ost its power and
the flying fingers stiffened. Bequeathed to the passionate, young
enthusiast, who made it whisper his hidden love, and cry his
inarticulate longings, and scream his untold agonies, and wail his
monotonous despair. Passed from his dying hand to the cold
virtuoso, who let it slumber in its case for a generation, till,
when his hoard was broken up, it came forth once more and rode the
stormy symphonies of royal orchestras, beneath the rushing bow of
their lord and leader. Into lonely prisons with improvident
artists; into convents from which arose, day and night, the holy
hymns with which its tones were blended; and back again to orgies
in which it learned to howl and laugh as if a legion of devils were
shut up in it; then again to the gentle dilettante who calmed it
down with easy melodies until it answered him softly as in the days
of the old maestros. And so given into our hands, its pores all
full of music; stained, like the meerschaum, through and through,
with the concentrated hue and sweetness of all the harmonies which
have kindled and faded on its strings.

Now I tell you a poem must be kept AND USED, like a meerschaum, or
a violin. A poem is just as porous as the meerschaum;--the more
porous it is, the better. I mean to say that a genuine poem is
capable of absorbing an indefinite amount of the essence of our own
humanity,--its tenderness, its heroism, its regrets, its
aspirations, so as to be gradually stained through with a divine
secondary color derived from ourselves. So you see it must take
time to bring the sentiment of a poem into harmony with our nature,
by staining ourselves through every thought and image our being can
penetrate.

Then again as to the mere music of a new poem; why, who can expect
anything more from that than from the music of a violin fresh from
the maker's hands? Now you know very well that there are no less
than fifty-eight different pieces in a violin. These pieces are
strangers to each other, and it takes a century, more or less, to
make them thoroughly acquainted. At last they learn to vibrate in
harmony, and the instrument becomes an organic whole, as if it were
a great seed-capsule which had grown from a garden-bed in Cremona,
or elsewhere. Besides, the wood is juicy and full of sap for fifty
years or so, but at the end of fifty or a hundred more gets
tolerably dry and comparatively resonant.

Don't you see that all this is just as true of a poem