About Emma Lazarus. (written For "the Century Magazine") Poem Rhyme Scheme and Analysis

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Born July Died November	A
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One hesitates to lift the veil and throw the light upon a life so	B
hidden and a personality so withdrawn as that of Emma Lazarus but	C
while her memory is fresh and the echo of her songs still lingers	D
in these pages we feel it a duty to call up her presence once more	E
and to note the traits that made it remarkable and worthy to shine	F
out clearly before the world Of dramatic episode or climax in her	A
life there is none outwardly all was placid and serene like an	G
untroubled stream whose depths alone hold the strong quick tide	H
The story of her life is the story of a mind of a spirit ever	A
seeking ever striving and pressing onward and upward to new truth	I
and light Her works are the mirror of this progress In reviewing	J
them the first point that strikes us is the precocity or rather	A
the spontaneity of her poetic gift She was a born singer poetry	K
was her natural language and to write was less effort than to speak	L
for she was a shy sensitive child with strange reserves and	M
reticences not easily putting herself en rapport with those around	N
her Books were her world from her earliest years in them she	K
literally lost and found herself She was eleven years old when the	O
War of Succession broke out which inspired her first lyric outbursts	P
Her poems and translations written between the ages of fourteen and	M
seventeen were collected and constituted her first published volume	Q
Crude and immature as these productions naturally were and utterly	K
condemned by the writer's later judgment they are nevertheless	R
highly interesting and characteristic giving as they do the	O
keynote of much that afterwards unfolded itself in her life One	S
cannot fail to be rather painfully impressed by the profound	N
melancholy pervading the book The opening poem is In Memoriam	Q
on the death of a school friend and companion and the two following	J
poems also have death for theme On a Lock of my Mother's Hair gives	T
us reflections on growing old These are the four poems written at	U
the age of fourteen There is not a wholly glad and joyous strain in	V
the volume and we might smile at the recurrence of broken vows	W
broken hearts and broken lives in the experience of this maiden just	X
entered upon her teens were it not that the innocent child herself	Y
is in such deadly earnest The two long narrative poems Bertha and	M
Elfrida are tragic in the extreme Both are dashed off apparently	K
at white heat Elfrida over fifteen hundred lines of blank verse	Z
in two weeks Bertha in three and a half We have said that Emma	Q
Lazarus was a born singer but she did not sing like a bird for	E
joy of being alive and of being young alas there is no hint in	V
these youthful effusions except inasmuch as this unrelieved gloom	Q
this ignorance of values so to speak is a sign of youth common	S
especially among gifted persons of acute and premature sensibilities	A2
whose imagination not yet focused by reality overreached the mark	B2
With Emma Lazarus however this sombre streak has a deeper root	C2
something of birth and temperament is in it the stamp and heritage	D2
of a race born to suffer But dominant and fundamental though it was	E2
Hebraism was only latent thus far It was classic and romantic art	F2
that first attracted and inspired her She pictures Aphrodite the	Q
beautiful arising from the waves and the beautiful Apollo and his	G2
loves Daphne pursued by the god changing into the laurel and the	Q
enamored Clytie into the faithful sunflower Beauty for its own	H2
sake supreme and unconditional charmed her primarily and to the end	I2
Her restless spirit found repose in the pagan idea the absolute	C2
unity and identity of man with nature as symbolized in the Greek	L
myths where every natural force becomes a person and where in turn	J2
persons pass with equal readiness and freedom back into nature again	K2
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In this connection a name would suggest itself even if it did not	L2
appear Heine the Greek Heine the Jew Heine the Romanticist as	M2
Emma Lazarus herself has styled him and already in this early volume	Q
of hers we have trace of the kinship and affinity that afterwards so	B
plainly declared itself Foremost among the translations are a	Q
number of his songs rendered with a finesse and a literalness that	U
are rarely combined Four years later at the age of twenty one	S
she published her second volume Admetus and Other Poems which	N2
at once took rank as literature both in America and England and	M
challenged comparison with the work of established writers Of	O2
classic themes we have Admetus and Orpheus and of romantic the	Q
legend of Tannhauser and of the saintly Lohengrin All are treated	P2
with an artistic finish that shows perfect mastery of her craft	Q2
without detracting from the freshness and flow of her inspiration	S
While sounding no absolutely new note in the world she yet makes	R2
us aware of a talent of unusual distinction and a highly endowed	S2
nature a sort of tact of sentiment and expression an instinct	T2
of the true and beautiful and that quick intuition which is like	U2
second sight in its sensitiveness to apprehend and respond to external	V2
stimulus But it is not the purely imaginative poems in this volume	Q
that most deeply interest us We come upon experience of life in	V
these pages not in the ordinary sense however of outward activity	K
and movement but in the hidden undercurrent of being The epochs	W2
of our life are not in the visible facts but in the silent thoughts	X2
by the wayside as we walk This is the motto drawn from Emerson	S
which she chooses for her poem of Epochs which marks a pivotal	V2
moment in her life Difficult to analyze difficult above all to	Y2
convey if we would not encroach upon the domain of private and	M
personal experience is the drift of this poem or rather cycle of	O2
poems that ring throughout with a deeper accent and a more direct	Z2
appeal than has yet made itself felt It is the drama of the human	S
soul the mystic winged and flickering butterfly flitting	J
between earth and sky in its passage from birth to death	A3
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A golden morning of June Sweet empty sky without a stain	B3
Sunlight and mist and ripple of rain fed rills A murmur and a	Q
singing manifold	C3
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What simple things be these the soul to raise	D3
To bounding joy and make young pulses beat	E3
With nameless pleasure finding life so sweet	E3
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Such is youth a June day fair and fresh and tender with dreams and	M
longing and vague desire The morn lingers and passes but the noon	F3
has not reached its height before the clouds begin to rise the	Q
sunshine dies the air grows thick and heavy the lightnings flash	G3
the thunder breaks among the hills rolls and gathers and grows	H3
until	I3
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Behold yon bolt struck home	Q
And over ruined fields the storm hath come	Q
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Now we have the phases of the soul the shock and surprise of grief	J3
in the face of the world made desolate Loneliness and despair for	E
a space and then like stars in the night the new births of the	Q
spirit the wonderful outcoming from sorrow the mild light of patience	K3
at first hope and faith kindled afresh in the very jaws of evil	V2
the new meaning and worth of life beyond sorrow beyond joy and	M
finally duty the holiest word of all that leads at last to victory	K
and peace The poem rounds and completes itself with the close of	O2
the long rich day and the release of	O2
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The mystic winged and flickering butterfly	L3
A human soul that drifts at liberty	K
Ah who can tell to what strange paradise	M3
To what undreamed of fields and lofty skies	N3
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We have dwelt at some length upon this poem which seems to us in a	Q
certain sense subjective and biographical but upon closer analysis	O3
there is still another conclusion to arrive at In Epochs we have	P3
doubtless the impress of a calamity brought very near to the writer	A
and profoundly working upon her sensibilities not however by direct	Z2
but reflex action as it were and through sympathetic emotion the	Q
emotion of the deeply stirred spectator of the artist the poet who	Y2
lives in the lives of others and makes their joys and their sorrows	H3
his own	H2
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Before dismissing this volume we may point out another clue as to the	Q
shaping of mind and character The poem of Admetus is dedicated	P2
to my friend Ralph Waldo Emerson Emma Lazarus was between	Q3
seventeen and eighteen years of age when the writings of Emerson	S
fell into her hands and it would be difficult to over estimate the	Q
impression produced upon her As she afterwards wrote To how many	K
thousand youthful hearts has not his word been the beacon nay	R3
more the guiding star that led them safely through periods of	O2
mental storm and struggle Of no one is this more true than herself	Y
Left to a certain extent without compass or guide without any	K
positive or effective religious training this was the first great	S3
moral revelation of her life We can easily realize the chaos and	M
ferment of an over stimulated brain steeped in romantic literature	A
and given over to the wayward leadings of the imagination Who can	G
tell what is true what is false in a world where fantasy is as real	T3
as fact Emerson's word fell like truth itself a shaft of light	U3
shot from the zenith a golden rule of thought and action His	G2
books were bread and wine to her and she absorbed them into her	A
very being She felt herself invincibly drawn to the master that	U
fount of wisdom and goodness and it was her great privilege during	J
these years to be brought into personal relations with him From	Q
the first he showed her a marked interest and sympathy which became	Q
for her one of the most valued possessions of her life He criticised	U
her work with the fine appreciation and discrimination that made	U
him quick to discern the quality of her talent as well as of her	A
personality and he was no doubt attracted by her almost transparent	U
sincerity and singleness of soul as well as by the simplicity and	U
modesty that would have been unusual even in a person not gifted	U
He constituted himself in a way her literary mentor advised her	A
as to the books she should read and the attitude of mind she should	U
cultivate For some years he corresponded with her very faithfully	K
his letters are full of noble and characteristic utterances and	U
give evidence of a warm regard that in itself was a stimulus and a	Q
high incentive But encouragement even from so illustrious a source	V3
failed to elate the young poetess or even to give her a due sense	W3
of the importance and value of her work or the dignity of her	A
vocation We have already alluded to her modesty in her unwillingness	X3
to assert herself or claim any prerogative something even morbid	U
and exaggerated which we know not how to define whether as over	A
sensitiveness or indifference Once finished the heat and glow of	O2
composition spent her writings apparently ceased to interest her	A
She often resented any allusion to them on the part of intimate	U
friends and the public verdict as to their excellence could not	U
reassure or satisfy her The explanation is not far perhaps to	U
seek Was it not the Ewig Weibliche that allows no prestige but	U
its own Emma Lazarus was a true woman too distinctly feminine to	U
wish to be exceptional or to stand alone and apart even by virtue	U
of superiority	K
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A word now as to her life and surroundings She was one of a family	K
of seven and her parents were both living Her winters were passed	U
in New York and her summers by the sea In both places her life was	E2
essentially quiet and retired The success of her book had been	V
mainly in the world of letters In no wise tricked out to catch the	Q
public eye her writings had not yet made her a conspicuous figure	A
but were destined slowly to take their proper place and give her the	Q
rank that she afterwards held	U
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For some years now almost everything that she wrote was published	U
in Lippincott's Magazine then edited by John Foster Kirk and we	K
shall still find in her poems the method and movement of her life	Y3
Nature is still the fount and mirror reflecting and again reflected	U
in the soul We have picture after picture almost to satiety	U
until we grow conscious of a lack of substance and body and of vital	V2
play to the thought as though the brain were spending itself in	V
dreamings and reverie the heart feeding upon itself and the life	Y3
choked by its own fullness without due outlet Happily however	A
the heavy cloud of sadness has lifted and we feel the subsidence	K3
of waves after a storm She sings Matins	K3
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Does not the morn break thus	K3
Swift bright victorious	K3
With new skies cleared for us	K3
Over the soul storm tost	U
Her night was long and deep	Z3
Strange visions vexed her sleep	Z3
Strange sorrows bade her weep	Z3
Her faith in dawn was lost	U
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No halt no rest for her	A
The immortal wanderer	A
From sphere to higher sphere	A4
Toward the pure source of day	U
The new light shames her fears	K3
Her faithlessness and tears	K3
As the new sun appears	K3
To light her god like way	U
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Nature is the perpetual resource and consolation 'T is good to be	K
alive she says and why Simply	K
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To see the light	U
That plays upon the grass to feel and sigh	L3
With perfect pleasure the mild breeze stir	A
Among the garden roses red and white	U
With whiffs of fragrancy	K3
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She gives us the breath of the pines and of the cool salt seas	K3
illimitably sparkling Her ears drink the ripple of the tide	U
and she stops	K3
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To gaze as one who is not satisfied	U
With gazing at the large bright breathing sea	K3
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Phantasies after Robert Schumann is the most complete and perfect	U
poem of this period Like Epochs it is a cycle of poems and the	Q
verse has caught the very trick of music alluring baffling and	U
evasive This time we have the landscape of the night the glamour	A
of moon and stars pictures half real and half unreal mystic	B4
imaginings fancies dreams and the enchantment of faerie and	U
throughout the unanswered cry the eternal Wherefore of destiny	K3
Dawn ends the song with a fine clear note the return of day night's	K3
misty phantoms rolled away and the world itself again green	Q3
sparkling and breathing freshness	K3
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In she published Alide a romance in prose drawn from Goethe's	K3
autobiography It may be of interest to quote the letter she	K3
received from Tourgeneff on this occasion	S
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Although generally speaking I do not think it advisable	V2
to take celebrated men especially poets and artists as a	Q
subject for a novel still I am truly glad to say that I	L3
have read your book with the liveliest interest It is	K3
very sincere and very poetical at the same time the life	Y3
and spirit of Germany have no secrets for you and your	E
characters are drawn with a pencil as delicate as it is	K3
strong I feel very proud of the approbation you give to	U
my works and of the influence you kindly attribute to them	Q
on your own talent an author who write as you do is not	U
a pupil in art any more he is not far from being himself	Y
a master	A
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Charming and graceful words of which the young writer was justly	K3
proud	U
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About this time occurred the death of her mother the first break in	V
the home and family circle In August of she made a visit to	U
Concord at the Emersons' memorable enough for her to keep a journal	V2
and note down every incident and detail Very touching to read now	C4
in its almost childlike simplicity is this record of persons that	U
pass and shadows that remain Mr Emerson himself meets her at the	Q
station and drives with her in his little one horse wagon to his	K3
home the gray square house with dark green blinds set amidst noble	V2
trees A glimpse of the family the stately white haired Mrs	K3
Emerson and the beautiful faithful Ellen whose figure seems always	K3
to stand by the side of her august father Then the picture of	O2
Concord itself lovely and smiling with its quiet meadows quiet	U
slopes and quietest of rivers She meets the little set of Concord	U
people Mr Alcott for whom she does not share Mr Emerson's	K3
enthusiasm and William Ellery Channing whose figure stands out like	U2
a gnarled and twisted scrub oak a pathetic impossible creature	A
whose cranks and oddities were submitted to on account of an innate	U
nobility of character Generally crabbed and reticent with	D4
strangers he took a liking to me says Emma Lazarus The bond	U
of our sympathy was my admiration for Thoreau whose memory he	K3
actually worships having been his constant companion in his best	U
days and his daily attendant in the last years of illness and heroic	B4
suffering I do not know whether I was most touched by the thought	U
of the unique lofty character that had inspired this depth and	U
fervor of friendship or by the pathetic constancy and pure affection	S
of the poor desolate old man before me who tried to conceal his	K3
tenderness and sense of irremediable loss by a show of gruffness and	U
philosophy He never speaks of Thoreau's death she says but	U
always 'Thoreau's loss ' or 'when I lost Mr Thoreau ' or 'when Mr	A
Thoreau went away from Concord ' nor would he confess that he missed	U
him for there was not a day an hour a moment when he did not	U
feel that his friend was still with him and had never left him And	U
yet a day or two after she goes on to say when I sat with him in	V
the sunlit wood looking at the gorgeous blue and silver summer sky	L3
he turned to me and said 'Just half of the world died for me when I	L3
lost Mr Thoreau None of it looks the same as when I looked at it	U
with him ' He took me through the woods and pointed out to me	K3
every spot visited and described by his friend Where the hut stood	U
is a little pile of stones and a sign 'Site of Thoreau's Hut ' and	U
a few steps beyond is the pond with thickly wooded shore everything	J
exquisitely peaceful and beautiful in the afternoon light and not	U
a sound to be heard except the crickets or the 'z ing' of the locusts	K3
which Thoreau has described Farther on he pointed out to me in	V
the distant landscape a low roof the only one visible which was	K3
the roof of Thoreau's birthplace He had been over there many times	K3
he said since he lost Mr Thoreau but had never gone in he was	K3
afraid it might look lonely But he had often sat on a rock in	V
front of the house and looked at it On parting from his young	E4
friend Mr Channing gave her a package which proved to be a copy	K3
of his own book on Thoreau and the pocket compass which Thoreau	B
carried to the Maine woods and on all his excursions Before leaving	J
the Emersons she received the proof sheets of her drama of The	Q
Spagnoletto which was being printed for private circulation She	K3
showed them to Mr Emerson who had expressed a wish to see them	Q
and after reading them he gave them back to her with the comment	U
that they were good She playfully asked him if he would not give	F4
her a bigger word to take home to the family He laughed and said	U
he did not know of any but he went on to tell her that he had	U
taken it up not expecting to read it through and had not been able	V2
to put it down Every word and line told of richness in the poetry	K3
he said and as far as he could judge the play had great dramatic	B4
opportunities Early in the autumn The Spagnoletto appeared a	Q
tragedy in five acts the scene laid in Italy	K3
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Without a doubt every one in these days will take up with misgiving	J
and like Mr Emerson not expecting to read it through a five act	U
tragedy of the seventeenth century so far removed apparently from	Q
the age and present actualities so opposed to the Modernite	U
which has come to be the last word of art Moreover great names at	U
once appear great shades arise to rebuke the presumptuous new comer	A
in this highest realm of expression The Spagnoletto has grave	G4
defects that would probably preclude its ever being represented on	H4
the stage The denoument especially is unfortunate and sins against	U
our moral and aesthetic instinct The wretched tiger like father	A
stabs himself in the presence of his crushed and erring daughter so	B
that she may forever be haunted by the horror and the retribution of	O2
his death We are left suspended as it were over an abyss our	A
moral judgment thwarted our humanity outraged But The Spagnoletto	U
is nevertheless a remarkable production and pitched in another	A
key from anything the writer has yet given us Heretofore we have	P3
only had quiet reflective passive emotion now we have a storm	Q
and sweep of passion for which we were quite unprepared Ribera's	B
character is charged like a thunder cloud with dramatic elements	B
Maria Rosa is the child of her father fired at a flash deaf dumb	Q
and blind at the touch of passion	S
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Does love steal gently o'er our soul	I4
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she asks	B
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What if he come	Q
A cloud a fire a whirlwind	U
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and then the cry	L3
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O my God	U
This awful joy in mine own heart is love	O2
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Again	K2
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While you are here the one thing real to me	K3
In all the universe is love	O2
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Exquisitely tender and refined are the love scenes at the ball and	U
in the garden between the dashing prince lover in search of his	B
pleasure and the devoted girl with her heart in her eyes on her	A
lips in her hand Behind them always like a tragic fate the	Q
somber figure of the Spagnoletto and over all the glow and color	A
and soul of Italy	K3
	-
In appeared the translation of Heine's poems and ballads which	N2
was generally accepted as the best version of that untranslatable	K3
poet Very curious is the link between that bitter mocking cynic	B4
spirit and the refined gentle spirit of Emma Lazarus Charmed by	L3
the magic of his verse the iridescent play of his fancy and the	Q
sudden cry of the heart piercing through it all she is as yet unaware	J4
or only vaguely conscious of the of the real bond between them the	Q
sympathy in the blood the deep tragic Judaic passion of eighteen	Q3
hundred years that was smouldering in her own heart soon to break	K4
out and change the whole current of thought and feeling	J
	-
Already in the storm was gathering In a distant province	B
of Russia at first then on the banks of the Volga and finally in	V
Moscow itself the old cry was raised the hideous mediaeval charge	L4
revived and the standard of persecution unfurled against the Jews	B
Province after province took it up In Bulgaria Servia and above	O2
all Roumania where we were told the sword of the Czar had been	V
drawn to protect the oppressed Christian atrocities took the place	B
of Moslem atrocities and history turned a page backward into the dark	B2
annals of violence and crime And not alone in despotic Russia but	U
in Germany the seat of modern philosophic thought and culture the	Q
rage of Anti Semitism broke out and spread with fatal ease and potency	K3
In Berlin itself tumults and riots were threatened We in America	Q
could scarcely comprehend the situation or credit the reports and	U
for a while we shut our eyes and ears to the facts but we were soon	F3
rudely awakened from our insensibility and forced to face the truth	I
It was in England that the voice was first raised in behalf of	O2
justice and humanity In January there appeared in the	Q
London Times a series of articles carefully compiled on the	Q
testimony of eye witnesses and confirmed by official documents	B
records etc giving an account of events that had been taking place	B
in southern and western Russia during a period of nine months	B
between April and December of We do not need to recall the	Q
sickening details The headings will suffice outrage murder arson	S
and pillage and the result Jewish families made homeless	B
and destitute and nearly worth of property destroyed	U
Nor need we recall the generous outburst of sympathy and indignation	S
from America It is not that it is the oppression of Jews by	L3
Russia said Mr Evarts in the meeting at Chickering Hall Wednesday	K3
evening February it is that it is the oppression of men and	U
women and we are men and women So spoke civilized Christendom	Q
and for Judaism who can describe that thrill of brotherhood	U
quickened anew the immortal pledge of the race made one again	K2
through sorrow For Emma Lazarus it was a trumpet call that awoke	M4
slumbering and unguessed echoes All this time she had been seeking	J
heroic ideals in alien stock soulless and far removed in pagan	S
mythology and mystic mediaeval Christianity ignoring her very	K3
birthright the majestic vista of the past down which high above	O2
flood and fire had been conveyed the precious scroll of the Moral	K3
Law Hitherto Judaism had been a dead letter to her Of Portuguese	B
descent her family had always been members of the oldest and most	U
orthodox congregation of New York where strict adherence to custom	Q
and ceremonial was the watchword of faith but it was only during	J
her childhood and earliest years that she attended the synagogue	N4
and conformed to the prescribed rites and usages which she had now	C4
long since abandoned as obsolete and having no bearing on modern	J2
life Nor had she any great enthusiasm for her own people As late	U
as April she published in The Century Magazine an article	K3
written probably some months before entitled Was the Earl of	O2
Beaconsfield a Representative Jew in which she is disposed to	U
accept as the type of the modern Jew the brilliant successful but	U
not over scrupulous chevalier d'industrie In view of subsequent	U
or rather contemporaneous events the closing paragraph of the article	K3
in question is worthy of being cited	U
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Thus far their religion the Jewish whose mere preservation	S
under such adverse conditions seems little short of a miracle	K3
has been deprived of the natural means of development and	U
progress and has remained a stationary force The next	U
hundred years will in our opinion be the test of their	J4
vitality as a people the phase of toleration upon which	N2
they are only now entering will prove whether or not they	U
are capable of growth	O4
	-
	-
By a curious almost fateful juxtaposition in the same number of	O2
the magazine appeared Madame Ragozin's defense of Russian barbarity	K3
and in the following May number Emma Lazarus's impassioned appeal	K3
and reply Russian Christianity versus Modern Judaism From	Q
this time dated the crusade that she undertook in behalf of her race	B
and the consequent expansion of all her faculties the growth of	O2
spiritual power which always ensues when a great cause is espoused	U
and a strong conviction enters the soul Her verse rang out as it	U
had never rung before a clarion note calling a people to heroic	B4
action and unity to the consciousness and fulfillment of a grand	U
destiny When has Judaism been so stirred as by The Crowing of	O2
the Red Cock and	U
	-
	-
The Banner Of The Jew	U
	-
Wake Israel wake Recall to day	U
The glorious Maccabean rage	P4
The sire heroic hoary gray	U
His five fold lion lineage	D2
The Wise the Elect the Help of God	U
The Burst of Spring the Avenging Rod	U
	-
	-
From Mizpeh's mountain ridge they saw	B
Jerusalem's empty streets her shrine	F
Laid waste where Greeks profaned the Law	B
With idol and with pagan sign	F
Mourners in tattered black were there	J4
With ashes sprinkled on their hair	J4
	-
	-
Then from the stony peak there rang	Q4
A blast to ope the graves down poured	U
The Maccabean clan who sang	Q4
Their battle anthem to the Lord	U
Five heroes lead and following see	K3
Ten thousand rush to victory	K3
	-
	-
Oh for Jerusalem's trumpet now	C4
To blow a blast of shattering power	A
To wake the sleeper high and low	K3
And rouse them to the urgent hour	A
No hand for vengeance but to save	G4
A million naked swords should wave	G4
	-
	-
Oh deem not dead that martial fire	A
Say not the mystic flame is spent	U
With Moses' law and David's lyre	R4
Your ancient strength remains unbent	U
Let but an Ezra rise anew	U
To lift the BANNER OF THE JEW	U
	-
	-
A rag a mock at first erelong	Q4
When men have bled and women wept	U
To guard its precious folds from wrong	Q4
Even they who shrunk even they who slept	U
Shall leap to bless it and to save	G4
Strike for the brave revere the brave	G4
	-
	-
The dead forms burst their bonds and lived again She sings Rosh	S4
Hashanah the Jewish New Year and Hanuckah the Feast of Lights	B
	-
	-
Kindle the taper like the steadfast star	T4
Ablaze on Evening's forehead o'er the earth	U4
And add each night a lustre till afar	T4
An eight fold splendor shine above thy hearth	V4
Clash Israel the cymbals touch the lyre	R4
Blow the brass trumpet and the harsh tongued horn	W4
Chant psalms of victory till the heart take fire	A
The Maccabean spirit leap new born	W4
	-
	-
And The New Ezekiel	K3
	-
	-
What can these dead bones live whose sap is dried	U
By twenty scorching centuries of wrong	Q4
Is this the House of Israel whose pride	U
Is as a tale that's told an ancient song	Q4
Are these ignoble relics all that live	X4
Of psalmist priest and prophet Can the breath	A3
Of very heaven bid these bones revive	X4
Open the graves and clothe the ribs of death	A3
Yea Prophesy the Lord hath said again	K2
Say to the wind come forth and breathe afresh	Y4
Even that they may live upon these slain	B3
And bone to bone shall leap and flesh to flesh	Y4
The spirit is not dead proclaim the word	U
Where lay dead bones a host of armed men stand	U
I ope your graves my people saith the Lord	U
And I shall place you living in your land	U
	-
	-
Her whole being renewed and refreshed itself at its very source She	K3
threw herself into the study of her race its language literature	A
and history	K3
	-
Breaking the outward crust she pierced to the heart of the faith	Z4
and the miracle of its survival What was it other than the ever	A
present ever vivifying spirit itself which cannot die the	Q
religious and ethical zeal which fires the whole history of the	Q
people and of which she herself felt the living glow within her own	H2
soul She had come upon the secret and the genius of Judaism that	U
absolute interpenetration and transfusion of spirit with body and	U
substance which taken literally often reduces itself to a question	S
of food and drink a dietary regulation and again in proper	A
splendor	A
incarnates itself and shines out before humanity in the prophets	B
teachers and saviors of mankind	U
	-
Those were busy fruitful years for Emma Lazarus who worked not	U
with the pen alone but in the field of practical and beneficent	U
activity For there was an immense task to accomplish The tide of	O2
immigration had set in and ship after ship came laden with hunted	U
human beings flying from their fellow men while all the time like	Q4
a tocsin rang the terrible story of cruelty and persecution horrors	B
that the pen refuses to dwell upon By the hundreds and thousands	B
they flocked upon our shores helpless innocent victims of injustice	B
and oppression panic stricken in the midst of strange and utterly	K3
new surroundings	B
	-
Emma Lazarus came into personal contact with these people and	U
visited them in their refuge on Ward Island While under the	Q
influence of all the emotions aroused by this great crisis in the	Q
history of her race she wrote the Dance of Death a drama of	O2
persecution of the twelfth century founded upon the authentic	Q4
records unquestionably her finest work in grasp and scope and	U
above all in moral elevation and purport The scene is laid in	V
Nordhausen a free city in Thuringia where the Jews living as the	Q
deemed in absolute security and peace were caught up in the wave of	O2
persecution that swept over Europe at that time Accused of poisoning	Q4
the wells and causing the pestilence or black death as it was called	U
they were condemned to be burned	U
	-
We do not here intend to enter upon a critical or literary analysis	B
of the play or to point out dramatic merits or defects but we	K3
should like to make its readers feel with us the holy ardor and	U
impulse of the writer and the spiritual import of the work The	Q
action is without surprise the doom fixed from the first but so	K3
glowing is the canvas with local and historic color so vital and	U
intense the movement so resistless the internal evidence if we	K3
may call it thus penetrating its very substance and form that we are	T4
swept along as by a wave of human sympathy and grief In contrast	U
with The Spagnoletto how large is the theme and how all embracing	Q4
the catastrophe In place of the personal we have the drama of	O2
the universal Love is only a flash now a dream caught sight of	O2
and at once renounced at a higher claim	Q
	-
	-
Have you no smile to welcome love with Liebhaid	U
Why should you tremble	K3
Prince I am afraid	U
Afraid of my own heart my unfathomed joy
A blasphemy against my father's grief	J3
My people's agony	K3
	-
	-
What good shall come forswearing kith and God	U
To follow the allurements of the heart	U
	-
	-
asks the distracted maiden torn between her love for he princely	K3
wooer and her devotion to the people among whom her lot has been cast	U
	-
	-
O God	U
How shall I pray for strength to love him less	B
Than mine own soul	K3
No more of that	U
I am all Israel's now Till this cloud pass	B
I have no thought no passion no desire	A
Save for my people	K3
	-
	-
Individuals perish but great ideas survive fortitude and courage	D2
and that exalted loyalty and devotion to principle which alone are	T4
worth living and dying for	E
	-
The Jews pass by in procession men women and children on their	J4
way to the flames to the sound of music and in festal array	U
carrying	Q4
the gold and silver vessels the roll of the law the perpetual lamp
and the seven branched silver candle stick of the synagogue The	Q
crowd hoot and jeer at them	Q
	-
	-
The misers they will take their gems and gold	U
Down to the grave	G4
	-
	-
Let us rejoice	B
	-
	-
sing the Jewish youths in chorus and the maidens	B
	-
	-
Our feet stand within thy gates O Zion	S
Within thy portals O Jerusalem	Q
	-
	-
The flames rise and dart among them their garments wave their jewels	B
flash as they dance and sing in the crimson blaze The music ceases	B
a sound of crashing boards is heard and a great cry Hallelujah	Q
What a glory and consecration of the martyrdom Where shall we find a	Q
more triumphant vindication and supreme victory of spirit over matter	A
	-
	-
I see I see	K3
How Israel's ever crescent glory makes	B
These flames that would eclipse it dark as blots	B
Of candle light against the blazing sun	S
We die a thousand deaths drown bleed and burn	J2
Our ashes are dispersed unto the winds	B
Yet the wild winds cherish the sacred seed	U
The fire refuseth to consume	Q
	-
	-
	-
Even as we die in honor from our death	A3
Shall bloom a myriad heroic lives	B
Brave through our bright example virtuous	B
Lest our great memory fall in disrepute	U
	-
	-
The Dance to Death was published along with other poems and	U
translations from the Hebrew poets of mediaeval Spain in a small	K3
column entitled Songs of a Semite The tragedy was dedicated In	V
profound veneration and respect to the memory of George Eliot the	Q
illustrious writer who did most among the artists of our day towards	B
elevating and ennobling the spirit of Jewish nationality	K3
	-
For this was the idea that had caught the imagination of Emma Lazarus	B
a restored and independent nationality and repatriation in Palestine	F
In her article in The Century of February on the Jewish
Problem she says	B
	-
	-
I am fully persuaded that all suggested solutions other	A
than this are but temporary palliatives The idea	Q
formulated by George Eliot has already sunk into the minds	B
of many Jewish enthusiasts and it germinates with miraculous	B
rapidity 'The idea that I am possessed with ' says Deronda	Q
'is that of restoring a political existence to my people	K3
making them a nation again giving them a national centre	A
such as the English have though they too are scattered	Q
over the face of the globe That task which presents itself	Y
to me as a duty I am resolved to devote my life to	Q
it AT THE LEAST I MAY AWAKEN A MOVEMENT IN OTHER MINDS	B
SUCH HAS BEEN AWAKENED IN MY OWN ' Could the noble	K3
prophetess who wrote the above words have lived but till to	Q
day to see the ever increasing necessity of adopting her	A
inspired counsel she would have been herself astonished	Q
at the flame enkindled by her seed of fire and the practical	K3
shape which the movement projected by her poetic vision is	B
beginning to assume	Q
	-
	-
In November of appeared her first Epistle to the Hebrews	B
one of a series of articles written for the American Hebrew	Q
published weekly through several months Addressing herself now	C4
to a Jewish audience she sets forth without reserve her views and	Q
hopes for Judaism now passionately holding up the mirror for the	Q
shortcomings and peculiarities of her race She says	B
	-
	-
Every student of the Hebrew language is aware that we have	P3
in the conjugation of our verbs a mode known as the 'intensive	P3
voice ' which by means of an almost imperceptible modification	S
of vowel points intensifies the meaning of the primitive root	Q
A similar significance seems to attach to the Jews themselves	B
in connection with the people among whom they dwell They are	T4
the 'intensive form' of any nationality whose language and	Q
customs they adopt Influenced by the same causes they	U
represent the same results but the deeper lights and shadows	B
of the Oriental temperament throw their failings as well as	B
their virtues into more prominent relief	P3
	-
	-
In drawing the epistles to a close February she thus	B
summarizes the special objects she has had in view	P3
	-
	-
My chief aim has been to contribute my mite towards arousing	Q4
that spirit of Jewish enthusiasm which might manifest itself	P3
First in a return to varied pursuits and broad system of	P3
physical and intellectual education adopted by our ancestors	B
Second in a more fraternal and practical movement towards	B
alleviating the sufferings of oppressed Jews in countries less	B
favored than our own Third in a closer and wider study of	P3
Hebrew literature and history and finally in a truer recognition	S
of the large principals of religion liberty and law upon	H4
which Judaism is founded and which should draw into harmonious	B
unity Jews of every shade of opinion	S
	-
	-
Her interest in Jewish affairs was at its height when she planned a	Q
visit abroad which had been a long cherished dream and May	U
she sailed for England accompanied by a younger sister We have	P3
difficulty in recognizing the tragic priestess we have been portraying	Q4
in the enthusiastic child of travel who seems new born into a new	P3
world From the very outset she is in a maze of wonder and delight	Q
At sea she writes	B
	-
	-
Our last day on board ship was a vision of beauty from	Q
morning till night the sea like a mirror and the sky	Q4
dazzling with light In the afternoon we passed a ship
in full sail near enough to exchange salutes and cheers	B
After tossing about for six days without seeing a human	S
being except those on our vessel even this was a sensation	S
Then an hour or two before sunset came the great sensation	S
of land At first nothing but a shadow on the far horizon	S
like the ghost of a ship two or three widely scattered rocks	B
which were the promontories of Ireland and sooner than we	K3
expected we were steaming along low lying purple hills	B
	-
	-
The journey to Chester gives her the first glimpse of mellow	K3
England a surprise which is yet no surprise so well known and	Q
familiar does it appear Then Chester with its quaint picturesque	Q4
streets like the scene of a Walter Scott novel the cathedral	K3
planted in greenness and the clear gray river where a boatful of	P3
scarlet dragoons goes gliding by Everything is a picture for her	A
special benefit She drinks in at every sense the sights sounds	B
and smells and the unimaginable beauty of it all Then the	Q
bewilderment of London and a whirl of people sights and	Q
impressions	B
She was received with great distinction by the Jews and many of the	Q
leading men among them warmly advocated her views But it was not	Q
alone from her own people that she met with exceptional consideration	S
She had the privilege of seeing many of the most eminent personages	B
of the day all of whom honored her with special and personal regard	Q
There was no doubt something that strongly attracted people to her	A
at this time the force of her intellect at once made itself felt	Q
while at the same time the unaltered simplicity and modesty of her	A
character and her readiness and freshness of enthusiasm kept her	A
still almost like a child	Q
	-
She makes a flying visit to Paris where she happens to be on the th
of July the anniversary of the storming of the Bastile and of the	Q
beginning of the republic she drives to Versailles that gorgeous	B
shell of royalty where the crowd who celebrate the birth of the	Q
republic wander freely through the halls and avenues and into the	Q
most sacred rooms of the king There are ruins on every side in	V
Paris she says ruins of the Commune or the Siege or the	Q
Revolution it is terrible it seems as if the city were seared with	D4
fire and blood	Q
	-
Such was Paris to her then and she hastens back to her beloved London	S
starting from there on the tour through England that has been mapped	Q
out for her A Day in Surrey with William Morris published in	V
The Century Magazine describes her visit to Merton Abbey the	Q
old Norman monastery converted into a model factory by the poet	Q
humanitarian who himself received her as his guest conducted her	A
all over the picturesque building and garden and explained to her	A
his views of art and his aims for the people	K3
	-
She drives through Kent where the fields valleys and slopes are	T4
garlanded with hops and ablaze with scarlet poppies Then Canterbury	K3
Windsor and Oxford Stratford Warwick the valley of the Wye Wells	B
Exeter and Salisbury cathedral after cathedral Back to London	S
and then north through York Durham and Edinburgh and on the th
of September she sails for home We have merely named the names	B
for it is impossible to convey an idea of the delight and importance	B
of this trip a crescendo of enjoyment as she herself calls it	Q
Long after in strange dark hours of suffering these pictures of	P3
travel arose before her vivid and tragic even in their hold and	Q
spell upon her	A
	-
The winter of was not especially productive She wrote a	Q
few reminiscences of her journey and occasional poems on the Jewish
themes which appeared in the American Hebrew but for the most	Q
part gave herself up to quiet retrospect and enjoyment with her	A
friends of the life she had had a glimpse of and the experience she	K3
had stored a restful happy period In August of the same year	A4
she was stricken with a severe and dangerous malady from which she	K3
slowly recovered only to go through a terrible ordeal and affliction	S
Her father's health which had long been failing now broke down
completely and the whole winter was one long strain of acute anxiety	K3
which culminated in his death in March The blow was a	Q
crushing one for Emma Truly the silver cord was loosed and the	Q
golden bowl broken Life lost its meaning and charm Her father's	B
sympathy and pride in her work had been her chief incentive and	Q
ambition and had spurred her on when her own confidence and spirit	Q
failed Never afterwards did she find complete and spontaneous	B
expression She decided to go abroad as the best means of regaining	Q4
composure and strength and sailed once more in May for England	Q
where she was welcomed now by the friends she had made almost as	B
to another home She spent the summer very quietly at Richmond an	G
ideally beautiful spot in Yorkshire where she soon felt the	Q
beneficial influence of her peaceful surroundings The very air	J4
seems to rest one here she writes and inspired by the romantic	Q4
loveliness of the place she even composed the first few chapters	B
of a novel begun with a good deal of dash and vigor but soon	F3
abandoned for she was still struggling with depression and gloom	Q
	-
I have neither ability energy nor purpose she writes It is	B
impossible to do anything so I am forced to set it aside for the	Q
present whether to take it up again or not in the future remains	B
to be seen	Q3
	-
In the autumn she goes on the Continent visiting the Hague which	N2
completely fascinates her and where she feels stronger and more	E
cheerful than she has for many a day Then Paris which this time	Q
amazes her with its splendor and magnificence All the ghosts of	P3
the Revolution are somehow laid she writes and she spends six	B
weeks here enjoying to the full the gorgeous autumn weather the	Q
sights the picture galleries the bookshops the whole brilliant	Q
panorama of the life and early in December she starts for Italy	K3
	-
And now once more we come upon that keen zest of enjoyment that	Q
pure desire and delight of the eyes which are the prerogative of	P3
the poet Emma Lazarus was a poet The beauty of the world what	Q
a rapture and intoxication it is and how it bursts upon her in the	Q
very land of beauty where Dante and Petrarch trod A magic glow	K3
colours it all no mere blues and greens anymore but a splendor of	P3
purple and scarlet and emerald each tower castle and village	D2
shining like a jewel the olive the fig and at your feet the roses	B
growing in mid December A day in Pisa seems like a week so crowded	Q
is it with sensations and unforgettable pictures Then a month in	V
Florence which is still more entrancing with its inexhaustible	K3
treasures of beauty and art and finally Rome the climax of it all	K3
	-
	-
wiping out all other places and impressions and opening	Q4
a whole new world of sensations I am wild with the	Q
excitement of this tremendous place I have been here a	Q
week and have seen the Vatican and the Capitoline Museums	B
and the Sistine Chapel and St Peter's besides the ruins	B
on the streets and on the hills and the graves of Shelley	K3
and Keats	B
	-
It is all heart breaking I don't only mean those beautiful	K3
graves overgrown with acanthus and violets but the mutilated	Q
arches and columns and dumb appealing fragments looming up in	V
the glowing sunshine under the Roman blue sky	Q4
	-
	-
True to her old attractions it is pagan Rome that appeals to her	A
most strongly	K3
	-
	-
and the far away past that seems so sad and strange and	Q
near I am even out of humor with pictures a bit of broken	S
stone or a fragment of a bas relief or a Corinthian column	Q
standing out against this lapis lazuli sky or a tremendous	B
arch are the only things I can look at for the moment	Q
except the Sistine Chapel which is as gigantic as the rest	Q
and forces itself upon you with equal might	Q
	-
	-
Already in February spring is in the air the almond trees are in	V
bloom violets cover the grass and oh the divine the celestial	K3
the unheard of beauty of it all It is almost a pang for her with	D4
its strange mixture of longing and regret and delight and in the	Q
midst of it she says I have to exert all my strength not to lose	B
myself in morbidness and depression	S
	-
Early in March she leaves Rome consoled with the thought of returning	Q4
the following winter In June she was in England again and spent	Q
the summer at Malvern Disease was no doubt already beginning to	P3
prey upon her for she was oppressed at times by a languor and	Q
heaviness amounting almost to lethargy When she returned to London	S
however in September she felt quite well again and started for	E
another tour in Holland which she enjoyed as much as before She	K3
then settled in Paris to await the time when she could return to	P3
Italy But she was attacked at once with grave and alarming symptoms	B
that betokened a fatal end to her malady Entirely ignorant however	A
of the danger that threatened her she kept up courage and hope
made plans for the journey and looked forward to setting out at	Q
any moment But the weeks passed and the months also slowly and	Q
gradually the hope faded The journey to Italy must be given up
she was not in condition to be brought home and she reluctantly	K3
resigned herself to remain where she was and convalesce as she	K3
confidently believed in the spring Once again came the analogy	K3
which she herself pointed out now to Heine on his mattress grave	P3
in Paris She too the last time she went out dragged herself to	P3
the Louvre to the feet of the Venus the goddess without arms who	P3
could not help Only her indomitable will and intense desire to	P3
live seemed to keep her alive She sunk to a very low ebb but as	B
she herself expressed it she seemed to have always one little	K3
window looking out into life and in the spring she rallied	Q
sufficiently to take a few drives and to sit on the balcony of her	A
apartment She came back to life with a feverish sort of thirst and	Q
avidity No such cure for pessimism she says as a severe	A4
illness the simplest pleasures are enough to breathe the air and	Q
see the sun	S
	-
Many plans were made for leaving Paris but it was finally decided	Q
to risk the ocean voyage and bring her home and accordingly she	K3
sailed July rd arriving in New York on the last day of that month
	-
She did not rally after this and now began her long agony full	K3
of every kind of suffering mental and physical Only her intellect	Q
seemed kindled anew and none but those who saw her during the last	Q
supreme ordeal can realize that wonderful flash and fire of the	Q
spirit before its extinction Never did she appear so brilliant	Q
Wasted to a shadow and between acute attacks of pain she talked	Q
about art poetry the scenes of travel of which her brain was so	K3
full and the phases of her own condition with an eloquence for	E
which even those who knew her best were quite unprepared Every	K3
faculty seemed sharpened and every sense quickened as the strong	Q4
deliveress approached and the ardent soul was released from the	Q
frame that could no longer contain it	Q
	-
We cannot restrain a feeling of suddenness and incompleteness and	Q
a natural pang of wonder and regret for a life so richly and so	K3
vitally endowed thus cut off in its prime But for us it is not	Q
fitting to question or repine but rather to rejoice in the rare	J4
possession that we hold What is any life even the most rounded	Q
and complete but a fragment and a hint What Emma Lazarus might	Q
have accomplished had she been spared it is idle and even	V
ungrateful to speculate What she did accomplish has real and	Q
peculiar significance It is the privilege of a favored few that	Q
every fact and circumstance of their individuality shall add lustre	A
and value to what they achieve To be born a Jewess was a distinction	S
for Emma Lazarus and she in turn conferred distinction upon her	A
race To be born a woman also lends a grace and a subtle magnetism	Q
to her influence Nowhere is there contradiction or incongruity	K3
Her works bear the imprint of her character and her character of	P3
her works the same directness and honesty the same limpid purity	K3
of tone and the same atmosphere of things refined and beautiful	K3
The vulgar the false and the ignoble she scarcely comprehended	Q
them while on every side she was open and ready to take in and	Q
respond to whatever can adorn and enrich life Literature was no	K3
mere profession for her which shut out other possibilities it	Q
was only a free wide horizon and background for culture She was	B
passionately devoted to music which inspired some of her best poems	B
and during the last years of her life in hours of intense physical	K3
suffering she found relief and consolation in listening to the	Q
strains of Bach and Beethoven When she went abroad painting was	B
revealed to her and she threw herself with the same ardor and	Q
enthusiasm into the study of the great masters her last work left	Q
unfinished was a critical analysis of the genius and personality	K3
of Rembrandt	Q
	-
And now at the end we ask Has the grave really closed over all	K3
these gifts Has that eager passionate striving ceased and is	B
the rest silence	B
	-
Who knows But would we break if we could that repose that	Q
silence and mystery and peace everlasting	Q4

Emma Lazarus

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