Five Centuries of English Verse

FI VE C E NTU RI ES OF
E N G L I S H V E RS E
IMPRE S S I O N S
B Y
W ILLI AM S
TEB B ING
H ON . FE L L OW 0F S RW ORCE TE
I
C O L L E OE , O ! FO R D
A UT H OR OF
‘
W
SI R R R A LT E A LE G H : A B I O G RAP H Y
.
‘
T RU TH S O R TR S S
” ’
R S
UI M ,
PA T I AND 11
I N T W O V O LUM E S
V OL . II : W O R D S W O RT H T O T E N N Y SO N
RE V I SED ED I T I ON
OF
‘
TH E POETS : C H A U C E R TO T ENN YSO N
I M PR E SSI O N S
’
H EN R Y F R O W D E
U N I V E R S I T Y P R ES S
O ! FO R D
LON D ON E D IN B U R G H G LA S G O W
, ,
N EW Y OR K ,
T O R ON T O , M E LB O U R N E , B OM B AY
1 9 1 3
B Y TH E S A M E A U TH OR
T H R E E E S S AY S : P o s th u m o u s F a m e , T o le r a
t i on , an d B r ill i a n t F ai l u r e s . C r 8 vo . . 6d . ne t .
T R U T H S 0R T R U I S M S ( Part I ) 8 v o . .
4 8 . ne t;
als o on O x fo r d In d i a p ap e r 65 n et ,
. .
C ON T E N T S : T h e D e ad H an d —N ce e ssar yN i —H u san c e s ow to
l — C l P e fe c ti o n —E c ce n
o un se s o f reed o m t i — G r t—F
Q uar r e cs rea r
—Do in g Wi tho ut—C le r i c al Err o r s—C Our te sy—Se l f-d e ce pti o n

T h e M ar r iage L o t te y— A N e w Law o f Li b e l —T e m
r
p e r D e m
F ac t o — r Si st e r —H o w t o M ak e t h e M o st o f
‘
J ur e D e T h e E Id e
Life —Me mo ry—August 2 9 1 9 0 5—Putti g th e B r ai n i to C o m

l
,
n n
mi ssi o n —Th r o ugh W h o se G l asse s -C upb o a d s — I n si n ce i ti e s

—Po pul a ity
r r
r .
T R U T H S OR T R U I S M S ( Part I I ) . 8v o .
4 8 . n et;
also on O x fo r d In d i a p a e r 6 n et
p 5 , . .
C ON TENT S Vi : ce s we c o uld Po e m
sp ar e —O ur gr e at P r o se
Paupe r i i n g Din n e r-table T alk C o n ce r i g War —Ato ms

z n n
W i th o n e C on se n t t h e y mad e E xcuse —T h e Sh ad o w o f C r i me
—J un e 2 2 1 9 1 I —Re ad abl e — So ph ists—Se n satio n s Eve n s a
—Ple asu e in A r t — C ue lty—Th e I d e al N e ws

,
th i s P ublic an r r
p p
a e r L e s g ran d s H o m m e s M é c o n n u s V h y
—H o w — an d
V
Wh o m I t is m o e B l e sse d t o G i e th an t o R e ce ive
r - Sh ak e
v
a
’
spe r e s B o th e - D amatists—I n co n ce i vably I n c o mp ati bl e —M an
r r r
An ticipate d —A n e w C irc ul ati n g Li b a y r r .

V OL . II
T A B L E OF C O N T E N T S
P AG E S
WI LLI AM W ORD S W ORT H 5—20
S AM UEL T AYL OR C OLE RI DG E —
21 38
R OB E R T S OU T H EY 3 9 —48
WAL T E R S C OTT 4 9—59
JAM E S H O GG 60—69
W AL T E R S AV AG E L AN D O R 7 0—78
TH OM A S M OOR E 7 9 —85
L EI GH H UN T —
86 9 1
L ORD B YR ON 9 2—1 05
P ER C Y B Y SS H E S H ELLEY —
1 06 1 1 8
JOHN K E AT S 1 1 9 —1 3 1
C HAR L E S W OLF E 1 3 2—1 3 7
H EN RY H AR T MI LM AN 1 3 8—1 4 5
J OH N K E B L E 1 4 6—1 51
JOHN H EN R Y N E WM AN 1 52—1 60
T H OM A S H OO D 1 6 1 —1 69
E LI ! AB E T H B ARR E TT BR OW N I N G 1 70 1 78
-
CH ARL E S KI N G S LEY 1 7 9 —1 89
R ALP H WAL D O E M E R S ON —
1 90 1 9 9
E DGAR AL LAN P O E 200—208
H EN R Y WA D S W ORT H L ON G F ELL O W —
209 220
J AM E S R U SS ELL L OW ELL 221 —230
E D WAR D FI T! G ER AL D —
23 1 24 1
4 C ON T EN T S
P AG E S
C OVEN TR Y P AT M OR E 24 2—253
D AN T E G AB RI E L R OSS E TTI 254—2 67
WI LLI AM M ORRI S 2 68—27 9
A LG E R N ON CHARL E S S W I N B U R NE
AR T H UR H U GH CL OU GH 288—29 6
M ATTH E W AR N OL D 29 7—3 1 0
R O B E R T B R OWN I N G 3 1 1 —3 27
A LFR E D T ENNY S ON —
3 28 3 4 4
U N C L A SS E D —
3 45 4 01
C ON C LU S I ON S ’
8
402—4 1 4
I N D E! OF FI RS T WOR D S 4 1 5—43 1
BI R T HS A N D D E AT HS 4 3 5—4 40
F I VE C E N TU R I E S OF E N G L I S H VE R S E
\V I LL I AM VVOR D S W O R T H
—
1 7 7 0 1 850
AN Ev ang e list a m o ng th e heathe n fo r thi rt y ye ars .
Supre m e P o n t ifi fo r t we nty W h a t is h e no w ?
.
N o stud ent of lit era t ure c an d o u b t w hat h e w as In .
th e hi st or y of l earning Cru s a de s are no no ve lti e s T h e .
c l o s e of th e e ight ee nth a nd e arli er par t of th e nin e t ee nth

ce nt uri e s h a d a mono p oly of cru s a di ng in p o e t r y Go e th e .
and Schi ll er in G er man y ; d e Mu ss e t Vi c to r Hu g o w ith, ,
th e R om anti c ists in Fr an ce ; Wo rds wo rth a t th e he ad of

, ,
th e L a k e Sc hool in E ngl a nd s a ng a nd fo u ght s a ng to

, , ,
fight E li zabe th a n p o e ts w a g e d no w ar s the y w ere dis

.
c o verer s W itho u t be ing in th e rea lm of f an c y buccaneers

, , ,
as som e o f th e m w ere on the Sp anish M a in T hes e other s .
were in v ader s of e st ablish e d k ingd o ms a s were th e Is r a e l

,
it e s of C an aa n Of a ll the c om ba t ant p o e ts Wo r ds w o rth

.
h a d s e t hims elf th e hard e st t a s k and w on th e m o st sign a l

,
vi c t o r y H is hand w as a g a inst every m an I n th e r ud e

. .
ba ttl e h e d id n o t sh u n t o w o u nd a n a tu ra l a lly— a fo reru nner ,
lik e C o w per in the onsl au ght up on p o e ti c di c ti o n a n

, ,
o b s erver of r ura l life li k e T homs o n

,
A f an ati c do ub tl e ss
at o n ce of w id e v i e w s and n arr o w ; bu t it w a s h e w h o
, ,
tho u gh in th e pa no p ly o f a Cap t a in fighting fo r th e m o st

,
part a lon e tau ght h o w t o rep l ace p o e ti c p h ra s e s and

,
c o mmonpl ace s b y p o e ti c i d ea s c l o the d in p l a in pure ,

'
English w i t h rhythm t o m at c h A b o ve all it is t o him

,
.
,
6 FI VE CEN T UR I ES OF EN G LI SH VERSE
m a inly th a t litera ture o we s th e s o l e mn in au g ura tion of th e

w o r shi p of Na t ure .
He t hr e w do wn and h e bu ilt up T ho u gh u nd o ub t e dl y
,
.
hera lde d b y C o wper h e s ub st anti a lly o pe n e d th e n e w a g e

,
o f E nglish ver s e w hi c h c los e s fo r u s w ith T e nn y son

,
His .
famo u s bre thre n in song mo re o r l e ss u n c ons c io u sly eve n , ,
mo c k ing B yr on u nder we nt his influe n ce W hil e th e y vau nt e d

, ,
the i r ind epend e n ce T h e l a t er p o e tr y of th e nin e t ee nth

.
cent ur y has bee n as a w hol e th o ugh w ith an a dditi o n of

, ,
m e lody of hi s ho use and lin e ag e He a cc om p lish e d a gr and

,
.
w o r k in vi r tue of s p l e ndid p o e ti c gifts ex tr ao r din ar y p hilo ,
so p hi c insight and o b stin a te ind o mit ab l e c o ura g e A s

, ,
.
n ece ss ar y a pro perty fo r him I fear w a s as fo r many gre at , , ,
p o e ts an ab sol u t e and in his c as e inno ce nt in c a p a c ity

, , , , ,
fo r rec ogni z ing th e ex ist e n ce of S ing er s be side s hims e lf .
Is it a n int e lligi b l e c ontr adi c tion in t er ms to s a y th a t ,
whi l e h e w as addi c t e d to w ar m mo ra l indi gnation a nd ,
admi r ation h e h a d a c o ld h e ar t ? A n ab s e n ce of th e
,
s e ns e of h u mo ur w as a par t of his equi p m e nt w hi c h w as ,
perhap s e ss e ntial If it b linde d him to ab s urditi e s in th e

, .
ex agg eratio n of his criti ca l prin c i p l e s it also st ee l e d hi m ,
a g a inst igno r ant r idi cu l e Gallantly h e flu ng do wn be fo re.
a d versari e s w hom his ins p i r ati o n be wildere d and e nra g e d

,
n o l e ss than his ecce nt ri c iti e s th e g auntl e t of his P e t er Be ll

, ,
w e at h e r c o c k le ss Kil ve C hildl e ss T im o thy Exp ost u l a ti o n

, ,
and Rep ly with di vers m o re as st rang e

,
T h en w h e n th e ,
p o e t cea s e d to sing un l e ss t o a n inn er c i rc l e w hat w isdom ,
still w hat u nder st anding of th e so u l of things T h e pri e st

,
re main e d with th e inh ere nt san c tity w hi c h h a d j u stifi e d his

,
’
o rigin a l in ve stit ure w ith th e p o e t s m a ntl e We fee l him .
rea dy to go on pr o p h e sying sho u ld th e c ommission be

ren e we d ; b lissfu lly u n c o ns c io u s o f th e p rb b ab le Never .
Literary hist o ry sho w s fe w mo re path e ti c fig ure s th an the

W I LL I AM W OR D S W OR T H 7
o ld man w he n visi bl e W ithi n th e diminishe d c i rc l e of his

,
dis c i p l e s a righte o u s witn e ss and ze alot e ag er to de fe nd ,
the c au s e o f p oe ti ca l t ru th a s in yo u th ; with no fo e s t o
mo c k and pers ecu te him non e fo r him to ba n and burn
c l a d in sa cerd o tal r o be s ab o ve his ar mo ur ; s ee ming to
a c are l e ss u gra t e fu l wo rld t be s acrifi c ing c old d e ad
n o -
,
vi c tims on a c old -de ad a lt ar .
I ca nnot bu t rec o gn i ze th a t th e m a ss of his vers e h a s

cea s e d t o p l ea s e T hat is th e c omm o n f a t e of p o e tr y in
.
bu l k It must be c on ce d e d th a t th e rul e app li e s e sp e ci

.
ally here Ordinar y rea d er s eve n w ith a t a st e fo r p o e tr y

.
are s atisfi e d with a frac tion of hi s A s it h appe ns th e fe w .

,
f av o urit e s are g e nera lly the fruit of earli er year s B u t .
c om p a risons of ag e m a y w e ll be of int ere st fo r st u d e nts of

lit er at ure ; the y do not a ffec t the que sti o n o f ab sol ut e
m er it Wh e n I a m c ho osing p i ece s to m a k e my o wn a nd
.
,
lo ve I do not c onsid er d at e s S imi l arly I do not c on cern

, .
’
mys e lf w ith Wo rds w o rth s phi loso p hy unl e ss so f ar a s it w a s ,
th e moti ve fo r a p o e m a nd c ol o ur s it A s it h appe n e d th e
,
.
,
p h il o so p hy w a s of a kind to bear a ver y intimat e re l a tion

t o th e p o e t r y T h e s c h e m e of it w a s th e pre exist e n ce o f
.
-
s p i rit in an a ng e li c st at e and its n e w b i rth int o a n e w

,
o r d er o f N at ure prepare d fo r it b y th e D i vi n e Arc hitec t .
T h e f abr i c w ith its app o int e d ce ntre a nd l o rd w as d e sign e d

, ,
t o be a dmi rab ly f a i r a nd h app y I n a ll its c o nstit ue nts f r om

’
.
,
m a n to bea st t o the flo w er s o f th e fi e ld m o unt a in a nd

, ,
va ll e y w inds and w a t er s it w a s m e a nt t o d eve lo p b y th e

, ,
l a w o f its be ing into beau ty m u t ua lly gr at e f u l lo ving k ind -

,
ne ss sym pa thy symm e t r y a nd har mony

, , ,
.
A s a thin ker h e s ee ms t o h ave f a shion e d fo r hims e lf

som e s uc h syst e m a s this fo r o ur glo be Be ing a p oe t .
b o r n h e w a s in the ha b it o f s u mmo n i ng ins p i ra tion t o

mini st er to the id e a I c an unde rstand the fas c in a tion to
.
8 FI VE CEN TU R I ES OF EN G L I SH VERSE
e l ec t dis c i p l e s f w a t c hing th e re l a tion in his ver s e of
hi s o
the t w o p o wers th e t w o c har a c t ers A distin c t c h ap t er

,
.
in p syc hology might be d ev ot e d to th e mann er in w hi c h

th e th e o ry n o w and a g ain s ub d ue s im a gination to its
s ervi ce no w a nd a g a in th o ugh mo re in yo u th th an ag e
, ,
whil e ans wering th e s u m mons sn a t c h e s up th e Philoso p h er

, ,
a nd carri e s him not w h ere h e bu t w h ere th e P o e t w o u ld

, , ,
.
It is not o ur pro vin ce h ere t o in qu i re w h e th er h e w ere

pri marily Po e t becau s e Phi loso p h er o r P hiloso p h er bec a u s e ,
Po e t. Fo r o u r purp os e it is e no u gh t o apprec iat e hi s

d o c trine th at Na t ure l o ve s to c loth e a ll h er w o rk s with
be au ty ; th at sh e w ishe s her prin c i pa l cre at ure man to , ,
s ee it e n j o y it c om p l e t e it ; t o imit a t e h er in l o ve a nd
, ,
goodne ss t o all ; th a t he o ught to l earn fr om th e

e xce ll e n ce—o f D i vin e o rigin— in her a nd h ers h o w c l o s e ly ,
h e is link e d t o Heave n We n ee d not to di s c o ver th e P o e t

.
,
in him e nd eav o ur t o p i ece t o g e th er a c om p l e t e syst e m o u t

,
of his vers e Le t us d e light o ur s e l ve s w ith its c h ar m

.
,
wh erever w e fin d it— not qu a rre lling w ith th e s w ee tn e ss

becau s e the hon e yc om b may be hi dd e n among th e b o ne s
o f a d ea d lion of th o ught .
T o t a k e offe n ce a t Wo r ds w o r th becau s e th e p hilos o p h er

'
in him is it m u st be ac k no wl e dg e d n ever ve ry f ar o ff
, , ,
w o uld be t o banish o urs e l ve s fr om his kingdom o f p o e t r y

altog e th er Idea s va st and l o fty are c onst a ntly dis cerni bl e
.
, , ,
willing t o hold a l o o f o r appr o ac h a s th e re ad er will Wh ere ,

.
a ny o f th e m insist up on a sso c i a ting th e ms e l ve s w ith th e

m elody w e l c om e th e m ; fo r the c laim pr o ve s th e m and
,
the ins p i ration t o be on e T hr o u gh o u t a m p l e s pace s o f

.
g ard e n l a nd w h ere h e re igns th o u ght eve n fo r thos e w h o

-
, ,
do n o t d e l ve and min e in it a dds a tmos p h ere a nd a s e ns e

,
o f myst er y Wh o ca n acc o u nt it ill in a p o e t th a t to his

.
e ye s Na ture is a l w a ys l o nging t o d e m o nst r at e h ers e lf t o

be b oth d e lightfu l and b e n e fic e n t I In a l e gi o n o f inst a nce s

he c o u ld not ha ve d o n e be tt er p o e ti ca lly h a d he bee n
s e arc hing fo r beau ty wi th a s littl e hee d to a l e sson fro m
it a s a n E li zabe than minstre l of lo ve .He c o uld h ave
prod uce d n o m o re s p o ntan e o u s app ariti o ns o f m e t ri ca l
s wee tn e ss
Luc y is not the l e ss lyr i ca lly lo ve ly th a t sh e im person a te s
’
N at ure s id ea l w o rk m a nshi p
T h e fl o ating cl o u ds th e ir stat e sh all l end
To h er fo r h er th e will o w be nd
N o r sh all sh e f ail t o s ee
E ve n in th e m o ti o ns o f t h e S t o r m
’
'
G rac e th at sh all m o u ld t h e M aid e n s f o r m

B y sile nt sympathy .
T h e st ar s o f mi d n ight S h all be d e ar
To h er and sh e sh all l ean h er e ar
I n m any a s e c re t pl ac e
W h ere ri vu l e ts d anc e th ei r w aywar d r o u nd
,
An d be au ty b o rn o f m ur m uring s o u nd
S hall p ass int o h er fac e .
1
D oom to a n early d e ath h a s not th e l e ss p athos in it

’
th a t it m a y exe m p lify Na t ure s s ere n e c om p os ure in
bringing fo rth flo wer s not th e l e ss exqui sit e th at the y will
f ade °
S h e dwelt a m ong th e u ntro dd e n ways

B e sid e th e sp r ings o f D o ve ,
A Maid W h o m th ere were n o n e t o p rais e

And very f ew t o l o ve
A v i o l e t b y a m o ssy st o n e
H alf hidde n f ro m th e ey e
F ai r as a st ar wh e n o nly o n e
,
I s S hining i n th e s k y .
S h e li ve d u nk n o wn a nd few c o u ld k n o w
,
Wh e n L u cy c e as e d t o be
B u t sh e is in h er g rave an d Oh
, , ,
T h e d ifle re n c e t o m e 1 2
10 FI VE CEN T U R I ES OF EN G LI SH VERSE
Here is a n analysis of the st ag e s of perfec t womanhood

S h e was a P h ant o m o f d e light
W h e n fi rst sh e gl e am e d u p o n my sight
A l o vely App ar iti o n s e nt ,
’
T o be a m o m e nt s o r n am e nt
Her eye s a s st ars o f Twi ligh t f ai r
’
Li ke Twilight s t o o h er d u sk y h ai r
, ,
B u t al l things e ls e ab o u t h er drawn
F ro m M ay-tim e and th e ch eer ful Dawn
A d ancing S h ap e an I m age g ay
, ,
To h au nt t o st ar tl e and w ayl ay
, , .
And n o w I see wi th e ye s eren e

T h e very p uls e o f th e m ac hi n e ;
A B eing bre athi ng th o ughtf ul bre ath ,
A Travell er be twee n lif e and d eath

T h e reas o n fir m th e te mper at e will
, ,
E nduranc e f o re sight st re ngth and s kill ;

, , ,
A p erf e ct Wo m an n o b ly pl ann e d
, ,
To war n t o c o mf o r t and c o mm and

, ,
A nd ye t a S pi rit still and bright ,
With s o m ething o f ang elic li ght 3

.
With its wea lth of insight it st ands o n a l eve l n e ither

, ,
higher no r lo wer in p o e ti ca l e n c h antm e nt —sin ce b o th are

,
in th a t s upre m e — w ith th e visi o n of th e u n k no w n H igh

l and Re aper
B e h o ld h er singl e in th e fi eld
, ,
Y o n s o lit ary Highland l ass

R e aping a nd singing b y h er s elf
S t o p h ere o r g ently pass
,
Alo n e sh e c uts and b inds th e g rain ,
A nd sings a m el anch o ly st rain

O list e n fo r th e V al e p ro f o u nd
I s o verflo wing with th e s o u nd .
N o N ighting al e di d ever ch au nt
"
Mo re welc o m e n o t es t o weary b ands

Of t r avell er s in s o m e sh ady h au nt ,
Am o ng Ar abi an s ands ;
A v o ic e s o th rilling n e er was h e ard ’
I n sp ring -tim e f r o m th e C u c k o o -b i rd ,
B reakin g th e sil enc e o f th e s e as

Am o ngst th e f ar th est Hebride s .
Will n o o n e te ll me wh at sh e sings
Perh aps th e pl ainti ve n u m bers flo w
F o r o ld un h appy far -o ff thin gs
, , ,
An d b attl e s l o ng ago
Or is it s o m e m o re h u m b l e l ay ,
Famili ar m atter o f t o -day

S o m e n atural s o rr o w l o ss o r pain
, ,
T h a t h as bee n and m ay be again

,
’
W h ate er th e th e m e th e Maid e n s ang
,
As if h er s o ng c o uld h ave n o e nding

I s aw h er singing a t h er wo rk ,
’
And o e r th e sic kl e bending
I liste n e d m o ti o nl e ss a nd still
,
And as I m o u nted u p th e hill

, ,
T h e m u sic in my h e ar t I b o re ,
L o ng after it w as h e ar d n o m o re 4
.
T h e fu ll o rc he st ra pr o vid e d fo r th e p o e t b y his w inge d

n e ighb o ur s in hi s n ati ve d a l e s h a s a wo rld o f vario u s
m eaning fo r h i m Y e t h o w sim p ly a nd unsyst e m ati ca lly
.
, ,
s wee t is e ac h s everal caro l ! T he N ighting a l e p l ays a t

,
sti rr ing th e re stl e ss b l o o d w hi c h th e st o c k -d o ve w o u ld

,
s o o th e
0 Nighting al e t h e n s ure ly ar t
A c re ature o f a fi ery h ear t
T h e s e n o te s o f thine— th e y pi er c e and pi erc e ;
Tu m ultu o u s h ar m o ny and fi erc e
’
T h o u sing st as if th e G o d o f win e
H ad h elp e d th ee t o a V al entin e
A s o ng in m o c kery and d espit e
Of sh ad e s and d ew s and sil e nt night
, ,
And steady bliss and all th e l o ves

,
N o w sl ee ping in th ei r p e ac e f ul g ro ve s 5
.
T h e S kyl ar k t e a c he s th a t l o ve m a y b o th as p i re a nd st e e p
E th ere al minst re l pilg rim o f th e sky
D o st th o u de spis e th e ear th wh ere c are s ab o u nd
Or w hil e th e wings aspi re are h e ar t and e y e
, ,
B o th with thy n est u p o n th e d ewy g r o u nd

T hy ne st which th o u c anst d ro p into at will ,
T h o s e qu i vering wings c o mp o s e d th a t m u sic still

,
L e ave t o th e nighting ale h er sh ady wo o d

A p r ivacy o f glo ri o u s light is thin e
Wh enc e th o u d o st p o ur u p o n th e wo rld a fl o o d
Of h ar m o ny with instinct m o re di v in e
,
T ype o f th e wis e wh o s o ar bu t n ever r o am

,
True t o th e kindre d p o ints o f H eave n and H o m e l 6
T h e L inn e t s ee ms to pre a c h not a t a ll bu t has his l e sson

,
to o — that Nat ure c omm ands to be glad

On e h ave I m arke d th e h appi e s t g ue st
,
I n all this c o ver t o f th e b l e st

H ail t o th ee f ar ab o ve th e re st
,
I n j o y o f v o ic e and pi n i o n
T h o u Linn et in thy g ree n array
, ,
Pre sidi ng S pi ri t h ere t o -day ,
D o st l ea d th e reve ls o f th e May ;
An d this is thy d o mini o n .
W hil e b i r ds and bu tt erflie s and fl o wer s

, ,
Make all o n e b and o f p aram o ur s ,
T h o u ranging u p and d o wn th e b o wer s

, ,
Ar t s o l e in thy e mpl o ym e nt
A Lif e a P re s e nc e li ke th e Ai r
, ,
S c att er in g thy gl adne ss with o u t c are ,
To o b l e st w ith any o n e t o p ai r
T hys e lf thy o wn e nj o ym e nt 7
.
Fit c om p anion is h e in his a i r y pu l p it fo r th e j oyo u s

wild fl o wer s th at th e p o e t s urpr is e d reve lling t o o on e
, ,
s pring o n th e sh ore s of Gra sm ere

A h o st o f g o ld e n daffo dils
, ,
B e sid e th e l ake ben e ath th e tree s

, ,
Fl u ttering and d ancing in th e bree z e .

WI LLI AM W OR D S W OR T H 13
C o ntinu o u s a s th e stars th at shine ,
A nd twink l e o n th e milk y w ay ,
T he y st retch e d in n ever -e nding lin e

Alo ng th e m argin o f a b ay ;
Te n th o u s and s aw I at a gl anc e ,
To ssing th e i r h e ads in sprightly danc e ,
T h e wave s beside th e m d anc e d but th e y

Outdid th e sp arkling w ave s in gl ee
A p o et c o u ld n o t but be g ay ,
I n s u ch a j o c u nd c o mp any 8
.
U ni vers a l n a t ure in his cree d w a s d e signe d to re j oi ce and

, , ,
’
insists on re j oi c ing ; bu t no in ve stit ure w ith a pr o p he t s
m a ntl e is requi re d to qua lify lo vers of ins p i re d vers e to
fee l the m a gi c th e exu lting h app ine ss of th e str ains in
, ,
whi c h th e Po e t of Nat ure pro c l a ims his f a ith a nd gl o ry in

h er be au ty a nd t e nd ern e ss .
C ommonly it is p ossi b l e to be th u s s e nsi b l e of th e sim pl e

sing er apart from th e s eer in Wo rds wo rth— not a l w a ys
, ,
.
I c annot pre t e nd to pre ss a n indis criminat e re so r t to him fo r

th e a m u s e m e nt of a n idl e h o u r He has str ains of a gr andeur
.
,
a beau ty of s ub limity w hi c h it s ee ms pr of a n e t o re h e ars e

,
unl e ss a s a nth e ms c h ant e d b y w o r shi ppers w ith b are f ee t

be fo re a n a lt ar Fr om ho w f ar a w a y s ee ms to ec ho th e
.
solilo qu y
E ar th h as n o t anythi ng t o S h o w m o re f ai r ;
D u llwo uld h e be o f s o u l w h o c o u ld p ass b y
A sight s o t o u ching in i ts m aj esty ;
T his Ci t y n o w d o th li ke a g ar m e nt we ar
, ,
T h e be au ty o f th e m o rning sil e nt b are , ,
S hips t o wers d o m es th e at res and te mpl es li e

, , , ,
Ope n u nt o th e fi e lds an d t o th e s k y
,
All bright and glittering in th e sm o kel ess a i r

Never did s u n m o re b e au t iqy s tee p
.
I n his fi rst spl e nd o ur v all e y ro c k o r b ill ;

, , ,
14 FI VE CEN T U R I ES OF EN G L I SH VERSE
’
Ne er s aw I n ever f elt a c alm so d ee p
, ,
T h e ri ver glid e t h at h is o wn s wee t will

D ear G o d th e very h o us e s s ee m aslee p
A nd all th a t mighty h e ar t is ly ing still 9
A g a in his is a V o i ce in th e wildern e ss w hi c h not a ffec ting

, ,
t o be ab l e t o cure th e di s e as e pr ot e sts ag a inst per son a l

,
c o nt a min a tion b y th e preva iling rebe llion of fl e sh ag a inst

s p i rit o f Ear th a g a inst He a ve n
,
T h e wo rld is t o o m u ch with us l ate a nd s o o n ,
G e tting and S p e nding we l ay wast e o u r p o wer s

,
Littl e we s e e in N at ure th a t is o u r s
W e h ave give n o u r h e arts away a s o rdi d b o o n
,
T his S e a th a t b ares h er b o s o m t o th e m o o n
T h e winds th at will be h o wling a t all h o urs ,
And are up -g ath ere d n o w li ke slee ping fl o wers

F o r this fo r everyt hing we are o u t o f t u n e
, ,
I t m o ve s u s n o t — G re at G o d I d rath er be
.
’
A P ag an s u c kl e d in a c ree d o u t wo rn
So might I st andi ng o n t hi s pl e as ant l e a
, ,
H ave glimps e s th at wo u ld m ake m e l e ss f o rl o r n

H ave sight o f P ro t eu s rising f r o m th e se a
Or h e ar o ld Tr it o n b l o w hi s wre ath ed h o r n 1°
List e n fin a lly t o th e t w o e m u l o u s s p i rit ua l ri va ls fo r

’ —
c ontr ol o f W rds r th s so u l T ho u ght th e profo unde st
o w o ,
Im agin ation a t its lo ve li e st— c o a l e s c ing a s in th e mighty ,
Od e int o a l o ng re so u nding pea l of m u si c rea li z ing th e

,
-
,
M ilt o ni c vision o f Phil o so p hy ce l e sti a lly h ar monio u s

,
T h e R ain b o w c o m e s and g o e s ,
A nd l o vely is th e R o s e
T h e M o o n d o th w ith d e light
L o o k r o u nd h er w h e n th e h e ave ns are b are
Wat er s o n a starry night
A re beau tif u l and f ai r
T h e s u nshine is a gl o ri o u s bi rth
’
B u t ye t I k no w w h ere er I go
, ,
T h at th ere h ath p ast away a gl o ry f ro m th e e arth .

WI LLI AM W OR D S W OR T H 15
Our b i r th is bu t a sl ee p and a f o rg etting

’
T h e S o u l th at ris es with u s o u r life s S t ar
, ,
H a th h a d e ls ew h ere its s e tting ,
And c o m e th f ro m af a r
N o t in e nti re f o rg etf uln e ss ,
An d n o t in ut ter n ake dn e ss ,
B ut trailing cl o u ds o f gl o ry d o we c o m e
F ro m G o d w h o is o u r H o m e
,
H e ave n li e s ab o u t u s in o u r inf ancy

S h ade s o f th e p ris o n -h o u s e begin t o cl o s e
Up o n th e g ro wing B o y ,
B ut h e be h o lds th e light and wh e nc e it fl o ws

, ,
H e s ee s it in his j o y ;
T h e Y o u th w h o d aily f ar th er f r o m th e ea st
,
’
M u st t ravel still is Nat ure s P ri e st
, ,
An d b y th e v isi o n spl e ndid

I S o n his way a tt e nd e d
At l e ngth th e Man p er c e i ve s it di e aw ay ,
And f ad e into th e light o f c o mm o n d ay .
0 jo y a th t in o ur e m ber s
I s s o m e t hi n g th at do th live ,
T h at n ature ye t re m e m bers
Wh at was s o f u giti ve
Th e th o u ght o f o ur p ast ye ar s in m e d o th bree d
Perpetu al b e ne di cti o n n o t indee d
F o r th a t whi ch is m o st w o rthy t o be b l e st
D e light and li berty th e simpl e c ree d
,
Of Ch ildh o o d w h e th er bu sy o r at re st
,
B u t fo r th o s e fi rst affe cti o ns ,
T h o s e sh ad o wy re c o lle cti o ns ,
W hi ch be th e y wh a t th e y m ay
, ,
Ar e ye t th e f o u nt ai n light o f all o u r d ay ,
Are ye t a m aste r light o f all o ur s ee ing

H e nc e in a s e as o n o f c alm we ather ,
T h o u gh inland f ar we be ,
Our S o uls h ave sight o f th at imm o rtal se a

W hich bro u ght us hith er ,
C an in a m o m e n t t r ave l thi th er ,
16 FI VE CENT U R I ES OF EN G L I SH VERSE
An d se eth e C hild re n s p ort u p o n th e sh o re ,
An d h ear th e m i ght y wat ers ro lling ever m o re .
And 0 ye Fo u nt ains Me ado ws H ills and G ro ve s

, , , , ,
F o reb o de n o t any s ever ing o f o ur l o ve s

Ye t in m y h ear t o f h e arts I f eel y o ur might
I o n ly h ave re linquish e d o n e d e light
To li ve be n e ath y o ur m o re h ab it u al s w ay .
T h anks t o th e h u m an h e ar t b y whi ch we li ve ,
T h anks t o its te nd er ne ss its j o ys and f e ar s

, , ,
To m e th e m e an e st fl o wer th at b l o w s c an gi ve
T h o u ghts th at d o o fte n li e t o o d e e p fo r te ar s 11
.
A c o ns ecr ati o n o f m u si c a s in this ma rve l to th e e v o lu

, ,
ti o n of ab st r a c t th o u ght must in th e n a t ure of things be

excep tion a l. Y e t th e p ur s uer s aft er m e lody may fin d
th e i r re w ar d in exp lo ring eve n th e c old d r y p la ce s in th e
,
’
M a st er s p hiloso p hy Gr a ce and fi re freque ntly will revea l
.
the ms e l ve s in un expec t e d sp o ts T he y light up no w an d

.
a g a in a dogmati c de fi an ce of th e intol era nt lit erar y c anons

o f his yo u th li k e P e t er B e ll— th e bu tt of B yr on
,
In v ain th ro ugh every ch ang ef u l ye ar

, ,
D id N at ure l e ad him as be f o re
’
A p rim r o s e b y a r i ver s brim
A yello w p rim ro s e was t o him ,
An d i t was n o thing m o re .
’
At n o o n w h e n b y th e f o re st s e dg e
,
H e l ay be n eath th e branch e s high ,
T h e s o ft b l ue s k y di d n ever m e lt
I nt o hi s h e art ; h e n ever f elt
T h e wit ch ery o f th e s o ft b l ue s ky 1 12
An a s p iring re flec tion will witho u t w arning bre a k into

ge ntl e song
T h e bees th at s o ar fo r b l o o m ,
High as th e high est p eak o f Fu r ne ss F e lls ,
Will m urmur b y th e h ou r in f o xgl o ve bells .

W h at m an h as m ad e o f m a n
h e rec o gni ze s w ith d e light th a t n everth e l e ss
, ,
W e h ave all o f u s o n e h u m an h ear t .
’
He is g ra t e f u l to Na t ure a nd t o Na t ure s so urce th a t in
, , ,
’
im pro ving earth s s urfa ce into infinit e lo ve lin e ss th e y h ave ,
n o t n e gl ec t e d th e d eve l o p m e nt o f man a ls o T h ere is

.
m any a on e w h o ,
d o o m e d t o go in c o m pany with P ain ,
An d F e ar and B l o o dsh e d mis era b l e t ra in

, ,
Turns his n e c e ssity t o gl o ri o u s g ain 16

.
He th ank s Heave n fo r Milton w h o s e ,
s o u l was li ke a S t ar and dwe lt ap art ;

,
17
fo r B urns w h o
,
sh o we d my yo u th
H o w Vers e m ay build a p r inc e ly th ro n e
On h u m b l e t ru th ; 18
’
fo r th e p lo u gh b o y s m err y w h o o p ; a nd fo r th e stat e l y
-
-
B e ggar w oman
a c re at ure
—
B eau tif u l t o se e a wee d o f glo ri o u s f e at ure ! 19
’
f o r th e pro o fs o f h u m anity s ab ility t o r is e s uperio r to
f o r tu ne a ffo rde d ali k e b y th e R oyal S we d e a nd b y th e
, ,
l eec h -gath erer motionl e ss a s a c lo u d on th e lon e l y moo r

, ,
I c o u ld h ave l au gh e d mys e lf t o sc o r n t o find

I th a t d e c re pit M an so fi r m a m
n i nd 2°
’
fo r Spring s be sto w al of a t ra in of fl o wer s
a mighty b and ,
S inging at m y h eart s c o mm and ;

’
fo r th e s p i r it bre ath e d fo r h i min th e w o ods w hi c h made

,
th e s o u nding c at aract
H au nt him li ke a p assi o n ;
and h a d j u stifie d his pra yer a nd h o pe as h e m e di t a te s
,
gr at e fu lly on the c hoi r of Po e ts

o n e ar th h ave m ad e u s h ei r s
wh o
Of t ru th and p ure d e light b y h e ave nly l ays
Oh might my n am e be n u m be re d am o ng th ei rs ,
T h e n gladly wo u ld I e nd my m o rtal d ays 21

.
T h ere are p o e ts whos e w o rk s are eac h a b ody of litera

tu re in its e lf a nd Wo rds wo rth is of th e m T ho u gh I h ave .
d are d to to uc h v a rio u s ke ys in his mighty o rg an I h ave ,
re fra ine d f rom a h u nd re d mo re W ith m a ny a g ri e ving.
l o o k bac k I ha ve p ass e d th e Y a rr o ws b y th e vision o f

, ,
’
the Gi rl o f I n v e r sn e y d e th e S onne t s sonn e t th e o ver
, ,
’
flo wing m u si c o f B ro ugham Ca stl e s w e l c o m e t o its S h ep
h er d L o rd th e high -mind e d f are w e ll t o th e wo nd ro u s
,
’
Pot e nt at e of E ild o n s t ri p l e h e ight th e d ra m ati c fo rce ,
-
and g e ner o u s a ppe al of H a rt l eap We ll th e pa thos of th e ,
impro vis e d requi e m on d ep ar te d fe ll o w s in song th e g race ,
and th e p assion of L aod a mi a wi ld flo we r Ruth a nd th e

-
, ,
gold e n D u ddon c hain with n u m berl e ss things o f beauty

,
and w isd o m be side s S ingl e p iece s li k e th e g rea t Od e are

.
, ,
m att er fo r e nti re v o l u m e s T og e th er th e y re flec t th e w h o l e

.
p o e t r y of life a s li ve d and a s it o ught t o be li ve d In

,
.
th at u nison I find in e ffec t a n exp l an ati o n of th e c omm o n

’
in d i ffere n ce to Wo rds w o r th s l a t er vers e He mi xe d so .
m uc h f his s e lf c omm unings th e c on vi c tion o f his o b liga

o -
,
tion to rebu k e re fo rm a nd t eac h th a t th e Po e t oft e n w a s

, , ,
lost t o vi e w in th e Preac h er Is it too m uc h t o a ss u m e

.
th at t o it a lso t o th e ab sol ut e id e ntity o f th e m a n a nd

,
h is ins p i ra ti o n th e in d e fin ab le m a gi c of th e earli er p o e t ry
,
m ust be trace d N o w here in th e E nglish He li c o n is it h arder

t o t rac k hom e th e f a s c in a tion b y s o m uc h a s it is a lw a y s
,
h arder t o a n a l ys e a n a uth or th a n his b o o k Wh e n h o w .

,
ever it c an be d o n e and is done w h e n a s in the mo rning

, , , ,
o f lif e th e p o e t p o ure d his w h o l e so u l into his ver s e w h e n

, ,
h e f o llo we d a ft er every a s p i ra tion with th e a rd o ur o f a

B 2
l o ver a s w e ll a s th e p ati e n ce o f a t e a c h er w h e n h e arra ye d ,
eac h in di c ti o n a s l o ve ly a s it is sim p l e I d o n o t w ond er ,

’
th a t the be st o f th e n a ti o n s yo u th ra lli e d t o his bugl e
c all Eve n fr om th e f ar dist an ce be li eve m e its ec ho e s
. , ,
e n c h a nt L e t any s ub mit th e ms e l ve s hon e stly t o th e s pe ll

. ,
a nd th e y will u nder st a nd .
The P o etic al Wo rk s o f Willi am Wo rdswo rth E dward Mo x o n 1 84 7 .

, .
1Three Y e ars sh e G rew in S un an d Sh o wer ( P o ems o f the I m aginati o n ,
X) .
2
Luc y ( Po ems o f the Affe ctio ns VI I I ) , .
3
She was a Ph ant o m o f Delight ( Po ems o f the I magin ati o n VI I I ) , .
4
The S o litary R eap e r ( Memo rials o f a T o ur in S c o tl and I ! ) , .
5
To a N ightingal e ( P o ems o f t h e I magin ati o n I ! ) , .
6
T o a Sk y l ark ( i b id XXX ) .
, .
7
The G reen Linnet ( Po ems o f the Fanc y I ! ) , .
3
Daff o dils ( Po ems o f th e I magin atio n ! I I ) , .
9
C o mpo sed upo n Westminster Bridge Sept 3 1 802 (Miscell ane o us , .
,
S o nnets Part I I x xx vi )
, , .
1°
S o nnet ( Miscellane o u s S o nn ets P art I xxxiii ) ,
.
I ntim ati o ns o f I m mo rt alit y f r o mR e c o ll e cti o ns o f E arl y C hildh o o d

,
11
.
Od e st anz as 2 5 9 an d 1 1
, , , , .
12
Peter B ell P art I stanz as 1 2 an d 1 5 ( Po ems o f th e I mag in atio n )
, , .
13
The E xc ursio n Bo o k I V , .
1“
S imo n Lee the Old Huntsman st 1 2 ( P o ems o f S entiment an d
, , .
R e fle cti o n VI ) , .
15
The Afflictio n o f Margaret st 1 1 ( Po ems fo unded o n the Afi e c t io n s , .
‘
,
XXI V ) .
1‘
Character o f the Happy Warrio r ( P o ems o f Sentiment an d R efle cti o n ,
XX ) .
17
L o ndo n 1 802 ( P o ems dedicated t o N ati o nal I ndependenc e ! I V )
, ,
.
1"
At the G rave o f Burns 1 803 st 6 ( Memo ri als o f a T o ur in S c o t , , .
land I I ) , .
Written in March an d Beggars ( P o ems o f the I magin atio n ! VI , ,
an d X V I I I ) .
20
R e soluti o n an d I ndependence st 20 ( i b id XX I I ) , . .
, .
21
Pers o nal Talk s t 4 ( Po ems o f S entiment an d R eflectio n X I I I )
, .
, .
S AM U E L T AY L O R C O L E R I D G E
1 7 7 2— 1 83 4
WH AT a p o e t bu t fo r th e m e tap hysi c ian

A p o e t fee ls ; a m e t ap hysi c i a n rea s o ns T h e o n e l eap s ; th e
.
o th er digs . Witho u t im a gin ation th e on e c ann ot brea th e

,
a nd th e oth er cannot gue ss a t th e direc tion of a ve in of

th o ught B u t fo r th e p o e t it is life fo r th e m e t ap hysi c i a n
.
, ,
a stimu l ant In th e sam e mind th e t w o te nd e n c i e s c on fli c t

.
,
unl e ss o n e c o ns e nt t o s erve T o his fri e nds a nd th e High

’
.
g a te c i rc l e Col eridg e w a s th e mo re signal m arve l becaus e

he unit e d b oth Fo r p o st erity h e w o uld h ave bee n a pro
.
fo u nder phi loso p h er had h e bee n l e ss of a p oe t H ad h e .
c on cern e d hi ms e lf l e ss with th e sol u tion of m e ntal pro b l e ms ,
h e must ha ve fill e d a w ider not a mo re ex alt e d s p a ce in

, ,
th e histo ry of p o e t r y .
H is p ositi ve p o e ti ca l career w as bri e f Th e qua ntity of .
his w o r k in th e peri o d is mod er at e Vi r tually th e w hol e

.
bear s a n u nmist a k ab l e st a m p o f hi gh int e llig e n ce and

n o b l e fee ling Re ligi o u s Mu sings a b o u nd in g rand im a ge s
.
a nd re flec ti o ns ; a s fo r inst an ce on th e folly o f hatre d

, ,
’
within o ur He a ve nly Father s v a st hum an f a mily
No C ain
Inj ure s u ni nj ure d— in h er be st aimd bl o w
’
Victo ri o us m ur der a b lind s u icid e

with th e c on ver s e in th e l in e s imm e di a te ly prece ding
, ,
whi c h L a m b d ec l are d to be witho u t a r i va l in th e wh o l e

c o mp ass of m y po e ti c al re ading
T h ere is one Mind o n e o mni p re s e nt Mind
, ,
Om n i fic
. His m o st h o ly n am e is L o ve .
Truth o f s ubliming imp o r t w i th th e which

Wh o f ee ds and s atu ra t e s his c o nst ant s o u l ,
H e f ro m his sm all p ar tic u l ar o rb it fli e s

With b l e st o utst arting F r o m hims elf h e fli e s ,
S tands in th e s u n and with n o p arti al g a z e

,
Vi ews all c re ati o n and h e l o ve s it all ,
And bl e ss e s it and c alls it very g o o d

,
T his is indeed t o d well with th e M o s t High

C h erub s and r apture -tre m bling S eraphim
’
C an pre ss n o n e arer t o th e Almighty s T h r o n e : 1
’
and T h e E oli an Harp in its a u tho r s be li e f
, ,
th e most
perfec t p o e m h e ever w r ot e
Su c h a s o ft fl o ating w it ch ery o f s o u nd
A s t wilight E lfin s m ake w h e n th e y at eve
,
V o yag e o n g e ntl e g al e s f ro m Fairy -l and

O th e o n e li f e within us and abr o ad ,
W hich m eets all m o ti o n and be c o m e s i ts so u l ,
A light in s o u nd a s o u nd -li ke p o wer in light

, ,
R hythm in a l l th o u ght and j o y anc e ever yw h ere

, 1 2
No s ub tl e ty th e m o st intri c at e d a unts his Mu s e w h e n

, , ,
’
th e the m e cro ss e s h er p ath ; not eve n D a v id Har tl e y s
A e th er w ith its
,
fl u ids imp acts e ss e nc e s

, , ,
S elf -wo rking to o ls u nc au s e d e ff e cts and a ll

, ,
T h o s e b li n d o mnisci e nts th o s e almighty sl ave s

, ,
Unte nanting c re ati o n o f its G o d 3

.
A rea der st ands a m aze d a t th e mo re th an equa l c o ura g e of
th e Ne P lus U lt r a
S o l e P o siti ve o f Night
Antip athist o f Ligh t
’
Fat e s o nly e ss e nc e p rim al sc o rpi o n rod
T h e o n e p ermitte d o pp o site o f G o d
S AM U E L T AY L OR C OL ER I D G E 23
C nden e d bl ackn e ss and abysm al stor m

o s
C mpacte d t o e sc e pt re
o o n
Ar msth e G rasp e n o r m
T h e Interc epto r
T h e S ub stanc e th at still c asts th e sh ad o w D e ath
T h e D rag o n f o ul and f ell
T h e u n reve al ab l e ,
An d hi dd e n o n e w h o s e bre ath
,
G i ve s wind and f uel t o th e fi re s o f H ell

Ah s o l e d esp ai r
’
Of b o th t h e t erniti e s in H e ave n
S o l e int erdi ct o f all -be d ewi n g p rayer ,
T h e all -c o mp assi o nate

S ave t o th e L amp ads S eve n
’ ’
R e v e al d t o n o n e o f all t h A ng elic S tate ,
S ave t o th e L amp ads S eve n ,
T h at watch th e th ro n e o f He ave n 1 4
N o twithst anding th e e n cr oa c hi ng w a ve s eve n h ere o f

wra ngling p oliti c s th e Od e to th e D ep ar ting Y e ar is a re li e f
,
t o th e br ain with its in vo cati o n

,
O Al b i o n ! 0 my m o th er I sl e !
’
T hy v alleys f ai r a s E de n s b o wers
, ,
G litter g re en with s u nn y sh o wers

’
T hy g rassy u plands g e ntle s we lls
E ch o t o th e b l e at o f flo c k s
T h o s e g rassy hills th o s e gli tt ering de lls
,
Pro u dly ramp art e d with r o c ks

A nd Oc e an m i d his u p ro ar wild
S pe aks s af ety t o hi s island -child .
H e nc e fo r m an y a f e arl e ss ag e
H as s o ci al Q ui e t l o ve d thy sh o re
’
N o r ever p r o u d in v ad er s r ag e
’ ’
Or s ac k d thy t o wer s o r st ain d t hy fi elds with g o re
,
5
.
Oft e n too s e nsiti ve a n im a ginati o n s ee ms t o be s ee k ing

re f u g e in a ny c as u al t e p i c fro m tho u ghts li ke Fe ar s in ,
So lit u d e t o o t r o ub ling T h e th e m e may be sim p l e lands c a pe

,
.
p ainting moo r and far mland

24 FI VE CEN T UR I ES OF EN G L I SH VERSE
T h e f ruit-li ke pe rf u m e o f th e g o lde n f ur z e
T hi s burst o f p ro sp e ct h e re th e sh ad o wy m ain
, ,
D im -tinte d th ere th e mighty m aj esty

,
Of th a t h u g e amphi th e atre o f rich

And e lmy fi elds 6
fore st -s cen er y w h ere

,
with d u n -re d b ark

T h e fir -tree s and th e u nf re que nt sl e nder o ak
, ,
F o r th f ro m this t angl e wild o f bu sh and brake

S o ar u p and f o r m a m el anch o ly v au lt
,
’
High o e r m e m ur m ur ing li ke a di st ant s e a ; 7
,
a n e ffec t of fro st a t mi dnight ,

w ith its qu i e t w hi c h may be
fe lt
’
Tis c alm indee d s o c alm th at i t disturb s
,
And ve x e s m e ditati o n with its st rang e

And e xt re m e sile ntne ss S e a hill and wo o d
.
, , ,
Thi s p o p ul o u s vi llag e se a and hill and wo o d

, , ,
With all th e nu m berle ss g o ings -o n o f lif e ,
I nau di bl e a s d re ams 3
’
a Knight s T om b c on j ure d up w ith th e e l e gan ce of a G ree k
,
ep igra m on a We stmo re l and hi ll -sid e

,
’
W h ere is th e g rave o f S i r Ar th ur O K e lly n 2 ‘
W h ere m ay th e g rave o f th at g o o d m an be 2 ‘
B y th e sid e o f a sp ring o n th e breast o f H el vellyn

, ,
Under th e t wigs o f a y o u ng b i r ch t ree

T h e o ak th a t in s u mm er was s weet t o h e ar ,
And ru stle d its l e ave s in th e f all o f th e ye ar ,

’
And whistl ed and r o ar d in th e wint er al o ne
I s g o n e—and th e b i r ch in its st e ad is g r o wn
,
’
T he Knight s b o n e s are d u st and his g o o d sw o rd rust
,
His s oul is with th e s aints I t ru st 9

,
a p i c t ure of a mother w ith a n e w -b o rn babe

bu t a nightmare whi c h w e are gl a d to fo rg e t in th e

,
s unshin e o f
’
An Idyll wi th B o cc acci o s spi rit warm .
16
Im a gin ation h a s t r ans p o rt e d th e G e o r gian p o e t fo ur long

ce nturi e s bac k t o a fat e -d e fying Gar de n and its fa er y
to
T h e brightn e ss o f th e wo rld 0 th o u o nc e f ree , ,
And always f ai r rare l and o f c o ur t e sy

,
0 Fl o re nc e with th e Tu sc an fi elds and hills ,
An d f am o u s Arn o f ed with all th ei r rills

,
T h o u brigh test st ar o f sta r -bright I taly 1

R ich o r n at e p o p u l o u s all t re as ure s thin e
, , , ,
T h e g o lde n c o rn th e o li ve and th e vine

, , .
F ai r citi e s g allant m ansi o ns c astl e s o ld

, , ,
And f o re sts wh ere be sid e his l e afy h o ld

,
T h e s ull e n b o ar h ath h e ar d th e distant h o rn ,
And w h ets his t u s k s ag ainst th e g n arl e d th o rn

Palladi an p al ac e with its st o ri e d h alls
F o u nt ains w h ere L o ve li e s list e ning t o th ei r f alls
,
G ar dens wh ere flin gs th e bridg e its ai ry sp an

, ,
And Nat ure m ake s h er h appy h o m e with m an

Wh ere m any a g o rg e o u s fl o wer is d u ly f e d
W ith its o wn rill o n its o wn S p angl e d b e d
, .
T hin e all d e lights and every mus e is thi n e

,
And m o re th an all th e e m brac e an d int er twin e

, ,
Of all with a ll in g ay a nd t win k ling d anc e

Mid g o ds o f G ree c e and w arr i o r s o f r o m anc e ,
S ee B o c c ac e sits u nf o lding o n his knee s

,
T h e n ew -f o u nd ro ll o f o ld M ae o ni de s
’
B u t f r o m his m antl e s f o ld and ne ar th e h ea rt , ,
’
Peer s Ovid s h oly b o o k o f L o ve s s weet sm art
’ 17
.
’
T h e t a l e o f C ol eridg e s a c hi eve m e nts in ver s e is ho wever , ,
f ar fr om t o ld ye t He c o u ld do a nything with vers e If

. .
h e did not c o m p os e a n ep i c w e may be sure it w a s n o t,
bec au s e h e c o uld not If his fe w songs are not perf ec t m usi c

.
,
S AMU E L T AY L OR C OL ER I D G E 27
it is th at h e w o uld n o t sing w ith o u t think ing He pro d uce d .
pl a ys w hi c h are p o e ms a ls o
,
id ea l t ransl a ti o ns the ,
Pi cc olomini and th e D ea th of W all e nst e in a nd— be sid e s

prodigi e s w hi c h I am holding o ver in re s erve — th ree g reat
Od e s .
T h a t to Fr an ce ,
a s o l e mn m u sic o f th e wind ,
is a pro u d d ec l ar ation of th e s uper i o r ity o f his l o ya l f a ith

in Free dom to dis e n c h antm e nt b y th e gree dine ss of re ne
g ad e s s e d uce d a s had bee n Fre n c hm e n
, ,
To mix with Kings in th e lo w l u st o f s way ,
Y ell in th e h u nt and sh are th e m urdero u s p rey

,
18
.
N o dithyra m b on th e o ver w h e lming glo ry of A l p in e

pea k s h a s ever s urpa ss e d in s p l e nd o ur of di c ti o n his H ymn
t o Mont B lan c . It is imm at eri a l th a t h e w a s ind eb te d fo r
a n o utlin e of th e p o e m to an o b s cure G er man p o e te ss .
T h a t h e h a d n ever s ee n th e mo un t a in o r va ll e y ga ve
a ddition a l free dom to his e nthusi a sm A s it is th e c on
.
,
ce p t io n mo ve s a p ar t on a high l eve l f r om w hi c h it n ever
d e s ce nds
S o l e s o vran o f th e Val e
O st ru ggli ng with th e d ark n e ss all th e night ,
And visit e d all night b y t ro o ps o f st ars ,
Or w h e n th e y clim b th e sk y o r wh e n th e y sin k
C o mp ani o n o f th e m o rni ng -star at d awn ,
’
T hys elf E arth s ro sy star and o f th e d awn
,
Co -h erald wake 0 wake and u tt er p rais e

, ,
Wh o s ank th y s u nl e ss pillar s dee p in E ar th 2 ‘
Wh o fill d t h y c o u nte nanc e with ro s y light

’
Wh o m ade th ee p arent o f p erp e tu al st rea ms 2 ‘
An d y o u y e fi ve wild t o rre nts fi er c e ly gl ad

,
Wh o c all d y o u f o r th f ro m night and u tt er d eath

’
,
’
F r o m d ark and icy c averns c all d y o u f o rth ,
D o w n th o s e p re cipi to u s bl ac k j agg ed R o c ks
, , ,
’
F o r ever sh at t e r d and th e s am e fo r ever 2
’
Ye ic e -f alls Ye th at f r o m th e m o u ntain s bro w
A do wn e n o rm o u s rav ine s sl o p e am ain
T o rre nts m e thin ks th at h e ar d a mighty v o ic e
, , ,
And st o p p d at o nc e amid th e i r m add est p lung e

’
Mo ti o nless t o rre nts sile nt c at aracts

Wh o m ade y o u glo ri o u s as th e g at e s o f H e ave n
B e n e ath th e kee n full m o o n 2 Wh o b ade th e s u n ‘
C l o th e y o u with rainb o ws Wh o with li ving fl o wers ,
Of l o ve li e st b l ue sp re ad g ar l ands at y o ur f ee t 2
‘
Go d l e t th e t o rre nts li ke a sh o ut o f n ati o ns

, ,
Answer and l et th e ic e pl ains e ch o G o d !

- 19
,
T he perfec tion of st a t e line ss tho u gh p it c h e d too e nti re ly

,
in o n e ke y ! Y e t n o t c om par a b l e e ither fo r h ar mony o r ,
fo r tho u ght t o th e Od e t o D e j ec ti o n Ca n that be gi ve n

, .
higher pra is e th a n th a t it is w o r thy t o ra n k be sid e th e

Intim ations of Imm o r t a lity in th e fo re front of p hi l o so p hi c al
vers e ! If th e s c o pe is n ece ss arily f ar l e ss l ar g e a nd a s ,
n ece ssarily th e pros pec t is dark er th e narr o wer p l a n is a s ,
exac tly ba l an ce d ; a ny pro pe nsity t o r h e t o ri c is as we ll

re str aine d T h e m e lody o f w h ic h al o n e I c an in a fra g
.
, ‘
m e nt g i ve an ide a is al w a ys admi rab l e

,
W h at a sc re am
’
Of ag o ny b y tortu re le n gt h e n d o u t
T h at l u te s e nt f o rth T h o u Wind th at r av e st with o ut , ,
Bare c rag o r m o u nt ain -t ai rn o r bl ast e d t ree

, , ,
Or pin e g ro ve W hi th er wo o dm an n ever cl o m b ,
’
Or l o n e ly h o u s e l o ng h e ld th e witch e s h o m e
, ,
Me think s were fitt er inst ru m ents fo r th ee ,
Mad L utanist wh o in this m o nth o f sh o wer s ,
Of d ark -bro wn g ar d ens and o f p ee ping fl o wer s

, ,
’ ’
M ak st D evi ls Yule with w o r s e th an wint ry s o ng
, ,
T h e b lo ss o ms bu ds and tim o ro u s l e ave s am o ng

, , .
T h o u Acto r p erf e ct in all t ragi c s o u nds

,
T h o u mighty P o et eve n t o f re nzy b o ld

,
’
W h at t e ll st th o u n o w ab o u t
’
Tis o f th e ru shing o f a h o st in r o u t ,
S AM UE L T AY L OR C OL ER I D G E 29
W ith g r ans o t rampl e d m e n with sm ar ting wo u nds

o f ,
A t o nc e th ey g ro an w ith pain and sh u dd er with th e c o ld ,
B u t h u sh t h e r e is a pau s e o f d ee pe st Sile nc e
A nd all th at n o is e as o f a ru shing c ro wd
, ,
With g ro ans and t re m ulo u s sh u dd er ings— all is o ver

I t t e lls a n o th er t al e with s o u nds l e ss d ee p a nd l o u d
,
A t al e o f l e ss affright ,
And t e mp e r d with d e light

’
,
’
A s Ot way s s e lf h ad f ram e d th e t e nder l ay ,
’
Tis o f a littl e child
Up o n a l o ne s o m e wild ,
N o t f a r f ro m h o m e bu t sh e h a th l o st h er way
And n o w me an s lo w in b itter g ri ef and f e ar
,
And o w sc re ams l o u d and h o p e s t o m ake h er m o th er h ear

n ,
20
.
I rec ogni ze th e t o uc h o f grea tn e ss everywh ere : th e

ab o unding flood of m a j e sti c th o ught and im a ger y w hi c h ,
e nrap t ure d fri e nds a nd be w ildere d the m no l e ss th a n foe s

, .
It is p ossi bl e t o diss ec t p i ece a ft er p i ece a nd d e monst ra t e ,
the gra nd eur th e beau ty B u t th e c ommon rea der o f

, .
p o e t r y w ho li k e mys e lf re ads p oe ms to find o u t w hi c h of

, ,
the m h e ca n lo ve is not d r a wn i rre sisti b ly bac k T h e s e

, .
no b l e Ode s H ymns Mu s ings S onn e ts eve n Ep ig r ams a nd

, , , , ,
’
j eux d e s prit are not in ge n era l of th e p o e t r y with w hi c h
we care t o li ve An d w hy .
D e fec ts are visi b l e on th e s ur f ace o f many Oft e n it is .
pre a c hing inst ea d of singing Ext ra ne o us curre nts of .
tho u ght are permi tt e d to e n croa c h Indignation in its e lf .

,
right e o u s m a y be ino pp o rt un e It r oar s with a noisine ss

,
.
whi c h f atigue s T h e f au lt is a s in pe nm a nshi p w h e n th e

.
,
up stro k e and d o wnstr o k e are equ ally d ark A s u s p i c ion .
is exc it e d as in th e C h a mo uni Pind ari c th a t th e ea gl e is

, ,
flapp ing his w ings to g a in im pe t u s fo r th e fli ght heave n

w ards . Im a gin a tion its e lf e fflo r e sc e s into a c on f u sing
— —
exuber an ce f an c y up on f an c y r e fle c t io n upo n re flec ti o n .
T he c ong eri e s is ra ther m a t er ial fo r p oe tr y than p oe t r y

its e lf Po e ms b y o ther writ ers h ave it is t r ue m a int a ine d

.
, ,
the i r p l ace in p o pu l ar e stim a ti o n in th e f ace o f d ra w b a c k s

a s c o nsiderabl e B u t in Co l eridg e I ca nn o t bu t s upp o s e
.
that the y g re w o u t o f a n e ss e nti a l mis c o n cep tion b y him

of th e rights o f vers e o ver th e v e r sifie r P o e t r y d e m ands .
’
th e c hoi ce st o f a m a n s p o wer s ; if g rea t p o wer s th e gre at e st , ,
a nd a ll o f the m He sho u ld h ave a will a nd th e will to

.
,
m a ss th e w h o l e and th ro w it int o th e l ap o f his th e m e

,
.
Co l eridg e had no s u ffi c i e nt sin cer ity in his v o ca ti o n no ,
’
full c on vi c tion o f the s upre m e o b lig ati o ns o f th e p o e t s
m antl e Na t ure had be st o we d th e gift of ver s e up on him
.
a s his pr o per m o d e of expre ssion and h e u s e d it a s lightl y

a s h e ca m e b y it A ppare ntly h e w a s not c o ns c io u s th a t
.
there is agony as w e ll a s r a p ture in th e d ue u tt er an ce of

s uc h a voi ce A rea der li k e mys e lf is li ab l e to th e di s
.
t a st e fu l fee ling th at h e h a s had o ffere d to him a s eri e s of

exerc is e s inst ea d o f ins p ire d m e ss a g e s th at th e y repre s e nt
the o be di e n ce of a marve ll o u s a ss e m b l a g e of h u man e n ergi e s
to the i r lo r d a nd mast er and not th e e m p i re o f his p o e ti c
,
s p i rit o ver hims e lf .
T h e s urpris e is t o t urn a pag e and be in a n e w w o rld ,

.
Su dde nly w ith n o au di b l e h era ld to anno u n ce th e ad ve nt

, ,
E nglish lit era t ur e f o und e nshr in e d in it T h e R im e o f th e

An c i e nt M ariner C hrist abe l tho u gh de l a ye d in pub li ca tion
, , ,
T h e T a l e of th e D ar k L a di e T h e N ighting a l e a nd , ,
be l at e d li ke C hristabe l — K u b la -Khan Eac h diff ers in fee l .
ing tho u ght t o n e r hythm from th e re st an d all a gree in

, , , ,
be ing grea t s wee t a nd s atisfying T h e An c i e nt M ariner

, , .
is r e m ark ab l e fo r mo re than its intrinsi c m erits ; it is

p he nom e n a l a s be ing fr om C o l eridg e Never w a s there .
p o e t o r thi n ker with a fondn e ss li k e his fo r v ague ne ss ,
r agge d e nds N othing o f th a t is h ere not o n e in c ide nt

.
,
no r one e motion o u t of s e ason and p la ce a nd th e t e m

, p t a
S AM UE L T AY L OR C OL ER I D G E 31
tions to w a ndering A n in finit e vari e ty o f s ce ne c h arac ter , ,
im pu ls e s t erro r h o rro r ro m an ce a we re mo r s e repe nt a n ce

, , , , , ,
,
’
h o pe disa pp o intm e nt the b lissf ul ca lm o f Heave n s pard o n
, ,
and th ro u gh o u t th e w h o l e a c a p ti v ating S im p li c ity

I kno w of n o p o e m w ith mo re o f th e di vin e e ndo w m e nt
o f n ever g r o wing o u t of d a t e non e w hi c h p oss e ss e s mo re
o f c ha r m ali k e fo r a g e a nd y o uth T h e m e lody o f the
.
dir g e s ung b y s er a p hs in to k e n of fo rgi ve n e ss fo r the f a t e

’
o f th e M ar in er s tw o h u nd re d shi p m a t e s h aunts and e n ,
c hants It is li k e b alm o n a n ac hing w o und

.
’
Twas n o t th o s e s o uls th at fl e d in p ain ,
W hich t o th e i r c o r s e s c am e ag ain ,
B ut a tro o p o f spi rits b l e st

F o r w h e n it d awu d th e y d r o pp d th ei r a rm
’— ’
s ,
’
An d c lu st e r d r o u nd th e m ast :
S wee t s o u nds r o s e sl o wly th r o u gh th ei r m o u ths ,
A nd f r o m th ei r b o di e s p ass d
’
.
Aro u nd ar o u nd fle w e ach sw e et s o u nd
, , ,
T h e n d ar t e d t o t h e S u n
S lo wly th e s o u nds c am e b ac k ag ain
No w mix d n o w o n e b y o n e
,
’
, .
S o m e tim e s a-d ro pping f r o m th e sk y

I h ear d th e S kyl ark sing
S o m e tim e s all littl e b i r ds th at are
H o w th e y se e md t o fill th e s e a and ai r
,
W ith th ei r s wee t j arg o n ing

’
And n o w t was li ke all inst ru m ents ,
N o w li ke a l o n e l y fl u t e
And n o w it is a n ang e l s s o ng
’
,
T h at m ake s th e h eave ns be m u t e .
’
I t c e as d yet still th e s ails m ad e o n
A pl easant n o is e till n o o n ,
A n o is e li ke o f a hidde n bro o k
I n th e l e afy m o nth o f J u n e ,
T h at t o th e slee ping wo o ds all n igh t

S ing eth a qui et tu ne 21
.
Ha d th e R im e sto o d a lone it must h ave imm o r t a li ze d

its writ er ; bu t the s am e year o r t w o w hi c h pr od uce d it
bro u ght to light th e earli er a nd mo re im p o rtant p o rtion
of Chr ist abe l T h a t is a p o e m fo r p o e ts Ye t T h e An c i e nt
. .
M arin er w hi c h might ha ve bee n s upp os e d m a d e to c om pe l

,
p o pul ar admi ration l a y pr a c ti ca lly still b o rn u ntil th e

,
t win ins p i r ation print e d nin e te e n year s later c all e d it

, ,
into ac kno wl e dg e d life T h e t w o re s e m b l e on e a noth er in

.
nothing excep t lo ve lin e ss T h e vari e ty w hi c h di stingu ish e s

.
Christ abe l h a s no a ffinity t o th a t o f its c o eva l in b i rth

Ever y di vers e curre nt in T h e An c i e nt M ariner s e ts to w a rds
o n e in ev it ab l e e nd. In Chr ist abe l th ere is no n ece ssity t o
wo rk in a ny gi ve n di rec tion Never h a d a r ich a nd c apri c io u s
.
f an c y mo re li berty Never di d a pp are nt t ru st in c h an ce

.
be tt er j u stify its indepe nd e n ce F a n c y rul e s a s ir r e sp o n

.
si bl e a s th e s w aying of a l eafy b o u gh T he re s u lt is h ar mony

.
,
n everthe l e ss ; perfec ti o n in tho u ght im a g e s n e w and , ,
f a s c inating fl exi b ility of rhythm .
It might almost be s upp os e d th at th e p o e t w as imp r o

vi sing,
and a s u n cert a in a s his au di e n ce of eac h n ex t
m usi ca l e ffec t till it ca m e
It m o an d a s n e ar a s n e ar c a n be
’
,
B u t wh at it is sh e c ann o t te ll .
On th e o th er S id e it s ee ms t o be
Of th e h u g e br o a d -bre ast e d o ld o ak t ree
, ,
.
T h e night is chi ll th e f o rest b are

I s it th e wind th at m o an e t h b l e ak 2
‘
T h ere is n o t wind e no u gh in th e ai r
To m o ve aw ay th e r ingl e t c ur l
’
Fr o m th e l o vely l ady s ch eek
T h ere is n o t wind e no u gh t o twi r l
T h e o n e re d l eaf th e l ast o f its cl an
, ,
T hat danc e s a s o fte n as danc e it c an ,
H anging so light and h anging s o high

, ,
On th e t o pm o st twig th at l o o ks u p at th e sk y .
be still w anting o f th e perfec tion of C hrist abe l it is that ,
t r u e criti c ism h a s n ever re gre tt e d its in c om p l e t e n e ss We ll .
th a t it re m a ins a t o r s o in c om parab l e
I h ave c l a ss e d w ith the m th ree o ther p o e ms a nd the y a ll
d e s erve th e i r e min e n ce Fi r st m u st stand th e w ondr o u s
.
Vision— li k e C hrista be l a fra gm e nt Execrab l e un pard o n

,
.
,
ab l e the bu sine ss pers o n fro m Po rlo c k w ho stifle d t w o

,
hund re d o r mo re g o ld e n d rea m lin e s of K u b la-Kh an

- A
great m a st er of fi c tion and a p o e t too a s w e w a l ke d up
, ,
th e hill a t the f o ot of w hi c h alas ! h e no long er d we lls

, ,
-
o n ce told m e th a t h e ra n k e d K u b la K h a n high e st a m o ng
’
C o l er idg e s p o e ms It w a s a para do x tho u gh s o f ar lit era lly
.
,
t ru e that th e d re a m er o f s uc h a d re am is d e m o nst ra t e d
th ereb y t o ha ve h a d p o e t r y in his ver y b lood
T he m e l o dy bubb l e s d an ce s reve ls lam e nts a nd
, , , ,
thre at e ns :
B u t o h th at d ee p r o m antic ch asm which slant e d

D o wn th e g ree n hill ath wart a c e dar n c o ver
A s av ag e pl ac e as h o ly and e nch ant e d
’
As e er ben e ath a waning m o o n w as h au nte d
B y wo m an wai li ng fo r h er d e m o n -l o ver
A nd f r o m this ch asm with c e as el e ss t ur m o il s ee thing
, ,
As if this e ar th in f ast thic k p ant s were bre athing ,
A mighty f o u nt ain m o m e ntly w as f o r c e d

Amid w h o s e s wift h alf -int ermitt e d bur st
H u g e f ragm e nts v au lt e d li ke reb o u nding h ail ,
Or ch a ffy g r ain be n e ath th e th re sh er s fl ail ;

’
’
And mid th e s e d ancing r o c ks a t o nc e and ever
I f fl u ng u p m o m e ntly th e s ac re d r i ver
F iv e m
.
i le s m e and er ing with a m azy m o ti o n

T h ro u gh wo o d and d al e th e s ac re d r i ver ran ,
’
T h en r e ach d th e c averns m easurel e ss t o m an ,
And s ank in tu m u lt t o a li f el e ss o c ean

’
And mid this tumult K u b la h e ard f r o m f ar
An c est ral v o ic e s p ro ph esying w ar 4 2
S AMU E L T AY L OR C OL ER I D G E 35
By turns it f a lls a nd a gain r is e s int o an A b yssinian

, , ,
maid s so n g o f Mo unt Ab o ra with pala ce s built of sun

’ ‘
s hine o ver caverns o f i ce a nd yi e lding d e lights ineffa b ly

, ,
s e d uc ti ve and perilo u s .
A di zz y singing t r an ce ! Ye t h ardl y l e ss o f c ommon

d a ylight tex t ure th an the exquisite Con versational Po e m ,
with its r i va l ri e s of m any n i ghting a l e s a mid t angl e d wild

woods int erpre t e d in b lan k ver s e hon e y -s wee t
,
F ar and n e ar ,
I n wo o d and thic ke t o ver th e wid e g r o ve

, ,
T h ey answer and p ro v o ke e ac h o th er s s o ngs

’
,
With ski rmish and c ap rici o u s p assagin gs ,
An d m ur m ur s m u sic al and s w if t j u g j u g ,
An d o n e lo w pipin g s o u nd m o re s wee t th an all

S ti rring th e air with s u ch an h ar m o ny ,
T h at sh o u ld y o u cl o s e y ou r eyes y o u mi ght alm o st

,
Fo rg et it was n o t d ay On m o o nlight bu sh es ,
W h o s e d ewy le afit s are b ut h alf -di scl o s ed ,
Y o u m ay p er ch anc e be h o ld th e m o n th e t wi gs ,
T h ei r bright bright e yes th e i r e ye s b o th brigh t and fu ll

, , ,
Glistening whil e m any a gl o w-wo r m in th e sh ad e

,
Lights u p h er l o ve -to r ch .
A m o st g e ntl e Maid ,
Wh o dwelle th in h er h o spit ab l e h o m e
H ar d b y th e c astl e and kn o ws all th ei r n o te s
, ,
W h at tim e th e m o o n was l o st be hind a cl o u d ,
Hath h ear d a p au se o f Sile nc e till th e m o o n

’
E m er ging h ath aw ak e n d e ar th and s k y
,
With o n e s ens ati o n and th o s e wakef ul b i rds

,
H ave all bur st f o rth in ch o ral minst relsy ,
As if s o m e s u dd e n gal e h a d swe pt at o nc e
’
A h u ndre d ai ry h arps And sh e h ath w at c h d
M any a nighting al e p erc h giddi ly
On b l o smy t wig still s win ging f ro m th e bree z e ,
And t o th at m o tio n tu n e his want o n s o ng

. ,
Li ke tipsy j o y th at reels with t o ssing h ead 25

.
. 0 2
AS w o r t hy still o n ce mo re o f a p l ace in the hi er arc hy

, ,
o f song ,
is the Introd uc tion t o th e B allad o f T h e D ar k
'
L adi e T h e b all ad li k e Chr ist abe l is a fra gme nt ; bu t

.
, ,
th e pre l u d e o n th e vari e ty o f minist ers th a t Lo ve can

,
e nlis t —eve n a soft and dol e fu l a i r a n old a nd mo ving

!
sto ry — is as c o m p l e t e in be au ty and c o lo ur a s a r os e
All imp u ls es o f s o ul and s e ns e
’
H ad t h r ill d my g u il el e ss G en evi eve
T h e m u sic and th e d o lef u l t al e ,
T h e ri c h and b almy eve ;

A nd h o p es and f e ar s th at kindle h o pe
, ,
An u ndisting u ish ab l e th ro ng ,
A nd g entl e wi sh es l o ng s ub d ue d ,
’
S ub d ue d and c h e r ish d l o ng
S h e we pt with pity and d e light ,
’
Sh e b lu sh d with l o ve and v i rgin sh am e
,
And li ke t h e m ur m ur o f a d re am
, ,
I h e ar d h er bre ath e my n am e .
d — sh e
’ ’
He r b o s o m h e av s t e pp d asid e ,
’
As c o nsci o u s o f my l o o k sh e s t e p p d
T h e n su d d e n ly wi t h tim o r o u s e y e
'
, ,
S h e fl e d t o m e and we pt .
S h e h alf incl o s e d m e with h er ar ms ,

’
S h e p r e ss d m e with a m eek e m brac e
’
A nd be nding b ac k h er h e ad lo o k d u p , ,
And g az e d u p o n my f ac e .
’
Twas p artly l o ve and p ar tly fear
, ,
’
A nd p artly t was a b ashf u l art ,
T h at I might rath er f ee l th an s e e
T h e s we lling o f h e r h eart 26
.
’
C ol eridg e s c areer a s a wr i t er o f p oe t ry t er minat e d b y
th e tim e h e w a s thi rty T h e b ody o f his p o e ti ca l wo r k
.
is c o m pr is e d within three t o fi ve years H ad he di e d in .

S AM U E L T A Y L OR C OL ER I D G E 37
1 802 , a fter th e c om p o sition of th e Od e t o De j ec ti o n h e ,
wo u ld ha ve l e ft the w o rld o f p o e t r y a s r i c h a s w h e n he
fin a lly departe d A s a think er h e s urvi ve d and re igne d
.
, ,
fo r thi r ty -t w o year s mo re Ins p i ra tion cea s e s fo r most in .
middl e life Fe w on ce ins p i re d cea s e w hil e the y bre a th e

.
, , , ,
from ver sifying T h e y versify becau s e vers e w a s wont t o

.
be th e i r highe st m e ntal m e di u m a nd inst ru m e nt Col e .
ridg e w he n no long er mind e d t o wr it e An c i e nt M ariners

,
a nd Chr ist abe ls had a n a lt ern a ti ve ,

He re m a ine d an .
int e ll ec t u al a ut o c ra t a nd pro cee d e d to u tili ze his other ,
gift a s a s ugg e st er of pro b l e ms a s e tt er o f t ex ts

, If , .
lit er at ure c anno t be s a id t o h ave be ne fit e d b y th e so lilo

q u i e s a t H ighg a t e a t l ea st it has gain e d n e g a
,
ti ve ly b y th e
e s cape th ro ugh th a t s a fe ty va l ve fo r imagin a tion from the
-
d ang er of a dil ution of p o e ti c grea tne ss H a ving t a st e d .
’
of C ol eridg e s be st w e sh o u ld a ll of u s h ave bee n gri evo us,
s u fferer s h a d we bee n o b lige d t o put up with aught lo wer .
Be tt er n o thing if no mo re o f C hr ist abe l o r h er pe ers ,
Th e Po e tic al an d Dramatic W o rk s o f S amuel Taylo r C o leridge Fo ur .
v o ls B M Pic k ering 1 87 7
. . .
, .
1
R e ligi o u s Musin gs v o l i pp 9 3 4 an d Lam b t o C o leridge
,
.
, .
-
,
D e c 1 0 1 796
.
,
Mem o rials o f C harles Lam b b y Talfo u r d Mo x o n
. , .
,
1 850, p . 59 .
3
The E o lian H arp .
3
The Destiny o f N ati o ns .
N e P lu s U lt ra ( S i b yllin e Le ave s ) .
5
Od e t o the De part ing Y e ar .
3
Fe ars in S o li tude .
7
The Picture .
8
F ro st at Mid night .
9
The K night s To m b ( Si b y lline Le aves )
’
.
A Ch ristmas Caro l ( Si bylline Leaves ) st , . 3 .
‘1
N ames ( Si b ylline Le ave s ) .
‘3
F i re Fam ine an d S laughter
, , .
‘3
To the Au th o r o f th e R o bb ers . K sci usk S nnets V
o o , o ,
.
1"
T h Th ree G rave s ( S i b y llin e Le ave s )
e .
1“
The G arden o f Bo cc accio .
'
7
I bid .
1”
F ra ne
c an Od e stanz as l 4
.
, .
1 9
Hymn b efo re Sun rise in the Vale o f Chamo uni ( S i b y lline Leaves )
2°
Dej ecti o n : an Od e ( Si b ylline Leaves ) .
21
The R ime o f the Anci ent Mar iner Part v
, .
Christab el P art i
, .
23
I b id
.
2‘
K u b la K h an o r a V isi o n in a D re am
, .
25
The N ightingale a C o nversati o nal P o em .
Th e B all ad o f th e Dark La die I nt ro du cti o n

, .
RO B E R T S O U T H E Y
1 7 7 4— 1 84 3
I W A S br o ught up to re g ard S o u th e y as th e p eer o f

Co l eridg e Wo rds w o rth B yron S he ll e y a nd Keats ; not
, , , ,
n ece ss arily the i r equa l in d e g ree bu t w ho lly w o rthy ,
to be ra nk e d a mong the m A s a s c ho o l b oy and a s a n .

,
undergr ad ua t e I rea d him w ith re s pec t in s o m e so rt with

, ,
a dmir ation W he n I bec am e e ntitl e d to c hoos e Co ll e g e

.
pri ze s a c o ll ec tion o f his p o e ms w a s in my list

,
My .
c o nt e m p o r ari e s w o u ld n o t h ave s e l ec te d him ; the y did

not thin k m e ecce ntr i c fo r my pre fere n ce I h ave s ur .
v i v e d t o find him u tterly o u t of d a t e s carce ly p l ace d o n ,
a n upp er sh e lf with th e G e o rgi a n c l a ssi c s Eve n I mys e lf .
h a d ce as e d t o rea d him sin ce my U ni versity d a ys unl e ss ,
whe n I w ishe d t o a m u s e m y c hi ld re n with o n e o f his ba llad s .
Ghosts o f old a ss o c i ations s ee me d to ru stl e d o wn a b o ut

’
’
m e li k e last y e ar s l eave s f rom a w ind -t o ss e d beec h -t ree
,
in e arly s pring a s mo re rece ntly I t urne d o ver the m a ny

,
page s t o t r y to dis c o ver w hy hi s vers e w a s cu rre nt on ce ,
and no l o ng er p a ss e s .
T h e tid e of n e gl ec t eve n h a s reac h e d if n o t t o the fu ll ,
ext e nt th e area of his vers e in w hi c h h e is indi s pu t ab ly

,
a m a ster F e w E nglish p oe ts are his equa ls ver y fe w h i s

.
,
s u p erio r s in hu mo ur H um o u r vario u s a nd singu l ar a t on ce

, .
Never m ere fun b o rn w ith a l au gh and expi ring in a y awn

, , .
Po e tr y a ls o tho u gh w ith s e ntime nt n o t u nbec o mingly

,
o b t ru si ve Ab o ve all a n infinit e cap a c ity fo r in ve nting

.
,
o cca si o ns fo r its e lf tho ugh from s ub j ec t matter the m o st

,
-
unli ke ly To gi ve i nst a n ce s o ut o f m a ny a s re m ark ab l e

.
,
th e o pp o r tunity m a y b e s upp li e d b y a h e n pec k e d C o rnish

man w hos e b rid e h a d u nf a i rly t a k e n t o th e chur ch a b o ttl e
,
of th e dominion -e ns uring w a t er w hi c h h e race d fr om th e,
a lt ar t o b e fi rst t o d rin k a t th e We ll of S t Ke yn e 1
It m ay . .
b e th e n atu ra l an x i e ty o f pi o us c o u ntrym e n t o s ecure fo r

—
the i r vill ag e b y tim e ly pre limin ari e s s uc h a s a d ea th be d
,
—t o B ea tifi ca ti o n t h re li c s
e o
,
f a Sa int d e sign a t e w hom
-
,
’
n e igh b o ur s might other wis e c o ax a w a y in lif e 2
A m o t h er s .
f re n z y o f a ng u ish fo r h er c hild d evo ure d b y a cro c odil e

s u gg e sts a s ce n e of reve ng e in kind a s equ it ab l e a s it is ,
i rre sisti b ly c omi c 3

A flo wer of smiling s a ti re s prings u nd er
.
’
the p o e t s pe n f rom the fi e ld of B l e nhe im w at ere d w ith ,
th e b l o od o f m urdere d myri a ds
’
W hy twas a very wic ke d thing
,
S aid littl e Wilh elmin e .
’
N ay n ay my littl e gi rl q u o th h e
, , , ,
I t w as a f am o u s v ict o r y 4
’
T he the me m a y b e a Po pe s untold m o rt a l sin with a ,
’ ’
Sa int s g a llo p o n Sa t an s o w n u nwilling bac k t o c o nfe ss
5 ’
a nd ab s o l ve or a ro bber s re l ea s e fro m a nd re sto ra ti o n
,
t o his l a w f u l gi bbe t 6
Eac h is m a d e t o yi e ld th e be st o f
.
di versi o n Ha lf a c e ntu ry ago every b o dy reve ll e d in th e

.
’
w it o f T h e D evil s W a l k 7
T h ere w ere fe w w h o h a d n o t
b oth sh u ddere d and l au ghe d o ver A rc h b ish o p H a tt o a nd
8
his ra ts a nd th e g a ll ant f u til e fight with h er re giste re d
, ,
purc h a s er th e A rc h Fi e nd of T h e Old Wom a n o f Berk e l e y

,
-
,
in h er i ron s ea l e d a nd c h a ine d c o ffin hymn e d and h a llo we d

-
,
by fifty C ho rist ers and fifty Pri e sts w ith fo r s e ntin els h er , , ,
son a m o nk a nd h er d aught er a n un
,
In h e c am e with e y e sfl am e of
T h e D evil t o f e tch th e d ead ,
A nd all th e C h ur ch with his p re s e nc e gl o w d

’
,
L ik e a fi ery f urnac e re d .
’
a nd p er h a ps ung ra t e fu l T h e m a ss o f S o u th e y s w o rk di s
.
p l a ys qu aliti e s whi c h were apprec i a t e d on ce a nd m a y p l ea d ,
fo r s o m e rec ognition still In th e fir st p l ace hi s w o rk m a n

.
shi p is exce ll e nt w ith e xcep tions n at ura lly ; e s pec i a lly , ,
o f th e purve y a n ce of C o urtly o r pa t r ioti c a dul a ti o n s uc h

a s A Visi o n of Ju dgm e nt o r th e intol erab ly d rear y Pil ,
g rim a g e to W at erl o o Jo an of Arc is a s p a c io u s ch apt er

.
of histo r y w ith th e rightf u l pro p o rtion o b s erve d w ith

, ,
a true instin c t o f r om a n ce t o f ac t In th e t w o M a d o c s
,
.
,
in Wa l e s and in A z tl an h e h a d to t ru st e nti re ly to h is
, ,
f a n c y fo r th e g e n era l s c h e m e a s we ll a s fo r d e t a ils T he
, , .
whol e is ha rm o nio u sly pr o bab l e R o d eri c k th e L a st of .

,
th e G o ths a g a in is li k e Jo an a n a dmi rab l e s pec ime n of

, , , ,
histo ri ca l j oin ery b y a r om a n cer w ith a c ons c i e n ce A lm o st .
ever ything a ll e g e d to h ave h appe n e d h a d h appe ne d o r ,
might h ave h appe n e d T h o u gh li berti e s are t a k e n w ith

.
eve nts and the i r o r der th e pr o per ti e s are in vari ab ly c o r

, ,
rec t a s is th e s ce n ery It is im p ossi b l e t o li ve in th e

,
.
s evera l n arra ti ve s w ith the i r c h arac t er s and th e s e ntim e nts ,
attr i b ut e d to th e m w itho u t be ing th e be tt er fo r th e so c i e ty

,
.
T h e n stu dy th e c o upl e o f A siati c ep i c s ; a nd admi re

,
th e intrep idi ty with w hi c h th e p o e t p lu ng e s into a n e w

w o r ld T hr o u gho u t th e y are p i c t ure s que and go r g e o u sly
.
,
c olo ure d Rea lly it is h ar d t o u nd er stand th e pre s e nt

.
col dn e ss to w ar ds Ar a b i a n N ights E nt er t a inm e nts such a s

the s e T h a la ba hims e lf it m a y b e o b j ec t e d l ac k s int ere st
.
, ,
.
In th a t h e only re s e m b l e s many a n o ther hero a nd th e

vi vac ity o f his a d ve nt ure s a t o n e s A t a ll eve nts th e crim e .
,
c ann o t be im pu t e d to th e st o r y o f K e h ama .
It w a s n o o rdin ary im a gin a ti on w hi c h— tho u gh g u ide d

p er ha ps b y th e Rape o f L u crece —ext rac t e d s atisf ac tion
‘
o f im p l acab l e reve ng e f u ln e ss o u t o f a Ca in -li k e bra nd o f
s ecur ity fo r its ab h o rre d o b j ec t fro m every per il t o life

R OB ER T S OU T HE Y 43
I c h arm thy life

Fr o m th e we ap o n s o f st rife ,
F ro m st o n e and f ro m wo o d ,
F ro m fire and f ro m fl o o d ,
’
F r o m th e s erpe nt s t o o th ,
And th e be as t s o f b l o o d
F ro m S ic kne ss I ch ar m th ee ,
And T im e sh all n o t h ar m th ee
B ut E arth which is m i ne ,
I t s f ru its sh all d e ny th ee
And W a t er sh all h ear m e ,
And k no w th ee and fly th ee
And th e Winds sh all n o t t o u ch th ee
W h e n th ey pass b y th ee ,
And th e D ews sh all n o t we t th ee ,
W h e n th ey f all nigh th ee
And th o u sh alt s eek D e ath
To re l e as e th ee in v ain
,
T h o u sh alt li ve in thy p ain

Whil e K e h ama sh all re ign ,
With a fi re in thy h e art ,
And a fir e in thy brain

An d S lee p sh all o be y m e ,
And visit th ee never ,
An d th e C urs e sh all be o n th ee
F o r ever a nd ever 10
.
T he e nti re t ext ure m a y not re a c h th e sam e high st and ard .
B u t a ll th e ac to r s m o ve in an a tm o sphere o f p o e ti c pa ssi o n .
It in ve sts th e K ing o f the Wo rld and h is vi c tims a ls o It

,
.
c i rcul at e s a b o u t th e ghastly fig ure of his d ea d b rutish son .
Everything is o n a gra nd s ca l e from th e insati abl e am

b it io n o f th e mighty R a j a h th e pur s uit o f inn o ce nt
K aily al by th e h orr i bl e Spec t re carn a l tho u gh a ghost
, ,
of sl a in Ar v alan th e hall of R oy a l Dea th in th e peerl e ss

p al ac e a nd g ard e ns ,
W h ere Baly h eld o f o ld h is awfu l re ign ;

t o the c lim ax th e st o r ming of He ll its e lf by th e M an God

,
-
,
th e M an -A lmighty his c hi e f a nd f at a l c on que st

,
.
Oth er k e ys be sid e s th e h er oi c are to uc h e d by S o u th e y

the marve ll o u s and th e s o rdidly crimin a l a s in th e on ce ,
—
f a mo u s M ary th e M a id of th e Inn a h a unting h o rr o r
,
11
.
I fail t o rec o gni ze th e m a gi ca l re s erve th e pe nsi ve c h ar m

, ,
’
o f C ollins s Eve ning in T h e Fi r st o f D ece m ber
W h e n N atu re sh r o u ds h ers elf e nt ranc e d

,
I n d ee p t ranq u illity 12
.
’
Ha nn a h s g rave h o w ever wh ere n o n e
, ,
Wh o t ro d u p o n th e s e ns el e ss t urf wo u ld think
Of w h at a w o r ld o f w o e s l ay bur i e d th ere 13
,
vi e s with Th e P arish Re gist er a nd T h e B o r o u gh in the

p o w er t o e li c it an acr id fra g ra n ce fr o m th e gr im e o f sin
a nd its s o rr o w With a s w ee t sim p li c ity h e w e l c o me s the
.
re turn o f t rave ll ers t o the i r h o m e a nd ch ild re n 14

He .
prece d e d Te nnys o n in the dis c o ver y o f the d o m e sti c idyll ,
-
a s T h e Old M a nsi o n H o u s e t e st ifie s 15
. If o nly his be st
s ugg e st e d exa m p l e s h a d bee n gi ve n t o th e w o r ld h e might ,
h ave w o n —
ce l ebr ity fo r Ins cr i pti o ns free a ll fro m th e , ,
be s e tting sin o f pro mis cu o u s a d ul a tion— li k e th at imagin e d

fo r a mon u me nt to ru thl e ss Pi zarr o
A g re at er n a m e
T h e list o f Gl o ry b o asts n o t
.
T h ank th e G o d
Wh o m ad e th ee th at th o u a rt n o t su c h a s h e
,
l6
.
When in th e P ara dis e of hi s b oo k s it will not be dis ,
p u t e d th a t a t l ea st th e sh a do w of ins p i ra ti o n f a lls up o n him

My d ay s am o ng th e D e ad are p ast
Ar o u nd m e I beh o ld ,
’
W h ere er th e s e c as u al ey es are c ast ,
T h e mighty minds o f o ld
My n ever-failing f r ie nds are th ey ,
With wh o m I c o nver s e d ay b y d ay .
R OB ER T S O UT HE Y 45
W ith th e m I t ak e d e light in we al ,
A nd s eek reli ef in w o e ;
And w hile I u nd er st and and f ee l
H o w m u ch t o th e m I o w e ,
’
My ch ee ks h ave o ft e n bee n be d e w d
With te ar s o f th o u ghtf u l g ratit u d e .
My th o u ghts are with th e D e ad with th e m ,
I li ve in l o ng -p ast y e ars ,
T h ei r vi r tue s l o ve th ei r f au lts c o nd e mn
, ,
Partake th ei r h o p es and fe ars ,
An d f r o m th ei r l e ss o ns s ee k and fin d
Inst ru cti o n with a n h u m bl e mind .
My h o pe s are wi th th e D ead an o n ,
My pl ac e with th e m will be ,
And I with th e m sh all t rave l o n

T h rough all F u turity ;
Y e t l e av ing h ere a n am e I trust
, ,
T h a t will n o t p erish in th e d u st 17
.
S o t o o w h e n he lifts his Mu s e int o pu rer ai r and l u lls

, , ,
th e terr o rs of K e h ama s v i c tims b y re minding o f th e i m

’
m ort a lit y o f L o ve o f its p erf e cting in He a ve n

T h ey sin w h o t ell u s L o ve c an di e .
With lif e all o th er passi o n s fly ,
All o th ers are bu t v anity .
I n H e ave n A m b iti o n c ann o t d well ,
N o r Av a ric e in th e v aults o f H ell ;

E ar thly th e s e p a ssi o ns o f th e E arth ,
T h e y p erish wh ere th ey h ave th ei r bi rth

B u t L o ve is ind e st ru cti bl e .
I ts h o ly fl am e fo r ever b u rne th ,
F ro m H eave n it c am e t o He ave n re t urn e th

,
To o o ft o n E a rth a t ro ub l e d g ue st ,
At tim e s d e c e i ve d at tim e s o ppr e st

, ,
I t h ere is t ri e d and p ur ifi ed ,
T h e n b at h in He ave n its perfe ct re st

I t s o we th h ere with t o il and c are
B u t th e h arve st tim e o f L o ve is th ere 18
.
46 FI VE CEN T U R I ES OF EN G L I SH V ERSE
If his right— w hi c h I a m a fra id I ha ve mys e lf not very

—
e nthu si a sti c ally uphe ld t o ex alt e d p o e ti c al r an k is not at
pre s e nt g e n era lly ac kno wl e dg e d th e f a il ure aris e s from no
,
f a int -he a rt e dn e ss o r exce ss of mode sty in hi m H e has

, , .
c laime d it b y w o r k and eve n b y w o rd H e de light e d in

,
.
th e c om p ositi o n of p o e t r y w he th er grave o r g a y lyr i c o r

, ,
ep i c re c o ndit e o r sim p l e eve n c omm o n p l ace Versifying

, , ,
.
w a s hi s recre ation a nd hi s sola ce ,

H is d e are st fri e nds .
were p o e ts Ill ustr io u s m e m ber s of the br oth er hood hail e d

.
him a s of it B yr on hims e lf w hil e h e j eere d did not

.
, ,
d e ny hi ma pl ac e in th e c om p any A mong all his v o c ations .
th at w as the on e b y w hi c h h e m eant t o be rec oll ec t e d ;

if in th a t ,
but s e lf -app r o ve d t o p rais e o r b l a m e

,
I ndi ff ere nt w hil e I t oil fo r l asting f am e

,
1 9
.
H e h a d won ho no ur s in many fi e lds of litera tur e bu t ;

th e titl e of p oe t w a s the c hi e f distin c ti o n h e c hall e ng e d
a nd h o w re f u s e it to th e g e n er o u s ki ndly inde fatiga b l e , , ,
br a ve a nd hono urab l e man t o the st u d e nt a nd s c hola r

, ,
to th e cre ato r of T hala b a a nd K e h ama ? C l early we c an

n o t T h e fa c t n everthe l e ss re mains th a t the p o e ms by
.
whi c h h e expec t e d to b e immo rt a li ze d are n e ither re ad no r

hono ure d He might h ave bee n a mus e d by th e kno wl e dg e
.
’
th a t lin e s fr om the D evil s W a l k h ave bee n in c o rp o r at e d
int o th e l a ng ua g e th a t ever y s c h o ol -gi rl c an re he ars e in
a c atar a c t of r hym e s th e w a y in w hi c h
th e w ater c o m e s d o wn at L o do re 20
I d o not s upp os e h e w o u ld ha ve accep t e d th e c om p lim e nt

a s c om pe ns ation o r b ee n a t a ll be tt er a b l e t o exp lain to
,
~
hims e lf w hy p o st erit y is o b li vio u s of R oder i c k Mado c and , ,
A T a l e of P a ra g ua y .
A s I h ave al re ady intimat e d it is ind ee d di ffi cu lt t o ,

R OB ER T S O U T HE Y 47
acc o unt fu lly fo r th e n e gl ec t in its e xc e ss T here are .
rea sons on the s ur f ace To be gin I m u st a dmit a w a nt

.
,
of qua lity a cert a in c o ars e ne ss o f f abri c A g a in th e bul k

,
.
,
is a dis c o ura g e m e nt a s is th e ext e nt of a st rang e l a k e t o

,
a n angl er H e m a y be s ure th a t it c o nt a ins fish witho u t

.
,
b e ing ab l e t o te ll where th e y lie S imi larly the s e va st .
ep i c s hid e va l uab l e idea s o nly t o b e c h a n ce d by a re ader

,
o u t of a n o ver w h e lming flood of t ruisms T h e intere st .
in other s is ali e n a nd re m o t e Fr om th e fir st it requi re d .
to b e b olst ere d up b y Ori e nt a l l earning much of it , ,
in the s e tim e s of d eeper re s earc h m u sty a nd ru sty B u t ,

.
,
in th e fa ce of w o rk s s o m e earli er a nd mo re l at er w hi c h
.
, , ,
h ave c on quere d pub li c fa vo ur n o t w ithst anding a nalogo u s

d r aw b a c k s ever y w hit a s pre j u di c ial th e p o e t might we ll ,
ar gue th a t s uc h att e mpts a t a n exp l an ation are in su fli c ie n t .
I do not flatter mys e lf th at h e w o u ld be at all be tter in c lin e d

t accep t min e
o — th a t th e cau s e is his fail ure thr o u gho u t t o
fo r g e from th e furna ce within hims e lf a c hain of sym pa thy
with his re ader s T h a t h o wever I be li eve t o b e th e true
.
, ,
one . H e s e ldom s ee ms t o c onnec t the i r a nd h i s c o mmon

hu man nat ure N o t e ho w r are ly if ever his vers e ma ke s
.
, ,
t ears to st ar t to th e e ye lids T h e c hill from this a b s e n ce of

.
mutu a l glo w is p ositi ve p al p ab l e and f at a l Never will

, ,
.
’
th e e motions o f a p o e t s re ader s c h ar m h e n ever so wis e ly , ,
’
ta k e fire unl e ss fro m th e kindl ing of f ue l in the singer s
’
o wn bre ast S o u th e y s Mu s e w as d evoid of th e p assion of
.
s ymp ath y a nd his re no wn sufle r s in c ons eque n ce .
He p oss e ss e d many of th e e nd o wm e nts by whi c h a dmi rer s

are attrac te d He w a s w itho u t th a t w hi c h holds th e m
.
b o un d It c o uld not we ll ha ve b ee n oth er wis e with a

.
wr it er who re s or t e d t o p o e t r y a s a rec r ea tion fo r re st ,
fro m th e toils o f his lit erar y t re admill He und erst o od .
th e art of it and c o u ld ca ll on it whe n h e c hos e to d o

, , ,
‘
his b idding It w a s his handmaid w h e n it sho u ld ha ve

.
bee n his mistre ss A tho u s and p iti e s ! H e miss e d th e

.
d eare st o b j ec t o f his a m b iti o n ; a nd w e h ave lost w hat

might h ave bee n fr om that r i c hly f urni sh e d nat ure som e
, ,
ins p i re d st ra ins A s it w a s h e c o u ld not be a great p oe t

.
,
b ut h e h a d a lofty s o u l and h e w as a grea t man o f l e tt ers .
The P o etic al Wo rk s o f R o bert S o uthey C o mplete in o n e v o lume .
N e w e diti o n .Lo n gm an s 1 853 , .
The Well o f St K eyn e ( B allads an d Met ric al Tales )

1
. .
S t R o mu ald ( Ballads
2
.
,
The K ing o f the Cro c o diles ( Balla ds & c )

3
, .
The B attle o f Blenheim ( Ballads

4
,
True B allad o f St An t id ius the Po pe an d t h e Devil ( B all ads

.
, , ,
R o p r e c h t th e R o bb er ( B allads
6
,
Th e Dev il s W alk
7 ’
.
G o d s Judgement o n a W icke d Bish o p ( Ball ads & c )

8 ’
, .
The Old W oman o f Berk eley ( Ball ads

9
The Curse o f K e h ama P art I I xiv

,
1 °
.
, ,
Mary the Maid o f the I n n ( Ballads

‘1
, ,
Written o n the Fi rst o f Decemb er ( Ly ric P o ems )

‘2
H ann ah ( E nglish E cl o g u e s )
13
The Traveller s R eturn ( Lyric Po em

.
’
s)
1‘
.
Th e Old Mansi o n -Ho use ( E nglish E clo gues )

1“
.
F o r a C o lumn at Tru xill o ( I nsc ripti o ns xiii )

1 “
,
My Days am o ng the De ad ( Occ asio n al P ieces x viii )

17
The Curse o f K e h ama

, .
‘3
.
The P o et s P ilgrim age t o Waterl o o P ro em st 21

1 9 ’
.
, .
The C ataract o f Lo do re ( N o ndesc ripts VI I )

2°
, .
I c o uld not l a y it do wn a s an ab s o l ut e c o ndi tion of exce l

l e n ce in d e s cri p tion that th e th e m e shall be on e in w hi c h
th e writer h a s a l w a ys d e light e d B u t u ndo ub t e dly it is
.
a dd e d Vi r t ue in a p oe t oth er wis e we ll qua lifie d th a t h e ,
l o ve s and h a s l o ve d it Sc o tt w o u ld h ave li ke d t o be
.
a soldi er . He re j o i ce d in everything c onn ec t e d w ith

fighting Never h a s B ritish P o e t excep t Ca m pbe ll on
.
,
mo re c ont rac t e d c an va s e s m a de th e rea der equa lly to fee l

, ,
a s in th e Ili a d on a battl e -fie ld its e lf with its t ur moil its

, ,
fre n z y ; its ec st a sy He w as c ons c io u s of his gift and

.
,
f ree ly u s e d it .
T h ere is th e im pre ss o f ge n u in e n e ss o n th e p i c ture o f

B ann o c k burn Re ad f or inst an ce of th e fin a l a nd disas
.
, ,
t ro u s E nglish c h arg e o ver th e p it -p itt e d p l a in

R u shing te n th o us and h o r s e m e n c am e
, ,
W ith s pe ar s in re st and h e ar ts o n fl am e
, ,
T h at p ant e d fo r th e sh o c k
With b l azing c re sts and b ann er s s p rea d ,
And tru mp e t -cl ang and cl a m o ur d re ad ,

’
T h e wid e pl ain t h u n d e r d t o th ei r t re ad ,
A s f ar as S ti rli ng r o c k .
D o wn D o wn in h e adlo ng o verth ro w ,
H o rs e m e n and h or s e th e f o re m o st go
, ,
W ild fl o u ndering o n th e fi eld

T h e first are in d e stru cti o n s g o rg e
’
,
T h ei r f o ll o wers wil dly o e r th e m urg e

’
T h e kn ightly h elm and shi eld ,
T h e m ail th e act o n and th e sp ear

, , ,
S t ro ng h and high h e art are u sel ess h ere

, ,
L o u d f ro m th e m ass c o n f u se d th e c ry
Of dying warri o r s s wells o n high ,
A nd s t eeds th at sh ri ek in ag o ny
T h ey c am e li k e m o u ntain -t o rre nt re d ,
’
T h at th u nders o e r its r o c ky bed
T h ey br o ke li ke th at s am e t o rre nt s wave
’
,
W h en s wall o we d b y a d ark s o m e c ave .

S I R WA LT ER SC OTT 51
B il lo ws o n bill o ws burst and b o il ,
M ai nt aining still th e ster n turm o il ,
An d t o th e i r wi ld a nd t o rtured g r o an
E ach adds n e w t err o r s o f his o w n ! 1
, ,
—
Life li ke again is th e glim p s e of a l a ter ba ttl e Fl o dd e n
—
as fit fully d e s cri e d b y M armion s Squi re s from a ne igh ’
b o ur in g h ill -t o p
T h ey cl o s e in cl o u ds o f sm o ke and dust
, ,
’
With s wo rd -sway a nd with l anc e s th r u st :
,
An d s u ch a y ell w as th ere ,
Of s u dd e n a nd p o r t e nto u s b irth ,
AS if m e n f o u ght u p o n th e e ar th ,
And fie nds in u pper ai r ;

0 lif e and d e ath were in th e sh o u t ,
R e c o il a nd r ally c h arg e and r o u t

, ,
An d t r ium p h and d e sp ai r .
At le ngth th e f re sh e ning we st er n b last

Asid e th e s h r o u d o f b attle c ast
And fi r st th e ridg e o f mingle d spear s
, ,
A b o ve th e brighte ning clo u d app ear s

And in th e sm o ke th e pe nn o ns flew ,
As in th e st o r m th e W hite s e am ew
T h e n mar k d th e y dashing bro ad and f ar
’
, ,
T h e bro ke n billo ws o f th e war ,
And pl um ed c re sts o f C hi e ft a in s brave ,
Fl o ating li ke f o am u p o n th e wave
B u t n o ught distinct th e y se e .
W id e rag e d th e b attle o n th e plain

’
S pe ars sh o o k an d f alchi o n s flash d am ain
,
’
Fe ll E n gl and s arro w-fli gh t li ke rain ;
’
C re sts r o s e and sto o p d and ro s e again
, , ,
W ild and dis o rd erly 2

.
All the in c ide nts of w a rfare inflam e d his Mus e if not

a c lash of b attalions an ar m e d and perilo u s a m bus h Th e
,
.
bl o od sti rs a t th e s u dd e n app ariti o n fro m hea ther and

’
brac ke n of C l a n A l p ine s w arri o r s tr ue
D 2
W ild as th e s c re am o f th e c ur lew ,
F ro m c rag t o c rag th e signal fl ew .
Ins tant th ro u gh c o pse and h e ath aro s e

, ,
B o n n e ts a nd sp e ar s and be nde d b o ws
On right o n l e ft ab o ve bel o w
, , , ,
S p rung u p at o nc e t h e l urkin g fo e ;
Fro m shingles g ray th ei r l anc e s s tar t ,
T h e brac ke n bu sh s ends f o r th th e d ar t ,
T h e r ush e s and th e wi ll o w -wand

Are bristling into ax e and brand ,
And every tuft o f br o o m gi ve s lif e

’
To pl aid ed warr i o r ar m d fo r st rif e .
’
T h a t w histl e gar r iso n d th e gl e n
At o nc e with full fi ve hundre d m e n .
’
Watching th ei r l e ader s be c k and will ,
All sil e nt t h ere th e y st o o d and s till 3

, .
He w a s a n equa lly gl a d int erpre t er of th e p i br o c h o f D o nald

’ ’
D h u a nd of th e p r e sc r ib e d and h u nt e d M a c gre go r s o w l s
,
ho o t °
Our sign al fo r fight th at f r o m m o n ar chs we drew

, ,
To b e h e ar d bu t b y night in o u r ve ngef u l b al o o 4
.
In his c a s e di rec t and long person a l sym pa thy not ,
m ere ly w ith th e s ub j ec t in g e n era l bu t with its parti c u l ar

,
e x e m lific at i o n s w as v i r t ua lly indis pe n s ab l e

p ,
A r t fo r hi m .
did not s upp ly its p la ce in th e l ea st With o ut it h e is di ff us e

.
a nd d ull T h e s pec t ac l e o r expec t a ti o n of a n exc h a ng e

.
, ,
o f h ar d b lo w s h a d a n a ptitud e fo r exc iting his ins p i ra ti o n ;
b ut h e h a d to b e person ally intere ste d be fo re eve n a p it c he d

battl e m a d e a p oe m Ever ything e ls e— st o r y -t e lling its e lf
.
-is a n acc id e nt in his p o e t r y excep t th e per sonal e motion

,
and th at re s p onde d fo r t u n at e ly t o o th er th e m e s be sid e s

ar ms T o uc h th e k e y in his r i c h m e mo r y o f a n a n c i e nt
.
, ,
l e g e nd a n histo ri c e difi ce and lo ve ly m usi c p o ur s f or th

, .
N o wh ere h a s minst er fro m th e gl o ry of its prim e t o

,
e l o que nt d eca y revea l e d it se lf t o a n insight mo re de li c a t e

,
a nd sym p athe ti c th a n Mel ro s e t o his f a n c y bri d ging ,
w ith a ra in b o w fo ur hu nd re d ye a rs
,
’
If th o u wo u ld s t vi ew f ai r Me lr o s e aright ,
G o visi t i t b y th e p al e m o o nlight
F o r th e g a y be ams o f lights o m e d ay
Gild bu t t o fl o u t th e ru ins g ray
, , .
Wh e n th e bro k e n a rch e s are bl ac k in night ,
And e ach sh aft e d o ri e l glimm er s white

’
Wh e n th e c o ld light s u nc ertain sh o wer
’
S tre ams o n th e r uin d c e ntral t o wer ;
Wh e n bu ttress and bu ttress alt ernat ely , ,
S ee m ed f ram e d o f eb o n a nd i v o ry
Wh e n silver ed g es th e imag ery ,
An d th e sc r o lls th at t e ac h th ee t o li ve and di e
Wh e n di st ant T wee d is h e ar d t o rave ,
’
An d th e o wl e t t o h o o t o e r th e d e a d m a n s g rave
’
,
Th e n go — bu t go al o n e th e while
’ ’
T h e n V i ew S t Dav id s r ui n d pil e
.
An d h o m e returning s o o thly s we ar
, , ,
Was n ever sc e ne so s ad and f ai r 5
-
His mind w as a t rea s u e ho u s e o f t r a di tion and ro man ce
r
’
fr om w hi c h a p o e t s magi c c on j ure d up m e mo ri a l fu n era l
rit e s fo r d r o wn e d R osabell e in th e a n ce stra l m au s o l eu m
’
O e r R o slinall th at d reary ni ght
A w o ndr o u s b laz e was s ee n t o gl e am
Tw as b road er th an th e watch
’
And redd er th an th e bright m o o n -be am .
’
It glare d o n R o slin s c astle d ro c k ,
I t ru ddi e d all th e c o ps e -wo o d gl e n ,

’ ’
Tw as s een f r o m D ryd e n s gro ve s o f o ak ,
’
And s ee n f r o m c av e r n d H awth o rnde n .
Se e md all o n fi re th at h ap el p r u d
’
c o ,
’ ’
Wh ere R o slin s c h i e fs u n c o ffin d li e ,
E ac h Baro n fo r a s ab le sh r o u d
, ,
S h eath ed in his i ro n pan o ply .

Se e md all
’
on within aro u nd
fir e ,
’
, ,
D e e p s ac risty and alt ar s p al e

, ,
S h o n e every pillar f o li ag e -b o u nd
me r d all th e dead m e n s mail
,
An d glim
’ ’
.
B laz e d b attle m e nt and pinn e t high ,
B laz e d every r o s e -c arve d bu ttre ss f ai r

So still th e y b l a z e w h e n f ate is nigh
,
T h e l o rdly lin e o f high S t C lai r . .
’
T h ere are twe nty o f R o slin s b aro ns b o ld
Li e b u ri ed within th at p r o u d ch ape lle
E ach o n e th e h o ly v au lt d o th h o ld
B u t th e s e a h o lds l o vely R o s abell e 6
’
And it w as a p o e t s tyr ant im a gin a tion in th e gr as p of
th e pa st which w as n ee d e d t o st ee l his heart fo r th a t tal e
-
o f h o rr o r th e accur st monasti c c on c la ve in th e m ur d er d e n
,
o f H o ly Isl a nd w hi c h m a k e s on e c r y o ut up o n th e Fi e nd
,
.
fo r n o t s p a ring pe rj ure d M ar m lo n
bu t a d ay ,
F o r wa sting fi re and d y ing g r o an

, ,
And p r i e sts sl ain o n th e altar s to n e

- 7
.
I h ave l e ft t o th e l a st that w hi c h might a t O n ce a nd ,
’
by its elf h ave e st ab lish e d th e B o rd er Minstre l s titl e t o
,
’
a p o e t s l a u re l Sure ly in th e fr o nt ra n k o f requ i e ms
.
st ands th a t o ver Pitt and F o x T h e t w o T itani c figur e s .
’
h a d fill e d th e e nti re h o ri z on o f Sc ott s yo u th a nd e arly
m anhood ; and th e pa ssion of his ver s e t e stifi e s t o th e
im pre ss o n his nat ure Y e t n ever li k e m a ny of its c l a ss ;
.
,
do e s it fo a m into rh e t o r i c or rave int o hyst eri c s It ris e s

, .
a nd falls li k e tid a l w ave s A s th e th o ught d we lls o n the

.
bro k e n h ea lth a nd br o k e n h eart o f th e might y Minister ,
the m
, ,
e lody is s o l e mn a nd s a d
’ ’ ’
H ad st th o u bu t liv d th o u gh st r ip p d o f p o wer
, ,
A watchm an o n th e l o n ely to wer ,
T hy th rilling t ru mp h ad r o u s e d th e l an d ,
Wh e n f rau d or d an g er were at h an d
S I R WA LT E R SC OTT 55
B y th ee as b y th e be ac o n -light
, ,
Ou r pil o ts h a d ke pt c o ur s e a right ;
As s o m e p ro u d c o l u mn th o u gh al o n e
, ,
T hy st re ngth h a d p r o pp d th e t o ttering th ro n e
’
N o w is th e st at ely c o l u mn br o k e ,
Th e beac o n light i s q
- ’
u e n c h d in sm o ke
‘
,
’
T h e t ru mp e t s sil ver s o u nd is still ,
Th e w ard er sil e nt o n th e hi ll 3
Th e di rg e gr o ws rej o i c ingly t ri u m p hal a s it u nite s him a nd

his ri va l in a c o mmon b o n d o f re n o w n a nd pa triotism
’
With m o re th an m o rtal p o wers e nd o w a ,
H o w high th e y s o ar d a b o ve th e c ro wd
’
T h ei r s was n o c o mm o n party rac e ,
Jo stling by dark intrigue fo r plac e

Li ke f ab l e d g o ds th ei r mighty war
,
S h o o k re alms and n ati o ns in its j ar

B e ne ath ea c h b a nn er p ro ud t o stand ,
L o o ke d u p th e n o b lest o f th e l and ,
Till th ro u gh th e B ritish w o r ld were k no wn

T h e n am es o f Pitt and F o x alo n e .
S pe lls o f s u ch f o rc e n o wiz ard g rave

’
E e r f ram e d in d ark T h e ss ali an c ave .
T h e s e spe lls are sp e nt and spent wi th th es e

, , ,
T h e win e o f life is o n th e l ee s
G eni u s and t ast e and t ale nt g o n e
, , ,
F o r ever t o m
’
b d be n e ath th e st o n e ,
W h ere— taming th o u ght t o h u m an p rid e

T h e mighty chi e fs slee p sid e b y sid e .
’
D ro p u p o n Fo x s g rave th e t e ar ,
’
Twill t ric kl e t o his r ival s b i er
’
O e r P itt s th e m o urnfu l re qu i e m s o u nd
’ ’
,
’
And F o x s sh all th e n o t e s reb o u n d .
T h e s o l e mn e ch o s ee ms t o c ry
Here le t th ei r disc o rd with th e m di e .
S p e ak n o t fo r th e s e a s e p arat e d o o m ,
W h o m Fat e m ad e B ro th er s in th e to m b
B u t s earc h th e l and o f living m e n .
W h ere wilt t h e n find th ei r li k e ag e n 2 9 ‘

’
T hr o u gh o u t Sc o tt s p o e ms b l e mish e s and d e fec ts ab o u nd
’
wi tho u t c lo u ding his titl e to a p o e t s hon o ur s He dil u te s .
hi s d e s cri p ti o ns oft e n a nd is c a re l e ss in di c tion

,
Ver y .
s e ldom did h e u s e pruning h o o k or fil e N o p o e t c o u ld .
b e mo re sli p sh o d Muc h in th e longer c om p o sitions m a y

.
b e f ai r st o r y -t elling and is s ure to b e a rc hae ologi cally

,
inst ru c tive I t m a y eve n reac h th e l eve l o f a p o pu l ar

.
b all ad A ss ure dly it is not p o e tr y T he f ac ility pro

. .
,
v e r b i ally f a t a l of th e o c tosyll ab i c m e t re l ure d him int o

,
proli x ity Wid e re ading in m any di rec tions and a m e m o r y

.
,
fo r par ti cul ar s ub j ec ts pr a c ti ca lly b o u ndle ss c o ntr i but e d t o ,
t e m p t hi mt o im pro vis e A s h e free ly a dmitt e d h e w a s .

,
w itho u t th e fa cu lty f s e lf criti c ism It is a n in va l uab l e

o - .
in cap a c ity d uring the pr o ce ss o f p o e ti ca l prod uc ti o n ; a

very d angero u s on e in th e s ub s eque nt peri o d o f re flec ti o n
and revisi o n A m o ng th e re s u lts w as th a t h e accep t e d
.
u ns u s p i c io u sly w h at ever s ub j ec t h appe n e d t o pre s e nt its e lf .
Fo r a ny a nd e s pec i a lly fo r a m e t ri ca l st o r y it is e ss e nti a l

, ,
th a t th e p lot sho u ld p oss e ss e no u gh int rinsi c a nd gl o w ing

int ere st to stim u l a t e re ad er a nd wr it er a li k e With thr ee .
h e w a s f o r tu n at e AS m ere t a l e s T h e L a y o f th e L ast
.
Minstre l M ar mi o n a nd T h e L a dy o f th e L a k e f a s c in a t e
, , ,
.
B anno c k bur n is n o t intimat e ly e no u gh c onn ec te d w ith

’
Bruce s w anderings a m o ng th e Isl e s t o l e nd a d ve nt ure s
a mong the m re t r o s pec ti ve anim ation Ver y f e w o f the . a
pre s e nt g e n era ti o n h ave pa ti e n ce to trace t he m aze of

R o k eb y In c ons eque n ce a fin e p i ece o f c h arac t er -d ra wing
.
in Bert r am w ith his au d ac io u s e s c a pe s a nd d ea th h a s

, ,
bee n w a st e d T h e B rid a l of Tr ie r main a bright gar d e n

.
,
o f f a n c i e s w ith its A r th ur i a n atmos p h ere is no mo re th a n

, ,
a n a m e if th a t Merlin w o u ld h ave t o c o m e t o life a g a in

, .
t o revi ve it ; and equa lly e nt o m be d in s p it e o f th e sw eep ,
o f g ra nd fl o w ing ver s e is Har old th e D au ntl e ss , .

’
mind T here is a so r t a nd Sc o tt s is o f it in w hi c h th e
.
, ,
rea d er h a s to distil fo r hi ms e lf Th e b o rn p o e t h a s c oll ec t e d

.
,
s e l ec t e d th e m a t eri a ls ; h a s hims e lf bee n e n ra pture d by

th e fee ling ra ther th an expre ssi o n o f th e i r e ss e n ce It is
, , .
th e f au lt o f his pub li c if it cann o t b e so li k e wis e Th e .
in c lin a ti o n of the pre s e nt a g e is to w ards h aving in t r o sp e c

tion and int e ll ec t ua l an a lysis don e fo r it a nd b y its p o e ts , .
To p o e t ry it lo o k s fo r pr o b l e ms if not n ece ssarily fo r th e

, , ,
s o l u ti o ns Sc o tt do e s n o t d ea l in e nigmas I n him it
. .
w o u ld ha ve bee n a ff ec t a ti o n a nd h e is n ever a ffec t e d A s .
h e n ever p os e s a s a Sphi n x so h e pre t e nds n e ith er to be

,
a c hild of nat ure li k e B urns n o r a n a t ure -w o rshi pper li k e

, , ,
Wo r ds wo r th Y e t his s ce ne s are a ll in th e i r c h a ng e fu l
.
,
di versity c onstantly t rue a nd rea l He d o e s not atte mpt t o

,
.
hid e his deb t t o li br ari e s fo r ver y m uc h in his n arr ati ve s .
He m a ke s no para d e of th e equ al tr uth th a t h e h a s c harm e d

th e heart o u t o f th e m ; th a t in his vers e it bea ts a s it
rare ly bea t be f o re .
N o gold e n h aze floats o ver th e p o e ms of Sc ott T he y .
app ly no fo r m o f s p i rit u al o r s e ns u o u s into x i c ation Only .

,
w h e n the im a gin a tion is e ls e w h ere c l o ye d w ith s wee tn e ss ,
o r h a s w e a r i e d of tying kn o ts in th e bra in w h e n it l o ngs ,
fo r d an c ing breeze s a nd fi re li k e th e H om er i c it tu rns

, ,
’
with re li e f to th e L a st Minstre l s L a y t o M ar mi o n t o T h e , ,
L a dy o f th e L a k e T h e y r e -e nter into th e i r rightfu l in

.
h erit an ce of h earthsid e f av o ur Whe n the y are d u ly

.
So m
und erst o od it will be s ee n also th a t th e y can rec l a im
,
e thing of worth a s high ; th at is pro perty in th e

a u tho r hims e lf Sc ott th e m a n is a p oss e ssion th a t an y
.
,
pro vin ce of lit era t ure m a y be p ro ud t o a ppro pri a t e a s

primar ily its e wn N o b o dy ca n b e s urpris e d th a t th e titl e
.
to s uc h a pri ze has a t tim e s bee n dis put e d T h o s e s p l endid .
gifts the manline ss th e m a gnanimity the in capab ility o f

, , ,
e n vy j eal o u sy me anne s s u n kindn e s s th e fre sh n e ss t h e

, , , , ,
g e ni u s w hi c h ex trac te d g o ld f ro m everything a nd trans ,
m u te d l e ad into g o ld th e l arg e pre s e n ce in l e tters and in ,
life w hi c h e nno b l e d b o th— were the y th e po e t s o r th e

,
’
’
st o ry te ll er s mo re l e gitim at e a tt ri bu t e s
- S tudy th e p oe ms
and yo u will find th e b a sis of a ll there .
Never in wr it er w a s there l e ss o f e gotism ; ye t n ever '
p o e t w as mo re a ss ure d th a t p o e t ry w a s his v o ca ti o n He .
c o ntinu e d in th e f ull pra ctic e of th e art a s l o ng a s ins p i ra

tion with th e rare st excep ti o ns d e ni e d by m any t o b e
, ,
excep tions is w ont to d e s ce nd ,

F o r its s a k e h e h a d .
sa crifi ce d pr ofe ssi o na l a m b iti o n h e h a d curbe d th e a s p i r a

tions of r oman ce and b idd en it t a k e s ec o nd p l ace T here
,
.
it w a i t e d a m o d e st und er st u dy u ntil p o e t ry vol u nta rily

, ,
w ithd re w w h e n it c am e fo r w ard t o p l a y th e c harac ter p r o

,
t ant o B u t th e p o e ti c s p i rit d w e lt apart it h a d not di e d

. .
It is fe lt fee ding guiding l e nding w ar mth and grace t o

, , ,
fi c ti o n a l w a ys p re p are d t o st e p fo rth fro m its re ti re m e nt

,
a t n ee d — li k e A c hill e s be hi nd th e b o rr o we d shi e ld of ,
A j a x s c aring with his ba ttl e cry th e w o l ve s of Troy from

,
-
th e bo dy of P at ro c l u s .
The Po etic al Wo rk s o f Sir Walter Sc o tt e d } J G Lo ckh art , . . . l2 vo ls .
E din burgh 1 83 3 — 4 .
1
The L o rd o f the I sles C ant o vi st 24 , , .
2
Marmio n C ant o vi st anz as 25-26 , , .
3
The L ady o f the L ak e Cant o V s t 9 , , . .
Macgrego r s G athering
’
.
5
The Lay o f th e L ast Minstrel C anto ii st 1 , ,
6
I b id C ant o vi s t 23 .
, , . .
7
Marmi o n Cant- o V i st 3 1 , , . .
8
I b id I nt r o du cti o n t o C ant o i
9
I bi d .
J AM E S H O G G
1 770 —1 8 3 5
A P O E T a b o rn p o e t and nothing bu t a p o e t ; a p o e t
, ,
all o ver w h o tho u ght in p oe t ry with w hom all h e s aw

,
t urn e d t o p o e t r y w ho wr ot e m uc h vers e re ad fo r m erl y , ,
a nd still if a t all with p l e as ure w ho h a d th e as p i r ations

, ,
of a g reat p o e t perhap s th e be li e f th a t h e w as o n e w h o
, ,
ye t w a s n ever rec ogni ze d a s mo re th an a min or p oe t and

n ever with a singl e excep tion wr ot e o ther th a n mino r
, ,
p o e t ry .
N ot th a t his c o p io u s p oe ti ca l reperto ry is witho u t a b un

d ant t e stimony to a ri c h and rea d y f anc y He is a t hom e .
in F a i ryland T he H a u nt e d Gl e n in w hi c h th e E l ve s are
.
,
t o m ee t to c ro wn fo r K ing a mo rt a l m a n re fin e d into th e i r
n atu re b y s eve n ye ars of pe nan ce is f u ll of d e li c at e im a gin ,
ings T h e m o n arc h -e l ec t r e -nam e s hi s att e nd ant s prit e s

.
,
’
a s in its m o d e l A Mids u mm er N ight s Dr e am w h ere a
, ,
g r oss er c rea tur e disch arg e s th e s a m e f un c tion S o d a inty .
h ere is th e t ex t ure that in fear of c oming up on c o ars er ,
thre ads w e ha ve a s e ns e o f re li e f w h e n th e f abri c is l e ft

,
in c om p l e t e with a dismiss a l of the littl e be ings to th e i r

s evera l d u ti e s S till m o re m u si ca l a s voi ce d in E tt r i c k
.
,
di a l ec t is th e appe al t o th e f a i ri e s to w at c h o ver a n e w
,
b o rn b a be Hu mo ur ever yw here in H ogg bubb l e s up

.
free ly tho u gh no w here m ore de lightfu lly th an in th e t r agi

,
c o m e dy of T h e G u d e Gr e y e Katt N o fee ling heart c a n .
he l p c o m pa ssion ating th e s a d plight o f th e grea t B y sc h o p e

o f B l a in w h o fo r t o ying w ith th e beau t e o u s witch h e h a d
,
J AM ES H OGG 61
in vi te d t o u nmas k and ba n finds hims e lf s u dde nly

b ee n ,
’
in Mist re ss Pu ssy s c l aw s t ak ing a gh a st
his j ant e
U p th ro u th e milk y e waye 1
.
’
T h ere is sto re a s we ll of h u mo ur s sister rea l p athos , ;
f ro m the e l e gy o n th e n a m e l e ss c hild w hos e ,
li ttl e f ee t a c r o ss th e l aw n
S c ar c e f ro m th e p rim ro s e p re ss e d th e d ew ;
I th o ught th e s pi rit o f th e d awn
B ef o re m e t o th e g ree nwo o d fl ew 2
’
to P oo r L ittl e Je ssi e s l a m e nt
’ ’
I t s l ang sin I l o s t b aith my fath er and m o th er
I msimpl e a n p o o r an f o r lo r n o n th e w ay
,
’ ’ ’
,
I h ad an e th a t I li kit a n o nly d ear br o th er

, ,
— ’ ’
My W illi e bu t h e s lying c au ld i th e clay 3
.
’
Eve n the old h o u s e de s er t e d b y the thri ving
, ,
age d
f ar m er has its t ri b ut e o f pre tty pit y
,
’
T hy ro o f will f a thy rafters start
, ,
’
H o w d a m p an c au ld th y h earth will be
Ah s ae will s o o n ilk h o n e st h e art
, ,
’
T h a t erst was b lith e an b au ld in th ee .
’
F ar e we e l my h o u s e a n b urni e cl e ar ,
’
My b o urt ree bu sh an b o wz y t ree ,
T h e wee w hil e I m au n s o j o urn h ere

’
I ll n ever find a h am e li ke th ee 4
.
’
And h e c a n sing too B urns li k e j ust fo r singing s s a ke
,
-
, ,
a s o f Pe ggi e ,
th e f airest fl o wer
’
T h e braes o E ttric k ever s aw 5
,
a nd of th e b lissful ho ur ,
W h e n th e little wee bit h e art

R is e s high in th e bre ast ,
’
An th e littl e wee b it st arn
R is e s re d in th e e ast .
’
0 th ere
a j o y s ae de ar
8 ,
T hat th e h e ar t c an h ardly f ram e ,
’
Wi a b o nni e b o nni e l assi e
, ,
W h e n th e ky e c o m e s h am e ,
W h e n th e k ye c o m es h a m e
Twe e n th e gle amin g and th e mi rk
,
’
,
Wh e n th e ky e c o m e s h am e 6
.
T h e p ossi b iliti e s o f c h ar m in a ll re al p oe t r y are infin it e .
Wh e n ever we lo o k c l o s e a t vers e b y a g e n uin e p o e t o f high ,
o r lo w d e g ree a t e m p t a tion
,
a s here t o exa gg erat e m erit
, ,
n at ura lly aris e s S t anding a littl e f ar ther o ff I s ee d e fec ts

.
,
’
perva ding th e e ntire b o dy o f H ogg s vers e N ot m ere ly .
d o th e y a ffec t w indy e ffu sions li k e M ar y Le e of C ar e lh a

, ,
th e ti re s o me imit ati o ns o f c ont e m p o rary wr it er s in T h e

Po e ti c Mi rr o r th e ec h o e s n o t c onf e ss e d imit a tions— a s is
, ,
—
B u s ac o of H oh e nlind e n th e gli b f a ls e s e ntim e nt o f Car y
, ,
’
O Kea n a nd th e m e di o cr ity o f th e S a cre d Me lodi e s
,
th e y a re not ab s e nt eve n f rom th e p i ece s I h ave s e l ec te d

to S ho w th e p o e t a t his be st It is not only o r mainly .
, ,
a r awn e ss b oth o f m at eri a l and o f w o rk m a nshi p a d ear th ,
o f m e llo wn e ss an d fin i sh T h e qu ality w hi c h I c hi e fly
.
miss is p o e ti c ra ptu re with th e c ons eque nt glo w of sym

,
pa thy b e twee n re ader a nd a u tho r A p o e m w ith thos e .
’
pro perti e s w ill l eave be hind in th e re ad er s so u l som e thing
of its e lf w hi c h d r a w s him bac k t o it w ith r o pe s w he ther
, ,
o f sil k o r of st ee l Here h e admi re s thin k s ho w c l ever it

.
,
a ll is ho w beautif u l som e parts— and re tains nothing T h e

, .
flood h a s s wep t o ver th e s urf ace o f th e mind a nd is gon e ,

.
I f ear I ca n m ak e no larg e excep tion non e in f av o ur ,
eve n o f T he G u d e Gr e y e K att My o b j ec tion app li e s to th e

.
’
bu l k o f T he Qu ee n s W a k e its e lf on whi c h , a s a w hol e th e
, ,
’
s urv i va l o f th e S h ep herd s repu tation p rincip all y d epe nds .
T h e prea m b l e s t o its var io u s tal e s g e n era lly are exce ll e nt

J AM ES H OGG 63
fo r in the m he fo rge ts t o be au ght bu t hi ms e lf th e bard , ,
w ho
’
o n E tt ric k s m o unt ain g ree n
In
’
n at ure s b o s o m n urs e d h ad bee n
.
’
Two o r th ree beau tifu l songs are int ers pers e d in p a rti cul ar ,
’
T h e Spec tre s p a the tic Cr adl e S o ng
H u sh my b o n ny b abe — h u sh and be still
, ,
’
T hy m o th er s ar ms sh all shi eld th ee f r o m ill
F ar h ave I b o rn e th ee in s o rro w a n d pain ,
To d rin k th e bree z e o f th e wo rld ag ain .
T h e d ew sh all m o ist e n thy br o w s o m eek ,
And th e b ree z e o f midnight fan thy ch ee k

And s o o n sh all we rest in th e b o w o f th e hill
H ush my b o nny b abe —h u sh and be still
, ,
8
I n th e t al e s the ms e l ve s w ith o n e de lightf u l excep tion

, ,
’
I d o n o t ra t e th e qua lity ab o ve H o gg s u s ua l st and ard .
A ll suffer from his c ommon wea k ne ss of too ea sy c onte nt

m e nt with hi s w o r k of exce ssi ve and un prune d m e tri ca l
fa c ility Fo r inst a n ce c onsid er th e prep o st ero u s l e ngth of
.
,
’
the fo ur t ee nth b ar d s ba llad oth erw is e cap ti va ting of
, ,
M ar y Sc ott ! Such prod uc ti o ns are t o th e higher p o e t ry

s o m e thing Suc h a s Mém o i re s p o ur s ervi r are to histo ry .
T h e y s u gge st a po e t in th e m a king ra th er th an m a d e .
Only on ce d o e s H o gg a pp ear t o m e t o h ave u nd erg o n e

a fit n o m ere t ransi e nt s pa sm of th e r a p t u r e w hi c h c om
,
mu n ic at e s itse lf to a p oe t s publi c In K ilme n y if no where

,
’
.
,
e ls e h e is inspi re d T h a t is a mong th e p o e ms w hi c h
, .
,
h aving bee n on ce a c t ua lly ta ke n into the mind re m a in ,
p oss e ssi o ns and in p oss e ssion It h a s gr o w th in it a nd

, .
,
atmos p here If there is s o m e thing a ls o o f glo rio u s u n

.
rea son in the c hoi ce o f sw ee t K ilm e n y fo r a s e mi ear thly

-
,
s e mi -e therea l imm ort a lit y the ex trava g a n ce is wi th o u t

,
o ffe n ce .
A s we re ad of her be a u tiful c hi ldhood h er vanishing , ,
her lo ving reappeara n ce in th a t w hi c h w a s fe lt t o b e n o

longer h er a in c o u n t r y e ho w sh e s o j o urn e d br i e fly a m o ng
,
h er k insfol k a w a king d rea m and fin a lly di ssol ve d a g a in

, ,
into a ce l e sti a l m e mo r y we are s e nsi b l e of no viol e n ce ;

,
’
w e are in th e p o e t s h ands a nd are c ont e nt to be th ere
,
B o nn i e K ilme n y g ae d u p th e gl e n
’
B u t it w asn a t o m ee t D un e ir a s m e n
I t was o nly t o h e ar th e yo rlin sing ,
’
And p u th e c ress -flo we r ro u nd th e sp ring
F o r K ilm e n y w as p ure a s p u re c o uld be .
’ ’
B u t l ang m ay h er minny l o o k o e r th e w a ,
’
And l ang m ay sh e s eek i th e g ree n -wo o d S h aw
’
L ang th e l ai r d o D un e ir a b lam e ,
And l ang l ang g ree t o r K ilme n y c o m e h am e

,
W h e n m an y l ang day h ad c o m e and fl e d ,
W h e n gr i ef g rew c alm and h o p e was de ad

, ,
W h e n m e ss fo r K i lme n y s s o u l h ad bee n s u ng
’
,
W h e n th e be de sman h ad p r ay d and th e dea d bell ru ng

,
L at e l ate in a glo amin wh e n all was still

,
’
,
W h e n th e f ring e w as re d o n th e westlin hill ,

’
T h e wo o d was s ere th e m o o n i th e wane
, ,
’
T h e reek o th e c o t h u ng o ver th e pl ain ,
Li k e a lit tle wee cl o u d in th e wo rld its l ane

’
W h e n th e ingl e l o we d wi an ei ry l e m e
L a te l at e in th e glo am i n K ilm
,
’
, e n y c am e h a m e
Kilm en y ,
K i lm eny ,wh ere h ave y o u bee n ?
L ang h ae we s o ught baith h o lt a nd de an ’
Kilm
.
’
e n y lo o k d u p with a l o ve ly g r a c e
B u t n ae smil e w as s ee n o n K ilme n y s f ac e
,
’
As still was h er l o o k and a s still w as h er e e

, ,
As th e stilln ess th at l ay o n th e e m erant l e a

Or th e mist th at sl ee ps o n a w avel ess s ea .
F o r K ilm e n y h a d b ee n s h e ke n d n o t w h ere
’
And K ilme n y h a d s ee n wh at sh e c o u ld n o t d e cl are

,
K ilm e n y h a d bee n w h ere th e c o c k n ever c rew ,
W h ere th e rain n ever fe ll and th e wind n ever b lew

, ,
0 b o nny K ilme n y f ree f ra e st ain ,
I f ever y o u s ee k th e w o rld ag ain ,
T h a t wo rld o f sin o f s o rro w and f ear

, , ,
’
0 t e l l o f th e j o ys th a t are w aiting h ere .
T h e y lift e d K ilme n y th e y l e d h er away

, ,
And s h e wal k d in th e light o f a s unless d ay

’
T h e s ky was a d o m e o f c ryst al b ri ght ,
T h e f o unt ain o f visi o n and f o u nt ain o f light

,
T h e e m erant fi elds were o f d azzli ng gl o w ,
A nd th e fl o wer s o f everl asting b lo w .
T h e n dee p in th e st re am h er b o dy th e y l aid ,
T h at h er y o uth and be au ty n ever might f a d e

And S h e h e ar d a s o ng sh e h ear d it s ung
, ,
S h e ke nd n o t wh ere b ut s ae s wee tly it ru ng ,
I t f ell o n th e ear li ke a dream o f th e m o rn

O b l e st be th e d ay K ilm e n y wa s b o r n
N o w sh all th e l and o f th e spi rits s ee ,
N e w sh all it ke n wh at a w o m an m ay be
T h ey b o re h er away sh e wist n o t h o w
, ,
F o r sh e f elt n o t ar m n o r re st bel o w
B u t s o swi ft th ey wain e d h er th ro u gh th e light ,
’
Twas li k e th e m o ti o n o f s o u nd o r sight
Unn u m bere d g ro ve s bel o w th e m g rew ,
’
T h e y c am e th ey p ass d and b ac kwar d fl ew
, , ,
Li ke flo o ds o f b l o ss o ms glidi ng o n ,
A m o m e nt s ee n in a m o m e nt g o n e
, .
B u t t o sing th e sights K i lme n y saw ,

’
So f ar s urp assing n at ure s l aw ,
T h e singer s v o ic e wad sink away

’
,
And th e strin g o f his h arp wad c e as e t o pl ay .
B u t sh e s aw till th e s o rro ws o f m an were b y ,
And all w as l o ve and h ar m o ny

Till th e stars o f h e ave n fell c almly away ,
Li k e th e fl ake s o f sn aw o n a win t er d ay .
T hen K ilm eny begg e d ag ain t o se e

Th e fr i e n ds sh e h ad l e ft in h er a in c o u n t r y e
JAM ES H OGG 67
To te ll o f th e pl ac e wh ere sh e h ad bee n ,
And th e gl o ri es th at l ay in th e l and u ns ee n
To w ar n th e li ving m aid e n s f ai r ,
’
T h e l o ved o f H e ave n th e spi rits c are
T h at all wh o s e mi nds u n me le d re m ain
, ,
S h all bl o o m in be au ty wh e n tim e is g an e .
With distant m u sic s o ft and d ee p

T h e y lull d Kilm
, ,
’
e n y s o u nd asl ee p
’
An d w h e n sh e aw ak e n d sh e l ay h er l an e
, ,
’
All h app d with fl o wer s in th e g ree n -wo o d we n e
, .
Wh e n s eve n l ang ye ars h ad c o m e and fl ed ,
W h e n g ri e f w as c alm and h o pe w as d ead

,
W h e n sc ar c e w as re m e m bere d K i lme n y s n am e
’
L ate l ate in a glo am

,
i n K ilm
’
, e n y c am e h am e
W h e n a m o nth and a d ay h ad c o m e and g ane

K ilm
.
,
e n y s o u ght th e g ree n -wo o d we ne

T h ere l aid h er do wn o n th e le aves s ae g reen
And K ilme n y o n e arth was n ever m ai r s ee n
,
B u t 0 th e wo r ds th at f e ll f ro m h er m o u th
,
W ere wo rds o f wo nder an d wo r ds o f t ru th

B u t all th e l and were in f ear and dread ,
F o r th e y kendn a w h e th er sh e wa s li vin g o r d e ad .
I t w asn a h er h a m e and s h e c o uldn a re m ain

,
S h e l eft th is wo rld o f s o rr o w and p ain ,
And re t urn ed t o th e l and o f th o u ght again 9
Never w as F a ir yl and m a d e t o a ppear ne ar er to us o r ,
s uffus e d with lo ve li er c olo ur s Aw are of such a p ote n

.
t ialit y withi n him if s e ldom e ls e w h ere d evelo pe d to equa l

,
perfec tion H ogg hi ms e lf may be fo rgi ve n fo r som e so re n e ss

,
o f h e a rt a t th e w o un ding wis dom of w o rldly experi e n ce ,
whi c h l e d h is pa t ron Sc ott to rec omme nd him to c onfin e

versifying t o l e g e nds of E tt ri c k Gl e n an d th e li k e w hil e
, ,
k ee p ing to sh eep— ’
f arming fo r h is lif e s v o c ation :
B l est be hi s g e nero us h e art fo r aye
H e t o ld m e wh ere th e reli c l ay :
E 2
Po inte d my way with re ady will ,

’
Af ar on E tt ric ks wild e st hill ;
Wat c h d my fir st n o t e s with c u ri o us ey e
’
,
And w o n d e r d at my minstr elsy

’
H e littl e w e e n d a p arent s t o ng ue
’
S u ch st rains h ad o e r my c radl e s u ng .
B u t w h en t o n ative f eelings t rue ,
I str u c k u p o n a ch o r d w a s n ew ;
’
W h en b y mys e lf I g an t o pl ay
H e tr i e d t o wile m
,
y h arp aw ay
‘
.
0 c o u ld th e b ard I l o ve d s o l o ng ,
R e p r o ve my f o nd aspi ring s o ng 2
‘
Or c o u ld his t o ngue o f c ando ur s ay ,
T h at I sh o u ld th ro w my h arp away
Ju st wh en h er n o t e s began with skill ,
To s o u nd be n e ath th e s o uth ern hill ,

’
And t win e aro u nd m y b o s o m s c ore ,
H o w c o u ld we p ar t fo r ever m o re
’
Twas kindne ss all— I c ann o t b l am e
F o r b o o tle ss is th e minst re l fl am e
B u t s ure a b ar d might well h ave k no wn
’
An o th er s f ee lings b y his o wn ! 10
I t w a s n a tura l f or him f an c y th a t in h app i er c i rcu m

to
st an ce s w ith m o re s ympa thy from w itho u t h e h a d it in
, ,
him to ran k w ith his m an y ill u stri o u s c ont e m p o rari e s .
Ye t I a m a fra id th a t if K ilm en y
,
th o ugh cert a inly no
,
acc id e nt st ands a lon e a mong his w o rk s th e de f ault w a s

, ,
r ath er in hi ms e lf th a n in oth er s ; th a t if his s o u l h e ld ,
th e g erms of n e w K i lm e n y s th e w ill w a s w a nting t o e nd ure

,
in pa ti en ce th e pangs o f bringing the m fo rth equi ppe d t o ,
so ar and sing .
P o ems an d Life o f the E ttric k S hepherd N e w E diti o n B y the

. .
R e v T h o mas Th o ms o n
. L o ndo n : Bl ac kie 1 865 Als o The P o e tic al
.
, .
Wo rk s o f James Ho gg Fo ur vo ls E d in b urgh : Arch C o nstable 1 822

. . .
,
.
1
The G ude Gr e y e K att ( The Po etic Mirr o r ) st 7
E legy st 4 3 ( P o ems D esc ri t ive an d S e nti m
. .
,
3
,
.
p en t al) .
JAM ES H OGG 69
3
Po o r Little Jessie ( M iscellane o us S o ngs ) s t 4
, . .
The Auld Man s F ar e we e l t o h is Wee Ho us e ( Po ems De sc riptive

’
an d Sentiment al ) st anz as 9 an d 1 1
, .
’
5
Blithe an Ch e e r ie ( Lo ve S o ngs ) st 1
, . .
6
When the K y e c o mes Hame (Miscellane o us S o ngs ) st 6 , . .
7
Tenth Bard s Pream b le (The Queen s Wake )
’ ’
.
I b id The Spe ct re s C radle S o ng ( The Quee n s W ak e ) st 1

3 ’ ’
Thirteenth B ard s S o ng K ilme n y ( The Q ueen s Wake )

.
, . .
,
9 ’ — ’
.
I bid T he Q ueen s W ak e—C o ncl usi o n

’
. .
,
W A LTE R S AV A G E L AN D O R
1 77 5— 1 8 64
A P O E T wi th grea tne ss in hi m; w ho h a s wri tt e n un

fo rg e tt ab l e thi ngs Illu stri o us in pros e as in vers e bu t
.
al w ays a p oe t As a p o e t a s ucce ss and a fail ure

.
,
.
T o be gin with a th e m e b y whi c h h e w o u ld hi ms e lf h ave

c hos e n to be j u dg e d— in his m e t e m p sy c hosis a s a Gree k
p o e t h e w o rk s mirac l e s S t u dy E n ale o s and Cy m
. o d am e ia ,
P an and Pitys Cup id a nd P an Eur o pa a nd h er Moth er

, , ,
Chr ys a o r T h e A lta r of M od es ty T h e o utlin e s are ex

,
.
qui sit e l y c l e ar n ever o u t of d r awing th e gr a ce if som e

, ,
tim e s marb l e -c old is fin e ly st at ue s que N o w a nd a g ain

, .
th e w ar m li vi ng mod ern b lood ass erts its e lf in hi m and

, ,
the figure s are s u ffu s e d with p athos Eve n the n if not .

,
Gree k n e ither are th e y cru de ly Gothi c

,
T h e b l e nd is
.
'
beautifully t e m pere d in T h e Ha m a dry a d in Pe l eus and

T he tis in th e fir st p ar t of Co r y t h o s in th e c o que tting
with h er pe asant w oo er of the s wee t w ood -nym p h w ho as , ,
an y h u m a n m a id kn e w that ,
t o pl ay at l o ve ,
S to pping its breathin gs w h e n it b rea th e s m o st s o ft ,
I s s wee t er th an t o p l ay o n any pip e ; 1
and in th a t masterp i ece I p h ige n e ia a nd A gam e mnon with

, ,
the final heroi c te ndern e ss of the Vi c tim

An ag ed m
’
an n o w e n t e r d and with o ut
,
On e wo r d s te p t sl o wly o n a nd to o k th e wr ist
, ,
Of t h e p al e m a id e n S h e lo o k t u p and saw
.
,
Th e fill et o f th e p r i e st a nd c alm c o ld ey e s .
’
T h en t urn d sh e w h ere h er p arent sto o d and c ri e d
O f ath er g r i eve n o m
,
’2
ore th e shi p s c an sail .
WA LT ER S AV A G E L AN D OR 71
In ano ther a s admi rabl e The E s p o us als ,

Po lyxe n a the of ,
me l an c ho ly deepe ns into re mo rs e l e ss t rag e dy a ll is fra nkly

Hell e ni c It is not o fte n th a t w ith L a ndo r ins ular f a n c y
.
, ,
runs insol e ntly wild a s in A c hill e s and He l e n a on Ida Fo r

, .
the m o st p art th e s e lf re stra int is a s a d m

- i rab l e a s the
vi vac ity I t distingu ishe s its e lf p arti cul arly in the bra ve
.
repu ls e o f t e m p t ations to m ea s ure an c i e nt v i rt ue by mod ern

’
canons Lan d o r s s e nse of c onsist e n c y is in c o rrup ti bl e by
.
se ntim e nt He di smi ss e s the ghost o f A c hill e s with a l e g ac y

.
of vin di c ti ve ne ss against the H o u s e o f Pri a m w itho u t ,
a wo r d of pit y fo r its c hild his afli an c e d most inno ce nt

, ,
bride w hom non e

,
’
H ee d ed , th o sink ing a s if in to d eath .
3
T he s a m e fide lity to artisti c d u ty perva de s th e A c ts and

Sce ne s fr om R om an and mod ern hi sto r y .
Occa sion a lly it m a y be a dmitt e d h e s o m e wh a t abus e s

, ,
his li berty w he n he is gi ve n o r a ss u m e s a free h a nd a s in ,
the tyra nni c id a l s ce n e be t wee n Ty r r e l a nd Ruf us a nd in ,

’
the thr illin g de s cri p tion of Be a tri ce Ce n c i s execution
M en h av e b e e n brave bu t w o m e n h ave been b rav er
,
4
In g e nera l h e k eep s hi s fo o ting fir mly o ver m e di eva l a nd

c l a ssi ca l qu agmi re s He do e s n o t pre t e nd t o s e t hist o ry
.
right w h e n a s if with int e ntion it h a s wrap t in d arkne ss

, ,
c ha r a c t er s li ke thos e o f Co unt Julia n a nd Q uee n Gio va n n a .
Re ader s might som e tim e s wish th a t h e h a d ind ulge d a littl e

a t time s in a n ac hr onisti c s e ntim e nt a lity We fee l a sho c k .
,
a s in the pre s e n ce of a crue l ac tion a t the brutish exult a ,
ti o n of Kin g He nr y a s h e hears on R i c hmond C h a se An n e

,
’ ’
Bol e yn s kn e ll f rom P aul s
’
H ow swee tly th a t be ll warbl e d o er th e wat er 5
It m ust ha ve requi re d a ll e ve n of his c o urag e to print the

s ce n e be t wee n yo u ng Cae sar io n a nd th e m urd ero u s hi re ling ,
Sc o pa s H igh d ra m a ti c s kill in th e an a lysis of e motions

.
bu t j u st re nder s it e nd urab l e ; a nd a ll th e a dmira tion

st u de nts m u st fee l fo r a c o ns u mm a t e artist is n ee de d t o
earn hi s pardon fo r th e to r t ure h e infli c ts up on th e m .
G e ni u s o we s it to its e lf to th e w o rld to sho w the u tmost

, ,
it ca n do to s e t its e lf di ffi cult t a s k s t o c lim b hi gh peak s

, ,
w hi c h l ea d n o wh ere fo r the a tt a inm e nt of e nds appa re ntly

,
o fit le R ightly it is acc o unte d a n u nw o r thy thing to

p r ss
.
b e c ont e nt with e a sy d azz ling e ff ec ts T rusting t o its

,
.
u ntri e d capab iliti e s it o ft e n l eap s w itho u t m ea s ur ing w idth

,
o r d ep th . S o m e tim e s it a tt e m p ts the im prac ti cab l e I .
h ave n o d o u b t bu t th a t Lan d e r w ho ac t e d loy a lly up t o

,
the o b lig ations his g rea t p o wer s l a id up on him rec ko ne d ,
th e He ll e ni c s and A c ts and Sce n e s his fo re most a c hi eve

, ,
m ents in p o e t r y H e j u dg e d aright I be li eve of th e

.
, ,
f o r m er if n o t of the l a tt er U nh app ily the pu blic of f a i r

, .
,
int e llig en ce s carce ly a gree d w ith the a uth or in hi s life time ,
a nd a gree s ye t l e ss no w Its err o r as I c o nsider th e n e gl ec t

.
, ,
h a s c ontri bu t e d t o a S ec ond a nd c o stli er on e It h a s in .
v ol ve d a m u ltit u d e o f p i ece s p oss e ss e d o f e ver y titl e to

p o pu l arity excep t the f ac t
, .
Lan d e r t e lls a sto r y a s f e w p o e ts c an Witn e ss th e .
c h ar ming t a l e of th e h ap l e ss l o ve of Gui d o ne and Luc i a .
Never w a s there a m o re right e o u s criti c ye t with wh a t

c h ar m in c o nf e ssing a nd excu sing f au lts in tho s e w hom ,
li ke Ca t u ll u s he l o ve s
,
’
Y e s in T h ali a s s o n
,
S u ch stain s th ere are— a s wh e n a G rac e

’
S p rink l e s an o th er s l au ghi ng f ac e
W ith n e ct ar and r uns o n ,
6
Never w a s there on e o f his fi er y n a tur e mo re de li ca te ly

dis criminating m o re sign a lly with o u t m a lignity o r j e al o u sy
,
0
’
Twenty y ear s h enc e t h o it m ay h ap
,
T h at I be c all d t o t a k e a n a p
’
I n a c o o l c ell wh ere thu nder-cl ap

Wa s n ever h e ar d ,
’
T h ere breath e but o e r my ar ch o f g ra ss
,
’
A n o t t o o s adly sigh d Al a s
And I sh all c atch ere y o u c an p ass
, ,
T h at w inged w o r d 9
.
Lo ve d wh e n my l o ve f ro m all bu t th ee h ad fl o wn
, ,
C o m e n ear m e se at th ee o n this l evel sto n e

’
And ere th o u l o o ke st o e r th e ch urchyar d wall
, ,
To c atch as o nc e we did y o n w a terf a ll

, , ,
Lo o k a br i ef m o m e nt o n th e t ur f be tween ,
And s ee a t o m b th o u n ever y et h ast seen .
’
My s pi r it will be so o t h d t o h ea r o nc e m o re
G o o d by e a s g ently sp o ke n a s bef o re
- 10
.
T h ere are swee t fl o wer s th at o nly b l o w b y nigh t ,
And swee t t ear s are th ere th at av o id th e light ;

N o m o rt a l s ee s th e m aft er d ay i s b o r n ,
T h ey li ke th e d ew d ro p t re m bling f ro m th e i r th o rn
, ,
11
.
Very t rue th e linn et s sing

,
S wee t e st in th e l e ave s o f s p r ing

Y o u h ave f o u nd in all th e s e l e ave s
T h a t which ch ang e s and d e c ei ve s ,
And t o pin e b y sun o r sta r

, ,
L eft th e m f als e o n e s a s th ey are

, .
B u t th ere be wh o wal k be sid e

’
Au tu mn s till th ey all h av e di ed ,
And wh o l end a p ati ent ear

T o lo w n o te s f ro m br anch e s s ere 1 2
.
Ah wh at av ails th e sc e pt r e d rac e ,
Ah wh at t h e f o rm divin e
W h at every vi rt ue every g rac e
,
R o s e Aylm er all were thin e

. .
WA LT ER S A V AG E LAN D OR 75
R o se
Aylm er wh o m th e se wakefu l eye s
,
M ay wee p bu t n ever see

, ,
A night o f m e mo ri es and o f sighs

I c o ns ec rat e t o th ee 13
.
T h e l e aves are f alli n g so am I

Th e f ew l a te fl o wer s h ave m o isture in th e ey e
So h ave I t o o .
S c arc ely o n any b o u gh is h e ard

Jo yo u s o r even u nj o yo u s bi rd
, ,
T h e wh o l e wo o d th ro u gh .
Winter m ay c o m e h e br ings bu t n igh er

H is ci r cl e ( y ea rly n arro wing ) t o th e fi re
Wh e r e o ld f r i ends m ee t ;
Le t him n e w h e ave n is o ver-c ast ,
And sp r ing and su mm er b o th are p ast ,
And all things swee t “

.
Mo th er I c ann o t mi nd m y wh eel
,
My fing er s ach e my lips are d ry

Oh if y o u f elt th e p ain I f ee l
,
B u t o h wh o ever f elt a s I
,
N o l o ng er c o u ld I do ub t him t rue
All o th er m e n m ay u s e d ec e it ;
H e always sa id my ey e s were bl ue ,
And o fte n swo re my l ip s were sweet 5

.
1
An d , l a stl y
Is it n o d ream th a t I am h e
W h o m o n e awak e all night
R o s e ere th e e ar li e st b i r ds t o s ee ,
’
An d m e t b y d awn s red light
W h o wh en th e wi nt ry l amps were spent
, ,
And all wa s d rear and d ark ,
Against th e ru gg e d p ear-t ree l eant

W hil e ic e c rac k t o ff th e b ark
Wh o littl e h ee d ed sl ee t and bl ast ,
B u t mu c h th e f alling sn o w ;
Th o s e in f ew h o ur s w o uld s ure be pa st ,
Hi s t r a c e s th at migh t Sh o w
B e twee n wh o s e kn ee s un seen u nh e ar d , , ,
T h e h o n e st m asti ff c am e ,
’ ’
N o r i c ar d h e ; n o n or wa s h e fe ar d
,
Tell m e a m I th e s am e
,
’
0 c o m e th e s a m e dull star s we ll se e ,
’
T h e s am e o e r clo ud e d m o o n .
0 c o m e ! and te ll m e a m I h e ?
0 te ll m e te ll m e s o o n
,
16
.
On e a nd all m a gi ca l Y e t the s e nin e are only s pec im e ns

,
of a ho st in c l udi ng perh ap s other s fo r m an y minds

, .
, ,
lo ve li er still Indee d the l ab o ur of t rying to acc o unt b y

.
,
exa m p l e s fo r the hom a g e I h ave re ndere d to the singer

d o ub tl e ss h a s bee n s uper flu o u s w he n I d are s a y it c o uld , , ,
h ave bee n j ustifi e d as a dequ ate ly b y a c o up l e of line s

I l o ve d him n o t and y et n o w h e is go n e ,
I f ee l I a m al o n e .
S tra ng e th a t a m u ltitu d e o f th e li k e sho uld not be ho u s e

,
’
hold w o r ds Wh a t ir ony of literary f at e th a t the p o e t s
n a m e sho uld be ins cri be d a m o ng th e highly hono ure d in
E nglish lit erat ure a nd his p o e ms re m a in u nl e ss fo r a sm a ll
, ,
mino rity v i rt ua lly a s ea l e d b oo k

,
He h a s m e t wi th a doom an a l o go u s t o th a t d e si gne d b y
’ ’
S t R om ua ld s v otari e s acc o r ding t o S o u the y s b all a d
.
, ,
fo r the i r ho ly to wn sm an He h a s bee n s an c tifie d b y

.
a pre m at ure death Whi l e h e o u ght t o be still li vi ng and

.
rea d h e h a s bee n e l evat e d into th e di gnifie d rep os e of

,
a c l a ssi c C ontra st e d qua liti e s in hi mare equ ally r e sp o n

.
si bl e He s uff er s b oth from diffu s e n e ss and fr om c om

.
pre ssion Ge b i r is a thic ke t o f gr and p o e ti ca l pro perti e s

. .
S o no ro u s g u sts of fit fu l sh a do w y ide a s b lo w ab o u t it
, .
T h e y c o nst antly e l u d e a ny o r dinar y m e ntal gr as p T h e .
trilogy h aving fo r its c e nt re mis era b l e Q uee n Gio v ann a is

, ,
a la b yrinth of a hu ndre d and fo r ty pa g e s in w hi c h hi sto ry ,

WA LT ER S A VA G E L AN D OR 77
’
a nd r om an ce go a stra y mimi c k ing o n e an o ther s vo i c e
, .
S om e tim e s o n th e o ther h and a s in Co re s us and Callir h o é

, , ,
a nd in m any of the lyri c s h e is s o prec i p it a t e ly bri e f th a t

,
the c lim ax is a n a ffr ont T hen i n t h e l onger p i ece s b ase d

.
,
on histo r y h e is ap t aft er an evil a nd f avo urite ha b it of

,
the B ritish Le gisl at ure to p ro cee d b y re fere n ce

,
T h at
is h e a ss u m e s th at th e rea l eve nts are kno wn or will be
, ,
loo ke d up N ot l e ss o ffe nsi ve t o p o pu lar t a st e is the w ant

.
of sifting Mere exerc is e s li k e th e t ri a l o f A e s c hyl us the

.
, ,
bandying o f indiffere nt c om p lim e nts be twee n him and

S o p ho c l e s the sl au ght er of Co r y t h o s by his f ather a nd
, ,
the re s cue of A l ce stis b y Hercu l e s e l b o w s ce ne s o f ab s o l u te

,
lo ve line ss such a s T he Ha m a dr y a d I p h ige n e ia the fir st

, , ,
part o f Co r y t h o s Pe l eu s a nd T he tis and Po ly xe na A

, , .
simil ar w ant of a sso r tm e nt do ub tl e ss h a s he l pe d t o s p oil

eve n th e g arde n of l yr i c s fo r a pub li c w hi c h will n o t be
a t th e p a ins to distinguish be t wee n flo wer s a nd wee ds .
T h e s am e pub li c d o c il e w h e n it is a que sti o n of ec onomy

,
of bra in -wo rr y h a s bee n s a tisfie d to t ak e it on t rust f ro m

,
the initiat e d th a t L and o r is a p o e t w h o sits on the d ais .
It do e s not t ro ub l e t o s cru tini ze his right Were it to .
in qui re it wo u ld l earn th a t h e h a d the p o e t s g ift o f i m

,
’
parting t o his ver s e o ver a nd ab o ve a ll e ls e a fee li ng a s

, ,
if o f a spi rit h aving ho vere d n e ar T h e a ttri b ute is to be .
pri ze d be yond a ll oth er s wh e n appre h e nd e d fo r it is the

,
’ ’
rea d er s th e n a s m uc h a s th e wr it er s and every wr it er
re j oi ce s to share th e de light with th e m Lan d e r it is t o .
,
be feare d h a d littl e of th at pl ea s ure B u t th e p o pular

,
.
c oldne ss w hi c h w a s his o rdin ar y experi e n ce ca nnot h a ve

, ,
de prive d him of the rap ture o f fee ling the d e s ce nt of i n

s p i ra tion I rea d a s e ns e a t l ea st of this s upre m e j o y in
.
his o wn revi e w o f a c areer w hi c h im pr e ss e d hi s c onte m

r — o —
p o ar ie s a s h ara ss e d h w ever n ee dl e ssly cr ss gra in e d
o -
,
in e ff ec t ual and unh app y With s p ir it u al visit a tions s uc h

, .
a s f avo ure d him h e c a nnot h a v e w holly mo c k e d hi ms e lf

,
in th e f are we ll w hi c h w hi l e it c h ar ms brings som e ho w an

, , ,
a ch e to a dmi r ing hear ts

I stro ve with n o n e fo r n o n e was wo rth my strif e .
N ature I l o ve d a nd n e x t t o N at ure A rt , , ,
I w ar md b o th h ands bef o re th e fi re o f lif e

’
I t sin k s and I a m re ady t o d e pa rt

,
17
.
T he Wo rk s an d Life o f W alter S avage Lan d e r E ight vo ls Chapman . .
and Hall 1 876 Vo l vii G e b ir ; Acts an d S cenes ; Hellenics Vo l viii

, . .
, . .
Miscellaneo us P o ems .
1
The Hamad r yad ( He llenics ) .
6
I p hi ge n e ia an d Agamemn o n ( He ll enics ) .
6
The E spo usals o f P o l yx ena ( Hellenics ) .
Beat ric e Cenci ( Dial o gues i n Vers e ) .
Henr y the E ighth an d Anne B o leyn ( Dialo gues in Verse ) .
6
On C atullus ( Th e L as t Fr uit o ff an Old Tree E pig rams vi ) , ,
.
7
Y o ung ( Last F ru it & c I b id , .
, .
,
6
Miscell aneo us P o ems C o llectio n o f 1 84 6 N o 63 , , . .
6
I bid N o 58
. .
’ .I bid N o 200 6
, .
, . .
11
A ddi ti onal P o ems N o 9 6 , . .
’Mis cell an e o us P o ems C o lle cti o n o f 1 84 6 N o 1 52

1
, , . .
16
I b id N o 1 02
.
, . I b id N 9 2 1 3
.
1‘
.
, . .
16
I b id N o 9 3
.
, . I b id N o 6 1
.
1‘
.
, . .
1’P r e fix e d t o vo lume : Th e L ast Fru it o ff an Old Tree E M o x o n . .

,
1 853 .
THOMAS M O O RE
1 779— 1 8 52
C OU R AG E is requi re d t o pra is e Moo re eve n moderat e ly .
A dm i ra ti o n of hi m is li k e ly t o be t a k e n a s evid e n ce of
a pre fere n ce of so und t o s ens e a nd of a pro pe nsity to the
,
he ino u s c rim e of c heap s e nsi b ility N ot withst an di n g li a

.
b ili t y to the s e t err i b l e c h ar g e s I will not witho u t a st ru ggl e

,
’
be par te d fro m o ld f avo urit e s in his lif e s w o rk N o w a s .
fo r merly I find in it a p o wer o f a ffo r di ng to parti cular moods

the s atisf ac ti o n the y h a ve bee n craving N ot m ere ly are .
there s pec i a l p o e ms w hi ch I c o uld n o t c o ns e nt to aba ndon

there e ve n is a s p i rit in th e w h o l e w hi c h a ss erts fo r it
a right to lodg e withi n th e rec o gni ze d p o e ti c dom a in .
’
Muc h of Moo re s pub lished w o rk I wi llingly a ll o w h a s
, ,
long bee n o u t o f d at e T he smo o thne ss o f hi s An acre o n

.
is n o t He ll e ni c e no u gh to c ont e nt m o dern s c hol arshi p .
T h e vi vac ity of hi s p o liti ca l a nd s o c i a l s atire evap o rate d

a s it hi t its m ark T he Two pe nny Po st ba g T he Inter
.
-
,
c e p t e d L e tt er s,
and T he Fu dg e F a mily in P aris with a ,
l e gi o n of p o liti ca l ep ig ra ms ar e fo rg o tt e n and it is us e l e ss
,
t o c om p l a in . T he i r h u mo ur a nd wi t s o m e tim e s rioto us
, ,
o ft e n er cau sti c a l w a ys g a y a nd au d ac i o u s requ ire t o o

, ,
m uc h rea ding -in be t wee n th e line s o f s cand a ls c onn ec te d

, ,
—
with Carlt o n H o u s e n o l o nger a Whig ce nt re and its —
u n wi e ldy m a ster Fo r ver y di ff ere nt re a sons L a ll a R o o k h
.
is si m i l arly n e gl ec t e d T here als o I equa lly rec ogn i ze

.
the u s e l e ssn e ss o f quarre lling with publi c t a st e The .
di ffus e n e ss e s pec i a lly in T he Fi re Wo rshi ppers an d a w ant

, ,
80 FI VE CE N T UR I ES OF EN G L I SH VERSE
o frea son ab l e n e ss to w ards w hi c h F ad lad e e n rea lly w a s

,
o ver -tol era nt ,

in the e nti re s c he m e o f the t a l e o f T he
Ve il e d Pro p he t might h a ve bee n excu s e d T h e treatm e nt
,
.
o f th e g e n era l th e m e a s if it w ere a h u g e o per ati c li bre tto ,
a m e dl e y o f m u si ca l s pec t ac l e s w a s f at a l
, Mo o re h a d
.
l earnt s o perfec tly th e art of w riting wo rds t o a n a i r th a t

h e c o m p o s e d a p o e m o f th e dim e nsi o ns o f a n ep i c on the
s a m e line s T he cr o w d of im a g er y in a w o rk o n th a t s ca l e
.
is be wildering T he c o vering p l o t is sm o th ere d in ros e s

.
it is dr o wn e d in a b utt o f s wee t m a lms e y T h e w h o l e .
pro d uce s the e ffec t n o t so m uc h o f p o e tr y p ure and sim p l e

a s o f p o e t ry in sol u tion .
A ll th at re m a ins p ositi ve ly ext ant o u t o f a pro longe d

’
a nd ind u st ri o u s career s a c hi eve m e nt is an accu m ul a tion o f
lyri c s Na t ura lly the y di ffer wid e ly in d e gr ee s of m erit
. .
A fe w d e s erve to sur vi ve b y Vi rt ue o f th e i r s auc y insol e n ce

—
fo r exa m p l e j uve nil e exerc is e tho u gh it w a s
’ ’
W h e n I lo v d y o u I c an t b ut all o w
,
I h a d m any a n e xq u isi t e m i nut e

B u t th e sc o r n th at I f eel fo r y o u n o w
H ath even m o re l u x ury in it .
’ ’
T h u s wh e th er we re o n o r we re o ff
, ,
S o m e witch ery see ms t o await y o u

To l o ve y o u wa s pl e as ant e n o u gh ,
’
And o h tis d elici o u s t o h a te y o u 1
T he c l a shing m e l o dy will re s cue on e a t l ea st o f th e Sacre d

S o ngs :
’ ’
S o u nd th e l o u d tim bre l o e r E gypt s d ark se a
Jeh o vah h as t r iu mph d his p e o pl e are f ree
’ —
.
S ing— fo r t h e p rid e o f th e tyr ant is br o ken ,
H i s c h ar i o ts his h o r s e m e n all sple ndid and br ave

, ,
H o w v ain w a s th e i r b o a st fo r th e Lo r d h a th bu t spo ke n
, ,
And ch ar i o ts and h o r se m en are sunk in th e wave .
’ ’
S o und th e l o u d tim brel o e r E gypt s d ark s e a
—
Jeh o vah h as t ri u mph e d his p e o pl e are f ree 2
.
82 FI VE CEN T UR I ES OF EN G L I SH VERSE
—
No m o re t o chi efs and l adi e s bright
T h e h arp o f T ar a s wells
T h e ch o rd al o n e th at bre ak s a t night
, ,
I t s t al e o f ru in t e lls .
T h u s F re e d o m n o w so s eld o m wake s ,
T h e o nly th ro b sh e give s ,
I s w h e n s o m e h e ar t indi gn ant bre ak s ,
To S h o w th at still sh e live s 5
or t ragic p ath o s in
O h breath e n o t his n am e l e t it sl e e p in th e sh ad e
, ,
’
W h ere c o ld and un h o n o ur d his relics are l aid
S ad sil ent and d ark be th e t ear s th at we sh e d
, , , ,
’
A s th e nigh t-dew th at f alls o n th e g r ass o e r his h e ad .
B u t th e night -d ew th at f alls th o u gh in sil enc e it wee ps

, ,
S h all br igh t e n with verd ure th e g rave W h ere h e sl ee ps

And th e tear th at we sh e d th o u gh in s e c re t it r o lls
, ,
S h all l o ng k e e p his m e m o ry g re e n in o u r s o uls 6
A ll ex h a l e a g a ll ant a ss uran ce th at tim e h a s n o p o wer ,
u nl e ss w e ab e t it t o grind o u r s o uls to d u st be tw ee n its

,
re mo rs e l e ss mill -st o n e s th a t if w e c hoos e w e ca n g o o n

, ,
s unning o urs e l ve s in th e smil e s o f the yo ung a nd f a i r ;

th a t there is n o s uc h thing a s decrep it care -w o rn a g e ,
It is n o t whi l e beau ty and y o u th are thin e o wn ,

’
An d thy ch eek s un p r o fan d b y a te ar ,
T h at th e f er vo ur and f aith o f a s o ul c an be k n o wn ,
T o w hich tim e will bu t m a k e th ee m o re d e ar

’
N o th e h e ar t th at h a s truly lo v d n ever f o rg e ts
, ,
B u t as t ru ly l o ve s o n t o th e cl o s e ,
A s th e sun -flo w e r t urns o n h er go d wh e n h e s e ts ,

’
T h e s am e l o o k which sh e t u r n d w h e n h e r o s e 7
that j o y is imm o r t a l fo r the f a ithf u l and brave

L e t F at e d o h er wo r st th ere are relics o f j o y
, ,
B righ t d reams o f th e past wh i c h sh e c ann o t de st ro y

,
T H OMA S M OORE 83
W hich c o m e in th e night -time o f so rro w an d c are ,
And bring b ac k th e f eat ure s th at j o y u s e d t o wea r .
’
Lo ng l o ng be my h eart w ith su c h m e m o r i e s fill d
,
’
Like th e v ase in which ro s e s h ave o nc e bee n di s t ill d
Y o u m ay bre ak y o u m ay sh att er th e v a s e if y o u will
, , ,
B ut th e sc e nt o f th e ro se s will h ang ro und it still 9
’
th a t it w a s the I rishm a n s dut y t o pra y fo r t h e pro s perity
o f his c o unt r y ; a nd e x u lt sh o u ld it c om e bu t th a t his l o ve ,
w a s her s n o w o n acc o unt of h er a d versity

’
R e m e m ber th ee Y e s w hil e th ere 8 lif e in this h e a rt
, ,
I t sh all n ever f o rge t th ee all l o r n as th o u ar t

,
Mo re d ear in thy s o rr o w thy gl o o m and thy sh o wers

, , ,
T h an th e re st o f th e wo rld in th e i r s u nni e st h o ur s .
Wert th o u all th at I wi sh th ee g reat gl o ri o u s and f ree

, , , ,
Fi r st fl o wer o f th e ea rth and first g e m o f th e s ea

, ,
I might h ail th ee wi th p r o u d er with h a pp i er bro w

, ,
B u t o h c o u ld I l o ve th ee m o re dee ply th an n o w 9
If I d o not qu ot e from th e L a st R os e o f Su mmer it is n o t ,
becau s e it is h ac k n e ye d I t is th a t I s upp os e there is n o

.
English s o ng w hi c h dw e lls mo re h ab it ua lly o n the li p s o f

me mo r y .
T here sho uld b e no d ifiic u lt y a t a ny rat e in a dmittin g

‘
the titl e of s uc h vers e to e nt ra n ce wit hi n the lyr i ca l hi erarch y .
I n the ce nt ur y prece ding his b i rth isolat e d E nglish s o ngs

,
here and there m a y b e fo und to b e s e t a g a inst hi s Tho u gh .
Sc otl and twe nty year s earlier h a d prod uce d B urns the ,
re st of the U nit e d Kingd o m ca n sho w n o b o dy o f l yr i c s

’
to m at c h the m s in ce Herri c k s He h a d a right t o d o mo re
.
’
th an b oast th at a s his o w n isl a nd s min stre l h e w a s t h e
, ,
fir st of his lin e
D ea r H arp o f my Co u nt ry in d arkn e ss I f o und th ee ,
’
Th e c old c h a in o f sil e nc e h ad h ung o e r th ee l o ng ,
Wh en p ro u dly my o wn I sl and H arp I un bo und th ee

, , , ,
And g ave a ll th y c h ords t o light f reed o m and s o ng

,
6
,
1
F 2
S o u th of th e Twee d he c o uld c l a im th e s a m e prece d e n ce .
,
—
His a s s inging p oe t ry d ra wing r oom singing perh ap s
-
,
o ccup i e s a p l ace b y its e lf Op inions m a y di ffer on th e

.
exac t ran k of the w ho l e d epar tm e nt in lit er atur e A t all .
eve nts he w o u ld be a b o ld criti c w ho sho uld a tte m p t to

,
w arn the cl ass o ff th e slo pe s of P arn a ss u s In no c a s e .
c o uld he m ake o u t good w arr ant fo r be ginn i ng th e ost ra

c is mw ith M oo re .
Fr om another p oint of vi e w he c an a ss ert an excep ti o nal

c l a im t o re g ar d T he m ee t ing o f p o e t r y a nd m usi c in his
.
vers e n at ura l a s it m a y s ee m is p he nom e nal T h e t w o

, ,
.
a re siste r arts w hi c h b y n o m ean s n ece ss arily a gree Oft e n .

,
e s pec i a lly of l at e th e y h ave bee n in d ea dly a nt a gonism

,
.
I t is im p ossi bl e not to re j oi ce w he n the i r union is sp o n

t an e o us a s in th e M us e of Moo re
,
H e h a s hi ms e lf dec l are d
.
th at h e c onsid ere d hi s songs a so rt o f c om p o u nd cre ations ,
in whi ch th e m u si c fo r m e d no l e ss e ss e nti a l a p art th a n th e

vers e s H e l a me nte d th at he h a d to print e ditions in
whi c h the y were s eparat e d fr om th e a i r s 11
Lyr i c s witho u t
.
a m us i c al s e tting appe are d to hi mt o be a c ont ra di c tion

in t er ms A s w e rea d his w e m a y a lmost hear hi mw arb lin g
.
,
the m a s the y fle w Mus i c perpe t ua lly h a s bee n and is

.
,
be ing m a de a c o ver fo r execr ab l e vers e N o on e with

, .
j usti ce c an s a y this of th e Me lo d i e s T he y a lw ays are .
s wee t if o cc asion a lly to exce ss a nd w ith a fee ling g e nu in e

, ,
so f ar as it goe s Ha d indee d hi s raptur e s bee n w holly

.
artifi c i a l o r hi s indi gnation e ver f a ls e a n int e llig e n ce kee n

, ,
a s his and a s p ir it a s upright wo uld h a ve ba nn e d the m

, ,
long be fo re hi s ce nso r s d e t ec te d th e sho r t c o mings A .
g e ner o us and kindly hear t c onst antly is p l a ying a nd a s , ,
e v ide ntly a s ag ac io u s bra in is c ond uc ting the o rc he st ra

, .
In the f ace o f di vers fin e p oe ti c qua liti e s e ng a g e d in

u nison it is di s app oint ing f or m e a s a j ur o r—not a j u dg e
,
T H OMA S M OORE 85
whil e I grant th e c l a ims o f a n e nti re c l a ss of the vers e t o ,
ha ve to re t urn a n a d vers e gener al verdi c t in th e Co urt

o f p o e ti c ar t ag a inst its au tho r Gladly I qualify it b y .
exte n uating c i rcumst an ce s I admi re th e m an

— I lo ve
m any o f the p o e ms I c ond e mn the p o e t Th e d ec ision is .
pa inf u l b ut u na void ab l e A p oe t m u st be prono un ce d a

,
.
f a il ure w he n h e h a s no p ow er of se w in g in his re ad ers the

germs of fu ture tho u ghts o r im puls e s H o w long did e ver .
e mo tion l a st w hi c h w a s sti rre d by th e p itifu ln e ss o f P aradi se

and the Peri o r the s a dn e ss o f T h e M instre l B oy ? T he
,
f a ult is ra di ca l I fear Re s ults are pro p o rtion a te to the i r

,
.
c ause s and s o ng to li ve and b e fru itfu l m u st ha ve bee n

, ,
b o rn in t rava il Nat ure w a s un kindl y k ind to Moo re as

.
,
to Herr i c k in e ndo wing h imwith a n ear too instin c ti ve ly

,
true too mis ce ll an e o u s a sym pathy and a wit too do c il e

, ,
and d extero us His gifts s e duce d hi m int o di s re garding

.
hi s o wn ax iom— w hi c h a gree s w ith Herr i c k s too — th a t

’
l ab o ur to th e writ er is a c ondition of a ny grea t pl ea s ure

to the rea der Other wis e it is in c on ce i vab l e th a t most
,
o f th e p ro duc e o f a n im a gin a tion f ertil e li k e his after ,
h a ving bee n wo rshi ppe d b y c ont e m p o rari e s sho u ld be lost ,
and fo rgotte n excep t fo r its c a su a l and h alf c ont e m p tu o u s

,
pre s ervation in a nti quat e d p i an o s c o r e s .
Th e P o etic al Wo rk s o f Th o mas Mo o re C o llected b y Himself Ten . .
vo ls Lo n gman s 1 853
.
, . T ( Juvenile P o ems ) 1
.
’
1
Miri am s S o ng st 1 ( S ac red S o ngs ) v o l iv , . .
A Can adian B o at S o n g Written o n t h e R iver St L awrence ( Po ems

.
,
9
. .
re l ating t o Americ a) stanz as 1 2

, , .
Sco tch Ai r ( N ati o n al Airs ) Th e H arp ( I ris h Melo dies )

.
6
.
6
Oh B re ath e N o t st 2 Beli eve me . .
7
6
Farewell st 3 . .
9
R emem b er Thee st an z as 1 2
P re fac e—Po et ical Wo rk s
.
,
1°
Dear H arp st 1 .
11
.
A Mel o lo gue upo n N atio n al Music—Advertisement v o l v p 1 1 9

.
19
. .
, .
,
J AM E S H E N R Y L E I G H H U N T
17 8 4— 1 859
A S T AT E S M AN in d e di c ating a m e mo rial to Le igh Hu nt

, ,
c onfe ss e d to littl e k no wl edg e of his wr itings T he s am e .
admission a s t o a ll b ut on e sho rt p o e m might be m a d e

, ,
b y a m a j o r ity of e d uca t e d E nglis hme n I sh o u ld li k e to

.
b e ab l e to t re at th e n e gl ec t a s re fl ec ting h o n o u r o n th e
n ation a l g enius fo r h avi ng pr od uce d au tho r s of s uc h
m erit a nd in such p l enty a s to h ave re ndere d him s uper
, ,
flu o u s .At a ll eve nts a n y w ho t ake up a vol u m e by

,
Le igh Hunt fo r the fi rst tim e will be s urpris e d a t its rare

distin c tion of st yl e B u t th e y o u ght to be hur t if not b y
.
,
re gre t fo r a p l ea s ure the y h a v e hi therto d e ni e d th e ms e l ve s ,
b y som e s e ns e of ingra tit u d e t o th e ki ndly s p i rit which

d ev ot e d its e lf d uring long year s to th e e nd eavo ur to e nt er
t a in a care l e ss pub li c .
Grace is a s pe c i a l qua lity It is not th e high e st B e ings

. .
of a lofty n a ture m a y be d e stitu te of it An a ddition of .
an excell en ce will som e tim e s m ar it o r o b s cure th e im

,
pre ssion of its pre s e n ce .T h o u gh ver y f ar fr om be ing

a d e fin iti o n o f g e n u in e p o e t r y th e N o thing -too -m uc h c om
,
mo n ly is part o f o n e Witho ut cl a iming fo r Le igh Hunt

.
th a t h e n ever offe nds a g ainst th e canon I be li eve h is ,
instinct fo r it to be g e n era lly t rue Wh at ever e ls e hi s

.
p o e tr y is not alm o st in v ari ab ly it is in perfec t t a st e I

, .
n ever b e gin T he S to r y o f R imini witho u t a pre j u di ce

against its ex iste n ce . Wh e n D ant e h a d do n e it a ll in
si x do ze n inimit ab l e lin e s it is s acril e g e t o pre t e nd to
,
JAM ES HENR Y L E IG H H UN T 87
’
interpre t and d eve l o p Le igh Hu nt s o wn exquisite
.
re nd ering o f th e o rigin a l is its e lf a s u ffi c i e nt rebuk e o f

1
his a tt e m p t a t e xp l a ining Ye t I a l w ays e nd b y ac kno w

.
l e dging to mys elf th a t if it w ere to b e d o n e th e dec line

, ,
or ris e f r om inno ce nt b oy -and -gi rl fri e ndshi p t o pa ssion at e

l o ve c o u ld not ha ve bee n m o re de li ca t e ly sh a do w e d .
T h e s a m e prais e c an b e be st o w e d and with o u t fe ar here

,
’
o f D a nt e s a wf u l fr o wn on the re j uve ne s ce n ce c onf erre d
,
up o n the t r age dy of Her o and Le and er an o ld t a le , ,
and y e t a s yo u ng
An d war m with lif e a s ever minst rel su ng
a c hr oni c l e a s
of tw o th at di e d l as t night ,
’
So migh t th ey n o w h ave liv d and so h ave di ed ,
’
T h e sto ry s h eart t o m e still be ats against its sid e
, ,
9
.
Grace a g a in carri e s a w a y any s u ggestion of c o ars e ne ss in

, ,
T he G entl e Armo ur if it c an n ot any mo re th an in a be tter

, ,
k n o wn l at er p o e m o n th e s am e s ub j ec t ve il th e m e di aeva l ,
bru t a lism of th e G o di va myth its e lf E ls e w here w he n an .

,
idea of Le igh Hunt s is in its e lf n o bl e it re sists th e t e m

’
p t a ,
ti o n t o o ver gro w its e lf R o s e s a nd lili e s vi o l e ts s wee t

.
, ,
bri er and p o pp i e s in his nin e tee nth ce nt ur y g ard e n might

,
-
’
h a ve bee n g a there d by Ari e l in his ro amings fro m Pr os pero s
9
Atl antis .
T he k indly instin c t do e s n o t d e s ert his pe n eve n w he n

the sati rist and vi c tim o f th e e lderly ro ya l Ado nis tur ns
vo l unt eer L aureat e and sings the pre tti e st o f l ull ab i e s o ver
,
’
the cra dl e o f a Q uee n s b ab e
W elc o m e bu d be sid e th e r o se
, ,
On wh o s e st e m o u r s af ety g ro w s
W elc o m e littl e S ax o n G uelph
,
W elc o m e fo r thin e o wn sm all self ;

,
88 FI VE CEN T U R I ES OF EN G LI SH VE RSE
No u gh t o f all th e n ews we sin g
D o st th o u k n o w s wee t ign o rant thing
,
’ ’
N o u ght o f pl an e t s l o ve n o r p e o pl e s
,
N o r d o st h ear th e giddy st ee pl e s
C aro lling o f th ee and thin e ,
’ ’
A s if h e av n h ad r ain d th e m wi n e .
’ ’
E e n thy f ath er s l o ving h and
N o wis e d o st th o u un d er stand ,
W h e n h e m ake s th ee f eebly g rasp

His fing er s with a tiny cl asp
’
N o r d o st kn o w thy very m o th er s
’
Balmy b o so m f ro m an o th er s ,
N o r th e ey e s th at w hil e th ey f o ld th ee
, ,
N ever c an e n o u gh be h o ld th e e .
M o th er t rue and go o d h a s sh e ,
Littl e st r o ng o n e b e e n t o th e e
, .
S h e h a s d o n e h er stren u o u s d uty
T o thy br ain and t o thy be auty
T ill th o u c amst a b l o ss o m br ight
,
’
,
'
W o rth t h e k is s o f ai r and light 4
.
H e h as deeper st rains a t his c o mm and Lin e s S im pl e .
e n o ugh th e d o o m o f un i vers a l hu m a nity h e h a s c om b in e d

, ,
int o a gr isly p o rt ra it o f th e King o f Terr o rs N o c omm o n .
’
min o r p o e t s bra in c o u ld h ave c o n ce i ve d and dr awn it .
’
A g rand to uc h in M a hmo u d is th e Su lt a n s a cc e pt anc e o f
’
gri e f a s a s ub j ec t s inde fea si b l e titl e t o a n inst ant a udi e nc e
’
S o rro w s a id M ahm o u d i s a revere nd t hing ;
, ,
‘
’5
I re c o gniz e its r ight a s King wi th King
, .
B rilli ant ra ys p i erce t hr o u gh the som e w hat be wild ering

h aze o f th e c ont ro versy be t wee n Cap tain S w o rd and
C ap t a in Pe n
O G o d l et m e b reath e and l o o k u p at th e sk y
,
G o o d is a s h u nd re ds evil a s o n e
,
R o u nd ab o ut g o e th th e g o ld e n sun 6 .
A s fo r A b o u B e n A dhe m it h a s a l w ays bee n a dmitte d

,
t o be a pearl o f grea t pri ce

Green littl e v aulter in th e s un n y gr a ss ,
Catching y o ur h e art ti p a t th e f ee l o f J u n e ,
’
S o l e v o ic e th at s h ear d amidst th e l a zy n o o n ,
W h e n e ven th e b e e s l ag at th e su mm o n ing b ra ss
And y o u warm littl e h o u sekee p er w h o cl ass
, ,
W ith th o se wh o th in k th e c andl es c o m e t o o s o o n ,
Lo ving th e fi re and wi th y o ur tr ick so m e tun e

N ic k th e gl a d sil en t m
,
o m e n ts a s th e y p a ss .
Oh sweet and tiny c o u sins th at bel o ng , ,
On e t o th e fi elds th e o th er t o th e h e ar th
, ,
B o th h av e y o ur s unshin e ; b o th th o u gh sm all are stro n g

, ,
At y o ur cl ear h earts and b o th see m gi ven t o e arth

To ring in th o u ghtf u l e ar s this n at ural s o ng
Ind o o r s and o u t s u mm er and win ter Mi rth
,
9
, .
Wh e n Le igh Hunt p l ea s e s h e is as s auc y a s Villon witho u t ,
it ever p l e asing him to ra is e a b lush B u t w h at ever th e .
o ther att rac tions of his M u s e gra c e re m ains th e peculia r

,
and distingu ishing pr o perty .
I n hi s career and fo r his p o sth u mo u s f a m e it w a s and

, ,
is a do ub l e -e dg e d e nd o w m e nt I s upp os e th a t it w as
.
c o nn ec t e d in hi m as a p o e t with an excep ti o nal capac ity

fo r ab so rb ing hi s e nti re pe r sonal be ing into cer t a in qua liti e s
of his s ub j ec t H is n a t ure w a s a b l e t o id e ntify its e lf
.
with w h at ever w a s artisti c ally d a inty a nd e motion a lly

beau tif u l He n ce hi s e l e g an ce a s a wr it er and pro bab ly
.
,
a ls o his wea kn e ss b oth a s wr it er and a s m an N o writ er .
w as ever l e ss s e lf ce nt re d
- He w a s f a s hi on e d to flutt er
.
ab o u t fl o w er s of f a n c y a nd ar t ; s uc k ing rare ly in th e ,
d ep ths the i r h o n e y ; s ucce ssfu l in dis c o vering not in

, ,
st o ring it It is not strang e th a t in his early d a ys

.
h ar d m ea s ure sho u ld h a ve bee n dea lt o u t to such a

n at ur e . At his d a wn partis anshi p fl aye d hi m with th e
b itt er tong ue o f Chr ist o p her N o rth a s we ll a s pro viding ,
him m o re m at eri a lly w ith a l o dging in H o r s e monger L an e

, ,
JAM ES HENR Y L E IG H H U N T 91
j ail . Eve n a t hi s s uns e t hi s o wn f amiliar fri e nd un ,
inte nti o nally we m a y b e s ur e w a s the cau s e o f the f a ste ning

, ,
up on him of a n o di o u s ch ara ct er in ficti o n A de lightfu l .
writer b o th in pr os e and ver s e h e n ever w a s visite d b y ,
a gl e am of pro s perity T h e pub li c care d littl e fo r on e w ho

.
had no m e ss a g e of his o wn t o d e li ver n o t eve n a n a gree ab l e ,
ran c o ur to wreak H ad he li k e th e pro verb i a l w o r m bee n

.
, ,
gi ve n t o t urning h e might a t l ea st h ave ex cit e d inte re st

, ,
if not c om p assion AS it w a s he sim p ly we nt o n with hi s

.
,
singing not a dmi r ingly re m ark e d in life and s carce ly a t

, ,
a ll sin ce .
He w a s and is I d are s a y o n e of th e p o e ts th e w o rld

, ,
c an d o with o u t tho ugh I thin k it a p ity it sho uld I n

,
.
any ca s e it m a y be h o pe d and beli eve d th at t o him singing ,
a s a b ir d sings be cau s e it m u st so p l ea s ure c am e fro m

, ,
hi s song a s it c om e s t o a b i rd becau s e to the singer o f

, ,
a s wee t song p l e as ure m u st .
The P o etic al Work s o f Leigh Hunt E Mo x o n 1 844 ( Sto rie s i n Verse :

. .
, .
b y Le igh Hunt G R o utledge Co

. . .
,
1
Paul o an d F rancesc a ( S to ries i n Verse ) .
1
Hero an d Le ander C ant o i ( The P o etic al W o rk s ) pp 1 -3 5
, , . .
6
C ho rus o f the Flo wers
T o the I nfant P rince ss R o y al
6
Mahm o u d
6
C aptain Swo rd an d Captain P e n
7
Ab o u Ben Adhem an d the Angel
An Angel in the Ho use
9
T o t h e G rassh o pp er an d th e C rick et
G E OR G E G O RD O N , L O R D B Y RO N
1 7 8 8— 1 824
WH AT of t hi s to rre nt of vers e m yrrh a nd g a ll p o ure d

, ,
fo rth in som e fif tee n year s— is it a li ving st re am o r ,
unfilt ere d s ur fa ce -w a ter ? Is it the cur sing ep itap h on

’
T imon s tom b b y th e wild s e a -w ave s o r th e sho wer of gold ,
acc om pa nying im precations on hi s a g e and fe llo w m e n ,
a s th e mis anth r o pe st ands a pr o p he t of evil a t th e mo u th

, ,
of hi s fo rlo rn cave
If a voi ce f rom th e gr a ve it is a t any ra te a mighty
,
voi ce a s of a T it a n buri e d a li ve un der E tn a Suc h moder n

,
.
criti c ism a s is pron e to d e ny pre s e nt a ctive exi ste n ce to

B yr o n will n o t disput e th at h e li ve d o n ce a nd iss ue d r o y a l
, ,
pro c l a m a tions He stood fo r fo rce mo ve m e nt pertu r b a

.
, ,
tion . Wo rds w o r th Co l er idg e S he ll e y and Keats were

, , ,
mo re ra di ca l revol u tio n ists in p o e t ry B yr on n ever ce as e d

.
to profe ss hims e lf a dis c i p l e o f Dr yd e n and Po pe B u t th e .
m o st ferve nt a dmirer s of th e fir st fo ur w o uld not pre te nd

t o c o mp are the c o nt e m p o rar y inno v ating influe n ce of th e
’
wh o l e of th e m in literat ure with B yr o n s H e did a s m uc h .
to w ar ds ext e nding th e s w a y of E ngl and a s th e vi c to ri e s of

Ne lson and We llingt o n o r th e d e s p oti c will of P itt T h e
, .
person a lity in its wea kn e ss e s a s in its stre ngth fas c inate d

, , .
His p ilgr im ag e of pa ssion and re mo rs e m arke d its c o urs e

a s with re d h o t l ava on th e h eart of E ur o pe
- .
N o w w he n th e ru sh of m o lt e n m a tter h a s c ool ed a nd
,
sti ff e n e d it is ea sy to a n a lys e its aberrations and im puriti e s

, .
Its extravag an ce s are monstro us W h ate ver the crim e s of

.
G E OR G E G OR D ON , L OR D B Y R ON 93
Ca stl ere agh ag a inst free dom the ca us e o f li ber ty is p oll u t e d

,
‘
b y sneers at the tin kering sla ve m a ker b y ins ults to
-
hi s c o rp s e
H e h as c ut his t h r e at at l ast H e Wh o 2 ‘
’
T h e m an wh o c ut his c o u nt ry s l o ng ago .
S o with the s cr e am at the Po e t -L aure at e a s ,
sh uffling S o uth ey th at inc arn at e li e

,
’
and at Wo r ds w o r th s prin c i p al w o rk a s ,
’
A d ro wsy f ro wzy p o e m c all d th e E xc ur si o n ,
W r it in a m ann er which is my aver si o n .
T he e gotism pa ss e s all b o unds T he qua lity is a foi bl e d ear .
to the p o e ti c t e mpera m e nt — to the highe st and the l o we st ,

’
d —
to any bu t S h a ke s pe are s as a r a matis t and he ta ke s his
reve ng e in the S onn e ts T h e te m p t a ti o n to indulg e n ce in it
.
,
i
is s o e ag er that a cc o rd ng to a s ub tl e p o e t criti c in the
,
-
e arly ni n e te e nth ce nt ur y s e nsiti ve b ar ds c ons c io us and

, , ,
ash a m e d of its p o wer o ver the m h ave c hos e n the m e s

, ,
ali e n to the ir taste t o be a b l e und er c o ver of the m to , ,
st r ay as if by a cc ide nt into s ce n e s en shr ining th e ms e l ve s

, , .
’
T h a t w as not B yr on s w a y H e m ake s n o d isguis e of hi s
.
inte ntion n ever to be off the st a g e T he re s ult is that his .
f avo ur it e moods c yni c ism in D on Juan sati e ty in C hild e

, ,
H arold h a ve an air of cheapne ss Scep ti ca l re aders e xp e

, .
r ie n ce a g e n era l im pre ssion of ins in cerity T he y s us pec t .
a w ant of s p ontan e ity everyw here in the p athos a s in , ,
th e di sgus t T he text ure th e y s ee oft e n is thre a d bare a s

.
,
it c ould not bu t be with a heart d r ie d u p b y s en s ua l li ce n ce

, .
,
and o b lig e d to t rust freque ntl y to the bra in t o do th e cre ati ve

w o rk of b oth .
He rebe ll e d aga in s t l a w and o r der be c a us e he h a d not

se t th e m in motion not a s his c om p an ion S he ll e y from ,
,
a g e n er o u s ra g e a g ain st a narr o w -mind e d d e sp otism N o .
b ody no w be li eve s in th e g e n uin e n e ss of hi s indi gnation

-
a gainst tyranny A L o r d w ith th e s e lf ind u lg e n ce of the
.
,
Pr in ce Re ge nt pre a c hing S o c i a lism is a r idi cul o u s fig ure

,
t o th e p re s e nt g e n er ation T h e admira tion h e g a in e d fo r

.
his errors has its e lf rui ne d his p osth u m o us re no wn He is .
pu nishe d b y the t aunts of th e n e w a g e fo r h aving hyp n o ti ze d

its pre dece sso r int o a do ring his folli e s With a ll th e mimi cry .
,
a ll the fl a tt er y a ll the ab s ur dity it is th e mo re wo nderf u l

, ,
th at a rea l p o e t a s eer of Visions sho uld re m a in rec ognizab l e

, ,
be n ea th We may pa ss b y much th at h e wrote A ma j o r ity

. .
o f th e o cca si o n a l p i ece s w o u ld pr o bab ly h a v e bee n smothere d

'
b y hi ms e lf h a d h e fo re s ee n th e ce l ebrity o f C hilde Har old
and D o n Juan Sa ti re th o ugh Vigo r o u s and s ca t hi ng a s in
.
,
E nglish B ar ds a nd Sc ot c h Revi e wer s T h e Visi o n of Ju d ge ,
m e nt and T he Curs e o f Min erva n a t ura lly is sho rt -li ve d

, ,
.
T he Pl a ys are t o o p o e ti ca l fo r dra m a s too dr am ati c fo r ,
p oe ms AS th e e ye glan ce s o ver th e titl e s o f m any o f th e

.
pub lishe d w o rk s s carce ly eve n an e m o tion of cur i o sity sti r s

, .
Others there are o n w hi c h w e p a u s e fo r a m o m e nt a nd ,
w ith de light w he n ever acc ide nt reca lls th e m We c ann ot

, .
he l p rec ogni z ing p o wer fo r inst a n ce in T h e D e st ruc tion

, ,
o f Se nna c h eri b
L ik e th e l eav e s o f th e f ore st wh en S u mmer is g reen ,
T h a t h o st with th ei r b ann er s at s u nse t were s een

Li ke th e l eave s o f th e f o re st w h e n Au tu mn h a th bl o wn ,
T h at h o st o n th e m o rr o w l ay wi t h e d and st e wn
’
r r
1
a nd in the c ont ra st in th e Od e to Nap ol e on be t wee n

, ,
hi s
’
s ub missi ve ab di ca tion a nd S ull a s
T h e R o m an w h e n h is bur ni ng h ear t
,
Wa s sl ake d w ith b l o o d o f R o m e
T h rew d o wn th e dagg er—d are d d e par t
,
I n sav ag e g rand eur h o m e ,

G E OR G E G OR D ON L OR D BY R ON , 95
H e dare d de part in u tt er s c or n
Of m e n th at su c h a y o ke h ad b o r n e ,
Y e t le ft him s u ch a d o o m
H is o nly gl o ry w as th at h o ur
- ’
Of s e lf u ph e ld ab an d o n d p o wer 2
.
A mist of b lo o d a nd t ear s mitig ate s th e hec ti c h ue s o f

T he D rea m 9
T here is mu sic fo r u s still in
.
S h e walk s in be au ty l ike th e night

,
Of cl o u dl e ss clim e s and st arry s k i e s

’
An d a ll th at s be st o f d ark and b r ight
M eet in h er asp e ct a nd h er ey e s 6
a nd
O h c o u ld I f ee l as I h ave f elt — o r be w h at I h ave bee n
, ,
’ ’
Or wee p as I c o u ld o nc e h ave wept o er m any a v an i sh d sc e n e
AS sp r ings in d e s er ts f o u nd s ee m s wee t all br ac kish th o u gh th ey be
, ,
’
S o,midst th e wit h e r d w ast e o f lif e t h e se t ear s wo uld flo w t o m e
,
6
.
We a dmire we do n o t s p o nt ane o u sly re o pe n th e vol u m e .
I t is the s am e with c o m p ositi o ns o f an c i e nt re n o wn li ke ,
T h e Gi a o ur T h e Br id e of A b ydos T he C o rs a i r L ara T h e
, , , ,
Prison er of C hillon P arisin a T he S i e g e o f C o rinth Ec hoe s

, ,
.
ris e a nd insist o n r ising fro m th e m T he gl o w ing w e st

, , .
c o ntinua lly re minds h o w ,
S lo w S i n ks m o re l o ve ly ere h is rac e h e ru n ,
’
Alo ng M o re a s hills th e s e tting s u n ;
,
N o t a s in N o r th er n clim e s o b sc urely bright

, , ,
B u t o n e un clo u de d b laz e o f li ving light

’
O n o ld Aegina s r o c k and I d r a s isle
’
,
T h e go d o f gl adn e ss sh eds his p arting smi le

’
O e r his o w n regi o ns ling er in g l o ve s t o shi n e
, ,
T ho u gh there hi s altar s are n o m ore di vi n e .
D e sc e nding f ast th e m o u ntain sh ad o w s kis s

T hy gl o ri o u s gulf u n c o n q
,
’
u e r d S al a mis
T h e ir az ure ar ch e s thr o u gh th e l o ng exp an s e

M o re deeply purple d m ee t his m e ll o win g glanc e ,
And t e nd erest tints alo ng th e i r s u mmits dr ive n

, ,
M ark his g ay c o urs e and o w n th e hu e s o f h e ave n

,
Till dark ly sh ad e d f ro m th e l and a nd d eep

, ,
B ehi nd his D e lp hi an cliff h e si n ks t o sleep 6 .
A n e w a g e h a s fo rgott e n not m ere ly the Gi a o ur b ut

, ,
the P hi lhe ll e ni c fire its au tho r p l a ye d a fo re most p art in

k indling it ca nn o t h a ve fo rgott e n :
’
H e wh o h ath be nt him o e r th e de ad
E r e th e fi r st d ay o f d e ath is fl e d ,
T h e fir st d ark d ay o f n o thin gn ess ,
T h e l ast o f d ang er and di stre ss

’
B efo re D e c ay s eff ac ing fing er s
H ave swept th e lin e s w h ere b ea uty lin g er s
And mar k d th e mild ang eli c ai r
’
,
’
T h e rapt ur e o f re p o s e th a t s th ere ,
’
T h e fix d ye t te nder t raits th at st reak
T h e l angu o r o f th e pl acid ch eek ,
An d — bu t fo r th at s a d sh r o u d ed ey e ,
T h a t fire s n o t win s n o t weeps n o t n o w

, , , ,
And bu t fo r th at chill ch ang el ess br o w

, ,
’
W h ere c o ld Ob st ru cti o n s ap athy
’
App als th e g az ing m o urn er s h e art ,
AS if t o hi mit c o u ld imp ar t
T h e d o o m h e dreads ye t dwells u p o n ;
Y e s but fo r th es e and th e s e alo n e
, ,
S o m e m o m e nts ay o n e t re ach ero u s h o ur

, , ,
’
H e still might d o ub t th e tyr ant s p o wer ;
’
So f a ir s o c alm s o s o ftly s e al d
, , ,
T h e fi r st l ast l o o k b y de ath r e v e al d
,
’
S u ch is th e aspe ct o f this sh ore

’
Ti s G ree c e bu t li ving G ree c e n o m o re
,
So c o l dly swee t s o d e adly f ai r

, ,
W e st art fo r s o u l is wanting there

,
7
.
T ho u gh fe w rea d th e on ce f a s c in a ting T a l e it int rod uce s ,
f e wer fo rg e t th e pre l u de to on e of its ca nt o s

’
T h e winds are hi gh o n H e lle s wave ,
A s o n th at night o f sto r my w ate r ,

No t a tra ve ll er cr oss e s th e R i a lt o w itho u t the m e lody

at his h ear t
’
I n Ve nic e T ass o s e ch o e s are n o m o re ,
A nd sile nt r o ws th e s o ngl ess g o ndo li er

H er p alac e s are c ru m b ling t o th e sh o re ,
And m usic m eets n o t al ways n o w th e e ar

T h o s e d ay s are g o n e— bu t B eau ty still is h ere .
S tate s f all arts f ade —bu t Nature d oth n o t di e

, ,
N o r y e t f o r g e t h o w Ve nic e o nc e w a s d e ar ,
T h e ple as ant pl ac e o f all f e stivity ,
T h e reve l o f th e e arth th e m asque o f Italy !

,
10
N o strang er pace s the T usc an We stminster A bbe y witho u t

repeating th e repro ac h fo r th e ab s en ce of t he ashe s a s if ,
the t w o s p ir its were ho vering b y to he a r

Ung rat ef u l Fl o re nc e Dante sl ee ps af ar ,
Lik e S cipi o bur i e d b y th e u p br aiding sh ore

,
T h y f acti o ns in th ei r wo r s e th an ci vil w ar
, ,
P r e s c r ib e d th e b ar d w h o s e na m e fo r ever m o re
’
T h e i r childr e n s childre n w o uld in v ain ad o re
With th e re m o r s e o f ag e s and th e c r o w n
’
W hich P e t rar ch s l aur e ate bro w s u pre m ely w o re ,
Up o n a f ar and f o re ign s o il h ad g ro wn ,
His lif e his fam e hi s g rave th o ugh r ifle d — n o t thine o wn

, , , .
A nd S ant a C r o c e w ants th e i r mighty d u st

Y e t fo r this w ant m o re n o t e d a s o f y o re
,
’ ’
T h e C ae s ar s p ag e ant sh o r n o f B ru t u s bu st ,
’
D id but o f R o m e s be st So n re mind h er m o re 11
.
Be sid e ye llo w T i ber flo wing thro ugh a marb l e wild ern e ss

, ,
lo n e mother o f d e ad e m p i re s th e N i o be of nations th o ugh

, ,
n o l o ng er a s fo r B yr on
, ,
C hildle ss a n d c ro wnle ss in h er v o ic e le ss w o e 12
,
h is v o i ce re mains a udi b l e and e l o que nt T h e .
s anctuary and h o m e
Of ar t and pi ety— P anth e o n— p r id e o f R o m e 1 9 ,
’
is h i s m o nu m e nt a s m uc h a s R affae lle s a nd Vi c to r E m
’
m an ue l s I h ave n ever visit e d th e Fo ru m transfo r m e d
.
,
G E OR G E G OR D ON L OR D B Y R ON , 99
as it no w is f ro m its as pe c t to h i m w itho u t v i ew ing it ,
fi rst thr o ugh his e ye s with its th e n singl e m a nife st brea k

,
in th e all -c on cea ling l eve l

T ully w as n o t s o e lo q ue nt as t h e n ,
T ho u n am e le ss c o l u mn with the buri e d b as e 1‘
In simpl e fea lty still to C hild e H a rold on my fi rst j uve nil e ,
visit I li k e m a ny a n o ther t o urist be g a n b y h u nting o u t

, , , ,
not w itho u t d iffi culty th e ap o cr yp hal a nd no w dis card e d

, ,
stat ue of P om pe y
An dtho u dre ad stat ue y e t e xiste nt in
,
T h e aus te re st f o r m o f n aked m aj esty ,

’
’
T h o u w h o b e h e ld es t mid th e assassi n s din
, ,
A t thy b ath ed b as e th e b lo o dy C aes ar li e ,
F o lding h is ro be in dy in g dignity ,
An o ffer ing t o thin e altar f ro m th e quee n

Of g o ds and m e n g re at Ne m e sis
, did h e di e ,
An d th o u t o o p erish P o mp e y
, , have y e bee n
,
V icto rs o f c o u ntl es s kings o r p u pp e ts o f a sc e n e

,
‘5
Ar c ha e ology m a y ridi c ule enthu siasm o ver th e wro ng re li c s .
It will n ever l a y bare on the App i a n W ay au ght to int ere st

a s a t its e ntran ce
,
a s te r n ro u nd to wer o f o th er d ays ,
F air as a f o rt r e ss with its f enc e o f sto ne

, ,
’
S u ch as an army s b affl ed st re ngth de lays ,
S t an di ng with h alf its b attle m ents alo n e ,
An d with t w o th o us and ye ar s o f i vy g ro w n
T h e g ar land o f e ternity w here wave ,
’
T h e g ree n le ave s o ver all by tim e o e r t h r o w n
W hat w as this to wer o f str e ngth W ithin its c ave
’
Wh at tr eas ure l ay s o lo ck d so hid — ,
’
A wo m an s g rave 1 6 .
—
It is e ntra n ce m e nt rom a n ce histo r y mirac l es of ar t , ,
a n d n a t ure l e tt ers h a te a nd lo ve — th e wh o l e a n ever

, ,
c h a ngi g ever l o ve ly di o ra m a c o nt ri ved as a fram e w o r k

n ,
-
,
G 2
1 00 FI VE CEN TU R I ES OF EN G L I SH VERSE
’ ’
fo r m a n s o n e m a n s e m o ti o ns and a m b itio n s ! I n t hi s
, ,
glo rifi e d g u id e -b oo k w h e th er it l ea d us amidst t e m pe sts

, ,
in w hi c h
every m o u ntain n o w h ath f o und a t o ng ue
An d J ura ans wer s th r o u gh h er m
,
,
i sty sh ro u d ,
Bac k t o th e j o yo u s Alps w h o c all t o h er al o u d

,
1 7
along strea ms dye d by d a y and n i ght c ont e nding

, ,
T h e o d o r o u s p urpl e o f a n ew b o rn r o s e
- 19
’
thro ugh wrec k s of re alms st re wing d rea d a nd lon ely o ce an s
sh ore s p a st p eak s o f A l p s thr oning e t ernity b y a rr o wy ,
sto ri e d r i ver s be sid e b attl e fi elds i nf a mo u s fo r ma rti a l cu t

,
thr o ats o r fam e d fo r st a inl e ss v i c to ri e s li k e M o r at and ,
M o rg ar t e n b y hom e s of
T h e s elf to rt uring S o phist wild R o u ss e au ;
- 19
,
o f V o lt a i re
Histo ri an b ard philo s o ph er c o m b in ed

, , , ,
Wh o m u ltiplie d hims elf am o ng m ank ind

T h e P ro teus o f th e i r t ale nts ; 96
of Gi bb on
S apping a s o le mn c ree d w ith s o le m n sn eer ,
T h e l o r d o f i r o ny 91
a nd o f
T h e st arry G alil e o w ith his w o e s 99
,
’
o r tom b s a s of L aura s l o v er in r ustic Arqua
,
’ ’
W h ere er we t re ad tis h au nt e d h o ly g ro u nd ,
A g a in D on Jua n F a d e d t a w d ry ofte n a s D e Qu in ce y
, , ,
’ ’
j u stly calls all u sions to S o u th e y s a nd C ol eridg e s marri a g e s ,
'
igno b l e 5 Alas ! ye s And th e c ru el w ast e ! R ight e o u s
.
a ng er g ri e f g e n ero sity m a gnani m

, , i ty tho u ght shot o u t
, , ,
up o n a d u stheap W h a t ever in Chi ld e Har old w as pa lt ry ,
ab s ur d u nbec oming c ont e m p ti b l e in c ont e m p t u o u sn e ss

, , ,
is h ere expa nd e d a nd exa gg era t e d T h e w h o l e is fl av o ure d .
to n au s ea with th e t o p sy t urv y th e o r y of mo ra ls th e
- —
re d ee m ab ility o f m a l prac ti ce s by re mo r s e o r b y th e ins ult ,
1 02 FI VE CEN T U R I ES OF EN G LI SH VERSE
Eac h sc en e is e no u gh to h a v e fo u nd e d a repu tation ;

and with a ll th e i r t rans ce nd e nt g r and eur th e t w o do n o t
, ,
stand a lon e All th e si x t ee n C antos a re st u dd e d wi th wit

.
,
a nd eve n wisdom Oft e n it is h ar d to s a y w h e th er it be

.
on e o r th e oth er or b o th W h a t of th e b itt er aft er tast e

,
.
-
of vic e
T h ere is n o ster n er m o ralist th an Pl e a sure 25
’ ’
Wh at of th e s u i c id e s moti ve 2
L e ss f r o m disg u st of lif e th an d re ad of d eath .

26
W ha t of th e g re at lin e at on ce anth e m to g eniu s a nd di rg e

, ,
o ver a nation
’
C ervan te s smil e d S pain s chi val ry away .
”
W hat finally
, , of
G re at S c r ate s
o — And th o u D i vin er still , ,
W h o s e lo t it is b y m an t o be mist ak e n ,
And thy p ure c ree d m ad e s ancti o n o f all ill

R e d ee mi n g w o rlds t o be b y b ig o ts sh aken ,
H o w w a s th y t o il rewar d e d 96
T h e n too it harb o ur s th e no b l e l yr i c
, ,
T h e I sl e s o f G re e c e th e I sl e s o f G ree c e
,
W h ere burning S apph o l o ve d and sung ,
W h ere g rew th e arts o f war and p e ac e ,
W h ere D el o s r o s e a nd Ph o ebu s sp rung

,
E ter n al summ er gilds th e m y e t ,
B ut all e xc e pt th ei r s u n is se t
, , .
T h e m o u ntains l o o k o n M arath o n
A nd M arath o n l o o k s o n th e se a ;
And m u sing th ere a n h o ur al o n e
I d r e amd th a t G ree c e might still be f ree
,
’
F o r st a ndi ng o n th e P er si ans g r ave

’
,
I c o u ld n o t d ee m mys elf a sl ave 9 9
And th e gl e ams of t e nd ern e ss ! P o e t ry off ers f e w mo re

G E OR G E G OR D ON L OR D B Y R ON
, 1 03
delightful p o r traits amo ng its myr iad of gi rlho o d than that

o f th e d a ught er o f
th e milde st man n e r d m an ’
T hat ever sc u ttl ed ship o r c u t a th re at

,
I nno cently guilt y H a id ee

R o u nd h er sh e m ad e a n atm o sph ere o f lif e
T h e very a i r se e md light er f ro m h er eye s
.
’
,
T h ey were s o s o ft and beau tif ul a nd r if e

W ith all we c an i m
,
agin e o f th e ski e s ,
And pure a s P sych e ere sh e g rew a wif e

T o o p ure eve n fo r th e pu re st h u man ti e s
H er o ver po wer ing p re s e nc e m ad e y o u f ee l
I t wo u ld n o t be id o l at ry t o kn ee l 3°
.
~
T h e c hant of th e A ve M aria ! sighs ab o u t th e fig ure s of

th e b oy and gi rl lo vers as if to c ondon e th e i rre gu la rity
,
in the i r w ooing w hi l e
,
a breath c re pt th ro u gh th e r o sy a i r
not
And y e t th e f o re st l eave s se e md st ir r d with p rayer

,
- ’ ’ 31
.
P athos is a s c arce qua lity in D on Ju an It is t o b e .
pri ze d in pro p o rtion w here it is percep ti b l e as in th e ,
in v o c ation of th e Eve ning S tar

’
Wh ate er o u r h o use h o ld g o d s p ro tec t o f d ea r ,
’
Are gat h e r d ro u nd us b y thy l o o k o f re st
’ ’
T h o u bring st th e child t o o to th e mo th er s b re ast
, ,
99
and again in a c lassi c al allusion

Wh e n Nero pe r ish d by th e j u ste st do o m
’
,
Amidst th e ro ar o f li berate d R o m e ,
’
S o m e h ands unsee n st r e w d fl o wer s u po n his to m b 39
.
Is it p athos o r m ere ly an epi gr am

,
And if I lau gh at any m o rtal thing ,
’
Ti s th at I m ay n o t wee p
’
In th e pre s e nt day it is e asy to d ecry B yr on s refl ec tions ,
1 04 FI VE CEN TU R I ES OF EN G L I SH VERSE
his s e ntim e nt as s uperfi c i a l and s ec ond hand W ere th ey

,
- .
o f th e pre s e nt dat e th e y might b e W h e n h e wr ot e h e .
w as a dis c o verer a l ea d er a t e a c h er T h e fi re w hi c h he
, ,
.
k indl e d h a d infl a m e d hi ms elf fi r st H is ch ara ct er o r w hat .

,
h e c hos e sho u ld b e accep t e d as it may b e rea d in every ,
ver s e h e p rint e d Ever y t al e of his ever y s ce n e e v er y

.
, ,
,
—
th o u ght brea th e s a nd has lif e bre ath of hi s lif e — in it
, .
T h ere is a s pl e ndo ur a gai e ty His e go tism may be ridi ,

.
c u lo u s ; h e is not W ith all th e perver sity v anity pre

.
, ,
t e n ce a f eeling eve n of o pe n ai r of f ra n k di rec tn e ss mingl e s

, , ,
.
S h a d e s of a mighty c om p an y of rea l m o urn ers w ho att e nd e d ,
ye arly daily
, ,
T h e p ag e ant o f his b l ee ding h ea rt ,
still bro o d o ver his m e m or y Hu man n atu re lo ve s to .
rec ogni ze a mast er ; a nd it rec ogni ze d him S till aft er .

,
three qu ar t er s o f a ce nt ur y h e c o ntin ue s to re ign if , ,
w ithin n arr o w e d f r onti er s a k ing b y right di vi n e , .
The P o etic al W o rk s o f L o rd B yr o n ( Oxfo rd E diti o n ) Henry F r o wd e .
L o ndo n 1 9 04
, .
1
T he Destructio n o f Sennacheri b ( He b rew Melo dies ) st 2 , . .
9
Od e t o N ap o le o n B u o n apart e ( Occ asi o n al P ie c e s ) st 7 , . .
6
T h e D re am J u l y 1 81 6
, ,
6
She Walk s in Beauty ( He b rew Mel o d ies ) st 1 , . .
6
St anz as fo r Mu sic March 1 81 5 ( Occasio n al Pie ce s ) st 5
, , , . .
6
The C o rsair Cant o iii st 1
, , . .
7
The G i ao ur . The B ride o f Ab yd o s C ant o ii st 1
9
, , . .
9
Childe Haro ld s Pilgrimage C anto i st 3 8
’
, , . .
1 6
I b id C ant o i v st 3
.
, , . .
11
I b id C ant o i v st anz as 57 and 59
.
, , .
19
I b id C ant o i v st 7 9
.
, , I b id C ant o i v st 1 4 6
. .
19
.
, , . .
16
I b id C ant o i v st 1 1 0
.
, , I b id C ant o iv st 87
. .
15
.
, , .
16
I b id C ant o i v st 9 9
.
, , . .
17
Childe Haro ld s P ilgrimage C ant o iii st 9 2
’
, , . .
16
I b id C ant o i v s t 2 8
.
, , I b id C ant o iii st 7 7
. .
19
.
, , . .
96
I b id C ant o iii s t 1 06
.
, , I b id C ant o iii s t 1 07
. .
91
.
, , . .
99
I b id C ant o i v s t 54
.
, , . .
P ERC Y B Y S S H E S H E LL E Y
1 7 9 2— 1 822
TH E fir st and fo re most im pre ssion o f S he ll e y is of a spi rit

o f un re s t — —
tho u gh s o m e thing be side s re stl e ssne ss bro oding
— no h o ver ing s we e p ing—o ver e ver fre sh p l ans fo r ever
, ,
fre sh Creati o ns w hi c h it is to e ngine er We are c o ns c i o u s o f

,
.
a c ontinu al s earc h b y him fo r n e w e l e m e nts w h e n ce to

c o nstruc t n e w He a ve ns and a n e w e arth It is th e Fre n c h .
Revol ution exhaust e d cru she d b y m ain fo rce fo r the

, ,
mom e nt be l o w the s ur f ace p anting pr ot e sting fer m e nting

, , , ,
in a hau ghty E nglish aristo cr ati c n at ure V isi b ly and

,
.
a u di b ly it is rebe llio u s and s c o rnf ul It h a s idea li ze d

.
p a ssi o n erec ting it into a di vin e la w H ither and thither

, .
it ru she s r aising an alt ar w herever f a n c y has a light e d fo r

,
th e inst ant Never with o u t a n idol it t ra m p l e s on wh at

.
,
ever is no l o ng er fo r it a d o rab l e A ll m u st ac kno wl e dg e

.
th e f a s c ination of ea ch fre sh c o n cep tion if only it were ,
per mitt e d to stay long e n o u gh fo r a d a y d re am to rep os e

-
in it T here is a longing to info r m with a b ody e a c h

.
exh a l ation a s it ris e s to c onde ns e the r ain b o w -hue d

vap o ur A l a s th e p ag e ant of f a i r y c a stl e s w hi c h dissol ve
.
into a i r a s w e w ind th e h orn a t the i r g at e s a t l e ngth

di s app oints a nd ti re s We be gin to do ub t w he th er th e y b e
.
mo re th an gossam er s of an inte ll ec t un certain of its e lf .
S hell e y w as a b o rn p o e t w hom n atu re in a fre a k be nt

, ,
a nd w arpe d p er h aps a lso e nr i c he d by the c i rcu msta n ce s

, , ,
o f his tim e p are nt a g e

,
and domi c il e Be ing w h a t th u s h e
, .
w as h e c o u ld not h a ve bee n o th er th a n a p o e t pro fe ss e d

, ,
PERC Y B Y SSHE SHE LL E Y 1 07
and n o thing e ls e He w as e ndo we d w ith f a cultie s in

.
a bund a n ce be side s p o e ti c im a gination His pros e is d e .
lightfu l He might h a ve w on f a m e as a no velist a m e t a

.
,
p hysi c i an a religio u s t e a c her a p oliti c i an A s it w a s

, , .
,
from b oyh o od h e c hos e o r a s d o ub tl e ss he tho u ght w a s , , ,
fo rce d into a so c i a l isol ati o n w hi c h d e ni e d t o his gre at

,
inte llige n ce any other fi xe d fo r m of expre ssion th an p oe try .
Made fo r fri e nds hi p to a dmi re and be admi re d t o be , , ,
a dis c i p l e and h a ve dis c i pl e s he did not t ak e e x c o mmun i

, ,
ca ti o n k indly H e thre w the b l a m e up o n exi sting in st it u

.
tions a feud a l arist o crac y re ligion d e g e ner ate d int o

, ,
fo r m a lism a nd pri e st cr aft st ate sm e n Co urts and Kin gs , , , ,
Hea ve n its e lf Re f us e d an au di e n ce otherwis e h e u ttere d

.
,
hi s ra g e a nd c ont e m p t in vers e T he n arr o w c ir c l e h e .
j oine d in d e fa u lt of a l arg er w a s d eb ar re d b y its o wn

isol ation fro m un pre j u di ce d criti c ism at on ce symp athe ti c ,
and fr an k He hi mse lf h a d too m uc h t o say and fe lt

.
,
t o o ar d e ntly to care to st o p and m e di t a t e

,
Oft e n his .
ran k exuberan ce is o w ing t o the c h a s e of a s ucce ssi o n o f

fugiti ve f an c i e s N o sooner h a s he st art e d one th an a
.
s ec o nd h a s got up and s e t hi s br ain c o ur sing in a fre sh

,
di rec ti o n .
H is be s e tting f ault a s a p o e t is exce ss D e nun c i a tion is .
pur s ue d to s curri lity D e s cri p tions of nat ura l lo ve l in e ss

.
'
l e ngthe n ln t o te di o us l ango ur Vit a l pro b l e ms are dis cus s e d .
,
a t on ce w ith too m uc h s ub tl e ty a nd t o o littl e d ep th ,

.
Re dun d a n c y d a m p s the fir e of Al a sto r T he Revolt o f ,
Isl a m R os a lind a nd He l en Ep i p syc hi di on T h e Wit c h

, , ,
of Atl a s T he M a s que of An arc hy Juli a n and M add a l e It

, ,
.
draws a film o ver T he Se nsiti ve Pl a nt and eve n the be au ty ,
o f A donais Indignation rave s in the gree nn e ss of Q uee n

.
M ab with its un c u ltur e d Hebre w s exulting in o ld

,
’
Sal e m s shame ful glo ri e s a nd ho wl ni g hi d e o u s prai s e s
1 08 FI VE CEN TU R I ES OF EN G LI SH VERSE
to the i r D e mon -God It b l u nts th e e dg e o f the mo re

m atur e s ati re s Sw e llfo o t th e T yrant Ca stl erea gh a nd th e
, , ,
re st Whe n a s freque ntly th e re s e ntm e nt is r ight e o u s

.
, ,
’
in its o rigin its V ir t ue still a s B yr o n s is m arre d by
, , ,
vit uperati o n T h e f ur y of th e fl a m e t urns th e w at er

.
into st ea m H o wever much there is to s a y ho wever

.
,
s u gge sti ve th e t ex t to be exp o unde d th e ina b ility t o kno w ,
w h e n to sto p st ifle s th e e ffec t .
T h e b l e mish e s are n o t s urprising in th e c i rcu mstan ce s .
T here were his s e lf banishm e nt fr om hom e and f a mily

-
,
so c ial ost rac ism exa lt e d vi e ws o f dut y t o Hu m a nity n o t

, ,
in var i ab ly carri e d int o prac ti ce a ferve nt be li e f in th e ,
ex ist e n ce of a c ons p i r a c y o f T o ri e s a nd criti c s t o supp re ss

him and a c om b in a tion of int e ll ec t u al a nd s p i rit ua l per ~
, ,
h aps eve n s o c i a l pr id e w ith p hysi ca l and mo ra l shyn e ss

, .
A dd the gifts in s uc h a m e dl e y insidi o us ly and pecu li arly

,
d ang ero u s o f an i nf a lli b l e s e ns e o f har m o ny in w o rds and

, ,
a va st min e o f f anc y T ak e th e w hol e t o g e ther a nd w e

.
h a ve a c l ue to th e fl aw s o f A l a sto r and its s ucce sso r s and ,
to the i r a s ex tr ao rdin ary beau ti e s als o T h e e nti re rea lm .
o f p o e t r y ca n sho w n o thing so p h e nom e n a l It w a s a st rang e .
u ni vers e par ado x i c ally m o nst ro u s as para d o xi ca lly id ea l

, , ,
’
whi ch s prea d be fo re the p o e t s e ye s T urn e d bac k up on .
hims e lf he h a d fe d up on a nd he ld in ce ss a nt c omm union

, ,
with his o wn imagination

,
H e c o u ld pa int th e most
.
re alisti c o f l ands cape s s ce n e s w e s ee w ith o ur e ye s sh u t

a s o f th e P isan pin e fo re st w h ere ,
th e m u ltitu din o u s
B ill o w s m ur m ur at o u r f ee t
And th e ear th and o c ean m eet ; 1
or of th e E u gan e an Hills in ,
’
th e n o o n o f autu mn s gl o w ; 2
bu t a f an c y li k e his w a s indepe nd e nt o f a c t u al o b s erv ation .

In th e c on cep tion it is a s m uc h a t o rso a s a n ac t ua l ,
c onfe ss e d fra gm e nt li ke the H yperion of Kea ts B u t it is

,
.
c o l o ss a l In its w a ys of tho u ght a nd Styl e it is mo re o ver

.
, ,
’
a n exac t type o f its au tho r s c o mmo n m anner T h e Ce n c i .
be l o ngs t o a di ff ere nt c l a ss a lt o g e ther I t is a t ri u m p h

.
,
in th e c o ldn e ss o f its ho rr o rs o ver th e t e m p t a tion to its

,
crea t o r be ing w h at h e w a s t o bur st a ll the barr i ers of t ragic

, ,
art T h e s p i rit is n o t Ae s c hyl e an ; not S h ak e s pearea n

. .
T h ere is s o m e an a logy to M arlo we only w ith mo re d ep th and

,
fine n e ss of tho u ght A l a s fo r the u glin e ss of the the m e

.
T he p he nom e n o n is th a t w hil e it and th e Pro m e theu s

,
are cur io u sly u nli k e b o th are ab sol ut e ly a nd equa lly

,
repre s e nt ati ve of the i r au tho r in o n e e ss e nti a l re s pec t .
Indepe nd e nt a s many p o e ts are d e ter min e d t o follo w ,
the ir o wn b i a s eve n insol e nt t o th e rea ding w o rld the y h a ve

, ,
a n e ye to it n everthe l e ss ; the y e v ide ntly h a ve w e igh e d

ho w the y c an most cert a inly re nder th e ms e l ve s a udi bl e to
it It w o uld be diffi cu lt t o m atch S he ll e y in th e singl e n e ss
.
of his re g ar d to hims e lf a lon e a s h e writ e s D o ub tl e ss h e .
wo u ld h a ve li ke d t o b e p o pu l ar H e n ever e nde a vo ure d t o

.
attain th at e nd b y c ons u lting pub li c t a st e s He h a s g en era l .
sym pa thi e s not th e sym pathy whi c h is a t pa ins t o c om

’
pre h e nd a di ffere nt p o int of Vi e w from on e s o wn P ara d o x .
a s it s ee ms it is o n e of th e exp lan a tions of th e peculi ar

,
’
S he ll e y cu lt Never w a s th ere a b ody of writings w hi c h

.
’
t o th e i n i ti a t e d is a s urer ind ex o f th e a uth or s mind w hi c h ,
a dmits revere nt st u d e nts e n a mo ure d eve n of d e fec ts to

, ,
mo re intim at e c o mm u nion with it fo r th e ver y rea son th a t

,
it n ever appear s to be l o o ki ng t o o p inion o u tside Ha d .
S he ll e y care d fo r ext ern a l f avo ur h e mi ght h a ve c o rrec t e d

,
d ifi use n e ss in di c tion and o b s cur ity in id ea s h e w o u ld h a ve

h a d a l arger publi c a nd fe wer w o rs hi ppers
,
.
T h e s ere n e u n c o ns c io u sn e ss th a t his rea d ers h a ve the i r

P ERC Y BY SSHE SHE LL E Y 111
li ke s a nd disli ke s w hi c h he might at l ea st t ry t o under

,
st a nd tho u gh witho u t d e ferring t o the m applie s t o a ll his ,
w o rk He take s acc o unt so f ar of so c i e ty a b o u t him a s

.
t o l ec t ure it o n its sho rt c omi ngs He n ever l earne d th a t

.
pity t eac he s ho w to cure T h e apartne ss is the m o r e

.
inste a d of the l e ss pa l pab l e th a t his ins p i ra ti o n c o nst a ntly

u s e s his fe ll o w m e n fo r a t ex t ye t accep ts no light fro m
,
the m U nl e ss fo r a do r ati o n o f whi ch we are n o t all

.
,
capab l e we c ann o t c om e c los e to hi s s p ir it

,
.
Fo rt unat e ly fo r lo ver s of ce l e stial m e lody as we ll a s fo r ,
his f a m e n ature h a d u nite d w ith th e m e t ap hysi c al mysti ca l

, , ,
i c ono c l a sti c e gotist the s wee t e st of instin c ti ve s ing ers .
Su dde nly there w o uld iss ue a gu sh of m usi c ab sol u te ly ,
pu re e there a l ye t with w ar m b lo o d c o ur sing thr o u gh His

, , .
songs a mong the m repre s e nt a ll the beau ti e s p ossi bl e fo r

th e expre ssion of re gre tful l o ng ng b itt er sw ee t
i - the ,
sh arp cu t n ea tn e ss a nd e l e g an ce of a Gree k ep igra m ;

-
myster y pa tho s upbra idi ng s e lf -upbra i di ng Th ere are

, , ,
.
p assion a te ne ss s e lf -re straint

,
Mo ve m e nt c ommonly is
.
there som e time s if very rare ly d an c ing j o y with

, , ,
ca s c ad e s of breez y glo wing im ag e s U nison of wo rds and

,
.
r h ythm n ever f a ils Here are a fe w fl o wers p l uc ke d a s

.
,
the y c am e t o my h and I ha ve not a tte m p te d to arrange

.
the m T he y c o uld not j ar o r c l a sh any mo re th an c o l o urs

.
,
in a be d of ros e s .
He h a s im a gine d a n Indian lo ver s ere n a di ng hi s mist re ss

I aris e f r o m d re ams o f th ee
I n th e fi r st swee t sl ee p o f night ,
W h e n th e winds are breathin g lo w ,
And th e star s are shini ng bright ;

I arise f ro m dre ams o f th ee ,
And a spi r it in my f ee t
H ath l e d m e -w h o k no w s h o w i
To thy ch am ber -wind o w S wee t ! ,
T h e wand er ing ai r s th ey f aint

O n th e d ark th e s il ent st ream
,
’
And t h e C h ampak s o do ur s f ail
Lik e s wee t th o u ghts in a d re am
’
T h e nightingal e s c o mpl aint ,
I t di e s u po n h e r h e a rt
A s I m u st o n thin e ,
O bel o v ed a s th o u ar t
0 lift m e f ro m th e g r ass
I di e ! I f a int ! I f ail !
Let thy l o ve in kis se s r ain
On m y lips a nd ey elids p al e .
My ch eek is c o ld an d w hite al a s
,
My h eart be at s l o u d and f ast

O h p ress i t t o thin e o wn ag ain ,
W h ere i t will break at l a st 4

.
H ere is wrec k ag e fr om th e all -bu t fo rgotte n experim e nt of

a dr am a on C h arl e s th e Fi rst
A wido w b i r d s a te m o urning fo r h er l o v e
U p o n a wintr y b o ugh
T h e f r o z e n wind c re pt o n ab o ve ,
T h e f ree zing stream bel o w .
T h ere wa s n o l e af u po n th e f o re st b are ,
N o fl o wer u po n th e g r o u nd ,
A nd littl e m o ti o n in th e a i r
E xc e pt th e m - ’
i ll w h ee l s s o u nd 9
.
Wh at a s pe ll— —
from old He ll a s is in P a n s p i p ing ’
F r o m th e f o re sts and highlands

W e c o m e we c o m e ;
,
F ro m th e r iver -gi rt isl and s

,
W h ere l o u d wave s are dum b

Liste ning t o m y swee t pi p ings .
T h e wind in th e reeds and th e ru sh e s ,
T h e bee s o n th e bells o f thym e ,
T h e b i r ds o n th e my rtl e bu sh e s ,
T h e cic al e ab o ve in th e lim e ,
1 14 FI VE CEN T U R I ES OF EN GL I SH VERSE
mo re g e nera lly a be tt e d a nd e m b itt ere d b y the im a g e of

, ,
j oys pa st reca lling

R arely , r arely c o m e st th o u ,
S pi r it o f D e light
W h eref o re h a s th o u l eft m e n o w
M any a d ay and night ?
M any a we ary night and d ay
’
Tis sinc e th o u ar t fl e d aw ay .
H ow sh all ever o n e like m e

W in th ee b a ck ag ain
W ith th e j o y o u s and th e f ree
T h o u wilt sc o ff at p ain .
S pi r it f als e th o u h a st f o rg o t
All but th o s e w h o n eed th ee n o t .
I l o ve all th at th o u l o ve st ,
S pi r it o f D elight
T h e f re sh E ar th in n ew l e ave s d re st ,
And th e st arry night

A u t umn evening and th e m o r n
,
W h e n th e g o ld e n mists are b o rn .
I l o ve sn o w and all th e f o r ms
,
Of th e r ad i ant f ro st
I l o ve w ave s and winds a nd st o rms
, , ,
E veryt hing alm o s t

’
Whi ch is Nat ure s and m ay b e ,
’
Untainte d b y m an s misery .
I l o ve L ve— th o u gh h e h a s wings
o ,
And li ke light c an fl ee ,
B u t ab o ve all o th er things ,
S pi r it I l o ve th e e
,
T h o u ar t l o ve and lif e 0 c o m e ,
M ake o nc e m o re m y h e art th y h o m e 6
.
N o t fo rs o oth th at its re t urn to a dying w o rld to hi s w o rs e

, , ,
th an dying s e lf is p ossi bl e or perhap s to b e d e si re d

, , , ,
P ERC Y B Y SSHE SHE LL E Y 1 15
Oh , wo rld o h lif e o h tim e

, ,
O n wh o se l ast ste ps I c lim b

Tre m b ling at th at wh ere I h a d sto o d befo re
W h e n will re turn th e gl o ry o f yo ur p rim e 2 ‘
N o m o re—O n ever m o re !
,
Ou t ofth e d ay and night

A jo y h a s take n fli ght ;
F re sh sp r ing and s u mm er and winter h o ar
, , ,
Mo ve my f aint h ear t with g r i ef bu t with d elight ,
—
N o m o re O n ever m o re
,
9
T he p o wer e ve n to lo ve is l o st to him ; a nd the o n e

ho pe he h a s is th a t his nee d o f p ity m a y be accepte d by the
o b j ec t of hi s s upp li ca tion a s a s ub stit u t e
On e wo r d is t o o o ften p ro fan e d
F o r m e t o p r o f an e it ,
On e f ee ling t o o f als ely disd ain e d

F o r th ee t o disd a in it .
On e h o p e is t o o l ike d e spai r
F o r p ru d e nc e t o sm o th er ,
And pity fro m th ee m o re cl ear

T h a n th a t f ro m an o th er .
I c an gi ve n o t wh at m e n c all l o ve ,
B u t wilt th o u acc e pt n o t
T h e wo r ship th e h e art lif ts abo ve ,
And th e H eavens rej ec t n o t ,
T h e d es ire o f th e m o th fo r th e sta r ,
Of th e night fo r th e m o r r o w ,
T h e d ev o ti o n to s o m e thing af ar
F ro m th e sph ere o f o u r s o rr o w ‘6
T ho u gh w hat right t o expec t anyt h ing in barter fo r a

life l e ss h eart
Wh e n th e lamp is sh attere d
T h e light in th e d u st li e s d e ad .
W h e n th e cl o u d is sca ttered
’
T h e rain b o w s glo ry is sh ed .
H 2
116 FI VE CEN T UR I E S OF EN G LI SH VERSE
W h e n th e l ute is b rok e n ,
S wee t t u n e s are re m e m bere d n o t

W h e n th e li p s h av e spo ken ,
L o ve d a cc e nts are s o o n fo r ge t .
A s m u sic a nd spl e nd o ur
S urvi ve n o t th e l amp and th e l u t e ,
’
T h e h ear t s e ch o e s re nd er
N o s o ng w h e n th e spi r it is m ute
N o s o ng but s ad di r g e s ,
L ik e th e w ind th ro ugh a ru in e d c ell ,
Or th e m o ur nf u l su rg e s
’
T h at r ing th e d ead s ea m an s kn ell 11
.
T h e m ere di c tion h a s e n c h antm e nt in it ; and in th a t

re sp e ct th e s pec im e ns I h a ve o ffere d are ver y f ar fr om
mono p oli z ing th e ch ar ms of the i r c lass M a ny other s are .
th e i r equ als S om e w hi c h are t o o l o ng to be s e t o u t at all

.
,
f ully a s w e ll a s t o o f a mili arly kno wn to n ee d rec alling

, ,
are th e i r s uperio rs M ark th e d azz ling s eri e s o f gl o w ing

.
,
glo r io u s im a g e s d e di ca t e d t o th e S k yl ark T h e w hol e .
is a golde n st a i rca s e up w hi c h the song w inds st ep b y ,
st ep h eave n w ards
,
12
. A s o verw h elmingly from th e wings
of its sist er T h e C lo u d its e lf n ur sling o f the s k y are
,
sh ak e n th e dew s th at waken
T h e s weet b uds every o e n ,
’
W h e n r o c ke d t o re st o n th e i r m o th er s brea st ,
A s sh e danc e s ab o ut th e s u n 13
.
Wh at e ver th e m ’
i nstre l s t e m per of the mom e nt th e m u si c ,
n ever f a ils T he wild we st wind di rg e of the dying year

.
.
,
1 4
‘
a t his in cantati o n bec om e s an o rg an to voi ce his gl o o m .
Whe n th e fit shifts ri ver godde ss e s dan ce and caro l in

,
sym p athy w ith his instant of gai e ty

Gliding and sp r ingin g
S h e we nt ever singing
, ,
1 18 FI VE CEN T UR I ES OF EN G LI SH VERSE
fo r the i r p l ea s ure Fr om fir st to l a st h e has bee n s ee king

.
to e m b ody to int erpre t a Vision a myst er y

,
It h a s , , .
m attere d n o thing to hi mw h e ther th e t ex t were a fl a w in th e

’
U ni ver s e o r a c l o u d in th e We st
,
th e sn app ing of a l u t e s
13
c ho r ds o r the d eath o f A d o n a is ;
,
a n ode to the l ark o r ,
—
a p s a lm on Int e ll ec t ua l Be au ty not th e l e ss profo und that
it is as lo ve ly als o a s
m u sic b y th e nigh t-wind s ent
’
T h r o str ings o f s o m e still instru m ent ,
Or m o o nlight o n a midnigh t stre a m ! 19
Mere o rdin ar y lo ver s o f p o e try must accep t S he ll e y

fo r th a t h e is be c ont e nt th a t h e sings fo r hi ms e lf not ,
fo r the m Happ ily fo r th e m the y cann o t be in hi b ite d

.
from list e ning T ho u gh th e y h ave n o t b o u ght the pri vil e g e

.
b y dis c o vering w isdom in Juli a n and M ad d alo o r b y e ntering ,
into th e inn er m eaning o f Ep i p syc hidi o n at l ea st th e y will ,
u nd erst and the p ossi b iliti e s o f E nglish vers e from th e pe n

o f a m a st er the y w ill b e s e nsi bl e of a rap ture of m e lody .
— ’
A nd there m a y be m re g re at minds and S he ll e y s with
o ,
—
a ll its freak s w as gre at ha ve much t o te ll eve n t o thos e
,
w ho are not th e i r discipl e s .
The P o etic al Work s o f Perc y B yssh e S helley edited by Harr y B uxto n ,
F o r m an F o ur v o ls R eeves an d Turner 1 87 6
. .
, .
1
T o J ane I nv it ati o n t o th e P in e F o re st v v 65—7
, , . .
9
Line s Written am o ng th e E ugan e an Hills v v 286—9 3
, , .
3
The S ensitive P lant Part 1 v v 1 5—1 6 an d Pa rt I I I v v 66—9
, , .
, .
6
T he I ndi an S erenade Charles the Fi rst S c 5
.
6
,
. .
6
Hymn o f P an To .
7
6
S o ng stan z as 1 2 5 6 8
, , A Lament
, , , .
9
.
1 °
To Lines stanz as 1 -2 11
, .
19
T o a Sk y l ar k T he C lo ud v v 5—8
.
13
, . .
Od e t o the W e st W ind Arethus a s t 1 .

16
, . .
1 6
Od e t o Li b ert y Oz ym andi as
.
17
.
16
Ado n ais ( E legy o n the De ath o f J o hn K e ats ) .
1 9
Hymn t o I ntellectu al Beaut y st 3 , . .
J O H N K EAT S
1 7 9 5— 1 8 2 1
E N D Y M I ON s ur pris e d a nd S ho c ke d the lingering o rtho

do xy o f l at e Ge o rgi a n criti c s Its auth or pro vo ke d a s
.
much anim o sity a s Wo rds w o rth and mo re th an Byr on, .
Wo rdswo r th b o re n o re l ati o n to the idols o f the i r yo u th ,
Dr yde n and Po pe . B yr on and Sc ott a ls o a ffec te d to

, ,
revere b o th Revi e w ers sim p ly did n o t und erst and S he ll e y

.
E ndymi o n w a s the wo r st o f rebe ls It h a d b o rro w e d a nd

.
trave stie d myt hs o f the Gree k C l a ssi c s a nd the m e tre o f ,
E nglish M a st ers M a ny rea l f au lts indee d m a y be fo und

.
in it The p lot w ander s and perpe tua lly l o se s its e lf T h e

.
, .
n arrati ve ofte n the d e s cri p ti o ns are proli x a nd te di o u s

, , .
T he dicti o n is tr o ubl e d with strang e wo rds a nd phr a se s .
T h e r hyme t e nds t o l ea d th e s e ns e N o t rare ly the id ea s

.
are thin in c o m paris o n w ith the para d e of the c i rcu m

s t a nc e s m ea nt t o w a it up on th e m Occa sion a lly the pro s a i c
.
w ill o b t r ud e its e lf ; c o tt o n bac king sho wing under ve l ve t

-
p il e B ut the n the golde n aut u mn a l h aze the de lici o us

.
,
un cert a inty w h a t visi o ns of rom a nce wi ll ne xt c o m e a nd

o f ro m a nd int o h app y D re a mland T h e a g e w a s on e of
g
m uddy pert ur bation—strif e s of pe o p l e s ag a inst kings a nd ,
k ings ag ainst pe o p l e s of mo rt a l st ru ggl e s be tw ee n a grar i

,
an i s ma nd f eu d a lism l abo ur a nd cap it a l p o liti ca l ec o no my

, ,
a nd a n o u tw o rn F a ith Im ag in e fo r the fe w be l a te d
.
,
E li zabe th ans the j o y in this pageant of Olym p i an go dd e ss e s

,
h aunting the h appy pa stur e s o f Arca di a n hills

’
It is in truth a n E li zabe th a n p o e t s wo rld Th e E li za .
be th an id ea o f po e t ry brea the s thro u gho u t L a ws of .

1 20 FI VE CEN TU R I ES OF EN G LI SH VERSE
’
p hysi c al natur e are s u s pe nde d Me n r id e on e agl e s w ings
.
,
w al k th e s ea and so j o urn in o ce an c a ve s N o w his per of

,
.
wranglings of st a te sm e n dis c onte nts a nd h ung er of th e

, ,
s ee thing mass e s stir s th e s ere n e solit u d e Fi elds a nd w ood

,
.
l ands are go vern e d by no h u man la w a nd n ee d non e , .
T h e care s a re not of a k ind to be infl a m e d o r lull e d b y

th e lyre of a T yrtaeu s T h e au tho r of E ndymion h a d
.
d runk d eep f r om th e fo unt a ins of S idn e y Spe ns er and , ,
—
Willi a m B ro wn e of S hak e s peare th e sing er of Ve n u s and
A donis of Lucrece and the S onn e ts He h a d l e arnt to
, ,
.
mo ve in a n upper ai r of his o wn a s th e y in th e i rs W h ere

,
.
,
in his mode ls a tin c t ure of a purp o s e had interve n e d

, ,
h e sto ppe d sho rt He w o uld h a ve ab h o rre d to e nlist li ke

.
,
his be lo ve d Spe ns er the Mus e in the s ervi ce of a mo ra l

,
a ll e go r y Fo r hi m p oe tr y w a s no minist er to d u ty a s
.
,
u ndersto o d o u tsid e N o p ainf u l r equ isition of s e lf -de ni a l

.
w as im p os e d up on it b y th e la ws of its be ing E ndymion .

,
with o u t a sting o f th e c ons c i e n ce re mo u lde d for p o e ti c u s e

on He ll e ni c line s eve n might w a ve bac k t o th e s k i e s his
,
drea m m - i st re ss He is not lia b l e to a sh a do w o f repr oa c h fo r

.
w ooing and winning be fo re h e w a s pro perly o ff with th e

,
o ld lo ve a dus k y a nd mo re t a ngi b l e m a t e
,
N o m o re o f d re amin g —N o w ,
W h ere sh all o r dwelli ng be 2

u 1 ‘
Fo r p oe ts in g en era l th e on e ins p ir ing mott o is

A thing o f be auty is a j o y fo r ever ; 9
fo r th e u ni vers e th e e t ern a l l a w
, ,
T h at first in beauty sh o uld be fi r st in migh t 3
a nd fo r hims e lf
B eauty is truth truth be auty—th at is a ll
,
Y e kn o w o n e arth and all y e n ee d t o k n o w

,
4
.
Th e w hol e is immat ure H ad Ke ats li ve d not im p ossi b ly

.
,
1 22 FI VE CEN T U R I ES OF EN G L I SH VERSE
’
a b us e d it l e ss th an in Ke ats s l at er w o rk th e m a in cre dit
, ,
’
I be li eve t o be d ue to th e p o e t s sh o c k a t be ing c onfro nt e d
b y his o wn creati o n flaun t in g in th e br o a d d a y of type
its disheve ll e d and u n aba she d c harms It may a lm o st .
b e s aid th at in no f a mo u s E nglish p oe m is w ant of m e thod ,
m ea s ure pro p o rtion mo re flagr ant th an in E ndymion

, , .
P ost a nd in my o p inion pro p t er E ndymion on th e

, , ,
o th er h a nd no qua lity in th e wr iter is m o re c ons p i cu o u s

,
th an c om p l e t e n e ss o f w o rk m anshi p T h a t st ands o u t fr om .
th e m u ltit u d e of a dmi rab l e pro pe rti e s in th e g a ll er y o f

his m a st erp i ece s A tmos p h ere lights sh a de s pers pec ti ve
.
, , , ,
are a ll in th e i r right p l ace s Im a ginati o n a l w a ys s atisfi e s

.
,
and n ever c loys .
T h e t e m p l e of his p o e t be ing thus r e e d ifie d h e d e di cat e d

- -
, ,
to the g o dde ss Be au ty w ith Me lan c holy fo r her c hi e f

,
minist re ss — d a inty Me l an c ho l y
—
S h e dwells with B eauty B e auty th at m u st di e
And J o y wh o s e h and is ever at his lips
,
B iddi ng adi eu ; and aching Pl e asure nigh ,
Turning t o p o iso n whil e th e bee -m o u th sips ;

Ay in th e ver y te mpl e o f D e li glit
,
’
Yeil d M el anch o ly h a s h er s o v ra n sh rin e ,
T h o u gh s ee n of n o n e s ave him wh o s e stre n u o u s to ng ue

’
C an bur st Jo y s g rap e against his p al ate fin e
H is s o u l sh all t a ste th e s ad n e ss o f h er might ,
And be am o ng h er cl o u dy t ro phi e s h u ng 5
.
We h a ve no right to be astonishe d a t his in c lin ation to

th e pensi ve n e ss the re m o t e n e ss th e s o lit arine ss of so u l
, , ,
which h e inte nds by Me l an c holy Int e ll ec t u ally eve n ,
apart fro m di s ea s e h e w as f r am e d to t a k e littl e int ere st

,
in the wo rld into which h e w as b o rn He tho u ght and fe lt .
hims e lf into a noth er t w o c e ntur i e s e arli er I n th a t w o rld

,
.
its e lf h e tr o ub l e d his f an c y with non e of th e ac ti ve care s and

stru ggl e s Its ver y b o o k s he did not re ad a s a n anti qu ar y
.
J OHN KE A T S 1 23
or st u d ent T he a ir of it w hi c h be bre athe d he had distill e d

.
fo r hi s indi vid ua l u s e Its gar d e n S w hi c h h e pace d h e h a d

.
hims e lf e n c los e d and p l ant e d . Over th e w hol e h e d re w

, ,
—
a n a tmos p here a ve il o f S l u m bero u s ca lm not from Spring ,
but fro m m o re c o m pani o n ab l e Autumn

S eas o n o f mists and m ell o w f ruitfuln e ss
C l o s e b o s o m -f r i end o f th e matur ing s u n ;
C o nspi ring with him h o w t o l o ad and bl e ss
W ith f ru it th e v in e s th at r o u nd th e th atch -e ave s r un
T o be nd with appl e s th e m
’
o ss d c o ttag e t ree s ,
And fill all f ru it with r ip en e ss t o th e c o re .
Wh o h ath n o t s ee n th ee o ft amid thy st o re 2 ‘
S o m etim e s wh o ever s eek s abro ad m ay find

T h ee sitting c arel e ss o n a g ra n ary flo o r ,
T hy h a i r s o ft -lifte d b y th e winn o wing wind

’
Or o n a h alf -r e ap d f urro w s o und asl ee p ,
D ro w se d with th e fum e o f po ppi e s whil e thy h o o k

,
S pare s th e n e xt swath and all its t win e d fl o wer s ;

And s o m etim e li k e a gl ean er th o u do st kee p
S teady thy l ad e n h ead ac ro ss a bro o k
Or by a cid er-p re ss with p ati e nt l o o k
, ,
T h o u w at c h e st th e l ast o o z in gs h o ur s b y h o ur s
, .
W here are th e s o ngs o f S pring 2 Ay wh ere are th ey

‘
T h i nk n o t o f th e m th o u h a st thy m u sic t o o
'
, ,
W hi l e b arred cl o u ds bl o o m th e s o ft -dyi ng day ,
And to u ch th e stubbl e -pl a ins with ro sy h ue ;

T h en in a w ailf ul ch o i r th e sm all gn ats m ou rn
Am o ng th e r i ver s all o w s b o rn e al o ft
,
Or sinking a s th e light wind li ve s o r di e s

And f ull -g ro wn l am b s l o u d b l ea t f ro m hi lly b o urn
H edg e -c ricke ts sing a nd n o w with t rebl e s o ft
T h e red -breast whistl e s f ro m a gard e n -c ro ft ,
And g ath ering swall o w s twitter in th e ski e s 6

.
If mi rth ever fe igns t o ins p ire him it is n o t ea sily ,
distin g uish ab l e from s a dne ss At a ll eve nts it is th a t o f

.
,
the b ygon e pa st a n ec ho fro m

S o uls of p o et s d e ad and g o n e ,
7
rep osing
on E lysi an
l awn s
’
B ro ws e d b y n o n e bu t D i an s f awns
Und ern e ath l arg e b l ue -bells tent e d ,
W h ere th e d aisi e s are r o se -sc ente d

Wh ere th e nigh tingal e d o th sing
N o t a s e ns el e ss t r anc e d thing
, ,
B u t di vin e m el o di o u s t ru th
P hil o so phic n u m ber s sm o o th
T al e s and go lde n histo r i e s
Of h e ave n and i t s m y ster i e s 9
ye t still a t tim e s sighing to on e a nother

W h at E lysi u m h ave we k n o wn ,
H appy fi eld o r m o ssy c av ern ,
C h o ic er th an th e M erm aid T aver n 2 9 ‘
Or it m a y b e mon u m e nt a l g a i e ty ; im prison e d in s cu l p
t u r e d st o n e a mid myrr h -s ce nt e d f un era l a sh e s
,
W h a t l eaf -f r ing e d l eg e nd h au nts ab o ut thy sh ap e

Of d e iti e s o r m o r t als o r o f b o th
, ,
I n Te mp e o r th e d al e s o f A r c ady 2
‘
W h a t m e n o r g o ds are th e s e 2 W h at m aid ens l o ath 2

‘ ‘
W h at m ad p ur su it 2 Wh a t str u ggl e t o e sc ap e 2
‘ ‘
W h a t pip e s and tim brels 2 W h a t wild e cst asy 2

‘ ‘
H ear d m el o di e s are sweet bu t th o s e u nh ear d

,
Are sweet er ; th eref o re y e s o ft pip e s p l ay o n

, ,
N o t t o th e s e nsu al e ar b ut m o re e n d e ar d
’
, , ,
P i p e t o th e spir i t ditti e s o f n o to n e
F ai r y o u th ben eath th e tree s th o u c anst n o t l e ave
, ,
T hy s o ng n o r ever c an th o s e tree s be b are

,
B o ld L o ver n ever n ev er c anst th o u k iss

, , ,
T h u gh win ng n e ar th e g o al y et d o n o t g ri eve
o n i —
,
S h e c ann o t f ad e th o u gh th o u h a st n o t thy b liss

, ,
F o r ever wilt th o u l o ve and sh e be f ai r,
Wh o are th e se c o ming t o th e s ac rific e ?

T o wh a t g ree n alt ar O myst eri o u s p r i e st
, ,
Perh aps th e s elf -s am e s o ng th at f o u nd a path

T h ro ugh th e sad h eart o f R u th wh en sic k fo r h o m e
, , ,
S h e st o o d in te ar s amid th e ali e n c o r n
T h e s a m e th a t o ft -tim e s h ath
Ch ar md
’
m agic e ase me n t s o p e ning o n th e f o am
,
O f p er il o u s s eas in f aery l ands f o r lo rn

, .
F o rl o r n th e very w o r d is like a bell

To t e ll m e b a c k f r o m th ee t o m y s o l e s e lf
A di eu th e f ancy c ann o t ch eat s o well
A s sh e is f am ed t o d o d e c e i ving e lf
, .
A di eu adi eu th y pl ainti ve anth e m f ade s

Past th e n e ar m e ado w s o ver th e still st ream
, ,
’
U p th e hill -sid e and n o w tis bur i e d d ee p
I n th e n e xt v all e y -gl ad e s
Wa s it a v isi o n or a w aking d ream
,
—
Fl e d is th at m u sic d o I wake o r sl ee p 2 11 ‘
Me lan c holy and Be a u ty h and in h a nd ver y m

, ,
— arve ls
B u t I m u st add an o ther m arve l— this a n ex am p l e of c on

—
s u mmat e a rt th e C h ap m an H om er sonn e t
-
’
M u ch h ave I t r av e ll d in th e realms o f go ld ,
And m any g o o dly state s and kingd o ms seen

R o u nd m any we ster n isl ands h a v e I bee n
W hi c h b ar ds in f ealty t o Ap o ll o h o ld .
O ft o f o n e w id e e xpans e h a d I bee n t o ld
’
T h at d eep -bro w d H o m er ru l e d a s his d e m e sn e
Yet di d I n ever breath e i t s p ure s ere n e ,
Till I h ear d C h apm a n sp e ak o u t l o u d and b o ld

T h en f e lt I l i k e s o m e watch er o f th e sk i e s
W h e n a n ew pl an et swims int o his k e n
Or lik e st o u t C o r t e z wh e n with e agl e ey e s
H e stare d at th e P ac ific—and all his m e n
’
Lo o k d at e a ch o th er with a wild s ur mise
S il ent u p o n a p eak in Dari en
,
12
.
H ad K e ats wr itt e n no mo re th a n such a s o nne t and such

o de s h e m u st h a ve ran k e d a mong the highe st in s o ng
, .
He fo u nd tim e h o wever in his bri e f and so re ly t ri e d s pa n

, ,
of life to wo rk on larg er c an v as e s and n ever w itho u t a

,
J OHN KE A T S 1 27
t ri u m p h T he Eve o f S t A gne s Is abe ll a L ami a H yperion

. .
, , , ,
bre athe all fo ur of th e sam e cre ati ve so u l

, ,
E a c h is .
ra di antly distin c t A mong the i r m a ny brilli ant qua liti e s

.
not th e l e ast am az ing is fo r th e pro x imity in the dat e s of

,
th e i r b i rth this a b sol u t e v a ri e ty

, .
Exqu isite n e ss of de t a il al w a ys har moni o u s c har a c t eri ze s

, ,
th e fi rst M any a pa inter c o u ld t e stify not w itho u t a pang

.
, ,
’
ho w pro v o ca ti ve is the p o e t s c h a ll e ng e to w o rk up to the
glo wing fra m e in whi c h h e h a s s e t hi s s wee t Mad e line a nd ,
h o w u n equa l th e c om pe titi o n
’
A c a s e m e nt high a nd t r ipl e -ar ch d th ere wa s ,
All g ar l and e d w ith c arven im ag er i e s

Of f ru i t s a nd fl o wer s a nd bu nch e s o f kn o t-g ra ss
, , ,
And di am o nd e d w ith p an e s o f qu aint d evic e ,
I nnum erab l e o f st ains and splen di d dye s

A s are th e tig er-m o th s d eep -d amask d wings ;
,
’ ’
’
And in th e midst m o ng th o us and h erald r i e s
And t wilight s aint s and dim e mb laz o n in gs
, ,
, ,
’
A shi elde d sc utch eo n b lush d wi th bl o o d o f q ueens and k ings .
F ull o n this c a se m en t sh o n e th e wint ry m o o n ,

’
And th rew war m gu l e s o n M ad elin e s f ai r b rea st ,
’
A s d o wn sh e kn elt fo r h eave n s g rac e and b e e n
R o s e -b l o o m f e ll o n h er h ands t o g eth er p re st , ,
And o n h er silver c r o ss s o ft a m e thyst ,
And o n h er h ai r a gl o r y like a saint

S h e se e md a spl endid ange l n ewly d re st
,
’
, ,
S ave wings fo r h e ave n — P o r phyr o g rew f aint ;

,
S h e k n elt s o pure a thing s o f ree f ro m m o rtal t aint

, , .
S o o n t re m bling in h er s o ft and chilly n e st

, ,
’
I n s o rt o f wakeful swo o n p e r ple x d sh e l ay , ,
Until th e p o ppi e d war mth o f sl ee p o ppr e ss d ’
H er s o o th e d lim b s and s o u l f atigu e d away

,
Fl o wn like a th o u ght until th e m o rr o w-d ay

, ,
’
B lissfully h av e n d b o th f r o m j o y and p a in
Clasp d li ke a m
’
i s sa l wh ere Swa rt P ayn i ms p r ay
Blind e d alike f r o m sunshin e and f ro m r ain ,
A s th o ugh a r o s e sh o uld sh u t and b e a bu d again 19

, .
1 28 FI VE CEN T U R I ES OF EN G L I SH VERSE
Another and w holly di ffere nt not e is struc k wi th very

, , ,
dissimil ar bu t as d e li c at e ly s uita b l e a cc om panim e nts in

, ,
the p it e o us sto r y of Isabella N ot th at a ught is allo we d to

.
’
o b s cure th e c e nt ra l fig ure a lmost the peer of C haucer s
,
Gris e ld a she b o ws to the sto r m of fra t ern a l ve ng e an ce on

her hum bl e lo ver fo rlo rn t e nder un vindi c ti ve and
, , ,
pati e nt excep t fo r th e on e h e ar t p i erc ing cry

,
-
’ ’
fo r c ruel tis s aid sh e
‘
, ,
- ’
To ste al my Basil p o t away f r o m m e 16
.
In L amia on th e other hand it is th e p lot ra ther than

, , ,
th e c i rcu mstan ce s o r th e figure s on which atte ntion is

, ,
c on ce nt r at e d . On th e t a l e mo ve s to its c atast r o p h e ,
myst eri o u s ye t fo re s ee n in evita b l e a u st ere st at e ly li k e

, , , , ,
a great m e dia eval no b l e in ve l ve t and la ce on his w a y

, ,
15
to T o wer H ill .
’
And finally th e p ala ce doo r of Ke ats s s p l e n di d fan c y
,
—
fli e s o pe n fo r th e god H yp er ion— to pa ss w ithin
’ ’
H e e n te r d b ut h e e n t e r d f ull o f w ra th
Hi s fl am i ng r o be s st r e amd o u t bey o nd hi s h eels
,
’
,
And g av e a r o ar a s if o f e ar thly fi re
, ,
T h at s c are d a w ay th e m eek eth ere al H o ur s

And m ad e th e i r do ve -wings tre m b l e O n h e fl are d .
,
F r o m stat ely n ave t o n ave f ro m v ault t o v au lt

, ,
T h r o u gh b o wer s o f f r agr ant and e n wreath e d light ,
And di am o nd -p aved l u st ro u s l o ng ar c ad e s ,
’
U ntil h e r e ach d th e gre at m ain c u p o l a
T h ere stan di ng fi er c e ben eath h e st ampt his fe e t
, , ,
And f ro m th e b a se m ent s d ee p t o th e high t o wer s

’
Jar r d his o wn g o lde n regi o n ; a nd bef o re
T h e qu avering th und er th ereu p o n h a d c eas e d ,
His v o ic e l eapt o u t d e spite o f g o dli ke c urb

, ,
To this re sult O d re ams o f day and night

O m o nst ro u s f o rms O e ffigie s o f p ain
O s p e c t re s bu sy in a c o ld c o ld gl o o m ,
’
O l ank -ear d P h anto ms o f b l ack -wee d e d p o o ls
P r i e sts of M e lan c holy F a n e s of th e Mu s e s o u ght to b e veri

.
ta b l e P anth e ons w ith r oom fo r shr in e s of a ll th e G ra c e s

,
and V irt ue s T e nd ern e ss L o v ing k indn e ss Her oism Faith

.
, , , ,
a nd inno ce nt Jo y h a v e a r ight to m ak e th e i r hom e th ere ;

and a Chape l sho u ld be c ons ecr at e d to S orr o w N ot a ll in .
’
Ke ats s id e al lo velin e ss is re al T h e st ur dy freque nt er s .
of th e Mer maid might h a v e mo c k e d at som e of th e c l a ssi c

fo rms r ising fr om hi s p en S o m e thing in th e lands c ape is
.
s cen e -p ainting Ru d e b ot a nists w o u ld s c off at th e fai r y

.
fore sts a nd gar d e n land of th e ex il ed T it a ns

- N o l ark .
’
c ar ols h ere wi th th e fre shn e ss o f th e A yr shire p l o u ghman s .
T h e Mu s e is b idd e n to k eep c om pa ny w ith scu lp ture d

fu n er al ur ns and th e d u st th ere in ins t e ad of k indling ,
li v ing h earts .
B u t I repe nt Le t m e be fo rgi ve n fo r ha v ing bee n

.
t e mp t e d to dw ell on a som bre t ru ism which aft er a ll is , , ,
o nly a h a lf -t ru th S id e b y sid e w ith it stands as I gladly

.
,
a c kno wl e dg e anoth er that g e ni us h a s manifold p has e s

, , .
On e p o e t no w and th e n may be s p are d f ro m th e d ull

ha u nts of m e n to r oam e n c hant e d and e n c hanting thr o u gh
, ,
moonlit fo rest glad e s It is good to be re mind e d fr om

.
tim e to tim e th a t th e d u ty of p o e t r y is not to s e w an d

s p in th a t its fir st o b ligation to be f u lfill e d on p ain of be ing
,
not p o et r y a t all is to b e beautif u l a s a lily of th e fi eld

, .
Ke ats w as b o r n in a n a g e of bru t e militar y fo rce Hu mani ty .
had bee n vulga ri ze d b y p oliti c al p ani c o r am b ition Id e as .
with no mon e y o r p hysi c al p o w er in th e m w ere d e s p is e d .
His nat ure revolt e d in disgust In d efian ce h e s e t up th e .
im ag e of B e a u ty to be w o r shi ppe d A t l ea st th e s ervi ce .
carr i e d m e n o u tsid e th eir o wn p oo r s e l ve s it fas c in a t e d ,
an d re fin e d . W h o old or yo u ng c an rec all th e fir st

, ,
r evelation to hi mof T h e Eve of S t Agn e s th e N ightingal e .

,
Od e H yp er ion witho u t f ee ling h o w w hil e h e re ad a n

, , , ,
J OHN KE A T S 131
o ce an s ee m e d t o r oll be fo re hi s e ye s as th e Iliad a n e w , ,
p lan e t s w am into th e k e n of John Ke ats

,
The P o etic al Work s o f J o hn K eats with a Memo i r by R ich ar d

Mo nck t o n Milne s N e w E diti o n E Mo x o n 1 854
. . .
, .
1
E ndymi o n B o o k I V
, . I b id B o o k I 9
.
, .
6
Hyperio n . Od e o n a G reci an U r n s t 5
6
, . .
6
Od e o n Melanch o l y . T o Autumn 6
.
7
Lines o n the Mermaid Tavern .Od e 6
.
Lines on the Merma id Tavern .
16
Od e o n a G re cian U r n st anz as l 2 4
, , , .
1‘
Od e t o a N ightingale stan z as 1 6 7 8
, , , , .
On Fi rst Lo o k ing int o C hapm an s Ho mer

19 ’
.
16
The E v e o f S t Agnes stanzas 24 25 27
.
, , , .
16
I s abell a o r T h e P e t o f B asil st 6 2
, , . .
16
Lamia . Hyperio n B o o k I
16
. .
C H A R LE S W O LF E
1 7 9 1 — 1 82 3
’
I H A D d o ub t e d w h e th er t o a ssign a p la ce t o W o lf e s
p o e ms rath er than t o him Finally I d ec id e d th a t his
.
,
n a ture w a s t o o much of a p o e m fo r his w o rk n o t t o b e

c l a ss e d b y his per sona lity In his s c h o o l b oy d a ys a t
.
Win c h e st er h e w as a p o e t H is lin e s on th e r aising o f

.
La z ar us S h o w distin c t p o e ti c insight T h e i r not e is th e

.
‘ ’
f ee ling of Je s u s fo r oth er s g r i e f
’
H e kn ew wh at p ains m u st pi er c e a sist er s h e art 1
.
It is th e sam e w ith his p r i z e p o e m on th e D e ath o f A be l

N o r c o u ld his lips a d ee p -d r awn sigh re stra in ,
’ — ’
N o t fo r hims e lf h e s igh d h e sigh d fo r C ain 2
.
Thro ugh o ut a br illi a nt c areer a t T rinity D ub lin it w as a s, ,
a p o et th a t h e w a s p ar ti cu l arly rec ogni ze d A n old a i r .
c o uld not so u nd in his ear s w itho u t hast e ning to e m b ody

its elf in m elodio u s v ers e H is f e w songs th e p o e m its elf
.
,
by whi c h h e is immo r t ali ze d w ere e motions t r ansl a t e d

,
inst a ntly into lang u ag e H is b i o gra ph er w h o c annot b e

.
,
a ccu s e d of p o eti ca l e nth u si a sm d e s cr i be s th e e ffec t of m u si c

,
up o n his imagin a ti o n : h e f e lt all its p o e t ry ; it t r ans

’
p o r t e d him . T h e s a m e fr i end rec oll ec ts ho w c ap ti va t e d ,
by a nation a l Span i sh air V i va e 1 Re y F er nando h e c om

me n c e d singing it o ver and o ver ag ain u ntil h e pr oduce d
, ,
a n E nglish song admi r a b ly s u it e d to th e t u n e H e had

m u si c in his h ear t .
T h ere a ft er th e c los e of his Coll e g e c areer it stay e d

, , ,
to b e m e as ure d l e ss by y e ar s th a n by months o r w eek s

, ,
perhap s by d a ys a nd ho ur s T h e a c t u al bulk of h is e n t ir e
.
‘
p o e ti c al pr od uc tion is s c ant y ind ee d A p art from s c hool

.
m
and c oll eg e exerc is e s it c onsists of half a do ze n s o ngs
,
.
.
Sever al a re pre tt y a nd gr a cef ul Y e t on th e i r o wn er its

.
, ,
I c o uld not c laim that th e y w o u ld ha ve s urv i ve d eve n

’
th eir a utho r s br i e f ex is te n ce W hat th en re m a ins
.
2 Why ,
besid e rath er than a mong th e m e agre re st j u st tw o of

, , ,
th e lo veli e st flo w er s in th e gar d e n of E nglish vers e

Th e e ntire An -
glo S a x on w o rld is f a milia r w ith th e p o e m
on th e B urial o f S ir John M oo re If I giv e it h ere in f ull
.
,
it c hi e fly is fo r c on ve ni en ce of c om p arison w ith anoth er

p i ece b y W olfe as admir ab l e in a diff erent w ay
Not a d ru m wa s h ear d n o t a f u n eral n o t e

,
A s his c o r se t o th e r ampart w e h urr i e d

N o t a s o ldi er disch ar g e d his f arewe ll sh o t
’
O e r th e g r ave wh ere o u r h e r e we b u r i e d .
W e bur i e d him d arkly at d e ad o f nigh t ,
T h e s o ds with o ur b ayo n e ts t ur ning ,

’
B y th e stru ggling m o o n bea m s misty ligh t
And th e l anter n di mly b u r ning .
No u sel e ss c o fli n e ncl o se d his brea st ,
N o t in sh eet o r in sh ro ud we w o u nd him
B u t h e l ay li ke a w arr i o r tak ing his re st
W ith his m arti al clo ak aro und h im .
F ew and sh o r t were th e p ray er s we s aid ,
And we spo ke n o t a w o r d o f s o rr o w
B ut we ste adf a stly g az e d o n th e f a c e th at w a s d e ad ,
And we b itterly th o ught o f th e m o r ro w .
’
W e th o u ght a s we h o llo w d his n arro w b e d
And Sm o o th e d d o wn his l o n ely pill o w ,
’
Th at th e fo e and th e st rang er w o u ld t rea d o e r his head ,
And we f ar away o n th e b ill o w

CH A R L ES W OL F E 135
’ ’
’
Lightly th ey ll t alk o f th e spi r it th at S go n e ,
’
An d o e r his c o ld a sh e s u p b ra id him
’
B u t littl e h e ll re ck if th ey l e t him sl ee p o n
I n th e g rav e wh ere a B rit o n h as laid him .
B ut h alf o f o u r h eavy task wa s do n e

W h e n th e cl o c k st ru c k th e h o ur fo r re ti r ing
And we h ear d th e dis t ant and r and o mgu n
T h at th e fe e wa s su ll e nly fi ring .
S l o wly and s adly we l aid him d o wn ,
F ro m th e fi eld o f hi s f a m e f re sh and go ry ;
W e c arved n o t a lin e and we r ais e d n o t a sto n e
,
B u t we l e ft him al o n e with his gl o ry ! 4
T h e w hol e had flash e d o u t of a c as u al glan ce at a flin t y

p ar agr ap h in a s uper ann ua t e d n u mber of th e E din burgh
Ann ua l Re gist er B y ron wh o s e symp ath e ti c e ye s it fir st
.
,
-
c au ght thr o ugh no s e lf ad vert ising b y th e a utho r a cc o un t ed
, ,
it littl e in f er io r to th e b e st whi c h th e pre s ent pr oli fic age

had br o u ght fo r th —
T h e thir d stanz a in p ar ti cu la r th e ,
s ec ond c o upl et —d r ew fro m him th e exc lamation P erf ec t ,
T h e u npre m edit at e d ar t its elf is exce ll e nt Ob s erve fo r .

,
exa m pl e ho w th e s eve nth stanz a la b o ur s in instin c ti ve

,
sym p athy with th e bur d e n In a b s o l ut en e s s of p i c to r ial

.
e ff ec t th e p o e m has f e w equ als in its ki nd n o s uperio r , .
T h e prec is e c o rre s po nd e n ce of th e d e tails w ith th e pr o s e

n arra ti ve w hi c h h a s bee n u rg e d in d epr ec iation in f ac t
, ,
’
g re atly e nhan ce s th e m er it W olf e s ver
. sion is id enti c al
with its s o urce excep t th a t a so u l h a s bee n add e d
, .
In th e lin e s T o M ar y th e pr o ce ss is aft er a mann er , ,
revers e d . Wolf e fo u nd an air of m elan c holy be a u t y ,
G r am ac h r e e d efo r m e d by a li en c ommonp la ce w o rds He

, , .
ga ve it b a c k its pro per signifi c an ce In ton e and c ha r a c t er

.
th e song w hil e mat c hing th e B urial o f Sir John Moo re in

,
l o velin e ss is it will I think be rec o gni zed so g e n era ll y

, , , , ,
’
distin c t as to indi c at e that in Wo lfe s p o e ti ca l career th e
, ,
p h e nom e non th e a cc id e nt is not his a u tho r shi p of a c o upl e

, ,
of par agons of m elody bu t his omission to add a s c o re of

,
equ al marve ls
If I h ad th o ught th o u c o u ldst h ave di ed ,
I migh t n o t wee p fo r th ee
B u t I f o rg o t w h e n a t thy sid e
, ,
T h a t th o u c o u ldst m o r tal be ;
I t n ever th r o u gh my mind h a d p a st
’ ’
Th e tim e w o uld e er be o e r ,
And I o n th ee sh o u ld l o o k my l a st
And th o u sh o uldst s il e n o m o re m ,
And still u po n th at fac e I l o o k ,

’
And think t will smil e ag ain ;
And still th e th o u ght I will n o t bro o k ,
T h at I m u st l o o k in v a in
B u t w h en I sp eak— th o u d o st n o t s ay ,
’ ’
W h at th o u n e er le ft st u nsaid
And n o w I f eel a s well I m ay
, ,
S weet M ary th o u art d e ad .
’
I f th o uwo uldst st ay e e n a s th o u art , ,
All c o ld and all s eren e

I still might p re ss thy sil e nt h e art ,
And wh ere th y smil e s h ave been

’
W hil e e e n thy chill b l eak c o r s e I h av e
T h o u se e me st still min e o wn
, ,
B u t th ere— I l ay th ee in thy g rave

And I amn o w al o n e
,
’
I do think wh ere er th o u art
not , ,
T h o u h a st f o rgo tt en m e
And I p erh aps m ay s o o th e this h e ar t
, ,
I n thi n k ing t o o o f th ee ;
, ,
Y e t th ere wa s ro und th ee su ch a d awn

,
’
Of ligh t n e er see n bef o re ,
A s f ancy n ever c o uld h av e d rawn ,
And n ever c an re sto re 6

H E N RY H A R T M I L MA N
1 79 1 —1 8 68
I R E M E M B E R to h a v e h e a r d fr om per sons old w h e n eve n

’
I w a s yo u ng th a t th e s e nsati o n stirre d by Milman s sa cre d
,
d ra m a s w as c ompar a b l e with th a t w hi c h att e nd e d th e

a pp earanc e of a n e w p o e m b y B yr on He w as h a il e d as .
a li ving pr oof of th e c om pa ti bili ty of p o e ti c g e ni u s with

religion b y th e o r thodo x w ho w ere soon to b an him a s
a s c hismati c T h e en thu si a sm s ub sid e d soon er than th e
.
hostility It perhap s th e y had a solid fo u ndation in th e

.
, ,
f a ct o f th e gre at br ain and brave h ear t of th e i r o b j ec t H e .
n ever wr ot e wh e th er vers e or hi sto r y w itho u t th e

, , ,
prom p tings of d eep tho u ght and a strong d r amati c instin c t .
From yo u th up w ar ds h e p oss e ss e d a nd di sp laye d tast e ,
f a n c y a fin e e ar thir st fo r k no wl e dg e and a re sol u t e c om

, , ,
b at iv e n e s s .
H e l eap t into fam e with his Ne w d igate pr i ze fo r th e

Ap ollo B e lvi d ere S om e of th e lin e s are n ever lik e ly to
.
be fo rgott e n fo r instan ce
H ear d y e th e arr o w hu rtl e in th e sk y
’
H e ar d y e th e d rago n m o nst er s d eathf ul c ry 2 ‘
I n s ettl e d m aj e sty o f fi er c e disd ain ,
Pro u d o f his might y e t sco rnf u l o f th e sl ain

, ,
The h e av
’
n l —
y A r ch er stands n o h u m an b i r th ,
N o p er ish ab l e d e niz e n o f e ar th
Yo u th b l o o ms imm o r t al in his be ardl e ss f ac e ,
A G o d in st rength wi th m o re th an g o dli ke g rac e ;

,
,
—
All all divi n e n o st ru ggling m u scl e gl o ws ,
T h ro u gh h eavi ng v e in n o m antling life -b l o o d fl o w s ,
B u t anim at e with d e ity al o n e ,
I n d e athl e ss gl o r y li ve s th e bre athing st o n e .

HENR Y H A R T M I LMAN 1 39
B eaute o u s a s V isi o n s ee n in dr e amy sl ee p

’
By h o ly m aid o n D elphi s h aunte d stee p ,
Mid th e dim twi light o f th e l aurel gr o ve ,
T o o f a i r t o w o r ship t o o di v in e t o l o ve
,
1
.
B u t th e w hol e br i e f p o e m excep ting th e c on c l u si o n w ith its

si ck l y s e ntim e ntalit y is a lmost fau ltl e ss T h e Jud i c iu m
,
.
,
Reg a l e c om p os ed in anti c i pa tion of th e v isit of th e A lli e d

,
S o vere igns t o E ngland follo w e d Its r h e to r i c appr oa c h e s

, .
g r and eur notwithstanding that it also h a s its fla w in a n

,
u ng e n er o u s vindi c ti ve n e ss to w ar ds a f alle n fo e Al re ady .
h e v ir tu all y h a d c omp l e t ed Sam or L o r d of th e B r ight

,
Cit y c omm en ce d w h e n h e w a s a lad at E ton T h e e pic

,
.
a b o u nds in vi vid d r amati c sit u ations fo r ex am p l e th e ,
sono r o u s na rr ati ve of King Ar gan t y r s s urre nd er to Sam

,
’
or .
Its w e akn e ss is a j uven il e in c lination to r ioting in ho rr o r s .
An instan ce by no m e ans excep tional is th e sa cr ifice b y

, ,
’
Caswallo n s Sa v ag e am b ition to th e Gods of Va lhalla of
hi s o n ly d au gh t er H e h a d l eft h er to gr o w up as a wi ld
.
’
flo wer by D e r we n t s b l ue l ak e
’
Like a f o r go tte n l u t e play d o n al o n e
,
B y ch anc e c are ssing ai r s

- 2
.
Th e gr ot e s que ex t r a v agan ce s th e ms e l ve s ho w ever t e stify , ,
to p o w er T h e w hol e in its pr odig a l expe nditure of e ffec ts

.
, ,
l urid s p lash es of c olo ur on acre s of ca n v as a nd a u da c io u s ,
d e fian c e s o f hi sto r y might w e ll h a v e b ee n mat er ial fo r th e

,
gro wth o f a mighty p o e t ,

.
Fr o m th e s a m e so urce iss ue d in fa c t be sid e s a c are fu l

, , ,
.
bu t littl e re ad t ra nslation fr om th e S ans crit t w o s ecul ar

, ,
and three re ligio u s p l a ys and th e n in p l ace of th e ,
p o e t a p hiloso p hi c histo r ian Of th e p l a ys F azio is a p i ece

, .
,
fo r th e stag e a nd a cc omplish ed a c t o r s ha ve a c k no wl e dg e d
its m er its a s s uc h T h e s acre d p i ece s tho u gh in dr a m a ti c
.
,
fo r m are e ss e ntially p o e ms and as s uc h t o be j u dg e d

, , .
1 40 F I V E CEN T UR I ES OF ENG LI SH VERSE
Th ey h ave u nd e rg one t h e proper r e fin in g fr om t h e noisiness ,
th e viol e nc e t h e absurdities of th e boyis h epic

,
Half .
a cent ury a g o th e readin g public admired t h e a w e th e pity , ,
of T i t us meditatin g at t h e h ead of h is army over doomed

, ,
J erusal e m
H o w b oldly do th i t f r on t u s h o w maj e s t i c ally
Li k e a l u xur iou s vin e yar d t h e h ill -sid e
,
’
I s hun g wi th mar b l e fab r i c s lin e o e r lin e
,
Wh il e o ve r all han g s t h e r i c h pur pl e e v e ,
A s c ons c iou s of i t s b e in g h e r la s t far e we ll

Of li ght and g lo r y t o that fate d c i ty .
And a s o u r c louds of battle du s t and smo ke

Ar e m
,
e lt e d in t o a ir b e h old t h e T e m p l e
‘
, ,
’
I n u n di st u r b d and lon e s e r e ni ty
Findi n g i t se lf a sole mn san c tuar y
I n t h e pr ofound of h e ave n
B y H e r cul e s t h e si ght mi ght almos t win
’3
Th e off e nd e d m a j e s ty of R om e t o m e r c y .
I t was moved by th e prayer a demand—o i defian t Hebrew

—
maidens t o Je h ova h t o repeat a g ains t insolen t Rome His
j ud g ement upon E gyp t and h er furio u s Kin g
f r om out H is c loud
Th e L o r d ,
’
Th e Lo r d lo o k d do wn u p on t h e p r ou d
And t h e h os t d r av e h e avily
D o wn t h e d e e p b osom of t h e se a .
W i th a qui c k and sudd e n swe ll

P r on e t h e li quid r am par t s f e ll ;
O v e r h or se and o v e r c ar
, ,
O v e r e v e r y man of war ,
’
O v e r Ph ar ao h s c r o wn of g old ,
’
Th e lou d thu nd e r in g b illo w s r o ll d .
A s t h e l e ve l wate r s s p r e ad ,
D own th e y san k th e y san k li k e l e ad

, ,
D ow n w i th out a c r y o r g r oan .
And t h e mor nin g sun that s h on e

1 42 F I VE CEN T UR I ES OF ENG LI SH VERSE
H e — t is H e , t h e S on of Ma n
’ ’
T is app e ar in g
At t h e r i ght hand of On e
dar kn e ss of wh os e thr on e
Th e
That sun -e y e d se r aph H os t b e h old w i th aw e and fe ar in g .
’
O e r h im t h e r ain b o w s pr in g s ,
And s pr e ads i t s e m e r ald w in g s ,

’
D o wn t o t h e gla ssy sea h is lof ti e s t se at o e r ar ch in g
m
.
H ar k— thunde r s f r om h is thr on e lik e s te e l -c lad ar mi e s ar c h in g

,
T h e C h r is t t h e C h r is t c ommands u s t o h is h om e
J e su s R e d e e me r Lo r d w e c om e w e c om e we c om e
, , , ,
6
,
I t w as r e co g niz e d as a t ouc h of g e n ius wh en th e beau t e ous

martyr in t h e V er y ecs t asy of visibl e accep t ance w i th in t h e
,
cel e s t ial h alls manoeuvr es to spar e h er a g ed h ea th en fa th er

,
’
t h e a g ony of seeing h is dau ght er s blood
A qui c k and su dd e n c r y
Of Galli a s and a par t in g in t h e thr on g
,
P r o claimd h e r f ath e r s c omin g

’ ’
Fo r th sh e s p r an g
.
’ ’
And clasp d t h e f r ow nin g h e adsman s k n e e s an d said
I do b e se e c h th e e slay me fi r s t and qui c kly
,
,
’
T is that my fath e r m ay no t se e my d e ath 7
I nspiration ind e ed I for one s t ill feel anim

, , a t es th e (
e n t ire substance of th e pair of tra g e dies wh ic h h ave f ur
n is h e d me wit h my examples A public sa t isfied t o kno w .
Mi lman from an occasio n al fra g men t used as a h ymn lik e ,
t h e famous funeral an th e m
B r o the r th ou ar t g on e b e fo r e u s and th y sain tly soul is fl ow n
, ,
—
.
Wh e r e t e ar s ar e wi p e d fr om e v e r y e y e and so r r ow is un kno wn
,
8
misses a lar g e par t of t h e e n j oymen t incident t o suc h verse

itself wh en co n sid e r e d amidst i t s proper cir cumstances as
, ,
a plant in i t s native soil .
I f t h e th ird drama B e ls h azza r is less fine l n t ex t ur e and

, , ,
t h e m e lody t h e pa th os ar e mor e of s t a g e properties and

, , ,
l e ss eviden tly spo n taneous I att r ibute t h e decline main ly

,
t o th e sub j e ct Th e cen tre t h e pivo t of th e poem w as

.
, ,
HENR Y H A R T M I LM AN 1 43
necessarily th e wri t in g on t h e P alace w all and wit h th a t -
th e romance of th e J ewis h maiden B e ni na h as no direct , ,
connexion Th ey move alon g diff erent lines whi c h only

.
,
casually int ersec t No th in g could be more manifes tly

.
fo r ced t h an t h e final groupin g of th e mon arc h h is mo th e r

and th e Hebrew fam
, ,
i ly W h en th e Prop h et decip h ers t h e

.
blazoned sent ence h o w glaring a g ain t h e descen t of th e

,
poem belo w t h e lev el of th e B iblical narra t ive Y e t h ere

t oo t h e aut h ors h ip is int ernally capable of ident ifica t ion
’
wi th t h a t of th e e arlier dramas Th e Je wis h g irl s soli loquy
.
on th e summi t of t h e t ower of B e l is full of melanc h oly

’
h armony B els h azzar s accomplis h m e n t of h is pledg e t o
.
th e h e rald of his doom is mar k ed by a S plendi d ma g

n an i mi t y
G o —l e ad t h e
’
H e b r e w fo r th ar r ay d
,
I n t h e pr oud r o b e le t all t h e c i ty hail

,
’
Th e h o n o u r d of B e lsha zz ar 9
.
W e ca t c h th e t rue royal rin g bo th in th a t and in th e falle n

’
monarc h s farewell t o empir e and life .
’
Some e lement I am conscious is want in g to lif t Milman s
, ,
v e rse bac k to t h e ran k whi c h muc h in it s t ill c h allen g es .
Th e w h ole glows bu t lik e th e sun in a mist W e miss t h e

, .
r ays whi c h s h ould g lanc e h it h er and t hi th er t h e sp o n t a

neo n s r efl ections bac k from t h e minds of t h e readers and ,
’
from wi t hin th e poetr y i t self Th e wri t er s th emes are in
.
t h e mselve s exal ted and noble He w as equipped by nat ure

.
and education t o develop th eir lofty qualities Ou t of h is .
materials b e construc t ed in two cases a t leas t beau tif ul

, ,
e difices .Ye t w e are sensible throu gh ou t of a radical w ant .
He r e and th er e i t is supplied ; bu t in g eneral w e do not

’
feel t h a t to th e s ki lful b uilder s ar t and to a certain fiery,
apprecia tion of t h e quali t ies of th e si t ua t ion t h e aut h or ,
was in t h e h abi t of addin g somet hin g of his o w n soul He .

1 44 F I VE C EN T UR I ES OF ENG LI SH VERSE
does not li k e th e grea t sing ers pr oduce upon me a t all

, ,
e vents t h e impression of h avin g pass e d t h e cons t i t uen t s of
h is poe try throu gh h is inner na t ure and h avin g set th em in ,
t h eir places brea th ing of i t A perceptibl e mono t ony in h is

.
strains tells t h e same t al e H e s tri k es a single k ey con

.
t in u ally th ou gh one of dig ni t y and po w e r

,
A predestined .
po e t may prefer a particular note h e will g ive sig ns th a t

h e h as many a t h is disposal W i th all th eir feebleness Th e
Hours of I dleness indica t ed more pro m
.
,
i se th an th e ma gni
fic e n t Lord of th e B ri ght C i t y Nevert h eless i t mi ght .
,
h ave b een ant icipa t ed t h a t wh a t ever th e s h ort comin g s of

,
Sam or
,
a t any ra t e th e sacred dramas would pr ac tically
obli g e th eir aut h or t o be a poe t still Th e poe t ic void .
af te r t h em unl e ss for a fe w h ymns and transla t ions

, ,
durin g two th irds of a lifet im e in fl ic t s a s h oc k as a t

-
a sudden dark ness I can only surmise a ment al r e

.
volu t ion .
A si m i lar spirit u al c h ang e dried up o r sealed th e foun , ,
t ains of son g i n tw o o th er modern sin g ers a senior and

, ,
a j unior far more su b tle and of wider compass if no t of a

, , ,
strong er int ellig ence B o th early in mid dle life t urned

.
, ,
fr om cons truction t o analysis Th e crit ical facult y in .
Coleridg e t oo k th e s h ape of th eolo g ical metap h ysics I n .
Mat th e w Arnold i t w as a ra g e for th e clearance of rubbis h ;

for t h e bus iness t o be unders tood in a hi gh ly compli
,
ment ary sense of a moral and lit erary dus t -des tructor
, .
I t became in M ilm an i n q u ir y int o th e bases of ecclesias t ical
his t ory Throu gh ou t t hi s second s t ag e of hi s in t ellec t ual

.
developmen t h e did g ood e ven gre a t w ork Th ere w as , , .
c rea t ion as w ell as demoli t ion He pulled do wn t h a t h e

might build up Ye t some will regret wit h me for th e sak e
.
.
,
bo th of poet ry and of his fame t h a t th e mortar of t h e

, ,
fo undations h e renew ed h ad t o be mixed w i th th e life -blood

J O H N K EB LE
1 7 9 2— 1 8 66
CA NON A IN G ER an admirable cri t ic once comment ed

, ,
t o me on th e claim of th e writ er of a popular h ymn t o

respec t as a poe t : You k no w t h e s t andard of p oet ic ,
’
meri t in h ymns is no t hi gh I s i t necessary to plead for
.
saint ly K e b le s po e t ic t itle as i t w ere i n fo r m

’
, a p a up e r i s ? ,
He wrote indeed o th er verse some of it of w orth ; for

, , ,
exampl e a deligh tful appeal of wild fl o w er s t o th e lord o f

,
t h e manor t o spare from his hi gh farmin g

S hady s p o t s and nook s wh e r e w e ,
Y e t m ay fl our ish s af e and f r e e l

, .
B u t as a wh ole it is inconsiderable and by h is h ymns h e

, ,
mus t vi r t ually be j udg ed W i th ou t g oin g th erefore ou t side

.
,
Th e C hris t ian Year and Lyra I n n o c e n t ium I am glad for

,
my o wn sak e t o be able fr om th em t o ans wer my qu es t ion

limit ed as i t is — in th e neg a t ive I find g en uine poetic
, .
sensibility in a fair propor t ion of t h eir con t ent s T ender .
ness sympat h y j udg ement and delicacy aspira t ions aft er

, , , ,
t h e noble and sublime are th ere Every wh ere I observe

, .
a feelin g fo r beauty a sincere lon g in g t o u nders t and and

,
int erpre t Na t ure .
Every one h as fel t th e s w eet ness of some five or six s t anzas

of th e Evenin g Hy mn in Th e C hris t ian Y ear Occasional
Th ou ght s on c hi ldren s t roubles in th e Lyra I n n o ce n t iu m
.
almos t ma t c h th em
2
W ith equ al int uit ion and a ff ec t ion
.
at e n e ss Keble dr a w s h appy lessons from sic kness t h e ,

’
h e art s self -do ub ting s mo urnin g an d death At t imes n o t
, , .
,
J OHN KE B LE 1 47
’
o ft e n h e n e a r s s u b limity ; as w h en h e ima g i n es Ch r is t s
,
Passion in th e Gard e n o f Get h s e mane 3

w h en h e follo w s
t h e spir i t of t h e Cr uc ifie d
At la r ge a mon g the d e ad 4
’
or as by th e Saviour s side muses on th e lone upland above
, ,
t h e w ater s of Gennesa r e t .
He is neverth eless more a t h ome wh ere h e h abit ually

d welt th a t is amid sce n e s of na t ural g race and beauty
, .
Th ey ma ke for h im fittin g framew or k for e very word of

’
P r oph e t and Evan gelis t H e h ad sat a t W ords w ort h s
.
feet and learnt to reg is t er ea ch

,
sof t t ouc h in visi ble ,

5
by wh ic h Nature new ly born a t eve r y successive sun r ise

,
.
,
wo r k s h er wonders He could h ave written a mono grap h on

.
sof t g r e e n willo w s pr in g in g
th e
Wh e r e t h e wate r s g e n tly pass ,
Eve r y way h e r f r e e ar ms fl in g in g
’
O e r t h e mois t and r e e dy g r a ss 6
and volumes on th e fl o we r s of t h e field

S we e t n ur slin g s of t h e ve r nal ski e s ,
’
B at h d in sof t ai r s a nd fe d wi th
, dew
Wh at mo r e than m ag i c in yo u li e s ,
’
T o fill t h e h e ar t s fond vi e w
’
R e li c s y e ar e of E d e n s b o we r s ,
A s pur e a s f r ag r an t and a s f ai r
, , ,
’
As wh e n y e c r o wn d t h e sunsh in e h ou r s
Of happy wand e r e r s th e r e 7
.
Mountains in part icular h e loved for t h eir pec uliar

, ,
companions hip as h e de emed wi th Heave n

, ,
’
Wh e r e is thy fav o u r d haun t ,
t nal V oi c e
e er ,
T h e r e g ion of Th y c h oi c e ,
K 2
1 48 F I VE C EN T UR I ES OF ENGLI SH VERSE
’
Wh e r e un di st ur b d b y s in and e ar th t h e soul
, ,
O wns Thy e n t i r e c on t r ol
’ ’
T is on t h e mo un tain s su mmi t dar k an d hi gh ,
Wh e n s t o r ms ar e hu r r yin g b y
’ ’
T is mid t h e str on g foundat ions of t h e e ar th ,
Wh e r e t o r r e n t s hav e th e ir b i r th .
N o sounds of w or ldly t oil a sc e ndin g th e r e ,
M ar t h e f ull b ur s t of pr ay e r
Lon e Natur e f e e ls that sh e m ay f r e e ly b r e ath e ,
And r ound u s and b e n e ath

Ar e h e ar d h e r sac r e d t on e s t h e fit ful swe e p
Of wi nds ac r oss t h e s te e p
Th r ough wit h e r d b e n t s —
,
’
r om an t i c no te a nd c l e ar ,
’
Me e t fo r a h e r mi t s e ar ,
’
Th e wh ee lin g ki t e s w ild soli tar y c r y ,
.And s c ar c e ly h e ar d s o h igh
, ,
Th e das h in g wat e r s wh e n t h e air is s t ill

F r om many a t o r r e n t r ill
That winds unse e n b e n e ath t h e s haggy f e ll ,
’
Tr ac k d b y t h e b lue mis t w e ll
S uc h sounds a s make d e e p sile n c e in t h e h e ar t
F o r Th ought t o do h e r par t 8
.
For hi me ac h day mars h als a tr iump h al pa g eant ,
dawn wi th its every dewy spar k j e w e llin g leaf and blossom

, ,
to t h e glory of t h e clouds abou t th e set tin g sun T o a .
cer t ain ex t en t — th ou gh in g eneral it mus t be con f essed

( , , ,
h e does violence t o hi s o wn s w ee t na t ure in do g mat izin g t o

—
t h e youn g h e even consent s t o vie w th e fl us h of sprin gtide ,
’
th e g arlands of May throu gh a c h ild s eyes
,
9
.
No w and th en for momen t s h e ac t ually seems t h ou gh

, , ,
in a h ymnal t o forg et h ymnolo g y and t o be unconscious

, ,
’ ’
of all but Na t ure s and Mu sic s ma gic
’
Tis mis ty all b o th si ght a nd so und
,
’
I only kno w t is fai r and swe e t
T is wand e r in g on en c han te d g r ound
”
W ith di zz y b r ow and t o tte r in g f e e t 10

.
’ ’ ’
all, for r e lig ious ve r s e as He r ber t s Cr ash aw s Vau gh an s
, , , ,
’ ’
Herr ic k s it is th e breath of life I n K e ble s i t is neve r
,
.
mo r e th a n an acciden t He th e devou t es t of men t h e .

, ,
mos t emotional t h e l e as t w orldly a Na th aniel wi th ou t

, ,
g uile only by fi t s and s t art s blazes int o fl ame from h is

,
o wn sovereig n th eme .
I feel h im wh ile h e d iv e r sifie s and polish es h is r h yth m

, ,
drills h is topics verifies h is allusions correc t s h is p un c t u a

, ,
tion t o be alw ays o n th e w at c h a g ains t h imself He is

, .
g uar din g a g ains t e xplosions of e nthu siasm wh ic h w ould ,
h ave s wep t a w ay h is e xcess of elabora t ion and th e pro ,
lix it y fat al to many a fine th ou ght I n modes ty and .
s h yness lik e t o H e rb e r t Cras h a w Vau gh an h e w as unlik e

, , , ,
th em no t of t h ose w h o invi t e or s u ffer th e w orld t o coun t

,
th e ir h ear t -bea t s He h as sung .
And w e ll i t is fo r u s o u r God s h ould fe e l

.
Alon e o u r s e c r e t th r o bb in g s so o u r p r ay e r
M ay r e adi e r s pr in g t o H e av e n n o r s p e nd i t s z e al ,
On c lou d b o r n idols of th is lo we r air

- 12
.
Th e rule is true for w ors h ippers ; no t for th e po e t wh o

writ e s of th em and h ims e lf I t is from t h ose d e e p t h r o b
‘
bi n g s s e cret e xcept for v e rs e th at essent ial poet ry is

, ,
distilled P oet ry deman ds th e sac r ifice of th e privacy of

.
souls A poe t t o aspire to t h e p e ak s mus t be incapabl e

‘
.
, ,
of w it hh oldin g t h e b e st and d e ar e s t in h is na t ur e Keble

’
.
,
if so mad e as to h ave dared t h us t o suffe r h is spir it t o t ak e

fire at all e ve n t s did no t le t it A lw ays h e reser ved some
, .
t hin g from t h e furnace He cons t ant ly w as pointin g ou t .
h o w C hris tians h e w it h t h e r e st ou ght t o th ink of Eart h

, ,
and H eaven ra th er t h an h o w h e h imself in fact th ou ght

,
.
Not h avin g fast ened his soul t o th e sta k e h e is no t of t h e

i n n e r circle in poetry W h eth er h ad h e sub m
,
. i tt ed h imself , ,
h e w ould h a ve been , wh o can t ell ?

J OHN KE B LE 1 51
Th e C hr isti an Ye ar Tho ughts in Ve r se fo r t h e S und ay s an d Holiday s

.
thr o ugho ut t h e Ye ar For ty -thi r d e d O xfo r d : Jo h n He nry P arke r

. .
Lyr a I n n o ce n t ium O x fo r d John He n r y Par ke r 1 846

,
1 853
M isc e llane ous Poe ms by t h e Re v John K e b le O xfo r d an d London :
. . .
,
. .
,
J ame s Par ke r Co 1 869 .

, .
1
Pe tition to t h e Lor d of t h e Manor of M e r d o n of An e mon e O r c his , ,
Viole t Daff odil C owsli p an d Pr imula ( M isc e llane o us Poe ms )

, ,
A Siste r an d F ir e ( Lyr a I n n o c e n t ium Childr e n s Tr o uble s )

.
,
9 ’
, , .
3
M onday b e for e E aste r st 8 ( C hr istian Ye ar )
, . .
E aste r E v e st 2
, .
5
M or ning s t 1
, .
F ir st S unday Afte r E p ip han y s t 4 , .
7
F ifte e nth S unday Afte r Tr inity stan z as 1 —2 ,
3
Twe ntie th S unday Afte r Tr inity stan z as 1 -3
M ay G ar lands ( L yr a I n n o c e n t iu m C h ildr e n s S p o r t s )
,
9 ’
.
,
1° F our th S unday in Adve nt st 5 ( Chr istian Y e ar )

, . .
11 Four th S unday in L e nt stan z as 2 4 5 , , ,
1’Twe n ty -fo ur th S und ay Af te r Tr ini ty s t 3 , . .

J O H N H E N R Y NE W M A N
1 801 — 1 89 0
O ! F O RD lo g ic and met ap h ysics and Englis h Ch urc h ,
le th ar gy cos t litera tur e a great poe t and g ained for i t ,
’
a great poem Dr New man s e ar lier productions s h o w ed
. .
more of promise t h an performanc e Th e fir s t in t h e c o lle c

.
t ion of 1 868 is separa t ed from Th e Dream of G e r o n t iu s ,
da t ed Janu ar y 1 865 wh ic h closes th e volume by a space

, ,
of forty years Naturally t h e con tent s mi ght be expec te d

.
t o d iffe r widely in c h arac t er A s naturally it mi ght be

.
supposed th at t h e earli er w ould h ave more of fancy and

e nt h usiasm . On th e cont rary t h e writ er is more self
,
restrained less man i fes tly full of o r igi n al ideas a t t h e

, ,
commencement of h is poe tical career t h an at its end .
Wh ile as yet uncer tain of h is t h e olo g ical posit ion doub tin g ,
h is old view s alarmed by t h e fascina t ions of th e ne w h e

, ,
c ur bed h is ima gin a t ion W h en h e h ad found peace at last

.
,
if no t Nirvana satisfac t ion a t th e sense of finali t y burs t

,
into an amazing an amazed ecs t asy wh ic h t ransmu t ed

, ,
m
a lak e of fire into a bed of roses .
No t th a t h e h undred and for ty th ree poe s wh ic h

t -
precede t h e Dream are with ou t distinc t c h arms of th e ir

own Th ey are devou t wit h a modes t y and g ood t aste
.
,
w h ic h h ymnolo g y of t en lac k s Fr e qu e ntly the ir spirit

.
ris e s so h igh th at th e reader of th em feels a s h oc k wh en

sudde nly it seems t o dr oop and sink Th eir fault is a .
r e pression rat h er t h an an incapabilit y of passionat eness

, ,
a det ermina tion t o ma k e poetry a pr opert y of religion and ,
no t reli gion sub j ec t matt er of poetry Compare th em wi th

- .
h is t ender B i r th day Offerin g on th e grave of h is yo u n g

sis te r
Lo ve li e st m e e k e s t bl i th e s t k inde s t !
, , ,
L e ad w e s e e k t h e h ome th ou fin d e st
Th ough th y n am e t o u s mos t d e ar ,
Go w e w ould no t have th e e h e r e .
Le ad a guidin g b e ac on b r i ght
,
T o tr av e ll e r s on t h e E v e of Li ght .
W e lc om e ay e th y S t ar b e for e u s ,
’
B r in g i t g r ie f o r gl adn e ss o e r u s ;
Ke e n r e g r e t and te ar ful y e ar nin g ,
Wh ile s unf e l t and wh ile s r e tur nin g

,
Or mo r e g r ac io u s th ought s ab idin g ,
F e v e r -que llin g so r r o w -c h i di n g
,
Or wh e n day -li ght b le ssin g s f ail

,
Tr ans p o r t f r e s h a s s p i c e -f r aught g al e ,
Spar k s f r om th e e wh i c h of t have li ghte d

W e ar y h e ar t and h o p e b e ni ghte d .
I th is monu m e n t w ould r aise ,
D ist an t f r om t h e pub li c ga z e .
F e w will se e i t — ’
fe w e e r kn e w th e e ;
B ut t h e ir b e at in g h e ar t s pur su e th e e
’
An d th e i r e y e s fond th ought s b e t o k e n ,
Th ough th y n am e b e s e ldom s p ok e n .
Pass on str an g e r and d e s p ise i t

, ,
Th e s e will r e ad and th e s e will p r i z e i t

,
2
.
Th e merit s of suc h c h armin g t hing s h ave I can b u t ,
suppos e b e en smo th ered under th e n e ighbo ur in g pile of

,
v e rse pr essed int o service as a v e h icle of r elig ious musing s ,
often moment ous yet not po e t r y I n o th er cases t h e

infusion of m
.
,
i h t an t do g ma may h av e den i ed popular

accept ance to pi e c e s ot h er wise fully e nt itled t o it Mark .
,
for example t h e li gh t t ouc h in t h e Mont h of Mar y

,
Th e g r e e n g r e e n g r a ss t h e gli tt e r in g g r o v e
, ,
’
T h e h e av e n s m aj e st i c dom e ,
The y im ag e for th a te nd e r e r b owe r ,
A mo r e r e ful ge n t h om e
J OHN HENR Y NE WM AN 1 55
Th e y te ll u s of that Par adise

O f e ve r l as tin g r e s t ,
And that h igh T r e e all fl owe r s and f r ui t

, ,
T h e s we e te s t y e t t h e b e s t
, .
0 Mar y pu r e and b e aut if ul

, ,
Th ou art t h e Que e n of May

Our gar l ands w e ar ab out th y hai r ,
’
And th e y will n e e r d e c ay 3
.
bri ght if more combative is th e Pil grim Queen

, ,
The r e sat a Lady all on t h e g r ound ,
R ays of t h e mo r nin g c i r cl e d h e r r ound .
S av e th e e and b ail t o th e e G r ac iou s and F ai r , ,
I n t h e c h ill twili ght what w ouldst th ou th e r e 3

' ‘
’
H e r e I si t d e solate s we e tly said sh e
, ,
’
Th ough I m a que e n and my n am e is Mar i e
,
R o bb e r s hav e r i fl e d my gar d e n and st o r e ,
Fo e s th e y hav e st ol e n my h e i r f r om my b owe r .
Th e y said th e y c ould ke e p H im far b e tte r than I ,
I n a p alac e all H is plan te d d e e p and r aise d h i gh

, .
’
Twa s a palac e of i c e har d and c old as we r e th e y
, ,
And wh e n su mm e r c ame i t all m e l te d away , .
N e x t w ould th e y b ar te r H im H im t h e S upr e me , ,
F o r t h e s p i c e of t h e d e s e r t and g old of t h e s tr e a m ;
And me th e y b id w and e r in w e e ds and alon e
,
I n this g r e e n m e r r y land wh i c h on c e wa s my o wn .
’
A mome n t sh e said and t h e d e ad s hall r e vi ve
, ,
Th e g i an t s ar e f ailin g t h e S ain t s ar e ali ve

,
I a m c omin g t o r e s cu e my h om e and my r e ign ,

’4
And Pe te r and Phili p ar e c lose in my tr ain .
A nd h e h ad indica t ed a g ift for loftier s trains ,

sti ll
cont r over sial for ins t ance in Refr i g er ium ,
Th e y ar e at r e s t
T h e fir e ha s e at e n o ut all b lo t and s t ain ,
And c on vale s c e n t the y e n j oy a b l e s t

, ,
R e f r e sh me n t af te r pain
’
Thu s t o t h e E nd in E d e n s gr o t s th e y lie
, , ,
And h e ar t h e four fold r i ve r as i t hu r r i e s b y , .

1 56 F I VE C EN T U R I ES OF ENG LI SH VERSE
The y h e ar i t sw e e p
I n distan c e do wn t h e dar k and savag e gle n
S af e f r om i t s r o c ky b e d and c ur r e n t d e e p
, ,
And e ddyin g p ools t ill th e n ; ,
Th e y h e ar and m e e kly mu se a s fain t o kno w

, ,
H o w lon g un t ir e d u ns pe n t that gian t s tr e a m shall fl o w

, , .
And soo thi n g sounds

Ble nd wi th t h e n e i gh b our in g wate r s a s th e y glid e
’
P os te d alon g t h e haun te d gar de n s b ounds
An ge li c for ms ab id e ,
’
E c h oin g a s w o r ds of watc h o e r lawn and gr o v e ,
T h e v e r se s of that h ym
, ,
n wh i c h S e r ap h s c han t ab o v e 5
.
Y e t a g ain and th ere is th e immort al P illar of th e Cloud
m
—
bet t er k no wn by its fir s t th ee w ords wit h wh ic h h e
r
migh t h ave been th ou ght t o reac h hi s h i gh -w a t er ark as

a poe t I n h ym
. nolo gy inde e d h e never e xce e ded th at
, ,
s w eet s ad cry from h eart t o h eart s for li ght to lead amid

t h e gloom for as a h ymn i t is u nsu rpassable From t h e
, ,
.
fir s t line t o th e las t wh en ,
t h e ni ght is g on e
And wi th t h e mo mth ose an ge l fac e s smil e
Wh i c h I hav e lo ve d lon g sin c e and lost awhile 6
,
i t mi ght u nl e ss fo r wh a t w as t o follo w h ave been h eld t o

, ,
be as poetically love ly as v e r se c an b e wit h ou t ceasin g t o

be prayer .
B ut t hi r ty ye ar s la t e r h e accomplis h e d resul t s in poe t ry

whi c h t h e P illar of th e Cloud its e lf canno t pre t en d t o rival .
Co n side r th e absorption of passion into pie t y th e ex to r tion ,

’
of t h e co n sen t of an intellect as s e archi n g as Vol t aire s t o
an ab j ur ation of all spiri tual fre edom t h e renunciation ,
of j oy pi t y beau t y W a tch t h e erec tion on founda tions

, , .
,
t h us r emorsel e ssly laid of a pile of sublimes t fancy Th en

, .
s ay h o w wh en and wh er e lit e ra tur e h as on li k e lines ever

, ,
ma t c h ed t h e Dream of Ge r o n t iu s I n i t Ne w man conj ures

1 58 F I VE CEN T UR I ES OF EN G LI SH VERSE
’
I we n t t o sle e p and no w I a m r e fr e sh d ,
A s tr ang e r e fr e sh me n t fo r I f e e l in me
A n in e xp r e ssi v e li ghtn e ss and a s e nse ,
Of f r e e dom a s I we r e at l e n gth myse lf

, ,
’
And n e e r h ad b e e n b e fo r e H o w st ill i t is .
Am I aliv e o r d e ad I am no t d e ad ,
But in t h e b ody still fo r I p osse ss

A sor t of c onfid e n c e wh i c h c lin g s t o me
, ,
Th at e ac h p ar t i cular o r gan h olds i t s plac e

A s h e r e t ofor e c omb inin g wi th t h e r e s t
I n t o o n e symm e tr y that wr ap s me r ound
,
And make s me man and sur e ly I c ould mo v e

, ,
D id I but will i t e v e r y par t of me

,
.
,
Or I o r i t is r u s h in g on t h e win g s
Of li ght o r li ghtnin g on an onwar d c our se ,
’
And we e e n no w ar e million mile s apar t .
Y e t —is th is p e r e m p to r y s e v e r an c e
W r ought out in l e n gthe nin g m e a sur e me n t s of s pac e ,
Wh i c h gr o w and mul ti ply b y s pe e d and t ime

Or a m I tr av e r sin g infini ty
B y e ndl e ss sub divi sion hur r yin g b ac k ,
F r om fini te t o war ds infini te simal ,
Thu s dyin g out of t h e e xpand e d w o r ld 3
Throu gh out h is j ourneyin g h e h ears voices his convo yi n g

’
ang el s
O h what a h e ar t -sub duin g m e lody
,
Th en t h e sullen h o wl of demons ou t side t h e Ju d gement

,
Court s w ar min g
, ,
Hun g r y and wild t o c laim th e i r p r o pe r ty

, ,
And g ath e r souls fo r h e ll

and a gain t h e son g of
, ,
'
te nd e r b e in g s an g e li c al ,
Le ast an d mos t c h ildli ke of t h e sons of God

li ke t h e r u sh in g of t h e w ind
Th e summ e r w ind—amon g t h e lof ty p in e s
S we llin g and dyin g e c h oin g r ound ab out, ,
N o w h e r e no w distan t wild an d b e aut iful

, ,
’ ’
Wh ile sc at t e r d f r om t h e b r an c h e s i t ha s st irr d
, ,
D e sc e nd e c stati c odour s ;
J OHN HENR Y NE W M AN 1 59
wit h all
,
th e tim e but t hi n and low
, ,
an d fai n t e r an d mr
o e
fain t
v oi c e of f r i e nds a r ound t h e b e d
th e ,
Wh o say t h e Sub v e n it e w i th t h e p r i e s t .
9
A bsolu t e rest deli ght emancipatio n

, y e t th e wh ole
,
thrill e d wi th a lon gi n g fo r a g ony of pain to be fit t ed by

fir e t o abide h ereaf t er i n t h e Divine Prese n ce — if bu t ,
I plun g e d amid t h e ave n gin g flame

e re
I had o n e sight of H im t o str e n gth e n me

,
An d in a moment and fo r a mom e nt h is wis h g r an ted

, ,
— at t h e cos t of lyin g befo r e t h e Th rone sco r c h ed and ,
s h rivelled by
t h e k e e n s a n c ti t y ,
Whi c h wi th i t s e fflue n c e li ke a glo r y c lo th e s

, , ,
And c i r c l e s r ound t h e C r uc i fi e d ! 10
It is a g ain of mea sureless content so o n ly t h a t his ordeal ,
be compl e t ed as h e p r ays to t h e full

, ,
T ak e m away and in t h low st d p

e e e ee
l t m b
,
Th ere e e e,
And th e r e in h o pe t h e lon e ni ght -watc h e s k e e p

T old out fo r me
,
Th e r e mo tionl e ss and happy in my pain

, ,
Lon e no t fo r lo r n , ,
Th e r e will I sin g my sad pe r pe tual str ain

Un til t h e mo m
,
The r e w ill I sin g and soo th e my s tr i c k e n b r e a s t

, ,
’
Wh i c h n e e r c an c e a se
T o thr o b and pine and lan guish till po sse st
, , ,
Of i t s S ol e P e ac e .
The r e will I sin g my ab se n t Lo r d and Lo v e

Tak e m e away ,
That soon e r I may r ise and g o ab o ve , ,
And se e H im in t h e tr uth of e ve r las tin g d ay 11

.
Th e wh ole hi gh s trange argu ment for its me t ap h ysical

, ,
1 60 F I VE CEN T UR I ES OF EN GLI SH VERSE
dex te r i ty and dep th is w or th y of Lucre t ius h olding a v e r y

,
differen t bri e f B u t mos t of all le t us b e gr a t eful fo r

.
, ,
a gr a n d dithyramb w ort h y also of t h e g r e a t Roman

, ,
wh ic h au th orizes an i n scr iption on th e roll of B ritis h

poets of th e illus trious name of J o h n Henry Ne w man as ,
muc h t o th eir h onour in th e companionshi p as t o h is
Ve r se s on Var io us O cc asions ( J H . . London : B ur ns O at e s

,
Cc .
, 1 868 .
1
Tr ansfigu r ation N o 51 ,
. .
2
E p i p hany E v e : A B i thd ay O ff e r ing N o 1 4
r , .
3
Th e M onth of M ar y N o 1 50
Th e P ilg r i mQ ue e n N o 1 4 9
. .
,
4
, . .
5
R e fr ig e r i u m N o 1 1 1
, . .
6
Th e P ill ar of t h e C lo u d ( L e ad K indly Light ) N o 8 1 J un e
, , . , 1 6, 1 833
7
Th e D r e am of G e r o n t iu s J an u ar y 1 865 N o 1 66 , , . .
8
I b id . I b id 9
.
1 °
I b id I bid 11
.
upo n pi e c e s wh ic h i t w ould be impossible t o omi t wi th ou t

t h e c r e atio n of a painful visible g ap in literature
,
.
Th e Son g of t h e S hir t is in possession of a nic h e whi c h

could not ot h erwis e be filled
O h i b ut t o b r e ath e t h e b r e ath
Of t h e c ow sli p and pr imr ose swe e t
W i th t h e sky ab o ve my h e ad
,
And t h e g r a ss b e n e ath my f e e t
.
F o r only o n e s h o r t h ou r
T o f e e l as I u se d t o f e e l
,
B e fo r e I kn e w t h e w o e s of wan t
And t h e walk that c ost s a m e a l
O h b ut fo r o n e s h o r t h our
A r e s p i te h ow e ve r b r i e f
N o b l e ss e d le isur e fo r Lo v e o r H o pe ,
But only t ime fo r G r i e f

A li ttl e w e e pin g w ould e a se my h e ar t ,
But in th e ir b r iny b e d
My te ar s mu s t st o p fo r e ve r y d r o p
,
H ind e r s n e e dle and th r e ad 1
A s e co n d w ould stand painf ully empty w it h ou t to occupy ,
it t h e Dr eam of Eu g ene Aram

,
— th e wh ole do wn to t h e
,
abrup t s h uddering close

That v e r y ni ght wh ile g e n t le sle e p
,
’
Th e ur c hi n e y e -lids ki ss d
Tw o ste r n -fac e d me n se t out f r om Lynn
,
Thr ough t h e c old and h e av y mis t

’
And E ug e n e Ar a m walk d b e tw e e n ,
W i th g y ve s u p on his wr is t.
2
Ye t ano th er place h e h as permanently app r opria t ed by

his h auntin g Ha un t ed House — murder -h aun t ed— wit h its
rusty stains ,
O b scur e ly s p o tte d t o t h e doo r and th e n c e

,
W i th maz y doub le s t o t h e gr ate d c a se me n t

O h what a tal e th e y t old of f e ar in te nse ,
Of h o r r o r and amaz e me n t
T HOM A S HO OD 1 63
What human c r e atu r e in t h e d e ad of ni ght

'
Had c our s e d li ke h un te d har e that c r ue l di s tan c e 1
Had sought t h e doo r th e w indo w in h is fli ght
, , ,
S t r i vin g fo r de ar e x is te n c e ? 3
I do no t claim on his be h alf a monopoly of capacity for

measurin g a g ains t one anot h er th e po w ers of Eart h and
Hell ; bu t I kn o w of none bu t B urns wh o equals hi min
t h e reconcilia t ion for th e p u rpose of t h e tra gic and th e
, ,
comic Mar k t h e t roopin g of mons te rs t o aveng e th e a tt ac k

.
’
of th e B roc k en forg emen upon Hell s lord
Awf ul c o ve ys of t e r r i bl e th in g s ,
W i th fo r ke d t on gue s a nd v e nomou s s t in g s ,
On h agwe e d b r oomst i ck s and le ath e r n wi n g s

, , ,
Ar e h o v e r in g r o und t h e H ut
S hape s that wi th in t h e fo cu s b r i ght
,
Of t h e Fo r ge ar e li ke shado w s and b lo t s
,
But far th e r o ff in t h e s had e s of ni ght

, , ,
C lo th e d wi th th e ir o wn p h os ph or i c li ght ,
Ar e s e e n in t h e d ar k e s t s p o t s .
S ounds that fill t h e air wi th noise s ,
S tr an g e and inde s c r i b ab le v oic e s ,
F r om Hag s in a di ab oli cal c latte r

,
Cat s that s pi t c ur se s and ap e s that c hatte r

,
Sc r ap s of c ab alisti c al matte r
O wls that s c r e e c h and do g s that y e ll
,
S ke le t on h ounds that wi ll n e ve r b e fatte r

All t h e dome s ti c tr i b e s of H e ll ,
S h r i e kin g fo r fl e s h t o te ar and tatte r ,
B on e s t o s hatte r ,
And lim b s t o s catte r ,
And wh o i t is that mu s t fur nish t h e latte r

Th ose b lue look in g me n kno w we ll
- 4
As I kno w of few t hi ng s in poet r y more gro t esquely terri b le

t h an t h e b urning of Satan t o a cinder so I feel th e sin gularity
,
’
of Hood s gif t for elicitin g t h e poetry of eve r yday life Ho w
dainty is t h e pa th os employed on a com m
.
on dea t h -bed
L 2
’ ’
We w at c h d h e r b r e ath in g th r o t h e ni ght ,
H e r b r e ath in g sof t an d lo w ,
A s in h e r b r e as t t h e wav e of lif e
K e p t h e avin g t o and fr o .
S o sile n t ly w e se e md t o s p e ak
’
,
S o slowly mo ve d ab out ,
A s we had le n t h e r half o u r p ow e r s
T o e ke h e r li vin g out .
Ou rve r y h o p e s b e li e d o ur f e ar s ,
Ou r f e ar s o u r h o p e s b e li e d
We th ought h e r dyin g wh e n sh e sl e p t ,
And sl e e pin g wh e n sh e di e d .
Fo r wh e n t h e mo r n c ame di mand s ad ,
And c h ill w i th e ar ly s h ow e r s ,
H e r qui e t e y e lids c los e d— sh e ha d

Ano th e mo n th an ou r s
r r
5
.
Pe rf e ct every line We o w e mor e g ratitud e for t his inv e s t i

.
—
tu r e of simple d e at h suc h as it is not beyond t h e leas t of
—
us to aspir e to wit h a qui e t b e auty t h an for dit h yrambs
,
’ ’
over a Conqu e r o r s bi e r Th at ind e ed is amon g Hood s
.
m e r its wh ic h h e s h ar es wit h t h e pr inces of son g t h at

, , ,
t h ou gh h e can rise to t h e h ei gh ts h e sees t h e bea u t y of

,
’
plai n t hin g s A c hi ld s emb r ace of i t s mot h er is as ordi nary
.
as dyin g and se e h o w muc h i t t oo s ugg es t s t o h im

L o v e th y mo th e r li ttl e o n e
,
Kiss and c las p h e r n e c k again

H e r e af te r sh e may hav e a so n
Will k iss and cla s p h e r n e c k in vain .
,
Ga z e u p on h e r livin g e y e s ,
And mi r r o r b ac k h e r lo ve fo r th e e
’
H e r e af t e r th o u may s t s hudd e r sigh s
T o me e t th e m wh e n th e y c anno t se e .
Gaz e u p on h e r livi n g e ye s !
It wa s a c h ildi sh i g no r an c e ,
’
But n ow t is li ttl e j oy
’ ’
T o k no w I m f ar th e r o ff f r om h e av n
Than wh e n I wa s a b oy .
7
Already I h ave ins t anced enou gh admir able verse t o

mak e a repu t ation ; and h o w muc h I h ave omi tt ed ! B u t ,
a t all events I must no t pass by Rut h as sh e s t ands

, ,
b r e ast h igh amid t h e c o r n ,

’
Clasp d b y t h e g old e n li ght of mor n ,
Li k e t h e swe e th e ar t of t h e su n ,
Wh o many a glowin g k iss had w on 3
or fair I nes wh o h as
,
g on e in t o t h e W e st ,
T o da zz l e wh e n t h e su n is do wn ,
And r o b t h e w o r ld of r e s t ;
Sh e t oo k o u r d ayli ght wi th h e r ,
T h e smil e s that w e lo v e b e s t ,
W i th mo r nin g b lu sh e s on h e r c h e e k
And p e ar ls u p on h e r b r e a st 9
or th e all -su flic ie n t love son g

-
I lo ve th e e lo v e th e e
’
T is all that I c an say :
It is my vision in t h e night ,
My d r e amin g in t h e day :
Th e v e r y e c h o of my h e ar t ,
Th e b l e ssin g wh e n I p r ay :
I lo ve th e e —I lo v e th e e
I s all that I c an say .
10
Every wh e re s till throu gh ou t t h e tw o sis t er volum e s

, ,
th e re ader is sure t o come upon lines p h rases wh ic h will , ,
no t consen t t o be forg o tt en Even in t h at u glies t of poems

.
wit h greatness in th em Th e Las t Man wh ic h fascina t es

, ,
wi th ou t de li gh tin g t h ere is a redee m

, i n g spar k of pat h os
t h e con f ession of lon e liness by th e s ur vivor of h uman k ind
. ,
T HOMA S HOOD 1 67
a h ang man wh o to be sol e h ei r of t h e e a r th h ad j us t

, , ,
s tr un g up h is solita r y co m panion a b e gg ar man ,
I f t h e v e r i e s t c u r w ould li c k my hand ,
I c ould lo v i t li ke a c h ild !
e
11
So a g ain t h e h umour of th e tal e o f Miss K i lm

, , an se gg
leaves space for a grim individual pitifuln e ss

Gold s till g old har d ye llo w and c old
, , ,
F o r g old sh e had li v e d and sh e di e d fo r g old ! 1 2

,
At any ins t ant a fi g ure suddenly will star t fort h wi th an ,
appeal to th e h ear t a t once entire ly na t ural and ent irely

,
o r i ginal t h e ou t cas t on th e river bank in gla r in g London

, , ,
wit h i t s clot h ed fed and s h elt ered millions as

, , ,
Sh e s tood wi th ama z e me n t ,
H ou se l e ss b y ni ght 13
t h e swa r m w ait in g for t h e Casual W ard t o open ; semp

st r ess a r tisan wh ole families
, ,
F athe r mo th e r and c ar e ful c h ild

, ,
Loo k in g a s if i t h ad n e v e r smil e d ; 14
Lycus ,
centaur th a t h ad been man wh en th e u n su s
th e ,
e c t in g boy ins ult s h is s h ame at h is b e stial s h ape wit h

p
a h andf ul of grass and i n an g er a t its re j e ctio n pel t s hi
, , , m
wit h stones
I f e l t no t wh ose fate ,
Was t o me e t mo r e dist r e ss in h is lo v e than h is hate ; 15
the fish e r man in his s t orm -t os t boa t on t h e lee -s h ore

O h God t o thin k Man e ve r ,
C ome s t oo n e ar h is H om e ! 16
and t h e h ard -t ri e d poe t hi mself wi th h is birth day wis h for ,
his dau gh t e r of ,
all t h e bliss that lif e e nd e ar s ,
N o t wi th out smile s n o r y e t f r om te ar s ,
T oo s tr i c tly k e pt 17
.
1 68 F I VE CEN T UR I ES OF ENGLI SH VERSE
Non e h as ever more en t irely poss e ssed th e secre t of

sudden ascents sudden h e ar t kin d lin g s I n some sor t all
- .
th e Serious P oems are e xamples ; but w e never can t e ll

wh en Hood may no t move to t ears in a piece wh ere t h e
momen t before h e h ad been j es t in g
Th e r e is no mu si c in t h e l if e
That sounds w i th i di o t laughte r sol e ly
’
Th e r e s no t a s tr in g attun e d t o mi r th ,
But ha s i t s c h o r d in Me lan c h oly 18

.
Doub tless in compensa t ion af t er th e manner of poe t s

, , ,
wi th rare excep t ions suc h as Kea t s and Gray h e sink s

, ,
no w and a g ain is eccentric wi th ou t bein g ori ginal t edious ,
wi th ou t bein g sol e mn He can w ear a sent imen t thr ead

.
’
bare as in Th e L ady s D r eam and Th e Lay of th e Labou r er
, , .
His endl e ss fancies can cloy t h ou gh in suc h a g arden of ,
dainty devices as Th e Plea of t h e Midsummer Fairies .
He can be t h ou gh ver y seldom mer ely dull as in Th e

, , ,
Tw o P e acoc k s of B edfo n t He can smo th er Hellenic r oses

.
,
as in Her o and Le ande r in a th ic k e t h o w ever fra gran t

, , ,
of media e val e mbellis h ments H e can call a pamp hle t an .
Od e as h is epistl e t o R ae W ilson and spoil a c h ar m

, in g ,
sonne t wi th a poor pun B u t measure t h e g ood a g ainst

.
t h e ill ; and t h e failu r es ar e no wh ere A s a boy I h e ar d .
no thin g of Hood as a po e t muc h of h im as a h umoris t , .
Th e Son g of t h e S hi r t su r pris ed my li ttl e w orld wit h ou t

‘
per suadin g it t h at i t h ad to w o r s hip a poe t t h e more .
Durin g my undergradua t e days I fir st learnt t o appr e cia te

his poe tr y ; and I h ave read and admired i t ever since .
No t th e less wh en recently I surveyed i t as a wh ole I s t ood

, ,
amazed Th e melody t h e tenderness and sympath y th e

.
, , ,
fancy I find in e x h aus t ible A bove all is th e unexpec t ed

, .
,
’
ness W h en I h ave believe d I h ad explored all t h e si n g er s
.
E L I ! A B E T H B A RR E TT B R O W N I N G
1 806— 1 86 1
—
OF t h e k ind t h e foremost w ri ter of Eng lis h p oe tr y bu t
a poe t ess .
,
a —
Or s h all I c h an gin g one w ord s y and a ,
poet ess For wi th beauty everywh er e and w omanli ness

, ,
as ubiqui t ous I do no t presume to decide on t h e inde

,
p e n d e n ce one of t h e o th er W
. ome n -w r it e r s no w and th e n ,
li k e Geo r g e Sand an d Geor ge Eliot if not Currer B ell , ,
h ave dissembled t h eir s e x Eit h er t h ey h ave disdained

.
allo wances for it o r t h e y h ave distrus t ed t h e superiori t y

of th e o th er t o prej udice M r s B r o wni n g h ad none of th at
. .
a ffecta t ion or appr e h e nsion On t h e contrary sh e may

,
.
,
be said to h ave glori e d in bein g a w oman .
I n any case h e r v e r se w ould h ave proclaimed th e fac t .
No n e but a w oma n — o r perh aps a w oman immu r ed for

a lar g e par t of h e r life in t w o r ooms — could h av e ima gined
1
t h e repuls e of a lov e r beloved as in I n su fficiency and th e
, ,
’
mar tyr s c r y of Denial
I lo v e th e e no t I d ar e no t lo v e th e e
, go
I n sil e n c e ; d r o p my h and .
I f th ou s e e k r ose s s e e k th e m wh e r e th e y b lo w
,
I n g ar d e n -all e ys no t in d e se r t s and
, .
C an lif e and d e ath ag r e e ,
That th ou sh oulds t s t oo p th y son g t o my c om plain t ?

I c anno t lo v e th e e I f t h e w o r d is fain t
.
,
L ook in my f ac e a nd se e 2 .
Th e splendid u n r eason of Duc h e ss May th e self -devo t ion t o ,
’
d e at h of th e Crusader s brid e -pag e and t h e s we e t absur dities
, ,
no t to be r ead by any male person wit h ou t a blus h of ,

E LI Z AB E T H BA RRE TT B RO WN I NG 171
Lady Geraldin e are all fe minine So is th e con flic t w i th

, .
,
’
its r esult be tw ee n t h e e g o t ism of I sobel s ma te r nal love
, ,
’
and h e r sic k c hild s craving for h is h ome w it h t h e A nge ls .
’
Th e grief of t h e dead blind boy s mot h e r t h a t sh e can b e ,
no more h is s un and moon ,and h is slave betrays t h e same ,
aut h ors hi p P a th os a common gif t of poe t s is for h er

.
, ,
s t eeped in h er feminini t y I n t o t h e dumb a ff ec t ion of h er

.
’
do g t hi s reads t h e instinc t th e impul se t o s h are his mis t ress s
, ,
dis t ress wi th ou t requiri n g t o compre h end or j us tify i t

,
And if o n e o r tw o qui c k t e ar s
D r o ppe d u p on h is glossy e ar s ,
Or a si gh c a m e dou b l e ,
U p h e s pr an g in e ag e r ha ste , ,
Fawnin g fondl in g b r e ath in g fast

, , ,
I n a te nd e r t r ou b le 3
.
I n Wine of C yprus nobles t t o me of all h er verse I f e e l

, , , ,
it equally in th e affec t iona t e endeavo ur t o balance as it ,
were by h e r o wn w as tin g sic kness th e earlier and di ff eren t

,
calamity of h er a ged t u t or in Greek Fondly as sh e .

,
t h ank s hi mfor h is gif t o f Hellenic w i n e s h e recalls t h eir ,
s t udies to ge th er in A ttic tr a gedy

And I th in k of th ose lon g mor nin g s
Wh i c h my th ought g o e s far t o s e e k ,
’
Whe n b e twi x t t h e folio s tur nin g s
, ,
S ol e mn fl o we d t h e r h yth mi c G r e e k :
Pas t t h e pan e t h e moun t ain s pr e adin g ,
’ ’
S w e p t t h e sh e e p s b e ll s tin klin g noise ,
Wh il e a g ir lish v oi c e wa s r e adin g ,
S om e what lo w fo r ais and ois .
The n what g old e n h our s we r e fo r u s

,
While w e sate t oge th e r the r e ,
H o w t h e whi te ve sts of t h e c h o r u s
S e e med to wave u p a li ve air
H o w t h e c o thu r ns tr od maj e sti c
D o wn t h e d e e p i am b i c lin e s ,
And t h e r ollin g anapae sti c

Cur l e d li ke vap our o ve r sh r in e s
O h o u r Ae s c h y lu s t h e thunde r ou s
, , ,
H o w h e d r o v e t h e b ol te d b r e ath
Th r ough t h e c loud t o we d g e i t p ond e r ou s
,
I n t h e g nar l ed o ak b e n e ath
O h o u r S o ph o cl e s t h e r oyal
, , ,
’
Wh o wa s b or n t o monar c h s plac e ,
And wh o mad e t h e wh ol e w o r ld loyal ,
Le ss b y kin gly p o w e r than g r a c e
Ou r E ur i pid e s t h e hu man
, ,
W i th h is d r o ppin g s of war m te ar s ,
And h is t ou c h e s of th in g s c ommon ,
T ill th e y r os e t o t ou c h t h e s ph e r e s
Ou r Th e o c r i tu s o u r B ion
, ,
’
And o ur Pi ndar s s hi ni n g g o als
Th e se we r e c u p -b e ar e r s undyin g ,
’
Of t h e win e that s m e an t fo r souls .
And my Plat o t h e di vin e o n e

I f me n kno w t h e g ods ar ight
, ,
B y th e i r mo tions a s th e y sh in e on
W i th a glo r iou s tr ail of li ght
And you r no b l e C hr ist ian b ish o p s ,
Wh o mouth e d g r andly t h e las t G r e e k

Th ough t h e s p on g e s on th e i r h ysso p s
W e r e dist e n t wi th win e —t oo we ak .
Fo r —
t h e r e st a myst i c moanin g
K e p t Cassand r a at t h e gate ,
W i th wild e ye s t h e vision s h on e in ,
And wid e nostr ils s c e n tin g fate .
And Pr om e th e u s b ound in passion

,
B y b r ut e For c e t o t h e b lind st on e ,
S h owe d u s look s of in v o c at ion

Tur n e d t o o c e an and t h e sun .
And I a m sin g in g loud and tr ue ,
And sw e e t —I do no t fail
,
.
I s it u p on a c y pr e ss b ough
C lose t o t h e gate and I flin g my son g
,
Ove r t h e gate and th r ough t h e mail

Of t h e war d e n an g e ls mar shalle d str on g ,
O ve r t h e gate and af te r yo u
And t h e war d e n an g e ls le t i t pass ,
B e c ause t h e p oo r b r own b ir d alas , ,
S in g s ii i t h e gar de n swe e t and tr ue , .
And I b uilt my son g of hi gh pur e no te s ,
N o te af te r no te h e i ght o v e r h e i ght
, ,
T ill I s tr i ke t h e ar c h of t h e In fini te ,
And I b r idg e abysmal ag oni e s

Wi th s tr on g c l e ar c alms of har moni e s
, ,
And some thin g ab id e s and som e th in g fl o at s , ,
I n t h e son g wh i c h I sin g af te r you .
Far e y e we ll far e w e ll 1
,
5
It supplies e t h e re al tints t o a P ortrai t

I will pain t h e r a s I se e h e r ,
Te n t im e s hav e t h e lili e s b lo wn ,
S in c e sh e look e d u p on t h e sun .
And h e r fac e is lily -c l e ar ,
Lily -shap e d and dr o pp e d in d uty

,
T o t h e law of it s o wn b e auty .
O val c h e e k s e n c olour e d fa in tly ,
Whi c h a tr ail of g olde n hai r

Ke e p s f r om fadin g o ff t o air
And a fo r e h e ad fair and sain tly ,
Whi c h tw o b lue e y e s u nde r s hin e ,
Li k e m e e k p r ay e r s b e fo r e a s h r in e .
Fac e and fi gur e of a c hild ,
Th ought t oo c alm you th ink and te nde r , , ,
F o r t h e c h ild h ood yo u w o uld l e nd h e r .
Y e t c h ild -sim pl e u n d e file d

, , ,
F r an k o b e di e n t wai tin g s t ill

, ,
On t h e tur nin g s of your will .

E LI Z AB E T H BA RRE TT B R O WN I NG 1 75
And if a n y p o e t kn e w h e r ,
H e w ou ld sin g of h e r wi th f a lls
U se d in lo v e ly mad r i gals .
And if any pain te r d r e w h e r ,
H e w ould pain t h e r u n awar e

W i th a halo r ound t h e hai r 6
.
It g a th ers fl o werin g from th e grave of C o wper a r e can t a

, ,
tion of his despair

Lik e a si c k c h ild that k no we th no t h is mo th e r wh il e sh e b l e s se s
And d r o p s u p on h is b ur nin g b r o w t h e c ooln e ss of h e r kisse s ,
’
That tur ns h is f e v e r e d e y e s ar ound My mo th e r ! wh e r e s my
mo th e r
A s if suc h te nd e r w o r ds and de e ds c ould c om e f r om any o th e r
’
Th e f e v e r g on e wi th l e ap s of h e ar t h e s e e s h e r b e ndin g o e r h im
, ,
H e r fac e all pal e f r om wat c h ful lo ve t h e u nw e ar y lo v e sh e b o r e

,
h im
’
Thu s wo k e t h e p o e t f r om t h e dr e am h is lif e s lon g f e v e r gave h im ,
B n e ath th ose de e p path e ti c E y e s wh i c h c lose d in d e ath t o sav e h im

e
7
.
.
Happily th e li ght of t h e t omb w as not n e eded t o reveal to
h erself t h at j oy may be nei ghbour to a ffl ic tion
I th ought on c e h o w The o c r i tu s had sun g
Of t h e swe e t y e ar s t h e d e ar and wish e d -fo r y e ar s
, ,
Wh o e ac h o n e in a g r ac iou s hand app e ar s

T o b e ar a g if t fo r mo r tals old o r youn g ,
And as I mu se d i t in h is an ti que t on gu e ,
I saw in gr adua l vision th r ough my te ar s ,
T h e sw ee t sad y e ar s t h e m e lan c h oly y e ar s

, ,
Th ose of my own lif e wh o b y tur ns had flun g

,
A shado w ac r oss me S tr ai ghtway I wa s war e

.
’
,
S o we e pin g h ow a myst i c S hape di d mo v e

B e hind m e a nd d r e w m
,
, e b a c kwar d b y t h e hai r :
And a v oi c e said in mas te r y wh ile I s tr o v e , ,

’
Gue ss no w wh o h olds th e e D e ath I said But th e r e , , , ,
’3
Th e sil v e r answ e r r an g N o t D e ath but Lo ve
, ,
.
I f sh e e ve r w ear i e d of lif e it w as res t to

, th e body that sh e
craved not t o t h e soul

,
F r ie nds d e ar f r i e nds wh e n i t shall b e ,
That th is lo w b r e ath is g on e f r om me
,
A nd r ound my b i e r y e c om e t o w e e p ,
Le t On e mos t lo v in g of yo u all
, ,
’
Say N o t a te ar mu s t o e r h e r f all
,
H e g i v e th H is b e lo v ed sl e e p 9
,
No t after all t h a t repose and acquiescence of any sor t

, ,
w ere th e qualities of h er predilection On th e contrar y .

,
h er favou r it e ment al a tt it ude is one of somet hin g sh e

fe i gns to be rebellious wrat h S h e is incensed wit h h e r .
fa th erland for i t s treatment of th e Cap tive Napoleon wh o , ,
t r u st in g t o h is no b le s t fo e s ,
Wh e n e ar th wa s all t oo g r e y fo r c h i val r y ,
’
D i e d of th e i r m e r c i e s mid t h e d e se r t se a 10
wit h t h e w orld for it s acc e ptanc e of th e p hrase Loved ,

’
O n c e as if i t w er e possible t o h ave loved and cease to
, ,
love :
Lo v e s tr ik e s b ut o n e h ou r — Lo v e Th ose n e v e r lo v e d
Wh o d r e am that th e y lo v e d On c e ; 11
wit h t h e mad folly as w ell as g uilt of sinner s of h er o wn

m
, ,
se x,
in expectin g fro t h eir par tners in e vil —commonly
t empters —t h e leas t fidelity to t h e love t h ey h ave t aint ed .
Go s h e cries to th e poor wret c h s h e is confessin g

Th ou has t c h ose n t h e Hu man and l e f t t h e D i vin e,
The n at le as t hav e t h e Hu man s har e d wi th th e e t h e ir wild b e r r y

, , .
win e
Have th e y l o ve d b ac k th y lo ve and wh e n s tr an ge r s app r oac h e d
,
th e e wi th b lam e ,
Hav e the y c o v e r e d th y faul t w i th th e i r kiss e s and lo ve d th e e t h e ,
s am e 2 ‘
But sh e s hr un k and s aid ,
God o ve r my h e ad
, ,
Mu st swe e p in t h e wr ath of H is j udg e m e n t -s e as

I f H e shall d e al wi th me sinnin g b ut only ind e e d t h e sam e
,
,
’1 2
And no ge n tle r than th e se .
sealin g h er tomb A n aerial concer t ; and no t th e l e ss

fascina tin g for readers wi th a t as t e for s trains purely
spirit ual th at t h ey are as li t tle bound to sat isfy th e popular
mal e ear as wh en an undergradua t e of Oxford I h eard one
, ,
destined to rule it rouse th e Union t o frantic applause

by j eering a t th e lovelies t of th e lovely wh ole .
P o e ms by E li z ab e th B ar r e tt B r ownin g Thr e e vols Chap man . . an d
Hall 1 864
, .
1
Ins uffi c ie nc y . A D e ni al st 2 3
, . .
3
T o F l u s h m y D og s t 2
, , . .
4
Wine of Cy pr us stan z as 9 1 0 l l 1 2 l 3 l 4 l 5 4
, , , , , , , , .
5
A D r ama of E x ile .
6
A P or tr ait stan z as 1 —6 an d 1 3 —1 4
, .
7
C owp e r s G r ave stan z as 9 —1 0
’
, .
8
S onn e ts f r om t h e Por tug ue se S onne t i , .
9
T h e S le e p s t 9
, . .
1 °
C r own e d an d B ur ie d s t 1 3 , . .
11
Love d O nc e st 8 , . .
12
C onfe ssions st 9 ,
. .
C H A RL E S K I N G S L E Y
8
1 1 9 — 1 87 5
A N O TH ER exampl e amon g many of t h e con flict for

, ,
exis te nc e of faculti e s fitt e d fo r analo g ous pu r suits Na t u r e .
equipped Ch ar l e s King sle y w it h t h e r aw ma t erial in ,
va r yi n g p r opo r tio n s of t h e fo r ces w h ic h ma k e a p o e t

, ,
a no v e list a social r e fo r m e r a s t ud e n t of scie n ce a t h e o lo

, , ,
g ian a h is t orian Fr om t h e first th e y comp e ted for poss e s

,
.
s ion of h im W i th t h e po we r ful aid of yout h po e t r y s e iz e d

.
on th e leade rs h ip La t er on wit h it s o w n consent monarc h y

.
, ,
was abolis h ed A commo n wealth in wh ic h eac h did wh a t

.
,
s e e me d g ood in its o w n eyes t oo k i t s place Th e man , .
b e in g suc h as h e w as and h is poet ical g ift wh at i t w as

, ,
I do no t suppose t h at liter ature even poetr y itself h as , ,
lost gr e atly by t h e r e volu t ion His c h aracter was th at of .
a comba t ant H e h ad a certain nu mber of so n g s in h im

.
to sing ; so many arro w s of ver s e in h is quiver Fort h .
h e s h ot h ittin g t h e mar k no w and a g ain Wh e n t h e arc h er

,
.
found h is quiver empty h e dr e w s w or d or da gger — romance

, ,
essay lectu r e s e rmon — and battl e d as ma nf ully as e ver

, , .
I se e no ground for belief th a t lik e some h e ceased vers ify , ,
in g by compulsion of a mo r e masterful passion of h is soul ,
or out of indolence sa t ie t y or incapacity ment al or moral

, , , .
Si mply t h e one special w e apon h ad done its w ork and h e

e xc h an g ed it fo r ano th er I am grateful in th e circum
.
s t ances for t h e fact He does not call up in me an idea

.
of incalculabl e possibilities of poetical inspira t ion I t is .
well t h at h e s h ould n o t h ave delude d h imself int o ima ginin g

descent s of th e spirit w h en th er e wer e none .
M 2
Th e ou t se t of h is poe t ical career w as a t once disappoint in g

’
and promisin g His Sain t s Tra g edy is s tron g in th e wron g
.
places I mys e lf am sensible of an g er ra th er th an sympat h y .
I k eep w onder in g h o w muc h more of p assm

.
n at e reason
ableness Rober t Bro wn i n g for instance , ight no t h ave

’
,
m
i n s till e d int o th e h apless slave of h er o wn and h er t eac h er s
fanaticism I t is a failure if a brillian t one Suc h t oo
.
,
.
,
I mus t on th e same ground of a neglec t of propor t ion

, ,
j udg e An dromeda t o be Th e pic t ure of th e g irl wh en h e r

.
,
mo th e r l e aves h e r on th e roc k — as no mo th e r conc e ivably

—
could h a v e l e ft a c h ild ma k es t h e h ear t ac h e as t h e po e t ,
int e nd e d it s h ould
Watc hin g t h e pulse of th e o ar s d ie do wn a s h e r ow n di e d w i th th e m
, ,
T e ar le ss du m b w i th ama z e sh e s t ood
, ,
h e l pl e ss and h o p e l e ss ,
W ide e y e d dow nwar d ga z in g in vain at t h e b lac k b lan k dar kn e ss

-
,
1
.
B u t sh e almos t disapp e ars in an assemblag e of fine scenes

d e scr ib e d in rollin g musical h exam e t ers Th e bac kground
, .
is t oo engrossin g for t h e ac t ion and t h e c h arac t ers Th e .
’
accessorie s daw n li t h ighlands g ambolling se a nymp h s
-
,
-
, ,
th e c h arms of th e g olden -h aired ivory-limbed Deli verer , ,

’
A t h ene s gracious wisdom are fully and melodiously se t
,
fort h ; only th e fa t e ful combat i t s e lf wi th th e rescue is

dis m
, ,
i ssed in thr ee casual lin es A s an osprey on a dolp h in

.
Thu s f e ll t h e b oy on t h e b e as t thu s r oll e d u p t h e b e as t in h is h o r r o r ,
On c e a s t h e de ad e ye s glar e d in t o h is ; th e n h is sid e s de ath

, ,
s har pe n e d ,
S ti ffe n e d and s t ood b r o wn r o ck in t h e wash of t h e wand e r in g

, ,
wat e r 2
.
Neith er of th e tw o w ork s w as th e fruit of ra w you th Th ey .
’
are t h eir au th or s only poems of len g t h and nei th er has
life in i t A t t h e same time eac h h as abundance of t h ou ght
.
and fancy and eac h g ives t o k en of someth in g bett er .

’
King sl e y s reader s ar e never w it h ou t a consciousness of
a call to arms of t h e stir of a sto r my emotion wh ic h h as ‘
’
set ima gination at w or k I t vibr at e s in t h e Outlaw s
.
defiance of la w s forbiddin g h im to
’ ’
hun t God s c attle u p on God s ain h ills
in h is contempt for t h e cer t ainty of a noose in t h e end ;
and in h is pr ayer to h is mot h er t o s t eal h is body fr om th e
g ibbet
’
And wh e n I a m t ae n and h an git mi the r a b r i ttlin g o my d e e r
, , ,
’
Y e ll no l e ave your b ai r n t o t h e c o r b i e c r aw s t o dan gle in t h e air
But y e ll s e nd u p my twa dou c e b r e thr e n and y e ll st e al m
,
’ ’
, e f r ae t h e
tr e e
And bur y m
,
e u p on t h e b r o wn b r o wn mu i r s wh e r e I ay e loo e d t o b e
5
.
,
I t inspired A Chris t mas Car ol wi th its gleams and s h ado w s

,
alik e
I we n t si gh in g pa st t h e Chu r c h ac r oss t h e moo r land d r e ar y
O h n e v e r s in and wan t and w o e th is e ar th w ill l e av e ,
’
And t h e b e lls but mo c k t h e wailin g r ound th e y sin g s o c h e e r y
, .
The n ar ose a j oyou s c lamour f r om t h e wild fowl on t h e m e r e ,
B e n e ath t h e star s ac r oss t h e sno w lik e c l e ar b e lls r in g in g

, , ,
And a v oi c e wi th in c r i e d List e n C hr ist ma s c ar ols e ve n h e r e

’
Th ough th ou b e du m b y e t o e r th e i r w o r k t h e star s and sno w s ar e
,
’6
sin g in g .
Ev e n t h e despair of A i r ly B eacon h as a fr e s h move m e nt

as of h ill top air about it
-
Ai r l y B e ac on Ai r ly B e ac on
,
O h t h e pl e asan t si ght t o se e
S h i r e s and t owns f r om Ai r ly B e ac on
Wh ile my lo v e c lim b e d u p t o me
,
Ai r ly B e ac on Ai r ly B e ac on ;
,
O h t h e happy h our s we lay

D e e p in f e r n on Ai r ly B e ac on ,
’
C our tin g th r ough t h e summ e r s d ay
CH A R LES K I N G SLE Y 1 83
Ai r ly B e ac on Ai r ly B e ac on
O h t h e we ar y haun t fo r m
,
e ,
All alon e on Ai r ly B e ac on ,
Wi th h is b ab y on my kn e e
7
I mus t add t h ou gh of a g usty fre e dom t oo re bellious

a g ainst la w and order to be ac k no wled g ed lat e r on by a
’
Chur c h dignitary t h e t ale of t h e S wan -n e c k s r e co gnition
,
—h op e less even for a mot h er —o f t h e body of King Harold ,
st r ipped and gas h ed and fe a t ureless

, ,
U p and s p ak e t h e S wan -n e c k h i gh ,
Go t o all your than e s le t c r y

H o w I lo ve d h im b e s t of all
I wh om m
,
e n h is l e m an c a ll
B e tte r k n e w h is b ody fai r

’
Than t h e mo th e r wh i c h h im b ar e .
R o usin g e r n e and sallow g le de ,
R ou sin g gr e y w olf o ff h is f e e d
O ve r f r an klin e ar l and than e
, , ,
H e ap s of mo th e r -n ak e d slain ,
R ound t h e r e d fi e ld t r ac in g slo w ,
S t oo pe d that S wan -n e c k whi te a s snow ;

Ne ve r b lu sh e d n o r tur n e d away ,
T ill sh e found h im wh e r e h e lay

C li p t h im in h e r ar mé s f ai r ,
Wr ap t h im in h e r y e llo w hai r ,
B o r e h im f r om t h e b attle -s t e ad ,
Saw h im laid in pall of le ad ,
T oo k h e r t o a mi ns te r h i gh ,
’
F o r E ar l Har old s sou l t o c r y 3
.
Th e merit itself of t h es e pieces and of o th ers t h e ir

,
equals or all bu t equals is of a k ind t o su gg est t h a t ;
t h e writer h ad reac h ed t h e li m
, ,
i t s of h is po wer s He migh t .
h ave been e xpected t o produce more of corr e spondin g b ut ,
scar cely h igh er rank A p h enomenon as in cer tain ot h er

, .
,
poetical career s is t h at from th e same pen wi thi n brief

, , ,
if any positive intervals w e find issuin g t hree poems ideal

, , , ,
pe rfect Except for t h e variet ies of sad n e ss o r su ffe r in g t h e y

.
,
'
,
ar e wh olly different yet e ac h is complet e consum ma t e , .
Read a h undred tim e s Th e Sands of Dee ; and t h er e

is n e ve r a sen s e of tr it e ness Th e wh ole is o n e lon g dra w n
.
-
musical not sob but sigh

, ,
Mar y g o and c all t h e c attl e h ome

0 , ,
And c all t h e c attle h om e ,
And c all t h e c attle h om e

’
A c r oss t h e S ands of D e e .
Th e w e st e r n wind wa s wild and dan k wi th fo am ,
And all alon e we n t sh e .
Th e w e ste r n t id e c r e p t u p alon g t h e sand ,

’ ’
And o e r and o e r t h e sand ,
And r ound and r ound t h e s and ,
A s far a s e y e c ould se e .
Th e r ollin g mis t c a m e do wn a nd h id t h e l a nd
And n e v e r h om e c am e sh e .
Oh is i t w e e d o r fish o r fl oatin g hai r

, ,
A t r e ss of g old e n hair ,
’
A dr own ed maid e n s hai r
A b o ve t h e n e t s at se a
Was n e v e r s almon y e t that sh on e so f ai r
’
A mon g t h e s tak e s on D e e .
Th e y r o we d h e r in ac r oss t h e r ollin g foam ,
Th e c r ue l c r awlin g fo am ,
Th e c r u e l hu n g r y fo am ,
T o h e r g r av e b e sid e t h e se a ;
But s till t h e b oat m e n h e ar h e r c all t h e c attle h om e
Ac r oss t h e S ands of D e e 9
.
I cannot pret end t h at t h e seco n d Th e Th ree Fis h ers , ,
vies w it h t h at in absolu t e beauty I t does not carry .
abou t it t h e sam e at mosp h e r e t h e sam e s e n sation of

,
unde fine d possibilities t h e sam e abs e n c e of any int e ntion

,
i n t h e poet to poin t a mo r al to do more t h an t e ll a sto r y

, .
S t ripped and scourge d s h e ej aculates in h orror and

, ,
s h ame a t t h e recollection t o h e r h usband,
And y e t no e ar th quak e c am e t o s wa llow m e
Wh ile all t h e c our t ar ound and walls and r oofs

, , ,
And all t h e e ar th and air w e r e full of e ye s ,
E y e s e ye s wh i c h s c o r c h e d my lim b s li k e b ur nin g flam e

, , ,
Un t il my b r ain se e m e d bur st in g f r om my b r ow
And y e t no e ar th quak e c am e And th e n I kn e w
’
Th is b ody wa s no t you r s alon e b ut God s ,
His lo an— H e n e e de d i t a nd af t e r that

Th e w o r s t wa s c ome and a ny t o r tur e mo r e
,
A c han ge — a li ghte nin g

— ’
even crucifixion i t self for th a t w as by h er bride groom s
side
I c r aw l e d t o you ,
An d k iss e d your b l e e din g f e e t a nd c a ll e d alo u d

Y ou h e ar d me Y ou k no w all I a m at p e ac e
,
Pe ac e p e ac e a s s till and b r i ght a s is t h e moon

U pon yo ur limb s c am e on me at your smil e
, ,
And ke p t m e happ y wh e n th e y d r agg e d m

, ,
e b ac k
F r om that las t kiss and s p r e ad me on t h e c r oss

,
, ,
—
And b oun d my wr is t s and an c le s D o no t si gh
I pr ay e d and b o r e i t and sin c e th e y r aise d m e up
My e y e s hav e n e v e r l e f t yo ur fac e my o wn m
, ,
y o,wn , ,
N o r will t ill d e ath c om e s

,
H er desir e h er prayer t o God is t h a t s t reng t h may

one , , ,
be spared t h e g ibbet e d preac h er to c r y from t h e ve ry '
c r oss :
W o r ds wh i c h may w ake t h e d e ad
I n a g es to come s h e predic t s th ey w ould k no w h is w ort h
, ,
And c r o wn h im mar ty r and h is n am e w ill r in g

Th r ough all t h e s h o r e s of e ar th and all t h e s tar s
,
Wh os e e ye s ar e s par klin g th r ough th e i r te ar s t o se e

H is t r iu m ph—P r e ac h e r ! Mar ty r —Ah — and me ?
CHA R LES K I NGS LE Y 1 87
I f th e y mu s t c ou ple my p oo r n am e w i th h is ,
Le t th e m t e ll all t h e tr uth— say h o w I lo v e d h im ,
And t r i e d t o d amn h im b y that lo ve O h Lo r d

R e tur nin g g ood fo r e vil and wa s th is
Th e p aym e n t I d e s e r v e d fo r suc h a sin
T o han g h e r e on my c r oss and loo k at h im
, ,
Un t il w e k n e e l b fo r e Thy th r on e in h e av e n
e
11
Englis h po e tr y fr om Ch aucer to Te nnyson h as been

, ,
r ic h in examples of w if e ly w oman ly patie n ce devotion

, , ,
s e lf -sacr ific e B ut many and noble as t h ey ar e I t hi nk

.
, ,
Sant a Maura ou gh t to ran k amon g t h e b e st I value t h e .
r h apsody no t t h e less h i gh ly for t h e h uman el e ment of

h ero w ors h ip bl e nded w it h t h e mo r e purely celestial e xalt a
-
tion I only h ope t h at t h e aust e re pr e ac h e r of t h e Gospel

.
,
eve n as ima gined by King sl e y merited i t all , .
I h ad t h ou gh t and h ave no t dar ed to se t beside th e

, ,
Three t h e Ode admirable in itself t o t h e Nor th East -

, ,
W ind A s simple singin g in its e xultan t g enero u s ins o

.
, ,
lence it deserves all h onour

,
What s t h e sof t So u t h We st e r 2
’ .
‘
’ ’
T is t h e ladi e s b r e e z e ,
B r in gin g h ome th e i r tr ue -lo ve s

O ut of all t h e s e a s :
But t h e b lac k N or t h -E aste r ,
Thr ough t h e snow -st o r m hur l e d ,
D r i ve s o u r E n glish h e ar t s of o ak
S e awar d r ound t h e w o r ld .
C om e a s c am e o u r fath e r s
, ,
H e r ald e d b y the e ,
C on que r in g f r om t h e e a stwar d ,
Lo r ds b y l and and se a .
C om e and str on g w i th in u s
’
S tir t h e V ik in g s blood
B r ac in g b r ain and sin e w ;
B lo w th ou w ind of God !
,
12
I fe e l h o w ever a spirit ual w ant in t h e brave bluster in g

, , ,
br e ez e wh ic h s h u t s a g ainst it th e reg io n of immortal grief

,
or bliss wh ere th ose ot h e r st r ains ar e entitl e d t o h ave th e ir

,
d we llin g .
Th e Three ar e lovely concep t ions and w e s h ould h ave t o

ran sac k a librar y of po e try before di scover in g superiors in
t h eir o wn class I do no t suppos e neverth eless th a t g rea t
.
, ,
ness could j ustly be att r ibut e d to th e ir wr i t er as a poet .
’
For th a t a man s b e st poetical w ork ou ght t o su gg est t h at
i t is supreme in quality becaus e it fl o w s from a fountain of
i n spiration in h imself wh ic h is perennially full and deep .
’
I t is impossible to question Kin g sley s inspira t ion any
mor e t h an h is g e nius It is permissible to believe t h a t .
h e h eld it at t h e g eneral service of th e wide circle of h is

’
lif e s w o r k His romances h is h is t ories an d essays are
.
,
colour ed by it even h is sermons and it elevates t h em

all Never w as t h ere a na t ure an i n t ellig ence more
.
, ,
g enerously cult ivat e d more sympa th etic mor e per vious t o

, ,
all th e in formin g in fl uences to t h e ent ire spirit of its race , , ,
r an k and a g e t h rou gh ou t w hi c h more constantly br e a th ed

, ,
an independen t element th e poe t ic B u t inspiration t o ,

.
consti t u t e distinc t ively a po e t an d n o t a mere occasional ,
singer insis t s upon exclusiveness i n t h e vocation

, It .
pu n ish es disobedience by r e leg atin g t h e o ffen der to a mixed

grad e ; and disob e dience w as t h us punis h ed h er e Ho w .
’
beit of thi s at leas t I h ave no doub t — wh atev e r Kin g sley s
,
personal s t a t us amon g poet s — th a t h o w ever j e alous t h e ,
principle on wh ic h a poe t ical ant h olo g y may be fr amed ,
verses of h is are sure to b e numbered in i t .
And r o me d a an d O the r P oe ms by Cha le s K in gsle y R e cto r of ,

r ,
E v r sle y London : Joh n W P ar k e r

e . S on 1 858 Als o C olle c te d . ,
.
E dition M acmillan 1 87 2
—
. .
,
1
r —
And ome d a v v 1 06 1 1 , I.b id vv 39 1 3 .
2
.
, . .
R A L P H W A LD O E M E R S O N
1 803 — 1 882
E M ER S ON in th e opinion of h is o w n g e ner ation ran k ed

n e xt to Carlyl e as a t h ink er A s a th i n k er h e s t ill is h eld
.
,
and j ustly to b e p r ofou n d Th e larg er par t in bul k of

,
.
h is lit e r a r y life w as devot e d to t h e composit ion of essays

and l e ctu r es T o a gr ea t n umber e ven of h is admir e rs h e
.
is u n k no w n as a poet Y e t I s h ould b e muc h sur pr ised to

.
l e ar n t h at h e did no t value h imself as a poe t c h ie fl y I f .
so, fallibl e as ar e aut h o r s on t h e p r opor tiona t e valu e of

’
t h eir w o r k s I believe h e w ould in h is prefe r e nce h ave
,
j udge d w is e ly He might b e probably h as alr eady be e n

.
, ,
r eplaced as a p h ilosop h e r h e could scarcely be as a po e t .
Litera t u r e w ould less e asily do w i th ou t W oodno t es Fo r e ,
runne rs B acc h us Saadi M o n ad n o c th an h is t orical and

, , , ,
cri t ical science w i th ou t Repres e n t a t ive Men or Nature .
Deliberately h e vo wed h i mself to po e try w it h a full ,
sens e of t h e obli g atio n s even t h e divini t y of t h e callin g

, ,
.
He b e came a voic e w it h a messa g e fr om th e h i gh e r P o w er s .
Th e poe t must be mu t e until t h ey unseal h is mou th th ey

h ad opened and h ad s h ut t h e y mus t reopen
,
Y e taught my li p s a sin gl e s p e e c h ,
A nd a th ou sand sil e n c e s l .
He need no t sail t h e seas or searc h h umanity for sa g e s

,
to i n s truc t h im A t t h e d e sti n ed momen t a T eac h er is

.
a t h and :
B e h old h e watc h e s at t h e doo r
B e h old h is s hado w on t h e fl oo r
S e e k no t b e yond th y c o tt ag e w all
'
R e d e e m e r s tha t c an yi e ld th e e all
R ALP H WA LDO EMERS ON 19 1
Wh il e th ou si tte st at th y doo r
’ '
On t h e d e se r t s y e llo w fl oo r ,
Liste nin g t o t h e gr ay -hair e d c r on e s ,
Foolis h g ossi p s an c i e n t d r on e s
, ,
S aadi se e th e y r ise in statur e

T o t h e h e i ght of m
,
i ghty Natur e ,
And t h e s e c r e t s tands r e ve ale d

F r audule n t T ime in vain c on c e al e d ,
That b l e sse d g ods in se r v ile ma sk s

Pli e d fo r th e e th y h ouse h old task s ?
Le th im dw e ll alone not mindin g th e r e pr o ac h of sl o t h

, fo r
foldin g h is arms beside th e w oodland broo k
Th e r e wa s n e v e r myste r y
’
But t is fi gu r e d in t h e fl o we r s
Wa s n e ve r se c r e t h ist o r y
But b i r ds t e ll i t in t h e b o we r s 3
.
Th e pine -tr e e sing s t o h im

Sp e ak no t th y s p e e c h my b ough s a mon g
Put o ff th y y e ar s wash in t h e b r e e z e
,
M y h our s ar e p e ac e fu l c e n tur i e s .
Talk no mo r e wi th f ee b le t on gu e ;
N o mo r e t h e fool of s pac e and t im e
C om e we ave w i th m
,
e a no b l e r r h ym e .
Only thy A me r i cans

C an r e ad th y lin e c an m e e t th y gl an c e
, ,
B u t t h e r u n e s that I r e h e ar s e
Unde r stands t h e univ e r s e ;
Th e l e a s t b r e ath my b ough s wh i c h t osse d
B r in g s again t h e P e n t e c os t ,
T o e ve r y soul r e soun din g cle ar

I n a v oi c e of sole mn c h e e r ,
A m I no t th in e Ar e no t th e se th in e
And th e y r e ply Fo r e v e r min e
C ome l e ar n wi th me t h e fat al son g
,
Wh i c h kni t s t h e w or ld in mu si c s tr on g ,
C om e lif t th in e e ye s t o lof ty r hyme s ,
Of th in g s wi th th in g s of t ime s wi th time s
, ,
1 92 F I VE CEN T UR I ES OF ENG LI SH VERS E
Pr ime val c h im e s of sun and s had e ,
Of sound and e c h o man and maid

, ,
Th e l and r e fl e c te d in t h e fl ood ,
B ody w i th s hado w s t ill pur sue d .
F o r Natur e b e at s in pe r f e c t tun e ,
And r ounds w i th r h ym e h e r e v e r y r u n e
Wh e th e r sh e w o r k in land o r se a ,
Or h id e un d e r gr o und h e r al c h e my .
Th o u c ans t no t wave th y s taff in air ,
Or di p th y p addl e in t h e l ak e
But i t c ar v e s t h e b o w of b e auty th e r e ,
A nd t h e r i ppl e s in r h ym e s t h e o ar fo r s ak e .
Th e w ood is w is e r far than th o u

T h e w ood a nd wav e e ac h o th e r k no w .
N o t un r e lat e d un affie d
, ,
But t o e ac h th ought and th in g alli e d ,

’
I s p e r f e c t Natur e s e ve r y par t ,
’4
R oo t e d in t h e mi ghty H e ar t .
Spirit voic e s t h ou gh w h e nc e h e neve r discovers ar e

, ,
cont inually soundin g in h is ear t o dir ec t h im on h is w ay

,
L on g I follo we d happy g u id e s ,
I c o uld n e ve r r e ac h th e i r side s
The i r ste p is fo r th and e r e t h e day
, , ,
B r e ak s u p th e i r l e ague r and away , .
Flo we r s th e y str e w — I c at c h t h e s c e n t
,
Or t on e of sil v e r ins tr u m e n t
Le av e s on t h e wind m e lo di ou s tr a c e
Y e t I c o uld n e v e r s ee th e i r f a c e .
I me t many tr av e lle r s ,
Wh o t h e r o ad had sur e ly ke p t
Th e y saw no t m y fin e r e v e lle r s ,
Th e se h ad c r osse d th e m wh il e th e y sle p t .
S ome t im e s th e ir s tr on g s pe e d th e y slac k e n ,
Th ough th e y ar e no t o ve r take n ;
I n sle e p th e ir j ub il an t tr oo p is n e ar ,
I tun e ful v oi c e s o v e r h e ar ;
It may b e in w ood o r wa ste ,
’
At un awar e s t is c om e and pa s t .
must lear n to obey ; mindful al ways t h at h e is but a

’
min is t er e xec ut in g Ano ther s be h est I t is t h e lot of all
.
gr e at souls
’
Th e hand that r ou nd e d P e te r s dom e ,
And g r oin e d t h e a isl e s of C hr ist ian R om e ,
W r ought in a s ad sin c e r i ty ;
H imse lf f r om God h e c ould no t f r e e
H e b u ild e d b e tt e r than h e kn e w
T h e c o n sc io u s s t on e t o b e auty g r e w
‘
Th e p a ssi v e Ma st e r l e n t h is hand
’
T o t h e vast soul that o e r h im plann e d
And t h e sam e p o we r that r e ar e d t h e s h r in e
B e s tr ode t h e tr i b e s that k ne l t wi th in .
Ev e r t h e fi e r y P e n t e c os t
Gi r ds w i th o n e flam e t h e c oun tle ss h os t ,
T r an c e s t h e h e ar t th r ough c han t in g c h oir s ,
An d th r ough t h e p r i e s t t h e mind ins p i r e s 9

.
No t th at t o hi m c h osen t h ou gh h e be more th an h alf

, ,
trut h s are disclosed Exist e nce constan tly is ask ing riddles
.
beyond h uman po wer of g uessing Th e Sp hi nx in t erro g a t ed

.
,
refers man t o h imself

Th ou art t h e un answe r e d que s tion
C oulds t se e th y pr o p e r e y e ,
Always i t a ske th a ske th ,
And e ac h answe r is a lie 1 0

.
I n t h e inevi t able dark ness h e wi ll seek inspir ation from

Love from the Love Celes tial above all ; but also from
,
—
D ae monic th at not blind but
, ,
r adi a n t s har p e s t -
, si ghte d g od ,
Wh ose e y e s p i e r c e
T h e Uni v e r s e ,
Path -fin d e r r oad -build e r

, ,
Me diat or r oyal g i ve r
,
- 11
.
Even h e may ven t ure among t h e s h ado w s and uncert ainty

o f common I ni tial Love no t complainin g overmuc h of
RA LP H WA LDO EMERS ON 195
re b uffs ; for he can comfo r t himself w it h the su r e t r ust

that
Wh e n half -g ods g o ,
Th e g ods ar r i v e 12
.
B u t t h e g uiding s t ar of hi s career is service to t h e Universe

to th e perfec t whole
All ar e n e e d e d by e ac h o n e
N o th in g is fai r o r g ood alon e .
’
I th ought t h e s par r ow s no te f r om h e ave n ,
S i ttin g at dawn on t h e ald e r b ough

I b r ought h im h ome in h is n e s t at e ve n
, ,
H e sin g s t h e son g b ut i t c h e e r s no t no w
, ,
F o r I did no t b r in g h ome t h e r i ve r and sk y

H e san g t o my e ar — th e y san g to my e y e
,
3
.
1
Th e supreme b usiness of t h e P oet Soul t h us is to strive to

-
compre h en d t h e w o r kin g of t h e Wo r ld -Soul He must not .
’
be s h oc k ed a t wh a t may seem t o be th e dei t y s pi tilessness
He se r v e th t h e s e r van t ,
Th e b r av e h e lo v e s a main
H e kills t h e c r i ppl e and t h e si c k ,
And s tr ai ght b e g ins again

F o r g ods d e li ght in g ods ,
And th r u s t t h e we ak asid e
T o h im wh o s c o r ns th e i r c har i ti e s ,
The i r ar ms fl y o pe n wid e 14
.
He will neit her quarrel wit h his dis tribution of pover ty to

one and w ealth t o anot h er doomed soon to b e added
t o hi s land a lum p of mo uld t h e mo r e
,
15
nor forg et his bounty in

’
Spr e adi n g May s le afle ss b looms in a dam p nook ,
T o ple a se t h e de se r t and t h e slugg ish b r oo k ; 1 6

in endowin g wit h w armt h an d b ri gh tness and h on e ye d ,
s h rubs and vines t h e bu r ly h umble -bee

,
N 2
196 F I VE CEN T UR I ES OF ENGLI SH VERSE
I nse c t lov e r of t h e sun ,
J oy of th y dominion
S ailo r of t h e at mos ph e r e
S wimme r thr ough t h e wav e s of air ;
V oyag e r of li ght and noon

E pi cur e an of Jun e ; 17
in co m
mssio i i g t o glorify all t his ear th of ours t h e
n n , ,
b e n e fic e n t Spirit of B eauty
Gu e st of million pain te d fo r ms ,
Whi c h in tur n th y glo r y war ms

Th e f r ail e s t l e af t h e mossy b ar k
, ,
’ ’
Th e ac o r n s c u p t h e r ain b o w s ar c
, ,
’
Th e swi n gin g s p id e r s sil v e r lin e ,
Th e r u b y of t h e dr o p of w in e ,
Th e s h inin g p e bb l e of t h e p ond ,
Th ou in sc r ib e st wi th a b ond ,
I n th y mome n tar y play ,
W o uld b ank r up t n atur e t o r e pay 18

.
Happy here and t h ere a man wh o

, ,
h as l e arn t to en j oy
t h e f e as t prepared for him
And suc h I kn e w a fo r e s t se e r
, ,
A minstr e l of t h e n atur al y e ar ,
A lo ve r tr ue wh o kn e w b y h e ar t
,
E ac h j oy t h e mo un tain dal e s im par t

It se e m e d that n atur e c o uld no t r aise
A plan t in any s e c r e t plac e ,
I n quakin g b o g on sno wy h i ll
, ,
B e n e ath t h e gr ass that shade s t h e r ill ,
B ut h e w ould c om e in t h e v e r y h our
It o pe n e d in i t s v ir gin b owe r ,
A s if a sun b e am s h o we d t h e plac e ,
And te ll i t s lon g -de sc e nd e d r ac e .
What o th e r s did at distan c e h e ar ,

’
And gue sse d wi thin t h e th i c ke t s gloom ,
Wa s sh o we d t o th is p hiloso ph e r ,
And at h is b iddi n g se e m e d t o c ome 1 9

.
Th e y c olour e d t h e h o r i z on r ound ;
S tar s flam e d and f ad e d a s th e y b ad e
All e c h o e s h e ar ke n e d fo r th e i r sound ,
Th e y m ade t h e w oodlands glad o r mad .
I t ou c h this fl o we r of silke n l e af ,
Wh i c h on c e o u r c h ild h ood k n e w
It s sof t l e av e s w ound me wi th a g r i e f
Wh ose b alsam n e ve r g r e w .
H e ar k e n t o yon p in e -war b l e r
S in g in g alof t in t h e t r e e
H e ar e s t th ou O t r av e ll e r
,
Wh at h e sin g e th t o me
,
,Go lon e ly man i t s ai th

,
’
Th e y lo ve d th e e f r om th e i r b i r th
The i r hands w e r e pu r e and pur e th e i r f ai th
, ,
Th e r e ar e no su c h h e ar t s on e ar th .
Y o u c anno t unlo c k yo ur h e ar t ,
Th e k e y is g on e w i th th e m
T h e sil e n t o r g an lou d e s t c h an t s
’ ’20
T h e m a st e r s r e qu i e m
.
B ut t h e fir e and fl ame of fancy h e re s e r v e d fo r explora

t ions of t h e I ncompre h ensibl e I n t h e ma j e stic h ymn or
.
,
t r eat ise in whic h h e s e ems d e ter mined to p r ove by explain

,
i n g i t t h at God h ead as ima g i n ed in his sc h e me of B ein g

, , ,
is i n explicabl e h e falls into an ecstasy

,
This vault wh i c h glow s imm e nse wi th li ght

I s t h e inn wh e r e h e lod g e s fo r a ni ght .
Wh at r e c k s suc h T r av e ll e r if t h e b ow e r s
Wh i c h b loom and f ad e lik e m e ado w fl ow e r s
A b un c h of f r ag r an t lili e s b e
,
Or t h e s t ar s of e t e r ni ty
Alik e t o h im t h e b e tte r t h e w o r se
, ,
Th e glo w in g an g e l t h e o utc as t c o r s e
Th ou me t e st h im b y c e n tur i e s
.
,
And lo h e p asse s li ke t h e b r e e z e
’
Th ou se e k st in glo b e and g al ax y ,
H e h id e s in pu r e tr ans p ar e n c y
R A LP H WA LDO EMERSON 199
Th ou a ske s t in foun tains and in fir e s ,
H e is t h e e ss e n c e that in qui r e s .
H e is t h e ax is of t h e s tar ,
H e is t h e s par kl e of t h e s par ,
H e i s t h e h e ar t of e ve r y c r e atu r e ,
H e is t h e m e ani n g of e ac h f e atu r e
And h is mind is t h e sky ,
Than all i t h olds mo r e d e e p mo r e h i gh 21

, .
Th ou ght as it fl o w s from h im tu r ns int o r e d -h o t st e am

, , .
Th e h ea t is no occasional accid e nt ; it is an in h ere nt

p r operty Philosop h y in suc h g uis e may we ll claim for
.
its e lf t h e p r er o g atives and h onou r s of poet ic inspiration ;

’
an d none w h o s t udy Emerson s vers e w ill r e fuse t h em to
it and hi m .
Th e Wor k s of R alp h Waldo E me r son F ive vols ( vol i v L e tte r s . . . : ,
S oc i al Ai ms P oe ms ) B oston Houghton M ifflin Co 1 882 Also :
T h C om p l te Wo r k s of R al p h Waldo E mr son
, .
, .
, .
e e Two vols ( vol i e . . .

,
Th e P o e m s ) London : G B e ll S ons 1 87 9
. .
, .
1
Me r ops vol i p 4 7 1 ( 1 87 9
, .
, .
2
Saadi vol iv p 3 9 ( 1 882
, .
,
.
3
T h e Ap ology vol i p 4 66 ( 1 87 9
Woodnote s vol iv pp 1 3 4—
. .
, ,
4
5 ( 1 88 2 ,
.
, .
5
F o r e r u nn e r s vol i v pp 68—9 , .
, .
4
B acchu s v o l iv p 1 1 8 , .
, .
7
M e r lin vol iv p 1 1 6
, .
, .
8
I bid v o l iv p 1 1 4
.
, .
, .
T h e P r o b l e m vol i v pp 1 4- 1 5 , .
, .
1°
Th e S p h inx vol i v p 1 1
Initial D ae monic an d C e le stial Love vol i v pp 1 04—
, .
, .
11
, 5 , , . . .
1 ’ G ive all t o Love vol i v p 4 51 .

, .
,
13
E ac h an d All vol i v p 1 2 , .
, .
14
T h e Wor ld -S o ul p 27
—
.
,
15
Th e H a mt a r e y a, pp . 70 1
1 4
R hodor a p 58
Th e , .
1"
Th e H um b l e -b e e p 59
Od e t o B e au ty pp 80—
.
,
‘9
1 , .
‘9
Woodnote s i v pp 1 27— 8 , , .
2°
D ir ge p 1 88—9 ( 1 882 , .
’ Woodnote s ii p 1 4 0
1
.
, ,
ED G A R A L L A N P OE
8
1 1 1 — 1 84 9
TH E Y are all dreams if manuf ac t ured dreams — Th e

,
Raven Le nore Th e B ells A nnabel Le e Eulalie Ulalu m

, , ,
e , , ,
D r eamland Th e Ci t y ii i t h e Sea A Dr e am wi t hi n a Dream

, , ,
F o r Ann i e B r idal B allad I sr afe l T o Helen

, , W e see , .
t hing s h appenin g b e in g don e bein g suff e r e d W e h ear

, , .
w or ds W e spea k t he m Th ou gh w e ar e there Only because

. .
w e are sub j ec t or ob j ec t w e kn o w w e h ave no thin g in

,
reality t o do wit h th e wh ol e We are conscious th at i t is

.
an illusion from w hic h w e ar e sur e t o w ak e u p if once w e « ,
can s h ak e ou r s e lves Throu gh ou t t h e en t ire ran g e of poetr y

.
not hi n g lik e it is to be found ; no t C hr istabel : K u b la

K h an may compar e t h ou gh c hi efl y by w ay of cont r as t of
,
t h e spontaneity in i t wit h t h e a r tifice in P oe I n prose .
’
s ome of De Quinc e y s visions mi gh t s t and in t h e same line ,
~
we re t h e y not p e r vaded by a palpable reasonabl e ness .
’
P oe s in a s e ns e h ave n e it h er t h ou gh t nor f e elin g and in
a s e nse t h ey ar e no thin g e lse Som e wh e re s e ve ral years .
,
a g o a wri t er supposed Man to possess or be p o sse sse d b y

‘
, , ,
t w o souls o n e immort al a h eavenly spar k t h e ot h er at

,
any r ate no t h eavenly and cer t ainly mort al capable of

, ,
dyin g wit h t h e fl e s h Th a t is t h e sort of soul wh ic h an i ma t es

.
’
P o e s v e r se if no t hi mself
, .
Th e gr ace and melody of mos t of hi s fe w poems are

indisputable and all bu t impossible t o analyse and defin e
, .
Th e c harm is as inscrutable I n Th e Raven w ave after .
w av e of sol e mn myster y k eeps rollin g up The re is th e .
op e nin g scene
Wr e tc h e s y e lo v e d h e r fo r h e r w e al th and hate d h e r fo r h e r p r id e ,
And wh e n sh e f e ll in f e e b l e h e al th y e b l e ss e d h e r that sh e di e d ,
H o w s h all t h e r i tual th e n b e r e ad— t h e r e qu ie m h o w b e sun g

, , ,
B y you— b y your s t h e e vil e y e — b y your s t h e sland e r ou s t on gue

, , ,
That did t o d e ath t h e inno c e n c e that di e d and di e d s o youn g 2

,
3 ‘
No t tha t e it h er is o the rwis e th an cl e ar and simpl e by

t h e sid e of U lalu m e ! A maze of fan t astic int ent ionally ,
dis he vell e d romance th at ye t of an absurd prepos t er ous ,
beau t y sm e llin g s tr on g of th e lamp by th e li ght of whi c h

,
doub tless i t w as con j u r e d up on t h e ,
ni ght in t h e lon e som e O c t o b e r

Of my mos t imm e mo r i al y e ar
wh en ,
th r ough an alle y T i tani c

Of c y pr e ss I r o am e d w i th my S oul
, ,
O f c y p r e ss wi th P sy c h e m y S oul
, , .
Th e se we r e days wh e n my h e ar t w as v ol c ani c
A s t h e s c o r i a c r i v e r s that r oll ,
A s t h e lava s that r e stle ssly r oll

Th e i r sul phur ou s c ur r e n t s down Y aan e k
I n t h e ul t im ate c lim e s of t h e p ol e ,
That g r oan a s th e y r oll down Moun t Y aan e k

I n t h e r e alms of t h e b o r e al p ol e 4
Relatively th e lay of Th e B ells is simpl e and sane as ,
th e y sound t he ir appeals of triump h dismay an g er and , , ,
lam e nt ation till w e f e e l as it w ere t h e t o we r roc k in g unde r

, , ,
our fee t B u t e ve n t he re t h e reader is puzzled by th e

.
—
g a t uitous c r uel t y of th e rin ge rs of t h e c himes t h at
r
Th e —
p e o pl e ah p e o pl e
, th e
Th e y that dw e ll u p in t h e ste e pl e ,
All alon e ,
T ollin g t ollin g t ollin g

, , ,
I n that muffl e d mono ton e ,
F e e l a glo r y in s o r ollin g
O n t h e hu man h e ar t a st on e .
5
EDG A R A LLAN P OE 203
A nnab e l Le e i t self wh ic h besides bein g bewitc h ingly

, ,
s we et is r ational still con t ains an eni g ma if one needi n g

, , ,
no Danie l for i t s solution

It wa s many and many a y e ar ag o ,
I n a kin g dom b y t h e se a
That a maid e n th e r e li v e d wh om yo u may kno w
,
B y t h e n am e of Ann ab e l Le e
An d th is m aid e n sh e li v e d wi th no o th e r th ought
Than t o lo v e and b e lo v e d b y me .
I wa s a c h ild and sh e was a c h ild

, ,
I n th is k in g dom b y t h e se a
B ut w e lo v e d wi th a lo v e that wa s mo r e than l o ve ,
I an d my Ann ab e l Le e
W i th a lo ve that t h e w in ged se r aph s of h e av e n
C o ve t e d h e r and me .
Th e an g e ls no t half so happy in h e av e n
, ,
We n t e n v yin g h e r and me
Ye s that wa s t h e r e ason— a s all me n kno w ,
I n th is k in g dom b y t h e se a
Th at t h e wind c am e out of t h e c lou d b y ni ght
C h illin g and killin g my Ann ab e l Le e 6
.
A nd last far fr om l e ast For Anni e

, ,
On t h e face of it
—
a iddl e o r it w ould not b e Edg ar Allan P oe s i t is li k e
r
’ — ,
An nab e l Le e soon g uessed

, o n ly t h e a n sw er is as d ifii c ult
,
as t h e qu e stio n B ut t h e t he me is gr andly audacious

.
,
’
almos t sublime ; j ust an ecstasy of life s u nexplained ,
p e r h aps i n explicabl e p e r h aps unr eal unr eason abl e despair

, , ,
become if not bliss a t r anquil t r ance throu gh th e embrace

, , ,
of Death by Love
Th an k H e ave n t h e c r isis ,
Th e d an ge r is pas t ,
And t h e lin g e r in g illn e ss

I s o v e r at last
And t h e f e v e r c all e d li vin g ‘
I s c on que r e d at last .
204 F I VE C EN T UR I ES OF ENGLI SH VERSE
And I r e s t so c om p ose dly
N o w in my b e d ,
That any b e h old e r

Mi ght fan c y m e d e ad
M i ght s tar t at b e h oldi n g me
Th in kin g me d e ad
,
And 0 of all t o r tur e s

,
That t o r tur e t h e w o r s t
Ha s ab ate d— t h e te r r i b l e
T o r tur e of thi r s t
F o r t h e n ap hthalin e r i v e r
Of Passion acc ur s t
I have d r u nk of a wate r
That qu e n c h e s all thi r s t :
And ah le t i t n e v e r
,
B e fooli shly said

That my r oom i t is g loomy
And n ar r o w my b e d
F o r man n e ve r sl e p t
In a di ff e r e n t b e d
And t o sl e e p you mu st slum b e r
, ,
I n j u s t su c h a b e d
.
And s o I lie happ ily ,
Bath in g in many
A d r e am of t h e tr uth
An d t h e b e auty of Anni e
D r own e d in a b ath
Of t h e tr e sse s of Anni e .
Sh e te nd e r l y kissed me ,
Sh e fondly c ar e ss e d ,
And th e n I f e ll g e n tly
T o sle e p on h e r b r e as t
D e e ply t o sl e e p
F r om t h e h e ave n of h e r b r e as t .
to o n e t he me I find bet ween it and for instanc e Th e

.
, ,
Raven a yet more in t ima t e analo g y ; a r elations hip of

,
o n e to th e ot h er as its converse Th us in Th e Raven t h e

.
, ,
r eader is continually led on to expec t an even t of impor t
w hi c h never h appens ; in For A nnie t h e very o r dinar y ,
idea wh ic h w e supposed w e w er e contemplatin g dev e lops

int o a monst r osity of fancy at once spec t ral ma t e rial and , ,
beautiful Con trasted as are th e results I beli e ve t h e ar t

.
,
to be vi rtually identical Th e e ffec t P oe desire d t o compass

.
by a poem w ould s e e m t o h ave been t h a t of a sin gle lon g

p ulsa t in g s h oc k sta
, r tin g o n e does no t k n o w wh e n ce It .
w as a point of p r ide wi t h him bot h t h a t h e s h ould be able

,
t o t e ll himself h e h ad accomplis h ed hi s ob j e c t in conformit y

wit h ri g id rules and th a t hi s readers s h ould never g uess
,
t h em .
He himself paraded in p r in t t h e absence of spont aneo us

inspira t ion from his composi t ion of Th e Raven It w as h e .
,
h as t old th e w orld t h e produc t of a mec hanical opera t ion

,
h e h ad cunningly devised He wh o h ad boasted t h a t wi t h

.
him poet r y w as not a purpose bu t a passion de t ails ,
elabora t ely h o w and w h y h e int r oduced beaut y w it h i t s ,
hi gh es t expression sadness and dea th ; a r efr ain wit h

, , ,
a bird — b —
y c h oice a raven t o repeat i t in unconscious ,
’
unison wi t h t h e t hrobbin g s of despair in dead Leno r e s
lover and beneat h all a su gg estive undercurrent of
, ,
fu t h er meanin g
r — d elibera t e ly confinin g th e wh ole wit hin
a fe w mor e th an one h u ndred li nes
8
.
Th e explanation a t th e time t as k ed t h e capaci t y of

p opular b e li ef more even t h an h e w eirdness of t h e poem
hyp n otized common u n d e rstan di ng s A na t ural conj ect u re
.
w as t ha t P oe eit her d e c e ived himself i n t o measuri n g bac k

s tep by step ground hi s fancy h ad already t a k en i n i t s
s t ride or simply w as diverting h imself wi th an experiment

,
EDG A R A LLAN P OE 207
on public c r e dulity Really h o weve r what wo uld h ave

.
, ,
been an al t o g ether unlik e ly m y s t ific a t i o n if i mputed t o
a n ot h er poe t ceases t o be wh olly inc r edibl e wit h r espec t to

,
h i m Th e i r on r i g our wit h wh ic h in Th e Raven t h e t hr ead

.
—c h ain r at her—o f t h e central idea is s tretc h ed sti ff and

tau t favou r s indeed t he su ggestion of artifice rat he r
th an an unpremedit ated fl i ght of imag ination A t all .
eve nt s no po e t but hi mself co uld h ave t ried to p e rsuade

his r eaders t o t hi n k t h ey smel t in h is inspira t ion t h e saw
dus t and oil of t h e w ork s h op .
Alt h ou gh no critic no t even P oe hi mself h as a t temp t ed

, ,
to apply t h e ex treme mec h anical t h eo r y t o ot he rs of h is

poems i t canno t b e denied th a t in g en e ral t h ey ar e liable
,
t o t h e c harge of an e xcess of art None breat h e of simple .
natur e Even t h e ele g an ce of th e lines to Helen wi th h er

.
Naiad air s whic h brin g admirers

h ome
T o t h e g lo r y that w as G r e e c e ,
And t h e gr and e u r that wa s R ome 9

,
is bu t dumb sculpture th ou gh of ivo r y and g old Th ou gh

, .
a spontaneous spark — a lurid one — from t h e soul kindle s

’
t he dead man s app e al t o his love For A nnie i t s ru s h of ,
fir e is const r ained it h as h ad to fl ame alon g a line r ul e d

for no t by i t Never w as ver se of suc h apparent and so
, , .
,
’
li ttle real fr eedom as all of P oe s ; or consequen t ly so
, , ,
a r t is t ic whic h is less satisfyin g ; so pur e of loose taint

,
wi t h less of wh olesome fr es h ness No h ealt hf ul breeze .
blo w s fr om o ff its D e ad Sea surfac e No sin ging bir ds fl y .
over it ; t hou gh its e lf in its ebb and fl o w ma k es son g

, , ,
h ar mo n y fairy music
, W h atever h e wrot e from hi s
.
,
precocious an d libert ine not i dle yout h to t h e deli rious

, ,
end in th e B altimor e h ospital possesses t h e same qualities ,
of unf ailin g gr ace and t one B u t t h e wh ole is li k e a reveri e

.
208 F I VE CEN T UR I ES OF ENG LI SH VERSE
be tween sleep and wa kin g alw ays fascinatin g never , ,
r e stful wit h an a t mosp h ere abou t it as of a sepulc hral

,
vaul t .
Wor ks of E dgar All an P o e e d J H Ingr am F ou r vols 1 874-5 Also

, . . . . . .
P o e tic al Wor ks e d J ame s Hann ay London : Ch ar le s Gr fli in 1 852

, . .
, .
1
Th e R ave n stan z as 1 7 1 8
, L e nor e st 1
, .
2
, . .
Ulalum
,
3
I b id st 2
.
, . . e st 2 4
, . .
5
Th e B e lls st 4 , . . Ann ab e l Le e stan z as 1 2 4 5
, , , .
7
F o r An ni e st an z as l 3 6 8 1 1 1 2 1 3 1 4 1 5
, , , , , , , , , .
5
Philoso phy of C omp osition (Wor ks ) vol ii pp 262—70 , .
, . .
9
T o He le n ( Po e ms wr itte n in Y o uth ) st 2 , . .
voca tion ; more modes t and reveren tial ; y e t in a sense also

mo r e exactin g His na t ure i n corporat ed as muc h as it
.
could of ot h er poetic souls Someth in g w as ex t rac t ed he re

.
,
somet hin g t h ere Every constit uent in t h e new crea t ion

.
was g enui n e wit h c h ar acteristics of its o w n bu t comp r essed

, ,
to me e t t h e demands of t h e rest Eac h w as k ept malleabl e .
to re ceiv e a s t amp from t h e borro win g s e lf Th a t self w as .
th ou gh tful wit hou t b e in g a t hink er given t o learnin g no t ,
to re sear c h sympa th etically inquisitive not p h ilosop h ic ,
accus t omed to loo k to a pri nt ed pa ge to put fancy in

mo t ion From t h e vast s t or e of h is re adin g Lon gf e llo w
.
s e lected instinctively wh a t ev e r h e could assimila t e and feel .
I n h is poems w e h ave t h e fr ui t of hi s s t udies and th ei r

e ssence h as becom e h is Th er e t h e e xplan a t ion is of t h e
.
ange r th e bi t t e r cont e mpt wh ic h h is succ e ssiv e e arli e r

, ,
volumes stirred in divers c r itics at th e times of t h eir

appearance Th ey w er e irritated by ca t c h in g and losin g
.
h old continually of clues to so u rc e s from wh ic h h e h ad

d a wn
r . Th ey r a g ed at t h e self complacen cy as th ey
-
,
re g ar d e d it wit h wh ic h h e p r opou n ded discove r ies by

,
illustrious pre d e c e ssor s as novelti e s of h is o wn Th ey did .
not car e to u n d e r s t and t h a t h is poetr y came finally from

his h e ar t wh enc e soever its e l e ments mi ght h ave bee n
,
deriv e d ; t h at w h a t to t h e m w e r e t r uisms w e r e fo r h im
ver y t r uth s For hi s public t h ey w er e tr ut h s t oo and
.
,
livin g t r u ths He w as absolutely sinc e r e w h en h e pr eac h ed

.
ve n e r abl e mor alities li k e th e P salm of Life an d Excelsior

, ,
as a n e w Gospel Th e undoub t in g confide nc e w it h wh ic h

.
h e p r oclai m ed it if i t r aised up sco ff e r s by t h e doz e n

,
b r ou gh t h i mdiscipl e s by t h e t e n t h ousand
,
Th e j e er s comin g fr om t h e i n t e ll e ctual class in t h e Old

,
Cou n t r y must I amafr aid h av e caus e d ac h e s b e yond t h e

, , ,
pow er of applaus e by t h e multitud e t o h eal All hi s w or k .

HENR Y WA DS W OR T H LON G F E LLOW 21 1
ind icates a d e lica t e sensitive o r ganism It w as an accide nt

, .
t h a t h is ea r ly popula r ity was largely due to some soundi ng

pla ti t udes Platitudes are no t n ecessarily c r imi nal Lit e ra
. .
t ure is pave d wit h them Oft en th ey h ave b e en wit h o u r

.
great est t h e nursin g -mot h e r s of r oyal sublimi t ies In .
’
Longfello w s verse th e y ar e na i ve an d grac e ful but it
was his mi sfort un e t h at t h ey won hi madmiration w hi c h , ,
for poet s t o be allo wed to bear i t in comf o r t ou gh t to fall , ,
a h alo from above and not steam r ank ly up from b e lo w He

, , .
e n dur ed th e consequ e n t obloquy h o w ev e r w oun d in g wit h

, ,
uncomplainin g digni ty H e di d no t hk e famous Englis h

.
,
cont emporaries turn upon his assailan t s and rend t h em

, .
Th e exc e lle nc e of s o m e of hi s w or k w as never denie d ,
and is indispu t able H is tra n sla t ions e sp e cially fr om t h e

.
,
German and Span i s h ar e full of beauty Th at of Coplas

, .
de M an r iq ’ ’
u e s Ode o n hi s fat h e r Rod r i g o s deat h is gr ave
and noble Ot h er s fr om M ii lle r Uhland Salis enh anc e t h e

.
, , ,
meri t s of t h e ori ginals T ak e for examples W hi t h e r t h e

.
, ,
Sta t u e over t h e Cat h e dr al Doo r t h e leg end of th e Crossbill

, ,
and t h e lov e ly Son g of t h e Silen t Land

I n t o t h e S ile n t L and
Ah I wh o shall le ad u s thi th e r
C louds in t h e e ve ni n g sky mo r e dar kly gathe r ,
An d s h atte r e d wr e c k s lie th i c k e r on t h e str and .
Wh o le ads u s wi th a ge n tl e hand
Th i th e r O th i the r
, ,
In t o t h e S ile n t Land ?
I n to t h e S il e n t Land
T o you y e b oundle ss r e g ions
Of all p e r f e c tion Te nde r mo rn in g v i sio n s
,
’
Of b e aute ou s souls T h e Futur e s ple d ge and b and 1
Wh o in L if e s battle fir mdo th s tand
’
,
’
S hall b e ar H o pe s te nd e r blossoms
In t o t h e S il e n t Land
O 2
0 L and 0 L and
F o r all t h e b r o k e n -h e ar te d
Th e mild e s t h e r ald b y o u r f ate allo tte d ,
B e ck ons and w i th in ve r te d to r c h do th s tand

,
T o l e ad u s w i th a g e n tl e hand
I n t o t h e land of t h e g r e at D e par te d ,
I n t o t h e S il e n t L and 1
Gr adually t h e s n e e r in g e v e n a t h is o r ig inal ver se w ent

out of fas h ion as volu me aft e r volume demonst r a t ed an
,
u n mis t ak able poet Eva n ge line h ad been a r e vela t ion to

.
man y and sur e ly fa n cy r ar ely h as c r eated a s we e t er

maiden equal ali k e to j oy and t e ars
,
Fai r wa s sh e t o b e h old th at maid e n of s e v e n te e n su mme r s

,
B u t a c e l e s ti al b r i ghtn e ss— a mo r e e th e r e al b e auty

S h on e on h e r fac e and e n c i r cl e d h e r fo r m wh e n af te r c onf e ssion
, , ,
’
H om e war d s e r e n e l y sh e walk e d w i th God s b e n e di c tion up on h e r .
Whe n sh e h ad pass e d i t s e e m e d lik e t h e c e asin g of e xquisi t e mu si c

,
?
P u r is t s could b r i n g no gr av e r r epr oac h t h an t h e h e xa

m e t e r s Hia w at h a not wit h standin g its h endecasyllabl e s
.
, ,
conver t ed ot h er s Mar k P at t ison wh o ob j ected to Long

.
,
f e llo w fo r h is indul ge nc e i n t r uisms w as oblig ed to prais e

,
t h e compa r ison of t h e advent of j ostlin g h uman disas t ers

to t h e ga th e rin g of a s w a r m of vul t u r e s
N e v e r st oo p s t h e soar in g vul tu r e
On h is quar r y in t h e d e se r t ,
O n t h e si c k o r wo und e d b ison ,
B u t a no th e r v ul tu r e wat c h in g,
F r om h is h i gh ae r ial loo k -out ,
S e e s t h e do wn war d plun g e and follo w s ,
And a th i r d pur sue s t h e s e c ond ,
C omin g f r om t h e in visi bl e e th e r ,
Fi r s t a s p e ck and th e n a vu l tu r e
, ,
T ill t h e a i r is d ar k w i th p inions 3
.
Th e w ond e r to me is as I r e call t h e fi gh t o n t h e po e t s
,
’
b e h alf h ow any o pposition s h ould h ave survive d t h e s t ill

,
Th e st ar of t h e un c on que r e d will ,
H e r is e s in my b r e a s t ,
S e r e n e and r e solute and st ill

, , ,
And c alm and se lf -p osse sse d

,
7
in Th e Reaper and t he Flo w ers

’
My Lo r d ha s n e e d of th e se flo w e r e t s gay ,
Th e R e ap e r s aid a nd smil e d
,
D e ar t ok e ns of t h e e ar t h ar e th e y ,
Wh e r e h e wa s on c e a c h ild .
m
The y shall all b loom in fi e lds of li ght ,
T r ans plan te d b y y c ar e ,
And sain t s u p on th e i r gar m e n t s wh i te ,
The se sac r e d b lossoms w e ar 3
or in B lind B ar t im ’
e u s s import una t e pe t i t ion wit h its ,
?
musical Gr ee k Th ey only k no w and are con t en t t o kno w
, ,
th at suc h strains calm t roubl e d nerves and t ouc h th e h eart , .
Even persons wh o h abitually requir e of poetry th a t

it s h all s t imula t e and infl ame h ave occasional moods
,
inclinin g th em t o lis t en to g entler musi0 °
N o t f r om t h e g r and old ma ste r s

N o t f r om t h e b ar ds sub lime
,
Wh ose distan t foo t st e p s e c h o

Thr ough t h e c o r r ido r s of T im e .
F o r lik e s tr ains of m ar t ial mu si c

, ,
Th e i r mi ghty th ought s sugg e s t

’
Lif e s e ndl e ss t oil and e nd e av ou r ;
And t o -ni ght I lon g fo r r e st .
R e ad f r om som e hu m b l e r p o e t ,
Wh ose son g s gu sh e d f r om h is h e ar t ,
A s s h o we r s f r om t h e c lou ds of su mm e r ,
Or t e ar s f r om t h e e y e lids s tar t
A nd t h e night s hall b e fille d w ith musi c ,
And t h e c ar e s that inf e st t h e day ,
S hall fold th e i r t e n t s lik e t h e Ar ab s

, ,
And a s sile n tly s te al away 1 0

.
HENR Y WA DS W OR TH L O NGFE LL O W 21 5
No wh ere may t h e th ou ght t h e feelin g itself ris e from

, ,
unk n o wn dept h s bu t t h e s in g er h ad be e n in spi r i t ual com

n io n ship w it h great minds of t h e past and t h e present ;
p a
and a consciousness dim suspicious and h esitatin g at

, , ,
fir s t came at leng t h t o pervade eac h side of t h e A tlantic

,
t h at hi s lesser ins t rume n t bea t s time in unison wi th t h eirs .
Never indee d was t h er e a more gra te ful a more e n t h u si

, , ,
astio sympa th y t h an h is He r e j oiced t o dwell upon grand

.
d e eds as we ll as upon grand t h ou gh ts H i s fancy h au n t ed .
th e scen e s of memorable actions an d t h e h omes of t h e ir ,
doers F o r many of us it is impossible to visi t ci ties wh ere

.
h e h as been wi t h out t r acin g hi s foo t s t eps by a gr acious

li ght t hey h av e l e ft b e hi nd t hem We find hi min N ur e m .
ber g at t endin g upon t h e illus tr ious in son g and art

He r e wh e n Ar t wa s s till r e li g ion wi th a sim pl e r e ve r e n t he ar t
, , , ,
Li v e d and lab our e d Alb r e c ht D ii r e r t h e Evan ge li s t of Ar t

,
H e n c e in sile n c e and in so r r o w toilin g s till wi th bu sy hand

, ,
Li ke an e mig r an t h e wand e r e d se e kin g fo r t h e B e tte r Land

, .
Em i gr av i t is t h e in s c r i p t ion on t h e t om b s ton e wh e r e h e li e s
— —
D e ad h e is n o t b ut de par te d fo r t h e ar t is t n e ve r di e s .
Fai r e r se e ms t h e an c ie n t c i ty and t h e sunshi n e se e ms mo r e fai r

, ,
That h e on c e ha s tr od i t s pave me n t that h e on c e ha s b r e ath e d i t s

,
11
ai r !
His v e rs e b e au t ifie s Wiir t z b u r g s minster to w er s wit h t h e

’
memo r y of W alter von d e r Vo ge lwe id t h e Minnesin ge r ,
and h is bequest to his teac h ers in t h e art of son g

Thu s thebar d of lo ve de par te d
A nd f ulfillin g his d e si r e
, ,
On hi s t omb t h e b i r ds w e r e f e a s te d
B y t h e c h ildr e n of t h e c h oi r .
The r e th e y san g th e i r m e r r y c ar ols ,
S an g th e i r l auds on e v e r y sid e
And t h e n ame th e i r v oi c e s utte r e d
Was t h e n am e of Vo ge lwe id .
Time ha s lon g e ff a c e d t h e ins c r i p tions
’
On t h e c loiste r s fun e r al s t on e s ,
And tr adi t ion only te lls u s

’
Whe r e r e p os e t h e p o e t s bon e s .
But ar ound t h e va st Cath e d r al ,
B y swe e t e c h o e s multi pli e d ,
S till t h e b i r ds r e pe at t h e l e g e nd ,
And t h e n am e of Vo ge lwe id 12
.
I f I w ere ever as doub tless I s h all never be in th e P alace

, ,
of P alermo modern as i t is I s h ould expect

, ,
th r ough t h e o p e n windo w lou d and c l e ar , ,
T o h e ar t h e monk s c han t in t h e C hap e l n e ar ,
Ab o v e t h e s t i r and tu mul t of t h e s tr e e t :
H e ha s put do wn t h e mi ghty f r om th e i r s e at ,
And ha s e xalte d th e m of lo w d e g r e e 13
For th o u sands of t ravellers since Lon gf e llo w h ave , ,
A s t h e e ve nin g s had e s d e s c e nd e d ,
L o w a nd lo u d and s we e tly b l e nd e d ,
Lo w at time s and lou d at t im e s ,

’
And c han g in g li ke a p o e t s r hym e s ,
Run g t h e b e autiful wi ld c h ime s

F r om t h e b e lf r y in t h e m ar k e t
Of t h e an c i e n t t o wn of B r ug e s .
Th ey s t i ll h ave h eard blendin g w i th th eir dreams

, ,
th ose mag i c nu mb e r s ,
As th e y lou d p r o c l aim e d t h e fli ght

And st ol e n mar c h e s of t h e ni ght
T ill th e i r c hi m e s in s we e t c ollision
Mi n gl e d wi th e ac h wand e r in g vision ,
Mi n gl e d wi th t h e fo r tun e -t e llin g
Gi p sy -b ands of d r e ams and fan c i e s ,
Whi c h a mid t h e was te e xpans e s

Of t h e sil e n t land of t r an c e s
H ave th e i r soli tar y dwe llin g 14
.
P ec uli ar and exotic

, , as for t went iet h -cen t ury E u rope
, ,
And no w a flago n fo r su c h a s may a sk

A d r aught f r om t h e no b le Bac har ac h c ask ,
And I will b e g on e th ough I kno w full w e ll

,
’
T h e c e llar s a c h e e r full e r pl ac e than t h e c e ll 16
.
Th e devo t ion t o hi s ar t of t h e Friar in t h e Scr ip torium as ,
h e closes w ork a t dusk and g azes from h is windo w ma k es

, ,
a deli ghtful con tras t

H o w sw e e t t h e air is H o w fai r t h e s c e n e
I wis h I had a s lo v e ly a g r e e n
T o pain t my lands c ape s and my l e av e s
H o w t h e swallo w s twi tt e r u nde r t h e e av e s
Th e r e no w th e r e is o n e in h e r n e st
, ,
I c an j u st c at c h a glim p se of h e r h e ad and b r e ast ,
And wi ll ske t c h h e r thu s in h e r qui e t noo k ,
F o r t h e m ar g in of my Gos p e l b oo k 17
.
, ,
—
And las tly t h e ecs t asy of Monk Feli x t au ght by t h e ,
’
lapse of a h undred years in as many moment s of a bi r d s
son g t h at n o thi n g wi th God is impossible — is some thin g
,
to d r eam of
On e mo r nin g all alon e
, ,
O ut of h is c on ve n t of gr ay s t on e ,
I n t o t h e for e s t olde r dar ke r g r ay e r

, , , ,
His li p s movi n g a s if in p r ay e r ,
H is h e ad sunk e n u p on h is b r e as t ,
As in a d r e a m of r e st ,
Walk e d t h e Monk F e lix All ab out .
Th e b r o ad sw e e t sunshi n e l ay wi th o ut
, ,
Fillin g t h e su mme r air ;

And wi th in t h e w oo dlands a s h e tr od ,
Th e twili ght wa s h k e t h e T r u c e of God

W i th w o r ldly w o e and c ar e
Und e r h im lay t h e g old e n moss
And ab o ve h im t h e b ough s of h e mlo c k -tr e e s
Wav e d and m ad e t h e si g n of t h e C r oss
, ,
And wh is p e r e d th e i r B e n e di c i te s .
HENR Y WA DS W OR T H L ONGFE LL O W 21 9
He h e e d e d no t but p ond e r e d
,
On t h e v olu m e in h is hand,
A v olum e of S ain t Augu stin e ,
Wh e r e in h e r e ad of t h e unse e n
’
Spl e ndour s of God s g r e at t o wn
I n t h e u n kn o wn land ,
And wi th h is e y e s c as t do wn
,
I n hu mili ty h e s aid
,
I b e lie ve 0 God
, ,
What h e r e in I hav e r e ad ,
But alas I do no t und e r stand

,
And lo h e h e ar d
T h e sudd e n sin g in g of a b i r d ,
A sno w-wh i te b i r d that f r om a clou d ,
D r o pp e d do wn ,
And amon g t h e b r an c h e s b r o wn
Sat sin g in g
S o sw e e t and c le ar and loud
, , ,
It s e e m e d a th ousand h ar p st r in gs r in g in g .
And t h e Mon k F e li x c lose d h is b oo k ,
And lon g lon g, ,
W i th r ap tur ou s loo k ,
H e lis te n e d t o t h e son g ,
And h ar dly b r e ath e d o r s ti r r e d ,
Un t il h e s aw a s in a v ision
, ,
Th e l and E lysi an ,
And in t h e h e av e nly c i ty h e ar d
An g e li c f e e t
Fall on t h e g old e n flagg in g of t h e s t r e e t .
And h e w ould fain

Have c aught t h e w ond r ou s b i r d ,
But s tr o v e in vain
F o r i t fle w away away , ,
F ar o v e r hi ll a nd d e ll ,
And inste ad of i t s s we e t sin g in g

H e h e ar d t h e C on v e n t b e ll
S udd e nly in t h e sile n c e r in g in g
F o r t h e s e r v i c e of noonday .
An d h e r e tr ac e d
H is pathway h om e war d sadly and in has te 15
.
’
I f t h e many productions of Longfe llo w s lat e r year s did
not oft e n ris e to t h e l e ve l of t hi s y e t t hin g s of beauty w e re ,
inter sp e rs e d and alre ady h e h ad perman ently triump h ed

over pre j udice and fastidiousness Had h e be e n one to .
boast h e m ,
i gh t h ave claimed t h a t En glis h li t e ratu r e could
mo r e easily dispens e wi th several of h is brillian t con t e mpo
—
rar ies t h an wit h h im Nevert h eless I canno t but suspec t .
,
ca n no t bu t fear t h a t t h e sin g er of t h e w oful and s we et

,
t r a g edy of Grand P é of th e I ndian Edda as various as

- r — ,
i t is h ar monious —o f t h e fran k ness of t h e b r i ght P uritan

maiden of t h e Gold e n Le g end its e lf may some t imes h ave
, ,
si gh e d t o h ims e lf as h is brus h laid o n h is silver y moon

-
,
li gh t or evenin g afterglo w— may h av e been t e mpted t o

,
envy t h e s t o r my passiona t eness of member s of h is c r aft

h —
bo th in th e N e w W o ld and t Old may h ave complained
r e
of h is Mus e t h a t sh e w as placidly cont e nt to r e fl ect t h e

r adiance of ot h er luminaries ins t ead of bu r nin g wi th fire
of h e r o wn .
Th e P oe tic al Wor k s of He nr y Wadswor th Lon gfe llow Com ple te .
E dition London G e or ge R outle dge Sons 1 865

. : , .
1
S ong of t h e S ile nt L and Fr om t h e G e r m an of S ali s . .
1
E vange lin e P ar t I , .
3
Th e S on g of H i awath a ! I ! Th e G h osts , , .
4
F ootste p s of Ange ls A Gle am of S unshine
.
5
.
5
Th e B r idg e . Th e Light of St ar s 7
.
5
Th e R e ap e r an d t h e F lowe r s
. .
9
B lind B ar t ime us .
1 °
T h e D ay is D on e st an z as 5 6 7 1 0 1 1 , , , , , .
11
Nur e m b e r g . Walte r von Vo ge lwe id 11
.
13
King R o b e rt of S icily Th e B e lfr y of B r uge s : C ar illon
.
1 4
15
Th e B e le ag u e r e d C ity Th e G old e n L e ge nd i v
.
15
, .
17
I bid . I b id ii 15
.
, .
222 F I VE C EN T UR I ES OF ENG LI SH VERSE
h e moun t ed th e pulpi t His poems t h e serious as muc h

.
,
as t h e bu r lesque and satirical t h e G h os t Seer and Hunge r

-
, ,
and C old e qually wi th th e B i glo w P ap e rs are par t of th e

, ,
h is t ory of t h e per iod and its th ou ght Ju st ly t o apprecia t e .
eit h er sor t h is reader mus t in memory or in fancy descend

, , ,
into t h e field and ima g ine h imself a comba t ant

,
.
A necessary resul t is some ris k of co n fusin g in th e poe try

ma tt er and spiri t Th e et h ereal is apt t o g e t c h ained t o
.
an incident antiqua t ed or d e ad W h en th e sub j ec t -ma t ter .
is p h ilosoph y it is p h ilosop h y blo w n red h o t wi th dispu t a

,
-
t ion Th e son g wh ic h a t t h e t ime i t w as sun g w as itself

.
,
th e comment no w itself w ants commentaries Not ever y

,
.
body is able and comparatively fe w are a t pains t o read

, ,
’
bet w ee n th e lines Then too t h e poet s impe t uous fl uency
.
adds to th e tu r moil His fancy e xultin g in th e c h ances of

.
a fi e ry con flic t wh et h er to end in a vic t ory or a rout

, ,
w ould burst into a r us h of v e r se On it sped disdaini n g .

,
to b e staye d wh ile t h er e w as a public s t ill passiona t e

enou gh to supply reader s A s I t u r n pa ge aft er pa ge it
.
,
is t ant alizin g to fe e l t h at a livin g idea a burnin g th ou gh t , ,
is g aspin g for br at h ben a th a cind r pile of new spaper

e e e -
wranglin gs or of fr ee figh t s in Congress T o its love r s

,
- .
poet r y is s e lf su fli c in g a b e in g w it h a comple t e life of its

-
,
o wn n e it h e r a c o n flagr at i o n n o r a sca ff oldin g Th ey ar e

, , .
no b e t t er pl e ased wh en t h e bar d abandons party s t rife ,
and t ak es as h is l e g itimat e and normal voca t ion to

, ,
p h ilosop h y . Reader s of Lo we ll ar e ge nerally be tw een

Scylla an d Ch arybdis Th ey ar e o ffer ed th eir c h oice of
.
vital social and m e t ap h ysical probl e ms to g uess one mo r e ,
i n t r icat e t h an anot h e r He neve r s at do wn t o wri t e a li n e

.
wit h ou t a drivin g s e ns e of a m e ssa g e t o delive r no w do w n ,
upon e arth and no w aloft amo n g t h e star s His public

, .
is e xp e c te d to follo w and decip h e r th e wh ole Wisdom .

,
JAMES RUSSE LL L O W E LL 223
g en e r o u s indi gnation p h osp h oric wi t cri t icism cons tr uc t ive

, , ,
as well as des t ruc t ive li ghtning s opening He av e n as t h e y

,
s tri k e t h e eart h ar e all t h ere Th e pi t y is th a t t oo oft en

, .
ei th er th e think er h as ove r laid t h e poe t or t h e inspi r ation ,
is playin g abou t a dead t h eme I t is as wh en a canvas h as

.
rotted u n der a mas t erpiec e of art .
Th e po e t h o w ev e r is th ere alw ays t h ou gh it may b e

, , , , ,
in t h e bac kgrou n d i t is t h e readers I am afr aid w h o ar e , ,
lik e ly t o be in default Th e g eneral public neit h er in t erests

.
its e lf in byg o n e partisans hips nor h as spare in t elli ge nce

,
fo r dialectics . Even an e nt h usias t for poetry does no t

e xpec t to h av e to k eep t h e fir e on h is h ea r t h ali gh t wit h
t h e as h es of yest e r day or s t eam coal None could per ceive

,
.
more clear ly h o w h e missed popularity for his graver ver s e ,
or bear t h e loss more c h eerfully th an Lo w ell hi ms e lf ,
’
wh o s str i vin g Par nassu s t o c lim b
Wi th a wh ol e bal e of isms ti e d t o ge the r wi th r hym e 1
and visi t in g C h art res

, ,
t o f e e d my e y e ,
And gi v e t o Fan c y o n e c l e ar h oliday ,
Sc ar c e saw t h e minste r fo r t h e th ought s i t s ti r r e d

Th e pa in te d w indo w s f r e aki n g gloom wi th g lo w
, ,
Du skin g t h e sunsh in e wh i c h th e y se e m to c h e e r ,
Me e t s y mb ol of t h e s e ns e s and t h e soul ,
’
And th e wh ole pile g r im wi th t h e N or th man s th ought
,
’
Of lif e and d e ath and doom lif e s e qual fe e
, ,
?
Wh e n th e poe t in h im h as clear poss e ssion of t he fie ld ,
t h e sadd e r and mo r e pensiv e p h as e s of h uman e xperi e nc e

still ar e t hos e to w h ic h h e tu r ns by p r e fe re nc e H e mou r ns .
t h e de at h of an i nf an t so n
A c h e r ub wh o had los t h is way
A nd wand e r e d h i th e r so h is st ay ,
’
W i th u s wa s sh o r t and twa s mos t m e e t
,
’
That h e s h ould b e no d e l v e r in e ar th s c lod ,
N o r n e e d t o p au s e and c l e ans e h is f e e t
T o s tand b e fo r e h is God :
,
—
O h b le s t w o r d Ev e r mo r e 3
Th e contr as t betw een univer sal lau gh ing busy na t ure and ,
t h e sudde n pause and mu t eness of dea th su r prises and ,
bewilder s h im
Th e b e e hu ms on ar ound t h e b lossom e d vin e
Whi r s t h e li ght hu mmin g -b i r d t h e c r i c k e t c h i r p s
’
T h e lo c u s t s s h r ill al ar u m s t in g s t h e e ar
Har d b y t h e c o c k s h out s lu st ily f r om far m t o far m
, ,
H is c h e e r y b r o th e r s te llin g of t h e sun
, ,
Answe r t ill far away t h e j oyan c e di e s

,
We n e v e r k n e w b e fo r e h o w God had fill e d

Th e su mm e r air w i th happy li v in g sounds
All r ound u s s e e ms a n o v e r plu s of lif e ,
And y e t t h e o n e d e ar h e ar t li e s c old and s t ill 4

.
He g azes do wn w h ile h e s h udde r s at t h e abyss y e t deeper

, , ,
th an t h e gr ave wh ic h separa t es t h e near es t and dear es t

,
from t h e dark ened mind

The r e th ou si tte s t no w and th e n th ou mo an e st
Th ou dost t alk wi th what w e c anno t se e ,
Loo ke st at u s wi th an e y e so doub tful ,
It do th put u s v e r y far f r om th e e
Th e r e th ou si tte s t w e w ould fain b e ni gh th e e ,
But w e k no w that i t c an n e v e r b e .
S tr an ge i t is that in th is o p e n b r i ghtn e ss
, ,
Th ou sh oulds t si t in suc h a n ar r o w c e ll
S tr an g e i t is that th ou sh oulde st b e so lon e som e
Wh e r e th ose ar e wh o lo ve th e e all so w e ll
N o t so mu c h of th e e is l e f t amon g u s
‘
A s t h e hu m outliv in g t h e hu sh e d b e ll
.
5
Ak in to t h e attraction — wit h more still in it of t h e

a t t r action of re pulsion — W h ic h dr aw s h im t o t h e cont e m
N e x t mo r nin g som e thin g h e avily
Agains t t h e o p e nin g doo r did we i gh ,
And the r e f r om sin and sor r o w f r e e

, ,
A w oman on t h e th r e sh old lay .
wh om t h e h e ar t of man s hut s out

Fo r , ,
S om e time s t h e h e ar t of God t ak e s in ,
And f e n c e s the m all r ound ab out

’ ’
Wi th sil e n c e mid t h e w o r ld s loud din ?
B ut for soull e ss gr e e d for th e irr edeemably lost bo n dsm e n

,
’
of g old wh om h e meets in t h e n oisy City s s treets h is c r eed
, ,
spar es not a g limmer

The y pass me b y li ke s hado w s c r o wds on c r ow ds , ,
D im gh ost s of me n that h o ve r t o and fr o

Huggin g the i r b odi e s r oun d t h e m lik e th in sh r ouds
, ,
‘
Wh e r e in the i r so uls we r e bur i e d lon g ag o .
Lo h o w th e y w and e r r ou nd t h e w or ld th e i r g r av e , ,
Wh ose e v e r gapin g maw b y su c h is fe d

Gi bb e r in g at li vin g me n and idly r av e
,
, ,
’
We only tr uly li v e b ut y e ar e de ad
, , , .
Ala s po o r fools t h e anoin te d e y e may tr ac e

,
’
A d e ad soul s e p i tap h in e v e r y fac e 5
Happily h e possessed and f r om tim e to tim e us e d t h e

, ,
gift of simpl e sw ee t ness as w e ll a s t h os e of p r e ac h er and

,
j ud ge R e ad e r s if t he y pl e as e may su n t he mselves in pu r e
.
, ,
c h ar m s e e k in g not hi n g fu r t h e r
, Th e deafn e s s to divin e .
sin gin g until t h e minst r e l h as d e par t e d bac k to h is n ativ e

, ,
Heaven was n e ver mo r e pr e ttily mo r alized t h an in t h e

,
ballad of t he e xile of Ph o e bus A pollo fr om Olympus to t h e

s h e e p folds of King A dm e tus
-
Me n g r an t e d that h is s p e e c h wa s wise ,
But wh e n a g lan c e th e y c aught

,
’
Of h is slim gr ac e and w oman s e y e s ,
Th e y l augh e d and c alle d h im g ood -fo r -n aught

, .
JAM ES RUSSE LL L O W E LL 22 7
Ye t af te r h e w as d e ad and go n e ,
’
And e e n h is m e mo r y dim ,
E ar th se e m e d mo r e swe e t t o li v e u p on ,
Mo r e f ull of lo ve b e c au se of h im
, .
And day b y day mo r e h oly g r e w

E ac h s p o t wh e r e h e h ad tr od ,
T ill af te r -p o e t s only k n e w
-
The i r fir st b o r n b r o th e r a s a g od 9
.
A s his pen w ander s abou t t h e glades t h e forest becom e s,
a w oodland e n c han te d
Th e g r e at Augu s t noonli ght ,
Thr ough myr iad r if t s slan te d ,
Le af and b ol e th i c kly s p r in kl e
Wi th fli c ke r in g g old ;
Th e r e in war m Augu s t glo amin g ,
Wi th qu i ck sile n t b r igh te n i n gs
, ,
F r om m e ado w-lands r o amin g ,
T h e fir e - fly twin kl e s
H is fit ful h e a t -li ghtnin g s .
T h e li ttl e fo un t twin kl e s
’
It s silve r sain t s -b e lls ,
That no s pr i te ill -b odin g

May make h is ab ode in
Th ose inno c e n t d e lls .
1°
H e dr e am s b r i gh t d r e ams as h e wa t c h e s t h e despised
,
da n de lion frin g in g in blit h e som e May t h e dusty r oad wi t h

, ,
h a r mless g old
Th e n th in k I of d e e p shado w s on t h e g r ass ,
Of me adow s wh e r e in su n t h e c attle g r az e ,
Wh e r e a s t h e b r e e z e s pa ss
, ,
Th e g le amin g r u sh e s l e a n a th ou sand way s

Of l e ave s that slum b e r in a c loudy ma ss ,
Or wh i te n in t h e win d of wate r s blue

That f r om t h e di s tan c e s par kl e th r ough
S ome w oodland gap and of a sky ab o ve
, ,
Wh e re o n e whi te c loud li ke a str ay lam b do th mo ve

,
11
, .
He ave n and e art h se e m to me e t in hi s t al e of t h e Ch ris t

P 2
’
lik e Y u sso u f s dealin g w it h t h e outcast wh om h e was ,
h elpin g wit h h o r se and mon e y t o fle e t h e aven g ers of

blood
O S h e i k I c anno t le ave th e e so
,
I will r e pay th e e all th is th ou has t don e

Un t o th at I b r ah im wh o sl e w thy so n
’
Tak e thr i c e t h e g old said Y u sso uf fo r w i th th e e
, ,
I n t o t h e d e se r t n e v e r t o r e tur n
, ,
M y o n e b l ac k th ought shall r id e away f r om me

Fi r st -b o r n fo r wh om b y d ay and ni ght I y e ar n
, ,
’
B alan c e d and j u st ar e all of God s d e c r e e s
Th ou ar t av e n g e d my fir st b o r n sl e e p in p e ac e
,
- 12
R e ade r li k e poet w ill b e h aunted by t h e pic t ure of t h e

, ,
maid e n att e nd e d h om e fr om a dan c e and l e ft at h er door

,
h oldin g a can dle to li gh t h e r cavalier as h e drives a w ay

,
do w n t h e rainy dar k ave n ue

,
T h e v ision of s c ar c e a mom e n t ,
And har dly mar k e d at t h e t ime ,
It c ome s un b idd e n t o haun t me ,
Lik e a s c r ap of b allad -r hym e .
H ad sh e b e auty W e ll no t what th e y c all s o

,
Y ou m ay find a th ou sand a s f ai r
’
And y e t the r e s h e r fac e in my m e mo r y
W i th no s p e c i al c laim t o b e the r e .
A s I si t some tim e s in t h e twili ght ,
And c all b ac k t o lif e in t h e c oals

Old f ac e s and h o p e s and fan c i e s
Lon g b ur i e d— g ood r e s t t o th e i r souls
H e r f ac e s h in e s o ut in t h e e m b e r s
I se e h e r h oldin g t h e li ght ,
And h e ar t h e c r un c h of t h e g r av e l ,
And t h e s we e p of t h e r ain that ni ght .
’
T is a fac e that c an n e v e r g r o w old e r ,
Th at n e ve r c an par t wi th i t s gl e am ,
’
T is a g r ac iou s p osse ssion fo r e v e r
F o r is i t no t all a d r e am ? 1 3
P apers for wh om Lon gfello w is as a compatriot wh o even

, ,
ar e familiar wit h t h e names of W h i tt ier and B ryan t w ould ,
b e amazed t o h e a r of J ames Russell Lo w ell as amon g th e

w orld s poet s — Y e t h e is
’
.
Th e Po e tic al Wor ks of J ame s R u ss e ll Lowe ll Ho use hold E dition

. .
B oston : Ho ughton M ifflin Co 1 882

, .
, .
1
A F able fo r Cr itic s
. Th e C athe dr al
9
.
9
Th r e n o di a ( E ar lie r P o e ms )
.
4
O n t h e D e ath of a F r i e nd s Ch ild ( M isc e llan e o u s P oe ms )
’
.
5
Th e D ar ke n e d M in d ( Und e r t h e W illows ) .
5
Hunge r an d C old ( M isc e llane o u s P oe ms ) .
7
Th e F o r lor n ( E ar li e r P o e ms )
.
9
Th e S tr e e t ( S onn e ts )
.
9
Th e S he p he r d of Kin g Adm e tu s ( M is c e ll an e o u s P o e ms )
.
1 °
Th e F oun t ain of Y outh ( Unde r t h e Willows ) .
11
T o t h e D ande lion ( M is c e llane ou s P oe m s ) .
19
Y us so uf ( Unde r t h e W illows ) .
19
An E mb e r P ictur e
14
In t h e Tw ilight
E D WA RD F I T! G E RA LD
1 809 — 1 883
IT is at once easy and h ard to account for t h e Fi t z Ge r ald

Cult Th e fervour of many b e lievers in t h e gospel pro
.
’
po u n ded accor din g to Edw ar d F it z Ge r ald by t h e P e r s i an
, ,
astronomer po e t is inte lli gible e nou gh Th e fait h is t h at of

-
, .
Epicurus wit h out t h e incubus of a p h ilosophi cal system

Non e could be simpl e r or mo r e c h e e r q y practised : Live
.
yo ur life on earth as if ear th not you we re et e rnal as if

, ,
t he re w ere neit h er Heaven n o r He ll Live fo r t he day

.
,
wit h out concer n for t h e mo r r o w o r if t h er e be a morro w

, ,
a n y more for t h at t h an for yester day Play if you can

.
,
find no bet t er diversion wit h wh atever th eories or do g mas

, ,
re li gious or ot h erwise you pleas e Never a t all events

,
.
, ,
allo w t h em t o colo ur or clo u d your fl ee t in g moments Your .
active business i s to tak e advant a g e of t h e pleasur es of

t h e body while you h ave a body Especially en j oy music
, .
,
and drin kin g ; if in a g arden of r oses w it h a fair companion

, ,
s o muc h t h e bett e r. Th er e in lies all your duty whi c h is only ,

’
to your s e lf Never was a mo r e unet her eally a gr e e able cre ed
.
’
preac h ed B ut many of F it z Ge r ald s readers wh o ab h o r
.
’
Omar Kh ayyam s p h ilosop h y ent h usiastically apprecia t e t h e
verse and it is muc h less difficult to explain acc e p t ance of
t he one t h an wh y t h e ot her sa t isfies t o t h e point of rap t ure .
Fi t z Ge r ald int er polated int o t h e laborious indolence h e

loved a bare modicum of poe t ical w o r k Of t h e pieces .
direc tly ori gi n al t he most important is B r e d fie ld Hall Th e .
descrip t ion of t he h om e of succ e ssive s qu ires of his r ace is

de liciously simpl e
Lo , an E n glish mansion founde d

’
I n t h e e ld e r Jame s s r e i g n ,
Quain t and state ly and sur r ound e d

,
Wi th a past o r al domain .
W i th we ll -t imb e r d l awn and g ar d e ns

’
,
And wi th m any a pl e asan t m e ad ,
S k i r te d b y t h e lof ty c o ve r t s
Whe r e t h e har e and p h e asan t f e e d .
’
Flan k d i t is wi th g oodly s tab le s ,
’
Sh e lt e r d b y c o e val t r e e s
S o i t lif t s i t s h on e st gab l e s
T o war d t h e distan t G e r man s e a s
’
Whe r e i t on c e di sc e r n d t h e smok e
Of old se a-b attle s far away
’
S aw v i c t o r iou s Ne lson s t o p mas t s
An c h o r in g in H olle sle y Bay .
But whate ve r s t o r m mi ght r io t ,
C annon r oar and tr u m p e t r in g

S t ill am
, ,
i d th e s e m e ado w s qu i e t
D id t h e y e ar ly viol e t s p r in g
’
S till H e av e n s s tar r y hand su s p e nd e d
That li ght b alan c e of t h e d e w ,
That e ac h ni ght on e ar th de s c e nd e d ,
And e ac h mo r nin g r ose an e w

And t h e an c i e n t h ou s e s t ood r e ar in g
’
U n di st u r b d h e r c hi mn e ys h i gh ,
And h e r gilde d van e s s till v e e r in g

T o war d e ac h quar te r of t h e sky :
Whil e li ke wav e t o wav e su cc e e din g
Th r ough t h e w o r ld of j oy and str if e ,
H ou se h old af te r h ou se h old s p e e din g

Hand e d on t h e t o r c h of lif e .
H e r e th e y li v e d and h e r e th e y g r e e te d
, ,
M aids and matr ons sons and sir e s

, ,
Wande r in g in i t s walk s o r s e ate d

,
R ound i t s h os pi tab l e fi r e s
plays and of t h ree Greek tra g edie s Oedipus at Th ebes

, , , ,
’
and in A tt ica and A g amemnon He added o n e of Vir gil s
, .
’
g arden and r enderin g s of Omar K h ayyam s Rub aiyat and
, ,
Jai m ’
i s Salaman and Ab j a1 All tes t ify t o unspar in g pains
.
and an extraordin ar y gift in h im for ima ginin g h imself into

h is aut h or A t times w e mi ght almost say t h at h e w as t h e
.
au tho r as in t h e tale by t h e A r give C h oru s in th e Agam em

’
non tak en fr om A esc h ylus of t h e use by Fa t e of t h e
, ,
passions of Gods and Men to accomplis h i t s dr ead decree s .
Th at ma g nific e nt Od e laid a spell upon me wh en lon g a g o

I came upon it and t h e c h ar m w o r k s still
S oon o r late sar doni c F ate
W i th Man ag ainst h imse lf c ons pi r e s
Put s on t h e mask of h is d e si r e s
U p t h e s te p s of T ime e lat e
Le ads h im b lind e d w i th hi s p r id e ,
An d gath e r in g a s h e g o e s alon g
Th e fue l of h is sui c id e
Un t il havin g t o p t t h e py r e
Whi c h D e s tiny p e r mi t s no h i gh e r ,
Am b i t ion s e t s h imse lf on fir e ;
I n c o n flagr at io n lik e t h e c r im e
C ons p i cu ou s thr ough t h e w o r ld and tim e ,
D o wn a mids t h is b r az e n walls
Th e acc u mulate d I dol f alls
T o shap e l e ss ash e s ; D e m i g od
Und e r t h e vul g ar h oof down -tr od
Wh ose n e c k h e tr od on no t an e y e
T o we e p h is fall n o r li p t o si gh
,
F o r h im a p r ay e r ; o r if th e r e w e r e
, ,
N o God t o lis te n o r r e ply

, .
Th e c h ildren h ave t o pay for t h e sin of t h e fa th er and s ire ,
for t h e g uilt of son

Thu s wi th old Pr i am wi th h is r oyal lin e
, ,
Kindr e d and p e o pl e y e a t h e v e r y t o we r s
,
’
Th y o ch d in buil t b y mason r y di vi n e
e c r u ,
?
ED WA RD F IT ZGER A LD 23 5
’
Th en a t t h e t h ou gh t of t he h ome d e sola t e d by Helen s
,
fli ght t h e s t a t ely approval of t h e fat e ful doom upon crime

,
and its abet t ors becomes a fl ood of sorro win g sympat h y

wit h th e in j u r e d :
Lik e a d r e a m th r ough sl e e p sh e glid e d
Thr ough t h e sile n t c i ty gate ,
B y a gu il ty H e r m e s gu id e d
’
On t h e fe at h e r d f e e t of The f t
Le avin g b e twe e n th os e sh e l e f t
And th os e sh e fle d t o li ghte d disc o r d ,
Un e x tin guishab l e Hate

v in g him wh om le as t sh e sh ould ,
Me n e lau s b r av e and g ood ,
Sc ar c e b e li e vin g in t h e mut t e r d
’
’
Rumour in t h e w o r se than u t t e r d
,
Om e n of t h e wailin g maid e ns ,
Of t h e s hake n h oar y h e ad
Of de se r t e d b o ar d and b e d .
F o r t h e p han t om of t h e los t o n e
H aun t s h imin t h e w on te d plac e s
H all and C ham b e r whi c h h e pac e s
,
Hi the r Thi the r lis te ni n g loo kin g

, , , ,
P han tom -lik e h im se lf alon e ;

T ill h e c om e s t o l oath e t h e f ac e s
O f t h e mar b le mute C olossi ,
God -li ke Fo r ms an d half -di vin e

, ,
Fo unde r s of t h e R oyal l in e ,
’
Wh o wi th all un alt e r d quie t
Wi t ne ss all and make no si gn .
But t h e sile n c e of t h e c ham b e r s ,
And t h e s hake n h oar y h e ad ,
And t h e v oi c e s of t h e mour nin g

W ome n and of o c e an waili n g
, ,
O ve r wh i c h wi th unavailin g
Ar ms h e r e ac h e s a s t o ha il
,
Th e p han t om of a flyin g s ail

All b u t an s we r Fl e d fle d fle d
,
’
False ! d ish o n o u r d w o r se than d e ad
23 6 F I VE CEN T URI ES OF ENG LI SH VERSE
Ni ght a t last h e d r e ams and Sh e

On c e mo r e in mo r e than b r idal b e auty s tands
B ut e ve r a s h e r e ac h e s fo r th h is hands
, ,
S li p s f r om the m b ac k in t o t h e v i e wl e ss d e e p ,
On th ose sof t sile n t w in g s that w alk t e ways of sle e p

h 3
.
Th e Rub aiyat h o w ever is t h at by wh ic h Fi t z G e r ald lives

, , ,
an d will live . I t w e h av e to sear c h in o r de r to discov e r t h e

’
secret of t h e po e t s fame Th e first fe e lin g wh en r e ad e r s h ave
.
,
l e isu r e to r evie w impressions is of su r p r is e at t h e in d i ff e r

,
’
ence to t h e question of t h e t r anslato r s fid e lity It is .
a ma t t e r of comple t e unimpor t ance to us wh e th er i t be

a t r anslation at all A t th e same tim e all of u s h o w ever
.
,
absolutely i g no r ant of P e r sian are confiden t th at if i t be

, , ,
’
it is perfect in spiri t divin e ly don e
, a plane t equal to ,
’
t h e su n whi c h cast it as T ennyson muc h too flat t e ri n gly
, ,
at any rate to Omar su ms it u p ,

1
W e ar e too entirely .
‘
dominated by a consciousness of force compr e h ens iveness , ,

’
will sufficiency t o be disposed to question F it z Ge r ald S
, ,
ri gh t t o deal as wit h his o w n .
Th e mere lan gua g e in its elastic stren g t h as of s t eel

, ,
se e ms t o h ave been c r ea t ed to ma k e a w eapon of an a gn os

t ic i s m i n distin g uis h able fr om do g matism Every fres h .
ar ticle in t h e indictment a g ainst one or anot h er of t h e

s e venty -tw o emulous r eli gions of t h e w o r ld cuts w it h t h e
’
k eenness of Sultan Saladin s s w ord F it z Ge r ald t h ou gh .
,
no follo we r in hi s o w n most simple r e g imen of Omar

’
K h ayyam s p h ilosop h y of t h e s e nses w as r e solved to do h is ,
ten ets j us t ice He is sc r upulous to mar s h al t h e m in all

.
t h eir h et e r odoxical effr ontery wit h a c h allen g e to o r t h odoxy

,
in any positiv e form to do bett e r Th e v i g our wit h wh ic h .
t h e g au n tl e t is h u r led is t r emendous : and t h e d e fia n ce

is set off w it h t h e u t m o s t c h ar m
’
s of r h yt h m Th e textu r e .
is a mod e l of po e tic j o in e r y Ever ywh er e in ev e r y d e tail

.
, ,
And th is r e vi vin g H e r b wh os e te nd e r g r e e n
Fl e dg e s t h e R i ve r -Lip on wh i c h w e l e an
Ah l e an u p on i t li ghtl y fo r wh o kno w s
F r om what on c e lo ve ly Lip i t s pr in g s unse e n
Ah my B e lo ved fill t h e Cu p that c le ar s
, ,
T o -D ay of past R e g re t s and Futur e F e ar s :

To -mo r r ow Wh y T o -mo r r o w I m
, ay b e
’ ’
My se lf wi th Ye ste r day s S e v n th ou sand Y e ar s .
F o r som e w e lo v e d t h e lo v e li e s t an d t h e b e s t
,
That f r om h is V in tag e r ollin g T im e hath pr e s t ,
H av e d r un k th e i r Cu p a R ound o r tw o b e fo r e ,
And o n e b y o n e c r e p t sile n t ly t o r e st
.
And w e that no w mak e m e r r y in t h e R oom

,
Th e y le f t and S umm e r d r e ss e s in n e w b loom

, ,
O ur s e lve s mu s t w e b e n e ath t h e C ou c h of E ar th
D e sc e nd—our s e lv e s t o make a C ou c h— fo r wh om 5
Th e Sa ge declar es h e h ad s tru ggl e d a g ains t t h e convic t ion

of t h e mort ality of e veryt hi n g eart hly
Myse lf wh e n youn g did e ag e r ly fr e que n t
D o c t or and S ain t and h e ar d g r e at ar gu m e n t
,
A b out i t and ab out b ut e v e r mo r e

Cam e out b y t h e sam e doo r wh e r e in I we n t .
W i th th e m t h e se e d of W isdom did I so w ,
And w i th min e o wn hand wr ought t o mak e i t g r o w

’
An d th is wa s all t h e H ar v e s t that I r e ap d
’5
I c am e like W ate r and lik e Win d I g o
, .
He h ad ask ed for e v id e n ce w h e t h e r of t h e senses or spi r it ual

, , ,
a g ainst t h e t ra gic conclusion an d in vain

S tr an g e is i t no t that of t h e m y r iads wh o
,
’
B e for e u s p ass d t h e door of D ar kn e ss thr ough ,
N o t o n e r e tur n s t o te ll u s of t h e R o ad ,
Whi c h t o dis c o v e r w e mu st tr ave l t oo ?
We ar enot hin g h e concludes at last but S h ap e s of Clay

, , ,
and re ason as w ould t h e y in t he ir P o tte ry if e ndo w ed wit h ,
sp e e c h
ED WA RD F IT ZGER A LD 23 9
S aid o n e amon g the m S ur e ly no t in vain

’
My sub s tan c e of t h e c ommon E ar th wa s ta e n
An d t o th is Fi gu r e mo uld e d t o b e b r ok e
, ,
’
Or tr am pl e d b ac k t o s hape le ss E ar th again .
’
Th e n said a S e c ond N e e r a pe e vis h B oy
W ould b r e ak t h e B ow l f r om wh i c h h e d r an k in j oy
And H e that wi th H is hand t h e V e sse l mad e
’
Will sur e ly no t in af te r W r ath d e str oy .
Af te r a mome n tar y sile n c e s pak e

S om e V e sse l of a mor e un gainly M ake
Th e y sn e e r at me fo r l e an i n g all awr y
Wh at did t h e Hand th e n of t h e P o tt e r shak e
Whe r e at som e o n e of t h e lo quac iou s Lo t

I thin k a Sufi p i pk in— wax in g h o t
All th is of P o t and P o tte r — T e ll me the n ,
Wh o is t h e P o tte r p r ay and wh o t h e P o t 1
, ,
‘
5
Th e br e adt h an d gr asp of t h ou gh t t h e Protean grace of

,
t h e h ar mony h ave t h eir several s h ares in t h e fascina t ion

,
t h e h andful of ver s e exert s B u t suc h merits do not

.
solve t h e probl e m of its astoni shi n g de gree t h ou gh t h e full ,
ans w er will include t he ir co -op e r ation as a ge nts I t is t h e .
p e r sonality of t h e M an a r e al Man w hi c h explains t h e

, ,
e x t r ao r din ary ran k t h e poem h as assert ed for i t self in
lit e rature an d unfortunately t h ou gh I am per suad e d wi th

, , , , ,
’ ’
out Fi t z Ge r ald s i ntention pa r tly in society its e lf A poet s
, .
own c h a r act e r is al w ays a main condition of t h e place to

b e assi gn e d to h im and h e r e w e find a ge nui n e Edwa r d
F it z Ge r ald e ve rywh e r e except on t h e titl e -pa g e
, I t is .
a man ly ad e quate pr e s e nc e always R e al as we r e t h e

, .
v e r si fie r s w e si gnify u n d e r t h e nam e of Oma r K h ayyam ,
t he y do not e qual Fit z G e r ald in r e alnes s fo r us H e is not .
t h e less real to us t h at in h is lif e t im e t h e one quali ty h e

mana g ed fo r t h e most part t o hi de w as h is int e lle ctual

asc e ndancy He mo ved in t h e narro w es t of orbits no t
.
,
disdainin g i n timacy wit h hi s post h umous fat h e in la w t h e

r - -
,
Quak e r bank e r and h ymn -wr it e r w o r t h y B ernar d B ar t on

, , , .
A lw ays h e car e d less for admir atio n t h an for a ff ec tio n ,
w h ic h h e p r ized wh ile h e se e med to sli ght

, F e w even of .
h is fa miliars p e r h aps n o t T en nyson h i mself n o t w it h st an d

, ,
in g t h e d e dication could h av e g u e ss e d t h a t h e w as secu r e

,
of immortality o n P ar n assus He never f r e tt ed a t t h e .
n o n -r eco g nitio n of h is g enius .
For t h e w orld no man of le tt ers could h ave b e e n mo r e

obscu r e Of t he bul k of h is doing s in liter a t ure i t remains
.
ser en e ly unconscious s t ill His anonymous v e r sion of

.
’
Omar s re puted musin g s itself it r e fus e d t o t a k e at h is ,
o w n final valua t ion of a p e nny pi e ce A quart e r of a cen t ury .
after t h e ori ginal publication in 1 859 t h e Encyclopa e dia ,
Br i t annica in a list of e di tions of t h e Rub aiyat r efers to

, ,
h is as j us t a po r tion of t h e same ren dered in Engli s h ver se

by E Fi t z ge r ald
. Th e coldn e ss of liter a r y opinion wh il e ,
h e liv e d st r uc k h is sens e of h umour ra th er t h an of r esent

,
m e nt I t n e ve r occu r red t o h im t o complain His i n terest

. .
w as in h is w o r k fo r t h e time b e i n g— as muc h in a ploddin g

verification of t h e Fi e ld of Naseby as in t h e i n spire d
.
,
inter pr e tation of a g olde n Eastern lay 10

So lon g as h e
f e lt h e h ad don e h is par t th orou gh ly and t o t h e best of h is ,
pow e rs h e w as s ov e r e i g n ly cont e nt
, .
So lived Old Fi t z and so h e di e d to h av e t h e

mi n ut e st h alf l e g e nda r y sc r apin g s of hi s c h ar acter li t up
-
, ,
i n t h e grav e w it h a blaz e of r e no wn N o r wit h ou t r easo n .

,
as I si n cer ely th in k t h ou gh I h ave been e xposin g mys e lf ,
I kn o w to condemnation ali k e fo r e xa gg erated prais e

, , ,
of t h e ver s e by p e r sons never t ouc h ed wi th t h e rap t ure of

,
t h e Englis h ed Rub aiyat as mere h ar mony and by votaries ,

C O V E N T RY P A T M O R E
1 82 3 — 1 8 9 6
As I read C oventry P atmore I w onder if th er e be not

,
a secret r eli gion amon g e ducat e d w omen Man w ould h ave .
no right t o be s urprised if t h ey ke pt in t h eir boudoirs t h eir ,
sc h oolr oom des k s t h eir w ardr obes alon g wi th J an e Eyre

, ,
and Th e C h ristian Y ear copies of Th e A n g el in t h e House

, ,
and Vic t ories of Love B e fore t h ey g o do w n in t h e mor nin g

.
,
while t h ey dress for di nner after or before t h eir evenin g

,
prayer t he y mi gh t w ell find time for a fe w vers e s if no t

, ,
’
for a boo k May t her e not be ladies clubs a t whic h h e is
.
r e g ularly studied Girton Extension lectu r es a t w hi c h h e

,
is e xpounded ? W h en men prais e t h ei r Mil t on W ords ,
w orth B r o wnin g T ennyson do t h ey never h ear P at m

, , ,
ore s
’
name whispered by f e mi nine lips ? T rue t h at h e is seldom

mentioned openly an d no w l e ss often t h an t hirty year s
,
a g o It may mer e ly be anot h er p r oof of t h e ada g e t h a t h alf

.
of us k no w no thin g of t h e w ay in w hi c h t h e ot h er h alf liv e .
I find i t h ar d t o credit th at t h e one real poet wh o proclaimed

t h e ri gh t divi ne of w omen to be ador e d no less af t er t h an
befo r e marria ge and mo r e so as wives and mo th er s t h an as
,
brides h as ceased to be h abitually rev e red by th eir se x

, .
P oetesses do no t count besides t h at th ey rarely ar e g e nuine

,
-
w oman lovers Until Cov e nt r y P a t mor e poe t s h ad been
.
w ont to e n d t h eir w o r s hi p as soon as th e Altar s t eps w er e

reac he d A s h e boas t s i t w as reserved for h im last of all
.
, , ,
to sin g th e firs t of the mes .

COVEN T R Y P A T MORE 24 3
He t races it in a series of sof t s we et idylls very fully

-
,
from t h e w ooing t o t h e w e dding -rin g and t hence in outli n e

, , ,
rat h er s hadow y t hrou gh h appy yea r s of nuptial and

,
par ent al love Th e h usband -lover prays t o b e inspi r ed as

.
c h ronicler
Th ou P r imal Lo v e wh o gr an t e s t win g s
, ,
And v oi c e s t o t h e w oo dland b i r ds
G r an t m
,
e t h e p o we r of s ayin g th in g s
T oo sim pl e and t oo swe e t fo r w o r ds 1

.
His verse su ffi cien tly proves t h a t his petition w as gran t ed .
W it h c h ar min g delicacy h e describes t h e discover y i n ,
Honoria C h urc hill— playing

Th e We ddin g Mar c h of M e nd e lsso h n —2
of t h e girl wh om h e h ad k no wn as a c hild six years befo r e

t h e r e velation to hi mself of h i s passion t hrou gh a passin g
tremor at t h e th ou gh t of a possible rival and its eleva t in g
effe ct
’
Whate ve r in h e r si ght I d s e e m
’ ’
I d r e a lly b e I d n e ve r b l e nd
Wi th my d e li ght in h e r a d r e am
’
Twould c han ge h e r c h e e k t o c om pr e h e nd ?
Were hi s aff ec t ion t o be unreturned h e w ould be proud

,
of it still :
If fate Lov e s d e ar amb i tion m
’
ar ,
And load h is b r e as t wi th h o pe le ss pain ,
And se e m t o b lo t out sun and star ,
Lo ve los t o r w on is c o un tl e ss gain
, ,
H is so r r o w b oast s a s e c r e t b liss
Whi c h so r r o w of i t s e lf b e guil e s ,
And Lo v e in te ar s too no b le i s
F o r p i ty sav e of Lo v e in smile s
,
4
.
For him it envelops t he universe spreadin g in th e e yes

,
Q 2
o f t h e sleepless w atc h e r uncert ain as y e t of t h e issue of hi s

,
s ui t a grim pallor at dawn over

,
Th elands c ap e all mad e s har p and c l e ar

,
B y s tilln e ss a s a f ac e b y d e ath
,
5
.
A li t tle lat e r t h e blessed answ er h as been given and th e

same landscap e is t r an sfigur e d
’
Twa s whe n t h e s p ou sal t im e of May
H an g s all t h e h e d g e wi th b r idal wr e ath s ,
’
An d air 8 s o Sw e e t t h e b osom gay
Gi ve s than k s fo r e ve r y b r e ath i t b r e ath e s
That I in wh om t h e Sw e e t time wr ought
, ,
’
Lay st r e t e h d wi thi n a lon e ly gl ad e ,
’
Ab an d o n d t o d e li c io u s th o ught
B e n ea th t h e sof tly twi n k lin g s h ad e
Th e le av e s all s ti r r in g m
.
im
’
,
ick d w e ll
,
A n e i gh b our i n g r u sh of r i v e r s c old ,
And a s t h e sun o r sh ado w f e ll

, ,
S o th e se we r e g r e e n and th os e w e r e g old
I n di mr e c e sse s h yac in th s d r o o p d ’
,
And b r e ad th s of p r imr ose li t t h e air ,

’
Wh i c h wand e r in g th r ough t h e w oodland st o o p d
, ,
’
And gat h e r d p e r f um e s h e r e and th e r e
Up on t h e s p r ay t h e s qui r r e l swu n g ,
And c ar e l e ss son g s te r s si x o r se ve n
, ,
S an g lof ty son g s t h e le av e s amon g ,
Fi t fo r th e i r only lis te n e r H e av e n,
?
’
I f t he re could b e a dra wbac k to t h e w ooer s o wn ecs t asy ,
it w as caused by it s compl e teness

’ ’
Sh e answe r in g , o wn d that sh e lo v d t oo .
Th e avo wal ove rwh elm e d th e vic t or wit h compassion e ve n ,

’
S h ame at h is lady paramount s abdication of h er th rone
,
’
B y th at c onse n tin g s c ar e d and sh o ck d ,
’
S u c h c han g e c am e o e r h e r mi e n and mood
That I f e l t start l e d and h alf mo ck d ’
’
At w innin g wh at I had no t w oo d .
of all h er bridegroom firs t becomes b e au t ifie d for him by

, ,
ma t erni t y as wit h penitent astonis h ment h e avo w s

,
Wh e n t h e n e w-mad e Mo th e r smil e d ,
Sh e s e e m e d h e r s e lf a li ttl e c h ild ,
D we llin g at lar g e b e yond t h e law

B y wh i c h t ill th e n I j ud g e d and saw
, , ,
And that fond glo w whi c h sh e f e l t st i r

,
F o r i t su ffu s e d my h e ar t fo r h e r
,
T o wh om f r om t h e w e ak b ab e and th e n c e
T o me an in flue n t inno c e n c e
, ,
, ,
H appy r e par at i ve of lif e

, ,
Cam e and sh e wa s ind e e d my w if e

, ,
A S th e r e lo v ely wi th lo v e sh e lay
,
9
, .
I t is a furth er s t a g e wh en h e discovers Jane in th e com ,
a n i o n sh ip of Hono r ia — t h e ob j e c t of h is ea r ly idola t ry
p
transformed i n to a Divinity h e rs e lf One step s t ill onwa r d .
’ ’ ’
and w ife s mot h er s g oddess s love t h a t h ad never t ired
, , ,
or faint e d t urns bac k t h e curren t of tim e devo t ion and

, , ,
passion t o t h e st e ps of t h e marria g e Al t ar itself and in

, ,
’
t he d e ad w oman s wr itten le gacy of tri ump h ,
D e ath wh i c h take s me f r om h is S id e
S h ow s me in v e r y d e e d h is b r id e !
, ,
10
, ,
A las fond wre t c h !

,
We pass fr om g e ntle fl uency in Vic t ories of Lo ve t o

t h e stran g est of wild labyri nt h s of fancy mi ni s t ering to
t he olo g y in Th e Unkno w n E r os P at m
,
’
o r e s ent r eaty w as
.
far fr om g r anted if h e w ere serious in beseec hin g Urania

to inspir e him wit h
’
C h an t s as of a lon e ly th r ush s th r oat
At late s t e v e ,
That do e s in e ac h c alm no te
B o th j oy and g r i e ve
N o te s fe w and str on g and fin e ,
’
Gil t w i th sw e e t day s d e c lin e ,
And sad wi th pr omise of a di ff e r e n t sun 11

.
COVEN T R Y PA TMORE 24 7
B u t in compensation t h e w hol e is full of grand spasms

, ,
of t ra gic emo tion possibly of alleg ories as e labo r ate as in ,
Th e P urple I sland ; certainly of e ni gmas w hi c h I co uld , ,
not wis h to b e a t hou gh t a t hrob plainer I am content , , .
wit h t he beauty if fe vered w hi c h is indispu t able

, , .
Wh a t a c r y of pr otes t in g unavailin g ang uis h is t h e ,
Depar t ure
It wa s no t like your g r e at and g r ac iou s ways
D o you that hav e nought o th e r t o lame n t
, ,
Ne ve r my Lo v e r e pe n t
, ,
Of h o w that July af te r noon

, ,
Y o u we n t ,
Wi th sudd e n unin te lli gi b l e ph r ase

, ,
’
And fr igh t e n d e y e ,
U p on your j ou r n e y of so man y d ays ,
W i th out a S in gl e kiss o r a g ood by e ,
I kn e w ind e e d that y ou we r e par tin g soon

’
And so w e sate wi thin t h e low sun s r ay s
Y o u wh is pe r in g t o me fo r your v oi c e wa s we ak
, ,
, ,
Y our har r owin g pr aise .
We ll i t wa s we ll
, ,
T o h e ar you suc h thin g s s pe ak ,
And I c ould te ll
What mad e y our e ye s a g r owin g gloom of lo ve ,
A s a war m S outh -wind somb r e s a Mar c h g r o v e .
And i t was l ik e your g r e at and g r ac iou s w ays

T o tu r n your talk on d ail y th in g s my D e ar , ,
L if t in g t h e l uminou s path e ti c l as h ,
T o le t t h e l aughte r flash ,
Wh ils t I d r e w n e ar ,
B e c au se you sp ok e so lo w that I c ould sc ar c e ly h e ar .
But all at on c e t o l e av e me at t h e la st ,
Mo r e at t h e w ond e r th an t h e loss aghas t ,
W i th huddl e d unin te lli gi bl e p hr ase

, ,
’
And fr igh te n d e y e ,
And g o your j our n e y of all day s

W i th no t o n e k iss o r a g ood by e , ,
’
And t h e only lo v e le ss loo k t h e look wi th wh i c h you p ass d
’
Twas all unlike you r g r e at and g r ac iou s ways 12
.
I f au ght could be as pa th e t ically a ff ec t ionat ely cruel as ,
wh a t — th ou gh i t may h ave an inn e r and me t ap hysically

— ’
th eolo g ical meaning reads like a wif e s plo t to spare h er
h usband t h e a g ony of a fare w ell on t h e brink of an open
gr ave it is his c h arg e t h at t h e mercy h ad been treason t o
,
love His w ak eful ni gh ts ar e h arassed by r ecollections of

.
’
his Love s presentimen t s ; by t h e bi tt er t h ou ght t h a t h e
ou ght t o h ave reco gnized in t h em a w arn i n g h o w ever ,
useless of t h e imp e ndin g blo w :

,
’ ’
I f I we r e d e ad you d som e tim e s say P oo r C hild
, ,
‘
Th e d e ar li p s q
’
ui v e r d a s th e y s p ak e ,
And t h e t e ar s b r ak e
F r om e y e s wh i c h no t t o g r i e v e m
, e b r i ghtly smil e d , .
And di d yo u th ink wh e n you so c r i e d and smile d

, ,
H o w I in lon e ly ni ght s sh ould lie awake

, , ,
And of th ose w o r ds your full ave n ge r s mak e 2 ‘
P oo r C hild poo r C h ild,

13
Th en wh en h e falls asleep comes t o hei gh ten blac k en

, , , , ,
t h e g rief of bereaveme n t a recurren t ni ght mar e in w hi c h , ,
I th e e in mo r tal so r r o w s till pur sue

, ,
’
Thr o so r did str e e t s and lan e s
And h ou se s b r o wn and b ar e
And many a haggar d s t ai r
O c h r ou s wi th an c i e n t stains
But e v e r at t h e las t my way I w in
, ,
T o wh e r e wi th p e r f e c tly sad pat i e n c e n ur st

,
B y so r r y c omfo r t of assur e d w o r s t ,
’
I n gr ain d in f r e tte d c h e e k and li p s that p in e ,
On palle t p oor
Th ou ly e st s tr i c k e n si c k
, ,
’
B e yond lo ve s c ur e ,
’
B y all t h e w o r ld s n e gle c t b ut c h i e fly min e 11
,
.
’
— —
And yet anot her dream d ream on dream b y t h e open
w indo w ou t side whi c h climbed an odorous az ale a
,
on a t ab l e d r awn b e sid e h is h e ad
Fo r , ,
H e h ad put w i th in h is r e ac h
, ,
’
A b o x of c oun te r s and a r e d -v e in d s t on e
, ,
A pi e c e of gla ss ab r ade d b y t h e b e ac h
, ,
And si x o r s e ve n s h e lls ,
A b o ttl e w i th b lu e b e lls ,
And tw o F r e n c h c o pp e r c oins r an g e d th e r e wi th c ar e ful ar t

, ,
T o c omfo r t h is sad h e ar t .
’
S o wh e n that ni ght I p r ay d
T o God I w e p t and said
, ,
Ah wh e n at last w e lie wi th tr an c e d b r e ath

, ,
N o t v e x in g th e e in d e ath ,
And Th ou r e m e mb e r e s t of what t oys

We mad e o u r j o y s ,
H o w we akly und e r s t ood ,
Thy g r e at c ommande d g ood .
Th e n f ath e r ly no t l e ss
,
Than I wh om Th ou hast mould e d f r om t h e c lay ,

’
Th ou l t l e ave Thy wr ath and s ay , ,
I will b e so r r y fo r th e i r c h ildis hn e ss 15
.
”
Th e succession of th e entire volum e t o Th e A nge l in t h e

House wi th its qui e t limpid gr ac e almos t g ai e ty and to
, , , ,
t h e almost tamen ess of Victori e s of Love is amon g th e ,
cu r iositi e s of po e tical lit e r atu r e I c an discover no lit er ary

.
a ffi nity b e t w e e n t his and eit h er of t h e e ar lier w or k s Did .
no t t h e hi stor y of poet r y furnis h many exa mples of e xotic

gr owt h s in e s t ablis he d r eputations it w ould be h ard to ,
u n der stand t h e p h enomen on A b r i gh t r easonabl e ness

.
,
amusin g its e lf w it h passion is t h e distinctiv e no te of

,
Covent ry P at mo r e s p r e vious love —

’
dramas His typ e of .
w oman h ood never loses h e r balance — is suc h ,
v e n at i t s b r i ghte st pl ay
e ,
That h e r mi r th wa s like t h e sunsh in e in t h e c losin g of th e day .

17
I n gri e f and adver sity h er e motions w ould h av e been as

discr e etly o r der ed ; an d in w e al and w oe t h e h ero must
COVEN T R Y P AT MORE 251
h ave ma t c h ed h er No t to spea k of Jane and Frederic k

.
,
no b e ing s could be ima gin e d l e ss li ke ly t h an Honoria and

F e lix Vau ghan to toss to an d fro t h e t h und e r bolts of E r os .
Obviously it is vain to a t tempt to link t h e t wo sets of

sto r ies and t hei r c h arac t er s A ny clues se e mi n g to lead in
.
t h at di r e ction soon b r eak in t h e h and Th e utmos t whic h .
can be asser ted is th e existence of a pair of situatio n s ,
or rat h e r t r ains of feelin g wit h a rela t ion bet ween t he m

, , , ,
more of opposition th an resemblance Th e An ge l in t h e .
House is a picture of h uman love of th e purest t h at eart h ,
can o ffe r B e in g of earth i t is mo r tal and Th e Un kn o wn

.
Eros may e x h ibit t h e end of suc h in disease and deat h in ,
’
conj u g al d e spair and an orp h an s d e solation B y t h e Sid e
,
.
is a second pictu r e of ano ther love w idowed or p h an e d ,
too as passionat e y e t immor tal and triump h ant in t h e

, ,
midst of sorro w an d abasement a persecu te d C hu r c h .
A n analo g y is traceabl e if bar ely b e t we en t h e wr ec k of

, ,
’
lov e in Te n nyso n s Maud ravin g i n t o madn ess h e ale d by
, ,
a B e r s e r k e r fit and P at m
, o r e s idolatry of h o m
’
e fl aming ,
in its ruins i n to a raptu r e of Cat h olic mysticism A t all .
events Th e Unk n o wn E r os mar k s suc h a r e volution in t h e

,
poet Th er e w as as h e does not d e ny a stru ggle b e fore h e

.
, ,
wande red far from his old

C r ys tal -
flo w in g so ur c e .
18
For an instant indeed t here may h ave been an impuls e to

tu r n bac k A m e lia in its lod gin g wit hin th e precinc t s of
.
19
,
t h e fu r nace of Eros is a br e at h of pious simple t e nd e r n e ss

, ,
as too is t h e e xquisite picture of t h e Virgin -Mot h e r adori n g

at once Dei t y an d I nfancy
All Mo th e r s wo r sh i p li ttle f e e t ,
’
And kiss t h e v e r y g r o und th e y ve tr od
B u t ah th y li tt l e Bab y sw e e t
, ,
Wh o w as ind e e d thy God 2°

252 F I VE CEN T U R I ES OF ENG LI SH VERSE
B ut t h e at traction of the li ght w hi c h
S h on e f r om th e soli tar y p e ak at E d g b ast on ,

21
w as t oo s tron g . P at m ore s
’
Muse learn t t o spea k
A lan guage d e ad ?2
I ns t ead of pu tting w o r ds t o a W edding Marc h of Mendelsso hn ,
23
s h e san g he ncefor t h of Deliciae Sapien t iae de A more and
?1
A uras of D e li gh t ‘
Hearth and h ome lost t h eir most sympa th e t ic mins t rel

poet r y I t hi nk h as gained P at m
, ,
’
o r e s ea r lier verse is .
cl e ar and spar klin g Often i t h as c h arm Wh ere it is . .
lac kin g is in s tre n g t h impe t us H e discover ed t hat h e h ad , .
a g ospel t o pre ac h a messa g e t o deliver ; and t h e belief

,
transformed him Th e advent of a new fait h w as as if

.
—
a fount ain of inspiration bit t er w a t ers and s w ee t h ad —
sudde nly we lled up wi thi n Th e fl ood is per t ur bed and .
an gr y ; but it carries a w ay A ny w h o desire to k no w wh a t .
po we r fir e P atmore h ad in him must s t udy no t so muc h

, , ,
Th e An g el in t h e House as Th e Unk no wn Eros .
P o e ms by Cove ntr y Patmor e vol iii V ic t or i e s of Love vol iv Th e .

, .
,.
Unknown E r os G e or ge B e ll S ons ( no d ate )

. .
T h e Unknown E r os by C ove ntr y P atmor e ,

Thir d E dition G B e ll . . .
S ons 1 89 0
, .
1
T h e An ge l in t h e Ho u se P r e lude s 5 Th e Imp ossib ility , , .
9
I b id C athe dr al Close 2
.
, , .
9
I b id Th e M or nin g C all 3
.
,
I b id Pr e lude s 2 , .
4
.
, , .
5
I b id G oin g t o Chu r c h 1
.
,
I b id Th e R e v ulsion 1 , .
5
.
, , .
7
I b id Th e Abdi c ation 4 5
.
,
I b id Hus b and an d Wife 1
, , .
9
.
, , .
9
Victor ie s of Love Fr om Fr e de ri ck ,
.
1 9
I b id Fr om Jane t o M r s G r aham
.
, . .
11
Th e Unknown E r os P r o e m , .
11
I b id 8 D e p ar t ur e
.
, ,
I bid 1 4 I f I we r e D e ad
.
’ 19
.
, , .
14
I bid 9 E ur ydi c e
.
, ,
I bid 7 Th e Az ale a
.
1 5
.
, , .
1 5
I bid 1 0 Th e To ys
.
, , .
D A N T E G A E R I E L R O S S E TTI
1 82 8— 1 8 82
T ERE
H ar e —
readers wh o li k e t h eir poets unmixed poe t s
only no t p hilant hropists o r misant hropis t s t h eolo gians
, ,
or sceptics m e tap h ysician s or biolo g ists wits satirists

, , , ,
h u morists as w ell
,
Rosse tt i w as mad e to suit t h em
. .
J ust and nobl e sentimen t s adorn hi s verse I ts S cener y .
could h av e been represented o n ly by a pai n t er of genius ,
a t h o ugh tful obs e rver of nature Allusions con tinu ally .
testify to t h e studen t bot h of men and of boo k s Th e .
t h in g s are h o w e ver wh ere t he y are solely to serve t h e

, ,
’
demands of th e poet s art He is poet in every line e ver y .
,
t urn of a p hrase in t h e modellin g of ev e r y cad e nce I n

,
.
a p iec e of a h und r ed and ei gh ty stanzas I find but one
whi c h is prosaic H e mi ght h ave see med of a na t u r e too

.
finely consti t uted t oo sub tle too e xclusive for a ballad

, , ,
writer W h at e ver instinct per haps w eariness of t h e sole

.
,
companions hip of his o wn emotions t h e cra vi ng for an ,
app e al to wider sympat hi e s turned hi s Muse i n t h at d ir ec ,
tion as poet h e accepted freely its obli g ations B ein g t h e

, .
t h o r ou gh artist h e w as t h e most fastidious of wri ter s ,
b ecame plain r ou gh and brusque t h e faultlessly metrical

, ,
V e r sifie r stumbled in half r h ym e s I t can plainly be .
discer ned t h at t h e uncout h ness th e irr e g ulari t ies are as , ,
intentional as t h ey ar e popular ly e ffective I b e lieve t h at .
’
t h e W hi t e S hi p t h e Ki n g s Tr a g edy w eird Rose Mar y
, ,
—
itself B eryl Songs and all— w ould at a P enny Reading b e
Sumof c he er s and t ear s even of compreh ension if par tial
, , ,
from the h umbles t audience T h e Three rank amon g th e .

D AN T E G AB R I E L ROSSE TTI 255
fo r emost of t he ir fr ankly pop ular class in Englis h ve r se ; and

t hey ar e t he w ork of o n e of t h e most aest h etic of po e ts .
T a ke t h e first and trace h o w und e r cov e r of a sto r y ,
fitt e d to captiva t e a peasan t a m e c h anic a c hi ld as fin e

, , ,
a w eb of t h ou gh t and fe elin g is w o r k e d as could h ave be e n

spun for a study in brain -w or k Law l e ss licenc e is d uly
.
c hastised in Kni gh t and damsel but as t h e climax of a ,

’
mos t intricate g am e of cross purpos e s Out of a mot h er s .
’
b e au t iful pride in a dau gh ter s ima gined purity
’
Mar y min e that ar t Mar y s r ose ,
is h ammer ed an engine at o n ce to pier c e t h e g uilty h ear t ,
and to slay its bet r ayer Th e lover wh o w ould h ave lived

.
if loyal dies for

,
h i s l
fait h essness Th e B e yl stone its e lf
r - .
,
in all i t s brilli ancy p eris h es for i t s p e r fid io u s complicity

,
w it h devils .
The ma gical j e wel r e flected t he future in its g leami n g

dept h s but to none but a pure maid I t h ad be en read by .
t he g irl in h e r c hild hood S h e w

,
a s to read it no w at h e r
.
,
’
mot her s di ctate to lear n on whi c h road an ambus h mi gh t
,
be laid to ta ke t h e life of h e r afli an ce d love r Sir James of ,
H e r o n h ay e as he r ode to be s hriven at Holy Cros s

,
Sh e .
dar e d not tell her mot her t h at S he fulfille d t h e fat e d

condi tion no lon ger :
Pal e R os e Mar y san k t o t h e fl oo r :
’
Th e ni ght will c om e if t h e d ay is o e r
Nay he av e n tak e s c ounse l star wi th st ar
, , ,
An d h e l p s ha ll r e ac h yo ur h e ar t f r om afar
’ ’
A b r ide you ll b e a s a maid you ar e
, .
Th e l ady un b o und h e r j e we lle d z on e

And dr e w f r om h e r r o b e t h e B e r yl -ston e .
S hape d i t wa s t o a Shado wy s phe r e ,

’
W o r ld of o u r w o r ld t h e su n s c om pe e r
, ,
That b e ar s and bur i e s t h e t oilin g y e ar .

’
W i th s hudde r in g li ght twa s st i r r e d and s tr e wn ,
Lik e t h e c lo ud - n e st of t h e wadin g moon

’
F r e ake d i t wa s a s t h e b ubb le s b all
hue d th r ough a m
,
Rain bo w - i s ty pall ,
Lik e t h e middl e li ght of t h e wate r f all .
Th e l ady u ph e ld t h e w ond r ou s th in g
’ ’-
I ll far e Sh e sa id
, wi th a fie n d s fair in g
,
But Mosle m b lood po ur e d fo r th lik e win e

’
Can ha llo w H e ll n e ath t h e S ac r e d S i g n
Ad d my lo r d b r ought th is f r om Pal e s t in e .
Spi r i t s wh o f e ar t h e B l e s se d R ood
D r o v e fo r th t h e accur se d mul ti tud e
That h e ath e n w o r s hi p h ou se d h e r e in ,
Ne v e r again su c h h om e t o win ,
’ ’
S av e only b y a C hr ist ian s sin .
Lo w s pak e ma id e n R o se Mar y
0 mo th e r min e if I s h o uld no t se e
,
Nay daughte r c o ve r your fac e no mo r e

, , ,
’
But b e nd lo v e s h e ar t t o t h e hidd e n lo r e ,
’1
And yo u s hall se e no w a s he r e tofo r e .
S h e g azes and perceives by t he bro k en w ate r g a te ar med

,
-
men as w a t c hin g for their prey wit h t he W arden of Holy

, ,
’
cl e u gh Sir James s s wo r n foe a t t heir head All e lse whe r e
, ,
.
i s clear ; excep t t h a t of seven hi ll -clef ts on t he road t o

,
’
H o ly c le ugh s castle -s teep t h e se ven th is
,
b rimmed wit h
mist The mo ther ceases to fear
S mall h o pe my gi r l fo r a h e lm t o hid e
, ,
In mist s that c lin g t o a wi ld moo r side :

S oon th e y m e l t wi th t h e wind and sun ,
And s c ar c e w ould wai t su c h d ee ds t o b e don e

’1’
God se nd th e i r sn ar e s be t h e w o r st t o shun .
The vision h ad passed and as t h e Lady content Wraps , ,
t h e stone close in h er sil ken robe ,
a musi c r ain e d thr ough t h e r oom

Lo w i t s pl as h e d li k e a s we e t star -s pr ay ,
And so bbe d li ke te ar s at t h e h e art of May ,
An d di e d a s l aught e r di e s away ?
258 F I VE C EN T UR I ES OF ENGLI SH VERSE
H e kne w h e r fac e and h e he ar d h e r c r y

, ,
And h e said Put b ack Sh e mu st no t d ie

,
’
And b ac k wi th t h e c ur r e n t s fo r c e th e y r e e l
’
Lik e a l e af that s d r aw n t o a wate r -wh e e l .
Lo w t h e p oo r s hi p l e an e d on t h e t id e
O e r t h e n ak e d k e e l a s sh e b e s t m
’
i ght glid e ,
’
Th e sis te r t oil e d t o t h e b r o th e r s sid e .
He ac h e d an c ar t o h e r f r om b e lo w
re ,
And s tiffe ne d h is ar ms to c lut c h h e r so .
But no w f r om t h e sh i p som e s p i e d t h e b oat ,
And S av e d wa s t h e c r y f r om many a th r oat .
And do wn t o t h e boat th e y l e ape d and fe ll :

It tur n e d a s a bu c k e t tu r ns in a we ll ,
And no th in g wa s the r e but t h e sur g e and swe ll .
Th e Pr in c e that was and t h e K i n g t o c om e ,
Th e r e in a n instan t g on e t o h is doom .
He was a Pr in c e of lu s t and p r ide

H e sh o we d no g r a c e t ill t h e h ou r h e di e d .
Wh e n h e s h o uld b e kin g h e of t w ould v o w

, ,
’
H e d yok e t h e pe asan t t o h is o wn plough .
’
O e r h im t h e s h i p s s c o r e th e i r f ur r o w s no w .
God only know s wh e r e h is soul di d wake ,

’
But I saw h im d ie fo r h is sis te r s sake 5
.
T o t h e mainyard re nt from t h e mast t wo B e r o ld t h e

, , , ,
’ ’
butc h e r s so n of Rouen and Godefroy de l Aigle were
, ,
cling in g wh en
,
’
10a th ir d man r ose o e r t h e wave ,
And w e said Tha nk God u s th r e e may H e s av e

,
H e c lut c h e d t o t h e yar d wi th pan t in g s tar e ,
And we looke d and kn e w Fi t z -S te ph e n the r e .
H e c lun g and What of t h e Pr in c e 2 qu o th h e ‘
Wo e on m
.
L ost l os t
, w e c r ie d H e c r ie d
.
, e
And loose d h is h old and san k thr ough t h e se a

,
?
D AN T E G AB R I E L R OSSE TTI 259
’
I do n o t ve n ture to re quire as a r i gh t o f Th e Ki n g s
, ,
Tra gedy any e xplanation of its c h oic e ot he r t h an t h e

fascination o f t h e prolon ge d h o r r or i ts e lf We feel t h e .
a we of t h e s us pe ns e befo r e t h e assas si n s h ad re t urned for

,
’
a f urt her searc h afte r t h e king s h idi n g -place to t h e room
tenanted no w only by heroic C at heri ne Dou glas h elpless ,
from t h e t ort ure of h e r S h a t te r ed arm

Thr ough t h e o pe n doo r
Th e ni ght -
wind wa ile d r ound t h e e m pty r oom ,
And t h e r u s he s sh o c k on t h e fl oo r .
And t h e b e d d r oo p e d lo w in t h e dar k r e c e ss
Wh e n c e t h e ar r a s wa s r e n t away
And t h e fir e ligh t still sh on e o ve r t h e s pac e
Wh e r e o u r h idd e n s e c r e t lay
.
And t h e r ain had c e ase d and t h e moon b e ams li t

,
T h e wi ndo w h i gh in t h e wall ,
B r i ght b e ams that On t h e plan k that I kn e w

Thr ough t h e pain te d pan e did fall ,
’
And gle am e d wi th t h e s ple ndou r of Sc o tland s c r o wn
And Sh ie ld ar mo r ial .
B the n a g r e at wi nd swe p t u p t h e skie s

ut
And t h e c lim b in g moon f e ll b ac k

And t h e r oyal blaz on fle d f r om t h e fl oo r ,
And nought r e main e d on i t s t r ac k

And hi gh in t h e dar ke n e d window -pan e
Th e s h i e ld and t h e c r o wn w e r e b lac k ?
The murde r -sc e ne is de pic t ed wit h t h e mer ciless fidelity

’ -
of an artist s e y e Even in bloodi er red glares the rele nt
.
less n ess of s we et Queen Jane to th e assassins of h er un

bur ie d h usband
Th e mon th of Ma r c h w o r e on s pace
And no w f r e s h c our i e r s far e d
S ti ll f r o mt h e c oun t r y of t h e W ild Sc o ts
W i th n e w s of t h e t r ai to r s snar e d .
R 2
And e v e r mo r e a s I br ought h e r w o r d ,
Sh e b e n t t o h e r d e ad k in g J a m e s ,
And in t h e c old e ar w i th fi r e -d r aw n b r e ath

’
Sh e s p o k e t h e t r a i t o r s n a m e s .
But wh e n t h e n ame of Sir R o b e r t G r ae m e

Was t h e o n e Sh e had t o g i ve ,
I r an t o h old h e r u p f r om t h e fl oo r
F o r t h e f r o th wa s on h e r li p s a nd so r e ,
I f e ar e d that sh e c ould no t li v e .
And no w of th e i r dooms d r e ad t idin g s c am e ,
And of t o r me n t s fi e r c e and di r e
—
And nought Sh e s pak e Sh e had c e ase d t o s p e ak
, ,
But h e r e ye s w e r e a soul on fir e .
But wh e n I t old h e r t h e b i tte r e n d

Of t h e s te r n a nd j u st awar d ,
’
Sh e l e a n e d o e r t h e b i e r and th r i c e th r e e t im e s
,
Sh e k iss e d t h e li p s of h e r lo r d .
And th e n sh e said My K in g the y ar e d e ad

, ,
And sh e k ne l t on t h e c hap e l fl oo r ,
And wh isp e r e d lo w wi th a s tr an g e p r ou d smile

Jam e s J ame s t h e y su ffe r e d mo r e
,
' 8
, ,
I t w as t h e j oy of ven geanc e ; and t h e poe t seems t o

S h are it Ye t I suspec t th a t h e h ad be e n t h in kin g more
.
’
of t h e S in g er of t h e Kin g s Q u air t h an of t h e c r o wne d
reformer of wron g th e administra t or of e ve n j ustic e
,
to hi gh and lo w ; less of t h e A ve n ge r of t r eason a g ai n st

h e r royal co n sor t t h an of h e r wh o fro m t h e t ime whe n
fir st Sh e w as wedded oft w o u ld si gh
,
b o r n a k in g
To be
And of t alon g t h e way
Wh e n sh e saw t h e h om e ly lo v e r s p ass ,
Sh e h as s aid alac k t h e day

,
9
wh ose fare well cr y over h er slain h usband lover - w as

Sonne t -buildin g was in h is blood Th e r ap ture of Dan te .
wors hi p consti t u ted it h is profession From h is models .
’
in th e Vi t a Nuova and t h e cycl e of t h e Mas ter s h arbin gers
,
and companions h e learnt h o w to e x tract t h e utmost

,
music fr om th e j ang lin g of th e c urious under ves ture of

-
S h ac kles His inimitable translations S h o w h is s ki ll P ar t ic u

. .
lar ly admirable in hi s ori g inal w or k is t h e series h e en t itled

Th e House of Life I n it wi th a h and compara t ively free
.
, ,
h e constructs bric k by bric k t o be overlaid wit h a marble

, ,
coatin g a temple of Lo ve I co nf ess th e marvel of t h e

, .
masonry ; in eac h s e g ment th e in terdependence a t onc e ,
and inde p endenc e wit h final unity Over and above all
,
.
blo ws an air of refre s h i n g spon t aneity The y t o wh om t h e .
ri g o u rs of t h e metre e specially in a c h ain wi t h a h undr e d

,
lin k s are distast e ful may fin d a ple asant s ur prise in Th e

, ,
Ho use of Life Th ey will I th in k ac kno wled g e th a t i t

.
, ,
h as proved it possible if by no means a t h in g of co urse

, ,
for a sonne t to be a poem also .
Unf air as it always is to t e ar a w ay members of a seri e s ,
I am compelle d by th e laws of space to offe r specimens only

On th is swe e t b an k your h e ad th r i c e sw e e t and d e ar
I lay and s pr e ad your hai r on e i th e r side
, ,
An d se e t h e n e w b o r n w ood fl o w e r s b ashf ul -e y e d
L oo k th r ough t h e g ol d e n t r e ss e s h e r e and th e r e .
On th e s e d e b ate ab l e b o r d e r s of t h e y e ar
’
Spr in g s foo t half falte r s s c ar c e sh e y e t may k no w
Th e l e afl e ss b l ac kth o r n b lossom f r om t h e sno w
’
And th r ough h e r b o we r s t h e wind s way s till is c l e ar .
’
But A pr il s sun s tr i ke s down t h e glad e s t o -d ay
S o s hut your e y e s u p tur n e d and f e e l my kiss ,
C r e e p as t h e Spr in g no w thr ills th r ough e ve r y s pr ay

, ,
Up your war m thr oat t o you r war m li p s fo r th is

.
’
I s e v e n t h e h our of Lo ve s sw o r n sui t -se r vi c e ,
W i th wh om c old h e ar t s ar e c oun te d c ast away

- 11
.
DAN T E G AB R I E L R OSSE TTI 26 3
Add for t he contr as t of a more s e r ious note

,
Th e los t days of m y lif e un til t o -d ay ,
What we r e th e y c o uld I se e the m on t h e s tr e e t

,
Lie a s th e y f e ll W o uld th e y b e e ar s of wh e at
S o wn on c e fo r food but tr odd e n in t o c lay
Or g old e n c oins s quand e r e d and s t ill t o p ay
Or dr o p s of b lood dabb lin g t h e gui l ty f e e t
Or su c h s pil t wate r a s in d r e ams mu s t c h e at
Th e undyin g th r o at s of H e ll ath i r s t alway 2
‘
I do no t se e th e m h e r e but af te r d e ath
God kno w s I k no w t h e fac e s I sh all se e ,
E ac h o n e a mur d e r e d s e lf wi th lo w la st b r e ath
I am thyse lf —what has t th ou don e t o me
,
— — ’—
And I and I thys e lf lo e ac h o n e sai th
, ,
And th ou thyse lf t o a ll e te r ni ty 1?
Th e volume of B allads an d Sonn e ts con t ains little or

not hi n g imperfe ct Th e re st of t h e ge neral collec tion of
.
poems is not liable to t h at some wh at i n vidious p r ais e .
Amon g its conten t s ar e pieces beautiful o n ly to a fe w

of wh om I myse lf am not o n e — and t he r e are pie c e s whi c h
mus t I s h o uld suppose b e beautiful to all ; for e xample
, , ,
t h e lines Sudde n Li gh t on t h at p h as e of s e cond S i gh t

, ,
wh ic h s h ado ws t h e past from t h e pres e nt
I hav e b e e n h e r e b e fo r e ,
But wh e n o r h ow I c anno t t e ll
I kno w t h e gr ass b e yond t h e doo r ,
Th e s we e t k e e n sme ll ,
Th e si gh in g sound t h e li ght s ar o und t h e sh o r e

, .
Y ou h av e b e e n min e b e fo r e ,
H o w lon g ago I may no t know

’
B u t j u s t wh e n at that swallo w s soar
Y our n e c k tur n e d so ,
S ome v e il di d fall —I kn e w i t all of yo re

, .
‘
Ha s th is b e e n thu s b e fo r e
’
And sh all no t thu s t ime s e ddyin g fl ight
S till wi th o u r liv e s o u r lo v e r e s t o r e
’
I n d e ath s d e s p i te ,
And d ay and ni ght yi e ld o n e d e li ght on c e mo r e ? 13
Lovelier s till is Th e P or trai t
Th is is h e r p o r tr ai t a s sh e wa s :
It s e e ms a thin g t o w ond e r on ,
A s th ough min e imag e in t h e gla ss

S h ould t ar r y wh e n mys e lf am g on e .
I gaz e u n t il Sh e s e e ms t o s ti r,
Un til min e e y e s almost av e r

That no w e ve n no w t h e s we e t li p s par t
, ,
T o b r e ath e t h e w o r ds of t h e Swe e t h e ar t
And y e t t h e e ar th i s o v e r h e r.
I n pain t in g h e r I sh r in e d h e r f ac e
’
Mid myst i c t r e e s wh e r e li ght f alls in
,
H ar dly at all a c o ve r t plac e

Wh e r e yo u mi ght th in k t o find a din
Of dou b tful talk and a li v e flam e
,
W and e r in g and m any a s hap e wh ose n am e

,
N o t i t se lf know e th and old d e w

, ,
A nd y our o wn foo t ste p s m e e t in g you ,
A nd all th in g s g oin g a s th e y c am e .
A d e e p dim w ood and th e r e sh e s tands

A s in that w ood that d ay fo r so
Wa s t h e s t ill mo v e m e n t of h e r hands
’
And suc h t h e pur e lin e s g r ac iou s fl o w .
And passin g fai r t h e ty p e mu s t se e m ,
Un k no wn t h e pr e se n c e and t h e d r e am .
’
T is sh e : th ough of h e r se lf alas,
Le ss than h e r S hado w on t h e g r ass ,
Or than h e r im ag e in t h e s tr e am .
Beside s beauty h ere t h e re is tende rness and so far th e

,
piece is for Rosse tti unique Th e p r evailin g w an t of th a t

, , .
property is a nat ural consequ e nce of th e empire over h im

of one canon and g ospel conne ctin g all hi s many c h aracter
i st ics From old memories I indi cated i t wh en I start ed No w
. .
th at I close t h e revie w of m y more recen t impr essions of hi s

poems I find my belief confir me d More t h an w it h S he lle y .
—wh o was a pr ies t of h umani t y as well as sin ger— more

— ’
even th an wit h Ke ats in wh om a di s tinct curren t of yout h s
w arm blood un c hi ll e d by th e s h ado w of deat h is perceptible
, ,
—t h e rule wit h Rosse tti is t o obey no ot he r maste r and

end t h an art Wh il e h e reco gni z es t h e exis tenc e of o th er
.
,
—
imp ulses aims and con di tions while h e ma kes u se of th em
,
h imself— h e n e ver fo rge t s or pre tends to forge t t h at fo r , ,
him t h eir ob j ect is to serve as p o etic mat ér ial He S h rin ks .
fr om no sadn ess so urne ss u g lin e ss wh ic h will wide n th e

, , ,
.
compass of hi s lyre I do not suppose I am libellin g t h e .
g eneral e ducated public if I find in t h at imper io u s e c le c

t ic ism or aest h eticism a k ey to his lac k at all times of
, ,
common popular favour I cannot a ffe ct to b e s ur prised .
wh en I recollect som e of h is be autiful monstrosities Af ter .
all it is no t an un wh ole some i n stinct wh ic h demands of

,
’
poe try t h a t it s h all be life s cons e crated mini s ter sanc tify ,
in g purifyin g and s weete n i n g Ross e t ti th e poet reco gni zed

, ,
.
n o suc h obli g a t ion any mor e t h an Ross e tti t h e pain ter .
A cco r din gly t h e poet li ke t h e painte r probably will

, , ,
con tinue to be w ors hipped by a s e ct and no t by a ,
nation .
Ho wever poe try is an independen t Kin g dom w it h its

,
o wn la ws I t neit her is obli g ed nor d e sires to b e exclu sive

.
, ,
.
I ts borde rs ar e wide Th ey h ave made room for Dryde n as .
for Milton for B urns as for Co w per for B yron as for

,
.
Words wor th Well can th ey con t ain Ros se tti also Poems
.
‘
.
D AN T E G AB R I E L R OSSE TTI 26 7
to o h ave a b eing as we ll as t h e poe t an d so lon g as t h e ,
lan gu ag e las ts th ere ar e many of h is w h ic h de serve alway s

,
to b e read and some wh ic h will be

, .
Th e Poe tic al Wor ks of D ante G ab r i e l R osse tti e d by W M R osse tti , . . . .
On e vol E lli s
. Elve y 1 89 1 , .
( B allads an d S onn e ts by D ante G ab r i e l R osse tti F o ur th E di tion

, . .
E llis Whi te ,
( Th e E ar l y It ali an P o e t s A D 1 1 00—1 200 -1 3 00

, T oge the r with
. . .
D ante s Vita Nu ova tr an slate d by D G R osse tti )

’
, . . .
1
R ose M ar y P ar t I , I bid . I b id
9
.
9
.
4
I b id Par t II
.
, . Th e Wh it e S h i p 5
.
’
5
I b id . T h e K ing s T r ag e d y 7
.
9
I b id . I b id I b id
9
.
1 °
.
11
Y outh s Sp r ing Tr i b u te ( T h e House of Life—a Sonn e t S q ue nce )
’
e ,
No 1 4 . .
19
Lost D ay s N o 86 . S udd e n Light
.
19
14
T h e P o r t r ait stan z as 1 3 4 7 1 0 1 1 1 2
, , , , , , , .
WI LL I A M M O RR I S
1 83 4 — 1 89 6
T A K E from t h e S he lf a boo k by William Morris ne w o r ,
old to y o u ; re ad o r r e read in i t and you w ill be ve ry

-
un willin g t o put it do w n Th e fie ld is wide Th e volu me

. .
ma y be th e wondrous quest of th e Golden Fl e ece ; th e

narra t ive enc h ants as if Orp h eus a g ain were th e musician .
A sa g a of t h e Vols u n g s may h ave furn i s h ed t h e t h eme and

you find c h arm in a rio t of p e r fid y and slau ghte r Or it .
may be a story from t h e myt h olo g y of Greece of Pe rs e us ,
Psyc h e A lcestis Pyg malion Be llerop h on Ye t anot he r

, , ,
.
volume and you are arbitratin g bet ween falle n Guin e ve re

and h e r accuser Sir G au w ain e sittin g wit h Laun celo t and
, ,
’
h is remorse be side Kin g Ar t h ur s tomb or w atc h in g wit h
,
pu r e Sir Gala h ad for t h e San g real Valian t de eds are .
described and s h ameful or h e roic dooms of Gascon kni gh ts

, ,
and Gascon t hi e ve s tortu r in g options b e twe e n some

sudde n end to g ay g lorious life an d i t s continuan ce wit h
, ,
dis h onou r Th e wh ol e ar e a of fancy h is t ory fabl e Morris

.
, , ,
claims for h is o wn whe re ve r h is ge n i us divin e s a possi

,
b ilit y of foot h old An ywh r on t

e e . h e -
w orld w ide h e a th h e
roofs -in a h ous e li gh tin g a fir e on t h e he art h to prove his
,
titl e E verywh e re you too h ave b e e n at h ome wit h h im

. .
Y ou pass out and forge t h is existenc e I t is a r iddle ve r y

,
.
h ard to g u e ss wh y t h e re ader wh o h as g ladly w ar med hi s

h an ds by t h e blaz e s o rar e ly comes bac k ; wh y aft e r
, ,
h avi n g g iven apparent ly s o m u c h of h imself t o t h e poet ,
h e carr ies littl e or not h i n g of t h e poe t a w ay .

Th at I amb e aut iful Lo r d e ve n as yo u
, ,
And y o ur d e ar mo the r why did I fo r g e t

Y o u w e r e s o b e autif ul and g ood an d tr ue
,
That you lo v e d me s o Gue n e v e r e 0 y e t

, ,
I f e ve n I g o t o he ll I c anno t c h oos e
,
m
But l o ve you C hr ist y e a th ough I c anno t k e e p
, , ,
F r o lo vi n g Laun c e lo t O C hr is t mu s t I los e
’
My o wn h e ar t s lo v e se e th ough I c anno t w e e p , ,
Y e t a m I v e r y so r r y fo r my s in
Mo r e o ve r C h r ist I c anno t b e ar that h e ll
, ,
I am mos t fain t o lo ve you and to wi n ,
A plac e in h e ave n som e t im e —I c anno t te ll

Sp e ak t o me C h r is t I k iss kiss kiss you r f e e t
, , ,
’
Ah ! n o w I w ee p !
Th e m aid s a id B y t h e t om b
,
’
H e wai te th fo r yo u l ady c o inin g fl e e t
, , ,
N o t knowin g what w o e fille d u p all t h e r oom 1

.
He found food for sympat h y and de li gh t ali ke in t h e

’
dauntless adve nturousne ss of t h e A rg onauts in Medea s ,
’
fr at r i cide and lie s and in Jason s u n grateful i n fide lity
, .
Oppor tun ities we re w aitin g eve r ywh er e to re w ard h is

insi ght and industry wh e t h er in reconstructions of a sava g e
,
feudalism or in visions of democratic Gardens of Eden to

,
be dott e d abou t t h e h appy wilds of r e -affore sted repentan t ,
Bloomsb ury Nay his romance up h ols te red s trai ght

.
,
l e gge d c h airs scattered h ere and th ere beside pome gran ate
wall papers A ll appeal e d t o h is instinct for pic t uresque
- .
variety h i s h orror of eart hi ness and monotony He stamped

,
.
himself hi s t astes and di s t astes V isibly and tang ibly on

, , ,
co t ta ges and palaces by t h e t h ousand or t en t h ousand .
Spiritually h e w as audible in volu me af te r volu me of

admirable verse and pros e Unli k e his poe t -peers h e did
.
,
not absorb h is sub j ect into h imself ra th er h e S o u ght to ,
incorporate h imself into it His aim w as to suffuse h is t ory

.
‘
and life wit h t h e atmosp h ere of lo vely possibili t ies h e

W I LLI AM MORR I S 27 1
discove red in t he m H e de sire d t o inspire an d invi g ora te

.
by describin g bot h as h e saw t he m S tran ge ly e nou gh .

,
t h e re sult is no t t h e robus t picture of ac t u al t h in g s whi c h h e

may b e pr esumed to h ave cont emplated Eac h successive .
scene fl oats in a h aze of dr eamy suns hi ne t hr ou gh whic h ,
t h e uproar and storm of h uman passion soun d as melo di ously

u nreal to t h e reade r as t h e ec h o of past labo urs t o t h e
lo t us -eatin g sailors . Ever in vain t h e poet raises h is
protestin g battle -cry of the t ale h e h as
t o te ll ,
Of t h e w ond e r f ul days a-c omin g wh e n all

,
S hall b e b e tte r than we ll ?
Never was Mus e readier to s ttle Past Present and

re - e , ,
Future A c h ie f bar to h e r success in a t trac tin g colonis t s is

.
t h e re qui sition S h e ma ke s u pon t h em of abundant leisur e

and patienc e There ar e tric ks of style wh ic h be com e
.
wi t h rep e tition t r yin g in t h e extre me Suc h are t h e h abit

.
of inve ter ate re frains and a p e rvadin g varni s h of melan

,
c h o ly wh ic h an i n variable s weetness does a n t h in g but

y
r elieve . B ut above all di ff useness is carried to an extent
, ,
whi c h pays no re g ard to t he br evity of h uman life It .
is t h e more ve xatious t h at Morris occasio n ally indi cates

h o w h e can pres e n t a scene in a w ay to ma ke one catc h
’
one s b r e at h His besettin g vic e in anot h er s h ape causes
.
hi mto steep le gends of pre hi sto r ic Greece Norman Sicily , ,
Scandi navian folklore in o n e same ointment fra gran t and

, ,
deli gh tful in i t self bu t almost repulsive wh en fo un d to b e

,
neit h er individ ual nor native

, .
Yet e ven so —wh at a forc e t h e age lost wh en h e die d

Ho w ut terances of h is wit h all t he ir faults d well on any
m e mor y whi c h h as once ta ken h old of t he m I t may b e
a me re exercise in rh yt h m li ke Two R e d Ros e s across t h e
,
Moon I read t h e crazy ballad t h e ot h er day ; and t h e

.
fe e lin g w it h w h ic h I h ad h e ard it re ci te d by an Oxf ord

fr ie nd S h o r tly aft e r i t s publication a t o n c e came bac k
, ,
.
Th e j ing le of it h ad s t ayed wit h me u nforg ot ten fo r fifty

ye ars and u nf or ge ttable
,
The r e w as a lady li v e d in a hall ,
Lar g e h e r e y e s and S lim a nd tall

,
And e v e r sh e sun g f r om noon t o noon ,

’
Tw o r e d r os e s ac r oss t h e moon .
The r e wa s a Kni ght c am e r idin g b y

I n e ar ly s pr in g wh e n t h e r o ads we r e d r y
,
And h e h e ar d that lady S in g at t h e noon ,

’
Tw o r e d r ose s a c r oss t h e moon .
’
Ye tnon e t h e mo r e h e st o pp d at all ,
But h e r od e a-gallo p pas t t h e hall

And le f t that lady sin g in g at noon
’
,
’
Tw o r e d r ose s ac r oss t h e moon .
B e c au se fo r soo th t h e b attle w as se t
And t h e s c ar le t and b lu e had g o t t o b e m
, , ,
et ,
H e r od e on t h e s pur t ill t h e n e x t war m noon

’
Tw o r e d r os e s ac r oss t h e moon .
Th at w as t h e battle -cry h e rais e d and before it and h is

g old armour do wn wen t t he scar let and blue Ret u rnin g .
as vic t or th is t ime h e h alts at t h e h all and t h e lady

,
’
Und e r t h e may sh e st o o p d t o t h e c r o wn ,
All wa s g old th e r e wa s no th in g of b r o w n
,
And t h e h o r ns b le w u p in t h e hall at noon ,

’3
T wo r e d r os e s a c r oss t h e moon .
I n h i gh er sorts t h ere is for example t h e resolve of

, ,
Volsu n g Si gny to die Q ueen still of t h e ab h orred Got h s

, , ,
in t h e fl ames of racial ven geance upon t h em wh ic h Sh e h ad ,

’
he rself ca u sed to be kindl e d in h e r Got h Consort s palace .
Th e stran ge evidence of fidelity to t h e l e tt e r of t h e bond

sh e w as betrayin g m u st not be permi tted to founder
Th e r e c om e s a mur mur f r om t h e Sh o r e ,
An d in t h e c los e tw o f ai r s tr e ams ar e ,
D r aw n f r om t h e pur pl e hills af ar ,
D r awn do wn in t o t h e r e stle ss se a
D ar k h ills wh os e h e ath -b loom f e e ds no b e e ,
D ar k s h o r e no sh i p h as e v e r s e e n ,
T o r m e n t e d b y t h e b illow s g r e e n
Wh ose mur mur c om e s un c e asin gly
Un t o t h e plac e fo r wh i c h I c r y .
F o r wh i c h I c r y b o th d ay and ni ght ,
F o r wh i c h I le t sli p all d e li ght ,
Wh e r e b y I g r o w b o th d e af and b lind ,
Car e l e ss t o w in u nskille d t o find

And quic k t o los e wh at all me n s e e k
, ,
Y e t t o tt e r in g a s I a m and w e ak ,
S till hav e I l e f t a li ttl e b r e ath

T o s e e k w i th in t h e j aw s of d e ath
A n e n t r an c e t o that happy plac e ,
T o s e e k t h e u nfo r g o tte n f ac e
O n c e se e n on c e kisse d on c e r e f t f r om me
,
, ,
Ani gh t h e mur mu r in g of t h e se a 5
.
H e h as w it h t h e po e t s g ift of mystery t h e poe t s secret

’ ’
, ,
’
of c h arm B ot h ar e pre s e n t in Gu n n ar s Ho we above t h e
.
House at Lit h e n d .
6
B ot h wit h a deep t h ou gh t t oo
, ,
’
unde r li e in Mot h e r and Son a w oman s c o n fid e n c e s to h er
, ,
infant spo k en t h at h e may i mbib e in hi s spir it wh at sh e

yearns t h at h e S h ould kno w but w ould blus h t o te ll h im
,
wh e n old e nou gh to unde rstand and after all leaves unsaid

, ,
:
—p e rh aps h as not cou r a ge to s ay aloud to h erself

,
N o w sl e e p s t h e l and of h ou se s ,
And d e ad ni ght h olds t h e s tr e e t ,
And th e r e th o u li e s t my b ab y
.
A nd S le e p e s t sof t and sw e e t .
Lo amids t London I li f t th e e ,
And h o w li ttl e and li ght th o u ar t ,
And th ou wi th out h o p e o r f e ar ,
Th o u fe ar and h o p e of my h e ar t
W I LLI AM MORR I S 27 5
LO h e r e thy b ody b e g i n nin g ,
O son and th y soul and th y lif e

,
But h o w will i t b e if th ou li ve s t ,
And e n t e r e st in t o t h e s tr if e ,
And in lo v e w e d we ll t o g e th e r
Wh e n t h e man is gr ow n in th e e ,
Wh e n th y swe e t s pe e c h I sh all he ar ke n
And y e t twi x t th e e and me
’
S h all r ise th at wall of distan c e ,
That r ound e ac h o n e do th g r o w ,
And m ak e th i t har d and b i tte r ,

’
E ac h o th e r s th ought t o k no w .
No w th e r e fo r e wh ile y e t th o u ar t li ttle
, ,
And ha s t no th ought of thi n e o wn ,
I will te ll th e e a wo r d of t h e w o r ld
O f t h e h o p e wh e n c e th o u has t g r o wn
O f t h e lo v e that on c e b e gat th e e ,
Of t h e so r r o w that h ath mad e

Thy li ttl e h e ar t of hun g e r ,
And thy h ands on my b osom laid .
The n mays t th o u r e me mb e r h e r e af te r ,
A s while s wh e n p e o pl e say
All this hath h appe n e d b e fo r e
I n t h e lif e of ano th e r d ay
S o may s t th ou dimly r e m e mb e r
’
Th is t al e of th y mo th e r s v oi c e ,
A s of t in t h e c alm of d awnin g
I h av e h e ar d t h e b i r ds r e j oi c e ,
A s of t I have h e ar d t h e s to r m -wind
Go moanin g th r ough t h e w ood :
And I kn e w that e ar th wa s s pe akin g ,
’
And t h e mo th e r s v oi c e wa s g ood ?
Full of gr ace a g ain is t h e Praise of My Lady whi c h

, , ,
t h e sh y love r li ke t he Mot he r dares utte r only to t he air

, ,
My lady se e ms of i v o r y
Fo r e h e ad s tr ai ght nose and c h e ck s that b e
, ,
’
H o llo w d a li ttl e mou r nf ully .
B e ata me a D omin a
S 2
’
H er fo r e h e ad o v e r -sh ad o w d mu c h
,
B y b o w s of h ai r ha s a wav e su c h
A s God wa s g ood t o m ak e fo r me
,
’
N o t g r e atly lon g my lad y s hai r ,
N o r y e t wi th y e llo w c olo ur f ai r ,
But th i c k and c r is pe d w ond e r fully .
B e n e ath h e r b r o w s t h e lids fall slo w ,
Th e l a s h e s a c l e ar s hado w th r o w
Wh e r e I w ould wish my li p s to b e .
I w ond e r if t h e la sh e s lon g
Ar e th os e that do h e r b r i ght e y e s w r on g ,
F o r al ways h alf t e ar s s e e m t o b e
L ur k in g b e lo w t h e un d e r lid ,
D ar k e nin g t h e plac e wh e r e the y lie h id

I f th e y s h o uld r ise a nd fl o w fo r me
Her f ull li p s be in g mad e t o k iss ,

’
Gu r l d u p and p e nsi ve e ac h o n e i s
This m ak e s me f ain t t o s tand and se e .
Nay h old thy pe ac e fo r wh o c an t e ll

,
‘
2
But th is at l e as t I kno w full we ll ,
H e r li p s ar e p ar te d lon gin gly ,
S o passionate and s wif t t o mo v e ,
To p lu c k at any fl yin g lo v e ,
That I g r o w f ain t t o s tand and se e .
Ye a th e r e b e n e ath th e m is h e r c h in ,
S o fin e and r o und i t w e r e a s in
,
T o f e e l no we ak e r wh e n I se e
’
God s d e alin g s fo r wi th so muc h c ar e
And tr o ub lou s f ain t lin e s wr ought in th e r e
H e finish e s h e r f ac e fo r m
, ,
e .
All m that en se e any t im e

her ,
I c har g e yo u s tr ai ghtly in th is r h yme ,
What and wh e r e ve r you may b e

, ,
And H ar ald r e i gn e d and we n t h is way ,

’
S o fai r u pr ise t h t h e r ise of t h e su n .
And s till is t h e st o r y t old t o -day ,

’1 °
S o g r e y is t h e se a wh e n d ay is don e .
Historie s le ge nds so iigs p hilosop hi e s mo r alities— t h ey

, , , ,
constitut e to ge t h er a vast total w it h an as t onis h in g even ,
ness of m e rit Th e several components ar e one and all

.
, ,
interesti n g an d not s e ldom fascinatin g Whe re th en is

, , ,
.
t heir place in Eng lis h poetry ? My ob j ec t th ro u gh out m y

rapid revie w of o ur P oets h as be en to de t ermine wh ic h
of t h em ar e amon g t h e I mmort als— h ave left us h eirs of
p o sse s sm n s w e can n o t do w it h out P oems of suc h sor t a r e .
at once n e cessaries and t re as u re s and I h ave coveted t h e

multiplication of t h em Wh en I be g an m y S ke tc h of .
William Morris I intima ted a fear t h at h is w or k w as not

,
of t h e kind ; and t his con t inues to be m y impression .
Mu ch in i t c h arms me wh e never it plac e s its e lf under my

e yes . I do not lon g to re turn t o i t A divi ne spar k is .
w ant in g It is no t t h at a star h as been h i d den in a cellar

.
,
as an old and great poet ima g ined Suc h as it is it h as .

,
been vi sibl e enou gh I t s orbit h as been h alf a c e ntury of

.
energe t ic modern life Some h o w I suppose Morri s h ad to .

, ,
c h oos e be twee n t h e e xercise of a sin g le po we r and d ive r s ,
an d h e p r eferre d many to m uc h .
Th e D f nc
e e e o f G u e n e ve r e an d O the r Po e ms by Willi am M o r r is , .
E lli s Wh it e R e p r int : Lo n gman s 1 89 6

, 1 858 .
, .
T h e St o r y of S igu r d t h e V ols un g an d t h e F all of t h e N i bl un gs by , ,
Willi am M or r is E llis Whit e 1 877

.
, .
Poe ms by t h e Way by William M or r is R e e ve s T ur n e r 1 89 1

, .
,
.
K in g Ar thur s Tom b ( D e f e nc e of G u e ne ve r e
’
!
1
st an z as 4 1 -6 , .
9
T h e D ay is C omin g ( P o e ms by t h e Way ) st 1 , . .
9
Two R e d R o s e s ac r oss t h e M oon ( D e f e nc e of G ue n e ve r e ) st an z as ,
1 , 2, 3 , 4 , 9 .
4
S igur d t h e V ols un g B ook I , .
WI LLI AM MORR I S 27 9
5
A G ar d e n by t h e Se a ( Po e ms by t h e Way ).
’
5
G u n n ar s Howe ab ove t h e Ho u s e at Lit h e n d
7
Mothe r an d S on
9
Pr ais e of M y Lad y ( D e fe nc e of G ue n e ve r e )
.
9
T h Hayst ack in t h e F lo o ds
e st an z as 1 —5
.
T h e K in g of D e n m ar k s S ons ( P o e ms by t h e Way )
1 9 ’
.
A L G E R NO N C H A R L E S S W I N B U R NE
1 8 3 7— 1 9 09
I N 1 89 7 , whe n t his boo k first appeare d S wi n burn e w as ,
livi n g B y t h e plan of t h e w or k I h ad debarred myself

.
,
t here fore from i ncludin g hi m On t h e issue of t h e pres e nt

, .
e dition I could not h ave passed h im over B ut it w as .
i mpossible to pre t e nd t o depose A lfred Te nnyson from his

plac e as c r o wnin g t h e succ e ssion of B ritis h poets I h ave .
compromis e d by disre g ardin g t h e accide n ts of birt h and

de at h an d s e atin g t h e ne wcomer beside William Morris
, ,
and Rossetti h is co mpanion and in some so r t his maste r

, ,
.
Poe t s of t h e fi r st ran k n e ver ar e duplicates I t is .
impossibl e to brac ke t S winburne wi t h any amon g h is

e e e -
nin t nt h century cont e mporar ies or pre de cessors He .
re mi n ds of Ross e tti in sensuousne ss h e h ad a far h ott e r

’
fait h in a p o et s duty to concern h imself wit h t h e w or ld
and socie ty Wit h S he lle y h e may compare in bitter dis
.
content wit h Eart h as it is wit h He aven as i t is commo n ly

,
unde rstood to b e but bot h for g ood an d ill h e w as for

S helle y too realistic and mater ial For h imse lf h e w as .
e n ti r e ly d e void of lit e r ary j e alousy of coeval s o r s e n io r s .
Landor h e r e v e r e d as
F athe r and f r i e nd .
He extoll e d an d be w aile d Robe rt Br o wnin g o wn e r of ,
Th e c l e ar e s t e y e s in all t h e w o r ld
.
Victor Hu g o h e hym n e d bot h in Englis h and Fre nc h as

a ki n g of men as well as bar ds A ll sin gers native and .
,
fore i gn anci e n t and modern we re e qually of his fe llo ws h ip

, , .
H e h ad t h e cou r a ge to re nde r h is h o ma ge to Catul lus in

Th e fu ll r ic h s w e e t ness of Th e Ye ar of t h e Rose encoura g es

,
t h e same incli nation to trace a tone a t h ill to Keats ,

r ,
w e are lef t wi th t h e same fin al conviction o f an e ss e ntial

diffe rence in t h e music in consequenc e of an essential
distinction in poetic fe e lin g
I n t h e r e d -r ose land no t a mile
Of t h e me ado w s f r om stile t o s til e ,
Of t h e valle ys f r om s tr e am t o s tr e am ,
But t h e air was a lon g swe e t d r e am

And t h e e ar th wa s a sw e e t wid e smile
R e d -mo uth e d of a g odd e ss r e tur n e d
,
F r om t h e se a wh i c h had b o r n e h e r and bur n e d ,
That wi th o n e Swe e t smile of h e r mo uth

L oo k e d full on t h e no r th as i t y e ar n e d ,
And t h e no r th was mo r e than t h e south ?
Then a g ain for qualities g oin g deeper th an form consider

, , ,
’
S winburne s c h oic e — —
all his o wn o f t h emes th e t empe r wit h
wh ic h h e contemplat e s h umani ty its place in t h e universe
, ,
h o w circu mstances affe c t it h o w it we i gh s and accep t s or

, ,
S h apes the m He be g an by vi e wi n g life h abitually as c h ildren

.
observe an eclipse of t h e sun th rou gh smo ked glass I n time .
h e ou tgre w t h e s h eer ins olence as it is not wit h stan di n g t h e

, ,
muc h of grandeur in a pie ce h k e A Litan y Th e g loom wh ic h

, .
distin g uis h ed t h e firs t ser ies of P oems and B allads survived ,
and constan tly recurs . Th ere it h ad be e n cynical I n t h e .
B allad of Life bo di ly j oys ar e accumulat e d to br e a k in a -
bondsman in t h e B allad of Deat h for t h e conquero r

’
S e e k out D e ath s fac e e r e t h e li ght alte r e th ,
And say My maste r that wa s th r all t o Lo v e

’4
I s b e c om e th r all t o D e ath .
Not satisfied to conduct all t h e riot of sense into t h e grave ,
h e fas hions from it a ni gh tmare to h arass t h e last sleep

Th e fo u r b oar ds of t h e c offin lid
H e ar d all t h e d e ad man did 5
.
ALGERNON CHA R L ES S W I N B U RNE 283
’
He compels Nature to s e r ve Man s de solation by layin g
w ast e a g arden planted for pu r pos e s of h u ma n de li gh t
N o t a fl o we r t o b e p r e s t of t h e foo t th at falls no t
A s t h e h e ar t of a d e ad man t h e s e e d -plo ts ar e d r y
F r om t h e th i cke t of th o r ns wh e n c e t h e ni ghtin gal e calls no t ,
C ould sh e c all th e r e w e r e n e v e r a r ose t o r e ply

,
?
Affec tion i t self is for h is Mus e as ep h em e r al as a blossom :

’
Th e old y e ar s de ad hands ar e full of th e ir d e ad fl owe r s ,
Th e old d ays ar e full of d e ad old lo v e s of o u r s ,
B o r n a s a r os e and b r i e f e r b o r n than sh e
C oulds t th ou no t wat c h wi th me 2
,
7 ‘
Wit h advancin g ye ars t h e dar kness de e pens i n s t ead of

disper sin g Th e climax is in t h e t h ird s e r ies of P o e ms
.
and B allads Th e Weary Weddin g For pilin g up h orro r

, . ,
st e p by step t h at mi gh t pair w it h t h e Scottis h ballad of

,
9
Ed ward Edw ard
Melanc h oly dainty s we e t and love ly m e lanc h oly h as
, , , ,
alw ays been a pri vile g e of poe t s from Fletc h e r to Ke ats ,

.
’
I t bear s little resemblan ce to S winb urn e s His dirges and .
’
Litan ies ar e w ar cri e s
- Wit h t h e h eart bro ken bride s sobs
- . ,
and t h e t au nts to t h e r ic h br ide groom

O fool w ill y e m ar r y t h e w o r m fo r a wif e
,
O fool w ill y e m ar r y t h e du s t of d e ath

,
mingles t h e man s t ’
r iump h ant insist e nc e to t h e g i r l
N ay , y e ar e min e wh il e I h old m y lif e .
’
Nay , y e ar e min e wh ile I hav e my b r e ath
,
.
9
S wi n bu r n e exults in passion -and t h e p r ic e paid for it ;,
in d e at h whi c h is life and life wh ic h is d e at h H e e xults

,
.
in t h e r uin of t h e A r mada in :
th e fi e r c e July wh e n fl e e t s w e r e s catte r e d a s foam ,
10
284 F I VE CEN T UR I ES OF EN GLI SH VERSE
an d E n g land
L augh e d loud t o t h e wi nd a s i t gave t o h e r ke e pin g t h e g lo r i e s of
Spain and R om e .
’
His verse becomes a t r umpet s blast as i t ma gnifies and
wa r ns I
A li ght that is mo r e tha n t h e sunli ght an air that is b r ighte r than
,
’
mo r nin g s b r e ath ,
C lo th e s E n gland ab out a s t h e st r on g se a c la sp s h e r and answe r s ,
t h e w o r d that i t s a i th
Th e w o r d that a ssur e s h e r of lif e if sh e c han g e no t and c h oose no t ,
t h e ways of d e ath 11
.
He exults in th e grace of h is type of gleamin g It alian hi ll

to w ns whic h
,
far t o t h e f a i r south -
w e s twar d li ghte ns ,
Gi r dle d and sandalle d and plu m e d wi th fl owe r s ,
At sunse t o ve r t h e lo ve -li t lands ,

’
Th e h ill-sid e s c r own wh e r e t h e wild hi l l b r i ghte ns ,
’
S ain t Fina s t o wn of t h e B e aut iful T o we r s ,
Hailin g t h e su n wi th a hund r e d hands 12

.
Ea ger audacious de fian t h e alw ays w as when in 1 866

, , , ,
at t h e a g e of t we nt y -nine h e w as flin gin g wild m u sic in t h e

,
fac e of En g lis h decoru m whi c h h e de spised as insular

prude ry ; wh en not wit h out pride in t h e reprobation h e
,
h ad brou gh t do wn u pon h ims e lf h e s at h ims e lf apart and

, ,
u t te red h is c r ies a g ainst a u niverse of dust and as h es .
Le t h im h o we ve r for a moment for get as h e could all but

, , , ,
an imme n sity of suns hi ne and full b r oad billo ws and h o w

radiant j ubilant a nature e merge s and sc ar s sin g in g !
, , ,
R e ad t h e h ymn to t h e sout h -west wi n d

W ind b e lo ve d of e ar th and sky and se a b e yond all winds that b lo w ,
’
Wind wh os e mi ght in fight wa s E n gland s on h e r mi ght i e st war r io r
d ay .
S outh -we st w ind wh ose b r e ath
,
fo r h e r wa s l if e and , fir e t o s c ou r g e
h e r fo e ,
S te e l t o smi te and d e ath t o d r i ve h im do wn an un r e tur nin g way ,
Th e tra gedi es t h ou gh l e as t of all t h e earlies t — At alant a

, ,
in C alydon— w it h t h e relie f of its lovely c h oruses—labou r

under t h e same excess of emotions and of one in particular , .
I t mars t hem as dramas wh ic h can n ot live wit h out var i e ty

, ,
li ght and s h ade The y ar e clo gged by mere bul k Flee t s

. .
of c h armin g fancies dr if t h elplessly about V olumes fr om

t w o h un d red and ni n eteen to fiv e h undred and t hirt y-two
pa ge s lon g . B ut the ir abidin g enemy is mono t ony of
e mp h asis . From th at t h ey are t h e w orst not t h e only , ,
’
su ff er e r s I n no fo r m do e s t h e po e t s ve r s e escape it T h e
. .
h abit is t h e mor e t o b e r e gr e t t e d t h a t w h e n as occasio n ally ,
e ls e w h e r e t h e c hr onic tempestuousn e ss aba t es t h e g if t of

, ,
m e lody r e main s no t t h e less surpassin g th a t it becom e s gen tle

and reposeful As lulle d by breeze and w aves h e fl oats
.
, ,
I l e an my c he e k t o t h e c old g r e y pillo w ,
Th e d e e p sof t s w e ll of t h e f ull b r o ad b illo w ,
A nd c los e my e y e s fo r d e li ght pa st m e asur e ,
And wish t e wh e l of t e w o r ld w ould s tand

h e h 15
.
A nd it s t ands for h im by no m e ans in j o y t h ou gh not in

, ,
sorro w alto g e th er as h e w atc h es be side t h e cradle of a baby

,
de ad
Th e li ttl e hands that n e v e r sought
’
E ar th s pr i z e s w o r th l e ss all a s sands
, ,
’
What g if t ha s d e ath God s s e r van t b r ought
, ,
Th e li tt l e hands
’
We ask b ut lo ve s s e lf sile n t s tands ,
L o v e that l e nds e y e s a nd win g s t o th o ught

,
’
T o s e ar c h wh e r e d e ath s dim h e av e n e xpands .
Ere th is p e r c han c e th ough l o v e k no w nought

, , ,
Flo we r s fill th e m gr o wn in lo ve li e r lands

, ,
Wh e r e hands of gui di n g an g e ls c aught

Th e li tt l e h ands 15
.
He h as proved t h at h e co uld wri t e wit h no less t enderness ,

ALGERNON CH A R LES S W IN B URN E 28 7
and more g aie ty abou t livi n g babyh ood And h o w h e

,
.
ador e s heroism and g eni us— contemporary as w e ll as past

Th e mo r e t h e pity t h at h e h as not s u n g sometimes of
everyday li fe of ordinary man h o od and woma n h ood in
,
a li ke t e mp e r A midst t h e lofti n e ss t h e intoxication th e , ,
splendour of hi s pane g yrics and male dictions t h e inte n sity ,
-
of h is landscape dr a win g even t h e gr and t h ou ght s whi c h h e
m
,
lavi s h ed I often pine to y s h ame fo r a cup of cold w ater

, , , ,
a little sober calm a r ay of commo n h uman h ouse h old ,
kindliness B ut I kno w it was no t h is way un l e s s fo r an

.
, , ,
interlude Whet he r in muc h mas te r ly p r os e or in ove r

.
,
wh elmin g verse a bo r n fi gh t e r h e must r an k as suc h ;

, ,
t h ou gh a g enerous comba t ant as we ll as a fiery o n e ,
Mr .Swin b ur n e s Po e ms r e fe r re d t o be low ar e p ub lis he d by M e ss r s

’
, , .
C hatt o Wind us .
1
S idn e y s Ar c adi a ( Astr o p he l ) s t 2
’
, . .
9
Ityl us ( Poe ms an d B allads 1 st stan z as 3 4 5 , , , .
4
T h e Y e ar of t h e R os e ( P o e ms an d B all ads 2n d st 3
A B allad of De ath ( Po e m
, . .
s an d B all ads 1 s t st 11
4
.
, .
5
Af te r D e ath st 1 . .
5
A F or s ake n G ar de n ( Poe ms an d B all ads 2n d st 4 , . .
7
A Waste d Vigil st 8 . .
Se e p 3 6 1 an d Pe r c y s R e li qu e s
9 ’
.
.
,
9
T h e We ar y We ddin g ( P o e ms an d B allads 3 r d last thr e e ,
st an z as .
1 °
Th e A r m ad a 1 1 st 2 , . .
11
England : an Od e (Astr o p he l ) st 20 , . .
19
F our S on gs of F our S e asons : S p r in g i n T usc an y ( Poe ms an d
B allads 2n d
, st 9 .
19
An Autu mn V ision ( Astr o phe l ) II , .
14
In s c r iptions II .
15
A Swimme r s D r e am
’
V st 2 ,
. .
15
A B aby s De ath ( A C e nt ur y o f R o unde ls ) III
’
, .
A RT H U R H U G H C L O U G H
—1 86 1
1 81 9
P O E T S in general love t o preac h and t o a congre g atio n .
Wh en t h ey soliloquiz e t h ey c h oose a m
,
-
arke t place For .
a ve ry fe w t h e p r imar y if no t t h e fin al fo r um is t h ems e lve s

, ,
.
A ft e r wards th ey may be persuaded to admit t h e public t o

7
t he ir confide nce A t t h e mome nt of sin gi n g t he y h ad b e e n

.
h ones tly una w are of its e xis te nc e Th ey re so r ted to poe try

.
simply because t he y kn e w of no b e tt e r i n strume nt wi t h

w h ic h to h amme r out t h ou gh ts vital t o th e ir o wn souls .
I f th e resultin g ide as fail t o touc h ot h er he art s or c ar s t hey

do no t mi nd The ir di sre g ard of m
. i sce llane ous sympat h y ,
t h e occasional cru di t y of fo r m h ave no common ori gin wit h

,
th e rou ghn ess of a writer wh o h avi n g studied his art as

,
’
a violi nist s tudi e s h is c h allen ges criticism to di sentan gle

,
t h e beau t y from th e excrescences concealin g i t These

'
soli t ar i e s do no t concern t h emselves wit h t h e artistic requi re

ments of t h e m e di um of expression t he y h ave adopted .
Th ey h arbour no in ten tion un le ss to mo uld and develop

,
for the ir o wn use a conception or an aspiration .
T o t h is limited class of poets wh o first and las t ar e , ,
t h inke r s A rt h ur Hu gh Clou gh belon g s Na t u r e h o weve r

,
.
, ,
e ndo w e d h im w it h poetical g ifts mo r e or l e ss indep e nd e nt
of t h at specific c h ar acte r istic Th us a p e c uliarly delicate

.
,
se n se of r hyt h m di s tin gui s hed hi mfr om the commence men t

of his care er A Rive r Pool writ te n wh en h e w as t wenty
.
,
one h as
,
a d r e amy sound
Of r i ppl e s li ghtly flun g 1
.
I n moonlight is i t no w o r s had e ,
I n plan e s of su r e divi sion mad e ,
B y an gl e s sh ar p of palac e walls
T h e c l e ar li ght and t h e sh ado w f alls
O S i ght of glo r y si ght of w ond e r
,
S e e n a p i c t o r ial p o r t e n t und e r
, , ,
0 g r e at R i al t o t h e va s t r ou nd
,
O f th y th r i c e -solid ar c h p r ofound
H ow li ght w e g o h o w sof tly Ah
, ,
Lif e s h o uld b e a s t h e g ondol a 4
Some thin g even more fr om the su gge stion of ac h in g re gr et

, ,
’
is t h e musical fl o w of the h erd -g ir l s h as tenin g cry to
h er co ws
Th e Sk i e s have sunk and h id t h e u ppe r sno w
,
H ome R os e and h ome Pr o v e n c e and La Palie

, , ,
Th e r a iny c louds ar e f allin g fa s t b e lo w ,
And w e t will b e t h e path and we t s h all we,
H om e R os e and h om e Pr o v e n c e and La Pali e

, , ,
Ah d e ar and wh e r e is h e a ye ar ag on e
, , ,
Wh o ste pp e d b e sid e and c h e e r e d u s on and on

My s we e th e ar t wand e r s far away f r om me ,
I n fo r e i g n land o r on a fo r e i g n se a
,
H om e R ose an d h om e P r o v e n c e and La Pali e

, , ,
5
He h ad ot he r qualities be side s marki n g a poet and at ,
t h e ope n i n g of life h e w on t h e ran k at a stro k e wit h Th e ,
B ot h ie of T ober -n a -Vu o lic h There could be no more vivid

.
d e sc r iption of a typical Hi gh land scene th an t h at of t he

’
st u den t s ba thi n g plac e
-
Th e r e is a s tr e am
Spr in g in g far off f r om a lo ch un e xplo r e d in t h e folds of g r e at moun
tains ,
Fallin g tw o mile s thr ough r owan and stun te d alde r e n v e lo pe d ,
The n fo r four mo r e in a fo r e s t of p in e wh e r e b r o ad and am pl e

,
Spr e ads t o c on ve y i t t h e gle n wi th h e ath e r y slo p e s on b o th sid e s

, ,
A R T HUR HUGH C LOUGH 29 1
B r oad and fai r t h e s tr e am wi th occ asional falls and nar r ow s

,
But whe re t h e g le n of i t s c our se app r oac h e s t h e val e of t h e r ive r

, ,
M e t and b lo c k e d b y a hug e in te r p osin g m ass of g r a ni te ,
Sc ar c e b y a c hann e l d ee p -cut r agin g u p and r ag in g onwar d , , ,
Fo r c e s i t s fl ood thr ough a passage so n ar r o w a lady would s te p i t .
The r e ac r oss t h e g r e at r o c ky whar ve s a w ood e n b r id g e g o e s

, , ,
Car r yin g a path t o t h e fo r e st b e lo w thr e e h undr e d yar ds say , , ,
Lo we r in l e ve l som e twe n ty - fiv e f e e t th r ough flat s of s hin gl e , ,
S te ppin g -s t on e s and a c ar t -tr ac k c r oss in t h e o pe n valle y .
B ut in t h e in te r val h e r e t h e b oilin g pe n t-up wate r

Fr e e s i t se lf by a final d e s c e n t attainin g a basin , ,
Te n f e e t wid e a nd e i ght e e n lon g wi th wh i te n e ss and f u r y ,
O ccupi e d par tly b ut mos tly p e lluc id pur e a mi r r o r ;

, , ,
B e aut iful the r e fo r t h e c olour d e r i ve d f r om gr e e n r o c k s unde r

B e aut iful mos t of all wh e r e b e ads of foam u p r isin g
, ,
Min gle the i r c louds of wh i te wi th t h e d e li cate h ue of t h e s tilln e ss ,
C li ff o ve r c li ff fo r i t s side s wi th r owan and pe nde n t b ir c h b ough s

, ,
H e r e i t li e s un th ought of ab o v e at t h e b r id ge and pathway

, ,
S till mo r e e n c los e d f r om b e lo w b y w ood and r o c ky p r o j e c tion .
You ar e s hut in le f t alon e wi th your s e lf and pe r f e c t ion of wate r

, ,
H id on all sid e s le f t alon e wi th your se lf and t h e g odd e ss of bathin g

,
?
’
A Lon g Vaca tion party s h umou r s wer e neve r bet t e r
’
touc hed off We h ear t he learned T utor s g rave dis serta
- .
’
tions for ins t ance on nat ure s ob j ections to equality
,
S tar is no t e qual t o star n o r b lossom t h e sam e as b lossom

,
The r e is a g lo r y of d aisi e s a glo r y again of c ar nations ;

,
W e r e t h e c ar nat ion w ise in gay par te r r e b y g r e e n -h ou se

, ,
S h o uld i t d e c lin e t o acc e p t t h e nu r tur e t h e gar de n e r g iv e s i t ,
S h o uld i t r e fu se t o e xpand t o sun and g e nial summ e r ,
S imply b e c au se t h e fie ld -daisy that g r ow s in t h e g r a ss -plat b e sid e i t ,
Canno t fo r some c ause o r o the r d e ve lo p and b e a c ar nation

, ,
W o uld no t t h e daisy i t se lf pe t i t ion i t s s c r u pulou s n e i ghb our

U p g r o w b loom and fo r ge t m e b e b e aut iful e v e n t o p r oud n e ss ,
E e n fo r t h e sake of myse lf and o th e r p oo r daisi e s like m

, , ,
’ ’7
,
e .
Contemporaries we re able and amus e d to follo w t he g ay , ,
banter of hi s pupils amon g themselves not extraordi narily ,

’
witt y any more than t he i r sa ge ins tru ctor s p h ilosop h y
,
T 2
is partic u larly convi ncin g but c ur io u sly divert in g the ,
playin g a t rea di ng and at love -ma kin g the h ospitalities of

C hi ef t ains and local nobl e me n wh en Oxford un der grad u a t es ,
were s t ill novelties in t h e Nort h The wh ole carried the .
p u blic t as t e by s t orm Hope of Ilay Lindsay t h e Piper

.
, ,
Poet and Ch art is t He wson Arth ur Au dley and the grea t , ,
Hobbes ,
C on te m plat i v e c o r pul e n t w i tty , , ,
be came h ouse h old words Even t h e me tre odious from .

,
ot h er p e n s w as acc e pte d smilin gly fr om Clou gh— h exa

,
m e ters in de s h abille .
There h e and hi s w orld were in entire u ni son Th at h is .
Muse poss e ss e d more th an ordi nary g ift s h ad h e c h osen to ,
use t hem for continuin g to dra w i t in h er train is e vi den t

, ,
fr om Pesc h i e ra and t h e applause wh ic h g ree ted it

,
Y ou say S in c e so i t is — g ood -b y e
, ,
’
S we e t lif e h igh h o pe but what so e e r
,
May b e o r mu st no t on gu e Shall d ar e
, ,
T o te ll Th e Lomb ar d f e ar e d t o d ie
,
Ah no t fo r i dle hatr e d no t ,
F o r h ono ur f am e n o r s e lf -appl au se
, , ,
But fo r t h e glo r y of t h e c au se ,
Y ou did what will no t b e for g o t

,
.
’
An d th o ugh t h e s tr an ge r s t and t is t r ue , ,
’
B y fo r c e and fo r tun e s r i ght h e stands
’
B y for tun e wh i c h is in God s han d s ,
And s tr e n gth wh i ch y e t s hall s pr in g in you

,
.
Thi s v oi c e did on my s p ir i t fall ,
Pe s chi e r a whe n thy b r id ge I c r os t

, ,
’
Tis b e tte r t o hav e fought a nd lost ,
Than n e ve r t o have fought at all 5
I t and t he sis ter lyric carrying a s tep o a ar d th e same

,
h eroic th o u ght th a t brave and b loody failures in a h oly

,
service His you th w as cas t in a ti e of mental and spir i tu al

.
m
qu e s tionin g s ac t ive especially amon g pupils of A rnold
, .
’
Pe rilously as th ey di sturbe d th e gr eat teac h er s o wn s o n
sin gin g k ept on t h e wh ole wi th hi mits independence His
,
fr iend h is Th y r s is h ad a l e ss imperio us ima g ination or

, ,
a more restlessly and u n se lfish ly lo g ical conscience From .
an early peri od t h e poetic instinct in h im be came primari ly

an instrument for embodyin g fixing if only for a time , , ,
h is s h ado win g s of e xis t ence present past and fu ture of

, , , ,
t h e g overnment of t h e Un i verse of I nfin i ty Verse became , .
h is means for expressi n g t h e con flict in h is soul be tween

scepticism and mysticism .
A t momen t s th e song ste r in h i mw o uld ris e and carol .
I t w as only as it w ere by an acciden t Really h e w as more .
h is proper self even in uns at isfyin g Eas t er Day Ode s

Ch ris t not Rise n y e t Risen Th e Qu e stioning Spi r it
’1 9 — ’
Bet h esda th an in the m u sic of t h e Swiss g irl s
-
cattle call Most of all w as h e hi mself in a movin g if
.
,
un h opeful cry s u c h as P arti n g

, ,
O te ll m e f r i e nds wh il e y e t y e h e ar
, , ,
May i t no t b e som e c omin g y e ar

, ,
Th e se an c i e n t p ath s that h e r e div id e

S hall y e t ag ain r un sid e b y S id e ,
And y o u f r om th e r e and I f r om h e r e , ,
All on a sudd e n r e app e ar

0 t e ll m e f r i e nds wh il e
, y e t y e h e ar
,
O t e ll me f r i e nds y e har dly h e ar

, , ,
And if inde e d y e did I f e ar ,
Y e w ould no t say y e w o uld no t s p e ak

, ,
Ar e yo u s o s t r on g a m I so w e ak
, ,
’
And y e t h o w mu c h so e e r I y e ar n
, ,
Can I no t follo w n o r y ou tur n

0 te ll m
,
e f r i e nds y e har dly h e ar !

11
, ,
A R T HUR HUGH C L OUGH 29 5
or in t h e solemn c h ant of an appe al a g ains t do g matizin g

on t he Un kno wable 7
0 Th ou in that mys te r iou s s h r in e
,
E n th r one d as I mus t say di vin e

, ,
I will no t f r am e o n e th ought of what

Th ou maye s t e i the r b e o r no t .
I will no t p r ate of thu s and so

And b e p r ofan e wi th y e s and no
E nough that in o ur soul and h e ar t
’ ’
Th ou what so e e r Th ou m ay s t b e art
, , .
Unse e n se cur e in that h i gh sh r in e

,
Ac k nowl e dg e d p r e se n t an d divin e ,
I will no t ask som e up p e r air ,
S om e futur e d ay t o plac e The e the r e

N o r say n o r y e t d e n y suc h m
, en ,
And w ome n saw Th e e thu s a nd the n

Th y nam e wa s suc h and th e r e o r he r e ,
T o him o r h e r Th ou di ds t app e ar .
D o only Th o u in that dim s h r in e ,
Unkn o wn o r kno wn r e ma in di v in e ; , ,
The r e o r if no t at le a s t in e ye s
, ,
That sc an t h e f ac t th at r ound the m li e s

T h e h and t o s way t h e j ud g m e n t guid e
, ,
In si ght and se nse Th y se lf di vide ,
B e Th o u but th e r e — in soul a nd h e a r t
, ,
I will no t ask t o f e e l Th ou ar t 12
.
Whe t her at all o r h o w far h e succ e e ded in di scove ri n g

, ,
—
a clue t o t h e pr oble ms h e h andles whet her he mi gh t not ,
by passin g t hem by h ave h ad a bri gh ter car eer an d be en

, ,
h appi e r personally is a questio n no st r an ger can ans w er

,
w it h ass urance T o me h e neve r appears to h ave felt th at

.
out of all hi s self in te r r o gat in gs h e h ad pione e r e d a via

-
m e di a Certainly t h e g ospel h e pre ac hed to hi ms elf made

.
fe w convert s outside Wi th t h e exceptions of The B o thie

.
and Pesc h iera w it h its compani on hi s poems were as little ,
he e de d in h is life time Th ey are w it h t h e same exc e ptions

.
, ,
29 6 F I VE CEN T U R I ES OF ENGLI SH VERSE
less read no w He hi mself di d no t mi nd and w ould not

.
,
mind He di d no t see k for th e fame e i th er of poet or of

.
p r op h e t Neve r co uld it h ave occ u rred to h im to be di s

.
ap poin ted t h at it did not and h as not come The En g lis h , ,

.
public ta ke s small pleasu r e in phi losop hi cal po e tr y un le ss ,
an ext r aordinary harmo n y be inspir e d by an e arthy s e lf -love

li ke Omar Kh ayy ams
’ ’
and Ar t h ur Clou gh s m e lody and
p hi losop hy are not t h us inspired Me anwhi le h e w ande r s .
,
’
about Victorian lit e ratu r e li ke a p h an t om Some times .
,
h o weve r p h an toms become as muc h forc e s as are substances

,
and he reafter it may h app e n to b e s o wit h h im I t is in .
trut h difficult to believe t h at a spi ri t s o gracious S O ea ger ,
to le ar n as well as te ac h s o ori g inal so re ver en t so open , , ,
minde d so penetratin g in it s insi gh t w i th a personalit y so

, ,
inter e s t in g s o star li ke s o g ene rously h ot a g ainst in j us t ic e

-
, ,
an d tyr anny
— —
and a g ai s t t h em alone can act u ally be as
n
faint in its in fl uence as th e deadn e ss of popular a tt ention

to t h e w ork s it per meates w ould see m to prove .
Po e ms b y Ar thu r Hugh Clo ugh With a M e moir S ix th Edition . . .
M acmill an Co 1 878 .
, .
1 A R i ve r Pool ( E ar l y Poe ms ) .
9 S on gs in A b se nc e st 4 , . .
9
E ? Ad p q( E ar l y P o e ms )
n
’
r } .
D ip sy c h us ( p u b lis he d aft e r Clo ugh s d e ath ) Par t II Sc 2

4
’
,
I te d om u ms at u r a e ( M is c e llan e o us P o e ms ) st an z as 1 —
, . .
5
2 , .
5
T h e B oth ie of T o be r -n a-V u o li c h 3 , .
7
I b id 2 .
, .Pe sc hie r a ( M isc e llane o us P oe ms ) s tan z as 8 9 1 0
9
, , , .
9
S ay N o t
1 5
E as t e r D ay ( Naple s 1 84 9 ) ( R e li gio us Poe ms ) E aste r D ay II
, .
, .
T h e Q u e stionin g S p ir it ( Po e ms on Lif e an d D uty ) B e thes da a Se q ue l .

,
11 Par tin g ( E ar ly P o e ms ) stan z as 3 —4

{Sm d up
.
,
19 / cs
( R e ligiou s P oe ms ) s t an z as
vo s , 3- 5 .
li ght ed la ke and on t h e Te rrace a t Be rne Th o u gh t h e .
S in of mono t ony canno t be c h arged a g ains t hi s verse no t ,
man y k eys are to u c h ed Suc h as soun d are all solemn

.
and au s tere Th en no Matt h e w -Arnold -Cult h as arisen

.
, .
No con gre g ation h o w ever minute of re ve re nt disciples

, ,
g at h ers t o g et h er in his name Pe rsons of re fine men t

.
admire Th e y n urse th e e motion in t h eir o wn breasts

. .
Th ey fear to vu lg arize it by p u blis hin g it abroad Th e .
controversial fame whi c h h e acquire d in t h e conclu di n g

s ta ges of h is car eer h as itself in a w ay ac ted adversely .
Th e sentimen t of his essays w as t h ou gh in t h e bitter ,
wit h out t h e S weet a kin t o t h at of h is verse I n la t ter days

, .
h is poetry often appeared to be re g arded as an appe nda ge

to h is essays rat h er t h an t he y to it .
Of t h e limi t a t ions in fac t to h is pop ulari ty there c an

, ,
be no question Th ey we r e necessary results of his wh ole

.
h abit of mind H e h ad an excessive tende ncy to w ards

.
considerin g t h e poet a p r eac he r to w ards c h antin g h omilie s

,
on t h e lo w aims and pu r s uits of modern socie ty i t s tinse l , ,
i t s earthi ness He laid h imself op e n t o t h e re proac h of

.
para di n g as a di scove rer of th e h ollo wness of l ife H e w as .
proud of be in g t hr ou gh h is h ones t y a h omeless w anderer

, ,
forlorn from t h e h eart h of ort h odoxy Sometimes h e .
p hilosop hized wh e n h e ou gh t to h ave been sin gi n g Ofte n .
his t h ou ght s pressed for ward so ea gerly as to thre ate n to

s t i fle one anot h er Not merely ar e h is poems unrelieved
.
by a sin g le fl as h of g aie ty the y are not li ght ed by a spar kle

of j oy Lastly and most detrime ntally h e i n sis t ed upon
.
, , ,
p e rh aps could not h e lp mixin g t h e wor k of t h e c r itical wit h

,
t h a t of t h e creative faculty H e w ould sit in j ud gement

.
upon th e purity of h is o wn inspiration upon t h e quantity

of candle -po we r of t h e ton gues of fir e as the y ali gh ted upon
h im On e and all are h eavy fett e rs upon fan cy ; and as
.
MATT HE W A RNO LD 29 9
su c h t he general e ve n th e ins truc t ed p ubli c h as always

, ,
felt t h em .
For an intima te ci r cle t hey en h anc e respect for t he

po we rs wh ic h can bu r st t hrou gh suc h obstacles Th e .
’
dra wbac k s ar e for it t h e e xaltin g de fe cts of h is Mus e s
qu alities Had h e no t devi at e d into preac hi n g w e s h ould
.
, ,
it wi ll ur ge h ave lost t h e he roic di r g e of Ru gby Ch apel No

, .
’
appeal in Chr ist s name w ould h av e been r aised in Pro gress
, ,
for sympa th y wit h w h atever Faith re ge n erates Had h e .
not been apt to confound p hilosop hi zin g an d singi n g w e ,
mi gh t h ave been spa ed t h e cross grained meditations of

r -
Empedocles but s h o uld h ave missed t h e lovely inte r lude s

,
on t h e h arp of Callic le s T h ree fourt h s of Th e Bu ried Life

-.
are psyc h olo g y rat her t h an poe tr y bu t wi th out t hem w e

h ad lest th e music of t h e clos e —t h e sudden pa use in life s ’
dis trac te d tu r moil

’
Wh e n o ur w o r ld -d e afc n d c ar
’ ’
I S by t h e t on e s of a lo v d v oi c e c ar e ss d
A b ol t is s h o t b ac k some wh e r e in o u r b r e a st ,
And a lost pulse of f e e lin g s t ir s ag ain ,
T h e e y e sin k s inwar d and t h e h e ar t lie s plain

, ,
And what w e m e an w e s ay and what w e w ould w e kno w !

, ,
’
A man b e c ome s awar e of h is lif e s fl o w ,
And h e ar s i ts windin g mur mur and h e s e e s ,
T h e m e adow s wh e r e i t g lid e s t h e s un t h e b r e e z e
, , ,
And the r e ar r i ve s a l ull in t h e h o t r ac e

Wh e r e in h e do th fo r e v e r c ha se
Th at fl yin g and e lusive shadow r e st , .
An air of c ooln e ss plays u p on hi s f ac e ,
And an u nw on te d c alm p e r vad e s h is b r e ast .
And th e n h e th i n k s h e know s
Th e h ills wh e r e h is lif e r ose ,
And t h e se a whe r e i t g o e s ?
The B acc h analia wi t h out,

t he rambling prelude would ,
300 F I VE C EN T U R I ES OF ENGLI SH VERSE
no t h ave danced from th e silence of dea th in t o th e silence

of livin g li gh t
’
And o e r t h e plain whe r e t h e d e ad age
,
D id i t s now sile n t war f ar e wag e

’
O e r that w id e pl ain no w wr ap t in g loom
, ,
Wh e r e many a S ple ndour finds i t s t om b ,
Many s p e n t flam e s and falle n ni ght s

T h e o n e o r tw o immo r ta l li ght s
R ise slo wly up in t o t h e sky
T o sh in e the r e e v e r las tin gly
,
Li k e s tar s o v e r t h e b o undin g h ill .
T h e e p o c h e nds t h e w o r ld is s t ill
,
?
’
W it hou t t h e vain e ffo r t in t h e Epilo gu e t o Lessin g s
Lao c o On to mars h al th e arts in t h eir respec t ive ran k s w e ,
s hould h ave lost th e noble t rib u te t o Music

Mise r e r e D omin e
,
’
Th e w o r ds ar e u tt e r d a nd th e y fle e
, .
D e e p is th e i r p e ni te n t ia l mo an ,
’
Mi ghty th e ir path os b ut t is g on e !
,
B e e th o v e n take s the m th e n—th os e tw o

P oo r b ound e d w o r ds — and m ak e s the m n e w
,
I nfin i te make s the m make s the m yo un g

,
T r ans plan t s the m t o ano th e r t on gue ,
Wh e r e the y c an no w wi th o ut c onstr ain t

, ,
P our all t h e soul of the i r c om plain t ,
And r oll ado wn a c hann e l lar g e

Th e w e al th di vin e th e y hav e in c h ar g e .
Pag e af te r pag e of mu si c tur n ,
And s t ill th e y li v e and s t ill the y b ur n ,
P e r e nni al p assion -f r aught and f r e e

, ,
Mis e r e r e D omin e
,
3
Eve n wh en we feel hi mstraini n g after an ide a

evades hi s grasp as in Th e Strayed Reveller th e tendrils
, ,
of fl oatin g fancy clin g to a h undred en trancin g scenes .
E g o tis tical is h e ? I f any one is a licensed e g o tis t is not ,
a poet ? Weary w o r n -out blas é too if h e please s o lon g

, , , ,
’
It s t ood and sun and moonsh in e r ain d th e i r li ght
,
On t h e pur e c olu mns of i t s gle n -buil t hall .
’
Bac kwar d and fo r war d r o ll d t h e wave s of fi ght
R o und T r oy but wh ile th is s t ood T r oy c ould no t fall
, .
S o in i t s lo v e ly moonli ght liv e s t h e soul

, ,
Moun t ains sur r ound i t and swe e t V i r g in air

, ;
C old plash in g pas t i t c r ystal wate r s r oll ;
, ,
We V isi t i t b y mom e n t s ah t oo r ar e
, ,
S till do th t h e soul f r om i t s lon e f ast n e ss h i gh

, ,
’
U p on o u r lif e a r ulin g e filu e n c e se nd
And wh e n i t fails fi ght a s w e will w e d ie
, , , ,
And wh il e i t last s w e c anno t wh olly e n d

,
?
’
Th e drama of man s inner life as seen ,
by Ar nold is ,
a tra gedy in many acts w it h many ac t ors

,
. I t comme nces
w it h a str u gg le ofte n t h e playe r cast for a leadin g part
ne ver se e s t h e end ; often it h as no end wh en t he re is
any alw ays it is grievous Th e bitterness
, . Of i t all t aints
’
He ine s g rave in trim Montma r t r e
Har k th r ough t h e all e y r e sounds
Mo c kin g laughte r A film
’
C r e e p s o e r t h e sunsh in e a b r e e z e
R uffle s t h e war m af t e rn oon ,
S add e ns my soul wi th i t s c h ill

Gi b in g of s p i r i t s in s c o r n
Mar s t h e b e ni gn an t r e p os e
Of th is amiab l e h om e of t h e d e ad 8
.
I t h ad robbed h im livi n g of t h e so u rce of t h e one supreme

gift as a poet th at h e missed
C h ar m t h e glo r y wh i c h mak e s
,
S on g of t h e p o e t di vin e ; 9
’
Th e play s climax may be t h e catastrop h e of a momen t ,
suc h as froze int o e t ernal despair

MA TT HE W A RNO LD 303
that Lo r d A r und e l ,
Wh o s tr uc k in he at his c hild h e lo ve d so we ll
, ,
’ ’
And h is c h ild s r e a son fli ck e r d and did d ie
,
.
Painte d h e will d it —in t h e galle r y

— ’
Th e y han g ; t h e p i c tur e do th t h e sto r y te ll ?o
Or it
o may be an unceasin g ac he lik e t h e ne ver s t illed old
, ,
-
w o r ld sorro w ing of t a w ny t hr oa t e d Ph ilomela
E te r nal passion
E te r n al pain ! 11
Vainly man s e e k s t o rio t himself into forgetfulne ss of t he

h ollo wn ess of exis tence as in t h e d r e ar y r e v e lr y of Mycerinus
, ,
w h os e
some t ime s w ond e r in g soul
F r om t h e loud j oyf ul laughte r of h is li p s
Mi ght sh r in k half s tar tle d lik e a guil ty man
,
Wh o w r e stle s wi th h is d r e am ”
.
Equally to no p urpose wi ll h e plot to circumvent h is doom

of not hin gness by condemnin g h imse lf to t h e grindin g
,
weariness of a livi n g dea th— t h e Cart h usians ’
gloom pr ofo und ,
Ye sole mn se at s of h oly pain ! 13
Th e battle always is lost befo r e it was fo u gh t .
A time was wh en h umanity se e m e d at last to h ave

grasp e d t r iump h antly a savin g Fait h
O h h ad I liv e d in that g r e at day
, ,
H ow b ad i t s g lo r y n e w
’
F ill d e ar th and h e ave n and c aught away
,
’
My r av ish d s pi r i t t oo
N o th ought s that t o t h e w o r ld be lon g
H ad s t ood agains t t h e wav e
Of lo ve whi c h se t so d e e p and s tr on g
’
F r om C hr is t s th e n o pe n gr av e .
3 04 F I VE CEN T UR I ES OF ENG L I SH VERSE
’
N o lon ly lif had p ass d t oo slow
e e
Wh e n I c ould h our ly se e
’ ’
That wan n ail d Fo r m w i th h e ad
, , dro o p d lo w ,
Up on t h e b i tt e r tr e e
C ould se e t h e Mo th e r wi th t h e C h ild
Wh ose te nde r winnin g ar t s
'
Have t o hi s li ttl e ar ms b e gin le d
S o many w ound e d h e ar t s
Wh ile w e b e li e ve d on e ar th h e we n t
, ,
And o p e n s t ood his g r av e

’
M e n c all d f r om c ham b e r c hur c h and t e n t , , ,
And C h r ist wa s b y t o s av e 14
.
Th at un te nanted grave wi th t h e vision of Him wh o h ad

, ,
once lain t h erein asc e n di n g to hi s He aven to prepar e it

,
for men turne d many a convulsion of despair as in th e

, ,
adorable story of t h e C hu rc h of Brou an d its wido wed ,
,
n —
Fou n dre ss i to angelic resi gnation a resi gnation out
lastin g life
S o sle e p fo r e ve r sle e p 0 mar b l e pai r
, ,
Or if y e wak e le t i t b e th e n wh e n f ai r
, , ,
On t h e c ar v e d we ste r n f r on t a fl ood of li ght

S tr e ams f r om t h e se tt in g su n and c olour s b r i ght ,
o Pr o ph e t s t r an sfigu r e d S ain t s and Mar tyr s b r av e

, ,
I n t h e vas t w e ste r n windo w of t h e n ave

And on t h e pav e m e n t r oun d t h e t om b th e r e glin t s
A c h e que r -w o r k of g lowin g sapp hir e t in t s ,
And ame thys t and r ub y— the n un close

,
Y o ur e y e lids on t h e st on e wh e r e y e r e po se ,
’
And f r om your b r o id e r d pillo w s lif t your h e ads ,
And r aise you on your c old wh i t e mar bl e b e ds ,
And loo kin g dow n on t h e war m r osy tin t s

Wh i c h c he que r at your f e e t t h e i llu min e d flin t s
, , ,
S ay : What is this We ar e in b liss—fo r g ive n

B e h old t h e pave me n t of t h e c our t s of H e av e n
Or le t i t b e on autu mn ni ght s wh e n r ain ,
D o th r ustlin gly ab o ve your h e ads c om plain

close we always can ima gine we he ar a de livery of j udge ment

of decay and deat h I n var yin g cade nces of mou r n fulne ss
.
,
s obs of p r o t e s t ,
r e co g niz e d by t h e victim as unavailin g ,
ar e raised a g ainst t h e inevitabl e blan kn e ss The y ar e

.
s ucce e de d at b e s t by acqui escenc e in w oe b e yond compa r e ,
wh ic h l e ave s no mo r e to suffe r Wh at t h ou gh t h r ou gh ou t
.
,
th e wh ol e we ar e s e nsible of some affe ctation in th e gu ilty

,
of g rief whic h does not gri e ve—o i some positive p r e p o s ,
t e r o u s p r id e in t h e re ma r k abl e el e vation of soul whic h h as

e l e c t ed h im t o b e a r e mo r s e ful e xil e f r om t h e Kin g dom of
Fai th instead of a com mon comfo r tabl e b e li e ve r ! A t all

e ve nts artistic valu e s in t h e pictur e ar e i n tui tive ly obser ve d ;
,
and t h e paint e r more ove r h ad actually passed t h rou gh t h e

spiritual e xp e ri e nc e s h e por t r ays .
H e h ad interro g ated h uman nature ; part icula r ly hi s ,
o wn He h ad ransac ke d libr ar ies ; al ways fo r h is o wn

.
’
mind s sa ke to discipline and enric h it ; to learn wh at
,
mann e r of b e in g h e mi gh t h ave bee n and w as not or w as ,

.
F o r h im t h e o n e t hi n g w ort h unde rstan di n g w as t h e compl e x

’
o r g anism of man s h e art and int elle ct T o kn o w it h e u s e d
.
h ims e lf as sub j e ct scalpel and lect ure r His h abit of

, ,
.
ide ntifyin g virtually t h e functions of writ e r and critic w as

a n e c e ssity of t h e position h e ass u m e d We can contem .
plat e h im diss e ctin g hi s i n ner personality no t in g h o w h is,
soul whi c h o r i g in ally h ad g lo we d wit h devotion e xult e d

, ,
in t he di scove r y of its liberty— th en
Wand e r in g b e twe e n tw o w o r lds o n e d e ad

, ,
T h e o th e r p o we r l e ss t o b e b o r n
,
19
w ait e d for lor n in t h e discor d of con trary e nt h usiasms ,
h arassed by r ival clai ms t o alle gianc e scared di stract e d

, , ,
sear e d b e numbe d ; an d finally wh en t h e company lost

, , , ,
in t h e s t o r m ,
M ATT HE W ARNO LD 3 07
at ni ghtf all at las t ,
C ome s t o t h e e n d of it s way ,
’
T o t h e lon e ly inn mid t h e r o c k s
Whe r e t h e gau n t and t ac i tur n h os t
S tands on t h e th r e sh old t h e w ind ,
S hakin g h is thin wh i te hai r s

H olds h is l an te r n to s c an
Th e s t o r m -
b e at fi gu r e s and a sk s ,
Wh om in o u r par ty we b r in g
Wh om w e h av e l e f t in t h e sno w 2 59 ‘
was con tent to le t t h e doubt remain unresolve d even by

hi mself wh et h er h e will be of th e re m
,
nant t o wh om th e
ques tion is p u t Whe n no w and a g ain suspicion aris e s as
.
,
I h ave said of a w ant of ge n uineness in t h e an gui s h it

, ,
can be admit t ed wit h o u t too muc h offence to t h e h ono u r

of th e suffer er He is operator t h o u gh on hi mse lf and
.
, ,
hi s pr imar y duty w as to apply t h e knife T o find fault .
wit h hi s assumption of th e double c h aracter i s to stri ke

at th e basis of hi s intimat e po e tr y ; and wit h t h at we
cannot afford to qu arre l .
T a ke h imas h e is body at once and anatomist poet and

— ,
c r itic—and study of hi s wo r k will bot h i nf orm and de li gh t .
’
Wh et her h e vivi sect h is o wn so ul or ano ther s h e hi mse lf , ,
r e mains t h e principal obj ec t of in te re st Th e Sc h olar .
Gipsy is a pic t uresqu e vision o f the le gendary being wh o

h ad do ff e d t h e trammelli n g g o wn ye t could not te ar hims e lf
,
’
o u t of h ear in g of Oxford s s wee t j an gh n g bells amon g ,
the war m g r e e n muffl e d Cumno r h ills

,
- ?1
So is de parted Th yr sis in t h e S iste r idyll r e dolent of t h e

,
fragr an t b ea u ty ali ke of Lycidas and t he Ode to a Grecian

,
U r n ye t di stinc t from bo th
, B u t t h e final ca use of eac h is
.
to ec h o Mat the w Arnold and in eac h we searc h for and

B y ron hi m
,
d iscove r him and hi s moods . s elf does not loom
U 2
more largely in every poem h e wrote th an Ar nold in hi s .
Th e mo r e impr e ssive th e poet and h is ver se t h e more we fe e l ,
t h e cri t ic t h e psyc h olo g ist analysin g c h ar ac te r izin g every

tiss ue e ve r y nerve cent r e an d we ad m
, , ,
'
- i r e an d sympa thize
,
w ith bot h t h e mo r e .
He w as born a poet and h e h ad traine d hi m self to b e

a consummate artist in w ords Milton in t he c h or us es of.
Samson A gonistes h as not e qualled th e flexible h armony

’
of t h e blan k verse of Ru g by C h apel and Heine s Gr ave .
’
T ennyson in t h e S wan s deat h -son g scarcely s urpasses
Dover Beac h in t h e music of t h e ebb and ,
It s m e lan c h oly lon g

, , wi th d r aw in g r oar .
22
I am afraid t o prais e lest I be accus e d of e xa ggera tio n t h e

, ,
perfect accord of h armony and complaint in th e Forsa ken

’
Merman s cry of mild h op e l e ssness
C hild r e n at mi dn ight
, ,
Whe n sof t t h e winds b lo w ,
Wh e n cle ar falls t h e moonli ght ,
Whe n s pr in g -tid es ar e lo w
Wh e n s we e t ai r s c om e s e awar d
’
F r om he ath s st arr d wi th b r oom ,
And h i gh r o ck s t h r o w mildly
‘
’
On t h e b lan ch d sands a g loom
Up t h e st ill g liste nin g b e ac h e s
, ,
U p t h e c r e e k s w e will h ie ,
Ove r b ank s of b r i ght se a-we e d

Th e e b b -t id e l e av e s d r y .
We w ill gaz e f r om t h e s and -h ills

, ,
‘
At t h e whi te sle e pin g t ow n

,
At t h e c hur c h on t h e hill-side
And th e n c om e b ac k do wn ;
S in gin g : Th e r e dwe lls a lo v e d o n e ,
But c r ue l i s sh e
Sh e l e f t lon e ly fo r e v e r ,
’95
Th e k in g s of t h e se a .
9
E p ilogue t o L e ssin g s Lao c o éin
’
.
4
G r owin g O ld .
5
Th e L as t Wor d .
5
Lin e s Wr itt e n in K e nsin gt on G ar d e ns .
7
Palladium stan z as 2 3 6
, , , .
9
He ine s G r ave
’
.
9
I b id
.
1 °
A Pic tu r e at Ne wst e ad .
11
Phi lome la .
19
Myc e r inus .
19
Stan z as fr om t h e G r ande C har tr e use .
14
O b e r mann O nc e Mor e .
15
Th e C hu r c h of B r ou 3 Th e Tomb
, , .
15
O be r mann On c e M o r e .
17
B alde r D e ad .
19
S oh r a b an d R u s tu m .
1 9
S tan z as fr om t h e G r and e Ch ar t r e u se st,
. 15 .
9 9
R u gby Chape l . Th e Sc holar -G ips y .
99
D ove r B e ach .
99
Th e F or s ake n M e r man .
R O B E RT B RO W N I N G
1 81 2— 1 889
LIT ERA R Y hist o r y fu r n is he s man y e xample s of prose

writers wh o h ave e mployed t heir wits and pens in decip h er
i n g t h e ir o wn t h o u gh ts and e motions Some amon g man y .
ar e Cic e r o Marcus A urelius St A u g ustine Mont ai gn e

, ,
.
, ,
Pascal Rousseau Stern e pe r h aps Ce r vantes We h ave to

, , ,
.
sear c h before fin din g cle ar par allels in poe try I do no t .
mean t h at po e ts do not h abitually li gh t up t h ei r o wn minds

fo r th e deli gh t and inst r uction of t h e public Th at is of .
t h e ess e nce of po e t r y B ut t he y start by loo kin g a he ad by

.
,
t r yin g to p e netrat e in t o ot he r minds and t e llin g t hem w h at ,
t he y wit h ou t kn o wi n g it th in k Th eir discove r ies outside

, ,
.
t he y carry wit h in A t their leis ure t hey take t he ir spoil to

.
piec e s re pair add e mbellis h r econst r uct an d g ive forth

, , , , ,
transformed .
Matt he w Ar nold and Robert Bro w nin g are prominent

amon g t h e Great in Englis h vers e for be g innin g an d endin g
on t heir o wn ground Li ke all t he y we re ready to g at he r
.
su ggestions from e ls e whe re Th ey value d the m as m e r e

.
material for t he ir personal use and enli gh te nm e nt So far .
t h e t wo are ali ke and yet none co uld di ffer more in t h e

manner of t he ir self -reve alin g Th e one is so m e t hin g
.
bet ween hi storian and advocate t h e ot her an inspired ,
diarist . The one passionat e ly nar r ates and comments ,
passiona tely apolo gizes pleads and defends Th e ot h e r

, , .
re members compares fores e es soliloqui z es and is at once

, , , ,
wh olly personal an d as absolu tely impersonal A comple te

, .
’
di ag ram of t h e work in g of B ro wnin g s mind mi gh t b e
dra wn from hi s many successive volume s P oe t s in general .
re g ard th ems e lves as apostl e s com missioned t o g o out and

’
teac h B ein g dis tinctive ly a poet wit h a poet s i d io sy n
.
,
c r a sie s
,
h e did no t re fus e to le t h is voice be he ar d H e .
would no t h ave de n i ed t h at h e r at h er pre ferred it as it

sounded to an audie n c e B ut for t h e purpos e disciple s h ad
.
to be at h ome wit h h im Th ey h ad to list e n as wit h .

, ,
e ntire dispassionaten e ss h e conve rsed wi th h ims e lf alo u d

,
.
His primary obj ect w as t o t e ll hi mself wh a t fr om day to

day h e t h ou gh t I f readers in g eneral did not follo w h e
.
,
mi gh t re gr e t it or not Th e accide nt did no t lead h im to

.
c h an g e th e form of h is memoranda .
Wit h th is conception a n ybody wh o is sincerely anxious

to pr ofit by h im h as to be gin His w ay w as to b e for ever .
c h asin g overta kin g catc hi n g at t h e s h ado w of an idea

, , ,
flittin g around outside it mi gh t be by c h oice wi th in, , .
Havin g g rasped i t h e wo uld orde r frequently tort ure it

, , ,
t o declare it s subs t anc e Wh en t h e th in g un accustomed

.
,
to be th us ru dely ca tec hi z e d s t ood mu t e h e se t to w or k

ima g inin g all possibl e be in g s it m
, ,
i gh t be One by one h e .
h eld th em up before it to se e wh e th er t h ey reco gniz e d

,
k insmans hip Oft e n h e w as left claspin g still an in v e t e r

.
at e ly unsubstantial s h ado w He h ad to clo th e it wit h .
fles h and blood from h is o wn large w arm brea th in g Very , , ,
h uman soul .
For t h e public wh en at a lon g last it came to be inquisi

,
tive about h im for students and disciples from t h e firs t

,
and alw ays t h at was t h e sum of t h e wh ole Th e very

, .
diver s e classes of h is ultimate readers were cont en t if at ,
times be wildered th at i t s h ould be s o The y w andered

, .
in th e g ar dens of hi s spacio us nature sur veyi n g it t hrou gh ,
wh at were bars for mos t of th em afte r t h e manner of ,

sa ke of a rh yme or r h yt hm The y h ave been said t o be

.
capable of lettin g a r h ym e introduce a t h ou gh t B ro wnin g .
w o uld h ave scorne d to g ive up t h e least part icle of an idea

a t t h e de mand of di ction He neve r scrupl e d to manu
.
fact ure terms and p hras e s as clot h es for an idea Rat h er .
t h an suffer rh yme to lead t h ou gh t h e coine d r h ym ,

es also .
He may seem to be prolix A g ain it is t h ou gh t whic h is

.
,
to blame ; some idea will h ave h ad t o disentan gle itself

painfully from encumberin g mat ter or it is g ro win g and ,
needs addi tional raim e nt in t h e s h ape of sp e e c h I ts parent .
never dreamt of refusin g so natural n e cessary eve n , ,
laudable and decent a demand ,

.
Th e Rin g and th e B oo k reports in four volumes a criminal

’
trial Th at is t h e poe m s out w ard gui se Th e reality is
. .
a microscopic analysis of t h e life beats of a group of h earts

- .
Me asur e its ri gh t to t h e space not by t h e crime not by t h e ,
’
h earts but by t h e pulsation s of t h e re port er s brain and
,
t he re is not a pa g e too man y Volu minous if not d iffu s e

.
, ,
r u gg ed and h ar s h not car e ful to rende r t h e ideas h e

,
supr emely prized intelli gibl e — muc h l e ss palatable— t o t h e ,
ordi nary Englis h man h e stands in t h e mass of hi s wor k

, , ,
alto g et her apart bot h from h is cont e mporaries and hi s

predecessors Wit h all t he ir variances and contra ri eties
.
,
t h e several sc h ools of poe try may be said at leas t t o h ave

a greed as a rule upon a measur e of complime ntary respect
for t h e understan di n g of t heir public Foremost amon g .
th e fe w di sside nts s t ands t h e aut h or of Sorde llo Caliban ,
upon Set bos Prince

e ,
H h
o e st e
n i l -Sc hw an g au R e d Cot ton ,
Ni gh t cap Coun try F ifin e a t t h e Fair Th e I nn Album

-
, , ,
Jo c o se r i a P ar le yi n gs w it h Ce rt ain People La Saisiaz t h e

, , ,
t wo Poets of Croisic and As olando No c h arge can be

,
.
lodg ed a g ainst hi m of h avi n g pandered to t h e pop ular

taste or i gnoranc e
, .
RO B ER T B RO WN I NG 315
Th e c omplac e ncy wit h w hic h h e launc h ed u pon li t erat ur e

t hi s rapid succession of conundrums e nra ged t h e contempo
r ari e s of t w o thi rds of his career
- H e never appeared t o
.
be a w are of t h e S h oc k s h e w as admin ist e rin g H i s g ene ral .
uncout h ness s e emed t h e mo r e audacious in t h e face of

a store of most t uneful occasional poems wit h wh ic h h e
inter sp e rsed his h abitual exp e ri ments upon t h e e nd urance
of re ade r s A t will h e s h ow e d t h at wh en h e c h ose none
.
, ,
could b e more me lodious t h an h e B y turns h e w as ge n tle

.
an d fie r y able to unseal t h e fountain of lau gh ter an d

,
t h e fo un t ain of tears .H e w as ma j estic terrible simple , , ,
— —
te nde r even to impost u re if h un gry content wi t h a
, ,
profo und t h ou gh t beneat h to be j ust graceful Wit h t h e

, .
sense u pon us of t h e work s by whi c h appare ntly h e m e ant

h is name to live w e ask not s o muc h wh y usually h e
, ,
clas h es t h e h arp -stri ng s as wh y t h e psyc h olo gist t h e me ta

, ,
p h ysician h as sudde n ly straye d into absolute S in gin g Was .
h e move d by compassion for t h e be wi ldered and daz e d

critic Was h e h imself weary of un t unefulness May
it not h ave b e en t h at t h e music alw ays under lay t h e
p hilosop hy t h at t h e phi losop h y w as alw ays re ady in
, ,
favo urin g circums t ances to brea k into son g—th at life s

,
’
sco wl of cloud hi des beh ind i t

s ple n di d a s tar 9
,
I h ave been g lancin g t hr ou gh t h e lyri cs scattered over

many volumes I t wo uld be h ar d to s ay wh e re else can be
.
fo und a more absolute com b ination of th o u gh t sentiment ,
rh yth m—o r whe r e more V ari ety .
In Th e Los t Le ader I read reproac h amazem e nt revolt

adm
, , ,
i ration h ope t h at h e t h e rene g ade in fi gh tin g t h e

, , ,
follo wers h e h as deserted will kee p all t h e pro wess whic h

,
e i —
h ad won t h r wors h ip t h a t h e will repent in deat h—b e
t he irs once more in Heaven— for t h ey love hi m
Le t h im n e v e r c om e b ac k t o u s
Th e r e w ould b e doub t h e si tation and pain
Fo r c e d pr aise on o u r p ar t —t h e g limm e r of twili ght
, , ,
Ne v e r glad c onfid e n t mo r nin g again

B e s t fi ght on w e ll fo r w e taught him— s tr i k e gallan tly
, ,
Me nac e o u r h e ar t e r e w e m as te r h is o wn
Th e n le t h im r e c e i ve t h e n e w k no wl e d g e and wai t u s ,
Par don e d in h e av e n t h e fir s t b y t h e thr on e

,
3
Bit ter h u mour in Th e Soliloquy of a Spanis h Cloist e r blasts

’
h ypoc r i s y h idin g unde r a co wl Th e soliloquy is a mic r o .
co s m I t is an entire play wh ic h sums up t h e passio n s of

.
,
u n i versal h umanity ravin g in a petty monast e ry inside

, ,
a p e ttie r breast Th e j oy of setti n g a trap to catc h saintly

.
B rot h er La wrenc e
’
Th e r e s a g r e at te x t in Galat ians
On c e y o u tr i p on i t e n tails ,
Twe n ty -nin e dist in c t d amnations ,
On e sur e if a no th e r f ails
If I t r i p h im j u s t a-dyi n g ,
S ur e of h e av e n a s sur e c an b e ,
Sp in h im r oun d and s e nd h im flyin g

,
Off t o h e ll a Mani c h e e
,
4
I n anot h e r spiri t weariness of t h e yo k e of liberty be comes

,
a h ymn to a Guardi an An g el t o bend me lo w li ke

’
G u e r c in o s pic t ured c h ild a t Fano
and lay like his my hands to ge the r
, , ,
And lif t the m u p t o pr ay and g e n tly te the r ,

’
M e a s Th y la m b th e r e wi th th y gar m e n t s s pr e ad
, ,
?
Or defiance is hurled at Death

F e ar d e ath —t o f e e l t h e fo g in my thr o at ,
Th e mis t in my f a c e ,
Wh e n t h e sno w s b e gin and t h e b la st s d e no te

,
I am n e ar in g t h e plac e ,
Th e p ow e r of t h e ni ght t h e p r e ss of t h e s to r m
, ,
Th e p os t of t h e fo e
Wh e r e h e stands t h e Ar c h F e ar in a visi bl e fo r m
, ,
Y e t t h e s tr on g m an mu s t g o :
318 F IVE CEN T UR I ES OF ENG LI SH VERSE
A hu sband s g lad c h oice—wh en bid fix h is o wn re ward

’
for t h e re scu e of Fr ance s sole sur vi vi n g fle e t—o f o n e day s

’ ’
company of his wife as suffici e nt g uer don

A b e am of fun o utb r o ke
On t h e b e ar d e d mouth that s p o ke ,
A s t h e h on e s t h e ar t laughe d th r ough
Th ose f r ank e y e s of B r e t on b lue
S in c e I n e e ds mu s t s ay my s ay ,
’
S in c e on b oar d t h e duty s don e ,
And f r om Malo R oads t o C r oisi c P oin t what is i t b ut a r un

,
’
S in c e t is a sk and have I may ,
S in c e t h e o th e r s g o a s h o r e
C om e A g ood wh ol e h oliday
L e av e t o g o and se e my wif e wh om I c all t h e B e ll e Aur o r e
, ,
,
—
That h e aske d and that h e g o t no th in g mo r e ,
5
.
A P ar tin g ,
w it h seas to divi de— and p e r h aps for e ve r
, ,
R ound t h e c ape of a sudd e n c ame t h e se a

And t h e s un loo ke d o v e r t h e moun tain s r im
,
’
And s tr ai ght wa s a path of g old fo r hi m

And t h e n e e d of a w o r ld of me n fo r me
,
9
.
A pr o test in t h e pre sence of deat h a g ainst a meas ur e

ment of th e ri gh t to love by T ime s j e alo us m
, ,
’
i les t one s
I lo v e d you Eve lyn a ll t h e wh ile

, ,
My h e ar t se e me d full a s i t c ould h old

The r e wa s plac e and t o s par e fo r t h e f r ank youn g smile ,
’
And t h e r e d youn g mouth and t h e hair s youn g g old
, .
,
—
S o hu sh I will gi v e yo u th is le af t o ke e p
,
Se e I S hut i t insid e t h e sw e e t c old hand

,
e r , u r r e —
Th e that is o s e c t go t o Sle e p
Y o u will wake and r e m e mb e r and und e r s tand
, ,
10
.
, ,
—
And lastly a lovely psalm of marria ge B Fireside y t h e
— wh ere passion and tender ness blend into o n e and trans ,
m ut e t h e s till ac h in g a gony of uncert ainty in t h e wooin g

R O B ER T B RO WN I NG 3 19
O h t h e li ttl e mo r e a nd h o w muc h i t i s
, ,
And t h e li ttle l e ss a nd what w o r lds aw ay ,
H o w a sound s hall qui c ke n c ont e n t t o b liss ,

’
Or a b r e ath su sp e nd t h e b lood s b e s t p lay ,
And lif e b e a p r oof of th is 1— 1 1
into h appy p r id e
T o th ink h o w li ttle I d r e ame d i t le d
T o an age so b le s t that b y i t s sid e , ,
Y outh se e ms t h e was te inst e ad ”

.
Every lyric every idyll h as its p r oblem t h ou gh merg e d

, , ,
in an u nde r cu r rent of melody s o be witc h in g t h at none ar e

obli g ed to explore belo w A b t Vo g le r of mu sical r eno wn
.
, ,
defies poet and paint er only h uman w orkers noble as are

, ,
t he ir arts to rival hi s wh ere

, ,
is t h e fin g e r of God a fla sh of t h e will that c an

, ,
E x iste n t b e h ind a ll l aws that mad e th e m and 10 th e y ar e

, , ,
And I kno w no t if save in th is suc h g if t b e allowe d t o man

, , ,
Th at o u t of thr e e sounds h e f r ame no t a four th so und but a s tar , , .
C onsid e r i t we ll : e ac h ton e of o ur s c al e in i t se lf is nought

h —
It is e ve r ywhe r e in t e w o r ld loud sof t and all is s aid , ,
Give i t t o me t o u se I mix i t wi th tw o in my th ought

And the r e ! Y e have h e ar d and s e e n : c onsid e r and b o w t h e h e ad
,
And a t th e h ei gh t of h is e xultation
It is g on e t h e palac e of musi c I r e ar e d
,
W e ll i t is e ar th wi th me sile n c e r e sume s h e r r e ig n
,
I will b e pati e n t and p r o ud and so b e r ly acqui e s c e

Giv e me t h e k e ys I f e e l fo r t h e c ommon c h o r d again
.
,
S lid n g b y se m
.
,
i i ton e s ti l I sink t o e mino r y e s

l , t h — , ,
And I b lun t i t in t o a ni n th and I s tand on ali e n gr ound

, ,
S ur ve yin g awhil e t h e h e i ght s I r olle d f r om in t o t h e d e e p

Wh i c h har k I have dar e d and done fo r my r e s tin g p lac e is found
, , , ,
Th e C Maj o r of th is l if e : so no w I will t r y t o sl e e p
,
13
.
T o th e g lo r y of h is life t h e Musician sees an end ;

wh il e de at h t h re e c e nt uries e a r lier l e ads t he tr iump h of
, ,
t h e Gr amma r ian I kno w fe w po e ms in w h ic h t h e reade r

.
3 20 F I VE C EN T UR I ES OF ENG LI S H VER SE
can be more presen t wi th t h e po e t in t h e access of inspira

tion We feel hi s successive t hr ills of j oy as h e climbs s t ep
.
,
by s t ep wit h t h e adorin g sc h olars up t hr ou gh t h e d ust of

buried learn i n g into t h e pure e t h er of re born Helleni sm
Le t u S b e g in and c ar r y u p th is c or p s e ,
S in g in g t o g e th e r
.
Le av e w e t h e unl e tt e r e d p l ain i t s h e r d and c r o p

S e e k w e s e pultur e
On a tall moun tain c i t i e d t o t h e t o p
, ,
C r ow d e d w i th c ul tur e
All t h e p e ak s so ar b ut o n e t h e r e s t e xc e l s
,
Clouds o ve r c ome i t
’
N o yond e r s par kle is t h e c i tade l s
,
C i r c lin g i t s su mmi t .
Th i th e r o u r p ath li e s w ind w e u p t h e h e i ght s

Wai t y e t h e w ar nin g
’ ’
Our lo w lif e wa s t h e l e ve l s and t h e ni ght s
’
H e 8 fo r t h e mo r nin g .
S te p t o a tun e s quar e c he st s e r e c t e ac h h e ad
, , ,
’
War e t h e b e h old e r s
Th is is o ur m aste r f amou s c alm and d e ad
, ,
B o r n e on o ur s h oulde r s .
H e was a man b o r n w i th th y f ac e and th r o at ,
Lyr i c A p ollo
L on g h e li v e d n am e l e ss : h ow s h o uld s p r in g tak e no te
W in te r w o uld follo w 2 ‘
T ill lo t h e li ttle t ou c h and youth was g on e

C r am pe d and di m
, ,
i nis h e d ,
Moan e d h e N e w m e asur e s o the r f e e t anon

, , ,
My dan c e i s finis he d
’ ’
N o that s t h e w o r ld s way ( ke e p t h e moun tain -side
, ,
Mak e fo r t h e c i ty 1)
H e kn e w t h e si gn al a nd s t e ppe d on w i th p r i d e
,
’
O v e r m e n s p i ty ;
Le f t pl ay fo r w o r k and g r appl e d wi th t h e w o r ld
,
B e n t on e sc apin g :
’ ’
What S in t h e s c r oll qu o th h e th ou k e e pe s t fur le d
S h ow me th e i r s hapin g
, ,
,
Lof ty d e si gns mu s t c los e in l ik e e ffe c t s

Lof t ily lyin g ,
Le av e h im— s t ill lof t i e r than t h e w o r ld su s p e c t s ,

0
Li vin g a nd dyin g 14
.
Wh ole librar i e s of t h e re s ults of Ger man res e arc h

patient as t h e Grammar ian s o w n — could no t re fle ct t h e
’
e cs t asy of t h e Renaissanc e th e ma g ic of Golden A g es , ,
Periclean A u g us t an come bac k t o an amaz d rou gh h ew n

, ,
e -
,
Got h ic w orld— could no t repr esen t th a t world s debt to t h e

’
e a r ly m ar t r y s of learnin g t he Sc alige r s Cas au b o n s wh o

, , ,
immola t ed lyric you th g o wned man h ood bald h ydrop tic

, , ,
old age de ad from t h e w aist do wn battlin g wit h th e

, ,
e xpirin g rattle ove r a due s e ttlemen t of t h e enclitic de

a tent h part as inte lli g ibly as t h e h undr ed and fif ty trumpe t
in g lin e s of t his fune ral c h ant
A n idea is al ways some where in eve r yt h in g Br o wn in g
, ,
wrot e . Th e vari e t y of fran kness or th e reve r s e w i th , ,
w h ic h it re veals or diss e mbl e s its e lf is incalculabl e

,
Som e ,
.
’
times as in a Lost Le ade r A b t Vo g ler a Grammar ian s
, , ,
Fu n e r al h e more o r l e ss fully unf olds it Fre quently t h e

, , ,
.
explanation is a t h and a little be lo w t h e surfac e ; j ust

,
’
b e lo w as t h e accumulation to Mart in R e lp h s remorse for
,
h is dasta r dly t r eac h ery t h a t t h e secre t of h is crime— w i th

,
—
its p r ice is safe a torturin g Hell in h is o wn bosom
,
’
Y ou we r e tak e n ab ac k poo r b oy the y u r g e no t im e t o r e gain
, , ,
y our wi t s
’
B e sid e s i t had may b e c os t you lif e Ay the r e i s t h e c ap that .
,
15
fit s ;
j ust b e lo w as t h e co m
, f ort to H oseyn for th e loss of his
i n v incible mar e M u léy k e h th at h e alone h olds t h e clu e
, ,
to h e r last Vi ctory ; t h a t n one but h ims e lf unde rstands

’
h o w pr ide in h e r pe e rlessne ss could leave h e r t h e r obbe r s
rat h er t h an ke e p h e r s h amed
R O B ER T B RO WN I NG 3 23
And t h e y j e e r e d h im o n e and all P oo r Hose yn is c r a z e d pa s t h o pe

’
H ow e lse had h e wr ought h imse lf h is r uin in fo r tun e s s p i te 2 ,
‘
T o hav e sim ply h e ld t h e t on gue we r e a ta sk fo r a b oy o r g i r l ,
And he r e we r e M uléy k e h again t h e e y e d lik e an an te lo pe

, ,
Th e c h ild of h is h e ar t b y day t h e wif e of h is b r e a s t b y ni ght

,
And t h e b e ate n in s pe e d we p t H ose yn Y o u n e ve r hav e lo ve d

’1 5
my P e ar l .
Equally ofte n we ar e l e ft to grop e about for an a n s we r as ,
in Clive 17
. We can but i ma g ine possibilitie s wit h a s e lf
tor me nti n g temperame n t li ke h is He re h e w as aft e r
,
.
,
t hi rty years of g lory br oodin g still wit h a s h udde r on

dis grace whic h m
,
i gh t h ave but h ad not befallen hi min

, ,
obsc u re boyh ood Suc h a n atu r e would find t h e prospe ct

.
of oblivion l e ss intol e r able t h an an old age of eas e and

a t hr on g of t h a t and ot he r a s ran klin g m e mo r ie s I be lieve .
t h at t h e g allop from G he n t to Ai x n e ve r h ad an y specific

his t o r ical fou n dation t h at it is a parable of t h e essen tial
grande ur of h uman e ffo r t h uman sacr ific e wit h out re g ard
, ,
to t h e ob j e ct ; of t h e t r ut h t h a t unspar in g e ndurance is
n e ver w asted t h ou gh t he re b e no g ood n e ws no news at
, , ,
all to b e g ood or bad .
Whe t he r Br o wni n g i n dul ge d o r baulke d t he cur iosity of

his admi r e rs over a puzzle h ad not hi n g to do wit h t heir
conveni e nc e I t de pen ded wholly upon h is o wn A com
. .
e n s at io n is t h at h e re g a r ded t h e m s o little as to h ave no

p
S h yness in t h in ki n g in public H e w ould h ave minde d as
.
little h ad h e known t h at ta kin g t h e sam e libe r ty wit h his

,
w or k t he y p r e sumed to co mple te an unfinis hed pictu r e ;

,
t o ima g ine fo r e xampl e t h e Pi e d Pip e r k indly to t h e

, , ,
c h ildr e n as h e h ad be e n ve n ge ful to t he i r s h ar p -dealin g

e lde rs , playi n g e t e r nal w on de rful music to t h e troop in
,
g ar de ns of Fai r ylan d :
Wh e r e wate r s gu she d an d f r ui t -tr e e s g r e w ,
And fl o we r s p u t fo r th a fai r e r h u e ,
And v y th n g w a s s tr an g e and n e w
e e r i 1 5
.
Y 2
I t is t h e sam e t h rou gh out Br o wnin g w hile h e mi gh t

.
,
be suppos e d to in t end not h in g bu t a son g w as t h in k in g , ,
and often profoundly I n re turn wh en meditatin g h e

.
, ,
still san g I t w ould be idle for me to assert t h at in h is

.
w or k ou t side h is idylls and lyrics m e lody is t h e pri mary

, ,
a t tribute wh ic h a re ader observe s Neit her is it sen timent

. .
Th e e ar does not in Sor dello in P aracelsus g ive by

, , ,
drin ki n g -in t h e music t h e S i gnal for t h e h eart to g lo w

,
.
B u t wh atever h e wrot e w as poetr y None could ever .
mista ke a dozen line s of h is for prose I w ould e ven g o .
s o far as to s ay if a compa r ison h ad to be attemp t ed t h at

, ,
whe n h e is not ma ki n g experiments in metr e or on t h e for ,
bearanc e of h is admir e rs hi s ver s e for ins t anc e in Ch ristmas

, , ,
E v e and Easter Day La Saisiaz or P ar le y i n gs could be

, , ,
s h o wn to be mo r e absolutely dis t in g uis h able r h yt h mically

fr om pr ose t h an I n a Ye ar or Hom e Th ou gh ts from A broad
, ,
and From t h e Se a Ho w various t h e blan k verse is and

.
,
h o w stron g Ho w i t s e ems to h ave sprun g ripe and full , ,
fr om t h e brai n of po wer ! Th e t h ou gh t s t ands out from

it as t h e muscles in a statu e by Mic h el An ge lo Into .
a s e nt e nce it can conde ns e more t h an could b e exp r esse d

in a pa ge of pros e I t can ta k e a sent e nce of prose and
.
,
d r a w from i t a h undredfold t h e m e anin g .
Sin g ular merits ; and as S in g ular defe c t s ; t h e d e fe cts

’
of t h e writer s qualitie s and w it h greatn e ss in bot h Th e .
s e lf co mmun in g in particular wh ic h lie s at t h e basis of

-
,
all hi s w or k h as it s dra w bac k s He would h ave re j oiced

,
.
e sp e cially to S h in e as a d r ama t ist The re t h e h abit of .
dialo gu e u n c e asm g mi gh t h ave been e xpec t ed to be

p e c u
liar ly valuable and t h ere on t h e con tr ary it mars t h e

, ,
e ff e ct o f h is most promisin g ente rp r ises It renders t hem .
full of i n te rest as poe ms it pus hes fatally into t he bac k

’
gr ou n d t h e action w hic h is e ss e ntial to a play s succ e ss .
lar k li ke song s—not th e less h appy for h er ra g s— b y t h e

-
Villa wh ic h h ar bour s squalid adulte r y an d murder w it h ,
remorse as squalid !
No where i n t h e soci e ty of h i s verse is t h e re room for
te dium We fe e l hi s meditations to be better company
.
t h an tal k One wh os e friends h ip I h ave p r iz e d fo r more

.
t h an forty year s as I h ope an d be lie ve h e h as min e lon g

, ,
S ince observed t o me t h at readin g Br own in g is li ke dr am

dr in kin g I t enslaves an d I am willin g to belie ve t h at
it mi gh t scarcely be for t h e g ood e it her of poets or of t he i r
readers t h at man y sources of simila r i n toxicants s h ould be
se t run n i n g Whe t her fortuna t ely or not h o we ver t h e
.
, ,
dan g er of t e mptation at any rat e is remote Suc h a poet .
soul as Bro wnin g s is reare d not often or e asily We may

’
.
’
well apply to h imself h is o wn accou n t of a poet s bi r t h
’
R o c k s t h e son g -soil r ath e r sur fac e har d and b ar e ,
S un and d e w th e i r mildn e ss s to r m and f r os t th e i r r age ,
V ainly b o th e xp e nd — fe w fl ow e r s awake n th e r e ,
Qui e t in i t s c le f t b r oods— what t h e af te r -age

’
Kno w s and nam e s a p in e a n at ion s h e r i tag e ?"
,
Th e Po e tic a l Wo r ks of R o b e r t B r ownin g Si x vols S mith E lde r . .

,
Co . 1 868
,
— ’
B alau st i o n s Ad ve nt u r e 1 87 1 Pr inc e H o h e n st ie l , .
Sc hwan gau 1 87 1 F ifin e at t h e F air 1 872 R e d Cotton Night -c ap

, .
, .
C ountr y 1 873 Th e Inn Al bum 1 875 Ar isto ph an e s Ap ology 1 875

, .
’
, .
,
.
P acc hi ar o t t o & c 1 8 76 , T h e Ag am e mnon of Ae sc h ylu s 1 87 7

.
,
. La ,
.
Sais i az 1 878,
T h e Two P o e ts of C r ois ic 1 8 78
. D r am at ic Idyls 1 879 , .
,
.
D r amatic Idyls S e c ond S e r ie s 1 880 J o c o se r ia 1 883 F e r ish t ah s

, ,
’
.
, .
F anc ie s 1 884 P ar le y ings with Ce r t ain Pe o ple 1 887 Asolando 1 890

,
.
, .
,
.
1
P ar le y in gs with C e r t ain P e o p l e iii With C hr i st o p h e r S m ar t pp , , ,
.
79 — 95 .
9
Th e Two Po e ts of C r oisic Pr e l ud e , .
9
T h e Lost L e ad e r ( D r am at ic L yr ic s ) P o e t Wo r ks , . .
4
S ol ilo qu y of t h e S p anis h Cloiste r i bid st 7 , , . .
5
T h e G u ar di an An ge ls a P i c t u r e at F ano i b id , .
5
P r o s p ic Po e t Wo ks
e ,
. r .
R O B ER T B R O WN I NG 3 27
7
Th e Flowe r s Name s tan z as 3 an d 5 ( G ard e n Fanc i e s D r amatic
’
, ,
L yr ic s ) Po e t Wo r k s
,
. .
9
He r ve R i e l ( P acc h iar o t t o st 1 0 ,
. .
9
Par t in g at M o r nin g ( D r am atic L yr ic s ) Po e t Wo r ks , . .
1 5
E ve l yn Ho p e st 7 ( D r am atic Lyr ic s ) i bid
, .
, .
11
By t h e F ir e sid e st 3 9 ( D r am atic L yr ic s ) i b id
, .
, .
19
I bid s t 25 ( D r amatic Lyr ic s ) i bid
Ab t Vogle r (Af te r h e h as b e e n playin g u pon t h e Instr um
. . .
, ,
e nt of h is
19
In ve ntion ) stan z as 7 8 an d 1 2 ( D r amat is Pe r son ae ) Po e t Wor ks

, , , , . .
14
A G r ammar i an s F une r al S hor tly afte r t h e R e vival of L e ar nin g
’
,
i n E u r o p e ( D r am ati c R om an c e s ) P o e t Wo r ks , . .
15
Mar tin R e lph ( Dr amatic Idyls ,
15
M uléy k e h ( D r amatic Idyls S e c ond S e r i e s , ,
17
Oli ve
19
Th e P i e d Pi p e r of Hame lin st 1 3 ( D r am atic R omanc e s ) P o e t
,
.
, .
Wor ks .
1 9
D e G ust ib u s st 2 ( D r am atic L yr ic s ) P o e t Wo r k s
, .
, . .
95
D r amatic Id yls Se c ond S e r ie s E p ilogu e
, , .
A L F R E D T EN N Y S O N
1 809 — 1 89 2
TH E po e ts — not only t h e g r eat but all t h e true— h o w

,
e ac h stands alone Searc h t h e wh ole Cale ndar of I n spira

tion no pair will be foun d for him wit h wh om t he re gi ster
for t h e nineteent h c e n t ury closes ; no real fe llo w for
A lfr e d Te nn yson ! Th e c h ar acter of h is ge nius was so
une xpecte d t h at t h e ge neral public too k lon g to appre ciat e
it Th e de lay w as a tribu te to its ori ginality T o a fe w
. .
e lec t it w as c e rtain and h eave n ly I e nvy t hei r j oyous and

.
su r pris e d reco gnition Mi gh ty Words wort h in t he opini on

.
,
of a yo un g e r g e neration h ad d e clined to prosin g h o weve r

, ,
wis e ly He lle n ic Landor rave d Ro g ers w as ant e di luvian

. .
and poor Lei gh Hunt h ad neve r counted The g iants of t h e .
past we r e bu r ied in t h eir past whe n a c h an t as e xquisit e

,
as t h e i r s and a t le ast as ne w an d stran ge rose into t h e

, ,
dead air T o a brilliant yout hf ul brot he rh ood it must

.
,
h ave been as wh en Chr is t abel or C h ilde Har old soar e d

above t h e sta gnant mists h alf a century ear lier .
T h e i n itiate d were enraptured w it h all Th e present

.
g enera t ion discri min a tes T o a certain e xtent it h as lost

.
touc h wit h muc h of t h e p hi losop h y of Th e Two Voices ,
The Palac e of A rt Th e Vision of Sin I t h as out gro wn t h e

,
.
g ladn e ss t h e s we et limpid sorro w of t h e May Qu e e n and

, ,
’
its sequels t h e Early Vic t orian e l e g anc e of t h e Miller s
,
’
and Gar de n er s Dau gh t e rs e ven Loc ksl e y Hall t h e Fir st ,
w it h its play of panoramic h eart -flut t e r in gs Th ou gh .
s ca r c e ly one disca r d e d favou ri t e but h as li n e s word to ,

s
,
And th e wav e -w o r n h o r ns of t h e e c h oin g b an k ,
And t h e s il v e r y m ar is h -
flo w e r s that th r on g
Th e d e sol ate c r e e k s and p ools a mon g ,
W e r e fl ood e d o ve r w i th e ddyin g son g ?

The land of t h e Lo t os -eat e rs bas k s still in abidin g mello w
aft e rnoon s uns h ine
H o w s we e t i t we r e h e ar in g t h e do wn war d s tr e am
, ,
W i th half -s hut e y e s e ve r t o s e e m
‘
Fallin g a sle e p in a half -d r e am

T o d r e am and d r e am like yond e r am b e r light
, ,
Wh i c h will no t l e av e t h e my r r h -b u s h on t h e h e i ght
’ ’
T o h e ar e ac h o th e r s w h isp e r d s p e e c h
E at in g t h e Lo t os day b y d ay ,
T o watc h t h e c r ispin g r i ppl e s on t h e b e ac h ,
And te nd e r c u r vin g lin e s of c r e amy s pr ay

T o l e nd o u r h e ar t s and s pi r i t s wh olly
T o t h e in flue n c e of mild -mind e d me lan c h oly ;
T o mu se and b r ood and li v e again in m e mo r y ,
W i th th ose old f ac e s of o u r infan c y

’
H e ap d o v e r wi th a mo und of g r a ss ,
Tw o handfuls of wh i te du s t S hut in an u r n of b r a ss
,
5
We h ave not ceased to w ande r around t h e sp e ll -bound

— —
S leepin g palac e spe ll bo u nd ours e lve s and its g ardens
-
Whe r e r e st s t h e s ap wi thin t h e l e af ,
Wh e r e s tays t h e b lood alon g t h e ve ins .
’
Fain t s hado w s vap our s li ghtly c u r l d
,
Fain t mur mur s f r om t h e m e adow s c om e

Li k e hin t s and e c h o e s of t h e w o r ld
T o s p i r i t s fold e d in t h e w om b
w aitin gtill t h e fair y prince h as kiss e d bac k to life hi s
destined bride
’
And o e r t h e h ills and far away
,
B e yond th e i r utmos t pur p l e r im ,
B e y ond t h e n i ght ac r oss t h e d ay

, ,
’ ’
Th r o all t h e w o r ld sh e fo llo w d him 4
.
A LFRED T ENN Y SON 33 1
The ancien t wood h as not los t fo r us it s company of stori e d

w omen I
A d aughte r of t h e g ods di vin e ly tall , ,
And mos t di vin e ly fai r

for wh ose be auty man y dre w s wo r ds and di e d
A Que e n w i th swar thy c h e e k s and b old blac k e y e s ,
B r o w -b ound wi th bu r nin g g old

’
w h o by Mark A nto n y s side s at as g od by g od murde r e d
I p hi ge nia and Rosa mond
,
wh om m ,
e n call fai r the
li gh t of ancient France and h er wh o to a cr y of indi gnant ,
’
pity for t he victim of t h e Gile adit e s wi ld oat h ,
’
ren der answe r hi gh
d
N o t s o n o r on c e alon e
,
a th ou sand tim e s
I w ould b e b o r n and di e .
My God my l and my f ath e r — th e s e did mo v e

, ,
M e f r om my b liss of life that N atu r e gav e

, ,
’
Lo w e r d sof tly w i th a th r e e fold c o r d of lo v e
D o wn t o a sile n t g r av e .
It c o m fo r t s me in th is o n e th ought t o d we ll
That I sub due d me t o my fathe r s will
,
’
B e cau s e t h e kiss h e g ave me e r e I f e ll , ,
S we e te ns t h e s pi r i t s till .
Mo r e o v e r i t is wr i tte n that my r ac e
’
H e w d A mmon hi p and th i gh f r om A r o e r
, ,
’
On Ar non un til M in n e t h H e r e h e r fac e
.
’
Glow d a s I look e d at h e r
,
.
’
li p s sh e l e f t me wh e r e I st ood
Sh e lo c k d h e r
’
Glo r y t o God sh e s an g and pa st af ar
, , ,
Thr iddin g t h e somb r e b oskag e of t h e w ood ,
T owar ds t h e mo r nin g s tar .
Losin g h e r c ar ol I st ood pe nsiv e ly

A s o n e that f r o ma c ase m e n t l e ans h is h e ad
,
Whe n midni ght b e lls c e ase r in g in g sudd e nly ,
And t h e old y e ar is d e ad 5
.
’
Tennyson s ima g ination found i t s t hem e s any wh ere and
everywhere Sometimes h is t ory supplied t h em as in
.
,
t h e Dream of Fair W omen ; some t imes l e g e nd and tr adi

tion Scenes incide n ts me n and wome n touc h ed by h im
.
, , , ,
h ave become h is and real because h is We se e th em as h e

,
.
s aw t h em and almos t for g e t t h at t h e y h ave h ad ot h er and

,
e arli e r o wners Thr ou gh h im and for h im t h e Lady of

.
, ,
Sh alo t t is an actual b e in g wh o wi stfully impatient fearful

, , ,
of sh e kno w s not wh at ,
still in h e r we b d e li ght s
’
T o we av e t h e mi r r o r s mag i c si ght s ,
’
F o r of t e n th r o t h e sil e n t ni ght s
A fun e r al wi th plu m e s and li ght s
,
And mu si c we n t t o Came lo t ,
?
I t is in h is voice t h at pure Sir Gala h ad te lls h o w

S om e tim e s on lon e ly moun tain -m e r e s
I find a m agi c b ar k
I l e ap on b oar d no h e lmsman ste e r s
I fl o at t ill all is dar k .
A ge n tl e sound an awf ul li ght ,
Thr e e an g e ls b e ar t h e H oly G r ail

W i th folde d f e e t in s tole s of whi te , ,
On sle e p in g win g s the y sail .
Ah b l e sse d v ision b lood of God

,
My s pir i t b e a t s h e r mo rt al b ar s ,
A s do wn dar k t ide s t h e glo r y slid e s ,
And s tar lik e min g le s wi th t h e s tar s 7
In a k in dr ed ecstasy t h e cloistered maiden of h is inspir e d

,
’ ’
crea t ion keeps h e r vi gil be side eve n Keats s on St A gn es
, ,
.
E ve . Th e Lamb
lif t s me t o t h e g old e n doo r s
‘
Th e fla sh e s c om e and g o
All h e av e n bu r st s h e r s tar r y fl oo r s ,
And s tr o w s h e r li ght s b e lo w ,
And d e e p e ns on and u p t h e gate s

R oll b ac k and far wi th in ,
difficul t to s u ppose t h at e ve n h e himself can h ave laboured

upon t h em Eac h pie ce seems to h ave floated impulsive ly
.
for t h in t h e S h ap e it k eeps fo r us alt h ou gh w e kno w th a t

,
in fact e ver y o n e h as be e n labo r iously filed and burnis h ed .
Wh e n a theme is manife stly of a na t ure to demand a

seve re exp e ndi t u r e of t h ou gh t y e t a t h is touc h i t s e e ms
,
unabl e to r esist bu r stin g sudde nly i n t o m e lody and simpl e

s w eetness . A g ainst t h e couns e ls of de spair in Th e Two
Voices b ur s t s t h e p r o t est
’
Th o I s h ould d ie I kno w ,
That all ab out t h e th o r n will b lo w

’1 1
I n tuf t s of r osy t in te d sno w
-
Over a g ainst the lu r id pomp of Th e Palac e of Ar t rises

’
An E n glis h h ome — g r ay twili ght p o u r d
On d e wy p as tur e s d e wy tr e e s
, ,
S of te r th an sl e e p— all th in g s in o r d e r st o r e d ,
A haun t of an c i e n t P e ac e
Or t h e m aid -mo th e r b y a C r u c ifi x ,
I n t r ac t s of pa stu r e sunny -war m ,
B e n e ath b r an c h -w o r k of c ostly s ar dony x ,
S i t s smilin g b ab e in ar m
,
”
.
From beyond t h e sar donic h a r s hness of Th e Vision of Sin

a divine g lo r y be comes visible
Eve r y mo r nin g far wi th d r awn ,
B e y ond t h e dar kn e ss and t h e c atar ac t ,
God mad e h imse lf an awf ul r ose of dawn 13

.
Oft e n t h e r e is no text no motive, ,

e xcep t an irr ep r essible
impulse to sin g
B r e ak b r e ak b r e ak
, , ,
O n th y c old g r ay s ton e s 0 Se a ,
And I w ould that m y t on gue c ould utte r

T h e th ought s th at ar ise in m e .
A LFRED T ENN Y SON 335
0 we ll fo r t h e fish e r man s b oy
’
,
That h e sh out s wi th h is sis te r at play

0 we ll fo r t h e sailo r lad ,
That h e sin g s in hi s b oat on t h e b ay

And t h e s tate ly s hi p s g o on
T o the i r hav e n u nd e r t h e h ill
’
But 0 fo r t h e to uc h of a v an ish d hand ,
And t h e sound of a v oi c e that is s till

B r e ak b r e ak b r e ak
, , ,
At t h e foo t of thy c r ag s 0 Se a ,
B ut t h e te nd e r g r ac e of a d ay that is d e ad
W ill n e v e r c om e b ac k t o me 14
.
’
Tennyson h ad done a life s work by t h e time h e w as
t hirty . For an ot he r h alf -c e n tury h e wen t on w r itin g .
Scarcely did h e c e ase sin g in g before in extr eme a g e h e

ceased to bre athe He even continued to exercis e as in
.
,
t h e t wo Nort hern Farm e r s t h e gift of h umo ur wh ic h h e

, ,
h ad ear ly manifest e d in t he g ay Monolo g ue of t h e Coc k ,
an d more g r imly in St Si m
’
, ,
eon s t hi rstily mee k acceptance
.
of blasp hemo us idolatry I t is dan gerous t o oppose a c r itic

.
of t he in t ui t ion of Old Fi t z wh o de precat e d h is colle g e

’
fr ie nd s p e rsist e nt poetic di li gence I must h owever .
, ,
disa gre e I f t h e later ser io us poems miss t he de licat e

.
f r a grance t he re al or appare nt spontane ity t h e audacity

, , ,
of t he ir yout hful prede cessors t he w ant is no sufficie n t,
gro un d for impati e nce at t h e continuanc e on t h e sta g e of

t h e doer of g r e at t h i n g s in t h e past Had t h e subs e quent.
volume s by t h e c r e a t or of Oenone and Th e D r eam be e n

failu res all I s h ould not myself h ave ve ntu r e d to quarrel
,
wi t h him for purs ui n g h is vocatio n any mo r e t h an w it h

’
a last seaso n s blac kbi r d for w a r blin g as soon as h e fe els
t h e Spri n g in h is t hroat B u t in trut h lite r ature w ould
.
i t s e lf h ave suffe r ed a g r ie vous loss h ad Te n n yson rested o n

his g at he r e d lau r e ls F o r t h e Plays alon e I say not h i n g
. .
Diversions I w ill h ope to the wr iter t h e y h ad no business
, , ,
to survive h im Le t t hem be decently buried no t in hi s

.
—
g rave ; t h ou gh some lat e viol e t s may bloom e ven from
t he ir unmonumen t al mo u n ds .
Els e wh e re w e s h ould h ave los t wealt h of fancy h ad h e

b e e n fri ght ened livin g into sil e nce by th e S hadow of h is
, ,
o wn fame He w ould never h ave sun g in the Garden a t

.
S wainston
N i ghtin gale s war b le d wi th out ,
W i thi n wa s we e p in g fo r the e
S hado w s of thr e e d e ad me n
Walk d in t h e walk s w i th me
’
S hado w s of thr e e d e ad me n and th ou wa s t o n e of t h e th r e e

,
Nigh t in gale s san g in hi s w oods :

T h e Ma s te r wa s far away :
N i ght in gale s war b l e d and san g
Of a passion that las t s b ut a day ’
S till in t h e h o u se in h is c offin t h e P r in c e of c o u r te sy lay .
Tw o d e ad me n hav e I kno wn
I n c ourt e sy li k e t o the e
Tw o d e ad me n h av e I lo v e d
W i th a lo v e that e ve r will b e
Thr e e d e ad me n have I lo ve d and th o u ar t la st of th e th r e e .
15
H e w o ul d no t h ave wrou ght th a t i n comparabl e conc e it ,
Th e Princess o r been te mpted t o inlay it w it h u ndyi n g

,
ly r ics We s h ould h ave b e e n o r p h an e d of t h e music in

'
O har k O h e ar h o w thi n and c le ar

, ,
And thi nn e r c le ar e r f ar the r g oin g

, ,
0 swe e t an d far f r om c li ff and se ar

T h e h o r ns of E lfl an d f ain tly b lo win g
B low le t u s h e ar t h e pur pl e gle ns r e plyin g :
,
B lo w b ugle answe r e c h o e s dyin g dyin g dyi n g

, , , , ,
an d
H om e th e y b r ought her war r io r d e ad
{13 8 F I VE CEN T UR I ES OF ENG LI SH VERSE
Sometimes I h ave myself f e lt incline d to condemn t h e
I dylls of t h e Kin g for unr e ality an d prolixity ; as if o n e
h ad a ri gh t to require t ales of c h ivalr y to b e r ational terse , ,
s e ntentious pit h y
,
Whe n in a j uster mood I admit t h at ,
h e m ust be a fortunat e studen t of romance wh o is con

ver sant wit h any more fascinatin g t h an Geraint and Enid ,
Launcelot and Elaine t h e Las t T o urnament for all t he i r

, ,
diffus e ness ; wi th au ght more di vine t h an Gui neve r e

wh er e Tennyson fou n d a t len g t h a worth y matc h for t h e
e ls e peerless creature of h is you th ful ima g inin g s kin gly ,
’
Morte d Ar t h ur .
Wh at streamle t a g ain in a de ll of Pa r nassus ever

, ,
lau gh ed more g aily t h an t h e Broo k e scaped from its ,
e ncumberin g frame 9 W h ere is t h ere a mor e h appily

i nsp ired Proth alam i on th an t h e Welcome to A lexandra ,
B r ide of t h e h e i r of t h e k in g s of th e se a
19
Where a ba t tle -son g t o bea t th e C h arg e of t h e Six Hundred

I n to the vall e y of D e ath 99
Wh ere a more t r iump h ant f uneral h ymn t h an t h at on t h e

—
Grea t D uk e wi th t h e grand brea k t h e cry of t h e mi gh ty
,
Seaman from h is t omb

’
Wh o is h e that c om e th li k e an h o n o u r d gue st
, ,
W i th b ann e r and wi th mu si c wi th soldi e r an d wi th pr i e st

, ,
W i th a n ation we e p in g and b r e akin g on my r e st

,
91
’
I f impati e n ce b e felt at t h e resuscita tion on t h e gr ave s ,
br ink of Loc ks le y Hall let it be remembe r e d th at t hre e

, ,
ye ar s lat e r t h e w orn brain de monstrated its Vi ctory ove r

a g e in Crossin g t h e B ar
Lon g indeed before t h at ye t many years aft e r F it z Ge r ald
,
w o uld h ave silenced hi s fr iend t h e sin ge r h ad tr ied t ri u m

,
p h an t ly a ne w strain I w ell
. recollect t h e d e pt h of t h e
impr ession pr oduced by t h e appearan ce of I n Memo r iam .

A LFRED T ENN Y S ON 339
No fin er tribute it was ac k no wl e d ge d h ad e ver be e n o ffe r e d

, ,
to t h e dead e ven by M ilt on o r by S helle y Hi gh as alre ady

, ,
.
’
w as Tennyson s ran k amon g po e ts t here h ad be en doub te rs
,
still I n Memo r i am silenc e d t hem It h as never relaxe d

. .
its h old on pop ular sympat h y Li ke h is illust r ious pre

.
d e c e sso r s Intimations of I mmo r tality it w as fe lt —

’
an d ,
wit h a mo r e attac hin g me lody— to combine I nqui r y an d

Po e t r y to b e of t h e rare class of verse wh ere
,
All t h e b r e e z e of Fan c y b lo w s ,
And e ve r y th ought b r e ak s out a r ose 92

.
Lines in it h ave become part of ours e lve s . For many

it is a manual of Fait h
What am I
An infan t c r yin g in t h e ni ght
An i n fan t c r yi n g fo r t h e li ght
And wi th no l an gu ag e but a c r y .
I f alte r wh e r e I fi r mly tr od ,
And f alli n g wi th my we i ght of c ar e s

’
U p on t h e gr e at wo r ld s altar -s tai r s
’
Th at slo p e th r o dar kn e ss u p t o God ,
I s tr e tc h la me hands of fai th and g r o pe , ,
And gath e r du s t and c haff and c all ,
T o what I f e e l is Lo r d of all ,
And f in tly tr u s t t h e lar g e r h o pe

a
23
.
For as many it is evi dence for t h e Communion of Soul s

’
Whe n su mme r s h our ly -me llo win g c han ge
May b r e ath e wi th many r ose s swe e t
, ,
U p on t h e th ou sand wav e s of wh e at ,
That r i ppl e r ou nd t h e lon e ly g r an g e

C ome no t in watc he s of t h e ni ght ,
But whe r e t h e sun b e a m b r o o d e t h war m ,
C om e b e aute o us in th in e af te r fo r m
, ,
And like a fin e r li ght in li ght .
Y 2
I s hall no t se e th e e D ar e I s ay
.
N o spi r i t e v e r b r ak e t h e b and
That stays h im f r om t h e n at i ve l and ,
’
Wh e r e fi r s t h e walk d wh e n c l as pt in c lay
N o v isual s h ad e of som e o n e lost ,
But h e t h e Spi r i t h imse lf m ay c om e

, ,
Wh e r e all t h e n e r v e of s e nse is nu m b
Sp i r i t t o Sp i r i t G h os t t o G h os t
, .
O th e r e fo r e f r om thy si ghtl e ss r an g e
W i th g ods in un c on j e c tu r e d b liss ,
O f r om t h e distan c e of t h e ab y ss
,
Of t e nf old -c om pli c at e d c h an g e ,
D e sc e nd and t ou c h a nd e n te r ; h e ar
, ,
Th e w is h t oo s t r on g fo r w o r ds t o n am e
That in th is bli ndn e ss of t h e f r am e
My gh os t m ay f e e l that thin e i s n e ar ?4
Nat ur e h ad endo wed T ennyson wi th certain qualities

wh ic h defied th e tenden cy of ye ars to paralyse o r dull ,
.
H is e ar prese r ved its almost i n imitabl e re fin e m e nt and ,
instinct of h a r mo n y His h ea r t k ept fir e to k indle Th e

.
Reve n g e an d Th e Victim Br ain and it mai n tain e d t h e i r

,
.
allian ce I n eve r y line h e still pai n ted a pic ture H e

. .
n e ver desc r ibed wit h out h avin g made h imself se e t h e

’
scene and h e ma k es t h e re ade r se e it t hr ou gh h is mind s
e ye. Wit h t h es e inestimable g ifts was con j oine d in an ,
incr easi n g rat her t h an a dimin is h in g de gree by e xper ie nce , ,
a j udg e m e nt whi c h w ait e d befo r e int e r ven in g for inspir a

, ,
tion to play it s p r imar y part Finally bor n of unfailin g.

,
—
self respec t firs t an d d u e re g ard fo r h is public nex t t h ere
, ,
’
w as g e nius s i n fin ite capacity for ta kin g trouble Wh at .
a stern D r aconian c r i tic h e w as of h is o wn w ork is man i

, ,
f e st fr om a g lanc e in t h e Life at t h e pieces h e laid aside .
Think of t h e exube r an c e of fancy wh ic h could a ff ord to

appended He co uld not pass a cont e mporary proble m by

.
wi th out adven t u r in g an ans wer More t h an one coeval at .
h ome and across t h e A tlan t ic h ad as I h ave s h o wn th e

, , , ,
sam e c r avin g His special advant a ge w as t h e possession

.
,
o ver and above g ifts h e s h ar ed w it h ot h e rs of th e secret ,
of i r resistibl e melody Wh en once th e stran g eness of his

.
met h od w as su r moun te d th at acted li ke a spell u pon

,
Anglo -Saxon i n telli ge nce Lon g before t h e end h e h ad

.
steeped t h e realm of En g lis h ve rse in an a t mosp he re all

h is o wn Excep t from wit h in one t en t in t h e wilderness
.
,
no lyr e sounde d wh ic h h ad not be en t un ed or re t un ed in

u n ison wit h h is Unde r t h e stre ss of th e u nc h alle n ge d
.
absolute ness of h is ultimate supremacy an effort is n e e de d ,
to re call t h at h e h ad t o fight fo r h is t h rone t h a t h e h imself

h ad often despaired complaini n g th at ,
On c e in a g old e n h ou r
I c a st t o e ar th a s e e d .
Up th e r e c am e a fl owe r ,
Th e p e o pl e said a w e e d ?7
,
Have I ove r prais e d ? I do not me an in vi e w of t h e ,
very possible h in t th at I ou gh t fir st to h ave conside r e d

wh at my eulo g ies w ere w ort h T o t h at taunt I kn o w .
I h ave been e xposin g myself th rou gh out my seve nty t w o -
comments B ut wit h out re g ard to my title t o an opinion

.
,
at all is th e pan e g yric h ere out of j ust p r oportion t o t h e

,
claims of ot h er poets 9 A t any rat e I h ave neve r conceal e d

’
f r om myself my t h eme s de fici e nci e s I perceive th at t h e .
liquid s wee tn ess is t oo invariabl e Th e ear pin e s for a lit tl e.
h ars hness a sens e of op e n air fo r an occasional un in t e n

,
t io n ally bro k en -bac k ed line Th e me lliflu o u s style tempts

.
to ver boseness particular ly in t h e I dylls in t h e rest as

, ,
well as t h ose of Th e Ki n g wh e re inde e d it is more e x c u s

, , ,
abl e A t times i t laboriously e mbalms a fly in ambe r To o

. .
A LFRED T ENN Y SON 343
many knotty qu e stions ar e li gh tly p r opounde d The re is .
a propensity to mista ke S it tin g upon t h e puzzles of e xis tenc e

for t h e i r investi g a t ion if not for t h e ir settl e men t Not
,
.
rarely t h e ar t by wh ic h Gray in th e Ele gy produced

t h e e ff ect of entire simplicity fail s T enn yson Th ou gh .
ve r y s e ldom e ve n h is tas te is no w and t h en a t fault

,
.
I n br ief hi s t heolo g y mor al p hilosop h y scie nc e and

, , , ,
s ki ll in t h e construction of a plot are t h ose of a poet , ,
not of a B is h op B utler a D ar win or a Wilkie Collins

,
‘
, .
He si n g s dar klin g not soarin g Th ere is t h e fe mini ne

,
.
note in h is music He is not q ui te th e ma g ician or

.
pr oph et some of hi s disciples pr oclaimed h i m Scrutinized .
clos e ly his ar t b e trays fl a w s wh ic h t h e delicate fin i s h

h ad cove red— and his Muse is t h e mo r e ado r able for
the m
‘
all
Wit hin its proper bo unda r ies h is sover ei gn t y is in no

h ostile rivalry w it h th at of his re i gnin g predecessors On .
th e con trary loyal admirers may fr eely admi t t h at t h e

,
anci e nt ent hr onement s were a con di tion of h is Wi th ou t .
Ch aucer Spenser Milton Words wort h and Coler id ge

, , , ,
S he ll e y and Keats wit h ou t Dryden and Pope too Co wper

, , ,
and Byr on h e w o uld no t h ave b e en th at h e w as From

,
.
t h e m all h e l e a r n t t o c h oose t h e g ood and as profit ably , , ,
to refuse th e e vil His poe tic soul coul d i t s e l e ment s be

.
,
analysed would render g lad account of t h e boun t iful

,
proportion of t h eir essence it o wes to its forerunners Y e t .
h e re mains h ims e lf a distinct and gr acious be in g Th e .
lyrics in Th e Princess and in Maud wit h all t h eir Eliza : ,
bet h an daintiness ar e as s e lf -eviden tly h i s in th eir fire and

,
’
fe e ling as ar e th e wi t and wi sdom of his Nort he rn Farmers
prove r bial phi losop h y I t w as as I h ave alre ady intima te d
.
, ,
a glory an d a ble ssin g for t h e nine te ent h cen t ury t h at j ust ,
whe n t h e p e al of inspir ation wh ic h s truc k up at its ope n in g ,

3 44 F I VE CEN TU R I ES OF ENG LI SH VERSE
m
see e d to h ave ru n g all conceivable c h an g es of poe tic
th o ught and feelin g h e aros e t o demons t ra te t h at g iven , ,
th e man th e possi b le var ia tions h ad in no wi se been

,
ex h aus ted .
S o may i t b e —so w ill i t b e — in th e fu t ure as in t h e past ,
t h ou gh h ad t h e sun of g reat Br i t is h sin g ers ac tu ally been

,
e xtin gu is h ed wi th A lfred Te nnyson it s se t tin g w ould no t ,
h ave dis h ono ured i t s da wn
Th e Wo r ks of Alfr e d Lor d Te nn yson Poe t L aur e ate C olle cte d

Edition M ac m
.
, ,
, illan 1 884 Also Wo r ks S ix vols H S , 1 877 .

, : . . .
1
R e c olle c tions of t h e Ar ab ian N ights st 1 , . .
9
Th e D y in g Swan .
9
Th e Lot os -E ate r s C ho r i c S on g s t 5 , , . .
4
Th e S l e e p in g P alac e s t 1 an d T h e D e p ar t u r e , .
, .
A D r e am of F air Wome n s tan z as 22 3 2 51 —62

‘
5
.
, , ,
5
T h e L ad y of Sh alo t t Par t 1 1 st 4 , , . .
7
Sir G al ah ad st 4 ,
. .
’
9
S t Agn es E v e st 3
.
,
.
9
O e none .
1 5
M ar ian a in t h e S o u th st 1 ,
. .
11
T h e Tw o V oic e s stan z as 20 24 , , .
19
T h e P alac e of Ar t s t an z as 22 24 , , .
19
Th e V ision of S in s t 3 , . .
14
B r e ak b r e ak br e ak , , .
1 5
In t h e G ar de n at Swain s ton .
1 5
Th e P r inc e ss A M e dle y 6 S on g Pr e lud e t o Bk I V st 2 ; an d
: , .
, . .
S on g Pr e lude t o B k V I stan z as 1 4
, .
, , .
1 7
I b id 4 v v 21 —5 .
, , . .
1 9
M au d : A M onodr ama V stanz as 1 an d 3 .
, .
1 9
A We lc ome t o Ale x andr a .
9 °
Th e C h ar ge of t h e Light B r ig ad e .
91
Od e o n t h e D e ath of t h e D uke of We llingt on s t 6 , . .
In M e mor iam 1 22 st 5
99
, , . .
I b id 54 st 5 an d 55 stanz as 4—5
99
.
, , .
, , .
I b id 9 1 st anz as 1 -4 an d 9 3 stan z as 1 -4
94
.
, , , , .
Life of Lor d Te n n yson by hi s S on vol i pp 1 24—5

95
, .
, . .
T h e P o e t st 1 4
95
, . .
T h e F lowe r ( Th e Pr in c e ss an d O th e r P o e ms )
97
.
kno w a t its birt h moved per h aps transformed t he aut h or

, , , , .
We fe el th at for t h e moment it h as transforme d u s No

, , .
c r e de ntials are w ant e d no illus tr ious name Suddenly t h e

, .
w ords catc h fir e an d o ur souls wit h t he m

, .
Th e sense of mas te r y of transport of a k ind of ma g ic

, , ,
is always th e same Th e occasion t he circ u mstan ces t h e

.
, ,
pat e rnity and a ffinitie s of t h e visi t ant wh e n we try t o ,

’
account for its p r e sence diffe r as w ide ly as Spenser s ,
’ ’ ’
inspiration from P ope s or Wor ds w orth s from B yron s,
.
Sometimes t h e poet h ad constan tly been wit h in t h e

au th or of suc h ve rs e but asl e ep t orpid A s h oc k h ad
, ,
.
a wa kened hi m it sp e nt its fo r ce and h e san k bac k into

let h ar g y or repose Sometimes t h e piece represen t s th e
.
sprin g tide of mode s t po wers a spasm of concentra t ion of

-
,
’
t he ir essence unintelli g ible t o t h e ir o wner Th e wri ter s
,
.
dominan t impuls e may h ave been ot h er alto g et h er t h an

t h a t of fancy I t may h ave been w or ldly ambition
.
,
indi gnation at tyra n ny or c r u elty wonde r love t h e , , ,
e n th usiasm of piety A l e ver h as be e n sou gh t to a e com

.
p l ish t h e cra vi n g of t h e rulin g passion and for t h e i n st r u ,
’
ment verse h as been requisitio n ed Pure imagi n ation s .
rival rh et oric itself will ever an d an o n fo r c e open in its

'
, ,
flood a sp r in g of pat h os raptur e Strai gh t w ay w e feel

,
.
o ur selves rapt from c h ill admiration in to g lo w in g sym

pat h y Som e times it is all an accident
. A vi sion a .
,
gh ost h as stumbl e d upon a stran ge r lodged in th e h a unted

,
room Som e ti mes it simply is t h at insp iration h as been

.
w an derin g after it s mann er in s e arc h of a h ome Loo ki n g .
about for re s t to t h e soles of it s fe e t it h as ta k en refu ge ,
w i th no bett e r t h an a v e r sifie r .
Poetry fr om t h e t ime of its Elizabe th an revival for som e

,
t hree quar t e r s of a centu r y onw ards w as in t he B ritis h air

-
,
.
A la r ge r life h ad op e n e d fo r o u r islan de r s freedo mof so u l , ,

UNC LA SSED 3 47
new ambitio n s an e xpanse of art l e arn in g luxury Th ey

, , , .
h ad gro wn into lo r ds to g ove r n a lar ge r wo r ld A lan gu a ge .
fo r suc h a period w as w antin g and many s carcely comp r e ,
h e n di n g t h e c h a n g e in th eir u t t er ance fo und t he m selve s ,
poets Th ey san g because t h ey could not help it an d were

.
,
inclined t o b e as h amed of t h e impuls e I t seldom occ ur re d.
t o th em to claim property in t h e i r s tr ains Ne ver t h ou gh.

,
t he y mi ght court popular favour fr om t h e s t a g e did it ,
ent e r t h eir mi nds to adopt minstrelsy as t h e ir vocatio n .
I n suc h a period one wh o h ad h e c h os e n t o abandon

,
ot he r pursui t s could conc e ivably h ave qualifie d for fu t ure

,
g ener ations as a po e t pr ofe ssed mi ght write Occasional

, ,
Ve rs e comparable wit h t h a t by re co gni zed mas te r s of

t h e c r aft Th e Li e common ly th ou gh no t un iversally
.
, , ,
attributed t o Ral e gh is a succession of li ghtn i n g fl as h es

,
S ay t o t h e Co u r t i t glo w s
,
And s hi n e s like r o tte n w ood

Say t o t h e C hu r c h i t s h o w s
,
’
What S g ood and do th no g ood
,
I f C hur c h and C our t r e ply ,
Th e n g i ve th e m b o th t h e lie 1
.
No cont e mporary e ulo g y on Sidn ey surpasses h is epitap h

What h ath h e lost that suc h g r e at g r ac e hath won
Y o un g y e ar s fo r e ndl e ss y e ar s and h o p e un sur e
,
’
Of fo r tun e s g if ts fo r we al th that s t ill shall dur e
O h appy r ac e wi th so g r e at p r aise s r un !
,
2
H i s sonne t ,
M e th ought I s aw t h e g r av e wh e r e L au r a lay ,
w or t h ily in tr oduced t h e Faer i e Queene His appeal in t h e .
Pil gr ima g e fr om his per sec u to r s to He ave n is i n spire d if ,
e ve r ve rse w as
’
Blood mu s t b e my b od y s balm e r
N o o the r balm will the r e b e g i ve n
Whilst my soul lik e quie t palm e r
, ,
T r av e ll e th t o war ds t h e land of h e ave n

O ve r t h e si lv e r moun tains ,
Whe r e s pr in g t h e n e ctar foun tains

Th e r e will I k iss
Th e b o wl of b liss
And d r in k min e e v e r last in g fill
U p on e v e r y milke n hill .
The n b y that happy b lissful d ay ,
Mo r e p e ac e ful pil g r ims I s hall se e ,
That hav e c as t o ff th e i r r ag s of c lay ,
And walk appar e lle d f r e s h li k e me

’
I ll tak e th e m fi r s t
T o que n c h th e i r th i r s t
At th os e c l e ar w e lls
Wh e r e s we e t n e ss d we lls.
’
F r om the n c e t o h e ave n s b r i b e le ss hal l
Wh e r e no c o r r u p te d v oi c e s b r awl
N o c ons c ie n c e mol te n in t o g old ,
N o fo r ge d accu s e r b ought o r sold ,
N o c au se d e f e r r e d no vain -s pe n t j ou r n e y
, ,
’
F o r th e r e C h r is t is t h e k in g s Att o r n e y ,
Wh o pl e ads fo r all wi th out d e g r e e s ,
And H e hath an g e ls b u t no f e e s
,
.
And wh e n t h e g r and twe lv e -million j ur y

Of o u r sins wi th di r e ful fur y
, ,
Agains t o u r souls b lac k v e r di c t s g ive ,
C hr is t pl e ads h is d e ath and th e n we li ve

,
?
For s we e t co urtlin ess if no t for as tr onomical accuracy

, ,
almos t as muc h mi gh t b e said of Wo tt o n s address to t h e’
h ap less Wint e r Queen

Y o u m e an e r b e aut i e s of t h e ni ght ,
That p oo r ly s at isfy o u r e y e s
Mo r e b y your nu mb e r than you r li ght ,
Y o u c ommon p e o pl e of t h e s ki e s ;
What ar e you wh e n t h e moon s hall r is e
Y ou vi ole t s that fi r s t appe ar ,
B y your pur e pur ple m an tle s kno wn

Li k e t h e pr ou d V i r g ins of t h e y e ar ,
A s if t h e s p r in g w e r e all y ou r o wn
Wh at ar e o u wh e n t h e r os e is blo w n
’
Ye t wh il s t w i th so r r o w he r e we li ve o pp r e st ,
What life is b e s t 2 ‘
C our t s ar e b ut only su pe r fi c ia l s c h ools

T o dandle fools :
’
Th e r u r al par t is t u r n d in t o a d e n
Of s avage me n
’
And wh e n S a city f r om foul vi c e so f r e e
But may b e t e r md t h e w o r s t of all t h e th r e e
,
’
’
D ome s ti c c ar e s afllic t t h e hu s ba nd s b e d ,
Or p ain h i s h e ad
Th ose that li ve sin gle tak e i t fo r a cur s e ,
Or do th in g s w o r se
The se w o uld have c h ild r e n : th os e that hav e th e m non e ,
Or w is h th e m g on e
What is i t th e n to hav e o r hav e no wif e
, , , ,
But sin gle th r aldom o r a double s tr if e 2

,
‘
Ou r o w n affe c tions s till at h om e to ple a s e

I s a dise a s e
To c r oss t h e s e a s to any fo r e i gn soil ,
P e r il and t oil
War s w i th th e i r nois e aff r i ght u s wh e n th e y c e a s e ,
We ar e w o r s e in pe ac e
What th e n r e mains b ut that w e s till s h ould c r y
,
F o r b e in g b o r n a nd b e in g b o r n t o d ie
, ,
5
Th e ori g in of a la r g e body of lyri c verse to be fo und in

t h e Elizabet h an and ea r ly S tu art dr ama is not ve r y diffe r
ent Wits wh o trust e d for mo n ey and fame t o t h eir
.
development of c h aract e r on t h e sta g e s ur vi ve by rh ym es ,
’
t h ey flu n g-in to employ some boy s tuneful voice Th omas .
D e kker wh o y e t h ad dr am atic g enius is s ure of survivin g

, ,
t h ro u gh th e simple g race of
Ar t th ou p oo r y e t ha s t th ou g old e n slu m b e r s
,
0 S w e e t c on te n t
Ar t th ou r i c h y e t is th y mind pe r pl e x e d
,
O punis h m e n t
UNC LA S S ED 3 51
D os t th ou laugh t o se e h o w fools ar e v e xe d
T o add t o g old e n n u mb e r s g old e n nu mb e r s
0 sw e e t c on te n t ! 0 s we e t 0 s we e t c on te n t ,
Cans t d r in k t h e wate r s of t h e c r is ped s p r in g

0 s we e t c on te n t
Swim mst th ou in we alth y e t sink s t in thine own te ar s
’ ’
2
‘
O punis h me n t
’
The n h e that patie n tly wan t s bur de n b e ar s
N o b ur de n b e ar s b ut is a kin g a kin g
, ,
0 s we e t c on te n t ! 0 s we e t 0 s w ee t c on te n t
,
W o r k ap a c e a p a c e a p a c e a p a c e
, , ,
H on e s t lab our b e ar s a lo v e ly fac e 7
Th e same casual quality cannot i n deed be assi gned to

t h e grea t son g wh ic h c hills as w it h t h e damp of dea th in
, ,
’
Webs te r s Duc hess of M alfy In to t h at t h e wh ole soul .
of t h e t erri ble play is condensed

H ar k now e ve r y thi n g is s till
, ,
Th e s c r e e c h -o wl and t h e wh is tle r s h r ill

,
Call u p on o u r d ame aloud ,
And b id h e r qui c kly don h e r s h r oud

Muc h yo u h ad of land and r e n t ;
’
Y ou r l e n gth in c lay S no w c om pe te n t
A lon g war di s tur b e d your mi nd
H e r e yo ur p e r f e c t p e ac e i s si gn e d .
’
Of what i s t fools make suc h vain k e e pin g
S in the i r c on c e p tion the i r b i r th we e pin g
, ,
The i r lif e a g e n e r al mis t of e r r o r ,
Th e i r d e a th a hid e ou s s to r m of te r r o r
, .
S tr e w your hair wi th p ow d e r s swe e t ,
D on c le an lin e n b ath e yo ur f e e t
, ,
—
And t h e foul fi e nd mo r e to c h e c k
A c r u c ifi x le t b l e ss yo ur n e c k
’ - ’
Ti s no w f ull t id e twe e n ni ght and d ay
E nd your g r o an and c ome away
,
?
B ut t h e ru le of the slenderness of t he connexion b e tween a

’
d r ama and it s song s h olds t r u e of t h e twin lyrics of S hirley s ,
wh o t hou gh born late is as a S in ger Elizabet han B ot h

, , , , .
,
— —
as full of a we wit h not h in g of th e h orror as Webs ter s ’
,
mi gh t h ave been composed wi th ou t relation to t h e masque

and th e entertainmen t th ey once g lorified C upid and Deat h .
h as ceased for centu r ies to lay an y claim to th e Ode

V i c t o r iou s me n of e ar th no mo r e
,
Pr o c laim h o w wid e your e m p ir e s ar e ;

Th ough yo u b ind in e v e r y s h o r e ,
And your tr iu m ph s r e ac h a s far

A s ni ght o r day
,
Y e t yo u p r o u d mon ar c h s mu s t o b e y
, , ,
And min gle wi th fo r g o tte n a s h e s wh e n

D e ath c alls y e t o t h e c r o wd of c ommon me n
,
D e v our in g F amin e Plague and War

, , ,
E ac h ab l e t o undo m ankind ,
’
D e ath s s e r vil e e miss ar i e s ar e
N o r t o th e s e a lon e c onfin e d ,
H e hath at w ill
Mo r e quain t and s ub tle ways t o k ill
A sm i l e o r k iss a s h e will u se t h e ar t
, ,
S h all hav e t h e cunnin g Skill t o b r e ak a h e ar t 9

.
Even more independent if possible mus t t h e sis t er h ymn

, ,
—
h ave alw ays be e n of i t s obscu r e semi dramat ic at t endant
Th e g lo r i e s of o u r b lood a nd s tate
Ar e s h ado w s no t su b s tan t ial th in g s ;
,
Th e r e is no ar mour agains t fate

D e ath lays h is i c y hand on kin g s
Sc e p tr e and c r o wn mu s t tu m b le do wn ,
And in t h e du s t b e e qua l m ade

W i th t h e p oo r c r oo ke d s cy the and s p ade .
Th e gar lands wi th e r on yo ur b r o w
Th e n b o a s t no mo r e your mi ghty d e e ds
’
U p on D e ath s pur pl e al tar no w
Se e wh e r e t h e v i c t o r -vi c t im b l e e ds
,
Y o ur h e ads mu s t c om e
T o t h e c old t om b
Only t h e ac t ions of t h e j u s t
S me ll s we e t and b lossom in th e i r du s t
,
?0
W i thin m i n e e y e s h e mak e s h is n e s t ,
H is b e d amids t my te nd e r b r e a s t
My kiss e s ar e h is daily f e a s t
And y e t h e r o b s me of my r e s t ;
,
Ah wan t on w ill y e ,
And if I sl e e p the n p e r ch e t h h e
,
W i th p r e tty fl i ght ,
And make s h is p illo w of my kn e e

T h e lif e lon g ni ght .
S tr ik e I my lute h e tun e s t h e s tr in g
,
H e mu si c p l ays if so I sin g
H e l e nds m e e v e r y lo v e ly th in g ,
Y e t c r u e l h e my h e ar t do th s t in g
Wh is t wan t on s till y e
, ,
E lse I wi th r os e s e ve r y d ay
W ill wh i p yo u h e n c e ,
And b ind you wh e n you l on g t o play

, ,
F o r yo u r off e n c e .
’
I ll shut my e y e s t o k e e p you in
’
I ll mak e yo u fa s t i t fo r your S in
’
I ll c oun t your p o we r no t w o r th a pin .
—Ala s what h e r e b y s hall I win

I f h e gains ay me
What if I b e at t h e wan t on b oy
W i th many a r o d
H e will r e pay m e wi th a nnoy ,
B e c au s e a g od .
Th e n si t th ou s af e ly on my kn e e
Th e n le t thy b o we r my b osom b e
Lur k in min e e y e s I lik e of th e e
O Cu pid s o th ou p i ty me
,
, ,
Spar e no t but play th e e !

,
12
’
If Love s m u sic is t h e most audible in th e Occasional
sixteent h -sevent eent h -century ver se t h at w as t o be ,
expec t ed ; and as na t urally i t is in all k eys It is

, ,
.
’
’
embodied daintiness in Car e w s moralizin g :

UNC LA SSE D 3 55
He th at lo ve s a r osy c h e e k ,
Or a c o r a l li p admi r e s ,
Or f r om s ta r -l ike e y e s do th s e e k
Fue l to main tain his fi r e s
A s old Ti me make s the se d e c ay ,
S o h is flame s mu s t wa s te away 13
.
’
T o gr ace it adds a sunny g lo w in Fo r d s ,
Can yo u pain t a th ought o r n u m b e r

Eve r y fan c y in a slum b e r
Can you c o un t sof t min ute s r o vin g
’
F r om a dial s p oin t b y mo vin g
Can yo u g r a s p a S i gh o r la stly , ,
’
R o b a V i r gin s h ono ur c ha s te ly ?
N o o h no y e t yo u m ay
,
S oon e r do b o th that and this ,
T h is and that and n e v e r miss

, ,
Than b y any pr aise di splay

’
B e auty s b e auty suc h a glo r y ,
A s b e yond all fate all s to r y

, ,
All ar ms all ar t s
, ,
All lo ve s all h e ar t s
, ,
G r e ate r than th os e o r the y

, ,
D o Shall and mu s t o b e y
, ,
14
— ’
and in t h a t pre t ty fo undlin g ii not Th omas C ampion s
The r e is a gar d e n in h e r fac e
Whe r e r os e s and wh i te lili e s b lo w
A he ave nly par adise is that plac e ,
Whe r e in all ple a san t f r ui t s do g r o w

The r e c he rr i e s g r o w that non e may b uy
T ill Ch e r r y R ipe the ms e lve s do my
,
o
”
.
I t gro ws tum ultuous in ano th er stray Love th e A dvent urer :

,
Y o u may e s te e m him
A c h ild fo r h is mi ght
Or yo u may d e e m him
A c owar d fo r h is fl i ght
! 2
But if wh om lo v e do th h onour
sh e
’
B e c o n c e al d f r om t h e d ay ,
Se t a th o u s and gua r ds u p on h e r ,
L o v e w ill find o u t t h e way ?5
’
I t u ses and idealizes Davenan t s A ubade a deli ghtful if , ,
manner ed extrava g anc e — w orth all h is l e aden G o n d ib e r t

,
’
Th e lar k no w l e av e s h is wat r y n e s t ,
And c lim b in g s hak e s h is d e wy w in g s .
H e tak e s th is w indo w fo r t h e E a s t ,
A nd t o im plo r e you r light h e S ing s

Awak e awak e t h e mo r n w ill n e v e r r is e
,
T ill Sh e c an d r e ss h e r b e auty at your e y e s 17

.
’
I t is a t once defian t and te nder in Geo r ge Wi th e r s
G r e at o r g ood o r ki nd o r fai r
, , , ,
’
I w ill n e e r t h e mo r e d e s pai r ;
I f sh e lo v e m e th is b e li e v e
, ,
I w ill d ie e r e sh e S hall g r i e v e
I f sh e sli ght me wh e n I w oo ,
I c an s c o r n and le t h e r g o
,
F o r if sh e b e no t fo r m
,
e ,
What c ar e I fo r wh om Sh e b e 15
When i t kno w s i tself safe ,

—
it will t hrea t en h ec t or and ,
adore
L ik e Ale x and e r I w ill r e i g n ,
And I w ill r e i g n alon e

My th ought s did e ve r mo r e disdain
A r i val on my th r on e .
H e e i th e r f e ar s h i s f ate t oo mu c h ,
Or h is d e s e r t s ar e small ,
That dar e s no t put i t t o t h e t ouc h ,
T o gain o r los e i t all .
But if th o u wil t pr o ve f ai thf ul the n ,
And c ons t an t of th y wo r d ,
’
I ll m ak e th e e g lo r io u s b y my p e n ,
And famo u s b y my s w o r d
3 58 F I VE C EN T U R I ES OF EN G LI SH VER SE
Bu t for na t ive Sco ttis h ima g ina tion of th e h i gh est we mus t
loo k t o t h e wild -g arden of B orde r Minstre lsy Th a t whi le .
,
sin g ularly u nli ke a t its best to th e coarseness of En glis h

, ,
‘
b r oads h eet verse and t h e polis h of Elizabe th an drama tic

,
lyrics matc h es th e latt e r in fir e of inspira t ion Thu s th e

, .
Eng lis h version o ff e rs no coun terpart to th e h a un t in g

dream o f Ear l Dou glas in th e Sco ttis h t ale of th e B a t tle
of Otterbourne
I hav e d r e am e d a d r e ar y d r e am ,
B e yond t h e I sle of S ky
I s aw a d e ad man win a fi ght ,
And I th ink that man wa s

E verybody a g ain mus t h ave fel t bot h th e w oe and t h e
, ,
di gnity of t h e grand old ballad of Sir P at r ic k Spe ns No t e

,
.
’
t h e Captain s kno wled g e t h a t h e w as be in g sen t to h is doom ,
and h is S imple obedience ; t h e ins tinc t wit h whic h th e

fe w ma r itime d e tails h ave been s o c h osen as t o add as
impre ssive re ality to t h e impen di n g disas ter as th e man y
’
in t h e famous s h ip wrec k in Don Juan ; t h e narra t or s
spl e ndid indi fference t o t h e fa te of
’ ’
T h e K in g s daught e r 0 N o r o w ay ,
in compari son wit h th e loss of gu de

Sir Pat r i c k Sp e ns t h e b e s t sa ilo r
,
That e v e r saile d t h e s e a s 94
Then t h e lament for Willie Dro wn ed in Y arro w h o w —

touc hi ng ly w ande r ing ly wistful
,
D o un in y o u g ar d e n swe e t and gay ,
Wh e r e b onn i e g r o w s t h e lili e ,
I h e ar d a fai r m aid si gh in g s ay
, ,
’
My wish b e w i swe e t W illi e
. .
’ ’
O Willi e s r ar e and W illi e S f ai r
, ,
’
And W illi e s w ond r ou s b onny
And Willi e h e c ht to m ar r y me ,
’
Gin e e r h e mar r i e d ony
.
UN C LA SSED 3 59
O h g e n tle wind that b lo we th south

, , ,
F r om wh e r e my l o ve r e pair e t h,
C on ve y a kiss f r ae h is de ar mo uth
And te ll me h o w h e far e t h
,
’
But W illi e s g on e wh om I th ought on
And do e s no t h e ar me we e pin g
, ,
’ ’
D r aw s many a te ar f r ae tr ue lo ve s c c ,
Whe n o th e r maids ar e sle e p in g .
0 c am e y e b y yon wate r -sid e

’
P ou d you t h e r os e o r lili e 2 ‘
’
Or c a m y e b y yon m e ado w g r e e n
Or saw y e my s we e t W illi e
Sh e sought h im u p , sh e sought h im doun ,

Sh e sought t h e b r aid and n arr o w
’
Sy n c , in t h e c l e avin g o a c r ai g ,
Sh e fo und h im d r o wn e d in Yar r o w ?5
It and t h e Do wi e H o u m s of Y arro w ar e in t h eir accep t anc e
of bereavemen t and desola t eness as admir able as t h e

concert of great la ter melodies to wh ic h t h ey h ave g iven
birt h In t h e second t h e final acqui escence if reluctant
.
, ,
and pr ide of t h e gir l in t h e obli g ation upon h er bride

groom to fac e th e certain t y of deat h at t h e h ands
of h er j ealous bre thren add a fine t o uc h H e h as b een .
c h alle n g ed and kno w s— and Sh e kn ows— h e may no t

,
h old bac k
’ ’
F o r I m au n gae th o I n e e r r e tu r n
,
’
Fr ae t h e D o wi e b ank s 0 Yar r o w .
Sh e ki ss d h is c h e e k sh e k aimd hi s hai r
’ ’
, ,
A s Sh e had don e b e fo r e O
,
Sh e b e l te d h im wi th h i s no bl e b r and ,
’ ’
An h e s awa t o Yar r o w ?5
S h e was as brave in l e t tin g h im g o as He l e n of K ir c o n n e ll

,
in in terposin g b e twee n th e fatal s h o t and t h e lover sh e left

despairi n g
0 H e le n fai r b e yo nd c om par e
,
’ ’
I ll mak e a gar land o th y hai r
S hall b ind my h e ar t fo r e v e r m
,
ai r ,
Un til t h e day I d ie
0 H e l e n f ai r ! 0 H e l e n c ha s te
I f I we r e wi th th e e I w e r e b le s t ,
Whe r e th o u li e s lo w and t ak e s thy re st ,
On f ai r K ir co n n e ll le a .
I wis h I we r e wh e r e H e l e n li e s
N i ght and d ay on me sh e c r i e s
And I a m we ar y of t h e s ki e s
F o r h e r s ak e that di e d fo r m
,
97
e .
Th e lamen t a tion for bu r d H e l e n is pure tendern e ss .
More commonly in t h ese B order stor ies th e sense of h elp

lessn e ss de e p e ns to despair I n Clerk Saunde rs for
.
,
’
e xample as in Keats s Pot of B asil t h e affe ction of t h e
, ,
’
b e reaved bride is a g ony not gr i e f Th e lover s p e rsonal
,
.
innocence does not alle viat e h is miser y in t h e tra ge dy

of th e forlorn repulsed Lass of Lo c h r o y an Wh ere remors e .
and pa th os g o h and in h an d guilt fr equ e n t ly fo r bids even

,
t h e solace of a tear as in th e lo n g in g of fair Lady A nne

,
t o clasp t o h er bosom t h e sna w wh it e dream boy It is

- - .
h er babe gro wn u p in Paradise wh om sh e h ad m urder ed

-
,
to save h er h on o ur
’
T is I wad c l e ad th e e in silk and g owd ,
’
And nour i c e th e e on my k ne e .
O mi th e r mi th e r wh e n I wa s th in e ,
’9 5
Sic k indn e ss I c ouldn a se e .
Gloom is th e favo urit e h u e as w as con g enial perh aps in

,
’
an a g e and land of Dou g las Tra g edies B onnie Ear ls 0 ,
Murr ay and Jo h n ie Ar m
, st r an gs wh ere every man carried
,
’
h is o wn lif and h is over t h e B order nei gh bour s in h is
e ,
- -
,
h and . Th ou gh seldom wit h ou t g l e ams of fin er fancy ,
t h e favou r i t e sub j ects are criminal w ant onness as in Earl ,

3 62 F I VE CEN T UR I ES OF EN GLI SH VERS E
O I
, h ae k ille d my f ath e r d e ar ,
Mi th e r mi the r ;
,
O I h ae kille d my fath e r d e ar
Ala s a nd wae is m
, ,
, e
And whatte n p e n an c e will y e d r e e fo r that ,
E dwar d E dwar d
,
And whatte n pe nan c e will y e d r e e fo r that

My d e ar so n no w te ll me
,
,
’
I ll se t my f e e t in yonde r b oat ,
Mi th e r mi th e r ;
,
’
I ll se t my f e e t in yond e r b oat ,
’ ’
And I ll far e o ve r t h e se a.
’ ’ ’
And what will y e do wi your t o w r s a nd your ha ,
E d war d E dwar d
,
’ ’ ’
And what will y e do w i your t o w r s and your ha ,
That we r e s ae fai r t o se e
’ ’
I ll le t th e m s tand t ill th e y doun f a ,
Mi th e r mi the r
,
’ ’
I ll le t th e m s tand t ill th e y dou n f a ,
’
F o r h e r e n e v e r m ai r m au n I b e .
And what will y e le av e to your b ai r ns and you r wif e ,
E dwar d E dwar d 2
,
‘
And what wi ll y e l e av e to your b ai r ns and your w if e ,
Wh e n y e gan g o v ir t h e se a 3 ‘
’
Th e w ar ld s r oom le t th e m b e g th r o w l if e ,
Mi th e r mi th e r ;
,
’
Th e w ar ld s r oom le t th e m b e g th r ow lif e
’
F o r th e m n e ve r mai r will I se e .
An d what will y e l e av e t o you r ain mi th e r d e ar ,
E dwar d E d war d
,
And what will y e l e ave to your ain mi th e r d e ar ,
My de ar so n no w te ll me
, .
’
Th e c ur se of h e ll f r ae m e s a ll y e b e ar ;
Mi th e r mi the r ;
Th e c ur se of h e ll f r ae m
,
e s all y e b e ar ;
S i c c ouns e ls y e g av e to m e
55
’
Mar k th e s h u dderin g gh os t all alon g of th e mot h er s
, ,
UN C LA SSED 3 63
knowled ge th a t t h e parricide w as inspi r e d b y h e r ; t h e

compulsion upon h er soul to fo r ce h er s o n to c o n fess it ;
h is relu ctance to damn h e r wit h t h e avo w al ; and t h e
curs e upon h e r self wh ic h sh e ex t orts from h is unloc ke d
lips and h eart
We are sensible almos t of re lief wh en freezin g cyni cism ,
as it seems rat h er th an remors e is voiced no t by man

, , , ,
bu t by rivers
Twe e d s aid t o T ill
What gar s y e r in sae s till
T ill s aid t o Tw e e d
’
Th ough y e r in wi s p e e d
And I r in S law ,
Y e t wh e r e y e d r o w n ae m an
I d r own twa ; 35
or by t h e h oars e acc e nt s of carrion bi r ds

A S I wa s walkin g all alan e
I h e ar d twa c o r b i e s m akin g a man e ;
’
Th e tan e u n t o t h e t o th e r s ay ,
Whe r e sall we gan g and din e t o -d ay

I n b e h in t yon auld fail dyk e ,
I w o t th e r e li e s a n e w -slain kni ght

And n ae b ody k e ns that h e li e s th e r e ,
But his hawk h is h ound and lady fai r

, , .
H is h ound is t o t h e hu n tin g gan e ,
H is hawk t o f e t c h t h e W ildfo wl ham e

, ,
’ ’
H i s l ady S ta e n a no th e r m ate ,
S o w e m ay mak o u r di nn e r S we e t .
’
Ye ll s it on h is wh i te hau se -b an e ,
’
And I ll pi c k o ut h is b onny b lue e e n
’ ’
Wi ae lo c k 0 h is g owd e n hai r
’
We ll th e e k o u r n e s t wh e n i t g r ow s b ar e .
Mony a o n e fo r h im m ak e s m an e ,
But n an e sall k e n wh e r e h e is gan e

’
O e r h is wh i te b an e s wh e n th e y ar e b ar e
Th e wind s all b law fo r e v e r m
,
’57
air .
3 64 F I VE C EN T U R I ES OF EN GLI SH VERS E
No wi t ty airy minstrelsy th is of t h e Scot tis h h eat h s
, ,
wh en at its h i ghes t So dour it is as t o su gges t t h a t th e

.
un kno wn bar ds neede d a murde r or a bro ke n heart t o , ,
tun e the ir h arp s trin g s B u t th e inspiration is u n m

- . ist ak
abl e. And r m mber
e e — I h ave be e n able to g ive b u t
s hre ds of a vas t floatin g cloud of so n g wit h never a poet ,
to claim for hi s o wn t h e g enius and t h e g lory ! Th e ,
people s poe try— t h e ballads— in n i ne -tent h s of Eng land

’
,
by t h e end of t h e S ixt eenth cen t ury whi c h revised and ,
v ul g a r ized C h evy C h ase h ad los t all native g lamo ur

, ,
independen t vi t ali t y Mean w h il e in Scotland a t leas t on

.
, ,
t h e frontier th e wh ole survi ved and ma t ured Th e

, .
Englis h B o r de r t h ou gh as may well be h oped and believed

, , ,
i t part oo k in t h e e n j oyment contr ibut e d little except

, , ,
possibly th e dialo gu e be tween th e T w e ed and th e T ill

,
.
For some t hree h undred years more or less t h e popular , ,
li t era ture on th e north ern side w as verse A ll w as h anded .
do wn from memory t o memory wi th a reco gnized ri ght in ,
t h e int erpre t ers a t eac h s t a g e t o modify and wit hin , ,
narro w limi t s modernize Ho w th ese w anderers t old a

,
.
tale and wit h a varie t y h o w ric h

,
Ho w made t o s ui t all
t astes and classes Th e musician mi gh t be e arnin g food
an d s h elter in a r u s t ic inn or sympa th y and lar g ess in t h e
,
h alls of h i gh B uccleuc h Li k e t h e S illy blind Loc h mabe n

.
h arper h e h ad s t ore of tales t ra g ical and pa th e t ic as

, ,
we ll as gross and g risly Th e m e rit w as as diverse From

. .
a lo w dep th i t rose t o point s of sublimity h o r ror tenderness , , ,
s e lf sacr ifice wh ic h edu ca t ed inspira t ion may ma t c h but

-
, ,
rarely h as exc e lled .
I n Eng land if doubtless mainly for t h e educa te d classes

, ,
an aft er g lo w of t h e cult ured Elizabet h an splendour endured

t o and t h rou gh out t h e per iod of t h e Res t ora t ion It may .
be a mere coincidence bu t it faded a w ay wi th th e adven t

I I saac Wat t s s Cra dle Hymn I r e c o gniz e trac e s of
n
’
native inspir ation but inspiratio n p r es se d i n to doi n g suit

,
and service to re li g ious e nt h usiasm

Hu sh my d e ar h e s t ill a nd s lu mb e r
, ,
H oly an g e ls guar d thy b e d

H e ave nly b l e ssin g s wi th out n u m b e r
G e n tly fallin g on th y h e ad .
’
H o w muc h b e tte r t h o u r t atte nde d
Than t h e S on of God c ould b e ,
Wh e n f r om h e ave n h e d e s c e nd e d
And b e c am e a c h ild like th e e
Wa s th e r e no th in g but a man g e r
Cur sed sinn e r s c ould a ffo r d ,
T o r e c e i ve t h e h e ave nly s tr an ge r
D id the y thu s affr on t th e i r Lo r d
S of t my c h ild I did no t c h id e the e
, ,
Th o ugh my son g mi ght sound t oo har d

’
T is th y mo th e r si t s b e sid e th e e ,
And h e r ar ms s hall b e thy guar d .
Yet t o r e ad t h e s ham e ful s t o r y ,

’
H o w t h e Je w s ab u s d th e i r Kin g ,
’
H o w th e y se r v d t h e Lo r d of Gl o r y ,
Mak e s me an gr y wh il e I sin g .
lo v e ly b ab e a-d r e ssin g
Se e t h e
Lo ve ly i n fan t h o w h e s m
,
’
il d
’
Wh e n h e we p t t h e mo th e r s b l e ssin g
,
’ ’
So o t h d and h u sh d t h e h oly c h ild .
Lo , h e slu mb e r s in h is man g e r ,
Wh e r e t h e h or n ed o x e n fe d
’
Pe ac e my dar lin g h e r e s no dan g e r
, ,
’
H e r e 8 no o x a-n e ar thy b e d .
’
May s t th o u li ve t o kno w and f e ar h im ,
T r u s t and lo ve h im all th y days ;

The n g o dwe ll fo r e ve r n e ar h im ,
Se e h is fac e and sin g h i s p r ai s e

,
41
UNCLA SSED 3 67
S ke tc he s in blac k and w h it e by S he n s tone in Th e S c ho o l

mi s tress ap pe al to o ur se nse of t h e picture squ e Fou r .
lin e s in h is s o -calle d Le vitie s plu mb dept h s of h uman

sic kne ss a t huma ni ty
’ ’
Wh o e e r ha s t r av e l d l if e s dull r o und
’
,
’
Wh e r e e r h is s tag e s may hav e b e e n ,
May si gh t o th in k h e s till ha s fo und

H is war m e s t we lc ome at a n inn 49
, .
No w and t h en a gu st of pity or s e lf pity blo ws r h e t o r ic

-
aside— rh e t or ic still t h ou gh of a n obl e sort as in London

, ,
a n d Th e Vanity of Human Wis h es For an ins t an t som e.
thi n g truer ta ke s it s place and Jo hnson ma r k s wit h t ea r s

, ,
instead of ant it h e ses ,
’
what ills t h e s c h olar s lif e a ssail ,
T oil e n vy wan t t h e patr on and t h e ga ol

, , ,
49
,
or mournin g wi th a ffe ctionate simplicity almost wit h

, , ,
k indly envy t h e obsc ur ely wise and coar sely kind practis e r
, ,
in p h ysic h e s e es
Le v e t t o t h e g r av e d e s c e nd ,
Offi c io u s inno c e n t sin c e r e

, , ,
Of e ve r y f r i e ndle ss n am e t h e f r i e nd 44
.
Pi e ces li k e t he s e are inte restin g as palliatives of a

prevailin g sterility in respec t of Occasional in s piration
’
for som e h undred year s Ot h er s li k e Mic kle s Cu mnor
.
,
Hall are e ndeared by h abit and t r a d i tion mor e th an by

,
intrinsic merit B u t for a cen t ury after t h e close of t h e

.
Eng lis h poetical renaissanc e t h e di s tinc tion I h ave d r a wn

,
bet ween poe try and write rs of poetry h as li t tle pr actical

application D urin g this t e dious i n terre gnum suc h verse
.
,
as deserves th e name of poetry w as t h e w or k of its poe ts .
Very seldo m di d t h e p h e nomen o n occur of a spar k of

genui ne inspir a tion li ghti n g upon a poetaste r of a di vine ,
emotion visi tin g unco n secrated lips and insis t in g on ,

be comin g vocal F o r positive po e tical i n si gh t I do not

.
kno w t h a t I could instanc e more t h a n a t r io of lyrics t h us

quali fied A mbros e Phi lips for onc e ca r olle d as a son g st e r
.
,
of th e gr ove for it s ne s tli n g s to h is

,
Li ttl e g ossi p bli th e and h al e

, ,
Tattli n g many a b r o k e n tal e ,
S in gin g m any a tun e l e ss son g ,
L av is h of a h e e dle ss t on gu e ,
S im pl e maid e n v oid of ar t ,
Babb lin g out t h e v e r y h e ar t ,
S le e pin g wak in g s till at e a s e

, , ,
Pl e asin g wi th out ski ll t o pl e ase .
’
Y e t ab an d o n d t o th y w ill ,
Y e t im ag inin g no ill ,
Y e t t oo inno c e n t t o b lu s h
Li k e t h e linn e t in t h e b u sh ,
’
T o t h e mo the r -linn e t s no te
M o d u lin g h e r sle nd e r th r o at
C h i r pin g fo r th thy p e tty j oys ,
Wan t on in t h e c han ge of t oys ;

Li k e t h e linn e t g r e e n in May
Fli ttin g t o e ac h b loomy s p r ay
W e ar i e d the n and glad of r e s t
, ,
Li ke t h e linn e t in t h e n e st.
45
’
Then t h ere is Henry Care y s Sally
Of all t h e gir ls that ar e s o smar t
’
Th e r e s non e lik e p r e tty S ally
Sh e i s t h e dar lin g of my h e ar t ,
An d sh e li v e s in o u r all e y
.
Th e r e is no lady in t h e land
I s half s o s we e t a s S ally :
Sh e is t h e dar lin g of my h e ar t ,
And sh e live s in o ur alle y .
’
Of all t h e d ays that s in t h e w e e k
I d e ar ly lo ve b u t o n e day
’
A nd that s t h e d ay that c om e s b e tw ixt
A S atur day and Monday
3 70 F I VE CEN T U R I ES OF ENGLI SH VERSE
— — i —
inspira tion then years of sani t y bu t un nspired no t t o ,
d ie b u t live
‘
,
even sin g or fei gn to sin g ,
H o w c am e i t you r e su m e th e v oid and n ull ,
S ub sid e t o i n sign ific an c e 45
Conventionalism h ad all bu t s t i fled t h e life of Occasional

Verse and w as th rea t enin g t h e main curren t of na tional
,
poe t ic sensibili t y wh en a temper of rebellious ness mani

,
fe st e d i t self Th e malcon t en t s loo k ed a t once bac k and

.
forw ards Th omas W arton and still more prac tically

.
, , ,
Bis h op Percy h ad t h e coura g e t o remind of th e old pop ular

,
—
mins trelsy Th ey c h allen ge d continuin g life a t wili ght
.
life per h aps— for it in renovatio n s of divers fine fra g ments

,
.
C ollins Gray and C o w per t h re w do wn th e g aunt le t t o

, ,
th e sc h ool of Pope Muc h more revolu tionary e l e ments .
w ere soon t o be at w ork A fres h li t erary re naissance g ave .
Sco tland B urns I n Eng land it w as preparin g for t h e

.
a dven t of W ords w orth Coleri dg e Sco tt B yron S he lley , , , , ,
and Kea t s P oe try wh en th us i t roused i t s e lf from its

.
,
torpor t o w ards t h e openin g of th e nineteent h cent u ry ,
wo k e in t o a ne w w or ld Movemen t w as in it wit h a sense .

,
of ab un dance of air Th e poe t ic a t mosp h e re lon g since .

,
burn t up w as fe lt to h ave been rene wed for readers as

, ,
well as au th ors On bot h S ides of th e Tweed one c h ar ac

.
t e r ist ic of th e revival w as th e same as h ad di s t in g uis h e d

th e Elizabe th an T ru e and delightful poetry w ould no w
.
and a g ain fl o w from t h e pens of writers h ardly t o be

described as poe t s Th e fac t in Sco tland is l e ss surprisin g
. .
Th ere t h e po e t ic spiri t w i th o r w i th out po e t s h ad n e ve r

ceas e d to stir if int ermittently i n t h e indig e no u s m
, ,
,
i nst r e lsy ,
wh ic h reminded B urns t h at h e t oo mi ght be inspir ed .
No w no lon g er wit h th e ori g inal gr im and t ra g ic accent

, ,
th ou gh some times wi th t h e old simple carelessness of fame ,

UNC LA SSED 371
many a sudde n melody will be fo un d t o h ave sp r un g up ,
li ke a r are flo wer in t h e was te .
Verse t here w as t hou gh of r eal meri t wi th no distinctly

, ,
’
indig enous propert ies ; suc h as Lo g an s w elcome t o th e
C uc k oo whi c h w a r med th e h eart of Ed mund B u r k e
,
Hail b e aute ou s s tr an ge r of t h e g r o ve
,
Th o u m e sse n g e r of s pr in g
N o w h e av e n r e pai r s thy r ur al s e at ,
And w oods th y we lc ome sin g .
S we e t b i r d thy b o we r is e ve r g r e e n
,
Thy Sk y is e ve r c le ar .
Th o u ha s t no so r r o w in thy son g
N o w in te r in thy y e ar 49
B u t in ot h er some wh a t lat e r lyr ics of t h e e i ght e ent h

, ,
ni n e te e nt h c e n t u r y t h e S pi r it of th e old mi nstrelsy in i t s
, ,
s ad,
if soften e d and mo r e t e nd e r to n es is clea r ly audible ,
.
I t brea th es in th e lamen t fo r Flodden

’
We ll he ar n ae mai r lil tin g at o u r e w e -mi lk in g ,
W ome n and b ai r ns ar e h e ar tle ss and w ae ;

S i ghin g and moanin g on ilka g r e e n loa nin g .
’
T e Flowe r s of
h t h e Fo e s t ar e a w e d e awae ;
r
59
in musical w ails of lon g in g re gret for Pri nce Ch ar lie and

in rustic melanc h oly as of Auld Robin Gr ay
,
51
passin g ,
’
no w i n to an int e rj e c tion of protest a g ains t man s lo t on
,
eart h
’ ’
Wha ll buy my c all e r he r r in 2 ‘
’ ’
Y e m ay c a th e m vu l gar fair in
’
W i ve s and mi the r s mais t d e spair in
Ca the m li ve s 0 m
, ,
’ ’ 59
en ;
no w into a fare well to Eart h merg i n g in a vision of

Heaven
’ ’
I m we ar in g awa Je an , ,
Li k e snaw -wr e ath s in thaw J e an , ,
A 3 2
’ ’
I m we ar in g awa
’
T o t h e land 0 t h e le al .
’
The r e s n ae so r r o w th e r e J e an , ,
’
Th e r e s n e i th e r c auld n o r c ar e J e an, .
T h e d ay is ay e f ai r
’
I n t h e land 0 t h e l e al 55
.
A lt h ou gh not th e equal of suc h strains anot h er plain t ive , ,
Sco t tis h Occasional lay— a cry of exi les in C anada for t heir
old loved h ome— appears t o me no t al t o g e th er u nworth y of
associa tion w i th th e m
Lis te n t o me as whe n yo u h e ar d o ur fath e r
,
S in g lon g ag o t h e son g of o th e r s h o r e s
Lis te n t o m ,e a nd th e n in c h o r u s gath e r
All yo ur d e e p v oi c e s as you pull yo ur o ar s

,
F r om t h e lon e s hi e lin g of t h e mis ty island

Mo un ta ins di vid e u s and t h e wa s te of s e a s
,
Y e t s t ill t h e b lo o d is s tr on g t h e h e ar t is H i gh land
, ,
A nd w e in d r e ams b e h old t h e H e b r id e s
’
We n e e r S hall t r e ad t h e f an c y -hau n te d valle y ,
’
Wh e r e twe e n t h e dar k h ills c r e e p s t h e sma ll cle ar s tr e am ,
I n ar ms ar ound t h e patr iar c ha l b ann e r r ally ,
N o r see t h e moon on r oyal tom b s t on e s gl e am .
Wh e n t h e b old kindr e d in t h e t ime l on g vanish ed

Con que r e d t h e soil and fo r tifi e d t h e k e e p
, ,
N O s e e r fo r e t old t h e c hi ld r e n w ould b e b an is h ed ,
That a d e ge n e r ate l o r d mi ght b o a s t hi s S he e p .
C om e fo r e i gn r ag e — le t Dis c o r d b ur s t in Slaughte r
0 th e n fo r c l ansme n t r ue a nd s te mc l aymo r e
,
Th e h e ar t s that w o uld hav e g i v e n th e ir b lood l i k e wate r ,
B e at h e avily b e yond t h e Atlan ti c r o ar .
Fai r the s e b r oad me ads th e s e h oar y w oods ar e g r and

,
’
But w e ar e e xile s f r om o u r fath e r s land ? 4
Eng lis h write rs wh o if born t wen t y years earlier mi gh t

, , ,
—
never h ave affec t ed t o be poe t s S imilarly yielded fo r t u
,
wh ic h w as j oy I am only afr aid h e w ould h ave missed
.
t h e t e nder h u mou r in t h e sorro w

My s p r i ghtly n e i gh b our ! g on e b e fo r e
T o that unk no wn a nd S ile n t S h o r e ,
S hall w e no t m e e t a s h e r e t ofo r e , ,
S om e su mm e r mo r nin g ,
Wh e n f r om th y c h e e r f ul e y e s a r ay
H ath s tr uc k a bliss u p on t h e day ,
A b liss that w ould no t g o away .
A s w e e t fo r e war ni n g 59
A g ain h o w
,
the air quiver s w it h gh ostly S i gh s as we read
I have had playmate s I hav e had c om panions , ,
I n my days of c h ild h ood in my j oyful s c h ool -days ,
All all ar e g on e t h e old f amiliar fac e s

, , .
I have b e e n laugh in g I hav e b e e n c ar ou sin g

, ,
D r inkin g l ate S i ttin g late wi th my b osom c r oni e s

, ,
All all ar e g on e t h e old f a mili ar fac e s

, , .
I lo v e d a lo v e on c e fai r e s t a mon g w om e n
C los e d ar e h e r doo r s on me I mu s t no t se e h e r
,
All all ar e g on e t h e old f amil iar fac e s

, , .
I have a f r i e nd a kind e r f r i e nd ha s no man :

,
Li k e a n in g r ate I l e f t my f r i e nd ab r up tly
L e f t h im t o mu s e on t h e old f a miliar f ac e s
, .
G h os tlik e I pac e d r ound t h e haun t s of my c h ild h ood ,
E ar th s e e me d a d e s e r t I wa s b ou nd t o tr ave r s e ,
S e e kin g t o find t h e old f amili ar fac e s .
F r i e nd of my b osom th o u mo r e th an a b r o th e r
, ,
’
Wh y we r t no t th o u b o r n in my f ath e r s dwe llin g
S o mi ght w e talk of t h e old familiar f ac e s
H o w som e th e y hav e di e d and som e th e y h a ve le f t m
, e ,
And som e ar e take n f r om me all ar e d e p ar te d

All al l ar e g on e t h e old f amiliar fac e s
, ,
57
.
Proxi mity to verse li ke t h is provo k es dan gero u s com

p ar isons for an y one Certainly James Mon tg omery—wh ose
.
UNC LA SSED 375
Wo r ld Before t h e Flood Gr eenland an d Pe lican I sland

, , ,
I read in boyh ood I confess wit h admiration— cann ot often

, ,
stand it Yet Lamb h imself w ould n o t h ave scorn ed t h e

.
melanc h oly grace of a Fallin g Le af

We r e I a tr e mb lin g le af
On yond e r s tate ly tr e e ,
Af te r a s e a son gay and b r i e f ,
Co n d e m
’
n d t o f ad e a nd fle e
I s h ould b e l o th t o fall
B e sid e t h e c ommon way ,
’
We l te r in g in mi r e and spu r n d b y all
, ,
T ill t r odd e n down t o c lay .
No r w ould I like t o s p r e ad
My thin and wi th e r e d fac e
I n h o r t u s si cc u s pale and d e ad
, ,
A mummy of my r ac e .
N o—o n t h e win g s of air

Mi ght I b e le f t t o fl y ,
I kno w no t and I h e e d no t whe r e ,
A waif of e ar th and sk y
Wh o that hath e ve r b e e n ,
C o uld b e ar t o b e no mo r e
Y e t wh o w ould t r e ad ag ain t h e s c e n e
H e t r od th r ough life b e fo r e
On wi th in te nse de si r e
, ,
’
Man s s pi r i t will mo ve on
’
It s e e ms t o d ie y e t li ke he av e n s fir e
, , ,
It is no t que n c he d but g on e ?9
,
Still less would Elia h ave di sdained comp anions h i p wit h

an En glis h if a h umbler B urns I am almos t afraid to
, , .
’
p ais j ustly
r e t h e Dorsets hi r e poet s The Wife a lost lest
-
,
it s h o uld b e t h e br oad s weet Doric wh ic h h as roc k ed t h e

critical faculty asleep
S in c e I noo mw do z e e you r
o re fe ac e ,
U p ste air s , or down b e lo w
I ll z i t me in t h e lwo n e so me ple ac e
,
’
,
’
Wh e r e flat -b o u gh d b e e c h do g r o w
’
B e lo w t h e b e e c h e s b ough my lo ve , ,
Wh e r e yo u did n e ve r c om e ,
’ ’
An I don t look t o m e e t y e no w
A s I do loo k at h wo me
,
S in c e yo u noo m wo r e b e at my z id e ,
I n walk s in summe r h e t ,
’
I ll g oo alw o n e wh e r e mis t do r id e ,
D r o u gh tr e e s a-d r ip pen w e t
B e lo w t h e r ai n w e t b ough my lo ve
o
, ,
Whe r e yo u did n e v e r c om e ,
’ ’
An I don t g r i e ve t o miss y e no w
A S I do g r i e v e at h wo me
,
’
S in c e I do miss your vai e e an fe ac e
I n pr aye r at e ve n t id e ,
’
I ll pr ay in w o o n e s ad vai e e v o r gr e ace ,
T o g oo wh e r e you do b id e
’
Ab o ve t h e tr e e a n b ough my lo ve , ,
Whe r e you b e g on e av o r e
A n b e a-w ai ten v o r me no w
,
’
T o c o me v o r e v e r w o r e
m
,
.
59
.
I h ave hesita t ed wh e ther to leave amon g th e Unclassed

Th omas Lo vell B eddoes Happily for th e credi t of literature
.
’ -
t h e t hink er of Death s Jest B oo k h as alw ays been ap pr e
c iat e d
,
t h ou gh t h er e is irony in th e admi ration confined as ,
i t is to a minu t e circle of s t uden t s Readers in g eneral still

.
ar e no t li k ely t o t ry t o solve a s e r ies of problems th ere se t ,
and commonly muc h k no tti e r even t h an t hat grand and

profound Di r ge
T o -d ay is a th ought a f e ar is t o -mo r r o w
, ,
And y e s te r day is o u r s in and o u r sor r ow

3 7s F I VE CEN T UR I ES OF ENGLI SH VERS E
R av e lsto n , R av e lst o n ,
Th estile b e n e ath t h e tr e e ,
’
Th e m aid that k e p t h e r mo th e r s kin e ,
Th e son g that san g sh e 1
Sh esan g h e r son g sh e k e p t h e r kin e

, ,
Sh e sat b e n e ath t h e th o r n
Wh e n Andr e w Ke i th of R av e lst o n
’
R od e th r o t h e Monday mo r n ,
H is h e n c h m e n s in g h is hawk -b e lls r in g
, ,
H is b e l te d j e we ls sh in e
O h Ke i th of R av e lst o n
, ,
Th e so r r o w s of th y lin e
Y e ar af te r y e ar whe r e An dr e w c am e
, ,
C ome s e v e nin g do wn t h e glade ,
And s till th e r e si t s a moonshin e gh os t

Whe r e sat t h e sunshin e maid .
H ermis ty hai r is fain t and fai r ,
Sh e k e e p s t h e s hado wy kin e
O h Ke i th of R av e lst o n
, ,
I lay my hand u pon t h e s t il e ,
Th e s t il e is lon e and c old ,
Th e bu r ni e that g o e s b abb lin g b y

S ays nought that c an b e t old .
Yet, str an g e r h e r e f r om y e ar t o y e ar
, ,
Sh e k e e p s h e r s hado wy kin e
O h K e i th of R av e lst o n
, ,
S te p out th r e e s te p s wh e r e And r e w s t ood

,
Wh y b lan c h th y c h e e k s fo r f e ar
Th e an c i e n t s t il e is no t alon e ,
’
T is no t t h e b ur n I h e ar
UNC LASS ED 3 79
Sh e mak e s h e r imm e mo r ial moan ,
Sh e k e e p s h e r s hado wy k in e
O h K e i th of R av e lst o n
, ,
Th e so r r o w s of th y lin e 59
B y t hi s time almost unconsciously I h ave advanced far

, ,
int o th e ni net een th cen t u r y B ut I h ave passed over ma n y

.
di s tin gui s hed names some in t h eir day even famous and ,
a fe w still . Th e roll w o uld be leng t hy w ere it confin ed

stric tly t o t h e cen tury and it h as t o comprise h alf a dozen
or more born in th e previous one I note Ch ar les D ib d in .
,
aut h or of T om B owlin g and muc h of mar ine reno wn b e

,
sides ; Reginald H e ber of P ales tine and one immortal

, ,
hymn Joanna B ailli e of d r amas once illustrious Ki r k e

,
W hite for hi s fame h appy in an ear ly dea t h ; J o h n

, ,
Wilson of th e I sl e of P alms and a r bi t er of li t era t u r e

, ,
as Chr istop h er North Rober t P ollo k wit h th e severe ,
and serious Cou r se of Time ; J o hn Clare wit h P oems of ,

’
Rur al Life and Robert B loomfield of t h e Farmer s B oy
, , ,
t win Victims of a poet ic g er m never ma t ure d ; B ryan

W aller P roc t er B arry Cornwall — bes t remember e d for
breezy son g s ; Ala ri c W a tt s wit h Lyrics of t h e Heart ;
,
’
Jo hn Moultrie of My B rot her s Grave and Godiva ; Sir
,
Th omas Noon Talfo u r d of I on ; C h arles W ells wh ose

, ,
d r ama J osep h and hi s B ret hr en w as discovered t hr ee

, ,
years b e fore his deat h by S winbur ne ; W L B o wles . .

,
wh ose Sonnets Cole r idge in h is sc h ooldays as h e , ,
could no t a ff o r d t o buy copied out ; Allan Cunnin gh am

, ,
sin ger of
A we t She e t and a fl o win g se a
h aple ss L E . t h e a dmi red of dra w in g rooms fo r Th e
.
-
I mpr ovisa t r ice Mrs B ar b auld wh ose Life it was thou ght
.
,
mus t ever be remembered

’
we ve b e e n lon g t o g e the r
Life ,
Th r ough ple asan t and thr ough c lo udy we athe r ;

’
T is har d t o par t wh e n fr i e nds ar e de ar
’
Pe r h ap s twill c os t a si gh a te ar ,
The n s te al away g ive little war nin g , ,
C h oose th in e o wn time ,
Say no t Good -ni ght b ut in som e br i ghte r c lime

B id me Good mor nin g
- 59
Feli cia He mans wh ose Homes of England and Graves of

,
a Hous e h old no twit h standing all their h oneye d s wee tness

, ,
will no t be fo r g otten Henry Stebbin g wi th poe t ry as in , ,
Jesus and A Lon g Railw ay J ou rney c h arac t erized if a so n , ,
may testify by melody and hi gh th ou gh t

,
54
Ar c hbis h op
Tr enc h of a r ic h fancy as displayed in verse li k e J us tin
, ,
Mar tyr and t h e ballad of H ar m o s an E mily B ron t e

-
— one
of an ex traordinary trio of S is t ers— o n wh ose verse inspira
tion seems — as in The Visiona r y— always t o be w ai tin g t o
descend ; Ay t o u n c hr o ni cling w i th pic t u r esque solemni t y
,
t he B urial Marc h of Dundee and t h e Execution of Mon trose

Lord Lyt ton t h ou gh dramatis t r a th er t h an poe t and hi s
, ,
so n, Earl of Lytton aut h or of Fables in Son g and Kin g

,
P oppy Mrs Nort on scarcely less brillian t wit h h er pen

.
,
as in Th e Lady of La Garaye—th an socially t h e tw o

de Veres Sir A ubrey and A ubrey Th omas bot h romantic
, ,
spir its cont e nt to h ave been born too la t e o r t oo e a r ly ;

, ,
Ho r n e fl in g in g h is Orion at an unr e g a r din g public Ro bert

,
B uc h anan wh os e London P oems and B alde r t h e Beau t iful

,
S h o w poe tic insi ght ; Philip Jam e s B ail e y wit h Fes t us , ,
a po werful conception su ff ocated by stillborn accre t ions ;

Al e xand e r Smit h w it h popular ity of t h e Jo a g ou r d n h -
,
k ind t h e brot h e r s Fr e de r ic k T ennyson of Days and

, ,
Hours and C h a r l e s Tennyson T urner of t h e Sonn e ts e ac h

, , ,
re co gnized but not as yet j ustly apprecia t ed William

,
Allin gh am possess e d of a delica t e touc h for a ballad or sto r y

, ,
3 82 F I VE C EN T U R I ES OF ENGLI SH VERS E
-C ’
T reasury of Son g s and Sir A rt h ur Quiller ouc h s Oxfor d
,
—
B oo k of En glis h Verse eac h admirable Sometimes th e .
Volume s h ave brou ght one or ano ther lyric for th e fir st t ime
t o my notic e Oft en they have recalled excellence to my
.
recollection and r e fl ec t ion

, .
A ll students bot h past and presen t of poe tr y will a gree

, ,
t h a t t h e righ t to t h e t itle of po e t and po e try depends

on t h e possession by t h e candida te s of inspir ation Only .
,
t h e standar d for th at 9 Na t urally i t is a prop e r ty wh ic h

easily evades ordi na r y analysis fo r g e neral u se I n t h e .
fir s t place it is w onde r ful h o w g ood may b e ve rs e wit h

,
out be in g inspir e d h o w sincer e ly one g ene r ation may and ,
anot h e r fail to r e co gn iz e i t s pr esence A writ e r may h im

, .
s e lf conscien t iously believe in it s desc e n t u pon h is soul ,
y e t b e unabl e t o infus e i t in t o h is lin e s A mon g t h

. e
various ci r cumstances or acciden t s may b e found an , ,
e xplana t ion of a common lit era r y p h enomeno n I t is t h e .
f r e qu e nt h eadin g of c h ap t ers w it h lines no t in th e least

poetry and their i mpo r t a t ion in to th e t ext of int e lli gen t
,
prose B eyond doub t it is one of th e r e asons wh y true

.
po e ts mak e bad j udge s of t h e m e r it s of t heir o wn w o r k .
Also fr om th is on t h e ot h e r h and? and from analo g ous

, ,
caus e s a denial of inspira t ion to particula r pieces is open

,
almost to as muc h ques t ion in g A la t er g enera t ion may .
possibly re h abilit a t e as poe t s no t a fe w de ad nineteent h

c e n t u r y c e l e br ities Meanwh il e I r e j oic e t o t h in k poems
.
, ,
a t all even t s in fai r numbers h ave su r vived t h e las t cen t ury

, ,
and su r vive still .
Thus th ou gh t h e p e rmanent place of C hr istina Rosse tt i

,
—Dant e Gabriel ’s sis t er— is no t ye t decid e d list en t o Ec h o ,
and we may be sur e it will b e h onourable

C ome t o me in t h e sil e n c e of t h e ni ght
C om e in t h e s pe akin g S il e n c e of a d r e am
UNC LA SS ED 3 83
C om e wi th sof t r ound e d c he e k s and e y e s as b right

A S s unli ght on a s tr e am
C ome b ac k in te ar s
0m
,
e mo r y h o p e lo v e of fi n is h e d y e ar s
?7
, ,
Ponder th e cold calm bi tter s we e t of

,
-
Wh e n I a m d e ad my d e ar e s t
S in g no s ad son g s fo r me
, ,
Plan t th ou no r os e s at m y h e ad ,
N o r S hady c y p r e ss t r e e
B e t h e g r e e n g r a ss ab o v e m
.
W i th s h o we r s and d e wd r o p s w e t
And if th o u w il t r e me mb e r
, ,
And if th o u w il t fo r g e t , .
I s hall no t se e t h e s hado w s ,
I S hall no t f e e l t h e r ain
I S hall no t h e ar t h e ni ghtin g ale
S in g on as if in pain
,
And d r e amin g thr ough t h e twili ght

That do th no t r is e n o r se t ,
Haply I may r e me m b e r ,
And haply may fo r g e t ?8
Read fu r t her ; and an incli n ation t o fix for thwi th the

’
writer s r an k will h ave gro wn
D o e s t h e r oad wind u ph ill all t h e w ay
Y e s t o t h e ve r y e n d
, .
’
W ill t h e day s j our n e y tak e t h e wh ol e lon g day
F r om mo r n t o ni ght my f r ie nd
, .
But is th e r e fo r t h e ni ght a r e s t in g -plac e

A r oof fo r whe n t h e slo w d ar k h o ur s b e g in
, .
May no t t h e dar kn e ss h id e i t f r om my fac e 2 ‘
Y o u c anno t miss that inn .
S h all I me e t o the r wayfar e r s at ni ght 9

Th ose wh o have g on e b e fo r e .
Th e n mu s t I kno ck o r c all wh e n j u s t in si ght

,
The y will no t ke e p you s tandin g at that doo r .

S hall I find c o m f o r t tr av e l -so r e and we ak 9
Of lab our you S hall find t h e su m
,
Will th e r e b e b e ds fo r me and all wh o s e e k

Y e a b e ds fo r all wh o c om e
,
59
.
P at h os p e r h aps and pat h os is insidious Yet t her e is .
pat h os whi c h is j ust t h e bloom upon stren g t h a pat h os —

’
ot her th an Letitia B ar b auld s t h ou gh sh e wrote Life t h an
,
Fe licia H e m ’
an s s th ou gh sh e wro t e Graves of a House h old
, ,
’
a pat h os a kin to W ords wort h s wh en h e san g of Lucy ,
’
I s t hi s C hris t ina Ross e tti s ?
Som e t imes wh e n th e inspir a t ion is far fr om t h e rule w e
, ,
wonder wh y it wait e d on th is or t h a t particula r pie c e h o w ,
fr om t h e pil e of Wh itt ie r s well -in te n t ion e d tuneful star

’
, ,
’
le ss ve r se l e aps fo r t h J o hn B righ t s favourite S k ipp e r ,
’
I r e so n s a w ak in g to r e morse for th e dese r t ion of h is
brot he r fis h e rm e n in a tempest !
H e ar me n e i gh b o ur s at la s t h e c r i e d ,
What t o me is th is noisy r id e 9
,
What i s t h e s hame that c lo the s t h e skin

To t h e n am e le ss h o r r o r that li v e s w i th in
Wakin g o r sle e pin g I se e a wr e c k
, ,
And h e ar a cr y f r om a r ee lin g d e c k
H ate me and c ur s e me — I only d r e ad ,
Th e hand of God a nd t h e f ac e of t h e d e ad
S aid Flu d Oir so n fu r h is h o r r d h o r r t

, ,
’ ’ ’ ’ ’
T o r r d a n fu t h e r r d a n c o r r d in a c o r r t
’ ’
B y t h e w ome n 0 M o r b le e ad 7"
ode a g ain to a W aterfo wl—w as it bo r n in Bryan t s

’
Th e , ,
capabl e so ul or di d it fl oat to hi s p e n from t h e air aro und

, ,
a s far on hi gh t h e bird t o hi s S i gh t 9
, ,
’
Wh i th e r mids t f alli n g d e w
,
Wh ile glo w t h e h e ave ns w i th t h e la s t s te p s of day ,
F ar th r ough th e i r r osy d e p th s dos t th o u pur sue

Thy fs o lit ar y way 9
Ye t why sh ould h e wh o sh r i e kin g g o e s
W i th millions f r om a w o r ld of wo e s
, ,
R e union s e e k wi th i t o r th os e 9
Alon e wi th God wh e r e no wi nd b low s
, ,
And D e ath h is s hado w d o o md h e g o e s

,
— ’
,
That God i s th e r e t h e s h ado w sh o w s .
O h s h o r e l e ss D e e p wh e r e no wind b lo w s
, ,
And th ou o h Land wh i c h n o o n e kno w s

, ,
Th at God i s All H is sh ado w s h ow s

,
72
.
Eve ry r ead e r of Th e Lays of An ci e nt Rom e mus t fe e l

t h a t Macaulay lon ge d to b e a po e t Y e t t h os e r us hin g .
c hr onicl e s of h is whil e t h e y possess a h ost of ot he r mer its

, ,
h ave not t h e one h e covet e d mos t It is t h e mor e gracious

.
of t h e Mus e to h ave once pitied and re w arde d t h e w or sh ip ,
lea r nin g and yea r ni n g wi th a c h an ge of w at e r in t o win e

, ,
of sonorous r h e tor ic into h aun tin g po e t r y Th at c h a r ac t e r .
cannot b e d e nied to t h e pictu r e of fals e S e xt u s at t h e ‘
B attl e of Lak e R e gillu s :

Me ns aid h e saw s tr an g e visions
Wh i c h non e b e sid e mi ght se e ,
And that s tr an g e sounds w e r e in h is e ar s ,
Wh i c h non e mi ght h e ar b u t h e .
A w om an fai r and s tate ly ,
B u t p al e a s ar e t h e d e ad ,
O f t th r ough t h e w atc h e s of th e ni ght ’
S ate s pinnin g b y h is b e d .
And a s sh e pli e d t h e dis taff ,
In a sw e e t v oi c e an d low ,
Sh e s an g of g r e at old h o u s e s ,
An d fi ght s fought lon g ago .
S o s pun sh e an d s o s an g sh e
, ,
U n til t h e c ast w as g r ay ,
Th e n p oin te d t o h e r b le e di n g b r e as t
And s h r i e k e d :an d fle d aw ay ?
,
3
UNCLA SS ED 3 87
E n glis h litera r y h isto r y contai ns a fe w cas e s in whic h

a conside rable mind h as becom e inspi r e d and been cont e n t ,
wi t h t h e sin g le eff ort So it w as w it h Spanis h Blanco W h ite

.
in t h e add ress t o Ni gh t a thin g of tr u e p e nsive di gnity

, , ,
t h ou gh overpr aised by no l e ss th an in h is matu r ity Cole , ,
ridg e as t he fines t and mos t grandly conceived sonn e t in

o ur lan guage
Mys te r iou s N i ght whe n o ur fi r s t par e n t kn e w

Th e e f r om r e p o r t divin e and h e ar d thy nam e
, ,
D id h e no t tr e mb l e fo r th is lo v e ly f r ame ,
This glo r iou s c ano py of li ght and b lue 9

’
Y e t n e ath a c ur tain of tr anslu c e n t d e w ,
Bathe d in t h e r ays of t h e g r e at s e ttin g flame ,
H e s pe r u s wi th t h e h os t of H e av e n c ame
’
And lo C r e ation wid e n e d in man s V i e w
Wh o c o uld hav e th ought su c h dar kn e ss lay c on c e al e d
W i th in thy b e ams 0 S un o r wh o c o uld find
! , ,
’
Whilst fly and le af and ins e c t st ood r e v e al d
That to suc h c oun tle ss O r b s th o u mad st u s b lind 9
, , ,
Why do w e the n shun D e ath wi th an xiou s s tr if e 9

, ,
I f Li ght c an thu s de c e i v e wh e r e fo r e no t Li f e
,
9 74
A mor e o r di na r y e xp e rience is fo r a sub j ect of in spiration

to r e lax t h e spi r itual ten sion whic h p r oduc e d it t h an to
’
stop ve r sifying . P r ae d s fancy conceive d in t h e R e d
’
Fis h erman muc h mor e t h an a h appy j e u d e spr i t It is .
a fin e st r ain in whi c h Satan is desc r ibe d as an gli n g wit h

,
bait of State int r i gu e s fo r a saintly C h u r c h man Th e .
brilliant wr iter of ve r s d e so ciét e mi ght h ave de ve loped

i n to a t r u e poet h ad t h e n e xt t we lve ye a r s of h is
S ho r t life n o t b e e n w asted upon P a r liam e nt Th ou gh .
h e ve r sifie d still h e ca r r ied t h e h oo k of politics to his

,
gr ave
T h e r e w as tur nin g of k e ys and c r e akin g of lo c k s
, .
A s h e stalk e d away wi th h is i r on b o x .
B b 2
Oho Oho
Th e c o c k do th c r o w
It is t ime fo r t h e Fish e r t o r is e and g o
.
F ai r luc k t o t h e Abb o t fa i r lu c k t o t h e S h r in e
,
H e hath g n aw e d in twain my c h oi c e s t lin e

Le t h im S wim t o t h e no r th le t h im s wim t o t h e so u th
,
Th e A bb o t will c ar r y my h oo k in h is mouth 7 5
Hartley Col e ridg e wit h a t rue poe t ic ins t inc t h ad also

, , ,
as it we re a mo r tg a g ed in h eri t anc e t o red e e m B ut fo r

, .
lac k of will h e h ad e ar and ima g ina t ion t o becom e wh at

,
me t ap h ysical t heolo g y h ad induc e d his marve llous fa th e r

to ceas e to be A s i t is it may be h op e d th a t h e w ill b e
.
,
remembered for more t han o n e or tw o c h a r min g son gs

Sh e is no t f ai r t o o utwar d vi e w
A s many m aide ns b e .
H e r lo v e lin e ss I n e v e r k n e w
Un t il Sh e sm il d on m
’
e
O h the n I saw h e r e y e wa s b r i ght ,
A w e ll of lo v e a spr in g of light
, .
But no w h e r loo k s ar e c oy and c old ,

’
T o min e th e y n e e r r e ply
,
And y e t I c e a se no t to b e h old
Th e lo v e -li ght in h e r e y e
H e r v e r y f r o wns ar e f ai r e r far
,
Than smil e s of o th e r maid e ns ar e ? "
I s h ould g rieve t o t hi n k th at not hi n g else is left fr om

t h e w ork of t h e g enerous soul of Monc kt on -Miln e s ; bu t
~
a s h ado w must r emain

The y s e e me d to th os e wh o saw the m m e e t
Th e w o r ldly f r i e nds of e v e r y d ay
H e r smile wa s undi s tur b e d and s we e t ,
H is c our te sy wa s f r e e and gay

.
’
But y e t if o n e t h e o th e r s n am e
I n som e un guar d e d mome n t h e ar d ,
Th e h e ar t yo u th ought so c alm and tam e ,
W ould s tr u ggl e li k e a c ap t i v e b i r d
Fr om y our c lo ve r s lif t t h e h e a d
C ome u pp e J e tty follo w follo w
, , ,
J e tty to t h e milk in g s he d
,
75
.
”
Poetry is no t always ser ious I t can play D ur in g t h e . .
ninet e ent h centu r y as ea r lie r it was us e d for polit ical sati r e

, ,
and pastim e — frequ e n t ly by writ e r s of dis tin ction in ot h e r

’
fi e lds Ear ly examples are Classic Cannin g s Fr i e nd of
.
Humanity wh ic h once an y sc h oolboy w ould h ave b e en

,
as h amed t o b e unable to r e p e at
N e e dy k nif e -g r ind e r wh i the r ar e yo u g oin g 9
t h e R e j e cted A ddress e s th e no less famous I ng oldsby
,
’
Le g e nds Hood s verse as h umoris t and lat e r a wr e a th
, , , , ,
of ballads fr om t h e h er oic one on Littl e B ille e to t h e

,
—
d e scription of a Me di t e rranean gal e April lau ght er not ,
—
w i th ou t a t ear h er e and t he re b y Th ac ke ray
And wh e n i t s fo r c e e xp e nd e d
, ,
T h e har ml e ss s to r m w as e nd e d ,
And as t h e sun r is e s pl e ndid

,
’
Came b lu sh in g o e r t h e se a
I th ought as day wa s b r e akin g
, ,
My li ttl e g i r ls we r e wakin g ,
And smilin g and makin g

A p r ay e r at h om e fo r me
,
9 7
.
’ -
Ot h ers are by S hi r l e y Br oo k s P unc h s poet laureate of ,
Wit and H u mour ; by C h ar les S t uart Calve r l e y th e br il ,
liant fl as h es of a sub t l e wi t whi c h h e s tyled Ve rses and

’
Tr anslations and by Le wis Carroll in t h e fantasia Th e ,
‘
’
Hunt in g of t h e Snark A bout mid w ay in t h e numb e r
.
of wr iter s bo th in birt h and dea th comes Dean Mans e l

,
'
,
wit h th at pr odig y of bitin g sat ir e sc h o lar ly vi r ul e nce and

, ,
m e lody too Phr onti st e r ion H e re is its Hymn to t h e

,
.
In fini t e by t h e full Ch o r us of Cloudy Pr ofe ssor s

UNC LASSED 39 1
Th e v oi c e of yo r e ,
Wh i c h t h e b r e e z e s b o r e
’
Wailin g alou d f r om P ax o s s ho r e ,
I s c han ge d to a gl add e r and li ve li e r str ain ,
F o r g r e at God Pan i s ali v e ag ain ,
H e li v e s and h e r e i gns on c e mo r e
,
.
Wi th d e e p in tui tion and mys ti c r i te

We w o r s h i p t h e Ab solute -I n fin ite
T h e Uni v e r s e —E g o t h e Pl e n ar y—V oid
,
, ,
T h e sub j e c t -O b j e c t id e n t ifi e d ,
Th e gr e at N o thi n g -S ome thin g t h e B e in g - Th ought

That mo uld e t h t h e ma ss of C hao ti c N ought
, ,
Wh os e b e g innin g un e nd e d and e n d u nb e gun

I s t h e On e that is All and t h e All that is On e .
Hail Li ght wi th D ar kn e ss j oin e d

Th o u P o te n t I m po te n c e
Th ou Quan ti tative P oin t
O f all I ndi ff e r e n c e
G r e at N on -E x is te n c e pa ssin g in to B e in g
, ,
Th o u tw o -fold P ol e of t h e E l e c tr i c On e ,
Th o u Lawl e ss L aw th o u S e e r all Unse e in g

, ,
Th ou P r o c e ss e ve r doin g n e v e r don e
, ,
Th o u P osi t i v e Ne gat ion

Ne gat iv e Affir m ation
Th ou g r e at T o tali ty of e v e r y thin g ‘
That n e v e r i s but e v e r do th b e c om e
, ,
Th e e do we sin g
’
Th e Pan th e is t s Ki n g ,
W i th c e a s e le ss b ug b ug bug and e ndle ss hum

, , , ,
hu m hum ,
?"
A wonder ful tour de force by a t hin ke r no t an h abi t ual ,
ve r s e -wr iter over po werin g and t oma h a wkin g Le t me .
temper i t wit h a de li gh tful fl o w of fancy by one who li ke ,
a cont empora r y anot her gr e at master in roma n ce mi ght

, , ,
h ad h e so elec t e d h ave been reno w ned c hi e fl y as a poe t

,
Wh e n at h ome alon e I s it
And am v e r y ti r e d of i t ,
I hav e j u s t t o shut my e ye s
T o g o s ailin g thr ough t h e ski e s
T o g o s ailin g far aw ay
T o t h e p le a san t Land of Play ,
T o t h e fai r yland afar

Wh e r e t h e Li ttle Pe o pl e ar e ;
Wh e r e t h e c lo ve r -to p s ar e tr e e s ,
And t h e r a in -p ools ar e t h e s e a s ,
And t h e l e ave s lik e li ttle s h i p s

S ail ab o ut on t iny tr i p s
And ab o ve t h e daisy tr e e
Thr ough t h e g r a sse s ,
’
H i gh o e r h e ad t h e Bu m b l e B e e
B u rn s and pa ss e s .
Thr ough that fo r e s t I c an pa ss

T ill a s in a loo k in g -gl ass
, ,
H u mmin g fl y and d aisy tr e e

And my t iny s e lf I se e ,
Pain te d v e r y c l e ar and n e at
On t h e r ain -p ool at my f e e t .
S h ould a l e afl e t c om e t o land
D r if tin g n e ar t o wh e r e I s tand ,
’
S tr ai ght I ll b oar d that t iny b oat
R ound t h e r ain -p ool se a t o fl oat .
Li ttl e th o ughtf ul c r e atu r e s si t

On t h e g r a ssy c oa st s of i t
Li ttl e th in g s wi th lo ve ly e y e s
Se e m e s a ilin g wi th s u r p r is e .
S ome ar e c lad in ar mour g r e e n

Th e s e have sur e t o b attle b e e n
’
S om e ar e p i e d wi th e v r y h u e ,
B lac k and c r imson gold and b lue

,
S ome hav e win g s and S wif t ar e g on e

But th e y all loo k kindly on .
Wh e n my e y e s I on c e again
O p e n and s e e all th in g s pl ain
H i gh b ar e walls g r e at b ar e fl oo r
,
G r e at b i g k no b s on d r aw e r and doo r ;
And
Wh o f e ar s t o s p e ak of Nin e ty -e i ght 9
Wh o b lu s he s at t h e n am e 9
’
Wh e n c o war ds mo c k t h e patr io t s fate ,
Wh o han g s his h e ad fo r s hame 9

’
H e s all a kn av e o r ha lf a sl av e
, ,
Wh o S li ght s h i s c oun tr y thu s

But a Tr u e man li k e you man
, , ,
W ill fill your gla ss wi th u s

A t leas t as oft e n in t h e paus e s of fir e and ire is h eard a no te
some times of pa th os as fr om
,
Th e b e lls of S handon
That sound So g r and on
Th e p l e a san t wate r s of t h e r i v e r Le e
’
som e tim e s of g ay casuis tr y by a lover ar gu in g th a t

’ ’
Two uld s ave u s so mu c h b o th e r wh e n w e d b o th be one ano th e r
So lis te n no w t o r e a son Molly B r i e r l e y
, .
’
0 I m no t mys e lf at all
or a rap t urous desc r ip t ion of t h e Groves of B larney , w he re

’
The r e S s ta tue s g r ac in g th is no b l e plac e in
All h e ath e n g ods and nym p h s so f ai r ;
B old Ne p tun e Plutar c h and Ni c ode mu s
, , ,
All s tandi n g n ake d in t h e o pe n air 99
I t h as be e n a me lan c h oly d uty if in e vitable to pass in

, ,
r evie w w or k by a company of S in g ers wh en th eir t urns

,
a r r ive only after de at h A t l e ast t h ere is some sat isfac

.
~
tion in th e lapse of a su fficie nt interval t o be entitled to

conclude t h at som e par t of t h e to t al ou tlives a grave .
Of wr it e rs wh o h ave de parted in t h e fe w years of t h e

pres e nt cent ury no more can wit h righ t b e s t a te d t h an
t h e e ff e ct the i r successive volume s p r oduced as t hey
appe a r e d All t h at Henley s and Lan g s ver s e ev e r s e e me d
.
’ ’
UNC LASSED 395
to r e qui r e was t h e creation of a su fficient public e ducat e d

’
to r e ad bet ween t h e lines Th e publication of Lan g s .
X X II B allades in B lue C h ina w as I r emember an e ve n t , ,
for acade mical cir cl e s Th ey ar e no t forg ot t en no w

. .
’
He nley s po e ms h ad a simila r success ; and not a fe w of
t h em also— for ins t ance En gland ! My En gland ! and
,
—
M ar gar it as Sor ori are remembere d Th e i r d e fe c t w as in
.
inability to p e net r a te and h old avera ge int elli ge nces ,
as in g e neral and fo r permanenc e of imp r ession

, ,
must Y e t Edwin Arnold—wi t h Th e Li gh t of A si a and

.
Le w is Mo r r is— w it h Son g s of Two Wo r lds a i d Th e Epic

poe tr y ,
—
—
of Hade s if failu r e c an be nam e d in connexion wit h
myriads of admire r s—missed t h e mor e r e fined and select
appreciation e ac h cove ted most Gilb e r t won bot h classes .
wit h h is B ab B allads and h is eve r green dr amas Alas fo r

, .
t h e spa r k of genius in Davidson w it h h is Fleet S treet ,
Eclo g ue s and B allads and Son gs wh ic h might h ave b e en

, ,
fanned into a fl ame h ad it not b e e n almost lit e rally starved .
As for Alfr ed Lyall t h e spl e ndid admi nist r at or t h e sa g a

, ,
c io u s co u nsellor t h e e minent bio g r ap h e r not hi n g mi ght b e

, ,
t h ou gh t to be w antin g to h is ca r ee r bu t fo r a conf ession

by hi mself Read a pie ce wh ic h is inspi r e d and it seems
.
to su ggest an in te llec t ual re gr e t T oo L at e —p e r h aps ,
for son g s uns un g—e ven deep e r t h an at sequestration in

t he Far East fo r t h e best part of a l ife tim e from En glish
socie ty air ambitions and car e s
, , ,
Wh at far -r e ac hin g Ne me sis s tir r e d h im

F r om h is h ome b y t h e c ool of t h e se a 9
Whe n h e l e f t t h e fai r c o un tr y that r e ar e d him ,
Whe n h e le f t h e r h is mo the r fo r the e

, , ,
Th at r e s tl e ss dis c onsolate w o r k e r
,
Wh o s tr ains now in vain at t h y n e t s ,
0 somb r e a nd sul tr y N o v e r c a
0 L and of R e g r e t s
Ha s h e le ar n t h o w th y h onour s ar e r ate d 9
Ha s h e c a s t h is acc o un t s in thy s c h ool 9
W i th t h e s wee t s of auth o r i ty s ate d ,
W ould h e g i ve up h is thr on e t o b e c ool ?

D o th h e c ur s e o r i e n tal r oman c in g ,
And w is h h e had t oile d all h is day ,
At t h e B ar o r t h e Bank s o r fin an c in g
, , ,
And g o t da mn e d in a c ommon plac e way 9 59
B ut let me hast e n to close t h e n e crolo g y of t h e Unclassed

— alr e ady ove r cr o wded — wit h a nam e illus t rious as many ,
in my surve y in anot he r d e pa r tmen t of l e tters Georg e

,
.
Me r e di th fo r t h e w o r ld a t large whe n it di scovered hi m

‘
aft e r t w o -t hi r ds of an e n e r ge t ie ca r e e r as t e ac he r and ,
p r e ac he r w as a nove list n o t under s t ood but pr ized

, , , .
B e fo r e h e died it h ad be e n ba r e ly aw are th at h e wrot e

ve r s e I t tr eat e d t h e li t tle i t r e ad as an ecc e n tr ic diver
.
sion of hi s l e isu r e Even no w t o mos t of hi s public i t is

.
a surpris e t h at h e h as lef t b e hind him a collec t ion of

poems Y e t any stude nt of hi s pros e wr itin g s t h ou gh
.
,
wi thout kno wl e dge of hi s bio grap h y mus t feel h e con ,

’ ’
s id e r e d it h i s soul s vocation to b e a poe t s He is not .
to b e j ud ge d by pieces li ke th a t ou t burs t J ump to ,

‘
Glo r y J an e
, The y w er e accide nts of sudden impulse .
Really h e is a po e t -th ink er of Na t ur e a t onc e h e r stud e nt

, ,
pr iest and prop h e t H e w as ever w a t c hin g lovin gly h er

, .
move me nts and t hos e of h e r wild c hildr en wi th kee ner e yes

, ,
even th an th os e h e b e nt on Man fo r t h e purposes of fiction .
I t mi ght be t h e la r k a t da wn be ginn i n g to round and

, ,
dr oppin g
Th e silv e r c h ain of so und ,
Of many lin k s w i th out a b r e ak ,
I n c h i r r u p whis tle slur and s hake

, ,
54
or , aft er sunse t
t h e c u r v e s of t h e wh i te o wl s w e e p in g
W avy in t h e du sk li t b y o n e lar g e s tar 95
possible to bo r ro w as ve h icles for mer e counterfe its of poetic

sensibilit y and insi gh t T ests by wh ic h suc h t rappin gs may .
be dis tin g uis he d fr o mreal fl e s h an d blood and soul ou gh t , ,
to be we lcom e Tw o I b e lieve fe w pr et ender s can pass

.
, ,
'
succ e ssfully ; and t h e application of t h e pair is not so d ifli c u lt
as mi ght be supposed Th e firs t is t h at th e wor k i t self .
b e r e quired to ans w er wh e th er it h ave insis t ed on bei n g

writ t en Th is may app e a r to be an a tt emp t t o ex t ort
.
e vid e nc e of g u ilt by to r t u r e I t mi ght b e if ve rse r e sembled .
sp e e c h in ot h er colloca t ion s R e ally i t i s as h a r d to compel .
wo r ds to S imulate inspir ation as to h ave it Th e s e cond .
r e quisition s h ould be simple e nou gh t h ou gh to j ud ge by , ,
o r dinary cri t icism th e impedi ments t o complianc e wi t h it

,
ar e eno r mous For proof of poe t ical m e ri t r e g ar d t h e hi ghest

.
’
an d best in a write r s ac hi eve m e nt We advanc e no t one .
st e p t o w a r ds kno wled g e wh e th er a man h ave poetry wit hi n

h im by d we l lin g on hi s failur e s folli e s o r dullnesses His , ,
.
ave r a ge p e r fo r manc e its e lf d e monst r at e s li t tle or no th in g .
O n ly t h e e xt r e m e r e ac h of h is t h ou gh t ide as and fire tells , ,
us au gh t Find Ve r se t o h ave produced on comp e t e nt

.
r e ad e r s a f e e lin g t h at th ou ght and emotion h ave e n forced
ventilation of t hemselve s in w o r ds th a t t he y ar e r e solve d

to breat he to be s u n g also t h at a mon g any amount of
, , ,
inf ior matter the r e is an inspir e d par ticle

e r ,
— and da r e to
d e ny t h at in t h e aut h o r t h e r e is t h e ma k in g of a po e t
1
R ale gh Th e Lie st 2 Wor ks O x for d 1 820 ( Po e ms ) v o l vi ii
, ,
. .
, ,
. . .
9
I d An E p it ap h u p on Sir Phili p S idn e y st 1 1
.
,
I bid ,
. . .
9
I d T h e P ilgr imag e
.
, I b id . .
4
Wotton T o His M istr e ss t h e Q ue e n of B ohe mi a S tan z as l 3 4
, ,
.
, ,
.
R e liq u i ae Wo t t o n i an ae 1 685 , .
5
Nic hol as B r e ton (A Swe e t Lullab ie ) stanz as 2 4 Ar b or of Amor o us , , ,
D e vic s Wo r k s e d A B G r o s ar t 1 879
e .
, . . .
, .
5
B ac o n T h e B u bble R e li q ui ae Wo t t o n ian ae
, . .
U NC LA SS ED 399
7
T D e kke r H Che ttle an d W Haughton Th e Ple as an t C ome d y of
.
, .
, .
,
Patie nt Gr issil S hake s p e are S oc ie ty 1 84 1

.
, .
’
9
Th e D uc he ss of M alfy B o s o la s S ong Ac t i v Sc 2 Wor ks of John , , , . .
We bste r e d Ale x D yc e ,
. . .
9
C up id an d D e ath M asqu e Od e 1 653 J ames S hir le y D r amatic , .
, .
,
Wor ks an d Po e ms e d W G iff or d an d A D ye r , . . . .
Th e C onte ntion of Aj ax an d Uly ss e s

1 "
Dr amatic Ente r tainme nt .
,
S ong J ame s Shir le y i bid

.
, .
11
Ale x ande r an d C amp as p e Jo hn Lyly D r amatic Wor ks e d F W .
, , . . .
F a ir h o lt .
19
E uph ue s G olde n Le gacie Thomas Lodge
R o s aly n d e , . .
19
D isdain R e tur ne d st 1 Th e Poe ms of Thomas Car w cd Ar th u r ,
. . c , .
( Th e M use s Li br ar y )
’
Vi n c e nt . .
1 4
T h e B r ok e n He ar t S ong B e yond t h e r e ac h of Ar t John F or d .
, .
,
\ Vo r k s e d W G iff or d an d A D y e r
, . . . .
15
Thomas C amp ion st 1 F our th B ook of Air s 1 6 1 7 R ic har d , . .
, .
’
Alison o r Allison An Howr e s R e cr e ation in M usik e 1 606 ( Anon
, .
, . .
,
Th e G olde n Tr e as ur y F T P algr ave N o , . .

, .
( 9 C ome dy by T B ) s t 3 Anon
15
. . .
, .
17
Sir W illi am D ave n ant Au b ad e , .
19
G Withe r st 5 S e le c t Lyr ic P o e ms
.
, .
, .
1 9 — ’
An Exc e lle nt N e w B all ad t o t h e tun e of I ll ne ve r lo ve the e mo r e
by Jame s M ar q uis of M ontr os e M e moir s of M ontr ose by M ark N ap ie r .
, .
9 "
Sy r C au lin e Se r 1 B ook i 4 R e liq u e s of Anc ie nt Englis h P oe t r y
, .
, , .
,
by B is ho p ( Thomas ) Pe r c y .
91
T h e Anc i e n t B allad of C he vy C h ase I bid Se r 1 B ook i 1 . .
, .
, , .
99
Willi am Dr ummond o f Hawthor n de n S o ng I I Po e ms E d . . . .
W C War d ( T h e M u se s Li br ar y )
. . .
’
.
99
T h e B attle of O tt e r b ou r n e ( T h e Sc ott is h V e r sion ) st 1 9 Walt e r , . .
Sc ott s M instr e ls y of t h e Sc ott is h B ord e r

’
.
5‘
Sir P atr ic k S p e ns I bid . .
95
Willi e s D r owne d in Y arr ow stan z as l 2 3 8 1 0 1 1 pp 25—7
’
, , , , , , , . .
Sc ott is h S on g e d M ar y C ar lyle Ai tke n .
T h e D owi e H o um
.
,
95
s of Y ar r ow Sc ot t s B o rd e r M instr e ls y
’
.
,
s t a z as 3 —
n 4 .
97
F air He le n I bid st anz as 6 8 1 0 . .
, , , .
99
L ad y Anne s t 8 I b id , . . .
99
E ar l R ich ar d I bid . .
9 "
T h e D ae mon Lo ve r I bi d . .
91
J e llo n G r ame I bid . Y oung B e n j ie I bid .
99
. .
99
T h e C r u e l S iste r ( B in n o r ie O B in n o r ie I bid ,
.
94
Th e s M ar ie Sc o tt s B o r d e r M i str e lsy s t 1 8
Qu e e n
’
.
’
n , . .
95
E dwar d E dwar d A Sc ott is h B allad Fr om a M S c o p y tr ans
, . . .
mitt e d fr om Sc otland Ser 1 B ook i 5 Pe r c y s R e liqu e s ( I h ave

’ ’
. .
, , , .
some what anglic iz e d t h e S pe lli n g in Pe r c y s c o p y )

’
.
95
Anon Sc ottis h R ive r s Sir Thom as D ick L aud e r
.
, .
( Sc ott s B or de r M instr e ls y ) W M o t h e r w e ll s
’ ’
97
T h e Tw a C o r b i e s . . .
ve r sion M instr e lsy An c ie nt an d Mode r n var ie s

, , , .
T h e Loc hm ab e n H ar pe r ( Sc ott s B or de r M ins tr e ls y )

99 ’
. .
9 "
Jos e p h Addison ( Jo hnson s Poe ts vol xxx )
’
.
, . .
’
45
D r Th om as P ar n e ll S on g
.
( Johnson s Poe ts vol xxvi i ) , .
, . .
41
A Cr adle Hymn D r I s aac Watts M or al S on gs ( John son s ,
’
. . .
Po e ts vol lV i stan z as l 3 6 7 8 1 0 l l
, .
, , , , , , , ,
’
49
Wr itt e n at an Inn at He nle y st 5 S he nston e L e vit ie s ( Jo hnson s , . .
,
Poe t s ) .
45
T h e V anit y of Hu m an Wis he s .
44
On t h e D e ath of M r R o be r t Le ve t a Pr ac tise r in Physic s t 2 .
, , . .
45
Am br ose Phili ps— T o M is s C har lotte Pulte n e y in h e r M othe r s ,
’
’
Ar ms M ay 1 1 724 ( Johnson s P oe ts )
, , . .
45
S ally in o ur Alle y st an z as 1 an d 4 He n r y C ar e y P oe ms , .
, .
47
Chr ist ophe r Sm ar t A S on g t o D avi d st 5 Wor ks an d Life 1 79 1 .
, . .
, .
49
R B r ownin g P ar le y in gs with C e r t ain Pe o p le ( Chr ist o phe r
. . .
S mar t ) 3 vi , , .
1 9
‘
John Logan Od e t o thc C u c k o o s tan zas 1 6 Sc otti sh S n g e d
.
, ,
. o , .
M ar y C ar lyle Aitk e n .
5"
T h e F lowe r s of t h e F o r e s t J an e Elli ot ( Sc ott s B or d e r M instr e ls y )
’
. .
51
Auld R o b in G r ay L ad y An n e B ar n ar d ( Linds ay ) Live s of t h e .
,
Linds ays vol ii , . .
’
59
C alle r He r r i n L ad y Nair n e Poe ms with M e moir e d Char le s
. .
, ,
.
’
R oge r s 1 869 , . T h e L and o t h e L e al I b id 55
. .
54
C an adi an B o at S on g ( se e le tte r fr om G M F r as e r Time s Lit e r ar y . .
,
S u pp le me nt D e c 23 1 904 whe r e it is me ntion e d th at t h e song h as b e e n

, .
, ,
attr i b ut e d vari o u sl y t o P ofe sso r Wils on Lo c kh ar t Joh n G alt an d Lo r d r , , ,
E glint on ) .
55
O n an Inf ant D y in g as S oon as B or n Ch ar le s L am b Po e t . . .
Wor ks Bo h n 1 84 1
.
, .
55
He ste r I b id . Th e O ld F amili ar F ac e s
. I b id 57
. .
T h e F allin g Le af Th e Poe t ic al Wo r ks of J ames M ontgome r y

55
. .
59
T h e Wif e a -lost s t an z as 1 2 4 P o e ms of R u r al Life — in t h e D o r s e t .
—
, , ,
D i l c t b y Willi am B ar ne s S e c ond c olle ction

a e . .
A D ir ge Thomas Lo ve ll B e ddo e s Po e t ic al Wo r k s Ed E dmund

7
5"
. . . .
G o sse . 1 89 0 .
C O N C L U S I ON S 9
FR O M my fir st to my la t e st wo r ds on Ve rs e wh ic h is
poe try t h ou gh it may b e wit h out a po e t I h ave h ad in my
, , , ,
min d t w o qu e stions Consciously o r unconsciously I h ave

.
‘ ’
be e n ask in g mys e lf : W h at t h e n is P o e t r y ? and W h at , ,
ma k es a Po e t ? I am unabl e to ans we r t he m y e t to my
o wn e nti r e satisfaction .
I can enumera t e t h e qualities whic h singl e or s e veral , ,
neve r all to ge t he r u n le ss p e r h aps in o n e super h uman cas e

, ,
I myself find in En g lis h ve r se Fancy and I mag in a t ion .

,
Fo r m —o r Style State lin e ss P assion Ch arm Myst e r y , , , ,
P at h os A tmosp h er e and Spontan e ity S h are amon g t hem

, ,
wh at e ve r po e t r y is in my j udg ement entitl e d to be called

, ,
gr eat I ma gin ation and Fancy stand foremost I mag ina

.
tion conductin g t h e pr oc e ss e s of r e cons tructin g an t ic ip at

, ,
in g prop h esyin g ; se t tin g Fancy in motion ; Fancy wh et h er

, ,
inde p e ndently or aft er I ma g ination h as don e its wor k and

, , ,
S ome times be for e se e in g t hi ng s under a c h anged asp e ct t h e

, ,
old as if t h ey we re ne w .
Th e absence of Fo r m is more readily no te d th an its

presence W h en th e dis t in g uishi n g c h aract e r istic as of
.
,
B en J onson as po e t of H e r r ick W aller Suc klin g an d

, , , ,
Lo velace it is a lmost identical wit h S tyl e

,
I t implies S e lf .
r e straint and Res e rve Frequ e n t ly i t h as th e h appiness

, .
t o be associa t ed wi th too muc h of gr ande u r for it to b e

’
s in g l ed out as t h e wr it e r s bad g e Yet a po e t may b e .
illustrious wit h out it for Words wo r t h is .
S t a t elin e ss and P assion necessi ties sometimes are oft en, ,
o u t of place W e w ant no finer example of t h e former

.
t h an P a r adi se Lo s t and no w orse t h an Ni gh t Thou ght s

,
.
CONC LUS I ONS 9 403
Fo r Pas sion t a ke S he lle y S wi n b ur n e A t t h eir b est t h e y

, .
exemplify t o p e rfection t h e s e lf -abandonm e nt t h e ecstasy , ,
whi c h is t h e t r iu mp h of poe t ic art .
Ch arm in po e tr y eve r y one fe e ls none can e xplain I t ,

.
’
alte rs it s h ues to eac h r eader s e ye s Analys e it and the .
,
’
h and grasps air It comes at nobody s be c k and call not
Com m
.
’ ’
e ve n Milton s o r S h ell e y s . only by no means alw ays , ,
it t urns i t s bac k upon Wo r ds wo r t h I t will no t be part ed .
from He r ric k and Kea t s .
Mystery is a rare visit an t and welcome o nly wh en r are

,
.
It is amon g t h e distinc t ions of C hr is t ab e l I t is t h e glo r y .
’
of We bst er s we ir d e xecution -dirge of Sco t tis h Ed war d ,
’
Edw ar d of Sydney D o b e ll s Keit h of R av e lst o n I t is .
’
Edga r A llan Poe s prime en g ine and hi s Evi l Genius , .
None can spea k of P at hos as any lon g er Sh y and r e tirin g .
Of old i t w as lit t le used No t unkno wn amo n g t h e.
Eli zabe th ans i t w as wi th th em far fr om h abitual I n later

,
.
days i t is its absenc e whi c h would be r e mark able B ot h .
wri t e r and critic ar e ap t to find i t a dan g erous snare .
Th ey are liabl e t o be br ibe d by it to accep t t h e ir o wn

e -
h art be ats fo r music of t h e sp h er es I h op e I h ave .
alr e ady su fficien tly w ar ned my readers th at t he y ar e free

to discount my p r aises of ve r s e wheneve r t h ey th emselves
are inclined to s h ed a t ear ove r it In a po e t to aim a t .
pat h os sc h em e fo r i t is c r iminal
, , W he n it co mes it .
s h ould com e as an incide n t not as t h e motive o r calcula ted

, ,
’
r e su lt
. In gr e at po e try as W ordsw o r t h s it steals forth
, ,
’
almost as it w e r e a g ains t t h e poet s will
, , .
I h ave l e ft to t h e e n d a couple of quali t ies whi c h ar e not

s o muc h s e parate prop e r t i e s of po e t r y as con di t ions o r
stat e s of it Eac h I re g ard as exceedin gly precious Wh en

. .
w e ar e not s ur e t h at w e h ave lea r nt fr om a poem all w h ic h

is to b e l e a r nt t h at we h ave fe lt all whic h i s to b e felt
, ,
O C 2
4 04 F I VE CEN T UR I ES OF ENG LI SH VERS E
wh en w e suspec t th a t it h olds in reserve for us deli ghtful
possibili t ies th a t i t h as en t ered into us and t h a t w e ar e
, ,
.
in spiri t ual un i son wit h i t— th en and t here I reco g niz e

A tmosp h ere It i s not a be g inni ng or basis but a r e s ult
.
,
.
Wh en t h e feas t is over a box of spik enard i s bro k en and

’
a fra gr ant vapour e nve lops all B la k e s ve r s e fl oa t s in
.
’
A tmosp h ere So does Kea ts s Eve of S t A gnes So . .
Christab e l Th ere is A t mosp h ere in Ho gg s K i lm

.
’
. en y .
’
I fin d none in Campbell and li t tle in Sco tt s o wn verse, ,
th ou gh abundanc e in hi s B o r der Mins tre lsy .
Ak in to i t I suppos e t h ou gh t h e stat e is as h ar d t o
, ,
’
d e scribe as A t mosp h er e is every s u prem e poet s and ,
’
poem s s tran g e po we r sudde n ly to Open fres h so ur ces in
brain and h e a r t Forthwi t h issues a fl ood of fe e li n g as
.
ma gically s w eet to reader as to wri t er A mere v e r sifie r .
may g o up and do wn S ink in g w ells e verywhere H e tor

,
.
t ures th e dept h s of t h e soil Th e entire reg ion remains for

.
hi ma deser t a Sa h ara Th e poe t comes wit h hi s willo w

, .
b ou gh and sprin g s g us h fr om t h e solid roc k to meet t h e

divining rod as it be nds I t is a r eal g ift lik e t h e spell
.
, ,
t h e touc h on h uman eyes whic h u sed to reve al t h e c c ,
e xistenc e w it h t hi s eart h y w o r ld of o urs of actual Fairy
land I h ave named t h e condi tion for w ant of a b e tt e r

.
w ord Spon t an e ity for i t s e ff ects h ave no man ifes t cause

, .
R e ally spon t aneous g enera tion is as un kno wn in poet r y as

in p hysics Fancy so ws t h e g erms and for g e t s whe re
.
,
.
They whe n sprun g -u p remember and after w anderin g

, , , ,
a w ay r e turn as bir ds t o th eir nes t in g -places Nobody

, , .
can tell th e precis e na tur e of th e ag en t wh e the r it be ,
a t hi n g or a po we r a mode of action an asp e c t of some

, , ,
t hi n g e lse I t roams abou t th e re alm of poetr y lendi n g

.
,
i t self out t o thi s or t h a t separate quality Pomp at it s .
to u c h b e com e s ma j es ty C h arm ris e s everywh ere lik e

.
,
406 F I VE CEN T U R I ES OF ENGLI SH VERSE
born of t h at time Th e taste and fashi on of t h e period

.
may h ave c h an ged and been for g ott e n Th e spirit if ever .

,
it wer e real and sincer e w i ll t h ou gh tin ge d wit h t h e colours

, ,
of its age con tin u e to live in lit e r a t u r e I t may even bu r st

, .
an e w into fl am e I f t h e per iod as a wh ole or any di s tin ct

.
,
stratum in it a ccept e d as i t s voice a poet it h ad formed

, ,
h e w ill r e main a voice t h ou gh ec h oin g fr om a w ildern e ss

, .
I n any e ve nt h e and th e public wh ic h once lis t ened to h is

music will h ave h ad to a larg e e xt e n t a commun ity of sou l .
B acon h as b e en a r g umen t a t ively fabled to be t h e actual

S h ak espeare Th e fancy w ould h ave been more plausibl e
.
,
if h e h ad b e e n d e scrib e d as a collabo r a t or Th en the re .
w ould b e t r ut h m it but only a fr action of t h e t r ut h

, He .
must s h ar e t he fe llo wsh ip wit h Ralegh and Dr ake Ess e x , ,
t h e C e cils t h e wits of t h e Mer maid Sidney Spense r t h e

, , , ,
- i
buccan e e r ma n r s of Devo
r e n — w it h t h e e ntire a wa ke ned
nation All we r e to g et h e r j oint au thors wi th S h a kespeare
.
of t he P lays and of many a famous po e m fo r a h alf -c e n tu r y

,
b e side s Every aut h or mo r e o r less a po e t most of all

.
, ,
r e p r e sen t s h is e n v i r o ni n gs Th e c h ar ac t e r of po e t r y alw ays

.
d e p e n d s larg ely upon t h e p e rsonal ele ment on t h e natu r es ,
of t h e r eader s as we ll as on t h a t of t h e poet W armed by

,
.
t h e S ame sunsh in e and buffe t e d by t h e sam e storms as

,
t h ey h e g ive s bac k to t he m t h eir o wn in son g W h en w e .
adm
,
i r e t h e antique wit h ou t b e in g able to g ive a reason for

our admiration i t oft e n is t h at ins e nsibly w e h av e lived
,
bac k into anot he r age by vir t ue of commu nion wit h o n e of

its c r e atu r e s and cr eator s Th e blood of a distant e r a is
.
\
stir r in g in u s .
I t is not alw ays direct sympat h y w it h a per iod wh ic h

s e ts natur es po e tically endo wed sin gin g to t he ir ge n e ra
tion Some t ime s it is an a n alo g ou s e motion in a cont r ast e d
.
g uis e — a t e mp e r of r e volt t h e att r actio n of a n tipat h y

, .
A mino r ity h as p e r suade d its e lf t h at t h e scene ou gh t to be

s hifted He r be r t and Vau gh an we r e inspir e d t o p r o te st
.
a g ainst t h e mann e r s of th e ir t im e on b e h alf of He ave n .
Later on fr om t h e sam e di s gu s t at t h e pr e s e nt Cowl e y

, ,
au g ur e d t r iump h s fo r sci e n ce still unborn bu t in t h e air , .
Samu e l B utle r moc ke d d e spotic P ur itan Ma j o r -G e n e r als .
D r yde n c h ampioned r eactio n political and t he olo gical

, .
S wift w as j aundic e d a g ainst a w o r ld as petty as Lilliput ,

’
and as coa r se as Br obdin gna g P ope s sp it fir e cyn ical
.
indiffe rent is m inspir e d its e lf wit h t h e social m

,
i asma it
’
affe ct e d to loat he B ur n s s Mus e w ave r ed bet ween j oy in
.
Ar cadian S implici ty and an un e asy a r e mors e ful r e belli ous

, ,
ness a gainst Kir k S e ssions—p e r h aps a g ainst family Sa t ur

,
day Ni gh ts t h ems e lves B yron s de fiance o f hi s fello w me n

.
’
,
’
B r o wnin g s di squisitions to society on t h e meanin g it
’
h ad fo r g ott e n of it s o wn va g ar ies and T e nnyson s effort s to
,
tempt it into becomin g t h e ideal of i t s distorted dis tr acted ,

’
s e lf ar e all alik e steeped in th e t ime s circums t anc e s
, .
Their public r e co gniz e d itself—denounced compassionated , ,
mo r aliz e d e t he r ealiz e d—as t heir t h e me

, . Eac h p o p u
.
lar sin ge r in t urn h as b e li e ve d h ims e lf a l e ad e r and a

pr op he t So h e h as b e en ; but a l e ad e r be cause most
.
,
obedi e ntly r e pr e sentative of his follo wer s a pr op he t be caus e

, ,
b e s t t r anslatin g t h e in clinations of hi s di sciple s by hi s o wn .
Elizabet h an gr andeur and spaciousne ss re fl ect t he mselve s

in t h e g iants of cont e mpora r y poetical lit e r a tu r e I t is .
t h e sam e wit h t h e ea r t hi ne ss t h e in t e llec t ual and spi r itual

,
-
pove r ty of t hr e e fou r t h s of t h e ei gh te e nt h c e n t ury Eve r y .
,
p e r iod c r ave s to h ave its e lf po e t ically inter pr e te d t hou gh ,

'
t h e lyr e r asps and c r e ak s Whe n it is w it h o u t J o n so n s

and He r ber ts and cannot com m
.
,
ission e nou gh Grays and
Golds mit h s it must p e r fo r ce put up w it h Y oun g s and
,
Ak e n sid e s I n any case it lo ngs to fe e l a k in t o t h e

.
4 08 F I VE CENT U R I ES OF ENG LI SH VERSE
minstrelsy A p oe t bo w s t o th e same ins t inct His son g

. .
,
wh e ther in defianc e or r e sponse w as nur sed in and w o uld

, , ,
re t urn to t h e h e art s to whic h h e S in g s

, .
Gre a t poetr y h as c h ar acteristics its ve r y o wn No l e ss , .
i t indicates t h e sp e cial cir cumstances of its ori gin Th e .
aut h o r s dis g uise t h e mselve s as littl e Some verse exert s .
a di stinctive po we r— amo unt in g to compulsion— o f refe r

’
rin g it self bac k t o th e writ er s personality W e canno t .
read C lou gh w it h out cur iosity as t o t h e motive t h e ligh t ,
wh ic h a piec e t hro ws upon t h e mental s t a ge t h e poe t h ad

reac h e d t h e nearness to t h e g oal Evide ntly h e wr ote t o
,
.
t e ll h imself Her e I am not alludin g to suc h delib era t e

.
int r ospection I am t h in kin g of t h e sun -port raits inspira

.
tion take s h o w i t br in g s a wh ole bein g wi th it s resp e ctive ,
t e n d encies and energ ies of all sort s to mirro r i t self S trongly

, .
marke d and vi go r ous in t h e main features u sually wit h ,
failin gs a s self -e vi d e nt t h at bein g is bound to b e Th e

, .
Muse does not anoint h e r k in g s at random In t h e .
e l e ct w e h ave a righ t to e xpect th e sense of a natu r al
titl e to t h e c r o wns placed on th eir h eads The assu rance .
is superior to S ilenc e to n e gl e c t , Th ou gh post erity may

.
h ave forgo t ten t h e ir royalty is indefe asible

,
Th e su b .
stanc e material and Spi r it ual adop t ed by th e poet ic spa r k

, ,
for its lod gin g o r h ome ou gh t t o be self -suffi cin g I t

, , .
s h o uld be able t o en t e rtain t h e g u e s t and survive w it h ,
dignity its d e par t ur e S ur vey t h e dy nasty of soverei gn

.
Br itish po e ts to wh om successive g enerations h ave paid

-
h oma ge Be yond dispute nine t enth s will be admitt ed t o
.
h ave been no t less r emark able as men th an as poet s :

to remain r e mark abl e wh en t h e y h ave c e as e d to sin g .
Genial Ch aucer ris e s at my invoca t ion soldi e r ambassa

d o r and cou r ti e r c h e e r q y careless of prelate s o r fr iar s
, ,
’ ’ '
, ,
Sco wls . I se e Sp e ns e r w it h t h e k ey to Fair yland a stat e s ,

neve r to all seemin g o r g uessin g susceptible of a j ealous
, ,
suspicion
Natu r e w ould h ave been cru e l h ad sh e not equi pped w it h
manif old stu r di n e ss those s e l e c t ed to h and t h e t orc h of
inspiration fr om one g e n e r ation to anot he r Th e poetic .
spir it is we ll advis e d in pr efe r r in g to h ouse in a bi g natur e .
Th e vocation of po e t is amon g t h e most unce r tain t h e ,
t horni e st Wit h some ve r se it is t r ue w e fin d i t di fficult

.
, ,
to associate t h e t h ou ght of toil Th e wr it e r mi gh t h ave .
lis pe d in n um b e r s a nd , the n u m b e r s c am e .
We do no t kn o w h o w Lamb s
’
spirit whi c h loved t o fl o w , ,
lik e t h e Mol e unde r grou n d dis tilled h is fe w and love ly

, ,
st r ain s . I n ge n e r al h o w eve r t h e a r duous c h arac ter of

, ,
t h e pu r suit is in di spu t able Neve r could fancy apparently

h ave be e n mo r e spontaneous t h an Golds m
.
’
i th s and h e
wo r k e d on a poem fo r ye ar s Th e start for any wri te r .
may h ave been easy a supply of ima gin a t ion and fancy
,
b e in g pr esupposed Ve r y soon bas kin g in t h e sun h as to

.
turn in t o de lvin g and di ggin g Th e r aw mat e r ials wit h .
whi c h t h e po e t d e als oft en ar e w aitin g in readi n e ss for

,
him ; but h e h as to man uf ac t ur e t h em Th e t h ou gh ts .
and fe e lin g s h e h as to expr ess ar e common t o h uman

natur e ; t he y ar e inart ic ulate until h e h as educa te d
lan g ua ge w it h ou t extern al evide nce of compulsion to
, ,
discover un kno wn capacities in its e lf for constitutin g it

t he ir voic e Dur in g t h e pr ocess and as a condit ion of its
.
,
succ e ss all h is e ner gi e s are in a stat e of e fl e r v e sce n c e

,
.
Me anwh il e h e h as to loo k for t h e S pirit t o descend and

, ,
call a soul in t o b e in g For lon g pr obably t here is no r esult

. .
A t l e n gth no t apparently ou t of t h e steam and bubblin g

, ,
a S h ape becomes vi sibl e A peculiar ity of any poet r y

.
w o r t h y of t h e nam e doubtless is t h at t h e w o r k as t h e ,
re ad e r per h aps as t h e wo r k e r s e e s i t S h all be a r upon

, , ,
its fac e no e vide nce of t h e pains it h as cost Not t h e .
l e ss is it t h e fr uit of a pr otr act e d an d ve he m e nt cours e of

spi r itual g ym n astics frequently of a g ony .
Co urage curiosity patienc e obstin acy e gotism self

, , , , ,
r elianc e per h aps a spice too of s e lf -conc e it all ar e w ant e d

, ,
fo r t h e stru ggle a g ainst adver sa r i e s a t h om e and abr oad .
Th e poe t must h ave a will He must insis t on bein g bli nd .
and d e af t o t h e claims of r ival facultie s of h is o wn when ,
inspi r ation i s on hi m They must e ve n let t h emselve s b e

.
h ar nessed to its c h ar io t Lac k of do ggedn e ss in bre akin g

.
in count e r in t e llectual and spir itual impu ls es in obli g in g ,
t hem to ser ve h as often smot h er e d t h e po e t u nde r t h e

,
p hi losop her or c r itic A t r ial y e t more affli ctin g is t he duty

.
of b e in g maste r in hi s o wn h ouse to t h e s e lf -tort u r in g ,
e xt e nt of settin g bo un ds to t h e fl i gh ts of h is Que e n — hi s
Genius his Inspi r a t ion itself
, of imposin g sile nc e of ,
s e atin g reason above ecs t asy All t h e time t h e wo r ld .
outside may act as t h ou gh resentful of hi s mer e e xis tence .
Havi n g suffer e d hi s Mus e Medea -li ke t o toss h im i n to t h e

, ,
boili n g cauldr on h e issu e s fort h believin g hi mself ado r able

, , .
H e salli es out in t h e cold rain s t o r m and darkn ess to w oo

, , ,
t he public wit h gui t ar and s e r e nade as if it were a lovin g ,
mist r e ss He fin ds himself a but t fo r insol e n t ridic ule

.
,
w h e n abso r bed in hi s id e as ca r r i e d a w ay by a p r Op h e t ic
, ,
rapture h e danc e s h ke David befo r e t h e Ark H e must

, , , .
s t e e l himself to be ar p e r s e cu t ion b e cause h e is h on e st c h ill ,
su r pr is e whe n h e is subli me contemp t wh en h e an n ounc e s ,
to hi s age nove lties whi c h wi ll b e tr uisms fo r t h e next

I n t h e lon g and illus tr ious lin e sca r c e ly a single m e mbe r
h as not h ad to grop e his w ay to reno wn t hr ou gh s tifl in g
fo g s of pr e j udice Natu r e seldom m
. odels any for poets
wit h out addin g extrem e s e nsitive ness to outside opinion .
Th ey h ave to pretend not to car e . Some stumble ou tr i gh t

on t h e course Th er e h ave been
.
mi ghty P o e t s in th e i r mise r y d e ad .
Th e imm e dia t e pr iz e s at b e st ar e fe w w it h h undreds t o ,
compete Many are t h e e a r ly failur es of u ltimate winner s

. .
A lmost more dish eart enin g are th e h alf -s u ccesses lik e th e fall ,
of t h e frin g e of a r ain -cloud in a dr ou gh t Moore may h ave .
felt t h e ac h e wh e n h e fou n d t h at h is Melodies wer e no t t h e

fore r unners of a gr e at poem A bsolu t e tr iump hs th em
.
s e lve s h ave t h eir dr aw bac k s in misappre h ensions by popular

en th usiasm of th e real poin t and mo t ive Verily as I t ak e .
,
’-
a bird s e y e vie w of th e poetical hi e r a r c h y wi th it s perils ,
and t e mptations I am not sur pr ised at t h e ge neral c o in c i

,
dence of tou ghness p hysical and mental wit h inspira t ion

, ,
in t h e fe w of its m e mb e r s wh o in any age stay ou t t h e

, ,
r ace to t h e e n d .
A g eneral not u n i versal coincide nc e I re p e at— and

’
, , ,
t h e same qualification must b e int r oduc e d whe neve r an

at t empt is made t o impr ison poet r y and po e ts inside an
absolu t e de fin i tion I h ave t ried t h e experi men t wit h an
.
e num e r ation of essential p r operti e s , as t h ey mi ght seem ,
belon g in g to w h at e ve r po e try is ge nu in e It h as alw ays .
faile d e ve n do wn to t h e specification of me tr e i t self as

,
indisp e nsabl e Non e w ill deny t h a t Rus kin cons t antly

.
S ing s in prose and De Quinc e y fr equ e ntly S h elley could

,
.
be as musical in an essay as w i th hi s S kylark I kno w .
of a sentence whi c h is poe tr y in Hallam an au th or as ,
h abitually unpic t uresque as h is o wn Wimpole Stree t .
I h ave my doub t s abou t a piec e of Plan t a g en e t portraitur e

in tou gh B is h op Stubbs Th ou gh I c h n g to th e belief t h at
.
imagination and fancy ar e o n e or bo th n e cessar y to t r ue

, ,
po e t r y I Sh ould not care to do g matiz e on it Ch arm I am

, .
,
penalt y th an neg lec t Poets unless th ey b e c r o wn ed ar e

.
, ,
never safe from t h e pillory Th ey en t er t h e lists a t t h e

.
p er i l of th e d oom t hr e a t en e d to la w refo r m e rs in th e old

Gr e e k State In e quity t he y we ll mi gh t plead th at t he ir
.
c r itics ou gh t e qually to abid e th e r is k F o r myself I am

.
fully conscious h o w fair t h e cla i m w ould be and S inc e r e ly

,
t r ust t h at I h ave be h ave d as if I w e r e Thr ou gh ou t I can

.
ass e r t th a t in ventu r in g to assume t h e cr itical c h ar ac te r

, ,
I h ave h ad a constant s e ns e of a cord round my o wn n e c k

’
'
inst e ad of t h e poet s I h ave e ven fe lt a live ly appre h e nsion

t h at t h e noos e m
.
i gh t b e t i ght e n e d by t h e t h ic k fin g ers of
’
som e Ge o r g ian po e t s gh ost F o r t h e ir o wn sake s no l e ss
.
,
t h an fo r t h at of t h e publi c m e mb e r s of t h e obnoxious p r o
,
fe ssio n in whi c h fo r my p r e sen t p urpose I h ave enrolle d

,
myself ar e bound I be li eve t o b e alw ays on t h e w atc h

, , ,
t h at t h ey do not b ar e n tr anc e wit hi n t h e te mple of t h e

Muses to an ge ls unaw are s Con tinually t h e y s h ould b e
.
r e mindi n g t he mselves t h at aspirants vainly s e e kin g ad

mit t an c e in t h e de spised gui se of Minor Po e t s h ave be e n
di scove r e d e r e t his to b e m e dita tin g po e t r y whic h is
G r e at
.
INDE! O F F I RS T W O RD S
PA G E
A b e a m of f un o utb r o ke 3 18
Ab ou B e n Ad h e m—may h is tr i be in c r e as e
’
A c a se me n t hi gh and tr i ple -ar c h d the r e wa s 1 27
A c as tle p r e c i pi c e -e n cu r le d
, 3 25
A c h e r u b wh o had los t h is w ay 223
A c r e atur e B e aut if ul t o se e 18
A daughte r of t h e g ods divine ly tall
, 331
’
A d e ad time s e xplod e d d r e am 3 05
A d r e amy sound 288
’
A d r o w z y f r o w z y p o e m c ali d t h e E xc u r sion
, 93
A g r e ate r n ame Th e lis t of Glo r y b oa s t s no t 44
Ah h o w t h e s tr e amle t l augh s and sin g s 21 7
A h os t of g old e n daff odi ls
, 12
Ah what avails t h e s c e p tr e d r ac e 74
Ai r ly B e ac on Ai r ly B e ac on
, 1 82
A lan guag e d e ad 252
Ala s fo r t h e wo e f ul thin g 26 1
A li ght that is mo r e than t h e s unli ght an air that is
, br ighte r
’
than mo r nin g s b r e ath 284
All ar e n e e d e d b y e ac h o n e 1 95
All impul se s of so ul and se ns e 36
All Mo the r s w o r s hi p li ttle f e e t 251
All t h e b liss that lif e e nd e ar s 1 67
All t h e b r e e z e of F an c y b lo w s 339
Am i ghty b and 18
A mu si c r ain e d thr ough t h e r oom 256
’
An ag e d man no w e n t e r d 71
And c r o wn h im mar ty r ; and h is name will r in g 1 86
And Har ald r e i g n e d and w e n t h is way 27 8
And if I laugh at any mo r tal th in g 1 03
41 6 I NDE X OF F I RS T W ORDS
PA G E
And if o n e o r tw o qui c k te ar s 1 71
And I th in k of th os e lon g mo r nin g s 171
And lay li k e h is my hands t o ge th e r
, , 316
’
And o e r t h e h ills and far away , 3 30
’
And o e r t h e p lain wh e r e t h e d e ad age
, . 300
A nd su c h I k n e w a fo r e s t se e r, 1 96
And th e y j e e r e d h im o n e and all P oo r H ése y n i s c r az e d
pa s t h o p e 3 23
A nd th ou d r e ad s tatue y e t e x is te n t in
, 99
A nd we ll i t is fo r u s o u r God S h ou ld f e e l 1 50
’
And wh e n I am t ae n and h an git mi the r a b r i ttlin g o my
, ,
de e r 1 82
And wh e n i ts fo r c e e xp e nde d
, 3 90
And y e t a s yo un g And war m wi th lif e 87
And y e t no e ar th quak e c ame to Swallow me 1 86
—
An e n d of I smail hapl e ss t o wn 1 01
— ’
An E n glis h h om e g r ay twili ght p o u r d 3 34
’
An I dyll wi th B o ccacc io s s p i r i t war m 26
A Que e n wi th s war th y c h ee ks and b old b lac k e y e s 33 1
A qui c k and sudd e n c r y 1 42
Ar t th o u p oo r y e t ha s t th o u g old e n slu m b e r s 9
, 3 50
A s I wa s walkin g all alan e 3 63
A sk if I lo v e the e 9 O h smile s c anno t te ll , 1 81
A sole mn mu si c of t h e wi nd
,
—
A son g n ay a s h r i e k that r e n t t h e sky
,
257
A son g whe r e flu t e -b r e ath silve r s tr u m p e t-c lan g 9 3 69
A s tar t oo so ve r e i g n t oo su p e r b , 285
A s te r n r o und t o we r of o th e r days 99
A s t h e e ve nin g shad e s de s c e nd e d 21 6
At fi r s t t o t h e c ar 3 29
A thin g of b e auty is a j oy fo r e v e r 1 20
At lar g e a mon g t h e d e ad 1 47
At ni ghtf all at la s t ,
3 07
A v oi c e b y t h e c e d ar tr e e 337
A w e t s h e e t and a fl owi n g se a 3 79
Awf ul c o v e ys of te r r i b le thin g s 1 63
418 I NDE X OF F I RS T W ORDS
PA G E
D aughte r daugh t e r r e me mb e r yo u
, , 257
D e ar Har p of my C oun tr y in d ar k n e ss I found the e 83
D e ath r id e s u po n t h e sul p hur y S i r o c 97
D e ath wh i c h tak e s me f r om hi s sid e
, 24 6
D o e s t h e r o ad wind u phi ll all t h e way 9 3 83
D oom e d t o g o in c om pany wi th Pa in 18
D oun in yon gar d e n s we e t and gay 3 58
E ar th ha s no t any th in g t o S h o w mo r e fai r 13
E r e I p lun g e d a mid t h e av e n g in g flam e 1 59
E te r n al pa ssion 3 03
E th e r e a l minstr e l p ilg r im of t h e sky 12
Eve n at i t s b r i ghte s t pl ay 250
Eve r y mo r nin g far wi th dr aw n ,
3 34
Eve r y moun tain no w hath found a t on gue 1 00
F ain tly a s t olls t h e e v e nin g c h ime 81

F ai r wa s sh e t o b e h old that maid e n of s e v e n te e n su mm e r s
,
21 2
F ar a nd n e ar I n w ood and th i c k e t
, 35
F ar t o t h e f ai r south - wes twar d li ghte ns 284
F ath e r and fr i e nd 280
F athe r mo the r and c ar e ful c hild
, , 1 67
—
F e ar d e ath 9 t o f e e l t h e fo g in my th r oat 316
Flake b y flak e 1 09
Fluids im pac t s e ss e n c e s
, ,
22
’ ’
F o r c r u e l t is s a id sh e ,
1 28
Fo r m e I a m no t w or th y
,
1 73
’ ’
F o r I m au n gae th o I n e e r r e tur n 3 59
Fo r m
,
e n m u s t w o r k a nd w om e n mu s t w e e p
,
1 85
F o r th o u w e r t b o r n of w om an th ou didst c om e 141
F r e s h odour s e n t ,
1 09
F r i e nds d e ar f r i e nds wh e n i t s hall b e
, ,
1 76
F r om t h e b la z in g c har io t of t h e sun 17
F r om t h e fo r e st s and hi ghlands 1 12
Glidin g and s p r in gin g 1 16

I NDE X OF F I RS T W ORDS
.
419
PAG E
Gloom p r ofound 3 03
Go ld s till g old
,
har d y e llo w and c old , , 1 67
— ’
G o l e ad t h e H e b r e w fo r th ar r ay d ,
1 43
Gon e in t o t h e We s t 1 66
G r e at o r g ood o r kind o r fai r
, , , 3 56
Gr e at S o c r ate s 9— And th ou D ivin e r s till , 1 02
G r e e n b ou n te ou s E ar th 397
G r ee n li ttle vaul te r in t h e sunny g r a ss 90
Gue s t of million pain te d fo r ms 1 96
H ad om e all t h e w ay fo r th is
Sh e c 277
’ ’ ’
Had s t th ou b ut liv d th ough st r ipp d of p ow e r
,
H ail b e aute ou s s tr an g e r of t h e g r o ve
, 37 1
Har k no w e v e r y thin g is s till
, 3 51
Har k th r ough t h e alle y r e sounds 3 02
H e ar d y e t h e ar r o w hur tle in t h e sky 9 1 38
H e ar m e n e i gh b o u r s
, at la s t h e c r i e d 3 84
’
H e e de d th o sin k in g as if in t o d e ath
, 71
’ ’
H e e n t e r d b ut h e e n te r d full of wr ath
, 1 28
H e ha s c ut h is th r o at at la s t He Wh o 9 93
H e i gh h e w o uld sh e we r e min e
, 3 53
’
H e kn e w what pains mu s t p i e r c e a sis te r s h e a r t 1 33
H e r e e v e r sin c e yo u we n t ab r oad
, 73
He r e whe n Ar t w as s t ill r e li g ion wi th a S im ple
, , , re ve r e n t
h e ar t 21 5
H e s e r v e th t h e s e r van t 1 95
H e that lo v e s a r osy c h e e k 3 55
’
H e wh o hath b e n t h im o e r t h e d e ad 96
Hi s j an te U p thr ou t h e milky e way e 61
H is t or i an b ar d p hiloso p h e r c omb in e d
, , , 1 00
H ome the y b r ought h e r war r io r d e ad 3 36
H ome T o t h e g lo r y that wa s G r e e c e 207
H o w b oldly do th i t f r on t u s h o w maj e sti c ally 1 40
H o w c ame i t yo u r e sum e t h e v oid and null 370
H o w li ght t h e t ouc he s ar e that kiss 24 5
H o w li ght we g o h o w sof t w e s kim , 289
D d 2
420 IN DE X OF F I RS T W OR DS
PA GE
H o w swe e t i t we r e he ar in g t h e do wn war d s tr e am
, 3 30
H o w sw e e t i t we r e if wi th out f e e b le f r i ght
, , 89
’
H o w swe e tly that b e ll war b l e d o e r t h e wate r 71
H o w Swe e t t h e air is H o w fai r t h e s c e n e 21 8
Hun gr y and wi ld t o claim th e i r pr o p e r ty
,
1 58
’ ’
Hun t God s c attle u p on God s a in hi lls 1 82
Hu sh my b onny b ab e —hu sh and b e s till
, ,
63
Hu s h my d e ar lie s till and slu m b e r
,
3 66
I a m t h e n e ar e s t ni ghtin gal e 1 73
I ar is e f r om dr e ams of the e 111
’
I ask d my fai r o n e happy d ay 25
I c har m th y lif e 43
I c ould have laugh e d mys e lf to s c o r n t o fin d 18
I c r awle d t o yo u 1 86
I f e l t no t wh os e fate
,
1 67
I f fate Lo ve s d e ar am b i tion mar
’
24 3
If I had th ought th o u c oulds t have di e d 1 36
I f I w e r e d e ad you d some t ime s say P oo r C hild
’
,
’
,
1
’
24 8
I f t h e v e r i e s t c u r w o uld li c k my hand 1 67
’
I f th o u w o uld st vi e w fai r Me l r ose ar i ght 53
I hav e b e e n h e r e b e fo r e 2 63
I hav e d r e am e d a d r e ar y d r e am 3 58
I have had playmate s I hav e had c om panions ,
3 74
I kno w a li ttle gar de n -c los e 27 3
I le an my c he e k t o t h e c old gr e y p illo w 286
I lo ve d him no t and y e t no w h e i s g on e 76
I lo ve d you Eve lyn all t h e whi le
, ,
318
I lo v e the e —I lo ve th e e 1 66
I lo ve th e e no t I dar e no t lo v e th e e g o
,
1 70
I me t a tr ave ll e r f r om an an ti qu e land 1 17
’ ’
I m we ar in g awa J e an ,
3 71
I n h e c ame wi th e y e s of flam e 40
I nse c t lo ve r of t h e su n 1 96
I n t h e lon g sunny af te r noon 1 97
I n t h e r e d -r os e land no t a mile 282
422 INDE X OF F I RS T W ORDS
PA G E
Le t us b e g in and c ar r y u p th is c o r p s e 3 20
Le ve t t o t h e g r av e d e s c e nd 3 67
’
Lif e we v e b e e n long t o g e th e r 3 80
Lif t s me t o t h e g old e n doo r s 3 32
Li k e a d r e am th r ough sl e e p sh e glid e d 23 5
’
Lik e a fo r g o tte n lute play d on alon e
, 1 39
Li k e Al e x and e r I w ill r e ig n 3 56
Li k e a si c k c h ild that k no we th no t h is mo th e r wh il e sh e
b l e ss e s 1 75
Li ke t h e l e av e s of t h e fo r e s t wh e n S umme r is g r e e n 94
Lispe d in nu m b e r s and t h e nu m b e r s c am e
, 41 0
Lis te n t o me a s wh e n you h e ar d o u r fath e r
, 3 72
Li ttle f e e t ac r oss t h e lawn 61
Li ttle g ossi p b li th e and hale
, 3 68
Lo an E n glish m ansion founde d
, 23 2
’
Lo a th ir d man r ose o e r t h e w av e 258
Lon e on t h e fir -b r an c h h is r attl e -no te u n var i e d
, 3 97
Lon g I follo we d happy guid e s 1 92
Lon g p r o c e ssion S till pa ssin g t o and fr o 21 3
Lo v e d wh e n my lo ve f r om all but th e e had fl o wn
, 74
Lo v e in my b osom li ke a b e e 3 53
L o v e li e s t m e e k e s t b li th e s t kind e s t
, , ,
1 54
Lo v e s tr i k e s b ut o n e h ou r — L o v e Th os e n e v e r lo v e d 1 76
,
1 64
’
Mar y min e that ar t Mar y s r ose 255
M e n g r an te d that h is s p e e c h wa s wis e . 226
M e n h av e b e e n b r av e b ut w om e n hav e b e e n b r av e r
,
71
M e n s aid h e s aw s tr an g e V isions
M e th ought I s aw t h e g r av e wh e r e Laur a lay 3 47
Mi ghty p o e t s in the i r mis e r y d e ad 412
Mis e r e r e D omi ne
, 300
Mo th e r I c anno t mind my wh e e l
, 75
’ ’
Mo th e r s p r attl e mo th e r s kiss
, 3 73
’
Muc h h ave I t r av e ll d in t h e r e alms of g old 1 26
Mu si c b y t h e ni ght -wind s e n t 1 18
I NDE X OF F I RS T WORDS 4 23
PA G E
Musi c wh e n sof t v oi c e s d ie
, 1 13
My d ays amon g t h e D e ad ar e pa s t 44
My h e ar t ac he s and a d r ow sy nu mb n e ss pains
, 1 25
My lady s e e ms of i v o r y 27 5
’
My li ttle S on wh o lo o k d f r om th oughtful e y e s
, 249
My Lo r d ha s n e e d of the se flo w e r e t s gay 21 4
My par e n t s b o w and l e ad the m fo r th
, 1 81
Myse lf whe n youn g did e ag e r ly f r e que n t 23 8
M y s pr i ghtly n e i gh b o u r g on e b e fo r e 374
Mys te r iou s Night wh e n o u r fir s t par e n t kn e w 3 87
My youth wa s happy b ut th is h ou r b e like is b e s t 27 3
Nay y e ar e min e while I h old my lif e

, 283
Ne e dy kni f e -gr inde r whi th e r ar e you g oing ? 3 90
Ne ve r st oo p s t h e soar in g vul tur e 21 2
N ightingale s war bl e d wi th out 336
Ni ght in t h e lon e som e O c t o b e r 202
N o Cain I n j ur e s— unin j ur e d 21
N o mo r e of d r e amin g 1 20
N o r c ould h is li p s a d e e p -d r awn si gh r e s tr a in 1 33
No S wo r d Of wr ath h e r r i ght ar mwh ir l d ’
34 1
N o t a b r e ath c r e p t thr ough t h e r osy ai r 1 03
N o t a d r um wa s h e ar d no t a fun e r al no te
, 1 34
N o t a fl owe r t o b e p r e s t of t h e foo t th at falls no t 283
No t a whispe r s t ir s t h e gloom 34 1
N o t f r om t h e g r and old m as te r s 21 4
N o w h e is d e ad F ar he n c e h e li e s 3 05
N o w sle e p s t h e l and of h ou se s 27 4
0 Al b ion O my mo th e r I sle 23
O fool will y e mar r y t h e w or m fo r a wif e 9
, 283
O God fo r give me h e e xclaimd
,
’ ’
, 25
O God le t me b r e athe and loo k u p at t h e sky
, 88
O h ar k O h e ar h o w th in and c le ar
, 3 36
0 H e l e n f ai r b e yond c om par e
, 3 60
0 Mar y g o and c all t h e c attl e h om e
,
1 84
4 24 I ND E X OF F I RS T W ORDS
PAG E
O Ni ghtin gale th ou sur e ly ar t 11
0 S h e ik I c anno t l e av e th e e so
,
228
0 te ll m e f r i e nds w h ile y e t y e h e ar
, ,
29 4
0 t h e F r e n c h ar e in t h e b ay 393
0 Th ou in that mys te r iou s S h r ine
,
295
O what a l ou d and f e ar ful s hr i e k wa s the r e 25
O b s c ur e ly s p o tte d t o t h e door and th e n c e
,
1 62
’
O e r R oslin all that d r e ar y ni ght 53
Of a life li v e d som e wh e r e I kno w no t
,
229
Of all t h e g i r l s that ar e s o smar t 3 68
Of t in t h e s t illy ni ght 81
Of tw o that di e d la s t ni ght 87
O h b r e ath e no t h i s n ame le t i t sl e e p in t h e shad e
, 82
O h b ut to b r e ath e t h e b r e ath 1 62
O h c ould I f e e l as I have f e l t 95
O h God t o th in k Ma n e v e r
, 1 67
O h h ad I li ve d in that g r e at day
,
303
O h t h e li ttle mo r e and h o w mu c h i t i s
, ,
319
O h what a h e ar t -sub dui n g m e lody
,
1 58
O h w o r ld o h life o h t im e
, , ,
1 15
On c e in a g old e n h our 3 42
On c e mo r e in mo r e than b r idal b e auty s tands 23 6
On c e u pon a midni ght d r e ar y wh ile I p ond e r e d we ak and
, ,
w e ar y 201
On e hav e I m ar k e d t h e happ i e s t gu e s t
,
On e i th e r hand W i th Mil t on and wi th K e at s 369

On E lysian lawn s 1 24
On e mo r ni n g all alon e
,
21 8
’
On E ttr i c k s mou n tain gr e e n 63
On e w o r d i s t oo of te n p r ofa n e d 1 15
O n this s we e t b an k your h e ad th r i c e s we e t and d e ar 262
’
On your li ve s s h e s hr ie k d a nd c ri e d
, h e is b ut n e wly
de a d 3 77
O p e n he r e I flun g t h e shutte r wh e n wi th m any a fl i r t and
, ,
flutte r 201
Ou r si gn al fo r fi ght that f r om mon ar c h s w e d r e w 52
P AG E
S low sink s mo r e lo ve ly e r e h is r ac e b e r un 95
S mall h o pe my g ir l fo r a h e lm to h id e
, ,
256
S of t t ouc h in visi b le 1 47
S ole P osi ti ve of Ni ght 22
S ole so vr an of t h e V ale 27
S ome tim e s on lon e ly moun tain -m e r e s 3 32
S om e time s w onde r in g soul 3 03
S oon o r late s ar doni c Fate 23 4
’
S o r r o w said Mah moud is a r e ve r e nd thin g
, ,
‘
88
S o sl e e p fo r e ve r sl e e p 0 mar b l e pai r
, , 3 04
S ouls of p o e t s d e ad and g on e 1 24
S oul wa s like a s tar and dwe l t apar t ,
18
’ ’
S ound t h e lou d timb r e l o e r E gyp t s dar k se a 80
Sp e ak no t th y s pe e c h my b ough s amon g 191
Sple n di d a s tar 9
, 315
’
Spr e adin g May s le afle ss b looms in a dam p noo k 1 95
S tar is no t e qual t o star n o r b lossom t h e sam e a s b lossom
,
29 1
S tay s tay
, 4 05
S till in h e r we b d e li ght s 3 32
S tr an g e i s i t no t 9 that of t h e myr i ads wh o 23 8
S uc h a sof t fl oatin g wi t c h e r y of sou nd 22
S we e t my c h ild I li v e fo r th e e
, 337
S we e t n ur slin g s of t h e ve r nal ski e s 1 47
S we e t str an g e r wh om I c alle d my wif e
, 24 5
Tak e m away
e and in t h e lowe s t d e e p
, 1 59
’
Te ar s idle te ar s I kno w no t what th e y m e an
, , 3 37
T e nd e r b e in g s an g e li c al 1 58
Than k H e av e n t h e c r isis 203
That fi r st in b e auty s h ould b e fi r s t in mi ght 1 20
That Lo r d Ar und e l 3 03
That v e r y ni ght while ge n tle sle e p
,
1 62
Th e b e e hu ms on ar ound t h e b lossom e d vin e 224
Th e b e e s that soar fo r b loom 16
Th e b e lls ar e r in g in g As is m e e t . 3 81
Th e b e lls of S handon 3 94
I NDE X OF F I RS T W ORDS 4 27
PA G E
Th e b illow s wh i te n and t h e d e e p s e a s h e av e 289
Th e b r i ghtn e ss of t h e w o r ld 0 th o u on c e f r e e
, 26
T h e c l e ar e s t e y e s in all t h e w o r ld 280
T h e c ur v e s of t h e whi te o wl s we e p in g 396
’
Th e fai r e s t fl o we r T h e b r ae s o E ttr i c k e v e r s aw 61
T h e fi e r c e July wh e n fl e e t s w e r e s c atte r e d as foam 2 83
Th e fl o at in g c lou ds th e i r s tate s hall l e nd
T h e fl ow e r s of t h e s u n th at is sun k e n 28 1
Th e fo r ms of t h e d e par te d 21 3
Th e fou r b o ar ds of t h e c o ffin lid 282
Th e f r u i t -li k e p e r f um e of t h e g old e n f u r z e 24
Th e glo r i e s of o u r b lood and s tate 3 52
Th e g r e e n g r e e n g r a ss t h e g li tte r in g g r o v e
, , 1 54
’
T h e hand that r o und e d P e te r s dom e 1 94
’
T h e h ar p that on c e th r ough Tar a s halls 81
Th e I sl e s of G r e e c e t h e I sl e s of G r e e c e
,
1 02
Th e ke e n s an c t i ty 1 59
T h e kin gly b ar d 1 93
’ ’
Th e K in g s daughte r 0 N o r o w ay 3 58
T h e l ands c ap e all mad e s har p and c l e ar
,
24 4
’
Th e l ar k no w l e av e s h is wat r y n e s t 356
Th e l e av e s ar e f allin g so a m I 75
T h e li tt l e hands that n e v e r sought 286
Th e Lo r d f r om o ut H is c lou d 1 40
T h e los t d ays of my l if e u n t il t o -d ay 263
Th e mild e s t m
’
an n e r d m an 1 03
Th e mon th of Mar c h w o r e on apac e 259
Th e mul ti tudino u s B illo w s 1 08
Th e mu r mur of t h e mour nin g gh os t 377
Th e ni ght is g on e 1 56
’
Th e noon of autu mn s glo w 1 08
Th e n r ose f r om se a t o sk y t h e wi ld f ar e we ll 1 01
The n thi n k I of de e p S h adow s on t h e g r ass 227
Th e odo r o u s pu r pl e of a n e w -bo r n r os e 1 00
’
T h e old y e ar s d e ad h ands ar e f ull of th e ir d e ad fl o we r s 283
Th e p ag e an t of h is b l e e d in g h e ar t 1 04
4 28 I NDE X OF F I RS T W O RDS
P AG E
Th e p e o ple —ah t h e p e o ple
,
202
Th e R a in b o w c om e s and g o e s 14
T h e R av e n n e v e r fl i tt in g s t ill is si tt in g s t ill is si ttin g
, , ,
201
Th e r e ar e swe e t fl o we r s that only b low b y ni ght 74
Th e r e is a gar d e n in h e r fac e 3 55
The r e is a s tr e am Spr in gin g far o ff
,
29 0
Th e r e is no mu si c in t h e lif e 1 68
Th e r e i s no s te r n e r mo r alis t than P le a sur e 1 02
The r e is o n e Mind o n e omni pr e se n t Mind
,
22
’
Th e r e S a g r e at te x t in Galatians 316
Th e r e s at a Lady all on t h e g r ound 1 55
’
Th e r e s s tatue s gr ac in g thi s no b l e pl ac e in 394
Th e r e th o u si tte s t no w and th e n th ou mo an e st 224
Th e r e wa s a l ady li ve d in a hall 27 2
Th e r e wa s n e v e r mys te r y 191
Th e r e w as tur nin g of ke ys an d c r e akin g of lo c ks
,
3 87
Th e R om an wh e n h is b u r nin g h e ar t
,
Th e s e c r e t s of t h e wind i t sin g s 229

Th e s e lf -t o r tu r in g so p his t wild R o u sse au
,
1 00
Th e s har p s t o r m c ut s h e r fo r e h e ad b ar e 225
T h e sil v e r c hain of sou nd 3 96
Th e sk i e s hav e sun k and h id t h e u pp e r sno w
,
29 0
Th e sof t g r e e n wi llo w s pr in g ing 1 47
Th e soundi n g c atar a c t 18
Th e s pac iou s fir m am e n t on hi gh 3 65
Th e s tar of t h e un c on q ue r e d will 21 4
Th e s tar r y G alil e o wi th h i s w o e s
,
1 00
Th e v ision of s c ar c e a mom e n t 228
Th e v oi c e of f r i e nds ar o u nd t h e b e d 1 59
Th e v oi c e of yo r e 39 1
Th e war m g r e e n -m
, uffle d Cu mno r h ills 307
Th e wate r c om e s do wn at Lodo r e 46
Th e W e ddin g Mar c h of M e n d e lsso h n 24 3
’
Th e winds ar e h i gh on H e ll e s wav e 96
Th e w o r ld i s t oo mu c h wi th u s l at e and soon 14
’
Th e W o r ld S a b u bb l e and t h e Lif e of Man
,
3 49
PA G E
T o mi x wi th Kin g s in t h e lo w lu s t of sway 27
T o play at lo v e 70
T o te ll Of t h e w ond e r ful d ays a-c omin g
,
27 1
T r u stin g t o h is no b le s t fo e s 1 76
T ully wa s no t s o e lo que n t a s th ou 99
’
Twa s no t th os e souls th at fle d in p ain 31
’
Twa s wh e n t h e s p ou s al t ime of May 244
Twe e d said t o T ill 3 63
Twe n ty y e ar s he n c e my e y e s may g r o w 73
’ ’
Tw ould s av e u s so mu c h b o the r wh e n we d b o th b e o n e ano th e r 3 94
’
Und e r t h e m ay Sh e st o o p d t o t h e c r o w n
,
27 2
Un g r ate ful Flo r e n c e D an te S l e e p s af ar 98
Unle ss you par don what s hall I do Lo r d
, ,
269
U p and s pak e t h e S wan -n e c k hi gh 1 83
U p on t h e g old c louds m e tr o poli tan 1 29
Val e in I da lo ve li e r
,
333
V e r y tr ue t h e linn e t s S in g 74
V i c to r iou s m
,
e n of e ar th no mo r e
,
3 52
Wand e r in g b e tw e e n tw o w o r lds o n e d e ad
,
3 06
Watc hin g t h e pulse of t h e c ar s d ie do wn a s ,
her own di e d
wi th th e m 1 80
We hav e all of u s o n e hu man h e ar t 18
W e l c om e b u d b e sid e t h e r os e
,
87
’
W e ll h e ar n ae mair lil t in g at o ur e we -mi lkin g 37 1
We r e I a tr e mb lin g l e af 3 75
We w at ch d h e r b r e ath in g th r o t h e ni ght
’ ’
1 64
’ ’
Wha ll b uy my c alle r he r r in 9 371
What a m I 9 339
What a s c r e a m Of ag ony 28
What b i r d so sin g s y e t s o do e s wail 9
, 3 53
’
Whate e r o u r h ou se h old g ods p r o te c t of d e ar 1 03
What E lysiu m hav e w e kno wn 1 24
’
Whate v e r in h e r si ght I d s e e m 24 3
I NDE X OF F I RS T W ORDS 43 1
PA G E
What far -r e ac hin g Ne m e sis s ti r r e d him 3 95
What hath h e l os t that suc h g r e at g r ac e hath w on 9 3 47
’
What ills t h e S c h olar s lif e a ssail 3 67
What le af -f r in g e d le ge nd haun t s ab out thy shap e 1 24
What man ha s mad e of ma n 18
What m e ans yon b la z e on h i gh 9 141
’
What S t h e sof t S outh -We ste r 9 1 87
Whe n at h ome alon e I si t 39 1
Wh e n half -g ods g o 1 95
Wh e n I a m d e ad my d e ar e s t
, 3 83
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Whe n I lo v d you I c an t b ut allo w
, so
Wh e n Natur e sh r ouds he r se lf e n tr an c e d
,
44
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Whe n Ne r o p e r ish d b y t h e j u s te s t doom 1 03
’
Wh e n o ur w or ld -d e afe n d c ar 29 9
Wh e n Sh e c ame t o t h e Ne t h e r b o w p or t 3 61
’
Wh e n summ e r s h our ly -m e llo win g c han g e 3 39
Wh e n t h e b r e e z e of a j oyf ul dawn b le w f r e e 3 29
’
Wh e n t h e God s will s alli e s fr e e 1 93
Whe n t h e lam p i s s hatte r e d 1 15
Whe n t h e li ttle w e e b i t h e ar t 61
Whe n t h e n e w -mad e Mo the r smile d 24 6
Whe n thy b e auty app e ar s 365
Wh e r e Baly h e ld of old h is awf ul r e i gn 43
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Wh e r e e r w e tr e ad t is haun te d h oly g r ound
, 1 00
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Wh e r e i s t h e g r av e of Sir A r thur O K e lly n 9 24
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Whe r e i s thy fav o u r d haun t e te rn al V oi c e 9
,
1 47
Wh e r e r e s t s t h e s ap wi thin t h e le af 3 30
Wh e r e wate r s gu sh e d and f r ui t -tr e e s g r e w 3 23
Wh e th e r at N ai sh ap ii r o r Bab ylon 23 7
’
Wh i th e r mids t f allin g d e w
, 3 84
Wh o e e r ha s t r av e l d lif e s dull r ound
’ ’ ’
3 67
Wh o e ve r s aw t h e e ar li e s t r ose 1 49
Wh o f e ar s t o s pe ak of Nin e ty -e i ght 9 3 94
’
Wh o is h e that c om e th like an h o n o ur d gue s t 9
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Wh o on e ar th hav e mad e u s h e i r s 19
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Wh o s s tr i vin g Par na ssu s t o c lim b 223
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I ND E ! O F P OE T S
WI TH DATES OF BI RTH AN D DEATH

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AK E N SI D E MARK M D ( 1 7 21
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ALLIN GHAM WILLIAM ( 1 824 ,
ARN OL D E D WI N S ir ( 1 832
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AR N OL D MATTH E W ( 1 822
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AY T OU N W ILLIAM E D M ON STOU N E Professor ( 1 81 3

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BAIL E Y PHI LIP JAM E S ( 1 81 6

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BAILLI E J O ANNA ( 1 762

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B ARHAM RI CHA RD HARRI S R e v ( 1 7 88

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B ARNAR D ( LIN D S AY ) ANN E La d y ( 1 7 50 , ,
BAR N E S WILL IAM R e v ( 1 801

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B EATTI E JAM E S LL D ( 1 7 3 5
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B EA UM O N T FRA N CI S ( 1 584—1 6 1 6)
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B EDD OE S TH OMAS LO V ELL ( 1 803

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B LAK E WI LLIAM ( 1 7 57
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B ROO K S CHARLE S WI LL IAM SHI RLE Y ( 1 81 6

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B ROWN TH OM A S E D WAR D Re v ( 1 830

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MO NTRO S E JAME S GRA HAM Mar q u i s of ( 1 61 2

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END O F V OL . II
O xfor d : Hor ace Har t Pr inte r ,

t o th e Unive r sity

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FI VE C E NTU RI ES OF

—Do in g Wi tho ut—C le r i c al Err o r s—C Our te sy—Se l f-d e ce pti o n

Life —Me mo ry—August 2 9 1 9 0 5—Putti g th e B r ai n i to C o m

mi ssi o n —Th r o ugh W h o se G l asse s -C upb o a d s — I n si n ce i ti e s

Paupe r i i n g Din n e r-table T alk C o n ce r i g War —Ato ms

—Ple asu e in A r t — C ue lty—Th e I d e al N e ws

An ticipate d —A n e w C irc ul ati n g Li b a y r r .

AN Ev ang e list a m o ng th e heathe n fo r thi rt y ye ars .

N o stud ent of lit era t ure c an d o u b t w hat h e w as In .

th e hi st or y of l earning Cru s a de s are no no ve lti e s T h e .

c l o s e of th e e ight ee nth a nd e arli er par t of th e nin e t ee nth

and Schi ll er in G er man y ; d e Mu ss e t Vi c to r Hu g o w ith, ,

th e R om anti c ists in Fr an ce ; Wo rds wo rth a t th e he ad of

th e L a k e Sc hool in E ngl a nd s a ng a nd fo u ght s a ng to

ﬁght E li zabe th a n p o e ts w a g e d no w ar s the y w ere dis

c o verer s W itho u t be ing in th e rea lm of f an c y buccaneers

as som e o f th e m w ere on the Sp anish M a in T hes e other s .

were in v ader s of e st ablish e d k ingd o ms a s were th e Is r a e l

it e s of C an aa n Of a ll the c om ba t ant p o e ts Wo r ds w o rth

h a d s e t hims elf th e hard e st t a s k and w on th e m o st sign a l

vi c t o r y H is hand w as a g a inst every m an I n th e r ud e

ba ttl e h e d id n o t sh u n t o w o u nd a n a tu ra l a lly— a fo reru nner ,

lik e C o w per in the onsl au ght up on p o e ti c di c ti o n a n

o b s erver of r ura l life li k e T homs o n

tho u gh in th e pa no p ly o f a Cap t a in ﬁghting fo r th e m o st

part a lon e tau ght h o w t o rep l ace p o e ti c p h ra s e s and

c o mmonpl ace s b y p o e ti c i d ea s c l o the d in p l a in pure ,

English w i t h rhythm t o m at c h A b o ve all it is t o him

m a inly th a t litera ture o we s th e s o l e mn in au g ura tion of th e

hera lde d b y C o wper h e s ub st anti a lly o pe n e d th e n e w a g e

o f E nglish ver s e w hi c h c los e s fo r u s w ith T e nn y son

famo u s bre thre n in song mo re o r l e ss u n c ons c io u sly eve n , ,

mo c k ing B yr on u nder we nt his inﬂue n ce W hil e th e y vau nt e d

the i r ind epend e n ce T h e l a t er p o e tr y of th e nin e t ee nth

cent ur y has bee n as a w hol e th o ugh w ith an a dditi o n of

m e lody of hi s ho use and lin e ag e He a cc om p lish e d a gr and

w o r k in vi r tue of s p l e ndid p o e ti c gifts ex tr ao r din ar y p hilo ,

so p hi c insight and o b stin a te ind o mit ab l e c o ura g e A s

n ece ss ar y a pro perty fo r him I fear w a s as fo r many gre at , , ,

p o e ts an ab sol u t e and in his c as e inno ce nt in c a p a c ity

fo r rec ogni z ing th e ex ist e n ce of S ing er s be side s hims e lf .

Is it a n int e lligi b l e c ontr adi c tion in t er ms to s a y th a t ,

whi l e h e w as addi c t e d to w ar m mo ra l indi gnation a nd ,

s e ns e of h u mo ur w as a par t of his equi p m e nt w hi c h w as ,

perhap s e ss e ntial If it b linde d him to ab s urditi e s in th e

ex agg eratio n of his criti ca l prin c i p l e s it also st ee l e d hi m ,

a g a inst igno r ant r idi cu l e Gallantly h e ﬂu ng do wn be fo re.

a d versari e s w hom his ins p i r ati o n be wildere d and e nra g e d

n o l e ss than his ecce nt ri c iti e s th e g auntl e t of his P e t er Be ll

w e at h e r c o c k le ss Kil ve C hildl e ss T im o thy Exp ost u l a ti o n

and Rep ly with di vers m o re as st rang e

p o e t cea s e d to sing un l e ss t o a n inn er c i rc l e w hat w isdom ,

still w hat u nder st anding of th e so u l of things T h e pri e st

re main e d with th e inh ere nt san c tity w hi c h h a d j u stiﬁ e d his

rea dy to go on pr o p h e sying sho u ld th e c ommission be

Literary hist o ry sho w s fe w mo re path e ti c ﬁg ure s th an the

o ld man w he n visi bl e W ithi n th e diminishe d c i rc l e of his

dis c i p l e s a righte o u s witn e ss and ze alot e ag er to de fe nd ,

vi c tims on a c old -de ad a lt ar .