No More Learning

Hunger cries, `Ye starve:' away!
Vengeance cries, `Your graves shall stay! '

<Full chorus: return of the `motive' of the second movement,
but worked up with greater fury, to the climax of the shout
at the last line. >

Then old Shapes and Masks of Things,
Framed like Faiths or clothed like Kings
Ghosts of Goods once fleshed and fair,
Grown foul Bads in alien air --
War, and his most noisy lords,
Tongued with lithe and poisoned swords --
Error, Terror, Rage and Crime,
All in a windy night of time
Cried to me from land and sea,
`No! Thou shalt not be! '

<A rapid and intense whisper-chorus. >

Hark!
Huguenots whispering `yea' in the dark,
Puritans answering `yea' in the dark!
`Yea' like an arrow shot true to his mark,
Darts through the tyrannous heart of Denial.
Patience and Labor and solemn-souled Trial,
Foiled, still beginning,
Soiled, but not sinning,
Toil through the stertorous death of the Night,
Toil when wild brother-wars new-dark the Light,
Toil, and forgive, and kiss o'er, and replight.

<Chorus of jubilation, until the appeal of the last two lines
introduces a tone of doubt: it then sinks to `pianissimo'. >

Now Praise to God's oft-granted grace,
Now Praise to Man's undaunted face,
Despite the land, despite the sea,
I was: I am: and I shall be --
How long, Good Angel, O how long?
Sing me from Heaven a man's own song!

<Basso solo: the good Angel replies:>

"Long as thine Art shall love true love,
Long as thy Science truth shall know,
Long as thine Eagle harms no Dove,
Long as thy Law by law shall grow,
Long as thy God is God above,
Thy brother every man below,
So long, dear Land of all my love,
Thy name shall shine, thy fame shall glow! "

<Full chorus: jubilation and welcome.
>

O Music, from this height of time my Word unfold:
In thy large signals all men's hearts Man's heart behold:
Mid-heaven unroll thy chords as friendly flags unfurled,
And wave the world's best lover's welcome to the world.






Note to the Cantata.



The annotated musical directions which here accompany `The Cantata',
arranged for the composer's use, were first sent with the newly-completed text
in a private letter to Mr. Gibson Peacock, of Philadelphia.

I am enabled to give these annotations and the author's own introduction
to his work through the kindness of Mr. Peacock: the friend who,
while yet an entire stranger, awakened and led the public recognition
of Mr. Lanier's place in the world of art. M. D. L.


"Baltimore, January 18, 1876.

" . . . The enclosed will show you partly what I have been doing. .