. . .
The whole agitation has been of infinite value to me. It has taught me,
in the first place, to lift my heart absolutely above all EXPECTATION
save that which finds its fulfillment in the large consciousness
of beautiful devotion to the highest ideals in art. This enables me
to work in tranquillity.
In the second place, it has naturally caused me to make
a merciless arraignment and trial of my artistic purposes;
and an unspeakable content arises out of the revelation
that they come from the ordeal confirmed in innocence and clearly defined
in their relations with all things. . . .
The commotion about the Cantata has not been unfavorable, on the whole,
to my personal interests. It has led many to read closely
what they would otherwise have read cursorily, and I believe
I have many earnest friends whose liking was of a nature to be confirmed
by such opposition. . . .
And now, dear little Boy, may God convoy you over to the morning
across this night, and across all nights, Prays your
S. L.
That the poem was misjudged cannot be denied. Lanier's defense
published in the New York "Tribune" must be taken as a justification,
in part at least, of the principles he had in mind.* It was not written
as a poem, -- and Mrs. Lanier has wisely put it as an appendix
to her edition of the poems, -- but as the words of a musical composition
to be rendered by a large orchestra and chorus.
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