and was the son of Judge William Cranch, of the United States Circuit Court. His father came originally from Weymouth, Ma.s.sachusetts, and had been appointed to his position through the influence of John Quincy Adams. His mother, Anna Greenleaf, belonged to a well known Boston family. Pearce, as he was always called by his relatives, indicated a talent for the fine arts, as commonly happens, at an early age, and united with this a lively interest in music, singing and playing on the flute. These side issues may have prevented him from entering college so early as he might otherwise have done. He graduated at Columbia College, in 1832, after a three-year course. He wished to make a profession of painting, but Judge Cranch was aware how precarious this would be as a means of livelihood, and advised him to study for the ministry,--for which his quiet ways and grave demeanor seemed to have adapted him. He accordingly entered the Harvard Divinity-School, and was ordained as a Unitarian clergyman.

For the next six years Cranch lived the life of an itinerant preacher. He preached all over New England, making friends everywhere, and receiving numerous calls without, however, settling down to a fixed habitation.

This would seem to have been a peculiarity of his temperament; for in 1875 George William Curtis wrote to Mr. and Mrs. Cranch a letter which began with "O ye Bedouins"; and it is true that until that time he can hardly be said to have had a habitation of his own. He extended his migration as minister-at-large from Bangor, Maine, to Louisville, Kentucky. His varied accomplishments made him attractive to the younger members of the parishes for which he preached, but he never remained long enough in one place for their interest to take root.

The wave of German thought and literary interest was now sweeping over England and America. Repelled by doctors of divinity and the older cla.s.s of scholars, it was seized upon with avidity by the more susceptible natures of the younger generation. Its influence was destined to be felt all through the coming period of American literature. C. P. Cranch was affected by it, as Emerson, Longfellow and even Hawthorne, were affected by it. This, however, did not take place at once, and when Emerson's "Nature" was published, Cranch was at first repelled by the peculiarity of its style. At the house of Rev. James Freeman Clark, in Cincinnati, he drew some innocently satirical ill.u.s.trations of it. One was of a man with an enormous eye under which he wrote: "I became one great transparent eye-ball"; and another was a pumpkin with a human face, beneath which was written: "We expand and grow in the suns.h.i.+ne." In another sketch Emerson and Margaret Fuller were represented driving "over hill and dale" in a rockaway.

[Footnote: Sanborn's Life of Alcott.]

He would make these humorous sketches to entertain his friends at any time, seizing on a half-sheet of paper, or whatever might be at hand; but he did not long continue to caricature Emerson. His first volume of poetry, published in 1844, was dedicated to Emerson, and in Dwight's "Translations from Goethe and Schiller," there are a number of short pieces by Cranch, almost perfect in their rendering from German to English. Among these the celebrated ballad of "The Fisher" is translated so beautifully as to be slightly, if at all, inferior to the original.

The stanza,

"The water in dreamy motion kept, As he sat in a dreamy mood, A wave hove up, and a damsel stept All dripping from the flood,"

may have appealed strongly to Cranch at this time; for we find that in October, 1841, he was married at Fishkill-on-the-Hudson to a young lady of an old Knickerbocker family, Miss Elizabeth De Windt. If she did not come to him out of the Hudson, there can be no doubt that he courted her by the banks of the most beautiful river in North America.

Cranch had given up the clerical profession six months before this, and had adopted that of a landscape painter, for which he would seem to have studied with some artist in New York City,--unknown to fame, and long since forgotten. He continued to sketch and paint, and write prose and verse on the Hudson until 1846, when he embarked with his wife on a sailing packet for Ma.r.s.eilles. He had the good fortune to find a fellow- pa.s.senger in George William Curtis, and during the voyage of seven weeks, a lifelong friends.h.i.+p grew up between these two highly gifted men.

The volume of poems which he published in 1844 is now exceedingly rare; yet many of the pieces belong to a high order of excellence. In ease and grace of versification they resemble Longfellow, but in thought they are more like Emerson or Goethe. Consider this opening from "The Riddle":

"Ye bards, ye prophets, ye sages, Read to me, if ye can, That which hath been the riddle of ages, Read me the riddle of _Man_.

Then came the bard with his lyre, And the sage with his pen and scroll, And the prophet with his eye of fire, To unriddle a human soul.

But the soul stood up in its might; Its stature they could not scan; And it rayed out a dazzling mystic light, And shamed their wisest plan.

Yet sweetly the bard did sing, And learnedly talked the sage, And the seer flashed by with his lightning wing, Soaring beyond his age."

This is sonorous. It has a majesty of expression and a greatness of thought which makes Longfellow's "Psalm of Life" seem weak and even common-place. The whole poem is pitched in the same key, and Cranch never equalled it again, excepting once, and then in a very different manner.

Rev. Gideon Arch, a Hungarian scholar, philologist, and exile of 1849, said of his "Endymion" that there were Endymions in all languages, but that Cranch's was the best. To resuscitate it from the oblivion into which it has fallen, it is given entire:

"Yes, it is the queenly moon Walking through her starred saloon, Silvering all she looks upon: I am her Endymion; For by night she comes to me,-- O, I love her wondrously.

She into my window looks, As I sit with lamp and books, And the night-breeze stirs the leaves, And the dew drips down the eaves; O'er my shoulder peepeth she, O, she loves me royally!

Then she tells me many a tale, With her smile, so sheeny pale, Till my soul is overcast With such dream-light of the past, That I saddened needs must be, And I love her mournfully.

Oft I gaze up in her eyes, Raying light through winter skies; Far away she saileth on; I am no Endymion; O, she is too bright for me, And I love her hopelessly!

Now she comes to me again, And we mingle joy and pain, Now she walks no more afar, Regal with train-bearing star, But she bends and kisses me-- O, we love now mutually!"

This has the very sheen of moonlight upon it, and certainly is to be preferred to Dr. Johnson's scholastic "Endymion":

"Diana, huntress chaste and fair, Now thy hounds have gone to sleep,"--

If Cranch had continued in this line, and perhaps have improved upon it, he would surely have become one of the foremost American poets, but a poet cannot live by verse alone, and after he began to be thoroughly in earnest with his painting, his rhythmic genius fell into the background.

From Ma.r.s.eilles George W. Curtis proceeded to Egypt, where he wrote his well known book of Nile travels, while Cranch set out for Rome to perfect his art.

He studied there at a night-school, painting in water colors from nude models and arrangements of drapery, but not taking lessons from any regular instructor. He never applied himself much to figure-painting, however. He sold his paintings chiefly to American travellers, and when the Revolution broke out in 1848, he returned to Sorrento, where his second child, Mrs. Leonora Scott, was born. His first child was born the year previous, in Rome, but afterwards died. In 1851, he returned to New York and Fishkill, but not meeting with such good appreciation there as he had in Italy, he went to Europe again in the autumn of 1853, and resided in Paris. One cause of this may have been the unfriendliness of his brother-in-law, who was a leading art critic in New York City, and who disliked Cranch on account of his wife, and never neglected an opportunity of disparaging his work.

One of his early landscapes is now before me. I think it must have been painted anterior to his sojourn in Rome, owing to the coldness of the coloring. It represents a scene on the Hudson near Fishkill, with some cattle in the foreground, and a rather bold-looking mountain on the opposite side of the river. The clouds above the mountain are light and fleecy; the foliage soft and graceful; the cattle also are fine, but the effect is like a chilly spring day when one requires a winter overcoat.

An allegorical piece, ill.u.s.trating Heine's fir-tree dreaming of the palm, has a much pleasanter effect, although it represents a wintry scene.

His art improved greatly in Paris, and he also wrote a number of short poems which his friend, James Russell Lowell, published in the _Atlantic Monthly_. In 1856 George L. Stearns sent him an order for a painting, which Cranch executed the following year, and wrote Mr.

Stearns this explanation concerning it, in a very interesting letter dated Paris, March 18, 1857:

"Your picture is done and is quite a favorite with those who have seen it. In fact, I think so well of it that I shall probably send it to the Exposition, which opens soon. After that it shall be sent to you. It is an oak and a sunset--a warm and low-toned picture--and I am sure you will like it."

This landscape represents two vigorous oak trees by the bank of a river, with a sunset seen through the branches, and reflected in the water. The scene is remarkably like a similar one on Concord River, about two hundred yards below the spot where Hawthorne and Channing discovered the body of the schoolmistress who drowned herself, as Hawthorne supposed, from lack of sympathy. It seems as if the original sketch must have been made at that point. It is of a deep rich coloring, smoothly and delicately finished,--a painting that no one has yet been able to find fault with. Rev. Samuel Longfellow, who knew almost every picture in the galleries of Europe, considered it equal to a Ruysdael, and he liked it better than a Ruysdael.

In the letter above referred to Cranch also writes:

"Since your letter (a long time ago) I have written you a good many epistles (in a kind of invisible ink of my invention) which probably you have never received.

"The truth is, I am a distinguished case of total depravity in the matter of correspondence. Letters ought to flow from one as easily and spontaneously as spoken words. But then one must write all the time and report life continuously, as one does in speech. A letter does nothing but give some little detached morsel of one's life--and we say to ourselves what is the use of holding up to a friend three thousand miles off such unsatisfactory statements, such dribblings and droppings? 'Write what is uppermost,' says one at your elbow. Ah, if we could only say what is uppermost; as I sit down for instance to write (say this letter) I am caught into a sort of whirl of thoughts, in which it is impossible to say exactly what is foremost and what is hindmost. Then if I only attempt to narrate events, where am I to begin--so you see (I am theorizing about letters) a letter must be a sort of epitome of a friend's being and life or else nothing. Applying the theory to myself, finding myself unable to shut my genie in a box and carry him on my shoulders, I simply go and state that there is such a box with a genie supposed to be in it, lying at the custom-house, and here is the roughest sort of sketch of it," etc.

This is characteristic of the man. He lived largely in an atmosphere of poetic pleasantry, which served as an alleviation to his cares and as an attraction to his friends.

Cranch did not always succeed so well. He never became a mannerist, but there was too much similarity in his subjects, and the treatment too often bordered on the commonplace. Tintoretto said: "Colors can be bought at the paint-shop, but good designs are only obtained by sleepless nights and much reflection." It is doubtful if Cranch ever laid awake over his work, either in poetry or painting. He had a dreamy, phlegmatic disposition, which seemed to carry him through life without much effort of the will. He once confessed that when he was a boy he would never fire a gun for fear it might kick him over, and when he was at Hampton beach in 1875 he was in the habit of going out to sketch at a certain hour with prosaic regularity. He did not seem to be on the watch, as an artist should, for rare effects of light and scenery, and he talked of art with very little enthusiasm. Yet he lived the true life of his profession, enjoying his work, contented with little praise, and without envy of those who were more fortunate. What is called _odium artistic.u.m_ was unknown to him.

He was an unpretending, courteous American gentleman. His disposition was perfect, and no one could remember having seen him out of temper. His pleasant flow of wit and humor, together with his varied accomplishments, made him a very brilliant man in society, and he counted among his friends the finest _literati_ in Rome, London, and the United States. He knew Thackeray as he knew Curtis and Lowell, and was once dining with him in a London chop-house, when Thackeray said: "Have you read the last number of The Newcombs?--if not, I will read it to you."

Accordingly he gave the waiter a s.h.i.+lling to obtain the doc.u.ment, and read it aloud to Cranch and a friend who was with him.

[Footnote: Both mentioned in Hawthorne's Notebook.]

Cranch could never understand this, for it was the last thing he would have done himself without an invitation; but he enjoyed the reading, and often referred to it.

When he returned to America in 1863 he went to live on Staten Island in order to be near George William Curtis, who cared for him as Damon did for Pythias, and who served to counteract the ill-omened influence of Cranch's brother-in-law. The Century Club purchased one of his pictures, an allegorical subject, which I believe still hangs in their halls. From 1873 to 1877 Lowell would seem to have frequented Cranch's house in preference to any other in Cambridge.

When Cranch first went to live there he occupied a small but sunny and otherwise desirable house on the westerly side of Appian Way,--a name that amused him mightily,--but in 1876 he purchased the house on the southwestern corner of Ellery and Harvard Streets. Having arranged his household goods there he sent one of his own paintings as a present to Emerson in order to renew their early acquaintance. Emerson responded to it by a characteristic note, in which he said that his son and daughter, who were both good artists, had expressed their approval of his present.

He then referred to the danger which arises from a multiplicity of talents, and said: "I well recollect how you made the frogs vocal in the ponds back of Sleepy Hollow."